Hundreds of scale models of iconic aircraft take to the skies at the annual Large Model Air Show. Taking place on the airfield at Cosford, 6 and 7 July 2019. Visitors And aviation enthusiasts will be able to see a whole range of models designed, built and flown by members of the Large Model Association from biplanes to modern day jets. The model aircraft range from £2,000 up to £30,000 Some of the kits can take two weeks to assemble, whereas large models such as a VC10 can take seven years to assemble. Engines used include those similar to petrol lawn mowers through to miniature jet engines costing £5,000 and the spe of the models being flown can range from 50mph up to 200mph. There was also a flypast by the Spitfire and Hurricane from the Battle of Britain Memorial Flight.
American trumpeter, composer, singer and occasional actor louis Armstrong tragically died of a heart attack in his sleep on July 6, 1971, a month before his 70th birthday while residing in Corona, Queens, New York City.
He was born August 4, 1901 in New Orleans, Louisiana ans spent his youth in a rough neighborhood known as the Battlefield, which was part of the Storyville legal prostitution district. His father, William Armstrong, abandoned the family when Louis was an infant. His mother, Mary “Mayann” Albert left Louis and his younger sister, Beatrice Armstrong Collins in the care of his grandmother, Josephine Armstrong, and at times his uncle Isaac. At five, he moved back to live with his mother, her relatives and a parade of “stepfathers”. He attended the Fisk School for Boys, where he most likely had early exposure to music. He brought in some money by selling newspapers, delivering coal, singing on the streets at night, and also by finding discarded food and selling it to restaurants, but it was not enough to keep his mother from prostitution. He hung out in dance halls close to home, where he observed everything from licentious dancing to the quadrille. For extra money he also hauled coal to Storyville, and listened to the bands playing in the brothels and dance halls, especially Pete Lala’s, where Joe “King” Oliver performed as well as other famous musicians who would drop in to jam.
After dropping out of the Fisk School at age eleven, Armstrong joined a quartet of boys who sang in the streets for money. He also started to get into trouble. Cornet player Bunk Johnson said he taught Armstrong (then 11) to play by ear at Dago Tony’s Tonk in New Orleans. He also worked for a Lithuanian-Jewish immigrant family, the Karnofskys, who had a junk-hauling business and gave him odd jobs. The influence of Karnofsky is remembered in New Orleans by the Karnofsky Project, a nonprofit organization dedicated to accepting donated musical instruments to put them into the hands of an eager child who could not otherwise take part in a wonderful learning experience.
Armstrong developed his cornet playing skills by playing in the band of the New Orleans Home for Colored Waifs, where he had been sent multiple times for general delinquency, most notably for firing his stepfather’s pistol into the air at a New Year’s Eve celebration . Professor Peter Davis (who frequently appeared at the home at the request of its administrator, Captain Joseph Jones) instilled discipline in and provided musical training to the otherwise self-taught Armstrong. Eventually, Davis made Armstrong the band leader. The home band played around New Orleans and the thirteen-year-old Louis began to draw attention by his cornet playing, starting him on a musical career. At fourteen he was released from the home, living again with his father and new stepmother, Gertrude, and then back with his mother. Armstrong got his first dance hall job at Henry Ponce’s, where Black Benny became his protector and guide. He hauled coal by day and played his cornet at night.
He played in the city’s frequent brass band parades and listened to older musicians every chance he got, learning from Bunk Johnson, Buddy Petit, Kid Ory, and above all, Joe “King” Oliver, who acted as a mentor and father figure to the young musician. Later, he played in brass bands and riverboats of New Orleans, and began traveling with the well-regarded band of Fate Marable, which toured on a steamboat up and down the Mississippi River. He described his time with Marable as “going to the University,” since it gave him a much wider experience working with written arrangements. In 1919, Joe Oliver resigned from Kid Ory’s band; Armstrong replaced him. He also became second trumpet for the Tuxedo Brass Band. Throughout his riverboat experience, Armstrong’s musicianship began to mature and expand. At twenty, he could read music and started playing extended trumpet solos, one of the first jazz men to do this, injecting his own personality and style into his solo turns. He had learned how to create a unique sound and also started using singing and patter in his performances.
In 1922, Armstrong went to Chicago, after being invited by his mentor, Joe “King” Oliver, to join his Creole Jazz Band. Oliver’s band was among the most influential jazz bands in Chicago in the early 1920s, at a time when Chicago was the center of the jazz universe. Armstrong lived luxuriously in Chicago, in his own apartment with his own private bath (his first). Excited as he was to be in Chicago, he began his career-long pastime of writing nostalgic letters to friends in New Orleans. Unusually, Armstrong could blow two hundred high Cs in a row. As his reputation grew, he was challenged to instrumental “cutting contests” by hornmen trying to displace him. Armstrong made his first recordings on the Gennett and Okeh labels (jazz records were starting to boom across the country), including taking some solos and breaks, while playing second cornet in Oliver’s band in 1923. At this time, he met Hoagy Carmichael (with whom he would collaborate later) who was introduced by friend Bix Beiderbecke, who now had his own Chicago band.
Armstrong enjoyed working with Oliver, but Louis’ second wife, pianist Lil Hardin Armstrong, urged him to seek more prominent billing and develop his newer style away from the influence of Oliver. Lil had her husband play classical music in church concerts to broaden his skill and improve his solo play and she prodded him into wearing more stylish attire to make him look sharp and to better offset his growing girth. Lil’s influence eventually undermined Armstrong’s relationship with his mentor, especially concerning his salary and additional moneys that Oliver held back from Armstrong and other band members. Armstrong and Oliver parted amicably in 1924. Shortly afterward, Armstrong received an invitation to go to New York City to play with the Fletcher Henderson Orchestra, the top African-American band of the time. Armstrong switched to the trumpet to blend in better with the other musicians in his section. His influence upon Henderson’s tenor sax soloist, Coleman Hawkins, can be judged by listening to the records made by the band during this period.
Armstrong quickly adapted to the more tightly controlled style of Henderson, playing trumpet and even experimenting with the trombone. The other members quickly took up Armstrong’s emotional, expressive pulse. Soon his act included singing and telling tales of New Orleans characters, especially preachers. The Henderson Orchestra was playing in prominent venues for white-only patrons, including the famed Roseland Ballroom, featuring the arrangements of Don Redman. Duke Ellington’s orchestra would go to Roseland to catch Armstrong’s performances and young horn men around town tried in vain to outplay him, splitting their lips in their attempts. Armstrong made many recordings on the side, arranged by an old friend from New Orleans, pianist Clarence Williams; including small jazz band sides with the Williams Blue Five (some of the most memorable pairing Armstrong with one of Armstrong’s few rivals in fiery technique and ideas, Sidney Bechet) and a series of accompaniments with blues singers, including Bessie Smith, Ma Rainey, and Alberta Hunter.
Armstrong returned to Chicago in 1925. He was content in New York but conceded that the Henderson Orchestra was limiting his artistic growth. In publicity, much to his chagrin, she billed him as “the World’s Greatest Trumpet Player”. At first, he was actually a member of the Lil Hardin Armstrong Band and working for his wife. He began recording under his own name for Okeh with his famous Hot Five and Hot Seven groups, producing hits such as “Potato Head Blues”, “Muggles” (a slang term for marijuana cigarettes: Armstrong used marijuana daily for much of his life and “West End Blues”, the music of which set the standard and the agenda for jazz for many years to come.
The group included Kid Ory (trombone), Johnny Dodds (clarinet), Johnny St. Cyr (banjo), wife Lil on piano, and usually no drummer. Armstrong’s band leading style was easygoing. Among the most notable of the Hot Five and Seven records were “Cornet Chop Suey,” “Struttin’ With Some Barbecue,” “Hotter Than that” and “Potato Head Blues,”, all featuring highly creative solos by Armstrong. His recordings soon after with pianist Earl “Fatha” Hines (most famously their 1928 “Weather Bird” duet) and Armstrong’s trumpet introduction to and solo in “West End Blues” remain some of the most famous and influential improvisations in jazz history. Armstrong’s style included a heavy dose of effervescent jive, such as “whip that thing, Miss Lil” and “Mr. Johnny Dodds, Aw, do that clarinet, boy!” Armstrong also played with Erskine Tate’s Little Symphony, at the Vendome Theatre. They furnished music for silent movies and live shows, including jazz versions of classical music, such as “Madame Butterfly”, which gave Armstrong experience with longer forms of music and with hosting before a large audience. He began to scat sing (improvised vocal jazz using nonsensical words) and was among the first to record it, on the Hot Five recording “Heebie Jeebies” in 1926. After separating from Lil, Armstrong started to play at the Sunset Café for Al Capone’s associate Joe Glaser in the Carroll Dickerson Orchestra, with Earl Hines on piano, which was soon renamed Louis Armstrong and his Stompers. Hines and Armstrong became fast friends and successful collaborators.Armstrong returned to New York, in 1929, where he played in the pit orchestra of the successful musical Hot Chocolate, an all-black revue written by Andy Razaf and pianist/composer Fats Waller. He also made a cameo appearance as a vocalist, regularly stealing the show with his rendition of “Ain’t Misbehavin’”,
Armstrong then worked at Connie’s Inn in Harlem, chief rival to the Cotton Club, a venue for elaborately staged floor shows, and a front for gangster Dutch Schultz. Armstrong also had considerable success with vocal recordings, including versions of famous songs composed by his old friend Hoagy Carmichael. His 1930s recordings took full advantage of the new RCA ribbon microphone, introduced in 1931, which imparted a characteristic warmth to vocals and immediately became an intrinsic part of the ‘crooning’ sound of artists like Bing Crosby, such as His famous interpretation of Carmichael’s “Stardust” And his radical re-working of Sidney Arodin and Carmichael’s “Lazy River”.
As with his trumpet playing, Armstrong’s vocal innovations served as a foundation stone for the art of jazz vocal interpretation. The uniquely gravelly coloration of his voice became a musical archetype that was much imitated and endlessly impersonated. His scat singing style was enriched by his matchless experience as a trumpet soloist. His resonant, velvety lower-register tone and bubbling cadences on sides such as “Lazy River” exerted a huge influence On singers such as Bing Crosby.The Great Depression of the early 1930s was especially hard on the jazz scene. The Cotton Club closed in 1936 after a long downward spiral, and many musicians stopped playing altogether as club dates evaporated. Bix Beiderbecke died and Fletcher Henderson’s band broke up. King Oliver made a few records but otherwise struggled. Sidney Bechet became a tailor, later moving to Paris and Kid Ory returned to New Orleans and raised chickens.
In 1930 Armstrong moved to Los Angeles to seek new opportunities. He played at the New Cotton Club in Los Angeles with Lionel Hampton on drums. The band drew the Hollywood crowd, which could still afford a lavish night life, while radio broadcasts from the club connected with younger audiences at home. Bing Crosby and many other celebrities were regulars at the club. In 1931, Armstrong appeared in his first movie, Ex-Flame and was also convicted of marijuana possession but received a suspended sentence. He returned to Chicago in late 1931 and played in bands more in the Guy Lombardo vein and he recorded more standards. When the mob insisted that he leave, Armstrong visited New Orleans, had a hero’s welcome and saw old friends. He sponsored a local baseball team known as “Armstrong’s Secret Nine” and had a cigar named after him. Following a tour across America shadowed by the mob, Armstrong decided to go to Europe to escape.
After returning to the United States, he undertook several exhausting tours. However he had financial troubleS and Breach of contract violations plagued him. Finally, he hired Joe Glaser as his new manager, a tough mob-connected wheeler-dealer, who began to straighten out his legal mess, his mob troubles, and his debts. Armstrong also began to experience problems with his fingers and lips, which were aggravated by his unorthodox playing style. As a result, he branched out, developing his vocal style and making his first theatrical appearances. He appeared in movies again, including Pennies from Heaven. In 1937, Armstrong substituted for Rudy Vallee on the CBS radio network. In 1943 Armstrong settled permanently in Queens, New York with his fourth wife, Lucille. where he continued to develop his playing. He recorded Hoagy Carmichael’s Rockin’ Chair for Okeh Records.
During the subsequent 30 years, Armstrong played more than 300 gigs a year. Bookings for big bands tapered off during the 1940s due to changes in public tastes: ballrooms closed, and there was competition from television and from other types of music becoming more popular than big band music. However, a revival in the traditional jazz of the 1920s made it possible for Armstrong to consider a return to the small-group musical style of his youth. Following a highly successful small-group jazz concert at New York Town Hall on May 17, 1947, featuring Armstrong with trombonist/singer Jack Teagarden, Armstrong’s manager, Joe Glaser dissolved the Armstrong big band on August 13, 1947, and established a six-piece traditional jazz group featuring Armstrong with Teagarden, Earl Hines and other top swing and Dixieland musicians, most of whom were previously leaders of big bands. This group was called Louis Armstrong and His All Stars and included at various times Earl “Fatha” Hines, Barney Bigard, Edmond Hall, Jack Teagarden, Trummy Young, Arvell Shaw, Billy Kyle, Marty Napoleon, Big Sid Catlett, Cozy Cole, Tyree Glenn, Barrett Deems, Mort Herbert, Joe Darensbourg, Eddie Shu and the percussionist Danny Barcelona. Armstrong also made many recordings and appeared in over thirty films. He was the first jazz musician to appear on the cover of Time magazine, on February 21, 1949. In 1948, he participated in the Nice Jazz Festival, where Suzy Delair sang “C’est si bon”, by Henri Betti and André Hornez, for the first time in public.in 1950, Armstrong recorded the first American version of C’est si bon (Henri Betti, André Hornez, Jerry Seelen) and La Vie en rose (Louiguy, Édith Piaf, Mack David). He also toured Ghana and Nigeria, performing with Victor Olaiya during the Nigerian Civil war.
By the 1950s, Armstrong was a widely beloved American icon and cultural ambassador who commanded an international fanbase. However, a growing generation gap became apparent between him and the young jazz musicians who emerged in the postwar era such as Charlie Parker, Miles Davis, and Sonny Rollins. The postwar generation regarded their music as abstract art and contempory players considered Armstrong’s vaudevillian style, half-musician and half-stage entertainer, outmoded. While touring Australia, 1954, he modified his anatomical references for the sake of the gentle ears of his host country, “Bebop?” he husked. “I just play music. Guys who invent terms like that are walking the streets with their instruments under their arms “. Sadly in 1959 Armstrong suffered a heart attack while touring Italy. In 1964, he recorded, “Hello, Dolly!”, a song by Jerry Herman, originally sung by Carol Channing. This remained on the Hot 100 for 22 weeks, and went to No. 1 making him, at 62 years, 9 months and 5 days, the oldest person have Number One hit. He also dislodged the Beatles from the No. 1 position they had occupied for 14 consecutive weeks with three different songs. Armstrong made his last recorded trumpet performances on his 1968 album Disney Songs the Satchmo Way.
Armstrong kept touring well into his 60s, even visiting part of the communist bloc in 1965. He also toured Africa, Europe, and Asia under the sponsorship of the US State Department with great success, earning the nickname “Ambassador Satch” and inspiring Dave Brubeck to compose his jazz musical The Real Ambassadors. By 1968, he was approaching 70 and his health finally began to give out. He suffered heart and kidney ailments that forced him to stop touring. Armstrong did not perform publicly at all in 1969 and spent most of the year recuperating at home. Meanwhile, his longtime manager Joe Glaser died. By the summer of 1970, Armstrong’s doctors pronounced him fit enough to resume live performances. He embarked on another world tour, but a heart attack forced him to take a break for two months.
Armstrong had nineteen “Top Ten” records including “Stardust”, “What a Wonderful World”, “When The Saints Go Marching In”, “Dream a Little Dream of Me”, “Ain’t Misbehavin’”, “You Rascal You”, and “Stompin’ at the Savoy”. “We Have All the Time in the World” was featured on the soundtrack of the James Bond film On Her Majesty’s Secret Service, and His 1964 song “Bout Time” was later featured in the film Bewitched. Armstrong performed in Italy at the 1968 Sanremo Music Festival where he sang “Mi Va di Cantare” alongside his friend Lara Saint Paul. He also appeared with Lara Saint Paul on the Italian RAI television channel where he performed “Grassa e Bella,”. In 1968, Armstrong released “What a Wonderful World”, Which was also used twenty years later in the 1987 film Good Morning Vietnam In 1970 Armstrong appeared on the October 28, 1970, Johnny Cash Show, Singing Nat King Cole’s hit “Ramblin’ Rose” and joined Cash backing Jimmie Rodgers on “Blue Yodel No. 9”.
Armstrong appeared in more than a dozen Hollywood films, usually playing a bandleader or musician. His most familiar role was as the bandleader cum narrator in the 1956 musical, High Society, in which he sang the title song and performed a duet with Bing Crosby on “Now You Has Jazz”. In 1947, he played himself in the movie New Orleans opposite Billie Holiday, which chronicled the demise of the Storyville district and the ensuing exodus of musicians from New Orleans to Chicago. In the 1959 film, The Five Pennies (the story of the cornetist Red Nichols), Armstrong played himself as well as singing and playing several classic numbers. With Danny Kaye Armstrong performed a duet of “When the Saints Go Marching In” during which Kaye impersonated Armstrong. Armstrong also had a part in the film alongside James Stewart in The Glenn Miller Story in which Glenn (played by Stewart) jammed with Armstrong and a few other noted musicians of the time. In 1969, Armstrong had a cameo role in the film version of Hello, Dolly! as the bandleader, Louis, to which he sang the title song with actress Barbra Streisand. His solo recording of “Hello, Dolly!” is one of his most recognizable performances. In 1956 Armstrong played a bandleader in the television production “The Lord Don’t Play Favorites” on Producers’ Showcase.He was heard on such radio programs as The Story of Swing (1937) and This Is Jazz (1947), and made countless television appearances, during the 1950s and 1960s, including The Tonight Show Starring Johnny Carson.
Armstrong appears as a minor fictionalized character in Harry Turtledove’s Southern Victory Series. When he and his band escape from a Nazi-like Confederacy, they enhance the insipid mainstream music of the North. A young Armstrong also appears as a minor fictionalized character in Patrick Neate’s 2001 novel Twelve Bar Blues, part of which is set in New Orleans, which won the Whitbread Book Awards. There is a scene in Stardust Memories (1980) in which Woody Allen is overwhelmed by a recording of Armstrong’s “Stardust” and experiences a nostalgic epiphany. Terry Teachout wrote a one-man play about Armstrong called Satchmo at the Waldorf that was premiered in 2011 in Orlando, Fla., and has since been produced by Shakespeare & Company, Long Wharf Theater, and the Wilma Theater. The production ran off Broadway in 2014. A fledgling musician named “Louis,” who is obsessed with Buddy Bolden, appears in two of David Fulmer’s Storyville novels: Chasing the Devil’s Tail and Jass.
Against his doctor’s advice, Armstrong played a two-week engagement in March 1971 at the Waldorf-Astoria’s Empire Room and had a heart attack. He was released from the hospital in May, and quickly resumed practicing his trumpet playing. Still hoping to get back on the road, however this proved too much and Armstrong tragically died. Following his death He was interred in Flushing Cemetery, Flushing, in Queens, New York City. His honorary pallbearers included Bing Crosby, Ella Fitzgerald, Dizzy Gillespie, Pearl Bailey, Count Basie, Harry James, Frank Sinatra, Ed Sullivan, Earl Wilson, Alan King, Johnny Carson and David Frost. Peggy Lee sang The Lord’s Prayer at the services while Al Hibbler sang “Nobody Knows the Trouble I’ve Seen” and Fred Robbins, a long-time friend, gave the eulogy. Louis Armstrong was one of the most influential figures in jazz.
Scottish Writer Kenneth Grahame sadly passed away 6 July 1932. He is best known for writing The Wind in the Willows and the Reluctant Dragon; both books were later adapted for film and Television. Kenneth Grahame was born on 8 March (1859) in Edinburgh, Scotland. When he was a little more than a year old, his father, an advocate, received an appointment as sheriff-substitute in Argyllshire at Inveraray on Loch Fyne. Kenneth loved the sea and was happy there, but when he was 5, his mother died from complications of childbirth, and his father, who had a drinking problem, gave over care of Kenneth, his brother Willie, his sister Helen and the new baby Roland to Granny Ingles, the children’s grandmother, in Cookham Dean in the village of Cookham in Berkshire. There the children lived in a spacious, if dilapidated, home, “The Mount”, on spacious grounds in idyllic surroundings, and were introduced to the riverside and boating by their uncle, David Ingles, curate at Cookham Dean church. This delightful ambiance, particularly Quarry Wood and the River Thames, is believed, to have inspired the setting for The Wind in the Willows.
He was an outstanding pupil at St Edward’s School in Oxford. During his early years at St. Edwards, a sports regimen had not been established and the boys had freedom to explore the old city with its quaint shops, historic buildings, and cobblestone streets, St Giles’ Fair, the idyllic upper reaches of the River Thames, and the nearby countryside.Grahame wanted to attend Oxford University, but was not allowed to do so by his guardian on grounds of cost. Instead he was sent to work at the Bank of England in 1879, and rose through the ranks until retiring as its Secretary in 1908 due to ill health, which may have been precipitated by a strange, possibly political, shooting incident at the bank in 1903. Grahame was shot at three times, all of them missed. While still a young man in his 20s, Grahame began to publish light stories in London periodicals such as the St. James Gazette. Some of these stories were collected and published as Pagan Papers in 1893, and, two years later, The Golden Age. These were followed by Dream Days in 1898, which contains The Reluctant Dragon.Grahame married Elspeth Thomson in 1899; they had only one child, a boy named Alastair (whose nickname was “Mouse”) born blind in one eye and plagued by health problems throughout his short life.
On Grahame’s retirement, they returned to Cookham where he had lived as a child, and lived at “Mayfield”, now Herries Preparatory School, whewhere he had been brought up and spent his time by the River Thames doing much as the animal characters in his book do—namely, as one of the most famous phrases from the book says, “simply messing about in boats”—and wrote down the bed-time stories he had been telling his son Alistair. Tragically Alastair eventually committed suicide on a railway track while an undergraduate at Oxford University, two days before his 20th birthday on 7 May 1920. Out of respect for Kenneth Grahame, Alastair’s demise was recorded as an accidental death. Kenneth Grahame died in Pangbourne, Berkshire, on 6 July 1932. He is buried in Holywell Cemetery, Oxford. Grahame’s cousin Anthony Hope, also a successful author, wrote his epitaph, which reads: “To the beautiful memory of Kenneth Grahame, husband of Elspeth and father of Alastair, who passed the river on the 6th of July, 1932, leaving childhood and literature through him the more blest for all time”
The Wind in the Willows focuses on the adventures of four anthropomorphous animal characters in a pastoral version of England. It is notable for its mixture of mysticism, adventure, morality, and camaraderie and celebrated for its evocation of the nature of the Thames valley. The story starts during Spring, when Mole, decides to do a bit of spring cleaning but gets bored so he sets out to enjoy the sunshine and take in the air above ground instead. He ends up at the river, which he has never seen before and meets Ratty (a water Vole), who at this time of year spends all his days in, on and close by the river. Rat takes Mole for a ride in his rowing boat. They get along well and spend many more days boating, with Rat teaching Mole the ways of the river. One summer day shortly thereafter, Rat and Mole find themselves near the grand Toad Hall and pay a visit to their incorrigible friend Toad.
Toad is rich (having inherited wealth from his father): jovial, friendly and kind-hearted but aimless and conceited, he regularly becomes obsessed with current fads, only to abandon them as quickly as he took them up. Having only recently given up boating, Toad’s current craze is his horse-drawn caravan. In fact, he is about to go on a trip, and persuades the reluctant Rat and willing Mole to join him. The following day (after Toad has already tired of the realities of camp life and sleeps-in to avoid chores), a passing motor car scares the horse, causing the caravan to overturn into a ditch. Rat threatens to have the law on the motor car drivers, Toad however now decides he now wants a Motor Car. The three animals journey to the nearest police station to make a complaint against the reckless drivers and then to a blacksmith to retrieve and mend the caravan. However Toad makes no effort to help mend the caravan and decides to order himself a motor car instead.
Mole wants to meet the respected but elusive Badger, who lives deep in the Wild Wood, but Rat -knowing that Badger does not appreciate visits – refuses to take him, telling Mole to be patient and wait and Badger will pay them a visit himself. Nevertheless, on a snowy winter’s day, whilst the seasonally somnolent Ratty dozes unaware, Mole impulsively goes to the Wild Wood to explore, hoping to meet Badger. He gets lost in the woods, sees many “evil faces” among the wood’s less-welcoming denizens, succumbs to fright and panic and hides, trying to stay warm, amongst the sheltering roots of a tree. Rat, upon awakening and finding Mole gone, guesses his mission from the direction of Mole’s tracks and, equipping himself with a pistol and a stout stick, goes in search, finding him as snow begins to fall in earnest.
Attempting to find their way home, Rat and Mole quite literally stumble across Badger’s home, and, warmly welcomes Rat and Mole to his large and cosy underground home and hastens to give them hot food and dry clothes. Badger learns from his visitors that Toad has crashed six cars, has been hospitalised three times, and has spent a fortune on fines. So they decide to protect Toad from himself. Upon the arrival of spring, Badger visits Mole and Rat to do something about Toad’s self-destructive obsession. The three of them go to visit Toad, and Badger tries to make him see sense eventually putting Toad under house arrest, with themselves as the guards, until Toad changes his mind. Feigning illness, Toad manages to escape, steals a car, drives recklessly, accidentally crashes and gets arrested by the police and sent to prison for twenty-years.
During Toad’s absence Badger and Mole look after Toad Hall in the hope that Toad may return. Meanwhile in prison, Toad gains the sympathy of the Jailer’s Daughter who helps him to escape disguised as a washerwoman and he comes across a horse-drawn barge, whose Owner offers him a lift in exchange for Toad’s services as a “washer woman”. However This does not go well and Toad finds himself tossed into the canal although he manages to steal the barge horse, which he then sells to a gypsy, Before flagging down a passing car, which happens to be the very one which he stole earlier. The car owners, not recognizing Toad disguised as a washerwoman, permit him to drive their car.
Unfortunately Once behind the wheel, Toad gets road rage and drives recklessly before declaring his true identity to the outraged passengers who try to stop him. This causes an accident, and Toad flees once more. Pursued by police, he runs accidentally into a river, which carries him by sheer chance to the house of the Water Rat. Toad now hears from Rat that Toad Hall has been taken over by weasels, stoats and ferrets from the Wild Wood, who have driven out its former custodians, Mole and Badger. So Badger formulates a plan to drive the unsuspecting weasels out while they are holding a party in honour of their leader, and reclaim Toad Hall.
English novelist Dame Hilary Mary Mantel, DBE, FRSL née Thompson was born 6 July 1952 in Glossop Derbyshire. She grew up in the mill village of Hadfield. She attended St Charles local Roman Catholic primary school. Her parents separated and she did not see her father after age eleven. The family minus her father, but with Jack Mantel (1932-1995) who by now had moved in with them, relocated to Romiley, Cheshire, and Jack became her unofficial stepfather. She took her de-facto stepfather’s surname legally. She has explored her family background, the mainspring of much of her fiction, in her memoir, Giving Up the Ghost (2003). She attended Harrytown Convent in Romiley, Cheshire. In 1970, she began her studies at the London School of Economics to read law but transferred to the University of Sheffield and graduated as Bachelor of Jurisprudence in 1973.
After university, Mantel worked in the social work department of a geriatric hospital and then as a sales assistant in a department store. In 1972, she married Gerald McEwen, a geologist. In 1974, she began writing a novel about the French Revolution, which was later published as A Place of Greater Safety. In 1977, Mantel moved to Botswana with her husband. Later, they spent four years in Jeddah, Saudi Arabia. She published a memoir of this time, Someone to Disturb, in the London Review of Books. McEwen gave up geology to manage his wife’s business affairs.They divorced, but remarried a couple of years later.
Her first novel, Every Day is Mother’s Day, was published in 1985, and its sequel, Vacant Possession, a year later. After returning to England, she became the film critic of The Spectator and a reviewer for a number of papers and magazines in Britain and the United States. Her novel Eight Months on Ghazzah Street (1988), which drew on her first-hand experience in Saudi Arabia, uses a threatening clash of values between the neighbours in a city apartment block to explore the tensions between Muslim culture and the liberal West. Her Winifred Holtby Memorial Prize-winning novel Fludd is set in 1956 in a fictitious northern village called Fetherhoughton, centring on a Roman Catholic church and a convent. A mysterious stranger brings about transformations in the lives of those around him.
Her second novel, A Place of Greater Safety (1992) won the Sunday Express Book of the Year award, for which her two previous books had been shortlisted. A long and historically accurate novel, it traces the career of three French revolutionaries, Danton, Robespierre and Camille Desmoulins, from childhood to their early deaths during the Reign of Terror of 1794. Her third novel, A Change of Climate (1994), set in rural Norfolk, explores the lives of Ralph and Anna Eldred, as they raise their four children and devote their lives to charity. It includes chapters about their early married life as missionaries in South Africa, when they were imprisoned and deported to Bechuanaland, and the tragedy that occurred there. Her fourth novel, An Experiment in Love (1996), won the Hawthornden Prize, takes place over two university terms in 1970. It follows the progress of three girls – two friends and one enemy – as they leave home and attend university in London. Margaret Thatcher makes a cameo appearance in this novel, which explores women’s appetites and ambitions, and suggests how they are often thwarted. Though Mantel has used material from her own life, it is not an autobiographical novel.
Her next book, The Giant, O’Brien (1998), is set in the 1780s, and is based on the true story of Charles O’Brien or Byrne, who came to London to earn money by displaying himself as a freak. His bones hang today in the Museum of the Royal College of Surgeons. The novel treats O’Brien and his antagonist, the Scots surgeon John Hunter, less as characters in history than as mythic protagonists in a dark and violent fairytale, necessary casualties of the Age of Enlightenment. She adapted the book for BBC Radio 4, in a play starring Alex Norton (as Hunter) and Frances Tomelty.
In 2003, Mantel published her memoir, Giving Up the Ghost, which won the MIND ‘Book of the Year’ award. That same year she brought out a collection of short stories, Learning To Talk. All the stories deal with childhood and, taken together, the books show how the events of a life are mediated as fiction. Her 2005 novel, Beyond Black, was shortlisted for the Orange Prize. Set in the years around the second millennium, it features a professional medium, Alison Hart, whose calm and jolly exterior conceals grotesque psychic damage. She trails around with her a troupe of ‘fiends’, who are invisible but always on the verge of becoming flesh.
In 2009 Mantel Published the novel Wolf Hall, about Henry VIII’s minister Thomas Cromwell.Set in England in the period from 1500 to 1535, Wolf Hall (which is named after the Seymour family seat of Wolfhall or Wulfhall near Burbage, just outside of Marlborough, Wiltshire, is a fictionalized biography which follows the exploits of Thomas Cromwell, who rises from humble beginnings as the son of a brutal blacksmith in the slums of Putney to become a mercenary, merchant and member of Parliament finally becoming the right-hand man of Cardinal Thomas Wolsey, adviser to the King, After surviving Wolsey’s fall from grace Cromwell eventually takes his place as the most powerful of Henry’s ministers, during this time he oversaw Henry’s divorce from Catherine of Aragon and subsequent marriage to Anne Boleyn, was present during the religious upheavals of the Protestant reformation, the English church’s break with Rome and the dissolution of the monasteries. The story exposes the political machinations of Henry’s court and the vicious realities of the court of Henry VIII, Cromwell’s manipulation of the king and the court and how he re-shaped English politics and the balance of power. The story has more betrayals, affairs, alliances and scheming than a soap opera and also shows the nation on the brink of disaster and the very real threat of civil war looming large because the ageing king has no male heir.
The book won that year’s Man Booker Prize and Mantel was presented with a trophy and a £50,000 cash prize during an evening ceremony at the London Guildhall, by a panel of judges, led by the broadcaster James Naughtie, and On receiving the prize, Mantel said that she would spend the prize money on “sex and drugs and rock’ n’ roll”. The sequel to Wolf Hall, called Bring Up the Bodies, was published in May 2012 to wide acclaim. It won the 2012 Costa Book of the Year and the 2012 Man Booker Prize; Mantel thus became the first British writer and the first woman to win the Man Booker Prize more than once. following in the footsteps of J. M. Coetzee, Peter Carey and J. G. Farrell (who posthumously won the Lost Man Booker Prize). The third novel of the Thomas Cromwell trilogy, is called The Mirror and the Light. Mantel is also working on a short non-fiction book called The Woman Who Died of Robespierre, about the Polish playwright Stanisława Wolf Hall was also made into a Television series starring Bernard Hill (Theoden) as the Duke of Norfolk. Mantel also writes reviews and essays, mainly for The Guardian, the London Review of Books and the New York Review of Books. The Culture Show programme on BBC Two also profiled Mantel In 2011.