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BBC Radiophonic Workshop

The BBC Radiophonic Workshop was one of the sound effects units of the BBC, created in 1958 to produce incidental sounds and new music for radio and television. The unit is known for its experimental and pioneering work in electronic music and music technology, as well as its popular scores for programs such as Doctor Who and Quatermass and the Pit during the 1950s and 1960s; the original Radiophonic Workshop was based in the BBC's Maida Vale Studios in Delaware Road, Maida Vale, London. The Workshop was closed in March 1998, although much of its traditional work had been outsourced by 1995, its members have included Daphne Oram, Delia Derbyshire, David Cain, John Baker, Paddy Kingsland, Glynis Jones and Richard Yeoman-Clark. The Workshop was set up to satisfy the growing demand in the late 1950s for "radiophonic" sounds from a group of producers and studio managers at the BBC, including Desmond Briscoe, Daphne Oram, Donald McWhinnie, Frederick Bradnum. For some time there had been much interest in producing innovative music and sounds to go with the pioneering programming of the era, in particular the dramatic output of the BBC Third Programme.

The sounds required for the atmosphere that programme makers wished to create were unavailable or non-existent through traditional sources and so some, such as the musically trained Oram, would look to new techniques to produce effects and music for their pieces. Much of this interest drew them to musique concrète and tape manipulation techniques, since using these methods could allow them to create soundscapes suitable for the growing range of unconventional programming; when the BBC noticed the rising popularity of this method they established a Radiophonic Effects Committee, setting up the Workshop in rooms 13 & 14 of the BBC's Maida Vale studios with a budget of £2,000. The Workshop contributed articles to magazines of their findings, leading to some of their techniques being borrowed by sixties producers and engineers such as Eddie Kramer. In 1957, Daphne Oram set up the Radiophonic Workshop with Desmond Briscoe, appointed the Senior Studio Manager with Dick Mills employed as a technical assistant.

Much of The Radiophonic Workshop's early work was in effects for radio, in particular experimental drama and "radiophonic poems". Their significant early output included creating effects for the popular science-fiction serial Quatermass and the Pit and memorable comedy sounds for The Goon Show. In 1959, Daphne Oram left the workshop to set up her own studio, the Oramics Studios for Electronic Composition, where she developed her "Oramics" technique of electronic sound creation; that year Maddalena Fagandini joined the workshop from the BBC's Italian Service. From the early sixties the Workshop began creating television theme tunes and jingles for low budget schools programmes; the shift from the experimental nature of the late 50s dramas to theme tunes was noticeable enough for one radio presenter to have to remind listeners that the purpose of the Workshop was not pop music. In fact, in 1962 one of Fagandini's interval signals "Time Beat" was reworked with assistance from George Martin and commercially released as a single using the pseudonym Ray Cathode.

During this early period the innovative electronic approaches to music in the Workshop began to attract some significant young talent including Delia Derbyshire, Brian Hodgson and John Baker, in fact a jazz pianist with an interest in reverse tape effects. In 1967, they were joined by a jazz bass player and mathematician. In these early days, one criticism the Workshop attracted was its policy of not allowing musicians from outside the BBC to use its equipment, some of the most advanced in the country at that time not only because of its nature, but because of the unique combinations and workflows which the Workshop afforded its composers. In years this would become less important as more electronic equipment became available to a wider audience. In 1963 they were approached by composer Ron Grainer to record a theme tune for the upcoming BBC television series Doctor Who. Presented with the task of "realising" Grainer's score, complete with its descriptions of "sweeps", "swoops", "wind clouds" and "wind bubbles", Delia Derbyshire created a piece of electronic music which has become one of television's most recognisable themes.

Over the next quarter-century the Workshop contributed to the programme providing its vast range of unusual sound-effects, from the TARDIS dematerialisation to the Sonic screwdriver, as well as much of the programme's distinctive electronic incidental music, including every score from 1980 to 1985. In 2018 Matthew Herbert, creative director of The New Radiophonic Workshop, composed the sting used alongside the reveal of the new Doctor Who logo debuting that year, it has yet to be confirmed as to whether the Workshop will be responsible for music in the series itself. As the sixties drew to a close many of the techniques used by the Workshop changed as more electronic music began to be produced by synthesisers. Many of the old members of the Workshop were reluctant to use the new instruments because of the limitations and unreliable nature of many of the early synthesisers but for some, because of a dislike of the sounds they created; this led to many leaving the workshop making way for a new generation of musicians in the early 1970s including Malcolm Clarke, Paddy Kingsland, Roger Limb and Peter Howell.

From the early days of a studio full of tape reels and electronic oscillators, the Workshop now found itself in possession of various synthesisers including the EMS VCS 3 and the EMS Synthi 100 nicknamed the "Delaware" by the members of the Workshop. In 1977, Workshop co-founder Desmond Briscoe retired from

Albert Windisch

Albert Windisch was a German painter, Academy Professor and typographer. Windisch was successful as a typographer as well; as a painter, he preferred urban scenes and portraits and after 1945 floral motifs. For Klingspor he designed in 1917 the Windisch cursive font he worked for the Stempel foundry. Albert was born in Friedberg, Hesse, as a son of the bakery owner Georg Windisch Windisch who supplied the Grand Duke of Hesse and the Tsar's family during their stays in Germany; the residential and commercial building in Usagasse 14 in Friedberg hosts a bakery until today. Windisch first visited the Royal School of Art in Berlin he studied at the Academy of Arts and from 1901 at the Academy of Fine Arts, Munich. From 1905 he taught commercial art at the School of Applied Arts in Frankfurt and was in contact with the art historian Fritz Wichert, their correspondence is preserved. With Wichert he worked on the integration of the former School of Applied Arts into the Städelschule. After the dismissal of Willi Baumeister by the Nazis Windisch had to teach the classes of Baumeister.

Among his students were the known as degenerate artists defamed Kurt Scheele and Moritz Coschell, the typographer Herbert Post. To Rudolf Koch and his circle he had cooperation. Windisch was from 1913 member of the Deutscher Werkbund and a member of Weimar society of bibliophiles. From 1921 he belonged to the German Confederation of commercial artist and from 1930 he was the chairman of the Rhine-Main-group, this position he held after 1933, in this role his name is written in the imprint of a publication of a speech by Joseph Goebbels at the Reichskulturkammer on November 15, 1933; until the 1960s Windisch taught at the Städelschule. Windisch donated drawings by Wilhelm Conrad in 1958 to the Frankfurt Art Association. About his life's work, the Frankfurter Rundschau in 1958 wrote an extensive review on his 80th Birthday, the Frankfurter Allgemeine Zeitung on his 85th Birthday, he died in Frankfurt, aged 88. Http://www.germandesigners.net/designers/albert_windisch Biography on www.germandesigners.net

Tatsfield Receiving Station

The Tatsfield Receiving Station – known formally as the BBC Engineering Measurement and Receiving Station – was a radio broadcasting signals-receiving and frequency-measuring facility operated by the British Broadcasting Corporation on the North Downs just south of London in the United Kingdom. The station was in operation between 1929 and 1974; the Tatsfield station’s work included: Measuring to high degrees of accuracy the frequencies of BBC radio and TV transmitters. It is important that broadcast transmitters remain on their assigned frequency in order to avoid interfering with other users of the radio spectrum. A high level of frequency stability is required in the case of several transmitters carrying the same programme on a single frequency in a synchronised network. Measuring the frequencies of foreign transmitters, exchanging such information with similar receiving stations abroad, in cooperation with the International Broadcasting Union and from 1950 with its successor organisation, the European Broadcasting Union.

Tracking the occupancy of the short wave, medium wave, long wave and FM radio bands. Watching for accidental interference and deliberate jamming to BBC transmissions. Receiving foreign broadcasts to be relayed by the BBC. Tatsfield formed an important link in the relaying of broadcasts by the Voice of America. Shortwave broadcasts from VOA transmitters in the USA were received at Tatsfield and fed to the BBC transmitting station at Woofferton to be rebroadcast to their target audiences in Europe and the Soviet Union. Tatsfield picked up broadcasts from foreign stations to be used in the BBC’s own programmes; the Tatsfield station played a different – though overlapping and cooperative – role to that of BBC Monitoring, which received many of the same signals, but for the purposes of gathering news and open-source intelligence, from bases first at Wood Norton and from 1943 at Caversham Park. In short, Tatsfield’s work was technical monitoring while that of BBC Monitoring, undertaken in partnership with the US government’s Foreign Broadcast Information Service, was content monitoring.

The station was in the parish of Titsey near the larger village of Tatsfield in the county of Surrey, just outside Greater London. It was about 15 miles south-southeast of central London. On Ordnance Survey maps it was listed as WT Sta, it was off the B269 road, north-east of the roundabout with the B2024, to the east of Pitchers Wood, now around one mile north of the M25 motorway. The BBC set up its first receiving station at Keston in Kent in 1925, measuring the frequencies of BBC and foreign transmitters and picking up continental broadcasts to be relayed by the BBC; the work of the Keston station was moved the short distance to the new Tatsfield facility in 1929 with a staff of three. The station expanded during the 1930s and by the start of the Second World War had a staff of 20; the war saw a further expansion in activities and staff. The number of personnel on the official BBC "establishment" for Tatsfield rose to 72 by 1945, though many of these were seconded to work at BBC Monitoring for the duration of the conflict.

Between July and November 1944 all of Tatsfield's staff and equipment were evacuated to BBC Monitoring’s outstation at Crowsley Park in South Oxfordshire because of the threat from V-1 flying bombs as Tatsfield lay on their flight path between northern France and London. Tatsfield’s work continued during the Cold War. Signals from Sputnik 1 were received at Tatsfield in October 1957, the station monitored transmissions from subsequent Soviet space missions. In July 1958 it picked up signals from the US Explorer 4 satellite; the Tatsfield station closed in 1974. Its functions were transferred to the Crowsley Park facility, expanded and renamed the BBC Receiving Station to mark the combination of roles; some derelict remains of the Tatsfield station can still be seen at its former site. Photographs of the Tatsfield station in the 1960s

The Cops (Australian band)

The Cops were an Australian rock band that formed in late 2003 by songwriter Simon Carter and bass player/keyboardist Rebecca Darwon in Sydney, New South Wales. Simon Carter began recording songs in his parents' basement, which were unlikely to see the light of day, until he sat down with his bass-playing friend Bec Darwon and offered to play her his demos; the Cops' original line-up included Simon Meli, Jimmy Stacks, Andrew Gilbert and Nick Kennedy. In early 2004, the band released their debut self-titled E. P. on Reverberation. In late 2004, The Cops signed with small independent record label Love Police Records, releasing the debut album Stomp On Tripwires in September that year. In 2005, the band undertook numerous tours, with support slots for bands such as Blondie, The Dirtbombs, The Distillers, The Donnas, Dallas Crane and The Von Bondies. In May 2005, Jimmy Stacks left the band; this was followed by the departure of drummer Nick Kennedy. Carter and Darwon decided to rebuild the band, with Todd Smith being retained on keys, Jarrod Murphy, on guitar and Nicholai Danko on drums.

The band left their label, Love Police Records, signed to Inertia Recordings in 2006 as the label's first exclusive recording artist. The new line-up of the band recorded and released an EP entitled 80 In The Shade in November 2006; the EP's lead single, "Call Me Anytime," received significant airplay on numerous indie radio stations. The song ended up placing at #33 in Triple J's Hottest 100 of 2006. Making Triple J's Hottest 100 was a significant achievement for the band, as founding member Simon Carter stated: In 2007, The Cops supported!!! on their east coast tour. The Cops released their second album, titled Drop It In Their Laps, on 28 April 2007, followed by a promotional tour and a national tour with Expatriate; the album spawned two singles, "Cop Pop" and "The Message," the latter of which came in at number 88 in the 2007 Hottest 100. In early 2008, founding member Beck Darwon left the band. Rather than continue on, Simon Carter decided to put the band on indefinite hiatus and pursue a solo career.

The demise of The Cops saw the end of the working relationship between the band and Inertia. Carter released a solo record, The Black Book Of The Universe, on Rusty Hopkinson's Illustrious Artists imprint in 2010. In April 2015, Carter announced that The Cops would return for two headlining shows in Melbourne in May at the Northcote Social Club and Sydney in July at the Newtown Social Club; the shows intended to focus on the Stomp on Tripwires era of the band. Only Carter and Smith remained from the previous lineup. Following the shows, Carter announced on Facebook that the new line-up and reunion of the band was permanent; the band were announced for the 2015 Newtown Festival in Camperdown Memorial Rest Park. The band released a new single, entitled "Move Over Money," in September 2015. On 6 October 2015, it was announced that founding guitarist Jimmy Stacks was to rejoin the band; the reunion ceased activity in 2016. Simon Carter — lead vocals, guitar Andrew Gilbert — guitar Jimmy Stacks — guitar Nicholai Danko — drums Todd Smith — keyboard, percussion, backing vocals Simon Meli — guitar, vocals Rebecca Darwon — bass, vocals Nicholas Kennedy — drums Jarrod Murphy — guitar, vocals Cec Condon — drums James Roden — guitar, backing vocals Archi Fires — bass The Cops - Love Police Records/Reverberation Stomp On Tripwires - Love Police Records/Reverberation 80 In The Shade - Inertia Drop It In Their Laps - Inertia Homebake 2004 - EMI Music Australia Fuck This, I'm Going To The Annandale - Reverberation Dirty Little Rebel Wallet Puffer Smokes Keys Call Me Anytime The Message Respectagon The Shake Dirty Little Rebel Wallet Puffer Smokes Keys Call Me Anytime The Message Respectagon Move Over Money Great Escape 2007 Big Day Out 2005 Come Together Music Festival 2005 Falls Festival 2004 Homebake 2004 Pushover 2004 Showdown at Sundown Festival 2004 St Kilda Festival 2004 & 2005 Blondie The Von Bondies The Dirtbombs The Distillers The Black Keys The Donnas Dallas Crane Grinspoon Kaiser Chiefs 2005 Jack Awards, Best Bass Player 2005 Jack Awards, Best Newcomer Official facebook page

Remnant Media

Remnant Media was a British company which published a variety of pornographic magazines. On 1 March 2004 Richard Desmond's company Northern and Shell sold a package of 45 titles, for about £20m, to Remnant Media in order to help reshape Desmond's image as part of his strategy to bid for The Daily Telegraph; the Bank of Scotland became embroiled in controversy by lending Remnant Media £5 million towards the financing package. The company's most famous title was Asian Babes magazine. Other magazines published under its Fantasy Publications brand included Readers Wives, Horny Housewives, Mega Boobs, Mothers-in-Law, Big Ones, Just 18 and 60 Plus. Remnant Media published the gay lifestyle magazine attitude until January 2007. Remnant Media entered administration in late 2007; the assets of the company were soon sold to Trojan Publishing, itself soon acquired by Interactive Publishing. Trojan went into liquidation from 2010 and was dissolved by May 2013. In December 2005 Remnant Media created an offshoot publishing company SMD Publishing, dissolved in July 2010.

Publications under SMD included Hotdog magazine and Front magazine

Vagnhärads SK

Vagnhärads SK was a Swedish football club located in Vagnhärad in Trosa Municipality, Södermanland County. Vagnhärads Sportklubb was a sports club, formed in 1921. Over the years the other sports have been dropped and the club now concentrates on football. Since their foundation Vagnhärads SK has participated in the middle and lower divisions of the Swedish football league system; the club plays in Division 3 Östra Svealand, the fifth tier of Swedish football. They play. In October 2007 the club hosted the Brazilian national team in connection with an international against Ghana at the Rasunda stadium. Vagnhärads SK are affiliated to the Södermanlands Fotbollförbund; the club dissolved on 8 March 2013 and merged with Trosa IF, to the new club Trosa-Vagnhärad SK. In recent seasons Vagnhärads SK have competed in the following divisions: 2012 Division III, Östra Svealand 2011 Division III, Östra Svealand 2010 Division III, Östra Svealand 2009 Division IV, Södermanland 2008 Division III, Södra Svealand 2007 Division III, Östra Svealand 2006 Division III, Östra Svealand 2005 Division IV, Södermanland 2004 Division IV, Södermanland 2003 Division IV, Södermanland 2002 Division IV, Södermanland 2001 Division V, Södermanland 2000 Division VI, Södermanland Södra 1999 Division V, Södermanland Södra 1998 Division IV, Södermanland 1997 Division III, Östra Svealand 1996 Division III, Östra Svealand 1995 Division III, Östra Svealand 1994 Division III, Östra Svealand 1993 Division III, Östra Svealand The first team of the women football section, played until his disbanding in the Damer Division 5 A. Vagnhärads SK – Official Website