#radiogram

[hauntedbystorytelling]

Hilja Raviniemi ~ Untitled (Flowers), 1960s. Collection of the Finnish Museum of Fine Arts | src Valokuvamuseo · IG view & read more on wordPress

Hilja Raviniemi (née Nieminen, 1915–1973) dedicated her life to art photography at a time when it was still a niche phenomenon in Finland. The art photography scenes consisted…

#1960s #finnish photographer #Hilja Raviniemi #radiogram #women artists #women in the arts #women photographers #x-ray #x-ray photography #botanicals #flowers #blumen #fiori #fleurs #flora #Finnish museum of photography

[scanzen]

vasárnapi zenehallgatás. a fotó az 1960-as években készült Nyugat-Németországban, készítője ismeretlen. magántulajdonban lévő 9x12 cm-es zselatinos ezüst.

via regifotok.hu Alapítvány a Kultúra Vizuális Kutatásáért / Facebook

in the front: GDR made Phonoton portable record player (most probably)

in the background: Dansette radiogram

#black and white #music #record player #tape recorder #dansette #radiogram #woman #sonny james #elvis presley #cliff richard #gdr #west germany

[robryebeach]

#Retro #Radiogram #vintage #photo #old audio #vintage electronics #turntable #old

[mopsburgfalls]

#Annie Nightingale #BBC #DJ #1960s #obituary #radiogram #console stereo #pioneer women #women pioneer #1960s fashion

[svetlonadyatlovpass]

Radiogram 59-02-28

Pátrací výprava uvádí, že uvnitř stanu bylo nalezeno všech 9 batohů, 3,5 páru bot (válenek?), 8 párů bot, osobní věci. Předpokládají, že další věci najdou v okolí stanu.Byly objeveny stopy 8 – 9 lidí. Jeden muž šel obutý, ostatní v ponožkách a bez bot. Níže a dále pod  stanem je hluboký sníh. Těla byla dopravena na kopec a nazítří je má odvézt vrtulník. Byly očištěny obličeje a zjistilo se, že…

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#Dorošenko #Palátka #Radiogram #Sledy #Zolotarjov

[yanarchy072]

・ ・ さんまつながりwヤバ！！ ・ #オールナイトニッポン #ANN #ニッポン放送 #radiko ・ #明石家さんま #笑福亭鶴瓶 ・ #オールナイトニッポン55周年記念 #オールナイトニッポン55時間スペシャル ・ #instaradio #radiogram #instagood #instapic (Tokyo Japan) https://www.instagram.com/p/Co1ykEdJMvJ/?igshid=NGJjMDIxMWI=

#オールナイトニッポン #ann #ニッポン放送 #radiko #明石家さんま #笑福亭鶴瓶 #オールナイトニッポン55周年記念 #オールナイトニッポン55時間スペシャル #instaradio #radiogram #instagood #instapic

[dlyarchitecture]

#Former factory for the production of radiograms. The area is currently being leased for offices.

[vi3lscgbevccwe]

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#interagencies #pretabulation #Otolithidae #rangiest #nonliterary #intramuscular #triumphal #injoint #agoras #friskers #Fuerteventura #radiograms #epistolist #lectureship #Acampo #Cattegat #lonley #retardate #centervelic #knobbed

[awlm3ornbhn]

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#ripples #gastropulmonic #refusing #wool-drying #interagencies #pretabulation #Otolithidae #rangiest #nonliterary #intramuscular #triumphal #injoint #agoras #friskers #Fuerteventura #radiograms #epistolist #lectureship #Acampo #Cattegat

[hauntedbystorytelling]

Hilja Raviniemi ~ Shell design, 1970. Suomen valokuvataiteen museon kokoelma. | src Fall 2023 exhibition

view & read more on wordPress

After her more traditional early work, Raviniemi explored the infinite creative possibilities offered by the darkroom, especially in the 1960s. Her recognizable blue era, which differed from the stark black-and-white art photography of the time, began in the late 1960s. Chemist by profession, Raviniemi was an ingenious artist in the darkroom.

In addition to blue-tinted prints, she also created completely abstract photographic artworks using different techniques. Raviniemi’s workplace at the University of Helsinki photography department laboratory also allowed her to make the first artistic radiographic images in Finland. Hundreds of Raviniemi’s radiographic works have been preserved and make up an exceptional ensemble of works in the history of Finnish art photography. read more on wordPress

#Hilja Raviniemi #x-ray #x-ray photography #radiogram #1960s #nature photography #seashell #shelldesign #shell structure #women artists #women photographers #finnish photographer #valokuva #blue tinted #radiographic image #radiograph #Finnish museum of photography

[jokeroutsubs]

Špancirfest and Joker Out: Interview with Kris for Radio Maribor's 'Musical radiogram'

On 1.09.2023, Slovenian radio station Radio Maribor broadcasted a program about Špancirfest in Varaždin, where Joker Out opened for Franz Ferdinand. The program also featured an interview with Kris Guštin, which you can listen to in the audio file above, or at this direct link from 28:30 to 38:00.

English translation below:

This is the radio show 'Glasbeni radiogram' ('Musical radiogram') in which we checked how our Eurovision representatives are doing. A few months after Eurovision we saw them on the main stage of a Croatian music festival "Špancirfest" where they performed as the opener for the group Franz Ferdinand. We spoke to the guitarist, Kris Guštin.

Kris, today I caught you at the concert in Varaždin, how are you feeling after the concert?

Kris: Well, I'll say unbelievable, for multiple reasons. Because, well, for us it's always surprising and an honour when we come abroad, even if it's just across the border, that people come to our concert and especially that they sing our songs in Slovene. It's incredible, on the other hand, this is the first time we opened for a... global name, global stars. Up until now we were openers only for Yugoslavian bands, which is of course an honour on its own, but today was the first time we introduced ourselves as an international opener. So a great memory for sure.

Have you met Elvis Costello in person or only through a video chat?

Kris: Unfortunately only through video chat, I'm pretty sure that since the collaboration happened he hasn't crossed the Atlantic ocean, so there hasn't been any time.

It seems that after thirty years, this border for musicians between Slovenia and Croatia finally opened.

Kris: Yes, it seems so, although we don't want to say too much right now because everything is still new. We need to know how this is going to work in the long run, but we couldn't be on a better track right now and that's what's currently guiding us.

In Croatia you have two concerts coming up in Zagreb, concerts in Rijeka... it seems as if this concert in Varaždin is the perfect springboard for Croatia.

Kris: It's true, we've never preformed in this part of Croatia, but I'd say the perfect springboard for us was at Šalata in Zagreb, where we opened for Buč Kesidi. I'd maybe say that it wasn't so much of a physical springboard, but it did change our perspective, as we saw and realized for the first time that we can attract an audience in Croatia and can afford to have a concert such as Tvornica kulture, which was something we were scared to do before.

With Slovene lyrics?

Kris: Also with Slovene lyrics. We do currently play all of our songs in Slovene, except for the two songs which are already in Serbian

It seems like yesterday when we played your song for the first time on Radio Maribor. A few months later you won at the festival Frišno/Fresh. This year Frišno/Fresh is coming back, but this journey has been, there are no other words than just unbelievable, dreamy.

Kris: By all means, the first Frišno/Fresh was a nice memory for us. At that time, our song was performed by a big band for the first time. Winning was a great honour as well, of course. I can also say that just today I voted for new nominations for Frišno/Fresh.

Should we reveal who you voted for?

Kris: I mean, I don't have any reservations about it if you don't. I voted for our really good friends and excellent musicians, MRFY, because 'Tobogan' ('Slide') was definitely one of the best songs from last year.

I talked to your audio engineer, Sandi, about how concerts at home or close to home are different from those abroad. You were in England, concerts in Sweden and elsewhere in Northern Europe are still to come.

Kris: I am going to say that the audience abroad is different in the sense that even if they don't know you, they gladly and really quickly give you a chance and they listen to you. If you have something to give, they figure it out quickly and they take it. On the other hand, maybe we dare to do more on stage, we go out of our comfort zone, because we are put in an unknown situation and it brings out our animalistic side, our more energetic selves.

A lot of times it seems that the home audience can act stepmotherly.

Kris: Well, not on our concerts. I think that for us, Slovene audience is always great and irreplaceable, for sure. I can't really say which one is my favourite, each has their own charm.

Now a guitar question, we are both guitarists. Sandi told me that when you are abroad, a long way from home, you rent at least the amplifiers. But playing on your own amplifier is still the best, no?

Kris: Definitely, performing when we can provide all of our gear is the best. This is sadly not possible abroad because of the flights. But we are lucky to be playing on relatively standard gear, which we can get anywhere in Europe and everywhere really. These are Fender, Vox amps and Ampeg for the bass, so it's not like we are suffering abroad because of this.

You could say classic gear, for a modern sound.

Kris: Yeah, we've always kind of gone from retro, from retro stuff, to modern sound.

You're about to play a sold-out concert in Stožice; Stožice may seem like a small milestone from the outside, when you've already conquered international stages.

Kris: Maybe it looks like that at this point, but we definitely don't see it that way. Stožice is the biggest thing an artist can achieve in Slovenia, apart from the Bežigrad stadium, which is unfortunately no longer available.* And the fact that at our age, at a relatively young age, as a young band, we managed to sell out this venue, is an incredible achievement for us, regardless of what's happening abroad. It's a great honour and for two, three months now, since I've realized that it's coming around the corner any minute now, I've been waiting impatiently for the moment when we can finally go on stage.

You yourself grew up in Ljubljana or close to Ljubljana. What would it really mean to you, to perform in the Bežigrad stadium?

Kris: There has been talk for years about its revitalisation, the reopening of the stadium, especially for cultural events. It really is such an iconic place, where, let's say, world famous names have performed, but also Slovenian ones. In fact, the Bežigrad stadium is of particular importance to me, because I don't just come from Ljubljana, I come from Bežigrad, and the Bežigrad stadium is definitely the most important symbol of our city's district. We are all very attached to it. And I have to say that I feel really, really sad because for us, for me and for Bojan, who are proud to call Bežigrad home, there is no longer an option for us to perform there.

If you were here today as a listener, and not as Kris Guštin, if you were just a listener from Bežigrad, who would you come to listen to, Franz Ferdinand or Joker Out?

Kris: Yes, definitely Franz Ferdinand. I've asked myself that a number of times. If I had heard us play, and I weren't in the band, whether I would have liked it or not. When we make music I love it, but you never know what it would be like on the other side. Franz Ferdinand are, of course, a legendary band, even if we didn't really listen to them that much, they've influenced our sound because they're one of the main creators of the British sound of the twenty-first century.

Franz Ferdinand are, I mean, famous, but with every new album, even though they haven't released a new album for five years, still modern; despite, let's say, adding an electronic sound, they're still authentic and you can still hear their sound, can't you? How do musicians manage this? Your third album is coming up soon. How to maintain your sound, but still be progressive, different, modern?

Kris: It's hard for me to give one single answer to that, because I don't really know myself, what is the deciding factor. I think it's easier to stay true to what you've always done, and it's harder to upgrade it every new album, every new cycle. We're always trying to push ourselves out of our shell, out of our comfort zone, with every new single, with every new album, that represents a new chapter in our sound. And here we are, we were in the studio two weeks ago, and we recorded a new single, which is going to be quite different from the previous tracks, and we've also indulged in some new instruments.

Kris, thank you.

Kris: Of course, thanks to you too.

*Bežigrad is one of Ljubljana's districts. The stadium in Bežigrad is the oldest stadium in Ljubljana, built by famous architect Jože Plečnik, and used to host Slovenian national football team's matches, as well as musical and other events. It's in need of renovation, but due to disputes about the current owner's renovation plans, it has been closed and falling apart since 2008. In 2003, Slovenian band Siddharta famously performed a concert there for an audience of about 30,000 people (in comparison, the Stožice arena has a capacity of about 12,000 people).

Translation cr: drumbeat, @joyridinglove, and another member of jokeroutsubs

#joker out #kris gustin

[portraitoftheoddity]

“I have a lead on Vash.”

It’s the first thing Meryl says as she slides into the booth at the back of the small diner where she arranged for them to meet by radiogram, not bothering with any of the niceties of small talk or helloes after over a year of not seeing each other. Wolfwood can appreciate that about her -- she knows he knows perfectly well that she wouldn’t call him here just to shoot the shit. They have one topic of shared business, and she’s getting right down to it instead of wasting his time.

“Where?” he asks, schooling his expression and keeping his voice flat. He’s trying not to get his hopes up, but feels his chest tighten nonetheless. 

“Small town about ten iles north-by-northeast of Lost July,” she answers, pulling off the reflective sunglasses she’s taken to wearing and folding them on the table. “One of my sources was talking with a freight hauler who does deliveries there, and he mentioned a blond man with one arm, so I put out feelers--”

“Lotta amputees in the world,” Wolfwood mutters, that flicker of hope sputtering with the growing sense that this is likely to be yet another wild thomas chase. “Doesn’t mean it’s him.”

“So I put out feelers,” Meryl repeats, a touch louder, purposely ignoring him, “and it turns out the guy in question goes by Eriks, and he turned up looking beat to hell just a few weeks after the July incident and got taken in by a local family.” She meets his eyes, and he can tell she’s almost buzzing with excitement. “All the physical details line up, the location lines up, and so does the timeline.”

Wolfwood exhales raggedly, reaching into his suit pocket for his cigarettes. “So, what--  you want me to go check it out? See if it’s really him?” Deal with the disappointment if it isn’t? He doesn’t say, as he pulls a smoke from the pack. The idea that Vash would just sit on his ass in a small town for two years instead of traveling Noman’s Land in search of self-flagellation following what happened in July just doesn’t track with what he knows of the guy. And despite how little time they spent together in the grand scheme of things, Wolfwood thinks he had a pretty good read on Vash the Stampede.

“I think we should both go,” Meryl declares, then presses her lips together into a line in the way Wolfwood’s learned she does when she isn’t being fully honest.

His eyes narrow, the cigarette hanging, unlit, from his lips. “What aren’t you telling me?”

She squirms slightly in her seat, and for a moment Wolfwood is looking at the fresh-faced rookie that hit him with her truck once more instead of the self-possessed reporter he’s watched Meryl grow into. But then she takes a deep breath and squares her shoulders, and the rookie is gone. “Word is that ‘Eriks’ is an amnesiac with no memory of his life prior to two years ago. Could be a cover, to escape his past, or he might have had head trauma from July and genuinely not remember, which would explain why he hasn’t turned up--”

The whining drone of the diner’s overhead fan is suddenly impossibly loud in Wolfwood’s ears. His hands ball into fists at his sides, nails digging deeply into his palms as he struggles to focus on what Meryl is saying. But he’s only half listening, mind iles away over half a sand ocean--

“--So I think if both of us go, we have a better shot of helping him remember,” she concludes, looking determined. “If we leave now and take the truck, we can make it in just under--”

“No.”

He cuts her off, unlit cigarette falling from his mouth and rolling across the tabletop. Meryl stops and blinks a few times. 

“Oookaaay, I know you’re not a fan of the truck,” she begins, but he cuts her off once more before she can continue: “We’re not going.” He pulls his sunglasses down so he can look her dead in the eyes and impress on her that he’s not fucking around. 

For a moment, she looks gobsmacked. Then, her brow furrows in anger. “What the hell do you mean we’re not going?” she hisses, “it’s Vash! And if he doesn’t remember anything--”

“If he doesn’t remember anything, there’s a damn good reason,” he argues. 

She rolls her eyes. “Yeah, a traumatic brain injury! Which makes sense given what he survived, but--”

Wolfwood slams a hand down on the table, hard enough that several other patrons glance disapprovingly their way. Meryl jolts in her seat, finally shocked into silence. “Shortstack,” he growls, “you told me how messed up Spikey was after Jeneora Rock. About how long he wasn’t eating before we crossed paths, all because he blamed himself for what wasn’t even his fault, when he saved a lot of those ungrateful shits, right?” 

“...yes?” she responds, cautiously now.

“And how exactly do you think Needle-noggin’s gonna react when he finds out that his crash landing wiped an entire city and its population off the map?” he hisses, keeping his voice low, but no less full of venom. “That his shithead brother probably got vaporized in the process? You think he’s gonna thank us for that knowledge? You think he’s gonna be happy we filled in that blank and told him the entire planet wants his head on a damn platter?”

Meryl is frowning still, though it’s more thoughtful than angry. “He deserves to know who he is,” she insists quietly. 

“He deserves better,” Wolfwood snarls. “After all the shit this world’s put that spikey-headed idiot through, he deserves better than to be reminded of who he is in the worst damn way, and I’m not gonna be the one to tell him just so I can watch him blow his damn brains out to escape the truth that he got made into a weapon, into a monster--”

His voice cracks, throat closing painfully. He doesn’t even realize he’s shaking until Meryl takes his trembling hands in hers, eyes wide. “Nicholas,” she says, “breathe.” 

He struggles to inhale through a windpipe that’s suddenly narrow as a straw, equal parts mortified and feeling like he’s going to be sick. “I’m not gonna... be the one to tell him,” he mumbles wheezily as Meryl shifts her chair over, resting a small hand on his back. “Not again.”

“Okay,” Meryl agrees quietly, rubbing circles on his back like he’s a damn little kid again (he can’t find the breath to tell her to stop). “You don’t have to. I promise.”

He does his best to get a hold of himself, squeezing his eyes shut and banishing the image of Vash’s eyes widening like Livio’s had, right before--

He draws in a shuddering breath. “You’re still going to, though,” he says, shoulders slumping in resignation. 

Meryl makes an uncertain sound. “I... maybe. You do make a point, that it would be a lot to handle.” 

Her hands slip back into her lap, and she chews her lip thoughtfully while Wolfwood recovers his abandoned cigarette and fumbles for his lighter, hoping the nicotine will help settle him. 

“Maybe we can just... observe,” she offers after a few long moments where he’s finally succeeded in lighting up and pulling familiarly acrid air into his lungs. “Check and see if it’s him, if he really doesn’t remember, and... if he’s okay.” She looks down. “If he’s happy.”

“If he’s happy,” Wolfwood repeats gruffly, exhaling smoke, wondering what that would even look like -- Vash with a smile that wasn’t forced or tinted with sadness. 

“And if we decide we’d do more harm than good by telling him,” she continues, “we can walk away. Deal?” 

He considers it. It wouldn’t be the first deal he’s entered into involving the Humanoid Typhoon; but it might be the one whose outcome he’ll be able to live with.

He shakes on it, and tries to bury his dread.

#trigun: stampede #fanfiction #post-series #tristamp #trigun stampede spoilers #angst #nicholas d wolfwood #meryl stryfe #minific #lena writes #lena's trigun nonsense #got a worm in my brain about how Wolfwood might react to Vash not remembering himself after the Livio thing and then this happened

[omg-hellgirl]

The three* versions of why Mick Jagger slept with Pat Andrews, the mother of one of Brian Jones' children

*UPDATED: 04/03/2024.

In Mick: The Wild Life and Mad Genius of Jagger by Christopher P. Andersen, this occasion is nothing more than a frankly unimaginative but evil plan by Mick to "break" the connection between Keith and Brian that arose when they started living together.

The entire narrative is built based on a timeline in which the three already live together in 102 Edith Grove. Describing that, while Mick was studying and had classes all day, Keith and Brian were alone in the apartment, rehearsing. And when it got cold, Keith and Brian would lie down together to stay warm.

In short, the book says that Brian and Keith were very close, and Mick wanted to break them up (it is also said that Mick realized that Brian was determined to replace him with the singer P. P. Pond). Mick’s attitudes were: He seduced Pat Andrews, the mother of Brian’s son Julian, and Brian himself.

In Keith Richards' biography, Life, there is a short excerpt about the incident that completely changes the narrative of Christopher P. Andersen's book because it differs in essentials: They didn't live in 102 Edith Grove yet. According to Keith:

Mick had come back drunk one night to visit Brian, found he wasn’t there and screwed his old lady. This caused a seismic tremble, upset Brian very badly and resulted in Pat leaving him. Brian also got thrown out of his flat. Mick felt a little responsible, so he found a flat in a dismal bungalow in Beckenham, in a suburban street, and we all went to live there. It was there I went in 1962 when I left home.

In Keith's version of the incident, the three did not live together yet, and Brian was only kicked from the place he lived with Pat after she slept with Mick. Therefore, this invalidates Andersen's entire story about this.

I'm not sure how Keith knew Mick was drunk, did Mick tell him that? Questionable, to say the least.

As far as I've read, over the two beds that were at 102 Edith Grove, Keith said:

There was no fixed rotation between the two beds and a couple of mattresses. And it didn’t really matter much; usually all three of us would wake up on that floor, where we had the enormous radiogram that Brian had brought with him, a great ’50s warm-up number.

So far, there are no explicit descriptions of sharing the bed to keep warm. Although he admits that "To go through that winter of ’62 was rough. It was a cold winter."

Whether this is something he deliberately left out or if this was also an incorrect story, we can only speculate.

The third version of the story, from A. E. Hotchner's 1990 book, Blown Away: The Rolling Stones and the Death of the Sixties, collaborates with something of Christopher P. Andersen's version.

Hotchner interviewed many people, including Ian Stewart, who was part of the band's original lineup in the 60s and continued working with the Stones until his death. The following excerpt is Ian Stewart's version.

Even though he had moved to Edith Grove, Brian continued to see her and sometimes spent the night with her. Well, one afternoon Jagger came to the flat looking for Brian who wasn’t there. So Mick hung around, eventually got Pat to get into bed with him and knocked her off. Brian found out about it, of course, and from then on it was a thorn in his relationship with Mick — which, I guess, is what Mick intended. There were plenty of ready and willing girls Mick knew from the Ealing Club and the Marquee, so I figure the only reason he balled Pat, who was certainly not very attractive, was to get at Brian.

According to Ian Stewart, Mick, Brian, and Keith already lived together in Edith Grove, and Brian occasionally visited Pat, who lived alone with their son, Julian. This differs from Keith's report that they moved together after the incident between Mick and Pat. There is also no mention of Mick being drunk.

Obviously, the interview was done before Ian Stewart's death in 1985.

"The last time I saw lan Stewart, a few weeks before he died, I asked him [...]"

I'll update this post if I come across other versions.

In the end, everyone chooses what to believe, but as I am bringing excerpts from both books, I feel a bit of responsibility for pointing out the differences between them and letting everyone draw their own conclusions. That doesn't mean I'll make a post for every difference between the books, tho.

#this was not proofread 😪 #the rolling stones #mick jagger #brian jones #keith richards #pat andrews #old rockstar #classic rock #rockstar gf #sixties #60s rock #60s #60s era #60s music #60s fashion #book quotes #quotes #life by keith richards #102 edith grove #Mick: The Wild Life and Mad Genius of Jagger #ian stewart #A. E. Hotchner #Blown Away: The Rolling Stones and the Death of the Sixties

[svetlonadyatlovpass]

Radiogramy 27. 2. 1959

Došlo ke zlomu.  Pátrači uvedli, že objevili čtyři těla členů výpravy – patrně Djatlova, Zolotarjova, Krivoniščenka a Kolmogorovové. Uvedli, že oběti byly vyhozeny ze stanu hurikánem, někteří byli bez bot a kalhot. Hurikán foukal severovýchodním směrem. Všichni nalezeni v jedné linii od stanu. Nejvzdálenější tělo bylo nalezeno dva kilometry od stanu. U ústí potoka do řeky Lozvy byly nalezeny…

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#Djatlov #Kolmogorovová #Krivoniščenko #Lozva #Radiogram #Zolotarjov

[monsterintheballroom]

It´s more of a questionnaire than interview and it´s under the cut :-)

Penelope Wilton: ‘I was dyslexic. People thought I was stupid’

The actress on flower power, the Beatles and her star turn in Downton Abbey

First film I saw at the cinema

My mother used the cinema as her nanny. She had an arrangement with the usherette where she would go shopping and leave my sister and me at the cinema. When she had finished shopping she would come down the aisle and wave a white hanky — that was our sign to leave. Les Vacances de Monsieur Hulot was the first film I remember seeing. Jacques Tati was such a great clown.

First time I cried at the cinema

I don’t tend to cry over films. Usually I cry in front of paintings or at concerts. I did, however, sob through the film Brief Encounter. It’s so terribly touching. I still get a lump in my throat every time I watch it.

First time I performed on a stage

My first job was at 20, as Tammy the tightrope walker in a Christmas show at the Nottingham Playhouse. Theatre is always anxious-making and it gets worse when you’re older. There have been some funny things happening while I’ve been on stage, though. One audience member heckled Ralph Richardson and me over bad language during the play West of Suez when we performed in Brighton. Another acclaimed actor, who will remain nameless, was embarrassingly drunk on the stage once, forcing me to say his lines and mine. It was madness.

First TV show I watched

We didn’t have a television for a long time while I was a child. I think we had one for the coronation but then it seemed to go. It wasn’t until I was a bit older that I became aware of television, and even now I don’t seem to have much time to watch things, mainly because I’m busy acting in plays and TV shows like Downton Abbey, which was a wonderful experience. It was a surprise to us all, including the writer Julian Fellowes, that it was so successful here and everywhere. It was particularly lovely to work with Maggie Smith because she was one of the actors I had always admired. I would be very keen to come back to the show if it were to return. I can hardly leave it now.

First book I loved

I was dyslexic as a child, at a time when dyslexia wasn’t diagnosed. You didn’t get much help — people just thought you were stupid. My dyslexia seems to have got better with age, but when I was younger I was read to by my mother and my older sister rather than reading myself. The Wind in the Willows by Kenneth Grahame was a favourite.

First album I bought

Please Please Me by the Beatles. Growing up I listened to romantic music like Dionne Warwick on the radiogram in our sitting room. Nowadays I listen to more classical music, but I still have a soft spot for the Beatles. Sadly I lost that LP when we moved houses.

First concert I attended

The 1812 Overture by Tchaikovsky at the Royal Albert Hall when I was about ten. They had real cannons that went off. I only started going to concerts when I was older. My late husband, the [Roads to Freedom] actor Daniel Massey, was a great classical music fan. He taught me a lot about music, in particular jazz and Erroll Garner.

First pop-inspired fashion trends I adopted

Hotpants and thigh-length boots in bright pink suede. Once you went to drama school, you didn’t have any money and could do what you wanted looks-wise. It was all flower power then, so we would walk around with no shoes on, throwing flowers at each other. It was alternative but lovely.

First actor I admired

Michael Redgrave. I saw him give the most tremendous performance in Uncle Vanya at Chichester in 1963 when I was 17. Laurence Olivier was the Doctor. Together they were funny and heartbreaking. Redgrave was a wonderful actor and, more importantly, a wonderful man.

First moment I realised I wanted to be an actress

I went to a pantomime once and there was a whoosh and the curtain went up. There was this bright light and warm air came out. I thought, “I don’t know why I’m sitting in the dark here. I’d like to be up there.”

First famous person I met

Jonathan Miller when he came to Nottingham Playhouse to direct King Lear. I was a bit starstruck then, but meeting the royal family is the only time I get truly anxious.

First moment I realised I’d made it

Even at my age I don’t think I have. If you started, you wouldn’t be very good. So I will continue to try.

#penelope wilton #downton abbey

[widowshill]

a selection from the collinwood radiogram.

carolyn: The Ventures – Where the Action Is (1965) / Jan & Dean – Drag City (1963) / The Kinks – Face to Face (1966) / The Beach Boys – Pet Sounds (1966) / Elvis Presley – Elvis' Golden Records Vol. 3 (1963) victoria: Paul Revere & The Raiders – Midnight Ride (1966) / The Mamas & The Papas – The Papas & The Mamas (1968) / The Monkees – More Of The Monkees (1967) / Herman's Hermits – Herman's Hermits On Tour (1965) / Nino Tempo & April Stevens – Hey Baby! (1966) david: The Status Quo – Picturesque Matchstickable Messages From The Status Quo (1968) / Disneyland Label – The Story And Song From The Haunted Mansion (1969) / The Ghouls – Dracula's Deuce (1964) / Donovan – Sunshine Superman (1966) / John Zacherle – Monster Mash (1962) elizabeth: Verdi, Joan Sutherland – La Traviata (1969) / Frank Sinatra – Strangers In The Night (1966) / Henry Mancini – Encore! More Of The Concert Sound Of Henry Mancini (1967) / Peggy Lee – The Fabulous Peggy Lee (1963) / Pablo Casals, Alexander Schneider, Mieczyslaw Horoszowski – A Concert At The White House (1961) roger: Maurice Jarre With The London Philharmonic Orchestra – Lawrence Of Arabia (1962) / Les And Larry Elgart – The New Elgart Touch (1965) / Rex Harrison, Julie Andrews – My Fair Lady (1956) / Harry James – Live At The Riverboat (1966) / Quincy Jones & His Orch. – Big Band Bossa Nova (1962)

#hc tag #➤ edits & art. ┊ the evans cottage art gallery. #me bestowing on vicki the highest honor of : the closest to my music taste lmao. #these veer a little early overall because whateverrrrr the 70's? idk them