Alf Garnett - Who is talking about Alf Garnett on FLICKR
Tags: racismsexismandhomophobia    wasbritishtelevisionsobadinthe1970s    it’snowcustomarytosneerattheseventiestheerawasrifewithingrainedsexismandcasualracismwhichmakesitthegiftthatkeepsongivingforprogrammeslikechannel4’sitwasalrightinthe70s    werethingssobadinthe1970s   
It was alright in the 70s (C4) is a smug and sneering look at some of the programmes on the BBC & ITV in less enlightened times. In sitcoms where men were louts and women were dolly birds.
Nostalgic but hypocritical programme with modern celebrities displaying faux shock looking at programmes in the 70's where there was sexism, racism, and adult men attracted to "older" adult school girls.
It’s now customary to sneer at the Seventies. The era was rife with ingrained sexism and casual racism, which makes it the gift that keeps on giving for programmes like Channel 4’s It Was Alright in the 70's.
People were just more honest in those days. Most people would still be attracted to post-pubescent young adults, they just don't talk about it any more. The rise of Ukip shows that lots of people still have issues with too many foreigners in the country.
The series “Professionals” had a scene where a busty blonde , had a hand grenade  stuck in her bra, and Brodie the “professional” rushed to gallantly remove it and save her life!.
One scene showed Terry Wogan hosting a beauty contest in the 70s'. He asked one of the contestants, how old are you. She said 16, and he replied you're a big girl for 16. A fair enough question, since she was about the same height as Sir Terry. However the no mark celebrities were doing their best open mouthed expressions at this perfectly reasonable remark.
Objectification of women was the order of the day with boobs everywhere.
Mink Coats on Sale of the Century......
And best of all smoking everywhere on TV in shows and panel games...Manikin Cigar adds on the box.
Those of you like me who lived through it - was it really that bad ?.
Yes, there was some bad stuff around, such as 'Crossroads'.
Yes, there was racism, sexism, and homophobia on television then, but that was because it existed in the real world ( as it sadly does today ). The difference is that 1970's television was not afraid to tell the truth about the world we live in. Characters like 'Alf Garnett' were accurate depictions of small-minded bigots. We were invited to laugh at him, and that's how it should be.
So get off your high horse, Channel 4. 1970's television standards have never been equalled, much less surpassed.
www.youtube.com/watch?v=8kcyoSPCUxI
THE much-discussed programme, It Was Alright in the 1970s (C4) was little more than an exercise in self-congratulation. A succession of smugly superior, politically-correct modern entertainers gasped and stretched their eyes at the racism, homophobia and sexism in 40-year-old editions of everything from Love Thy Neighbour to The Goodies.
www.youtube.com/watch?v=aPQgnDP29ek
The message was clear: how blessed we are to have arrived in 2014 in the sunlit uplands of respect and tolerance for all.
But to compare TV's output in the 1970s with today's is pointless. TV is no longer the dominant medium in the home.
vimeo.com/113223477
The internet unleashes a 24/7 tidal wave of paedophilia, sexism, gay-bashing, and racism worse than anything in the 1970s, plus every dodgy old TV programme you care to choose. It is perfectly possible, in the comfort of your lounge, to enjoy a night of hard-core porn, beheadings and even (if you must) the Black and White Minstrels.
www.youtube.com/watch?v=TbldMCfjwq4
The 1970s is often regarded as the golden era of British sitcom. Well-remembered series include John Cleese and Connie Booth's farcical Fawlty Towers (1975, 1979), John Esmonde and Bob Larbey's self-sufficiency comedy The Good Life (1975–78).
Whatever Happened to the Likely Lads? (1973–74), a sequel to the earlier show, surpassed the original, while the same writers (Dick Clement and Ian La Frenais) provided Ronnie Barker with his most successful sitcom vehicle, Porridge (1974–77). Barker also starred (along with David Jason) in the very popular Open All Hours (1973, 1976–85), written by Roy Clarke. Clarke's long-running Last of the Summer Wine began in 1973 and ended in 2010, becoming the world's longest running sitcom.
www.youtube.com/watch?v=9R36eXYk7Uo
The commercial station ITV had popular successes with Rising Damp (1974–78, sometimes called the best of all ITV sitcoms), Man About the House (1973–76) and George and Mildred (1976–79). Rising Damp's star, Leonard Rossiter, also played the lead role in the BBC's highly popular The Fall and Rise of Reginald Perrin (1976–79).
www.youtube.com/watch?v=AxWng8gETZc
The decline in cinema attendance in this period meant that many of these series were turned into cinema films; the first film version of On the Buses (1969–73) was the biggest hit at the British box office in 1971. According to Jeff Evans, On the Buses is a "cheerfully vulgar comedy" in which "leering and innuendo dominate."
Some of the network's other ratings successes from this era are now 'politically incorrect' too. Series such as Love Thy Neighbour (1972–76) and Mind Your Language (1977–79, 1986), which attempted to find humour in racial or ethnic conflict and misunderstandings, were increasingly criticised over time.
www.youtube.com/watch?v=y5yV-Voz-2k
Comedies like Mind Your Language and Love Thy Neighbour would probably be banned today, the head of Ofcom has said
Seventies comedies would not be allowed on television screens today because they were so racist and offensive, the outgoing head of Ofcom has said.
www.youtube.com/watch?v=B1dakp4FT0w
Ed Richards, who stands down as chief executive of the media watchdog at the end of this month, said programmes from a previous generation were no longer suitable for today’s more enlightened audiences.
Although he did not name names, comedies like ‘Love Thy Neighbour’, ‘It Ain’t Half Hot Mum’ and ‘Mind Your Language’ have all been criticised in recent years for their racial stereotyping.
www.youtube.com/watch?v=HB1XzdwjaLo
In ‘Mind Your Language’ which ran from 1977 to 1986, Germans were represented as dour and humourless; the French as sexy and flirtatious and the Chinese as communist agitators.
Are You Being Served? never had the courage of its own homophobia, but preferred to express it through double entendres, nods and winks. Why was Mr Humphries consorting with such a crew? The suggestion was that limp-wristed men like Mr H were always hanging out with such dodgy characters, doing things that right-thinking people would only read about in the News of the Screws.
www.youtube.com/watch?v=vRJlItzalJY
'Love Thy Neighbour' saw a black man referred to as ‘nig-nog’ and ‘Sambo’ while 'It Ain’t Half Hot Mum' regularly made jokes about the cultural differences between the Indians, Burmese and Japanese.
The trouble with racist, sexist and homophobic humour is that it's hard to please everyone at once. Just ask the blokes at Top Gear. They've pinged the Mexicans, the Romanians and the gays. Muslims and disabled folks too.
Of course, it's all just a bit of old fun - come on, where's your funny bone? - but the difference between a joke which makes you laugh and a joke which makes your blood run cold is the sometimes the distance between a split hair.
Top Gear, the BBC's venerable motoring franchise, which has turned from a forum for test-driving cars into a multimillion-dollar global business spanning the internet, DVD and live events, has spent a lot of its life dancing in the grey space in-between.
In the hands of a skilled comedian, that space is risky to navigate. In the hands of three ageing white guys, it's a powder keg of problems. And in 2013, going into its 19th season, Top Gear has become TV's own Duke of Edinburgh: trailing two steps behind and hopelessly out of touch.
When Jim Davidson entered the Celebrity Big Brother house at the start of January, the comedian was under no illusions about his standing with the public. “I could cure Aids and give  £1bn to women’s groups and people would still think I was a racist, sexist twat,” he said. An unrepentant old-school comic, condemned for spouting misogynist and homophobic views and long banished from prime-time television, Davidson appeared dated even before serious sexual allegations had threatened to end his career in disgrace.
www.youtube.com/watch?v=oBVUX--pkWg
But three weeks is a long time in reality TV, and Davidson, who started CBB as a rank outsider, emerged this week as the public’s choice after acting as a responsible “father figure” to the show’s younger, sex-obsessed contenders and displaying a hitherto undetected kinder, gentler persona. The cheeky cockney comic, who shot to fame in the late 1970s with a routine impersonating West Indians and who once joked about accidentally giving his third wife a “black eye”, had been transformed into a tweed-sporting 60-year-old, idolised by runner-up Dappy as an unlikely substitute for the father he lost as a teenager.
www.youtube.com/watch?v=4m3ngnTWE8w
The Davidson who was kicked off the ITV celebrity cooking show Hell’s Kitchen in 2007 after calling gay men “shirtlifters” has apparently given way to a more tolerant version, who will now be offered a return to peak-time television by his new benefactors at Channel 5. Meanwhile, ticket sales have soared for a 15-date Davidson tour which hits Basildon on Saturday night. A West End run is under discussion. But for many people, Davidson, a staunch admirer of Margaret Thatcher and notorious for singling out disabled people and ethnic minorities during his live shows, will always be a hate figure.
Mary Whitehouse, Britain’s self-appointed moral guardian
Mrs Whitehouse was ridiculed by some as being out of touch after she railed against broadcasters and artists whose work she felt was obscene.
Mary Whitehouse was critical of comedians such as Benny Hill and his use of dancers; she described Dave Allen as "offensive, indecent and embarrassing" after a comic account of a conversation following sexual intercourse. In return, comedy writers during this era saw her as possessing humorous potential. The Goodies comedy team created an episode ("Gender Education", 1971) with the principal objective of irritating her.
The Doctor Who series met with her heaviest disapproval between 1975 and 1977 during which time Philip Hinchcliffe produced the series.
Mind your Language (1977-79), set in an evening class teaching English to assorted foreigners. Michael Grade commissioned it for LWT, and the show attracted some 18 million viewers, but in the event Grade was unhappy that it was reinforcing racial stereotypes. After much criticism, Grade axed the show at the end of the third series.
The comedy Love Thy Neighbour (1972-76). Although since widely denigrated, in its day it was the most-watched show on British television. The show's premise was that a black couple move in next door to a white couple.
The way in which the two husbands traded insults was thought to achieve some sort of balance, though while research turned up many black viewers who hated it, others considered it the funniest thing on television.
Criticised as racist and politically incorrect, Powell remained not only proud of his creation but also defiant. "We did get letters complaining about Eddie Booth, the white neighbour, calling his black neighbour 'Sambo' or 'Nignog', but we never received any complaints about Bill Reynolds, the black neighbour, calling his white neighbour 'Honky' or 'Snowflake.' The truth is that the series reflected the public attitude of the time," Powell noted.
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Dutch postcard by Gebr. Spanjersberg N.V., Rotterdam (Sparo), no. 1111. Photo: Artone. The song Brief uit La Courtine (Letter from La Courtine) was written by Eli Asser and a hit in 1964.
Actor, writer, comedian and singer Rijk de Gooyer (1925–2011) was one of the major stars of the Dutch cinema. From the 1950s until the early 1970s, he became well known in The Netherlands as part of a comic duo with John Kraaijkamp, Sr. Later he starred in successful Dutch films like De inbreker (1972) and Soldaat van Oranje (1977). He also appeared in international films such as The Wilby Conspiracy (1975) and Nosferatu: Phantom der Nacht (1979). He was winner of the renowned Dutch Gouden Kalf Award (Gold Calf) in 1982, 1995 and 1999.
Rijk de Gooyer was born in Utrecht, Netherlands, in 1925 as one half of a fraternal twin. His father was a baker. At the end of World War II Rijk worked as an interpreter. Initially for the American 101st Airborne, later on for the British Field Security. One of his first screen credits was a part in the American TV series Secret File, U.S.A. (1955), filmed in the Netherlands for syndicated TV.He also played in the Dutch films Het wonderlijke Leven van Willem Parel/ The amazing life of Willem Parel (Gerard Rutten, 1955) featuring Wim Sonneveld, and Kleren maken de man/Clothes make the man (Georg Jacoby, 1957), starring Kees Brusse. From 1959 till 1961 de Gooyer studied at an actors school of the Ufa in Berlin. During these years, he would have worked for the CIA as an informant. In Germany, he appeared in the film Schachnovelle/Brainwashed (Gerd Oswald, 1960) starring Curd Jürgens. Back in the Netherlands, he played parts in the crime films Rififi in Amsterdam (Giovanni Korporaal, 1962)  and De blanke Slavin/The White Slave (Rene Daalder, 1969), In the 1950s, he started a comic duo with Johnny Kraaijkamp. Thanks to their performances on TV, the duo became extremely popular. In the Johnny & Rijk shows, De Gooyer always played the part of the feeder, with Kraaijkamp providing the laughs. They split up in the 1970s, when De Gooyer focused more on his film career.
Rijk de Gooyer played his first lead role as master safe-cracker Glimmie in the crime film De inbreker/The Burglar (Frans Weisz, 1972). Martin Smith at IMDb: “Rijk de Gooyer is at his best in this movie. Like in real life, Rijk is humorous, tough and resourcefully. John Blooming, a Dutch martial arts expert and trainer of the Dutch Olympic Karate team a long time ago, plays the role of the big, strong but not too bright sidekick very convincing. His massive appearance says more than words. I saw this movie many years ago and it always stuck in my mind.” The success of the film lead to other lead roles in thrillers like Naakt over de schutting (Frans Weisz, 1973) with Jon Bluming and Sylvia Kristel, and Rufus (Samuel Meyering, 1975) with Cox Habbema. He also played a supporting part in the British ant-apartheids thriller The Wilby Conspiracy (Ralph Nelson, 1975), starring Michael Caine and Sidney Poitier. Memorable is his role as a Gestapo agent in the war film Soldaat van Oranje (Paul Verhoeven, 1977). The film, starring Rutger Hauer and Jeroen Krabbé, became one of the most successful films of the Dutch cinema. Another masterpiece was Werner Herzog’s Nosferatu: Phantom der Nacht/ Nosferatu the Vampyre (1979) with Klaus Kinski as Count Dracula. De Gooyer played a supporting role as a town official. He continued to appear regularly in Dutch and international films. His best films include Een vlucht regenwulpen/A flight of rainbirds (Ate de Jong, 1981), Vroeger kon je lachen/One Could Laugh in Former Days (Bert Haanstra, 1983) and Ciske de Rat/ Ciske the Rat (Guido Pieters, 1984). In 1982 he won the Golden Calf for Best Actor for all his works. Her continued to play excellent roles in interesting films like the Jewish drama Leedvermaak/Polonaise (Frans Weisz, 1989) and De avonden/Evenings (Rudolf van den Berg, 1989) as the father of Thom Hoffman. In 1995 he again won the Golden Calf for his role as a former vaudevillian who tries one last time to find the dignity of a legitimate role in Hoogste Tijd/The Last Call (Frans Weisz, 1995). De Gooyer was videotaped afterwards while he threw the award out of the window of a cab for the TV show Taxi (the Dutch version of Taxicab Confessions). His last Golden Calf, for Madelief, Krassen in het Tafelblad/Daisy (Ineke Houtman, 1998) was also thrown out on the street, this time by Maarten Spanjer who hosted Taxi. De Gooyer was also the lead in the TV series In voor- en tegenspoed/In Sickness and in Health (1991-1997), the Dutch version of Johnny Speight's sitcom franchise known in the UK as Till Death Us Do Part and in the US as All in the Family. De Gooyer played Fred Schuit, the Dutch equivalent of Alf Garnett or Archie Bunker. He won a Golden Film in 1997 for the role. His final film was Happy End (Frans Weisz, 2009). Rijk de Gooyer died in 2011 in Amsterdam, Netherlands. He was 85. He was married to Tonny Domburg.
Sources: AllMovie, Wikipedia and IMDb.
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Tags: cinema    film    dutch    television    vintage    movie    de    star    tv    kino    european    postcard    picture    cine    screen    actress    movies    comedian    actor    ronnie    postal    1977    postale    cartolina    carte    bierman    postkarte    filmstar    ansichtskarte    ansichtkaart    rijk    filmster    postkaart    briefkaart    tarjet    gooijer    briefkarte    rijkdegooijer    doubleorquits    ronniebierman    quitteofdubbel   
Dutch postcard. Publicity still for the TV film Quitte of dubbel/Double or quits (Hank Onrust, 1977).
Actor, writer, comedian and singer Rijk de Gooyer (1925–2011) was one of the major stars of the Dutch cinema. From the 1950s until the early 1970s, he became well known in The Netherlands as part of a comic duo with John Kraaijkamp, Sr. Later he starred in successful Dutch films like De inbreker (1972) and Soldaat van Oranje (1977). He also appeared in international films such as The Wilby Conspiracy (1975) and Nosferatu: Phantom der Nacht (1979). He was winner of the renowned Dutch Gouden Kalf Award (Gold Calf) in 1982, 1995 and 1999.
Rijk de Gooyer was born in Utrecht, Netherlands, in 1925 as one half of a fraternal twin. His father was a baker. At the end of World War II Rijk worked as an interpreter. Initially for the American 101st Airborne, later on for the British Field Security. One of his first screen credits was a part in the American TV series Secret File, U.S.A. (1955), filmed in the Netherlands for syndicated TV.He also played in the Dutch films Het wonderlijke Leven van Willem Parel/ The amazing life of Willem Parel (Gerard Rutten, 1955) featuring Wim Sonneveld, and Kleren maken de man/Clothes make the man (Georg Jacoby, 1957), starring Kees Brusse. From 1959 till 1961 de Gooyer studied at an actors school of the Ufa in Berlin. During these years, he would have worked for the CIA as an informant. In Germany, he appeared in the film Schachnovelle/Brainwashed (Gerd Oswald, 1960) starring Curd Jürgens. Back in the Netherlands, he played parts in the crime films Rififi in Amsterdam (Giovanni Korporaal, 1962)  and De blanke Slavin/The White Slave (Rene Daalder, 1969), In the 1950s, he started a comic duo with Johnny Kraaijkamp. Thanks to their performances on TV, the duo became extremely popular. In the Johnny & Rijk shows, De Gooyer always played the part of the feeder, with Kraaijkamp providing the laughs. They split up in the 1970s, when De Gooyer focused more on his film career.
Rijk de Gooyer played his first lead role as master safe-cracker Glimmie in the crime film De inbreker/The Burglar (Frans Weisz, 1972). Martin Smith at IMDb: “Rijk de Gooyer is at his best in this movie. Like in real life, Rijk is humorous, tough and resourcefully. John Blooming, a Dutch martial arts expert and trainer of the Dutch Olympic Karate team a long time ago, plays the role of the big, strong but not too bright sidekick very convincing. His massive appearance says more than words. I saw this movie many years ago and it always stuck in my mind.” The success of the film lead to other lead roles in thrillers like Naakt over de schutting (Frans Weisz, 1973) with Jon Bluming and Sylvia Kristel, and Rufus (Samuel Meyering, 1975) with Cox Habbema. He also played a supporting part in the British ant-apartheids thriller The Wilby Conspiracy (Ralph Nelson, 1975), starring Michael Caine and Sidney Poitier. Memorable is his role as a Gestapo agent in the war film Soldaat van Oranje (Paul Verhoeven, 1977). The film, starring Rutger Hauer and Jeroen Krabbé, became one of the most successful films of the Dutch cinema. Another masterpiece was Werner Herzog’s Nosferatu: Phantom der Nacht/ Nosferatu the Vampyre (1979) with Klaus Kinski as Count Dracula. De Gooyer played a supporting role as a town official. He continued to appear regularly in Dutch and international films. His best films include Een vlucht regenwulpen/A flight of rainbirds (Ate de Jong, 1981), Vroeger kon je lachen/One Could Laugh in Former Days (Bert Haanstra, 1983) and Ciske de Rat/ Ciske the Rat (Guido Pieters, 1984). In 1982 he won the Golden Calf for Best Actor for all his works. Her continued to play excellent roles in interesting films like the Jewish drama Leedvermaak/Polonaise (Frans Weisz, 1989) and De avonden/Evenings (Rudolf van den Berg, 1989) as the father of Thom Hoffman. In 1995 he again won the Golden Calf for his role as a former vaudevillian who tries one last time to find the dignity of a legitimate role in Hoogste Tijd/The Last Call (Frans Weisz, 1995). De Gooyer was videotaped afterwards while he threw the award out of the window of a cab for the TV show Taxi (the Dutch version of Taxicab Confessions). His last Golden Calf, for Madelief, Krassen in het Tafelblad/Daisy (Ineke Houtman, 1998) was also thrown out on the street, this time by Maarten Spanjer who hosted Taxi. De Gooyer was also the lead in the TV series In voor- en tegenspoed/In Sickness and in Health (1991-1997), the Dutch version of Johnny Speight's sitcom franchise known in the UK as Till Death Us Do Part and in the US as All in the Family. De Gooyer played Fred Schuit, the Dutch equivalent of Alf Garnett or Archie Bunker. He won a Golden Film in 1997 for the role. His final film was Happy End (Frans Weisz, 2009). Rijk de Gooyer died in 2011 in Amsterdam, Netherlands. He was 85. He was married to Tonny Domburg.
Sources: AllMovie, Wikipedia and IMDb.
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Dutch postcard. Photo: Godfried de Groot.
Actor, writer, comedian and singer Rijk de Gooyer (1925–2011) was one of the major stars of the Dutch cinema. From the 1950s until the early 1970s, he became well known in The Netherlands as part of a comic duo with John Kraaijkamp, Sr. Later he starred in successful Dutch films like De inbreker (1972) and Soldaat van Oranje (1977). He also appeared in international films such as The Wilby Conspiracy (1975) and Nosferatu: Phantom der Nacht (1979). He was winner of the Dutch Gouden Kalf Award (Gold Calf) in 1982, 1995 and 1999.
Rijk de Gooyer was born in Utrecht, Netherlands, in 1925 as one half of a fraternal twin. His father was a baker. At the end of World War II Rijk worked as an interpreter. Initially for the American 101st Airborne, later on for the British Field Security. One of his first screen credits was a part in the American TV series Secret File, U.S.A. (1955), filmed in the Netherlands for syndicated TV.He also played in the Dutch films Het wonderlijke Leven van Willem Parel/ The amazing life of Willem Parel (Gerard Rutten, 1955) featuring Wim Sonneveld, and Kleren maken de man/Clothes make the man (Georg Jacoby, 1957), starring Kees Brusse. From 1959 till 1961 de Gooyer studied at an actors school of the Ufa in Berlin. During these years, he would have worked for the CIA as an informant. In Germany, he appeared in the film Schachnovelle/Brainwashed (Gerd Oswald, 1960) starring Curd Jürgens. Back in the Netherlands, he played parts in the crime films Rififi in Amsterdam (Giovanni Korporaal, 1962)  and De blanke Slavin/The White Slave (Rene Daalder, 1969), In the 1950s, he started a comic duo with Johnny Kraaijkamp. Thanks to their performances on TV, the duo became extremely popular. In the Johnny & Rijk shows, De Gooyer always played the part of the feeder, with Kraaijkamp providing the laughs. They split up in the 1970s, when De Gooyer focused more on his film career.
Rijk de Gooyer played his first lead role as master safe-cracker Glimmie in the crime film De inbreker/The Burglar (Frans Weisz, 1972). Martin Smith at IMDb: “Rijk de Gooyer is at his best in this movie. Like in real life, Rijk is humorous, tough and resourcefully. John Blooming, a Dutch martial arts expert and trainer of the Dutch Olympic Karate team a long time ago, plays the role of the big, strong but not too bright sidekick very convincing. His massive appearance says more than words. I saw this movie many years ago and it always stuck in my mind.” The success of the film lead to other lead roles in thrillers like Naakt over de schutting (Frans Weisz, 1973) with Jon Bluming and Sylvia Kristel, and Rufus (Samuel Meyering, 1975) with Cox Habbema. He also played a supporting part in the British ant-apartheids thriller The Wilby Conspiracy (Ralph Nelson, 1975), starring Michael Caine and Sidney Poitier. Memorable is his role as a Gestapo agent in the war film Soldaat van Oranje (Paul Verhoeven, 1977). The film, starring Rutger Hauer and Jeroen Krabbé, became one of the most successful films of the Dutch cinema. Another masterpiece was Werner Herzog’s Nosferatu: Phantom der Nacht/ Nosferatu the Vampyre (1979) with Klaus Kinski as Count Dracula. De Gooyer played a supporting role as a town official. He continued to appear regularly in Dutch and international films. His best films include Een vlucht regenwulpen/A flight of rainbirds (Ate de Jong, 1981), Vroeger kon je lachen/One Could Laugh in Former Days (Bert Haanstra, 1983) and Ciske de Rat/ Ciske the Rat (Guido Pieters, 1984). In 1982 he won the Golden Calf for Best Actor for all his works. Her continued to play excellent roles in interesting films like the Jewish drama Leedvermaak/Polonaise (Frans Weisz, 1989) and De avonden/Evenings (Rudolf van den Berg, 1989) as the father of Thom Hoffman. In 1995 he again won the Golden Calf for his role as a former vaudevillian who tries one last time to find the dignity of a legitimate role in Hoogste Tijd/The Last Call (Frans Weisz, 1995). De Gooyer was videotaped afterwards while he threw the award out of the window of a cab for the TV show Taxi (the Dutch version of Taxicab Confessions). His last Golden Calf, for Madelief, Krassen in het Tafelblad/Daisy (Ineke Houtman, 1998) was also thrown out on the street, this time by Maarten Spanjer who hosted Taxi. De Gooyer was also the lead in the TV series In voor- en tegenspoed/In Sickness and in Health (1991-1997), the Dutch version of Johnny Speight's sitcom franchise known in the UK as Till Death Us Do Part and in the US as All in the Family. De Gooyer played Fred Schuit, the Dutch equivalent of Alf Garnett or Archie Bunker. He won a Golden Film in 1997 for the role. His final film was Happy End (Frans Weisz, 2009). Rijk de Gooyer died in 2011 in Amsterdam, Netherlands. He was 85. He was married to Tonny Domburg.
Sources: AllMovie, Wikipedia and IMDb.
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Located on Green Street in Upton Park, this club had a huge hooligan following back in the 1970s and 1980s called the Inter City Firm (ICF) and also featured in the 2005 movie Green Street Hooligans (named after this street).
Alf Garnett, the ultra-conservative, politically incorrect character from the BBC comedy series Till Death Us Do Part and In Sickness And In Health (played by Warren Mitchell) was an ardent fan of West Ham United.
Taken on Monday 11th May
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I'm boldly going to guess at a link between this piece and AD/SO's Anti Slavery International ..... piece
On a similar theme, check out and support Leah Borromeo's (known to some as Monstris) Dirty White Gold film
ps - love the way the feet protrude out onto the pavement on this piece, also amused at the resemblance of one of the characters to Warren Mitchell (Alf Garnett)
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“Cable Cafe & Snack Bar [Brixton Road near Prima Road SW9]
‘A classic, traditional Italian-owned cafe in one of South London’s grittier neighbourhoods. Black leatherette settee-style seats, worn Formica-topped tables, Formica wall-panelling. A Formica-topped counter (with pine-effect front) plus traditional glass display cabinet. Wooden slat false-ceiling. An original mosaic-tiled shop front, old Pepsi sign, net curtains and Drury tea sign. The impressive reproduction Victorian wall-mural is a feast for the eyes. Also: colour photos of Italian landscapes, signed photos of Victoria Wood, Warren Mitchell (as Alf Garnett), and one of The Bill detectives!’ (Patrick Turland)”
The cafe appears to have been closed now for a couple of years.
Nikon F5 - Zenitar 16mm f2.8 @ f5.6
Ilford 400
Recent Updated: 5 years ago - Created by Subway eg - View
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Tags: girls    light    people    blackandwhite    bw    motion    london    film    shop    paper    newspaper    cafe    nikon    glow    iso400    interior    letters    cable    womens    fisheye    drinks    alcohol    ladys    16mm    zenitar16mm    ilford    nikonf5    nikonfilm    russianlens    club16    zenitar16mmfilm   
“Cable Cafe & Snack Bar [Brixton Road near Prima Road SW9]
‘A classic, traditional Italian-owned cafe in one of South London’s grittier neighbourhoods. Black leatherette settee-style seats, worn Formica-topped tables, Formica wall-panelling. A Formica-topped counter (with pine-effect front) plus traditional glass display cabinet. Wooden slat false-ceiling. An original mosaic-tiled shop front, old Pepsi sign, net curtains and Drury tea sign. The impressive reproduction Victorian wall-mural is a feast for the eyes. Also: colour photos of Italian landscapes, signed photos of Victoria Wood, Warren Mitchell (as Alf Garnett), and one of The Bill detectives!’ (Patrick Turland)”
The cafe appears to have been closed now for a couple of years.
Recent Updated: 5 years ago - Created by Subway eg - View
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Recent Updated: 5 years ago - Created by The Downstairs Lounge - View
Copyright and permission to use should be sought to the author - The Downstairs Lounge
The Crawling Eye, 1958
Poppet's film review:
This was originally entitled "The Trollenberg Terror" (Trollenberg being the name of the mountain upon which all the action takes place). It is a great pity this film was renamed, as viewers are now cheated of the "OMG It's a muthafu*kin' giant eye!" moment. This is sadly replaced by a constant and nagging "Where's this eye then?!", because (in classic B-movie fashion) the monster is not revealed until the very end.
But don't let this put you off. This film has lots going for it, mainly an interesting mix of characters, including: a scientist (played by a young Alf Garnett*), a United Nations crime solver**, a journo, an annoying fainty psychic girl and a lots of really bad accents and silly hats. There are also cable cars in it, which is one of my favourite means of transport.
*For non UK residents - Alf Garnett was a racist, sexist TV character who captured the hearts of the nation.
**This is what I want to be when I grow up.
Recent Updated: 5 years ago - Created by poppet with a camera - View
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Recent Updated: 6 years ago - Created by The Downstairs Lounge - View
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Tags: entertainment    bbc    racist    unastubbs    warrenmitchell    alfgarnett    johnnyspeight    tilldeathusdopart    britishtelevisionsitcom    antonybooth    bristolmusicarts   
Till Death Us Do Part was a British television sitcom that aired on BBC1 from 1965 to 1968, 1970, and from 1972 to 1975. First airing as a Comedy Playhouse pilot, the series aired for seven series until 1975. Six years later, ITV continued the sitcom, calling it Till Death.... From 1985 to 1992, the BBC produced a sequel In Sickness and in Health.
Created by Johnny Speight, Till Death Us Do Part centred on the East End Garnett family, led by patriarch Alf Garnett (Warren Mitchell), a reactionary white working-class man who holds racist and anti-socialist views. His gentle and long-suffering wife Else was played by Dandy Nichols, and his daughter Rita by Una Stubbs. Rita's bright but layabout husband Mike Rawlins (Antony Booth) is a socialist.
The character Alf Garnett became a well known character in British culture, and Mitchell played him on stage and television up until 1998, when Speight died.
In addition to the spin-off In Sickness and in Health, Till Death Us Do Part was re-made in many countries, from Brazil to Germany (Ein Herz und eine Seele), and Hong Kong (All in a Family), with the most notable remake being the long-running 1970s American series, All in the Family.
Many episodes from the first three series are thought to no longer exist, having been wiped in the mid 70s as was the policy at the time.
The series became an instant hit because, although a comedy, in the context of its time it did deal with aspects of working-class life comparatively realistically. It addressed racial and political issues at a difficult time in British society.
The attitude of those who made the programme was that Alf's views were so clearly unacceptable that they were risible, but some considered the series uncomfortable and disturbing.
Some were oblivious to the fact that Johnny Speight was satirising racist attitudes. Ironically, many who held similar opinions to the character enjoyed the show, perhaps missing the point that Alf's opinions were offensive and that they were being ridiculed.
Mitchell imbued the character of Alf Garnett with an earthy charm that served to humanise Alf and make him likable. According to interviews he gave, the fact that some viewers overlooked Alf's views and regarded him as a rough diamond disappointed Speight.
The show captured a key feature of Britain in the 1960s - the widening generation gap. Alf (and to a lesser degree his wife) represented the old guard, the traditional and conservative attitudes of the older generation.
Alf's battles with his left-wing son-in-law were not just ideological but generational and cultural. His son-in-law and daughter (a supporter of her husband rather than an active protagonist) represented the younger generation.
They saw the positive aspects of the new era such as relaxed sexual mores, fashions, music, etc. The same things were anathema to Alf - and indicative of everything that was wrong with the younger generation and the liberal attitudes they embraced.
Alf was portrayed as the archetypal working-class Conservative. The subjects that excited him most were football and politics, though his actual knowledge of either was limited.
He used language not considered acceptable for television in the 1960s. He often referred to racial minorities as "coons" and similar terms.
He referred to his Liverpudlian son-in-law as "Shirley Temple" or a "randy Scouse git" (Randy Scouse Git as a phrase caught the ear of Micky Dolenz of The Monkees who heard it while on tour in the UK - and who co-opted it as the title of the group's next single - though their record label re-named it "Alternate Title" in the UK market to avoid controversy) and to his wife as a "silly moo" (a substitute for "cow" which was vetoed by the BBC's head of comedy Frank Muir).
However, Michael Palin writes in his diary 16 July 1976 that Warren Mitchell told him that 'silly moo" wasn't scripted, "It came out during a rehearsal when he forgot the line "Silly old mare".' Controversially, the show was one of the earliest mainstream programmes to feature the swear word "bloody".
The show was one of several held up by Mary Whitehouse as an example of the BBC's moral laxity.
In a demonstration of Speight's satirical skills - on learning that Mary Whitehouse was a critic of the show - Speight created an episode where Alf Garnett was seen as a fan of Whitehouse. He was seen proudly reading her current book. "What are you reading?" his son-in-law asks.
When he relates that it is Mary Whitehouse - his son-in-law sniggers. Alf's rejoinder is "She's concerned for the bleedin' moral fibre of the nation!"
Ultimately "silly moo" became a comic catch phrase. Another Garnett phrase was "it stands to reason", usually before making some patently unreasonable comment.
Alf was an admirer of Enoch Powell, a right-wing Conservative politician known particularly for strong opposition to the immigration of non-white races into the United Kingdom.
Alf was also a supporter of West Ham United (a football club based in the East End) and known to make derogatory remarks about "the Jews up at Spurs" (referring to Tottenham Hotspur, a North London club with a sizeable Jewish following). This was a playful touch by Speight, knowing that in real life Mitchell was both Jewish and a Spurs supporter. In interviews, Speight explained he had originally based Alf on his father, an East End docker who was staunchly reactionary and held "unenlightened" attitudes toward black people. Speight made clear that he regretted his father held such attitudes - beliefs Speight regarded as reprehensible. Speight saw the show as a way of ridiculing such views and dealing with his complex feelings about his father.
The series switched to colour in 1972 and Rita had a baby son, Micheal.
Toward the end of the series Dandy Nichols fell ill and was unable to attend the live-audience recordings. The problem was solved by having her pre-record her lines which were then edited into the show.
Eventually even this was too much and so in a later episode Else was seen leaving for Australia, to Alf's dismay. Patricia Hayes, who had been seen from time to time previously as next door neighbour Mrs. Reed, was given a first name Min and became a starring character along with her husband Bert, previously played by Bill Maynard and now by Alfie Bass.
The show's rating began to suffer and in 1975, the series was dropped. The final episode, saw Alf lose his job and receive a telegram from Else asking for a divorce.
As with most BBC sitcoms Till Death Us Do Part was recorded before a live studio audience. The programs were recorded onto 2 inch Quadruplex videotape. From 1966 to 1968 the show was both taped and transmitted in black and white. When the show returned in 1970 it was recorded the same way only in colour.
The opening titles/end credits of the first colour episodes originally used the b/w sequence from the 60's tinted in red, as seen on UKTV Gold repeats in 2006.
CAST
www.youtube.com/watch?v=h36UigPqHqs&feature=related
Warren Mitchell (born 14 January 1926) is an English actor who rose to initial prominence in the role of bigoted cockney Alf Garnett in the BBC television series Till Death Us Do Part (1965-1975) scripted by Johnny Speight. He holds both British and Australian citizenship and has enjoyed considerable success in stage performances in both countries.
Mitchell was born Warren Misel in Stoke Newington, London. He is of Russian Jewish descent[1], but describes himself in interviews as an atheist who sometimes believes in God.[2] His father was a glass and china merchant. He was interested in acting from an early age, and attended the Gladys Gordon's Academy of Dramatic Arts in Walthamstow from the age of seven. He did well at school and read physical chemistry at University College, Oxford, for six months. There he met his contemporary Richard Burton, and together they joined the RAF in 1944. He completed his navigator training in Canada just as the war ended.
Dandy Nichols (21 May 1907 – 6 February 1986) was an English actress most noted for her role as Else Garnett, the long-suffering wife of the racially bigoted and misogynistic character Alf Garnett in the BBC sitcom Till Death Us Do Part.
Born Daisy Sander in Hammersmith, London, she started her working life as a secretary in a London factory. Twelve years later, after drama, diction and fencing classes, she was spotted in a charity show by a producer, who offered her a job in his repertory theatre company in Cambridge. During her early career on stage she acted under the name Barbara Nichols but later changed it to Dandy, her childhood nickname.
When the Second World War broke out, she returned to office work but later undertook a six-week tour with ENSA. When the war was over, she returned to the theatre and also began appearing in films: usually comedies and invariably as a maid or char.
Her successes in theatre include the Royal Court Theatre and Broadway productions of Home. Her big screen debut was in Hue and Cry, in 1947, followed with performances in Nicholas Nickleby, The Winslow Boy, The History of Mr Polly, Scott of the Antarctic, Mother Riley Meets the Vampire and Dickens' The Pickwick Papers.
Una Stubbs (born 1 May 1937) is an English actress and former dancer who has appeared extensively on British television and less frequently in films or on the stage. She is particularly known for her roles in the sitcom Till Death Us Do Part and the children's series Worzel Gummidge.
Una Stubbs was born at Hinckley, Leicestershire. She first appeared on television as one of The Dougie Squires Dancers on the British TV music show Cool for Cats in 1956.
Her first major screen role was in Cliff Richard's 1963 film, Summer Holiday. A few years later, she made her breakthrough in television comedy, playing Rita Rawlins, the married daughter of Alf Garnett in Till Death Us Do Part. She also appeared in the short-lived sitcom Till Death... (1981), again playing Rita.
From 1970 to 1972, Stubbs appeared on most editions of It's Cliff Richard! and It's Cliff! on BBC1, singing, dancing and acting along with the host and the weekly guests. When she took maternity leave from the show, her TV mother Dandy Nichols appeared on the show with Cliff to cover for her absence. She also appeared in the 1972 West End revue, Cowardy Custard, and two years later in the revue Cole, at the Mermaid Theatre.
Stubbs featured in the Fawlty Towers episode "The Anniversary". She played Rita a third time in a few episodes of the BBC sitcom In Sickness and in Health (1985-92). But after 1986, she stopped appearing as Rita, due to technical arguments with the BBC. However, she played Rita a fourth time in the Granada series, A Word With Alf.
Stubbs played Aunt Sally in the ITV children's series Worzel Gummidge opposite Jon Pertwee, and was for several years a team captain in the weekly game show Give Us a Clue. She had an ongoing role as Miss Bat in the TV series The Worst Witch and has appeared in shows such as Midsomer Murders, Heartbeat, Casualty, Keeping up Appearances and as Edith Pagett in ITV's 2006 adaptation of Agatha Christie's Miss Marple story Sleeping Murder. Stubbs has also appeared in The Catherine Tate Show playing various characters.
On stage, Stubbs appeared in Noël Coward's "Star Quality" in 2001. She also appeared in La Cage Aux Folles at the Menier Chocolate Factory in 2008.
Antony "Tony" George Booth (born 9 October 1931 in Liverpool, better known as Tony Booth) is an English actor, best known for his role as Mike Rawlins in the BBC series Till Death Us Do Part. His daughter, Cherie, a prominent Queen's Counsel, is married to former Prime Minister Tony Blair. He is a cousin to the Booth family of 19th-century American actors.
Booth was born into a working class family in Jubilee Road, Liverpool. His father was a merchant seaman during World War II, his mother was of Irish descent. He attended St Edmunds Infant's School and spent a year in hospital as a child with diphtheria. He then passed the 11 plus examination and attended St. Mary's College, Crosby where he was awarded a bursary to cover the cost of his books. Hopes that he could progress to university were dashed when he had to leave school and get a job after his father was badly injured in an industrial accident. He then worked as a clerk in a docklands warehouse and at the United States Consulate in Liverpool, before being called up for national service with the Royal Corps of Signals.
Recent Updated: 6 years ago - Created by brizzle born and bred - View
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The Unveiling of the Giles statue in Ipswich, not sure of the year but well attended.
Photos from Andre's photo collection and put up in his memory.
Recent Updated: 7 years ago - Created by Paranoid from suffolk - View
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Tags: pickofthecrap    actuallythismaybelordbyronorshelley    itmayevenbethe3rdearlofalfgarnett   
I hate waste!
Ever given any thought to what happens to all those pixels when we crop a picture? Well I did, and I’ve recently started to save them. The croppings make wonderful picture frames and are a fantastic gift idea, and what with Christmas and a recession being just around the corner it could save you £££ and $$$.
As you can see above I’ve brightened up this dull old etching of Lord Brian with a colourful border that I made using a shitty picture of the exterior of Woolworths.
Tomorrow I shall be boarding a locomotive bound for our capitol city of London, where I will meet with  retail giants “Shabbytat” and  “World of Crap” [to name but two] who have shown more than just a small interest in my idea.
I would like to invite all of my contacts to send me their best works for framing ……… lets all get rich together!
Recent Updated: 8 years ago - Created by IC-UC - View
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Tags: street    city    uk    bridge    reflection    slr    london    tower    love    water    thames    night    digital    reflections    river    ed    paul    lights    town    nikon    key    long    exposure    cityscape    nightscape    skyscrapers    capital    towers    wharf    maynards    canary    1855mm    135    nikkor    dslr    expensive    scape    2008    offices    afs    dx    garnett    riverscape    ilovelondon    d40x    56gii    burpitt   
Doing it London style still... this quay is off Garnet Road, where the famous Alf Garnett of Till Death do us Part.. an old English comedy was filmed..
The fog just started to mist up around the top of the wharf as I was taking these shots.. looked great!
Recent Updated: 8 years ago - Created by Mr Burpy - View
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Tags: street    city    uk    bridge    reflection    slr    london    tower    love    water    thames    night    digital    reflections    river    ed    paul    lights    town    nikon    key    long    exposure    cityscape    nightscape    skyscrapers    capital    towers    wharf    maynards    canary    1855mm    135    nikkor    dslr    expensive    scape    2008    offices    afs    dx    garnett    riverscape    ilovelondon    d40x    56gii    burpitt   
Doing it London style still... this quay is off Garnet Road, where the famous Alf Garnett of Till Death do us Part.. an old English comedy was filmed..
The fog just started to mist up around the top of the wharf as I was taking these shots.. looked great!
Recent Updated: 8 years ago - Created by Mr Burpy - View
Copyright and permission to use should be sought to the author - Mr Burpy
An oldie from Rome, never tried it in b&w before - I  liked the cinematic feel
Recent Updated: 10 years ago - Created by Feldore - View
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Tags: sanfrancisco    california    old    city    usa    man    topf25    america    interesting    bravo    securityguard    unitedstates    fav50    10    unitedstatesofamerica    police    fav20    cop    eastbay    fav30    bechtel    policeabuse    harrasment    fav10    fav25    fav100    fav200    fav300    photographyisnotacrime    fav40    fav60    fav90    canyouidentifythisman    50bealestreet    50bealest    identitytheftclaims    سكس    fav80    fav70    superfave   
So I know that I write a lot about being harassed for my photography on the streets of San Francisco and for some this story may be getting old.  I shoot every day though and at least once or twice a month have a run in with a security guard or authority figure of some sort somewhere.  Typically I can resolve these episodes on my own amicably with the individual involved, but sometimes things go over the line.  In the past year I've blogged about three of these incidents that crossed the line.  One was when a security guard at One Bush was following me around the sidewalk trying to put his hand in front of my camera and not allowing me to shoot the building.  Another was when the Sheriff's Department detained me and ran what I consider an illegal background check on me merely for shooting near the train tracks in Oakland.  Another was when a particular nasty altercation took place between me and a security guard who came out of 45 Fremont middle finger a'blazin' to insist that I not shoot that building.
But today's episode was the worst I've encountered so far.  Ironically enough, it occurred once again outside of 45 Fremont Street.  This was even after I spoke with a PR person from the Shorenstein owned property who apologized to me for my treatment and assured me that I would find a more tolerant atmosphere at that property in the future.
Today, aqui-ali (another local Flickr photographer), helveticaneue (in from out of town) and I went out to do a bit of shooting.  Since Aqui had a meeting down on 2nd Street later this afternoon we decided to head that way and shoot the Transbay Terminal.  45 Fremont was in our path and we were shooting some photos of it as we were walking by.  It was then that the security guard there told us that we could not shoot the building.  When I explained that we were in a public area and had a right to shoot the building he insisted and called another security guard over on his radio who also tried to get us to stop taking pictures of the building.  I still refused as it is my right to shoot buildings in San Francisco from a public area.
It was at this point that things went from bad to worse.  At this point an individual came over who identified himself as a police officer and told us to get out of the plaza, off the sidewalk and to physically stand on the asphalt in the street where the cars were driving by.  When I tried to object this individual (who was significantly larger than me) assaulted me and forcibly grabbed my arm quite hard and pulled me towards the street.  When I freed myself from his grip I told him that I was going to take his photograph.  He told me that I could not take his photograph and that if I did that I could "watch what would happen to my camera."
I took his photograph anyways and that is him up there at the top of the story.  Once he had us physically on the asphalt in the traffic off the sidewalk I once again asked him for his identification and asked to see his badge.  He refused to provide me his identification and refused to show me his badge.  It is my understanding that when someone identifies themselves as a police officer that I have a right to see their identification proving this fact.  This prevents anyone from falsely impersonating police officers and abusing a false authority.  I asked him at least five times to see his badge and he refused.  He continued to confer with the security guards at the building though.
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Recent Updated: 10 years ago - Created by Thomas Hawk - View
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