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335_4	In the early years, thousands of dinghies were produced by Fairey Marine including the Firefly, Albacore, Falcon (dinghy), Swordfish (dinghy), Jollyboat, Flying Fifteen, 505 and International 14's along with the much smaller Dinky and Duckling. Later on in the 1950s they produced the larger sailing cruisers, the Atalanta (named after Sir Richard's wife), Titania, Fulmar and the Fisherman motor sailer (based on the Fairey Lifeboat hull) along with the 15' Cinderella (outboard runabout)/ Carefree (inboard runabout), and the 16'6" Faun (outboard powered family cruiser).
335_5	In the 1960s Fairey designed and built a range of wooden-hulled speedboats and motor launches designed by Alan Burnand. These became well known in boating circles for their speed, stability and good rough-water handling. Craft were sold to both wealthy and famous individuals, including Deborah Kerr, Prince Albert of Belgium and Billy Butlin. The craft also starred in the James Bond film From Russia with Love. Sean Connery as James Bond can be seen driving a white Fairey Huntress and the being chased by a Fairey Huntsman 28s and Fairey Huntress. Types such as the Dagger and Spearfish were used as police launches and as pinnaces by the Royal Navy. In the early 1970s Fairey switched to glass reinforced plastic hulls of the same design. The range was expanded to include cabin cruiser types (such as the Swordfish) which could still put in an impressive turn of speed and won several cruiser-class long distances races, such as the London-Monte Carlo race.
335_6	Fairey also manufactured 2 × 53-foot motor cruisers in the early 70s which were named the Amira. Designed by Alan Burnard, they were designed with cold moulded ply construction hull and ply superstructure. The Fairey Amira was designed to take two engines with up to 1000 bhp each, one of the boats was fitted with 2 Isotta Fraschini 700 hp v8 engines with ZF vee drive gearboxes and the other was fitted with 2 MTU 8v331 tc80 engines each developing 800 hp with ZF vee drive gearboxes. The design speed for this boat was up to 40 knots; the boat was offered with a wide range of engines including gas turbines. Only one of the pair still remains, this is hull No1 "Fataam", her home port is Puerto Duquesa in southern Spain.
335_7	Today, Swordsman Marine builds motorboats based on Fairey designs. These include speedboats based on the Spearfish, using the same hull with a modified cabin and modern engine and controls, and larger cabin cruisers based on a modified version of the Dagger design. Fairey Marine absorbed the East Cowes firm of Groves and Gutteridge Ltd., established since 1899. One of the main products of the Company has been lifeboats for the Royal National Lifeboat Institution.
335_8	Collapse of Fairey Marine Fairey Marine was taken into Receivership along with other companies in the Fairey Group in 1975 when the parent company went into liquidation. The business was subsequently absorbed into what is now the marine division of Babcock International Group.
335_9	When the main Fairey company went into receivership the work force and the management did not want to be taken over by Trafalgar House or Rank International because they expected that those companies would shut the firm and adapt the site for use as a marina. The workforce wanted to stay in boat building and were keen that the National Enterprise Board should take them over. Since then the company developed and expanded its range of products as well as acquiring a number of other companies including Cheverton Workboats, Brooke Marine and what became Fairey Marinteknik, the company was also known as Fairey Allday, all companies absorbed into Fairey produced the Waveney class lifeboat for the RNLI; see also Attacker class patrol boat, produced in the early 1980s before emerging as FBM Marine in 1988. In March 2000, FBM Marine was acquired by Babcock International Group PLC, a major UK based support services, facilities management and engineering company specialising in the support of
335_10	defence forces worldwide, and renamed FBM Babcock Marine Ltd.
335_11	Construction methods The hot moulding process was an adaptation to post war boat building of the method originally developed by de Havillands in the 1930s for "stressed skin" wooden aircraft production, using layers of thin birch plywood sandwiched together with glue over a male mould and "cooked" in a large oven called an “autoclave” By using true mass-production techniques, Fairey Marine were able to turn out vast numbers of identical boats at an unprecedented quality and price. Moulds were constructed from spruce, built up on a steel base plate. Seven by three inches planks cut to the waterplane sections provided the starting point. Working from the sheerline, the planks were built up in a series of steps, arriving quickly at a close representation of the designed shape. Subsequent fairing yielded finished dimensions. Rebates for the keel, stem and transom completed the mould building process.
335_12	Although the veneers used to produce Fairey boats may appear to be parallel sided, every one was in fact profiled. Rather than shaping each veneer to fit on the mould, as in traditional boat building, Faireys saved an enormous amount of time by sawing complete sets of veneers to precision patterns. Veneers were produced in stacks of six. Boat were then typically built in batches of 24 or 36. Early boats used 1/8″ spruce ply, surplus to the War Department’s de Havilland Mosquito aircraft programme. When this material became unavailable it was replaced by 2.5 mm agba veneers.
335_13	Chosen for its high gum content, agba formed easily without splitting and glued well. All the dinghy classes used just three agba veneers while some of the bigger boats used up to six. Initially all the veneers were laid at 45° while later boats changed to fore and aft outer planking for aesthetic reasons. With the keel, stem and transom in place, veneers were applied starting on the centreline and working out towards the shear. Each veneer was held in place by just three staples at the keel, bilge and shearline. Roller-application of Borden One-Shot waterproof glue preceded each veneer except the first. With all veneers in place a vacuum bag was drawn over the moulding and secured in place using a clamp plate and G-clamps. Early vacuum bags were made from war surplus barrage balloon fabric. After about 1950, individual rubber bags were prepared on the moulds using uncured rubber sheets which were subsequently vulcanised in the autoclaves used for production.
335_14	Placed in the autoclave, the vacuum was drawn down to 27/28 inches water-gauge and steam at a pressure of some 50 pounds per square inch introduced. Processing took about 45 minutes at 100 °C. Curing at elevated temperatures under vacuum not only ensured that all the veneers were firmly consolidated – a process requiring many thousands of staples using the conventional cold-moulding process – but allowed for the use of a truly waterproof, single part, high-temperature curing glue. During the curing process the glue impregnated the wood resulting in a virtually rot-proof finished shell. Components such as side-decks were also hot moulded while other parts required for assembly were cut to patterns in the same way as the skin veneers. For one of the more complex boats, the International 14, the time for final construction from bare hull to finished boat was set at 230-man-hours compared to 400–500 hours associated with traditional construction.
335_15	Power boats When Richard Fairey son of Sir Richard started the powerboat business, he had contacted US designer C Raymond Hunt (designer of the International 110) about using the designs that were proving so successful in races such as the Miami-Nassau. Fairey Marine motor cruisers began with boats being built to Hunt designs. The exclusive concessionary rights for the sale of Fairey craft were acquired by businessman Bruce Campbell. He went off to the South of France with the first four hot-moulded Fairey boats on a sales trip, naming the design Christina. The 23 ft (7m) design may have suited Hunt's local waters but being fully open boats and incorporating leaky retractable centre-boards, they were not well received. Before long Campbell returned with all four boats still in tow. Richard Fairey then employed British designer Alan Burnard to adapt Hunt's ideas and come up with more suitable designs, while Bruce Campbell severed his close ties with the company.
335_16	Burnard's first designs, included the Huntress and were far more appropriate, Fairey went on to build hundreds of boats to Burnard designs. In addition to producing its own craft, Fairey also supplied bare hulls suitable for fitting out, and Campbell, still looking to fulfil his own ideas for a luxury powerboat, acquired Huntress hulls, with the blessing of Fairey, fitting them out to his own specifications and calling them, once again, Christinas; the later models were laid up in GRP by Halmatic. Campbell's boats proved successful in British racing both in Round Britain races and the Cowes-Torquay. Tommy Sopwith won the inaugural 1961 Cowes Torquay race in a Christina 25. The most common Fairey Marine Motor Cruisers are listed below:
335_17	Fairey Huntress Fairey Huntsman / Fairey Huntsman 28 / Fairey Huntsman 31: The design of the Huntsman and its smaller sister, the Huntress were the inspiration of Ray Hunt and designed by Alan Burnard. These boats enjoyed considerable success in 1960s power boat racing, and came to represent the classic type of the period. The planing hull design has been copied in various guises since. The hull is a relatively deep V with single chine and spray rails. The construction was of laminated mahogany, Once laminated the hulls were cooked in an autoclave to cure the glue. The engines (Twin Perkins T6354 145 hp 5.95 litre turbo diesel) were placed midships under a sloping deck to the cock-pit. Fairey Fantome
335_18	Fairey Swordsman: 61 Swordsman boats were built between 1964 and 1974 at the Hamble Point factory around 40 are still in service today. Initially 33' long and with a beam of 11' 5", they came in either an aft cabin or open cockpit version. Like the Huntress and Huntsman 28 they were also available in kit form or as a hull only if required – they were the largest of the production boats built by Fairey Marine. In the middle of the production Faireys introduced an upgraded version called the Super Swordsman. Fairey Spearfish and Spear
335_19	Other craft produced by Fairey Marine were a total of 88 hulls for Dell Quay Productions Ltd which were used to produce the Dell Quay Ranger and Christinas. The company was perhaps most renowned for producing exclusive powerboats and cruisers based on an extensive racing pedigree. Fairey Marine cruisers won 148 racing awards between the years 1961 and 1973, including the prestigious Monte-Carlo and Cowes-Torquay races. 1969 was a particularly successful year, with a tally of 54 awards.
335_20	Sailing craft Fairey Marine's first volume production boat was the Firefly, a 12 ft sailing dinghy which continues to be a popular racing dinghy today. In 1946 Uffa Fox was asked by Chichester-Smith, together with Stewart Morris, to design a one-design twelve foot dinghy. Uffa Fox dusted off his pre war Sea Swallow design renaming it Firefly to name it after Fairey aircraft. Another dinghy, the 15 ft Albacore, was also built by other manufacturers and raced at many sailing clubs in the UK and other countries.
335_21	The Firefly was one of the first production dinghies ever built in large numbers, the initial cost of a boat was £65. The first four were bought by Sir Geoffrey Lowles, commodore of Itchenor Sailing Club, which he named Fe, Fi, Fo and Fum. The boat was also considered to be sufficiently competitive enough to be selected for the single handed class in the 1948 Olympics, although it was replaced in 1952 by the Finn. Early boats were built from laminates of birch ply, left over from the stocks used to build Horsa gliders. The mast, built by Reynolds, was aluminium alloy with the top section made from spruce. A number of modifications have been made to the class over the years including construction in GRP from 1968, and the introduction of a one piece rotating mast by Proctors in 1970. Despite the introduction of plastics to replace ply moulded boats, it is a testament to their build quality that there are still many wooden boats racing regularly.
335_22	Production Sailing Dinghies 505, Albacore, Dinky, Duckling, Falcon, Firefly, Flying Dutchman, International Finn, Gannet, International 14- Mk1 to Mk5 Designed by Uffa Fox, Jollyboat_(Uffa Fox), Swordfish, Shearwater III Production Yachts Later on in the 1950s they produced the larger sailing cruisers, the Atalanta (named after Sir Richard's wife), Fulmar and the 27' Fisherman motor sailer (based on the Fairey Lifeboat hull) along with the 15 Cinderella (outboard runabout) and the 16'6" Faun (outboard powered family cruiser).
335_23	Between 1956 and 1968 Fairey Marine produced some 291 Atalanta class sailing yachts, designed by Uffa Fox: The Atalanta was conceived in 1955 by Alan Vines, a senior executive at Fairey, with the expertise of Uffa Fox who was their Design Consultant. It was envisaged as a trailable shallow draft performance cruiser with the sea keeping capabilities and safety of a fin keel yacht. Over the succeeding decades the distinctive centre cockpit design with its rolled decks and generous accommodation has more than fulfilled expectations, offering a respectable turn of speed in light airs while her retractable cast iron keels give outstanding heavy weather performance in a seaway. Robust enough to carry its full sail in winds up to force five, the Atalanta retains many of the handling characteristics of a classic dinghy.
335_24	Fairey Marine went on to produce three variants of the Atalanta, another 26 ft (8.1m) hull with a slightly shorter cockpit and more headroom called the Titania (named after another Fairey flying boat), a larger version the Atalanta 31 (9.45m) and the Fulmar a 20 ft(6.1m) version with a single lifting keel. Fairey Marine Production Yacht Classes Atalanta 26 Atalanta 31 Titania (also 26 ft but with greater cabin headroom) Fulmar Also produced using the same technique of hot-moulded veneers were the Dinky and Duckling dinghies, mainly used as tenders although the Duckling was also sold as a sailing dinghy, also the Pixie a two-part symmetrical dinghy/canoe. It is mentioned in the Fairey Review that between 1946 and 1963 the Hamble factory produced over 11,000 boats.
335_25	Other work During the 1950s Fairey Marine decided to build a production folding boat, a cross between a canoe, a dinghy and a punt. Of plywood and waterproofed canvas construction, the boat was robust, with individual sections being bolted together and stiffened with removable bulkheads. Fore and aft shaped sections were added for better performance through the water. Additional sections were available so the boat could seat from one to four persons. There was even a rigid deck spray cover so it could be used for surf canoeing.
335_26	In 1974, Fairey Marine was awarded the contract to build a new floating bridge between East and West Cowes, on the Isle of Wight. The bridge (or ferry) travels along two heavy chains anchored on either side of the River Medina. The chains pass through slots beneath the cardeck of the ferry, and the winch machinery inside pulls along the chain, taking it from one shore to the other. The chains are kept loose so that they sink to the river bed, allowing other vessels to use the river and sail above the chains. The use of chains means that it is impossible for the ferry to go off course or become lost in fog. The bridge is diesel powered, took 16 months to build and cost £280,000. It carries up to 19 cars, Since 1982, the bridge has been the only floating bridge on the route and since 1992 foot passengers have travelled free of charge.
335_27	Combat Support Boat One of the last designs to come from Fairey Marine before being absorbed into FBM Babcock Marine Limited was a craft based on a requirement issued by the UK Military Vehicles and Engineering Establishment at Christchurch, the Fairey company started development of the 8m Combat Support Boat (CSB) in the Autumn of 1975, with the first prototype being delivered to the British Army for trials early in 1977. As a result of extensive trials the boat was accepted for service with the British Army in February 1979 and an order placed for 56 boats. The Ministry of Defence ordered a further 12 CSBs to replace those lost during the Falklands War. After evaluation by the US Army, with over 700 boats delivered, more than half of these having been license-produced in the US.
335_28	Associated companies Fairey Marine Holdings Ltd, Hamble, Management company; Fairey Marine (East Cowes) Ltd, East Cowes, Ship and boat building; Fairey Exhibitions Ltd, Hamble, Exhibition stand contractors; Fairey Marine Ltd, Hamble, Boat building and repair; Fairey Yacht Harbours Ltd, Hamble, Boat handling, berthing and storage;
335_29	Fairey-sponsored sailing competitions The Schools Championships was started in 1953 under the name of The Public Schools Firefly Invitation Championships. Its aim was to promote inter-schools sailing competition and the encouragement of young sailors. The winning school won a prize of a Fairey Firefly 12 ft dinghy. This scheme was the idea of Colin Chichester-Smith and Charles Currey both of Fairey Marine. They both sailed International 14 footers at that time and asked the Itchenor Sailing Club to run the event which has become a prestigious UK competition. Fairey Marine presented a complete Firefly for some 19 years. To reduce their financial commitment in later years Ratsey & Lapthorn, the sail makers, presented the sails. The Firefly first prize was replaced in 1972 by today’s engraved plate "The Sir Richard Fairey Challenge Trophy".
335_30	Preservation groups and associations The Fairey Enthusiasts Club is for those who share an appreciation of the boats built by Fairey Marine exclusively. Its main objective is to offer a freely available exchange for information and comments for those with an interest in Fairey Marine or for those restoring a Fairey boat from the 1960s to the early 1980s. Fairey Owners' Club Although Fairey boats were built from the '50s to the early '80s, it was not until 1986 that the Fairey Owners Club was founded by Justin Birt. Their basic idea, which still remains the principal objective of the club, is to preserve the marque of Fairey boats especially powerboats. Latterly the club has admitted owners of modern interpretations and copies of the original boats. These boats use identical hull moulds or have been designed by Fairey's chief designer, Alan Burnard.
335_31	Atalanta Owners Association: The Atalanta Owners Association (AOA) was started in 1958 by Fairey Marine with the object of maintaining a register of the Atalanta class sailing craft. With the demise of the company, many of the records and drawings of these craft were passed to the AOA and are still available to members. See also Fairey Aviation Uffa Fox References External links Fairey Marine Official Site Fairey Owners Club Fairey Swordsman Firefly Sailing Website Fairey Hull Brochures Companies based in Southampton Defunct shipbuilding companies of the United Kingdom Fairey Aviation Company
336_0	The Robin Hood tax is a package of financial transaction taxes (FTT) proposed by a campaigning group of civil society non-governmental organizations (NGOs). Campaigners have suggested the tax could be implemented globally, regionally or unilaterally by individual nations. Conceptually similar to the Tobin tax (which was proposed for foreign currency exchange only), it would affect a wider range of asset classes including the purchase and sale of bonds, commodities, mutual funds, stocks, unit trusts and derivatives such as futures and options.
336_1	A United Kingdom-based global campaign for the Robin Hood tax was launched on 10 February 2010 and is being run by a coalition of over 50 charities and organisations, including Christian Aid, Comic Relief and UNICEF. The UK government published a response favouring instead bank levies and a financial activities tax, citing the International Monetary Fund's report to the June 2010 G20 meeting, "A Fair and Substantial Contribution by the Financial Sector". The Robin Hood tax campaign also supports both a Bank levy and a Financial Activity Tax, saying they are agnostic about the chosen mechanism providing it involves a sizeable transfer of wealth from the financial sector to the needy. However most of their campaigning efforts have focussed on the FTT variant.
336_2	By autumn 2011 the Robin Hood campaign had gained considerable extra momentum and support from prominent opinion formers, with a proposal from the European Commission to implement an FTT tax at EU level set to enter the legislative pipeline. The proposal, supported by eleven EU member states, was approved in the European Parliament in December 2012, and by the Council of the European Union in January 2013. The formal agreement on the details of the EU FTT still need to be decided upon and approved by the European Parliament, but it is expected to go into effect by the beginning of 2018. Early history of the terminology Robin Hood is an English folk hero said to have stolen from the rich to give to the poor. Redistributive taxes have thus long been called Robin-Hood taxes.
336_3	In 2001, the charity War on Want released The Robin Hood Tax, an earlier proposal presenting their case for a currency transaction tax. In 2008, Italian treasury minister Giulio Tremonti introduced a windfall tax on the profits of energy companies. Tremonti called the tax a "Robin Hood Tax" as it was aimed at the wealthy with revenue to be used for the benefit of poorer citizens, though unlike the tax campaigned for in 2010 it was neither a transaction tax nor global nor aimed at banks.
336_4	The 2010 UK campaign The campaign has proposed to set taxes on a range of financial transactions – the rate would vary but would average at about 0.05%. The tax would be applied to those trading in financial products such as stocks, bonds, currencies, commodities, futures, and options. It would affect individual investors, banks, hedge funds and other financial institutions. The campaign is sponsored by various prominent charities, aiming to raise money for International development, to tackle climate change and to protect public services. The amount of money raised would depend on a number of different factors, including how many countries agree to the tax and the rate.
336_5	It has been proposed by the campaigning (lobbying) group that the money raised from this tax be split between domestic use and international aid. In an article co-authored by one of the campaign's most prominent advocates, Comic Relief founder Richard Curtis, it was suggested that approximately 50% of funds raised would be assigned to domestic use to protect public services and for governments to tackle poverty at home. Under the proposal, international efforts to reduce global poverty would receive another 25%, and the remaining 25% would go towards helping low income countries mitigate the effects of climate change and to reduce their own emissions.
336_6	The British campaign's launch was accompanied by an online poll on the charity's web site for the public to have a say on whether they support the tax. Initially, there was an apparent backlash with what appeared to be thousands of members of the public visiting the Robin Hood Tax to vote against the idea. However, on investigation it was claimed by the lobbying group that some five thousand of the "no" votes came from only two servers, one of them belonging to the investment bank Goldman Sachs. The Robin Hood tax has been supported by some 350 economists in a letter written to the G20, including Joseph Stiglitz and Jeffery Sachs. Politicians supporting the tax include Angela Merkel, Nicolas Sarkozy and Katsuya Okada, Japan's foreign minister. According to a press release by the lobbying organisation, support has been forthcoming from the financial sector by prominent figures including George Soros, Warren Buffett and Lord Turner, chairman of the UK's Financial Services Authority.
336_7	At 5 February 2010 G7 meeting in Canada consensus was formed for some form of tax charged against large banks to cover the cost to government of insuring banks against future crisis. G7 officials planned to seek approval from other G20 nations at the June 2010 summit before progressing towards implementation. While the movement supporting this or similar transaction taxes is international, the use of the "Robin Hood" theme has been especially prominent in Great Britain. An early thrust of the 2010 campaign involved grass roots supporters being encouraged to lobby MPs and the British Treasury for an implementation of the Robin Hood tax to be announced unilaterally as part of the UK's 24 March 2010 Budget. The British Chancellor refused to implement a Robin Hood tax, saying it would need to be co-ordinated internationally or else it would result in thousands of jobs being lost in the UK.
336_8	Another theatre for the campaign is the European Parliament, where in March 2010 a resolution was passed calling for progress to be made in identifying ways to set up a "Robin Hood" type tax. Efforts in 2011 and later Campaigning for the tax continued in 2011, with over 1000 economists signing a letter addressed to G20 finance ministers prior to their April 2011 meeting in Washington. Prominent signatories include Jeffery Sachs ; Nobel prize winners Joseph Stiglitz and Paul Krugman ; Harvard's Dani Rodrik and Cambridge's Ha-Joon Chang. A copy of the letter was also sent to Bill Gates, who has been commissioned by G20 chair and French president Nicolas Sarkozy to investigate new ways of funding the development of low income countries. The Guardian reported that staff from the Gates Foundation are also involved in international lobbying at G20 capitals.
336_9	The Robin Hood campaign has been attempting to build international public enthusiasm for the tax prior to the November G20 summit; in June the organisation reported the staging of campaigning events in 43 different countries. In late June the European Commission reversed its earlier opposition to the tax, proposing EU financial transaction tax be adopted within all member states of the European Union. Moves to pass the proposal through the legislative process are scheduled to commence in autumn 2011. A European version of the tax is projected to raise up to €30bn a year. ECB president Jean-Claude Trichet warned that implementing the tax could hurt Europe unless it could be rolled out globally.
336_10	In August 2011 Sarkozy and German Chancellor Angela Merkel affirmed their support for the proposed European implementation. Great Britain's prime minister David Cameron remains opposed to the tax unless it can be implemented globally, meaning that a European implementation would likely have to be confined to the Eurozone not the whole EU.
336_11	As part of his September State of the Union speech, President of the European Commission José Manuel Barroso officially proposed an upgraded package of transaction taxes for adoption by the EU, now projected to raise up to €55bn ($75bn) per year. Also in September, Bill Gates presented his preliminary findings to the 2011 IMF & World Bank meeting in support of the Robin Hood tax. Gates's proposal is for a set of taxes which could raise between $48–250bn per year. Unlike Barroso's proposal, Gates is advocating the tax be adopted on a G20 wide bases rather than for just the EU, and Gate's plan is geared more towards raising funds for aid and development rather than for regular public spending and repairing government finances. Various British business, banks and economists such as Howard Davies have attacked the EU proposal saying it would be bad for growth and would harm the economy. Max Lawson for the Robin Hood campaign responded to developments by saying "Game on!".
336_12	In October, Adbusters, the organisation responsible for sparking the Occupy movement, called for a global march in support of the Robin Hood tax, to take place on 29 October just before the 2011 G20 leaders summit. Marches did not occur in all "occupied" cities, but events involving several hundred protesters did take place at locations including Washington DC, Vancouver and Edinburgh. Also in October the Robin Hood tax was endorsed by Pope Benedict XVI . In November, Rowan Williams, then Archbishop of Canterbury, re-affirmed his support of the Robin Hood campaign with an article in the Financial Times, saying the Vatican's strong backing for a FTT was "probably the most far-reaching" of their recent statements on reforming the International monetary system.
336_13	In November, Bill Gates presented his report to the 2011 G-20 Cannes summit, saying that a FTT tax could be an effective way to raise funds to tackle poverty in the developing world. However Gates also told the Financial Times that an FTT was only one option among many, admitting that in his opinion it was less important than tobacco and fuel taxes. At the G20 Summit there was strong support for the Robin Hood tax from Germany and France but opposition from other members including the US, Canada and Australia.
336_14	A few days after the G20 Summit, European finance leaders debated the possible introduction of a regional FTT tax. Again there was strong support from Germany and France but also from Austria, Belgium, Greece, Finland, Luxembourg, Spain, Portugal, while strong opposition comes from Britain, Sweden, Denmark, the Czech Republic, Romania and Bulgaria, with some members being sceptical especially about the value of implementing an FTT without including at least all 27 EU states. As European Union members remain divided over the issue, advocates of the FTT have said it could be implemented only within the eurozone, excluding countries like Sweden and the United Kingdom.
336_15	France's president Hollande had committed to a Robin Hood tax in his 2012 election campaign. In a meeting just prior to the 2012 G8 summit he advised that he intends to uphold his commitment, though David Cameron repeated that Britain would veto the tax if attempts were made to impose it across the EU. Plans were made in France to implement the tax unilaterally, though these were superseded by an agreement to launch a Robin Hood tax at EU level. Eleven countries including France and Germany will take part, with the tax due to go live in 2014.
336_16	European Union financial transaction tax The EU financial transaction tax (EU FTT) is a proposal made by the European Commission in September 2011 to introduce a financial transaction tax within the 27 member states of the European Union by 2014. The tax would only impact financial transactions between financial institutions charging 0.1% against the exchange of shares and bonds and 0.01% across derivative contracts. According to the European Commission it could raise €57 billion every year, of which around €10bn (£8.4bn) would go to Great Britain, which hosts Europe's biggest financial center. It is unclear whether a financial transaction tax is compatible with European law.
336_17	If implemented the tax must be paid in the European country where the financial operator is established. This "R plus I" (residence plus issuance) solution means the EU-FTT would cover all transactions that involve a single European firm, no matter if these transactions are carried out in the EU or elsewhere in the world. The scheme makes it impossible for say French or German banks to avoid the tax by moving their transactions offshore, unless they give up all their European customers. Being faced with stiff resistance from some non-eurozone EU countries, particularly United Kingdom and Sweden, a group of eleven states began pursuing the idea of utilising enhanced co-operation to implement the tax in states which wish to participate. Opinion polls indicate that two-thirds of British people are in favour of some forms of FTT (see section: Public opinion).
336_18	The proposal supported by the eleven EU member states, was approved in the European Parliament in December 2012, and by the Council of the European Union in January 2013. The formal agreement on the details of the EU FTT still need to be decided upon and approved by the European Parliament. Celebrity involvement The campaign involves a fictional film made by Richard Curtis and starring Bill Nighy, in which Bill Nighy plays a banker who is being questioned about the Robin Hood tax. He eventually admits that the tax would be a good idea and would not be too damaging to the financial sector. United States financial transaction tax proposals
336_19	Different US financial transaction tax (US FTT) bills have been proposed in Congress since 2009. The main differences between the proposals has been the size of the tax, which financial transactions are taxed and how the new tax revenue is spent. The bills have proposed a .025%–.5% tax on stocks, .025%–.1% tax on bonds and .005%–.02% on derivatives with the funds going to health, public services, debt reduction, infrastructure and job creation. The House of Representatives has introduced since 2009 ten different US FTT related bills and the Senate has introduced four. The bills in the Senate have been variously sponsored by Tom Harkin (D-Iowa) or Bernie Sanders (I-Vermont). The bills in the House have been variously sponsored by Peter DeFazio (D-Oregon), John Conyers (D-Michigan) or a number of other Representatives.
336_20	The US FTT bills proposed by Rep. Peter DeFazio (D-Oregon) and Sen. Harkin (D-Iowa) have received a number of cosponsors in the Senate and House. The Let Wall Street Pay for the Restoration of Main Street Bill is an early version of their cosponsored US FTT bill which includes a tax on US financial market securities transactions. The bill suggests to tax stock transactions at a rate of 0.25%. The tax on futures contracts to buy or sell a specified commodity of standardised quality at a certain date in the future, at a market determined price would be 0.02%. Swaps between two firms and credit default swaps would be taxed 0.02%. The tax would only target speculators, since the tax would be refunded to average investors, pension funds and health savings accounts. Projected annual revenue is $150 billion per year, half of which would go towards deficit reduction and half of which would go towards job promotion activities. The day the bill was introduced, it had the support of 25 of
336_21	DeFazio's House colleagues.
336_22	in 2012, Rep. Keith Ellison introduced the new version of the U.S. Robin Hood Tax Campaign, which promises to raise up to $350 billion in annual revenues that would be used to revitalise Main Street Communities across America.The legislation embodies the Robin Hood Tax, a 0.5% tax on the trading of stocks, 50 cents on every $100 of trades, and lesser rates on trading in bonds, derivatives and currencies. Comparison with the Tobin Tax As of November 2011, the term "Tobin tax" is often used as a synonym for the Robin Hood tax. The Robin Hood FTT variant is similar to the original Tobin tax proposal but would apply to a broader set of financial sector transactions. Tobin suggested a form of currency transaction tax. This is a type of financial transaction tax, which taxes specific types of currency transaction. This term has been most commonly associated with the financial sector, as opposed to consumption taxes paid by consumers.
336_23	Another difference between the Robin Hood FTT and the Tobin tax is that the Tobin tax was intended primarily to stabilise the economic market rather than generate revenue. Economists and analysts are now divided as to whether a small transaction tax would have a significant braking effect on the velocity of trades. According to the campaigning organisation, the Robin Hood Tax campaign presents the raising of revenue for domestic use and to fund international aid as a leading aim.
336_24	Evaluation and reception of the Robin Hood tax Despite the early support for the FTT variant by leading statesmen such as Gordon Brown, by March 2010 the Financial Times had reported the international consensus now favoured a straightforward levy against various bank assets rather than a financial transaction tax.
336_25	After the June 2010 G20 meeting of finance ministers in Busan, the G20 were no longer agreed even for the less radical global bank levy, with opposition led by Canada and Australia. Officials from EU, USA and UK said they were still planning to implement levies on their own banks, although the tax would likely be at a lower rate now to limit the risk of banks moving to jurisdictions that aren't planning on implementing the levy. Following on from the Pusan meeting but prior to the main 2010 G-20 Toronto summit, the European Union president Herman Van Rompuy announced that the EU had a common position in favour of both a Robin Hood style transaction tax and a bank levy which they would push for at the G20 gathering. However, according to the Canadian Embassy Newspaper there were divisions within the EU with some member countries such as the Czech Republic against any form of bank tax.
336_26	No consensus for the tax emerged from the 2010 G20 summit. Prior to the 2011 G20 Summit in November, the Robin Hood campaign had become even more prominent, though it also provoked dozens of critical articles. Again it failed to achieve consensus at the 2011 summit.
336_27	General criticism
336_28	The proposed FTT could reduce the total volume traded in financial products, with negative consequences for employment. While this may reduce employment in brokerages and other areas of the securities industry, a further consequence could be unemployment outside of the financial sector. Schwabish (2005) examined the potential effects of introducing a stock transaction (or "transfer") tax in a single city (New York) on employment not only in the securities industry, but also in the supporting industries. A financial transactions tax could lead to job losses also in non-financial sectors of the economy through the so-called multiplier effect forwarding in a magnified form any taxes imposed on Wall Street employees through their reduced demand to their suppliers and supporting industries. The author estimated the ratios of financial- to non-financial job losses of between 10:1 to 10:4, that is "a 10 percent decrease in securities industry employment would depress employment in the
336_29	retail, services, and restaurant sectors by more than 1 percent; in the business services sector by about 4 percent; and in total private jobs by about 1 percent."
336_30	Other unintended consequences of an FTT could include a reduction in professional market participants such as market makers who stand ready to buy or sell at prevailing prices. This could impact the orderly and efficient operation of markets, including the price discovery process. It has been suggested that such reforms could lead to reduced liquidity, wider bid / offer spreads, and greater volatility. According to the United States Chamber of Commerce, the tax could double the cost of certain financial transactions and could cause the Dow Jones Industrial Average to fall by 12.5%.
336_31	Mike Devereux, director of the Centre for Business Taxation at Oxford University, has argued the tax would effectively be a stealth tax as the banks would pass all costs on to their customers, with no guaranteed transparency about who exactly would bear the costs. Economics writer Tim Worstall has made similar arguments, stating the tax would ultimately be paid not by the banks but by ordinary consumers and workers. Worstall also argues that overall an FTT tax would reduce tax revenue, so would fail to help provide extra money for helping the poor. In 2011 Oxfam banned a pensioner from one of its stores as he was incensed by the organisation's support for the tax, feeling that it could reduce the income of small-time pensioners and shareholders like himself.
336_32	By May 2013, with the EU due to launch a Robin Hood tax in 2014, there has been considerable caution expressed from commentators within nations due to implement the tax, such as Germany. For example, Jens Weidmann, president of the Bundesbank, warned that in its current form the tax would harm Europe's repo market, with knock on effects to the real economy as some firms would likely find themselves less able to borrow. Criticism against implementation at national or regional level only If implemented just at EU level rather than globally, critics have stated the negative consequences would be felt disproportionately in Britain, with economists such as Tim Congdon estimating an FTT could result in over 100,000 job losses from London's financial sector.
336_33	Andrew Tyrie, Chairman of the UK Treasury Select Committee, has listed 17 problems with the FTT tax, including a loss of overall tax revenue for Britain. Critics have conceded that the FTT would reduce the overall volume of transactions, especially those originating from High-frequency trading, but deny that it would reduce the risk of further crises in the financial sector. On 15 April 1990, the tax on fixed-income securities was abolished. It is notable that the tax imposed an increased cost on government borrowing, and this may have influenced the decision to repeal the tax.
336_34	Public opinion A Eurobarometer poll of more than 27,000 people published in January 2011 found that Europeans are strongly in favour of a financial transaction tax by a margin of 61 to 26 per cent. Of those, more than 80 per cent agree that if global agreement cannot be reached – an FTT should, initially, be implemented in just the EU. Support for an FTT, in the UK, is 65 per cent. Another survey published earlier by YouGov suggests that more than four out of five people in the UK, France, Germany, Spain and Italy think the financial sector has a responsibility to help repair the damage caused by the economic crisis. The poll also indicated strong support for an FTT among supporters of all the three main UK political parties. Despite the arguments that an EU only FTT tax would hurt Great Britain, other 2011 polls have suggested about two-thirds of the British public support the Robin Hood tax campaign.
336_35	See also Association for the Taxation of Financial Transactions and for Citizens' Action Currency transaction tax European Union financial transaction tax Robin Hood Robin Hood effect Spahn tax Transfer tax References External links The Robin Hood Tax organisation Financial transaction tax International taxation International development Taxation and redistribution
337_0	Aspects of Love is a musical with music and book by Andrew Lloyd Webber, and lyrics by Don Black and Charles Hart. It is based on the 1955 novella of the same name by David Garnett. The piece focuses on the romantic entanglements of actress Rose Vibert, her admiring fan Alex Dillingham, his underage cousin Jenny, his uncle George, and George's mistress, sculptor Giulietta Trapani, over a period of 17 years. The "aspects" of the title refers to the many forms that love takes in the show: love between couples, both as romantic infatuation and as married people; children and their parents; and hints of same-sex attraction (Giulietta and Rose).
337_1	Lloyd Webber was introduced to Aspects of Love in 1979, when he and Tim Rice were approached to write a few songs for a proposed film version. When nothing came of it, he suggested to Trevor Nunn that they collaborate on a stage adaptation. In 1983, they presented a cabaret of numbers they had written, but it was not until five years later that they tackled the project in earnest. The musical features the song "Love Changes Everything".
337_2	Productions
337_3	The West End production, directed by Trevor Nunn and choreographed by Gillian Lynne, musical direction by Michael Reed, opened on April 17, 1989, at the Prince of Wales Theatre, where it ran for 1,325 performances. The original cast included Ann Crumb as Rose Vibert, Michael Ball as Alex Dillingham, Kevin Colson as George Dillingham, Kathleen Rowe McAllen as Giulietta Trapani, Diana Morrison as Jenny Dillingham and Sally Smith as The Chanteuse. Roger Moore was due to star as George in the production but left two weeks before opening night. He later stated in an interview he was unable to cope with the technical side of singing in Aspects of Love, and the production required someone with experience of singing with orchestras. Following his departure, his understudy Kevin Colson took over the role. During the run, the role of Rose Vibert was also played by Susannah Fellows, Helen Hobson and Sarah Brightman; Alex Dillingham by David Greer, David Malek and Michael Praed; Giulietta Trapani
337_4	by Becky Norman and Grania Renihan; and George Dillingham by Barrie Ingham.
337_5	The Broadway production, with the same creative team and many of the original London cast, opened on April 8, 1990, at the Broadhurst Theatre and closed on March 2, 1991, after 377 performances and 22 previews. Brightman and John Cullum joined the cast later in the run. The reviews were lacklustre and New York Times critic Frank Rich wrote in a negative review "Whether Aspects of Love is a musical for people is another matter." When the musical closed, the entire $8 million investment was lost, which, according to the New York Times, made it "perhaps the greatest flop in Broadway history."<ref>Bernstein, Richard."'Aspects,' the Musical That Had Everything, And Lost Everything",The New York Times", March 7, 1991</ref> In 1991, a "chamber" version of the show with Keith Michell was mounted in Canada. It subsequently toured in America and a similar production was staged in Australia. Aspects of Love was produced in Japan, the Philippines, Hungary, Finland, and Denmark as well.
337_6	In 1993, R.U.G and Apollo Leisure breathed life into a new production directed by Gail Edwards and choreographed by Jo Anne Robinson. The show opened at the Alexandra Theatre, Birmingham, toured the UK and then headed into the West End and re-opened at the shows original venue, The Prince of Wales theatre, London. There were many differences from the original, especially in the stage design, which used a revolve and beautiful butterfly gauzes to help the flow from scene to scene. Kathryn Evans played Rose, Alexander Hanson played Alex, Gary Bond played George, Lottie Mayor played Jenny and Karen Skinns played Giulieta. The cast also included Paul Bentley, Helen Viner-Slater, Alisdair Harvey, Nicola Dawn, Martin Callaghan, Russell Wilcox, Heather Davies, Nathan Harmer, Leslie Meadows, Gail-Marie Shapter, Myles Faraday, Kate Marsden, Natalie Holton, Angela Lloyd and Peter King.
337_7	A new UK tour began on 31 August 2007, the first production in 15 years. It starred David Essex as George Dillingham, along with Matt Rawle, Shona Lindsay, and Poppy Tierney. The production was directed by Nikolai Foster, with musical direction by Andrew J.Smith. It opened at the Theatre Royal, Newcastle upon Tyne, and toured for 36 weeks through 8 December 2007. Rawle was later replaced by Tim Rogers. Following the UK tour, the musical played a limited engagement at The Joburg Theatre in Johannesburg, South Africa from May 22 to June 28, 2009. The touring production was re-directed by Nikolai Foster and starred Samantha Peo, Robert Finlayson, Angela Kilian and Keith Smith. A London revival ran at the Menier Chocolate Factory from July 15 to September 11, 2010, with new direction by Trevor Nunn. The cast featured Dave Willetts as George, Rosalie Craig as Giulietta, Katherine Kingsley as Rose, and Michael Arden as Alex.
337_8	In 2012, a Dutch production toured the Netherlands, produced by Stage Entertainment. The new Definitive script was staged at The Playhouse, Whitley Bay from February to March 2014. Produced by Tynemouth Operatic Society, it was the first non-professional staging in the UK with the new script and full orchestra. It was also the first staging in the world of the Definitive version worked on by Lord Lloyd Webber who pulled together various aspects of productions and tours over the years and created the show as he wishes to see it staged. In July 2018, a new revival opened at the Hope Mill Theatre, Manchester. In January 2019, the Hope Mill production transferred to the Southwark Playhouse. Synopsis Act One At a train station in Pau, France in 1964, 34-year-old Alex Dillingham reflects on his love life over the past 17 years ("Love Changes Everything"). A woman (Giulietta Trapani) replies to him that "it's all in the past."
337_9	Flashing to 1947, Rose Vibert, a 20-year-old actress, complains that their production of The Master Builder is a flop. The producer, Marcel, tries to placate Rose by introducing her to a fan, 17-year-old Alex ("A Small Theatre in Montpellier"). Alex and Rose have a brief tryst at his uncle George's villa in Pau ("Seeing is Believing", "The House in Pau"). George Dillingham, in Paris with his mistress, Giulietta Trapani, an Italian sculptor, returns to his villa to see for himself what Alex and Rose are doing ("An Art Exhibition in Paris", "A Memory of a Happy Moment"). Rose is attracted to George, who is overcome when he sees Rose dressed in a gown belonging to his beloved late wife, Delia, also an actress, and remarks how much Rose resembles Delia ("In Many Rooms in the House at Pau").
337_10	He advises Alex that all good things have to end, and that his interlude with Rose will be a memory. Alex insists that his relationship with Rose is real love ("On the Terrace"). George leaves, and Rose leaves to rejoin Marcel. Alex realizes that Rose had never taken him seriously ("At the House at Pau"). Two years later, Alex, now a soldier, visits his uncle in Paris, and is shocked to find that Rose is now George's mistress. He accuses her of chasing his uncle's money, but Rose protests that she really loves George. She admits that she did love Alex once, and the two, drawn to each other again, fall into bed ("George's Flat in Paris").
337_11	The next morning, an agitated Rose tells Alex to leave before George returns. Alex, enraged, pulls out his gun. Rose throws a candlestick at Alex, and the gun goes off, shooting Rose in the arm, and she faints ("First Orchestral Interlude"). After George arrives, he and Alex each try to convince the other that the other is the right man for Rose. George wins the debate, insisting that Alex should begin a new life with Rose, and Alex finally agrees ("She'd Be Far Better Off With You"). George then heads to Venice to see his former mistress, Giulietta. However, Rose orders Alex to leave, having chosen to stay with George. Alex leaves, and Rose and Marcel follow George to Venice. Rose intends to confront Giulietta and reclaim George. In Venice, Giulietta and Rose bond while discussing George's foibles. They both express surprise that the other woman is not at all what they'd imagined. George returns and says that he has lost most of his money ("Stop. Wait. Please").
337_12	Rose then asks George to marry her and he agrees. At the wedding, Giulietta shocks everyone by claiming her best man's rights and kissing Rose on the mouth. George, however, is delighted ("A Registry Office"). At "A Military Camp in Malaya", Alex receives a letter from Rose telling him that she married George, and they are expecting a child. Act Two
337_13	Twelve years later at a theatre in Paris, Rose has risen to stardom and has a young lover, Hugo. Marcel and the rest of the cast celebrate the latest hit (A Month in the Country) ("Leading Lady"), but Rose insists that she must return to the villa at Pau and to her husband George and their 12-year-old daughter, Jenny. Marcel reintroduces her to the 32-year-old Alex ("At the Stage Door"). Rose is delighted and insists that he come with her to Pau. At the villa, Jenny is excited by the prospect of her mother's return. George is happy to see Alex, returning with Rose, and Jenny, who has heard much about him, meets him for the first time. Rose and George insist that Alex should stay with them ("Other Pleasures"). Meanwhile, in Venice, George's former mistress, Giulietta, ponders the meaning of stable, long-lasting love versus romantic infatuation ("There Is More to Love").
337_14	Two years later, Alex suggests that Jenny needs a Paris education, which upsets Rose, who suspects that her daughter has developed an unhealthy crush on Alex ("The Garden at Pau (Version 2)"). That evening Jenny appears wearing Delia's gown, much as Rose did ("On the Terrace (Version 2)"); George happily dances with his daughter. Jenny tries to draw Alex into the dance, but Alex politely refuses ("The First Man You Remember"). Later, Jenny and Alex are left alone, and Jenny finally convinces Alex to give her the last dance. Rose catches Jenny clasping Alex in a very adult fashion, and Alex leaves. Jenny tells her mother that Alex is the first to make her feel like a woman. Rose confronts Alex, who admits to having feelings for Jenny, but insists that he would never harm her ("The Vineyard at Pau"). Later, Jenny tells Alex that she loves him. She begs him to be honest, then kisses him ("Up in the Pyrenees").
337_15	George plans his wake, insisting that there should be dancing and fun. Rose tells him that he's bound to outlive them all ("George's Study at Pau"). At a circus in Paris, George, Rose, Alex, and Jenny are celebrating Jenny's fifteenth birthday ("Journey of a Lifetime"). George becomes agitated as he watches Jenny talking with Alex ("Falling"). Later, Alex puts Jenny to bed. Jenny tries to convince him that she's really in love with him, but Alex insists that they're just cousins. Jenny falls asleep, and Alex reflects that he knows he must not love her, but cannot help loving her. George overhears Alex and is enraged, suspecting the worst. He collapses, and Alex comes out of Jenny's room to find him dead ("Jenny's Bedroom").
337_16	At George's wake, Giulietta gives a eulogy celebrating George's unconventionality and his belief in living life to the fullest ("Hand Me the Wine and Dice"). Giulietta and Alex join in the dancing and are attracted to each other, eventually trysting in a hayloft. Jenny spies on them, while Marcel tries to comfort the grieving Rose. Alex, alone with Giulietta, wonders how to end his relationship kindly with Jenny. He returns to the villa for one last confrontation. Alex tries to explain to Jenny that their relationship was unnatural. She reminds him that he was only seventeen when he met Rose, and that she is no younger than Shakespeare's Juliet ("On the Terrace (Version 3)").
337_17	Rose bids Alex farewell, but then breaks down and begs Alex not to leave her. Alex, unsure of how to reply, leaves ("Anything But Lonely"). At the train station at Pau, as Alex and Giulietta wait for the train, Giulietta wonders what will happen when Jenny reaches legal majority in three years. Alex, unable to reply, reflects once more on how love changes everything ("It Won't be Long till Jenny's a Woman"). Song list
337_18	Act I "Love Changes Everything" – Alex "A Small Theatre in Montphile" – Rose, Marcel, Actress and Alex "Parlez-vous Français?" – Crooner, Alex, Rose, Marcel, Waiter and Actors "The Railway Station" – Alex and Rose "Seeing is Believing" – Alex and Rose "The House in Pau" – Alex and Rose "An Art Exhibition in Paris" – George and Giulietta "A Memory of a Happy Moment" – Giulietta and George "In Many Rooms in the House at Pau" – Rose and Alex "On the Terrace" – George, Alex and Rose "Outside the Bedroom" – Rose and Alex "Chanson d'Enfance" – Rose and Alex "At the House at Pau" – Rose and Alex "Everybody Loves a Hero" – Harkers and Ensemble "George's Flat in Paris" – Elizabeth, Alex and Rose First Orchestral Interlude – Alex, Elizabeth, Rose and George "She'd Be Far Better Off with You" – George and Alex Second Orchestral Interlude – Orchestra "Stop. Wait. Please." – George, Giulietta and Rose "A Registry Office" – Priest, Friends, George, Rose and Giulietta
337_19	"A Military Camp in Malaya" – Alex
337_20	Act II Orchestral introduction to Act II – Orchestra "A Theatre in Paris" – Marcel, Rose, Actress and Hugo "Leading Lady" – Marcel, Rose, Alex and Hugo "At the Stage Door" – Rose and Alex "George's House at Pau" – Jenny and George "Other Pleasures" – George, Jenny, Rose and Alex "A Cafe in Venice" – Giulietta "There is More to Love" – Giulietta "The Garden at Pau" – George, Jenny, Rose and Alex "Mermaid Song" – Jenny, Alex and George "The Country Side Around the House – Orchestra "The Garden at Pau (Version 2)" – Jenny, Alex and Rose "On the Terrace (Version 2)" – George, Hugo, Alex, Rose and Jenny "The First Man You Remember" – George, Jenny and Alex "The Vineyard At Pau" – George, Rose, Alex, Jenny, Hugo and Workmen "Up in the Pyrenees" – Jenny and Alex "George's Study at Pau" – George and Rose "Journey of a Lifetime" – Chanteuse, Ensemble, George, Rose, Alex and Jenny "Falling" – Alex, Jenny, Rose and George
337_21	"Jenny's Bedroom in Paris" – Alex, Jenny, George, Rose and Hugo "Hand Me the Wine and the Dice" – Giulietta, Chorus, Alex, Jenny, Rose, Hugo and Marcel "A Hay Loft" – Giulietta and Alex "On the Terrace (Version 3)" – Alex, Jenny and Rose "Anything But Lonely" – Rose "It Won't be Long till Jenny's a Woman" – Giulietta and Alex
337_22	Note: Although most of the musical is sung, not all the parts that are sung are titled songs; some are simply sung-through scenes with minor amounts of dialogue. Recording The two-disc original cast recording of the London production preserved the bulk of the score with some edits made for reasons of length. A 2005 remastered edition restored all the material cut from the original release. When the musical opened, the song "The First Man You Remember" was often performed on TV, the impression being that it was between a couple of romantic lovers. However, in the show itself it is actually a father and daughter duet between George and Jenny. It was sung by Michael Ball and Diana Morrison in the CD single version. The first single released from the musical was "Love Changes Everything", also sung by Ball. It was a success, peaking at #2 and staying in the UK singles chart for 15 weeks, and has since become his signature song. Awards and nominations Original Broadway production
337_23	Notes References 'Aspects of Love' listing, "Really Useful" Official site Anything But Lonely - Aspects of Love Further reading Andrew Lloyd Webber – Snelson, John (2004), Yale University Press, New Haven CT. Andrew Lloyd Webber: His Life and Works'' – Walsh, Michael (1989, revised and expanded, 1997), Abrams: New York External links Ovrtur.com Listing 1989 musicals West End musicals Broadway musicals Musicals by Andrew Lloyd Webber Musicals based on novels Sung-through musicals Bloomsbury Group in performing arts British musicals LGBT-related musicals
338_0	Jack Good (7 August 1931 – 24 September 2017) was a British television producer, musical theatre producer, record producer, musician and painter of icons. As a television producer, he was responsible for the early popular music shows Six-Five Special, Oh Boy!, Boy Meets Girls and Wham!! TV series, the first UK teenage music programmes. Good managed some of the UK's first rock and roll stars, including Tommy Steele, Marty Wilde, Billy Fury, Jess Conrad and Cliff Richard. Early years Good was born in Greenford, London, England, and was brought up in Palmers Green. His father was a piano salesman in Bond Street. Jack Good attended Trinity County Grammar School and, after national service, studied philology at Balliol College, Oxford, where he became president of the university debating society and of the college drama society.
338_1	Initially intending to become an actor, he studied at the London Academy of Music and Dramatic Art, and worked as half of a comedy double act with Trevor Peacock, before joining the BBC to work on the magazine-format show Six-Five Special. Having recently been impressed by the movie Rock Around the Clock, he wanted music and a lot of movement. To get his way, Good had sets built, but shortly before the show started, they were wheeled out of the way, and he filled the space with the milling audience and performers. Television then was live, so once the programme started, Good kept it all as impromptu as possible. The running order was sketched out on Friday morning, then the only complete run-through happened immediately before transmission. The show launched the hand jive and Good even wrote an instruction book, Hand Jive at Six-Five. None of the Six-Five Special productions shows was recorded (due to the then-existing procedure of destroying and erasing already filmed programmes to
338_2	make room for new ones), but a low-budget film based on the show survives.
338_3	Independent Television
338_4	Although Good had given the BBC a show that was attracting 12 million viewers, he was being paid only £18 a week. He left for independent television and launched Oh Boy! in June 1958 for the ITV franchise holder Associated British Corporation (ABC). After trial broadcasts in the Midlands, it went national, in direct competition with Six-Five Special on Saturday evenings. Six-Five Special stuck to its mix of rock, jazz, skiffle and crooners, but Good was in his rock 'n' roll element with Oh Boy! The programmes were broadcast from the Hackney Empire, London, and made a star of Cliff Richard, as well as showcasing Billy Fury in several editions. Oh Boy! was non-stop rock and roll. Each show was 26 minutes, and no song lasted more than a couple of minutes. When ITV replaced the show on 12 September 1959 with Boy Meets Girls, people wondered whether Good had lost his touch. He later claimed his wife persuaded him that rock 'n' roll was on the way out and to adopt a more middle of the road
338_5	approach.
338_6	In the early 1960s, he wrote a column for Disc, a weekly UK pop magazine. He appeared on numerous TV shows such as The Monkees plus Hogan's Heroes and produced the rarely seen television special 33 1/3 Revolutions Per Monkee starring the Monkees. Shindig! In 1964, he made a one-off programme Around the Beatles, but regular rock 'n' roll television had disappeared from British screens apart from Ready Steady Go, which made heavy use of Good's technique of building excitement and interest by allowing the audience to mill round the singers.
338_7	Good championed the rise of rhythm & blues and went to the United States in 1962, where he spent $15,000 of his own money to produce a pilot show for the American market. After trying for a year to persuade television executives to take on the show, he gave up and returned to the UK. A year later, a disc jockey gave the tape of the pilot show to an American television executive, who sent for Good. This led to the broadcasting of the first Shindig! show, first broadcast by the American Broadcasting Company (ABC) on 16 September 1964. Shindig! had a half-hour spot until January 1965, when it was extended to an hour, before switching to twice-weekly half-hour episodes in the autumn.
338_8	The show was the first to broadcast rock and roll on prime-time television. With its famous cast and flashy camera work, the show was a success. The integration of black and white artists, however, displeased some executives and affiliates, particularly those in the South. As a result, Darlene Love of the Blossoms recalled, "Even after Shindig! was a hit, [producer Jack Good] continued to get grief from the network about the 'color' of the show, and the more grief he got, the more the more black acts he booked." Occasional broadcasts were from London. Good fell out with ABC executives and walked out. The show could not survive without Good's dynamic influence and it was cancelled in January 1966 to make room for screenings of the new Batman series. He was a subject of the British television programme This Is Your Life in March 1970 when he was surprised by Eamonn Andrews.
338_9	Music and musical theatre Good played and recorded with Lord Rockingham's XI. Their hit singles included "Fried Onions" and the better known UK Singles Chart #1, "Hoots Mon". He also produced records by performers including The Vernons Girls, Joe Brown, and Jet Harris, and, most notably, Billy Fury's 1960 album The Sound of Fury, often cited as the first British rock and roll album. He was a musical theatrical producer creating productions such as Good Rockin' Tonite. Oh Boy!, Elvis the Musical and Catch My Soul, which was also made into a film of the same name, released in 1974. He had a cameo appearance as an uptight naval officer in the comedy film Father Goose (1966).
338_10	Art Good converted to Roman Catholicism and devoted his time to Christianity and icon painting, including a wall painting portraying the television as the Devil. His paintings have been exhibited at the Rancho de Chimayó gallery alongside those of painter Antonio Roybal. He lived in New Mexico for many years, but returned to England to live in Oxfordshire. Death Good died of complications from a fall in Oxfordshire on 24 September 2017, at the age of 86. References Further reading External links Shindig produced by Jack Good 1931 births 2017 deaths Converts to Roman Catholicism English music managers English record producers English Roman Catholics English television producers People from the London Borough of Ealing English expatriates in the United States 20th-century English businesspeople
339_0	Nicholas Timothy Clerk (28 October 1862 – 16 August 1961) was a Gold Coast-born theologian, clergyman and pioneering missionary of the Basel Evangelical Missionary Society who worked extensively in southeast colonial Ghana. His father was the Jamaican Moravian missionary Alexander Worthy Clerk (1820 – 1906), who worked on the Gold Coast with the Basel Mission and co-founded in 1843 the Salem School, a Presbyterian boarding middle school for boys. N. T. Clerk was elected the first Synod Clerk of the Presbyterian Church of the Gold Coast, in effect, the chief administrator and overall strategy lead of the national church organisation, a position he held from 1918 to 1932. A staunch advocate of secondary education, Nicholas Timothy Clerk became a founding father of the all-boys Presbyterian boarding school in Ghana, the Presbyterian Boys' Secondary School, established in 1938. As Synod Clerk, he pushed vigorously for and was instrumental in turning the original idea of a church mission

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