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141 posts categorized "Contemporary Britain"

25 September 2017

Recording of the week: a poetry reading by Kayo Chingonyi

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This week's selection comes from Dr Eva del Rey, Curator of Drama and Literature Recordings and Digital Performance.

Here Zambian-born poet Kayo Chingonyi reads selections from his pamphlet Some Bright Elegance (Salt, 2012) and other works.

In this recording you can hear some of the stories behind the poems. For example, Kayo’s thoughts of himself as a writer in the poem ‘Daemon’, and his memories of making cassette mixtapes of songs recorded from pirate radio, which informed ‘Guide to Proper Mixtape Assembly’. And, before the reading of ‘Orientation’, Kayo invites the listener to imagine being a secret service operative, setting the mood for the spy poem that follows.

Kayo Chingoyi reads

Kayo Chingonyi_2016

Kayo Chingonyi, British Library in 2016.

The recording was made in the British Library studio, 12 March 2013, for ‘Between Two Worlds: Poetry & Translation’, a British Library project created in collaboration with Amarjit Chandan, and funded by the Arts Council.

For other recordings of Kayo Chingonyi accessible at the British Library please see:

Interview with Kayo talking about his work and influences (2013)

‘Beyond Bounds: Britain Re-Presented in Poetry’: event at the British Library with Kayo Chingoyi and fellow poets Anthony Joseph, Jay Bernard and Vahni Capildeo (2016)

Follow @BL_DramaSound and @soundarchive for all the latest news.

20 September 2017

Reflections on the clip bank: oral history interview highlights

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Camille Johnston is a Masters student from University College London who recently completed a summer placement working with the British Library’s oral history collections.

When I began my placement with the Oral History section I couldn’t have predicted what I would discover over the summer months. I’ve been granted access to a vast collection of extracts taken from life story recordings which, while providing an amazing insight into the many different collections developed by the department, are also fascinating as items in themselves.

These extracts have been described as the 'best bits' of interviews, and often give the listener a real sense of the interviewee in just a few minutes. However, what is included in the extract – and what doesn't 'make the cut' – is inevitably a very subjective process. These extracts are products of the decisions made by the individuals involved in their creation.

In the following clip there are enough details to give the listener an idea of the context of the interview. We learn about the interviewee's job, his attitude to his work, norms in his profession, and his working relationships. Taken from the collection, 'An Oral History of British Fashion', Michael Southgate (C1046/08) describes the process of choosing models for mannequins and comments on the success of the Twiggy mannequin.

Michael Southgate - mannequins

A lot of work has gone into creating the clips but, because they were seen as ephemeral at the time of their creation, they are not as well documented as the full interviews they were clipped from. The bank is potentially a very useful resource for web and social media promotion but the clips in it need first to be organised, renamed consistently and permission to use each one checked and documented.

The process of taking extracts from recordings for use in exhibitions, public presentations, promotion, teaching, and internal events requires some consideration of not only the intended audience for the clip, and associated concerns relating to access conditions and copyright ownership, but also the implications of sharing only a small section of a life story recording. How can the integrity of the full interview be preserved when all that is presented is a short clip? Can a clip convey the subtleties of mood and expression present in a full length interview? What is lost or gained?

These questions have accompanied me throughout the summer as I’ve explored and audited the Oral History Clip Bank. The clip bank is a folder stored on a shared drive containing over 3,000 extracts from life story recordings. Clips vary from personal reflections, observations, and amusing anecdotes to potentially sensitive sections extracted for review by the department's advisory board.

The following clip is an example of a short anecdote, taken from the collection: 'Food: From Source to Salespoint'. Robert Johnson (C821/10) tells a story about Bill Knapman taking merchant banker visitors into the cold store.

Bob Johnson - the cold store

As part of my placement I’ve produced recommendations for managing and arranging the clip bank, adding extracts to the clip bank, and reusing existing content. This has included recommendations for file naming, the development of a spreadsheet to document information about clips, and guidelines to assist internal clip bank users. To make these recommendations relevant and useful they have been tailored to suit the needs of interviewers working within the department.

Clip bank picThe clip bank and its metadata spreadsheet

Over the three summer months I've met most of the oral history team and have learnt about the different processes involved in producing a life story recording. These processes include the initial research stage and development of interview questions, arranging and carrying out interviews over multiple meetings with interviewees, the process of summarising content in between meetings (and how this helps the interviewer to further tailor questions), ingesting recordings into the digital library system, and cataloguing these recordings. I've also practised editing clips using WaveLab, and explored how clips are shared online and within exhibitions.

Websites that host British Library oral history clips include: British Library Sounds, Voices of Science, Sisterhood and After, the Sound and Vision blog, and the British Library SoundCloud channel. Exhibitions which have hosted clips in summer 2017 include: Gay UK: Love, Law and Liberty at the British Library, Artists’ Lives & Chelsea College of Arts: An Audio Exhibition at Chelsea College of Arts, Sephardi Voices at the London Jewish Museum, Connecting Stories: Our British Asian Heritage at the Library of Birmingham and In Their Own Words: Artists’ Voices from the Ingram Collection at the Lightbox in Woking.

There is great potential for existing clips to be shared again and if clips are well documented this process will be much more efficient. The new system for managing clips therefore encourages and supports future access to clips. There are checks in place to make sure clips are not used inappropriately, and the spreadsheet documents all uses of a particular clip to make sure clips are not repeatedly used for similar events. The spreadsheet includes a 'Keywords' field to encourage users to log the different themes covered in clips, promoting more diverse use.

For example, the following clip could inspire ideas for set production, interior design, and the sourcing of materials as well as provide information relating specifically to Derek Jarman's film 'Caravaggio', Andrew Logan's working environment, and the closing of Biba. Taken from the collection 'Crafts Lives', Andrew Logan (C960/87) describes the Butler's Wharf studio space.

Andrew Logan - Butler's Wharf studio

More Clip Bank highlights will be added to the new Oral History Clip Bank playlist as they are discovered. For more oral history news join the team on Twitter.

18 September 2017

Recording of the week: Oldbury – a tour of a decommissioned nuclear power station

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This week's selection comes from Tom Lean, Project Interviewer for An Oral History of British Science.

For nearly 60 years much of Britain’s electricity was supplied by a fleet of eleven Magnox nuclear power stations, built between the 1950s and the 1970s. They were the first series of full-scale nuclear power stations in the world, each built with a pair of nuclear reactors supplying hot steam to a set of turbines to generate electricity for homes and workplaces. While they became the workhorses of the nuclear industry, gradually their numbers dwindled as they reached the end of their design lives and one by one they were decommissioned. North of Bristol, amongst the last to be built was Oldbury, which first went critical on the 18th of September 1967. Switched off in 2012, it now stands silent awaiting the start of a decades-long process that will gradually demolish the station and decontaminate the site. Yet today Oldbury remains much as it was when the station was operational, even if its control rooms and reactor halls seem eerily empty, as Peter Webster, station manager in the 1990s, explains in this video tour of Oldbury recorded last year for An Oral History of the Electricity Supply Industry

In-depth oral history interviews documenting the lives and careers of those who worked in the electricity industry can be found in the Industry: water, steel and energy collection on British Library Sounds.

Follow @BL_OralHistory and @soundarchive for all the latest news.

15 September 2017

Open House 2017: Architect Neave Brown on the Alexandra Road estate

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Open House is a great opportunity to explore some of London's architectural gems.  It opens up the city’s architectural heritage and encourages people to interact and explore these great buildings. Architects’ Lives offers another way to explore some of the highlights of Open House.  It offers unique recordings with the creators of these buildings and gives a chance to explore the genesis of some of London’s landmarks.  It also charts the trajectory of some of Britain’s most eminent architects.

CoverAlexandra Road Estate by James O. Davies (copyright English Heritage)

One of the highlights of Open House 2017 is the Alexandra and Ainsworth Estate designed by Neave Brown.  It was built during the golden age of Camden Council’s architects department in the 1970s under the leadership of Sidney Cook.  Architect Neave Brown eschewed high-rise for high density using a horizontal street pattern.

Concrete was used for both the structure and the form. A talented group of young architects were working as part of the team: Benson and Forsyth, Eldred Evans and David Shalev and engineers Tony Hunt and Max Fordham.  It was awarded Grade II* listed status in 1993.  Neave Brown received the commission as a young architect after having designed small residential blocks in Camden, in his recording he recalls ‘it was the most astonishing brief ever’. You can listen to his full life story recording at British Library Sounds (C467/113).

Neave Brown on the Alexandra Estate

Working in a similar time period, but in a different London context, Sir Denys Lasdun was also exploring the use of concrete for the Royal College of Physicians in Regents Park. You can listen to his account at British Library Sounds (C467/32).

Royal college of Physicians by Denys Lasdun photo Niamh DillonRoyal College of Physicians by Denys Lasdun (photo Niamh Dillon)

Blog by Niamh Dillon, Architects' Lives Project Interviewer

13 September 2017

National Life Stories Podcast Episode 1: Oil

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1987 seems like a long time ago. Margaret Thatcher was re-elected for a third term in government, Everton topped the first division of the football league and Whitney Houston’s ‘I Wanna Dance With Somebody’ became the first UK Number 1 available on CD format. In that year Paul Thompson and Asa Briggs launched the National Life Stories Collection.

From its modest beginnings National Life Stories has grown significantly and helped to create one of the largest oral history collections in the world – the British Library holds some 70,000 oral history recordings of which nearly 3,000 are long, in-depth biographical interviews created by National Life Stories. This year we celebrated our 30th birthday by highlighting in our annual review interviews from each of our main fieldwork projects, introduced by someone connected to that project.

SoundArchive_22Feb08-000449Jennifer Wingate, Paul Thompson & Rob Perks, 2008 (Jonathan Jackson, British Library)

We’re using these articles as a jumping-off point for the newest National Life Stories venture, our podcast. Each pod will bring you a conversation between your hosts Charlie Morgan or David Govier and someone else associated with National Life Stories – from interviewers, to curators, to listening service staff, to technical staff who digitize and care for the analogue recordings. We’ll be using our new medium to surface great interview extracts and try to get to the bottom of what we think is special about the life story approach to oral history.

National Life Stories podcast episode 1 - Oil

Our first episode takes us back to 1988 when National Life Stories was only a year old. Piper Alpha was an oil rig in the North Sea, north east of Aberdeen. It suffered a huge explosion on the 6th of July 1988 killing 167 people. National Life Stories worked with the University of Aberdeen on the oral history project Lives in the Oil Industry to document the oil industry. In the course of the project we interviewed survivors of the Piper Alpha disaster and other people who were affected by it. Mary Stewart, Oral History Curator, chatted to Dave about the project.

11 September 2017

Recording of the week: Allan Horsfall and Gay UK

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The other day I stumbled across an interview with Allan Horsfall in our collections. His story means a lot to me. The Wolfenden Report, published in 1957, opened the ground for legal reform but was not implemented by the Conservative government. Allan Horsfall, then a coal board clerk based in Atherton, Lancashire, decided to do something about it.

Allan was recorded in 2009 for the Millthorpe Project (C1405/05) which set out to interview LGBT trade unionists. Allan recalls that in 1966 the North West Homosexual Law Reform Committee, of which he was a co-founder, produced and distributed 10,000 copies of a leaflet entitled ‘Something you should know about’ using Allan’s home address for the committee. Allan was then able to use the lack of reaction, revealing ordinary working people’s tacit support, to reassure members of Parliament representing mining constituencies.

Allan Horsfall - There's something you need to know

Sylvia Kölling and I interviewed Allan at his home in Farnworth couple few years later in 2011. The version of the story Allan told that day (Manchester Central Library GB124.G.HOR/4) was slightly different:

Well, I never got any serious opposition. The fact was that Anthony Grey had an office in Shaftesbury Avenue on the third and fourth floor which was locked up when he went home. I, in contrast, was working from home. I was living in a house at that time which belonged to the Coal Board. And when we put out the AGM announcement the local paper did a front page spread with an eight-column headline, which they'd never done before, 'Homosexuals and the Law' and of course everybody thought we'd get our windows put through and all sorts of harassment but we didn't get anything like that at all. No trouble. I was in what was, what had been, a little mining community. All the ... two or three blocks of houses all belonged to the Coal Board. When the mining industry ran down they sold them to the council so they were in fact council houses. My immediate boss [was] the Estates Manager (I worked in the estates department of the Coal Board). Not my immediate boss but the ultimate boss after this big headline appeared giving the address said that since I was doing this thing in Coal Board property wouldn't I have thought it right to consult him first? And I sent him a message back to say that if I had consulted him first he would have said no! He didn't dispute that, and I never had any trouble after that. There was no harassment. It wasn't attacked until it was attacked by some journalist who did a column in the local paper but he didn't get round to it for three weeks after they ran this big headline. I think they thought that there would have been a range of letters from readers objecting to it but there was nothing at all. So they had to put up their tame journalist to attack it in a regular column, which he did, and that didn't bring any response either. So it was a learning curve, really, for everybody, because there were obviously people in the local paper and no doubt in the local council who thought all hell would break loose. But there was nothing at that time at all.

But then what you get depends on what you ask, and how you ask it. And Allan's memories were by that time over forty years old, so it's not surprising if he rehearsed the mechanics of the coal board story differently depending on his audience. However he tells the story, Allan's local experiences serve as a useful counterpoint to the voices you can hear in the Gay UK exhibition talking about the mechanics of lobbying in Westminster in the long fight towards the Sexual Offences Act 1967.

GayUKWhatsOnGay UK: Love, Law and Liberty, free exhibition at the British Library (Images © LSE Library and Peter Tatchell)

It's your last chance to see the free Gay UK: Love, Law and Liberty exhibition at the British Library which closes on Tuesday 12 September. The exhibition tells the story of love, legislative change and the battles for equality experienced by gay men and women in the UK 50 years after the Sexual Offences Act.

You can find out more about the Millthorpe Project and many other oral history collections relating to sexuality in our collection guide.

06 September 2017

Peng Tings on my WhatsApp

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Rosy Hall is an ESRC-funded PhD student from Oxford University working with the BL's Spoken English collections. She writes:

If you’re a school teacher, or in fact if you know any British human aged under 18, you’ll also be aware that the best word to describe someone you fancy these days is peng. It used to be fit. Before that there was hot, cute, and gorgeous. But right now, it’s peng.

C1442 Peng: speaker b.1994

Um, a word me and my friends use a lot is peng. Um, it it it genuinely means like good-looking, and you can use it for people, like if you saw a boy or a girl that you thought was good-looking, a lot of my friends would say ah she’s peng or he’s peng. You can use it for food, you can use it for anything. Um, I I genuinely, I have no idea where it’s come from, but it’s it’s funny to see reactions of generations before mine to listen to it, cause when I said it, my grandma had absolutely no idea what it meant! {LG} And you do – yeah. That’s it really.

School-yard buzz-words pop up all the time – sometimes only fleetingly, while others stick around and enter our mainstream vocabulary (just think of how new cool seemed a few years ago – and even my Dad says minging now!). This process can’t be controlled – what does or doesn’t catch on depends on factors such as frequency of usage and power dynamics between speakers. An awareness of this is at play when Mean Girls’ character Regina George cruelly tells her schoolmate Gretchen: ‘Stop trying to make fetch happen. It’s not going to happen.’ But peng is definitely happening. And so, for that matter, is piff – another current favourite for ‘attractive,’ as explained by the speaker below. Tony Thorne’s 2014 Dictionary of Contemporary Slang dates this term to ‘mid-2000s.’

C1442 Piff: speaker b.1994

Um, well a slang word we use is piff, which is like, say like if you see someone who’s good-looking, or some – a girl that’s good-looking or a boy who’s good-looking it’s like ah, she’s piff! Like, or ah he’s so piff look at him sort of thing. Don’t know where it comes from cause we have quite a lot of words to describe people and how they look like peng, which also means the same thing. I don’t have a clue where it comes from, to be honest I think they’re quite stupid but they’re just really catchy and everybody uses them. So yeah that’s the slang we use. Piff! P. I. F. F.

Peng appears to have first become a part of spoken British English around 2004-5. It had a slow start in life; BBC Voices, a dialect project which surveyed over 1200 speakers in the UK, recorded only two instances of the word, both in young British Caribbean speakers in the East Midlands. It took off between 2005 and 2010, it seems, since peng was the single most popular vernacular word contributed by under-18s in the recording booths at the Evolving English exhibition in 2010-11. Cambridge Dictionaries included peng in their New Words blog in 2011. And its 2015 appearance in English grime artist Stormzy’s track ‘Know Me From’ (‘Peng tings on my WhatsApp and my iPhone too’) places it firmly at the core of the youth slang lexicon.

As suggested by the BBC Voices data, it’s likely that peng entered English by way of contact with speakers of Caribbean varieties. It may be related to Kushung peng, a word used in Jamaica for marijuana (as in Frankie Paul’s 1985 ‘Pass the Kushung Peng’). Of course, linguistic borrowing is nothing new, but is the way in which English has acquired a great many of its words – from Latin and French right through to German (rucksack), Yiddish (schmuck), and Hindi (pyjamas); very often this is related to English having been forced on others under colonial rule.

In more recent times, a new variety of English called Multicultural London English (MLE) has evolved at home, in diverse multilingual and multicultural environments, and peng is part of this picture. The exchange here is very much two-way; the same BBC Voices speakers who were early users of peng also use ‘brassic’ for broke or ‘lacking money’ – Cockney rhyming slang for skint (brassic lint).

Like it or loathe it, teens and tweens are our richest source of new coinages and language practices, and no doubt there'll be some new competition for peng in the playground this year as well as plenty of other new slang terms. Try testing your own knowledge in this BBC back-to-school slang quiz, and you can get up to speed with more young language on the Evolving English WordBank.

 

Continue the conversation with us @VoicesofEnglish

04 September 2017

Recording of the week: Epic

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This week's selection comes from Rosy Hall, an ESRC-funded PhD student from Oxford University working with the BL's Spoken English collections.

Epic 3. b. colloq. (orig. and chiefly U.S.). Particularly impressive or remarkable; excellent, outstanding. (www.oed.com)

According to one Urban Dictionary entry, the birth of ‘epic’ as a popular catchphrase has its origins among ‘avid gamers and pretentious English majors’. This fits with the WordBank contribution of one of our speakers (b.1991), who attributes it to ‘video gamer culture’ and his gaming friends.

Um, I think that ‘epic’ is a very interesting word that I constantly hear my friends use, because, it’s interesting because it’s, I feel it comes from like some kind of like video gamer culture, cause my friends are like ((bay kid)) gamers, I mean I’m not so much, but they always use the word ‘epic,’ ‘that was epic’, or like ‘epic fail’ and {cough} I just, where, what does it mean? I guess it’s kind of like…uh like ‘amazing’, like it just sort of emphasizes something. You know what I mean? Yeah. It’s like a lot of emphasis on something it’s epic, it’s not just s- -- you know ordinary, it’s epic. I don’t know, maybe it’s rooted from the actual word epic where you know, like, I don’t know the Odyssey? Who knows? Who knows. But yeah. Bye!

Epic (C1442)

Like so many words whose meanings have evolved over time, epic is a common bugbear among prescriptivists – English language mavens who would rather the word were reserved only for Homer and Virgil. As alluded to by this speaker, epic hasn’t always been a trendy word for something like ‘really good’ or ‘extreme’; traditionally it’s a genre of lengthy heroic poetry. Scholars have pointed out, however, that even this definition is fairly fluid – the meaning of epic has changed over time to cover both oral and written forms, and extends to novels and even movies (Game of Thrones, anyone?). Language change is inevitable, after all; it seems this new epic is just the latest iteration.

Song-of-ice-and-fire-1177616_1920

And we’d better get used to it: unfortunately for the pedants, a high level of objection usually correlates to a high level of usage. Judging from the number of internet rants against it, it’s clear that epic is here to stay!

Continue the conversation with us @VoicesofEnglish