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Jimmy Milne

Jimmy Milne


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Jimmy Milne was born in Dundee on 24th January 1911. He played local non-league football before joining Dundee United in the Scottish League in 1931.

Milne, a skillful midfielder, joined Preston North End in 1932. He joined a talented squad that included Bill Shankly, George Holdcroft, Robert Kelly, Ted Harper, Frank Gallimore, Bill Tremelling, John Palethorpe, John Pears, Billy Hough, Henry Lowe, George Fitton, Frank Beresford and George Bargh.

Ted Harper had a great start to the 1932-33 season. He scored four against both Burnley and Lincoln City and hat-tricks against West Ham United and Manchester United. By the end of the season he had scored 37 league goals, beating the club record previously held by Tommy Roberts. Despite Harper's goals, Preston only finished in 9th position and once again failed to get promotion to the First Division.

The following season Ted Harper moved back to Blackburn Rovers in order to get First Division football. During his time at Preston North End he had scored 67 goals in 75 games. He was replaced by the English international, George Stephenson, who had considerable goalscoring success at Derby County, Aston Villa and Sheffield Wednesday.

Another experienced striker, Jimmy Dougal, joined the club half-way through the 1933-34 season. Preston at last achieved promotion to the First Division when they finished runners-up to Grimsby Town. George Stephenson had a great season scoring 16 goals in 25 games.

In the 1935-36 season, Preston finished 7th in the league. Jimmy Maxwell was again top scorer with 19 goals in all competitions. New signing, Hugh O'Donnell, added 15 more. Preston had a disappointing league campaign in 1936-37 only finishing in 14th place. Francis O'Donnell was top scorer with 27 goals. Eleven of these came in cup competitions. For example, he scored in every round of the FA Cup, including a hat trick in the 4th round against Exeter City and a double against West Bromwich Albion in the semi-final. O'Donnell also scored in the first-half of the cup final against Sunderland. However, with Raich Carter in top form, Sunderland responded by scoring three in reply.

In the 1937-38 season Preston North End (49 points) finished 3rd in the First Division of the Football League behind Arsenal (52) and Wolverhampton Wanderers (51). Top scorers were Scotsmen George Mutch (18) and Jimmy Dougal (14).

Preston also won the 1938 FA Cup Final but unfortunately for Milne he missed the game as he had broken his collarbone a week earlier in a collision with Arsenal's Alf Kirchen.

The Second World War interrupted Milne's career. In 1946 he became player-manager of Wigan. He also worked for Morecambe and Doncaster Rovers before returning to Preston North End as a trainer in 1949. Milne also served the club as manager (1961-68).

Jimmy Milne died on 13th December 1997.


Milne Jimmy

Jimmy Milne

Born in 1921, Milne joined the Communist Party in 1939. He was a patternmaker by trade and first worked at the Hall Russell shipyard. The secretary of Aberdeen Trades Council from 1948-1969, he made his mark by working for safer working conditions for fishing trawler crew. But his interests and activities were always very wide he was a member of the Regional Hospital Board, where he kept up a constant pressure for reforms in the interests of patients.

He became a member of the General Council of the Scottish TUC in 1954, the youngest person elected to that time. Deputy General Secretary in 1969 and the General Secretary in 1975, Milne was also a member of the Communist Party Executive Committee for a period and the Scottish Committee until his death.

During his period of office, the STUC was heavily involved in a range of activities of an educational and cultural nature. He spent six years as Chair of SCOTBEC and, with the Glasgow Trades Council, a residential college was established at Treesbank. Jimmy Milne spent 12 years on the board of Govan Shipbuilders and was the longest serving member of the Parole Board when he stepped down, after 15 years membership.

Married to Alice, Jimmy Milne was also a great music lover, who consciously spread the STUC’s influence widely in education and the arts and received an honorary doctorate from Heriot Watt University for such work. The Scottish National Orchestra performed a specially commissioned overture, `Sunset Song’, by William Sweeney on his retirement in a similar gesture. He died in 1986, only ten days before his official retirement date. Over a thousand people attended his funeral, including the then Scottish Secretary of State, Donald Dewar, and many other prominent individuals from all walks of life.


Courage on the Catwalk and Brave: Aberdeen events highlight real people fighting cancer

© Supplied

Jimmy Milne grew up on a farm in Aberdeen, where he was used to being woken at 2.30am and told “the coo is calvin” and working in the fields “with the neeps and cold water pouring down your neck.”

There was nothing remotely glamorous about those early days in the 1940s for the man who subsequently went on to establish the Balmoral Group and become one of the north-east’s most influential business figures.

Yet, even in the cut-throat, dog-eat-dog world of commerce, Mr Milne has never been dissuaded from maintaining his Christian tenets of looking out for other people and doing whatever he could to help those who needed it.

He has never forgotten the anguish of losing his first wife, Jill, to cancer when his daughters were aged just eight and three. And, as he walked regularly into the oncology ward in Aberdeen, he saw so many people of all ages struggling with various forms of the insidious disease.

It was the catalyst for his company becoming the key sponsor of Friends of Anchor, the charity set up in 1997 to support the Anchor Unit.

And that was the prelude to the organisation launching Courage on the Catwalk in 2013 a unique venture to put the focus on the resolve and resilience of those facing a cancer diagnosis – past and present.

Looking back on a million-pound success story

© DCT Media

Mr Milne, 81, joined forces with his daughter Sarah-Jane Hogg, who heads up the fundraising team, and the duo originally made the decision to shine the spotlight on women with cancer, allowing them an escape from the relentless grind of chemotherapy and treatments they faced in hospital.

A male version of the catwalk event at the Beach Ballroom – Brave – was introduced in 2017 and it has also proved an outstanding success.

Both shows have thus far raised more than £1m for FoA and while Covid-19 has meant the cancellation of the shows in 2020 and 2021, both Jimmy and Sarah-Jane have been heartened by the manner in which they and their colleagues have forged friendships and camaraderie between hundreds of models, stylists, family members and those who treat and care for them at the Anchor Unit, or in the wider environs of Aberdeen Royal Infirmary.

As Mr Milne said: “I lost my mum to cancer, my brother to cancer, my first wife to cancer and there can hardly be a family in Scotland that has not been affected by it. Whenever I went into hospital, I kept thinking to myself ‘What can I do?’ and ‘How can I try to improve things for some of these people?’.

“I felt I had to do something to help. When the charity was born, I knew I wanted to ensure all its running costs would be covered, so any money raised could make a real difference to those who needed it most.

“There are so many people who work tirelessly behind the scenes and we resolved that every penny we raised would go to Friends of Anchor.

“Some charities don’t do that they maybe only give 60p or 70p of every £1 they raise to the actual charity. We give £1.

“The fundraising team behind Courage and Brave is funded by Balmoral and I have never been more proud of becoming involved with any project in my life.

“I’m always there at all the shows and to see the smiles, the families coming together, the tears – of joy, not despair or frustration – can’t help but raise your spirits.

“When it started out in 2013, the event was pretty basic. It was a catwalk, just a catwalk and not a lot else.

“Since then, it has developed. It has become bigger and bigger, with a full production team and a level of volunteer support that has grown ten-fold.

“But the reason we do it hasn’t changed. We know cancer has negative impacts on people’s lives, but so many of these people who take part in the shows are heroes. I don’t use that term lightly and I have the same opinion of those doctors and nurses who go the extra mile all the time to make their patients’ lives more bearable.”

The models are inspirational people

As somebody who has met and talked to many of the participants in both Courage and Brave, and witnessed their exhilaration at taking centre stage for positive reasons in front of their family and friends, there is no questioning the impact which these events have made on boosting their positivity and self-esteem, even as they push themselves to raise funds for FoA.

There’s Jacqui Gray, for instance, a self-employed dance teacher from Bridge of Don in Aberdeen, who took part in CotC in 2019, which was the same year that she celebrated her ‘21st birthday’ – the number of years that had elapsed since she was diagnosed with breast cancer in 1998.

You get style and grace aplenty with this redoubtable individual. As you do with Les Forman from Buckie, a member of the Brave line-up in 2018.

Diagnosed with the illness at the age of 45, he decided to get involved in the event after being impressed with the treatment and staff in the Anchor Unit.

FoA described him as “a superb ambassador for the charity in his local area” and added: “Les has encouraged some of the town’s businesses to support the cause through charity collection tins at their tills.

“A year after taking part in Brave, he continued to do his bit to support others by sharing his experience with people in a local cancer support group.”

Even those no longer with us, such as the remarkable Joe McGunnigle, a Tartan Army stalwart who followed Scotland round the globe and sashayed on the catwalk in Brave in 2018, left an enduring legacy.

He once told me: “I never thought that I would end up on a catwalk.

“But it has been one of the highlights of my life.”

Catching up with Jimmy and Sarah-Jane

In normal circumstances, the last-minute preparations would be underway for the latest CotC and Brave festivals at the Art Deco Beach Ballroom.

Yet these, of course are far from normal circumstances.

However, when I caught up with Mr Milne and Ms Hogg this week, it was obvious they are determined to keep flying the torch for FoA as long as they possibly can.

And, when asked about how inspirational the venture had been in both their lives, they provided stirring responses.

Sarah-Jane said: “When we first discussed the concept of creating an event like this, we hadn’t imagined the level of deep-rooted connection it would bring for all those involved.

“The word ‘family’ isn’t used lightly, but the relationships between the models, ourselves and the suppliers, the volunteers and sponsors, not just financially but on a personal level as well, really is special and, for many of the models, it is a life-changing event to be a part of.”

Mr Milne, for his part, said: “It has been a great honour to see these events grow from a fledgling idea to special occasions that capture the hearts of so many people.

“It takes a village to make the shows possible and months of hard work each year, and every time I’m amazed at the outcome.

“Each year, the models are rightfully the stars of the show, but they also represent our friends, neighbours and family members, who inspire us every day with their own strength of character.

“I am very proud of what has been achieved over the years and every model, audience member, supplier, sponsor and volunteer who has made the events possible should be proud as well.”

Different family members have been involved

When I asked them both if there was any one anecdote which had left a major impression on them, they thought hard before pooling their memories.

Jimmy recalled: “To make it back from the OTC [Offshore Technology Conference] in time for the show, it is a case of catching the first flight back from Houston or leaving earlier now that Brave is in the mix.

“In 2017, I was in the airport lounge when a guy approached me to share how his wife had been one of the models in Courage the year before and she absolutely loved it. And they were all excited that their son was due to have his time in the spotlight that year as a model in the very first Brave show…”

Sarah-Jane picked up the thread: “I remember Dad telling me this story and that he couldn’t help but be overcome with sadness, that one family could face two diagnoses in such quick succession.

“And yet, despite that difficult and painful time for the family, these shows had become a light in it all. Brave brought that family fun, a reason to laugh and smile and lavish love on their family, as well as an opportunity to share their sheer pride at the strength their loved ones had shown.

“Courage and Brave are about exactly that – no one would wish a family member to be on that catwalk, given the reason that brings them there.

“And yet, although cancer affects far too many families and brings with it utter heartbreak and cruelty, we, as a community in the north-east, can say that it can’t break the spirit of what the events are all about – love, strength, resilience and the chance to dare loved ones to take to that catwalk to show cancer what for.”

Courage and Brave will come back in the future

The models had already been selected for both events when the Covid curtain descended on the world in Match 2020.

But, although it has brought the shows to a halt until at least 2022, Sarah-Jane Hogg is determined this isn’t the end of the road.

She said: “We contemplated time and time again bringing a hybrid-style, Covid-compliant version of the event but each plan we sat down with just never felt right.

“The events are a celebration, first and foremost, with no holds barred. With an energy in the room that calls out for spontaneous embraces, dancing in the audience, a room filled to the brim with people celebrating our models.

“To host an event that would be anything less just felt like a disservice to our models. However, when the time is right, we hope to give our models who are waiting in the wings a very special show weekend.”


At the time PNG Deep Sea Fishing was awarded the 99 year state lease through a series of forged documents and illegal dealings, it was not owned by Jimmy Maladina.

Graph: PNG Deep Sea Fishing in 1999

It was not until 2008 that Jimmy Maladina purchased shares in PNG Deep Sea Fishing, along with his wife Janet Karl.

At the time PNG Deep Sea Fishing had one stated business activity – property owner.

Janet Karl acquired a 25% direct stake in the firm, the remaining 75% share was held by Property and Investment Consultants. The latter firm is owned 50% by Jimmy Maladina and 50% by his wife, Janet Karl.

So does this mean Jimmy Maladina is an innocent man, duped by Andrew Kunjip and Nancy Kamor into purchasing a ‘property owner’ company with a worthless state lease that had been acquired illegally?

The first thing to note is that during 1999-2000 PNG Deep Sea Fishing’s Directors included Maladina’s wife, Janet Karl, and Philip Eludeme. In the NPF Commission of Inquiry it was concluded that Eludeme was acting as a proxy for Jimmy Maladina (a proxy is someone who formally holds shares or a position on behalf of another person, usually to conceal their involvement).

A second matter of interest is the registered office and postal address of PNG Deep Sea Fishing at the time. They correspond to the residential address and postal address of Janet Karl, Jimmy Maladina’s wife.

PNG Deep Sea Fishing’s registered office and postal address does not correspond with addresses used by Andrew Kunjip and Nancy Kamor.

Graph: Maladina’s wife shares a residential address with PNG Deep Sea Fishing.

Third, in 2008 Philip Eludeme submitted late annual returns for the company dating back to 1994. During this period Eludeme helped manage the company supposedly for the two shareholders Kunjip and Kamor. Yet he lists their date of birth as unknown.

Kunjip lists his date of birth as 6 May 1965 in a document relating to another company. Eludeme’s inability to obtain this personal information does not denote an intimate relationship one would expect from a Director of a small company with only two shareholders.

Then if we look into the purported shareholders in the key 1999/2000 period, Andrew Kunjip and Nancy Kamor are each affiliated to 200+ companies by shareholding, directorships or secretarial positions.

Image: Andrew Kunjip is tied to 253 companies (Source: https://pngiportal.org)

Image: Nancy Kamor is linked to 209 companies (Source: https://pngiportal.org)

It is critical to note that in nearly ever instance Kamor and Kunjip connection to these companies lasts between several weeks and several months.

One individual both Kunjip and Kamor are closely tied to is Jimmy Maladina.

All of these companies that link the two to Maladina were registered during the same time period, either on 28 April 1994 or 4 July 1994.

It is also worth noting despite seemingly being such prolific business people Andrew Kunjip and Nancy Kamor do not have an online or media footprint.

Combined, these are the hallmarks of individuals who are acting as proxies for a third party.

Were this not ‘fishy’ enough, an almost identical corporate structure was found to be at the heart of the Waigani land scandal investigated in the NPF Commission of Inquiry.

According to the Commission of Inquiry an illicit land deal – marked by bribery and fraud – engineered by Maladina took place through a shelf company Waim No. 92. Waim No.92 was owned and administered by two proxy individuals acting for Maladina, according to the Commission of Inquiry.

Graph: Waim No. 92’s structure documented in the NPF CoI

The commission observes: ‘ Mr Maladina purchased Waim No. 92 Pty Ltd from Ram Business Consultants (Ram) as a shelf company. He exercised control through the appointment of his wife, Ms Karl, as a director’ .

It adds: ‘ Mr. Jimmy Maladina beneficially owned and controlled the shares in Waim No. 92 Pty Limited … Messrs Philip Eludeme and Philip Mamando were mere “fronts” to conceal Mr. Maladina’s interest’ .

All of which strongly echoes the facts presented in the case of PNG Deep Sea Fishing.

Last but not least, Land Board Meeting No. 2017 featured in the NPF Commission of Inquiry. The Commission found that Sir Ralph Guise had actioned a variation of lease conditions essential for Maladina’s Waigani land sale. This variation was labelled as corrupt in the findings.

So we have here a company PNG Deep Sea Fishing, whose office is based at a family home of Jimmy Maladina, and whose postal address is shared with Maladina and his wife. It acquired a state lease through a Land Board Meeting which the NPF Commission of Inquiry claims was corrupted by Maladina in collusion with Sir Ralph Guise. In 2008 Maladina and his wife formally ‘purchase’ the shares in PNG Deep Sea Fishing from two individuals, Kunjip and Kamor. These two proxy shareholders have been involved in over 200 companies each, often only for weeks or months. They are closely tied to Jimmy Maladina.

Once Maladina and his wife acquire the PNG Deep Sea Fishing shares in 2008 from Kunjip and Kamor, they initiate litigation in a bid to affirm the company’s title over Allotment 5, Section 59.

Seven years later the Provincial Government emerged from this litigation victorious.


Obituary: James Lees-Milne

James Lees-Milne, architectural historian and writer: born Wickhamford, Worcestershire 6 August 1908 Private Secretary to the first Lord Lloyd 1931-35 staff, Reuters 1935-36 Secretary, Country Houses Committee, National Trust 1936-44, Secretary, Historic Buildings Committee 1945-51, Adviser on Historic Buildings 1951-66 FRSL 1957 FSA 1974 married 1951 Alvilde, Viscountess Chaplin (nee Bridges, died 1994 one stepdaughter) died Tetbury, Gloucestershire 28 December 1997.

Shy, droll, diligent, well- connected, James Lees-Milne was an enigmatic and provocative figure, one of the last of the great amateurs and always the first to decry his achievements. A heroic saviour of historic houses (he would say he preferred houses to people), he was a mischievously accurate diarist and author of one of the best autobiographies since the Second World War.

As executive of the National Trust's Country Houses Scheme from its inception in 1936, he was more or less single-handedly responsible for beguiling suspicious, desperate and sometimes medievally old-fashioned owners into handing their priceless family properties entire into the care of the trust, for assessing the architectural (what would now be called "heritage") worth of individual houses, the importance of their contents and estates, and negotiating for them a future that was, under the first National Trust Act of 1907, secure and "inalienable".

Through his agency, the complexion of the National Trust changed completely, and, at a time when the death of the country house was widely predicted, he saved many houses from extinction, from being knocked down or vandalised, turned into country clubs and police colleges, hotels or picturesque ruins, their contents and history dispersed for ever. Britain's wider reputation as a guardian of its historic landscape owes much to his work: the trust under his careful direction pioneered the post-war opening of historic houses to the public which led in turn to the 1960s' "stately homes" boom.

Lees-Milne's three volumes of wartime diaries, beginning with Ancestral Voices (1975), are already necessary texts of reference. Mixing Mayfair in air-raids with visits by train and bicycle to backwoods baronets and squires without heir, they are by turns hilarious, outrageous, acute and touching. They were followed by three further volumes, the most recent of which, Ancient as the Hills, covering the years 1973-74, appeared in July.

Lees-Milne was an architectural historian, an able biographer, an aspirant novelist and, in Another Self (1970), his autobiography to 1942, when his diaries begin, the author of an extraordinary book, poignant, funny, often angry, that marries all three genres. When John Betjeman first read it, he wrote to the publisher Hamish Hamilton, it had the same impact on him as had Evelyn Waugh's Decline and Fall.

All his life Lees-Milne seemed to himself "another self". This was one of his virtues as a diarist: a dispassionate quality which wouldn't spare his own character from his snaggy barbs, which drew precise comedy from his own downfalls. The portrait in his autobiography of his father, a minor Worcestershire landowner whom strangers loved but who couldn't stand the sight of his elder son, ranks for its comic intensity with Osbert Sitwell's of Sir George ("Ginger") Sitwell or Lees-Milne's childhood friend Nancy Mitford's fictional "Farve". "Art," writes Lees-Milne,

was anathema to him. The very word had on him the effect of a red rag upon a bull. He turned puce in the face and fumed at the mere mention of it and his deadliest, most offensive adjective was "artistic". It denoted decadence, disloyalty to the Crown, and unnatural vice.

Suspecting his son perhaps of all these things, George Lees-Milne decided that after Eton the boy Jim should "stand on his own feet". He drove him to London forthwith and enrolled him at Miss Blakeney's Stenography School for Young Ladies in Chelsea. Lees-Milne spent 12 months, the only male student, learning shorthand and typing, before escaping, through his mother's wiles, to Magdalen College, Oxford.

It was in 1930 at a drunken party at Rousham, the Jacobean pile north of Oxford best known for its William Kent landscapes, that Lees-Milne famously found his vocation. When, egged on by his fellow undergraduates, his host took a hunting crop to the Knellers and a rifle to the statue of Apollo, Lees-Milne went numb. "The experience was a turning-point in my life," he wrote.

It brought home to me how passionately I cared for architecture and the continuity of history, of which it was the mouthpiece . . . These Rococo rooms at Rousham, with their del-

icate furniture, and portraits of bewigged, beribboned ancestors, were living, palpable children to me. They and the man-fashioned landscape outside were the England that mattered. I suddenly saw them as infinitely fragile and precious . . . That evening I made a vow . . . that I would devote my energies and abilities, such as they were, to preserving the country houses of England.

After going down from Oxford with a degree in History, Lees-Milne revived his stenographic skills to work, for three and a half years, for the sympathetic Lord Lloyd, the former High Commissioner for Egypt and the Sudan and future wartime Secretary of State for the Colonies and then, briefly, for Reuters, for its formidable chairman Sir Roderick Jones. He couldn't stand Jones nor Jones him and, in 1936, emboldened by Stanley Baldwin (the then prime minister: in James Lees-Milne's writings the world distinctly contracts), resigned. Vita Sackville-West promptly recommended him for the new job of Secretary to the Country Houses Committee of the National Trust.

Until the 1930s, the National Trust, founded in 1895 as the National Trust for Places of Historic Interest or Natural Beauty, had concentrated more on open spaces than country houses. It was the radical intervention at the trust's 1934 Annual General Meeting of the 11th Marquess of Lothian, owner of, among other estates, Blickling in Norfolk, which brought an historic change of direction. "The country houses of Britain," Lothian said,

with their gardens, their parks, their pictures, their furniture and their peculiar architectural charm, represent a treasure of quiet beauty which is not only specially characteristic but quite unrivalled in any other land.

This entirety - what Lees-Milne identified as "the continuity of history" - was threatened by the rising impost of death duties: 8 per cent only in 1904, 15 per cent in 1914, 50 per cent by 1934. "There is much to be said for [death duties] as an instrument of social justice," asserted the liberal Lord Lothian. "But let no one mistake that they spell the end of the old rural order."

There were few options then for the indigent estate owner. The 1931 Finance Act had exempted land only from death duties when left to the trust Lothian now urged further exemptions for houses and contents, and a scheme by which (an important incentive to handover) families might remain in situ. This was not simple expedience, but the vital element of the Country Houses Scheme: a house on its own, without contents, context and living tenants, would itself die. "Nothing," said Lothian, "is more melancholy than to visit these ancient houses after they have been turned into public museums."

Eighteen months later, in February 1936, the Country Houses Committee of the National Trust was formed, with Lothian a member. In March, James Lees-Milne was appointed as Secretary. In October, having conducted a census of 250 country-house owners, Lees-Milne produced the report which set in motion the National Trust Act 1937, enabling the giving of country houses to the trust free of death duties, followed by the National Trust Act 1939, which gave the crucial power to break old entails. With the establishment in 1946 of the National Land Fund and in 1953 of Historic Buildings Councils, the compact between trust and government was complete.

Country Life had identified for Lothian 60 large country houses (with over 20 bedrooms and a suite of state rooms) and 600 smaller houses of "real historic interest and artistic merit". When he made his speech, the trust owned only two significant houses, Montacute and Barrington Court, both in Somerset. By its 50th anniversary in 1945, it owned 17 and had restrictive covenants on five others. By 1995 it boasted 230 historic houses in its care. Lees-Milne's contribution to this process - with the aid of an active chairman in the third Viscount Esher - was pivotal.

The houses that came to the trust in the period 1936-51 when he was Secretary included Cliveden, Polesden Lacey, Knole, Petworth, Stourhead, Osterley and (after Lord Lothian's death en place as ambassador to Washington in 1940) Blickling. Among the literary shrines were Carlyle's house in London, Kipling's and Henry James's in Sussex, Shaw's in Hertfordshire. It was an unmatched period of acquisition after Lees-Milne the impetus lessened: the trust concentrated on different projects such as Enterprise Neptune, safeguarding the English coastline, and diversified into other areas such as industrial archaeology.

Lees-Milne's 30 years' work for the National Trust was punctuated first by war service (he was in the Irish Guards, a hopeless officer by his own account, from 1940 to 1941, until he was blown up by a bomb in Bayswater and invalided out with Jacksonian epilepsy) and then by his marriage, at the age of 43, to Alvilde Chaplin. His wife, later a writer on gardening and the designer of gardens for Mick Jagger and Valery Giscard d'Estaing, lived in France and from 1951 until he retired in 1966 Lees-Milne served the trust part-time, with a flat in London and the title Adviser on Historic Buildings. As such he was a tireless campaigner, writer of guidebooks, eminence grise and, a prodigious workhorse ever since his father made him "stand on his own feet", he started writing in earnest.

James Lees-Milne was a man of many paradoxes. A son and upholder of the old squirearchy who hated his father and felt out of place with the hunting, shooting squires an Etonian with easy entree to, and much love for, the aristocracy who was wary of them too and despised their general philistinism an avowed middlebrow with high taste, who wrote three books on the Baroque a historian who would rather have been a novelist (he published three novels) or even a poet a man of ambiguous sexuality who was for over 40 years a devoted husband. He preserved his tall, lean good looks into old age, but worried that he looked "hideous" he said sometimes that he wanted to disappear, but dressed conspicuously, even dandyishly (he had a particular interest in other-world cuffs and ties). He worried about growing old, but kept all his faculties and the gleam in his eye into his 90th year.

Rattled journalists would mock Lees-Milne for his old-world snobbisms, his almost self-caricaturing far-right views (he was a great writer of letters to the papers), his astonishing (astonishing particularly because printed) views on the "lower classes" or immigrants. One aggressive (American) chronicler of the National Trust, Paula Weideger, implied that he was everything that was wrong with the late-20th-century trust: an "aesthete", an amateur, charming, good-looking, an English public-schoolboy refusing to be serious. But she missed the point in him, as perhaps he intended her to and his furious politics were largely a red herring.

However much he obviously achieved, and much acclaim came to him, late as it often does, in his eighties, Lees-Milne thought himself quite unworthy. "I have always felt an outsider in every circle," he wrote, "and a failure." A Protestant who became a Catholic and then a Protestant again, he thought himself "odious" but longed to be "good". This peculiar diffidence, what Betjeman called his "delicious grumpiness", was disarming.

The Lees-Milnes returned full-time from the Alpes Maritimes to England in 1961 and lived first in Gloucestershire, at Alderley Grange, the handsome birthplace of Sir Matthew Hale, the 17th-century Lord Chief Justice, then in Bath in part of the extravagant writer and collector William Beckford's town house, and finally in a beautiful small house at the gates of Badminton. Lees-Milne retained the library at 19 Lansdown Crescent, the only room in Beckford's houses to survive as he knew it, as a workroom until last year. It was the ideal of a library, all arched recesses, busts and bookcases, its proportions subtle and unusually satisfying.

Lees-Milne wrote a short life of Beckford. He also wrote lives of the "Bachelor" (sixth) Duke of Devonshire, of the second Viscount Esher and, most successfully, of his friend Sir Harold Nicolson. He wrote on the ages of Robert Adam and Inigo Jones, on Rome and on Venice. But it is his autobiographical works and his diaries, whether set pieces on visits to Ham House or Longleat or the quotidian oddities of his London round, sad anecdotes of friendship or startling gossip of old hostesses, that will finally endure. In 1992 he published People and Places, recounting, with the help of the National Trust archives, his dealings with 14 country- house donors from Lutley of Brockhampton to Goodhart-Rendel of Hatchlands and in 1996 Fourteen Friends, portraits including Sacheverell Sitwell and Rosamond Lehmann (both of whose obituaries he wrote for the Independent), Vita Sackville-West and Henry Green, James Pope- Hennessy and Robert Byron.

Jim Lees-Milne seemed to have known everybody. He had the diarist's eye and the diarist's memory. He was an outsider insider. One of the last pieces he wrote was for last month's Royal Society of Literature newsletter: recollections of 1 Hyde Park Gardens (the society's headquarters) in the time of General Sir Ian Hamilton between the wars. It is an affectionate memoir studded, as ever, with telling detail, and features a disgusting story about Margot Asquith (Lady Oxford) and an expectorated potato.


Barrie was well-liked and admired

As is fitting for the man behind Peter Pan, Barrie was especially well-liked by children. Even a 3-year-old Princess Margaret fell under Barrie’s spell. After the two met, she declared, "He is my greatest friend and I am his greatest friend.”

Barrie also had many adult friends, including Arthur Conan Doyle, H.G. Wells, Robert Louis Stevenson and the explorer Captain Robert Falcon Scott. In 1912, at the end of his fatal Antarctic expedition, Scott wrote a letter to Barrie, saying, “I never met a man in my life whom I admired and loved more than you, but I never could show you how much your friendship meant to me.”


James Neal obituary

The painter James Neal, who has died aged 93, was best known for his depictions of the streets, roofs, drains and rivers of Hull, in east Yorkshire. He arrived in Hull in 1958, three years after the poet Philip Larkin, and, like Larkin, saw the city from the unsentimental outsider's perspective. His paintings focused on the ordinary and undramatic features of the place, its offices, cinemas, homes and especially its water: the town docks, the river Hull, but more particularly the many fenced drains that, in those days, ran beside the roads and behind the houses.

Stylistically, his paintings of Hull fit into the familiar category of English post-impressionism, the surface built from small, steady touches of the brush. However, the strong graphic element, which delineates the contours and the architectural details, owes more to German expressionism. It tends to destabilise rather than balance or settle the overall composition, imparting a documentary edginess, like the hand-held camera, to give a sense of realism and urgency to the representation.

Jimmy was born in Islington, London. He was a talented musician and successful juvenile actor and for a while studied at the Italia Conti drama school, encouraged by his aunt Elsie, a Tiller Girl. He appeared on the West End stage, at His Majesty's and also at the Savoy theatre, where in 1931 he appeared in an early production of Toad of Toad Hall, AA Milne's adaptation of Kenneth Grahame's Wind in the Willows. Jimmy was mentored in his role by Milne himself, but nevertheless opted for a career as a painter.

Aged 14, he began his training at Saint Martins School of Art, studying under Leon Underwood, and subsequently enrolled at the Royal College of Art, where his teachers included Barnett Freedman and Vivian Pitchforth. He graduated from the RCA in 1940. His diploma show included Woman Resting, an intimate and honest modernist-influenced study of his mother, in their north London parlour, which was included in the 1989 Leeds City Art Galleries exhibition Images of Women, co-curated by Griselda Pollock.

James Neal, like the poet Philip Larkin, saw Hull from the perspective of an unsentimental outsider. Photograph: Hull Daily Mail

After second world war service with the Royal Electrical and Mechanical Engineers, spent partly in the East Riding of Yorkshire, Jimmy returned to work in London. During these years he exhibited widely and successfully with the London Group and New English Art Club, in mixed and solo shows at the Redfern, the Royal Academy and Wildenstein's. Jimmy married Doreen in 1948, painting a striking, almost Fauvist, portrait of her a year later, which is now in the collection of the Ferens Art Gallery, Hull.

Jimmy taught in various London art schools until 1958, when he was appointed as a lecturer in drawing and painting at the Hull Regional College of Art and they moved north. If his paintings of Hull seem underpopulated, his teaching teemed with people. He taught by anecdote. He told stories about characters he had known, and related facts from the biographies and scandals of artists of the past, particularly obscure, minor artists, to illustrate a point or amplify a comment about a student's efforts.

Late in his career he taught in the art history department at what had become Hull College of Higher Education, and was able to give fuller expression to his interest in the lives of the painters.

After his retirement from teaching, Jimmy continued to paint and to exhibit. A retrospective of his work was held at the Ferens Art Gallery in 1983, and a collection of his paintings of Hull was shown at the gallery in 2000. He was also active in the Workers' Educational Association and was an art critic for the Yorkshire Post for 10 years.

Doreen died in 2007. Jimmy is survived by his three children, Sarah, Jonathan and Sebastian.

James Neal, painter and teacher, born 18 January 1918 died 12 October 2011


Disney “Winnie the Pooh” Stories That Premiered on Records

After The Sword in the Stone in 1963, the next feature-length Walt Disney animated film with all the songs by Richard M. Sherman and Robert B. Sherman was to be Winnie the Pooh. Then Walt had a different idea.

As they explained in their autobiography, Walt’s Time (edited by Bruce Gordon, David Mumford and Jeff Kurtti), “We had completed songs for about two-thirds of the film when Walt stunned everyone by announcing that, since not many children outside of England had heard of “the bear with very little brain,” he intended to “platform” the feature by dividing the feature into three separate featurettes of 26 minutes each.”

Pooh and his Hundred Acre Wood friends were not exactly anonymous in America. Both literary entities were beloved by many in the U.S. Shirley Temple presented a one-hour adaptation of Pooh stories on her weekly NBC musical series. Jimmy Stewart narrated several stories for RCA children’s records. But like Mary Poppins, a big-screen adaptation had the potential to create a much wider phenomenon (and of course both did).

Walt (and perhaps also Roy O. Disney) may have also been acutely aware of other advantages of presenting Pooh in featurette form. A short film was less expensive and a lower risk. When attached to a modest comedy feature it could catapult both into box-office success. With virtually no regular short cartoons in production it kept the artists busy, too.

And so, fifty-five years ago this year, Winnie the Pooh and the Honey Tree was released with the Dean Jones comedy The Ugly Dachshund and struck gold. Pooh gradually became a major Disney franchise and every division of the Walt Disney Studios found their way to Rabbit’s table. As have so many of Walt’s original plans, it succeeded decades beyond and is still earning rewards today.

Disneyland Records President Jimmy Johnson, had created, sustained and finally brought the in-house record company to full fruition by aggressively petitioning Roy to keep the Mary Poppins soundtrack album with the company’s still-new Buena Vista label instead of licensing it externally. He did it be successfully promoting and marketing the one disc as well as dozens of component records (second cast, singles, book sets, etc.). There would be no Walt Disney Records today without this groundwork. With these learnings he could see even more potential in Pooh than in Poppins. Disneyland Record set forth the produce and release records and books related to Pooh than any other characters up to that date in Disney history.

The short form style of the Milne books lent themselves to multiple records, books and packaging. Johnson also had the good fortune of having hired Tutti Camarata, an arranger, conductor, songwriter, musician, producer and experienced Anglophile. Tutti’s role in the success of the Poppins and Pooh music is well worth noting. Here’s some background.

When the Shermans first found themselves assigned to the Milne books, they admitted that they found them to be “kiddie nonsense.” It was Julie Andrews’ then-husband, award-winning designer Tony Walton, who explained what Pooh meant to him as a British child. “Soon we started to fall in love with Pooh ourselves,” they wrote. “Our songs for Winnie the Pooh were truly a love affair, thanks to A.A. Milne and to Tony Walton, who loved him as a little boy.”

A New Jersey native after many years in America working with such names as Jimmy Dorsey, Ella Fitzgerald, Billie Holiday and Bing Crosby, he moved to England as an executive at London’s Decca label and got a vast knowledge of the musical styles and talents in the British industry. When the Sherman Brothers were working on Mary Poppins, Tutti shared his knowledge of British musical theater and music hall form and style.

Music of this knowledge and enthusiasm came into play as well with the Winnie the Pooh records. When Winnie the Pooh and the Honey Tree was released to theaters, Disneyland had produced several successful tie-in records. The film, the records and related merchandise were highly successful, so Johnson and Camarata planned a greater number of Disneyland Records for 1968, the year Winnie the Pooh and the Blustery Day was to pair with another Dean Jones comedy, The Horse in the Gray Flannel Suit, for the Christmas season.

WHEN WE WERE VERY YOUNG

In June of 1968, the first non-film related Pooh/Milne Disneyland album was released. When We Were Very Young is a collection of poems that had already been set to exquisite music by Harold Fraser-Simson that dated back to 1926. Several were very popular throughout the years, particularly this version by a young Petula Clark. Another called “Halfway Down the Stairs” became a favorite to Muppet fans after Robin sang it on the classic TV series. Ten of these songs were released on an excellent Disneyland Storyteller album with Camarata and The Mike Sammes Singers.

From the Walt Disney Studio
The Story and the Songs of

WINNIE THE POOH AND TIGGER
Based on the A.A. Milne Books
Sterling Holloway as Pooh
Disneyland Records – Storyteller Series ST-3975 (12” 33 1/3 RPM LP with Book / Mono)

Released in August 1968. Executive Producer/Writer: Jimmy Johnson. Producer/Arranger/Conductor: Tutti Camarata. Orchestrations: Brian Fahey. Recorded at Sunset Sound, Hollywood and Abbey Road, London. Running Time: 28 minutes.

Voices: Sterling Holloway (Pooh) Sam Edwards (Tigger) Robie Lester (Piglet, Roo) Ginny Tyler (Kanga, Christopher Robin) Thurl Ravenscroft (Eeyore) The Mike Sammes Singers, The Jack Halloran Singers.

Songs: “Winnie the Pooh” by Richard M. Sherman, Robert B. Sherman “Happy Morning” by A.A. Milne, Tutti Camarata.

Stories: “Tigger Has Breakfast,” “Tiggers Don’t Climb Trees.”

For the first story album since 1966’s Honey Tree and the Grammy-nominated Happy Birthday Party (see this Spin), Johnson and Camarata chose Winnie the Pooh and Tigger. They brought back Sterling Holloway, who was the first performer the record company ever had on contract. Also from the original film cast came Barbara Luddy (Lady from Lady and the Tramp) as Kanga. The remaining roles were played by regular members of the label’s “stock company,” who would perform dozens of roles on numerous records in the sixties.

Winnie the Pooh and Tigger, the 1968 Storyteller album, is easy to confuse with Winnie the Pooh and Tigger Too, the 1974 Storyteller album. Sam Edwards plays Tigger on the vinyl version, which was released four months before the film, in which Paul Winchell more famously voiced Tigger. Chronologically, that does make Sam Edwards the first actor that the public heard in the role of Disney’s Tigger, just as Dal McKennon was the first heard as Uncle Scrooge McDuck on the Donald Duck and His Friends LP in 1960 before Bill Thompson voiced him on film in 1967.

Interestingly, the 1968 “Little LP” read-along version of Winnie the Pooh and Tigger, read by Robie Lester (who plays Piglet and Roo on all the Storytellers), is based on Blustery Day and includes two songs from the film. It follows the film version more closely than the Milne book–minus the tree-climbing sequence, because Tigger Too several years away. (It got a bit confusing when, after Winnie the Pooh and Tigger Too also became its own Little LP read-along—and the booklet for the 1973 text was sometimes placed inside the 1968 cover by mistake!)

The 1968 Tigger album, adapted almost completely from the Milne text, does not have elements of the story that might be expected by those more familiar with Blustery Day or Tigger Too. For example, he does not say “T-I, double-GUH, -ER!” When he finds he doesn’t like honey, he does not say it’s only fit for Heffalumps and Woozles, as this was a setup for the dream sequence in the film. And when he and Roo are rescued from the tree, they fall directly into Christopher Robin’s tunic. The narrator does not tilt the page of the book.

From the Walt Disney Studio
The Story and the Songs of

WINNIE THE POOH AND THE NORTH POLE EXPOTITION
Based on the A.A. Milne Books
Sterling Holloway as Pooh
Disneyland Records – Storyteller Series ST-3972 (12” 33 1/3 RPM LP with Book / Mono)

Released in September 1968. Executive Producer/Writer: Jimmy Johnson. Producer/Arranger/Conductor: Tutti Camarata. Recorded at Sunset Sound, Hollywood. Running Time: 21 minutes.

Voices: Sterling Holloway (Pooh) Jonathan Walmsley (Christopher Robin) Robie Lester (Piglet, Roo) Barbara Luddy (Kanga) Dal McKennon (Rabbit) Thurl Ravenscroft (Eeyore) Sam Edwards (Owl) The Jack Halloran Singers.

Songs: “Winnie the Pooh” by Richard M. Sherman, Robert B. Sherman “Sing Ho (For the Life of a Bear),” “Expotition Song” by A.A. Milne, Tutti Camarata.

This album is a complete adaptation of a slightly longer chapter from the second Pooh book, The House on Pooh Corner called In Which Christopher Robin Leads an Expotition to the North Pole. It has no connection whatsoever to the Pooh featurettes.

For this album, Barbara Luddy returns as Kanga (the album notes are incorrect) and Jonathan Walmsley (later of TV’s The Waltons) reprises his role of Christopher Robin. He would also appear on the next Heffalump LP. Christopher Robin has a lot to do in this story so it was nice that they brought Walmsley back to do the voice.

It is difficult to guess whether Luddy was also there to record Blustery Day as well as the earlier Tigger album, but it would be very possible. Many scripts were done at once. Robie Lester, Dal McKennon, Sam Edwards and Ginny Tyler were constantly kept on their toes, learning new lines (and new roles) on the fly. Thurl Ravenscroft does not sound as if he was recorded at the same time as the others in this session, though he does sound as though he is in the room for the aforementioned Tigger LP.

Some of these performers were also in overlapping recording sessions at Camarata’s Sunset Sound Studio because so much production was going on. In addition to making Disney records, Sunset was recording commercials, pop, rock, country, jazz, R&B–just about everything–by the biggest names in entertainment.

This is an especially good chapter to adapt for an ensemble cast and of the three albums, this one seems to have the most overall pace, rhythm and cohesion.

From the Walt Disney Studio
The Story and the Songs of

WINNIE THE POOH AND THE HEFFALUMPS
Based on the A.A. Milne Books
Sterling Holloway as Pooh
Disneyland Records – Storyteller Series ST-3971 (12” 33 1/3 RPM LP with Book / Mono)

Released in November 1968. Executive Producer/Writer: Jimmy Johnson. Producer/Arranger/Conductor: Tutti Camarata. Orchestrations: Brian Fahey. Recorded at Sunset Sound, Hollywood and Abbey Road, London. Running Time: 28 minutes.

Voices: Sterling Holloway (Pooh) Jonathan Walmsley (Christopher Robin) Robie Lester (Piglet, Roo) Dal McKennon (Rabbit) Sam Edwards (Heffalumps) B. J. Baker (Soloist) The Mike Sammes Singers, The Jack Halloran Singers.

Songs: “Winnie the Pooh” by Richard M. Sherman, Robert B. Sherman “Hunny” by A.A. Milne, Tutti Camarata.

Stories: “Pooh and the Heffalump Trap,” “In Which a Search is Organized.”

Boasting an especially spectacular album cover, even for Disneyland records, this Storyteller album combines two Heffalump and Woozle-related stories from both the Winnie the Pooh and The House On Pooh Corner books

In the Winnie the Pooh and the Blustery Day film, Tigger plants the idea of Heffalumps and Woozles in Pooh’s mind, but in the original book chapter, In Which Piglet Meets a Heffalump, it is Christopher Robin who says, “I saw a heffalump today.” Pooh and Piglet set up a trap and things turn into a wacky Gilligan’s Island sitcom of mistaken identity and zany hijinks (I make the comparison as a compliment, mind you).

Side two contains Milne’s sequel, from the chapter entitled “In Which a Search Is Organized, and Piglet Nearly Meets the Heffalump Again.” The sequence with Pooh and Piglet searching and talking about jagulars was worked into 1974’s Winnie the Pooh and Tigger Too film. This chapter was

On this LP, as on all three albums, Camarata continues the tradition set forth by Harold Fraser-Simson and adds simple, pleasing melodies to Milne’s verse just as the Shermans did.

NOW WE ARE SIX

The final entry in the Milne and Pooh-related Disneyland albums of the sixties–released a month before Blustery Day–was Now We Are Six, a very faithful collection of songs and rhymes spoken and sung by Sterling Holloway, soprano Joanne Brown and The Mike Sammes Singers, conducted by Camarata.

MORE ANIMATION SPINS ABOUT WINNIE THE POOH

Special thanks to historian Brian Sibley for his consultation on this article.


This links to a file of some 200 indentures, wills and inventories of Potterspury residents from about 1500 to 1890. Some documents are digital copies of the original wills, which are now housed in the National Archives and may be quite difficult to read. Others are transcriptions in Word documents. Many familiar surnames are there, &hellip

Potterspury Parish Council was formed in 1894, following the Local Government Act of the same year. The minutes of the earliest meetings, as well as those which pre-date the formation of the council are here. Until 1894, administration of the poor law, local sanitation, the appointment of a local constable and the upkeep of roads &hellip


Jimmy Milne - Preston North End Manager

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