On 8 February 1869 the Board of the Treasury met to discuss “the drafting or preparing of Bills introduced into Parliament on the part of Her Majesty’s Government.” The Treasury minute goes on to note “the advantage of bringing all important Government Bills under the view of one person,” and being “pleased to direct that the office as proposed shall be constituted to be called the “Office of the Parliamentary Counsel”.

The Office of Parliamentary Counsel has grown from one man and his assistant in 1869 to consist of a staff of 60, including some 50 experienced barristers and solicitors. Led by Elizabeth Gardiner, the team’s job is to assist government departments in preparing Bills.

In a BBC interview Gardiner remarked that, "what they used to say was that every Labour government legislated more than a Tory government but that every government legislated more than the previous one, of that colour.”

The experience of Patrick Macrory, director of Unilever, seems to corroborate that view. He worked as an assistant at the Parliamentary Counsel Office during the late 1940s under Granville Ram (known as the ‘Maestro’) and alongside Harold Kent who later became Treasury Solicitor.

Interview with Patrick Macrory, C408/005, Tape 1, Side 2, 00:23:18 – 00:24:31

In this excerpt from her 1988 interview for NLS Legal Lives, Baroness Hale explains how parliamentary draftsmen contribute to the work of the Law Commission on law reform.

Interview with Baroness Hale, C736/008, Track 4, 00:17:29 – 00:20:52

Baroness Hale. University of Salford Press Office [CC BY 2.0 (https://creativecommons.org/licenses/by/2.0)], via Wikimedia Commons

Those currently working in the Office of Parliamentary Counsel are facing unprecedented challenges, drafting legislation to accommodate the constitutional novelty that is Brexit.

Blogpost by Emmeline Ledgerwood (@EmmeLedgerwood), AHRC collaborative doctoral student with the University of Leicester and the British Library Oral History department. Her PhD research is looking at governments’ attitudes to the management and funding of scientific research, 1970-2005. 

Cheryl Tipp, Curator of Wildlife & Environmental Sounds, writes:

The natural world is one of the cornerstone themes of British folkloric tradition. From familiar animals to mysterious creatures, our local tales and superstitions are full of references to nature.

For centuries birds, and especially their voices, have been a particularly strong focus of traditional beliefs. Depending on the community, the cry of a bird could mean anything from the approach of stormy weather to an untimely death.   

One tale which appears repeatedly in British and Irish folklore is the legend of the seven whistlers. Though occasionally linked to witches or other demonic entities, the seven whistlers were generally believed to be a group of mysterious birds, flying together at night, whose unearthly calls were considered a portent of impending disaster.

Coal miners were particularly susceptible to these supposed messengers of doom. In 1862, locals in the Northumbrian village of Hartley proclaimed to have heard the seven whistlers the night before a pit disaster which claimed the lives of 204 miners. Over a decade later, in 1874, the Coventry Herald reported on a mass walkout at the Bedworth collieries:

'On Monday morning, large numbers of the miners employed at some of the Bedworth collieries in North Warwickshire, giving way to a superstition which has long prevailed amongst their class, refused to descend the coal pits in which they are employed. The men are credulous enough to believe that certain nocturnal sounds, which are, doubtless, produced by flocks of night birds in their passage across the country, are harbingers of some impending colliery disaster. During Sunday night, it was stated that these sounds, which have been designated “the seven whistlers” had been distinctly heard in the neighbourhood of Bedworth, and the result was that the following morning, when work should have resumed, many of the men positively refused to descend the pits.'

Hartley Colliery Disaster: the dead are brought up to their families (L'llustration, 1862, p 101)

But what were these birds that had the power to strike such fear into the hearts of those who heard their melancholy cries? Almost all accounts point the finger at wading birds, though the exact species differs depending on the region. Some believed the culprits to be groups of curlew or whimbrel. For others it was the golden plover or lapwing. Though this selection may seem an arbitrary one, there is a common thread which links these species together; their shrill, whistling calls.

Curlew 'curlee' call, recorded on the Derbyshire / Staffordshire border by Alan Burbidge (BL ref 144681)

Whimbrel flight calls, recorded in the Scottish Highlands by Richard Margoschis (BL ref 43516) 

Lapwing 'peewit' call, recorded in Hampshire by Phil Riddett (BL ref 66907)

When listening to the lapwing’s plaintive ‘peewit’ or the curlew’s haunting ‘curlee’, it’s quite easy to see how these birds became entwined with the tale of the seven whistlers. Other birds were occasionally added to the mix, most notably wigeon and swifts, however the migratory nature of these species meant that the association was debunked by most believers. The sharp whistles of wigeon could only be heard during the winter months, while the piercing screams of swifts were a sound of spring and summer. This just didn’t tally with the timing of some local tragedies, whereas birds like the curlew & lapwing could be heard all year round.

Illustration of a curlew taken from British Ornithology; being the history, with a coloured representation of every known species of British birds, George Graves, 1811

Despite being considered envoys of calamity, birds linked to the seven whistlers don’t appear to have suffered any negative repercussions. They weren’t persecuted or hunted down. But neither were they revered. They were simply listened to.

Perhaps unsurprisingly, superstitions such as these were more prevalent in rural communities with strong ties to the natural world. Though many people, especially those in towns and cities, scoffed at the idea of birds as omens of death and disaster, a Daily Telegraph comment from 1874 reminded readers to look to themselves before casting aspersions on the beliefs of others. Which is a lesson to us all.

"Sensible people should, of course, hold all such absurdities in contempt; but how many ostensibly sensible people are there who entertain the most peculiar ideas concerning Friday, and spilling the salt, and crossing the knives and walking under a ladder? It is natural to laugh at the superstitions of other folks, and to abide very earnestly by our own."

Follow @CherylTipp for all the latest wildlife & environmental news from the British Library.

(1LP0242247 BL collections)

By Jonathan Summers, Curator of Classical Music

Michel Legrand, who died a few weeks ago, was a prolific composer for the screen.  He won Academy Awards for Summer of '42 and music for Barbra Streisand's Yentl and penned the great hit Windmills of your mind for the 1968 film The Thomas Crown Affair. One of my all-time favourite film scores is his baroque inspired theme and variations for two pianos and orchestra that he wrote for Joseph Losey’s The Go-Between in 1971.  Recorded with the London Symphony Orchestra and coupled with the Symphonic Suite from Les Parapluies de Cherbourg this 1979 LP has long been a collector’s item.  Two copies reside in the British Library’s Sound Archive as does the CD version which was only released in Japan.

Legrand earned his first Academy Award nomination in 1964 for his score to Les Parapluies de Cherbourg notable for the dialogue being entirely sung throughout the film.  The film was extremely popular and won the Palm d’Or at Cannes so writer/director Jacques Demy teamed up again with Legrand in 1967 and tried the same formula with Les Demoiselles de Rochefort starring real life sisters Catherine Deneuve and Françoise Dorléac. 

In 2015 I acquired a small collection from choreographer Domy Reiter-Soffer who had worked on the film Les Demoiselles de Rochefort and had been given a tape of the studio recording.  Students of film scores may be interested to know that it includes the count-offs of the musicians and spoken cue numbers.  Some backing tracks also appear without the vocals. 

The piano solos are probably Legrand himself and it is good to hear them without the overlaid vocals.  This one has a click track introduction as it appears that Legrand is overdubbing the piano to give a fuller sound.

No. 10 piano with click track

Here is it with the vocal recorded on top.

No. 9 piano with vocal

Here is another orchestra only track ‘Our Affair’, followed by the vocal overlay.

No. 8 orchestra only

No. 8 with vocal

The soundtrack issue of the time (also donated by Mr Reiter-Soffer) was on two LPs and lists the singers whose voices were used on the recording to which the actors mimed on film. One of them is Legrand's sister, Christiane singing the role of Judith.  While certainly not the LP master, the tape is more of a working product giving an insight into the process that went into making a musical film in France in the 1960s.

1LP0242247 BL collections)

For all the latest news follow @BL_Classical

This week's selection comes from Cheryl Tipp, Curator of Wildlife and Environmental Sounds.

Life in a rock pool is not for the faint-hearted. These miniature ecosystems, found in the intertidal zone, have evolved to endure extreme condition fluctuations caused by the daily movements of the tide. From full submersion to being left high and dry for hours at a time, the inhabitants of this changeable environment need to be resilient in order to survive. 

As with other marine gastropods, the Common Limpet (Patella vulgata) has mastered the art of rock pool life. The following recording, made by Peter Toll on Bantham Beach in Devon, captures the rasping sound of these conical molluscs feeding on algae attached to the rocky surface.

Rock pool atmosphere recorded in Devon, England by Peter Toll (BL reference 212536)

Two underwater microphones, known as hydrophones, were used to listen in on the sounds of this otherwise silent world. To listen to more underwater recordings, head on over to the Environment & Nature section of British Library Sounds.

Follow @CherylTipp and @soundarchive for all the latest news.

Albert Coates circa 1920 (Bain News Service, publisher [Public domain], via Wikimedia Commons)

By Jonathan Summers, Curator of Classical Music

Welcome to another in the occasional series of podcasts showcasing treasures from the classical collection of the British Library Sound Archive.

David Patmore, a retired lecturer from the University of Sheffield, shares his passion for conductor Albert Coates whose flamboyant style and super-charged performances from the 1920s and 1930s were captured in his copious recorded output.  We discuss his early years under Arthur Nikisch (1855-1922) and include some of his commercial recordings and supplement these with unique off-air material and an interview with his daughter Tamara.

Title page of Cantata by Yuri Shaporin (BL collections)

Coates rehearsing in his undershirt (BL collections)

The recording of Mark Reizen and the Glinka overture used with permission of Marston Records.

Previous Classical podcasts can be heard here.

For all the latest news follow @BL_Classical

This week's selection comes from Andrea Zarza Canova, Curator of World and Traditional Music.

Natural history broadcaster and author Dennis Furnell first travelled to Sierra Leone in January 1991 to record wildlife sounds for his radio programme Country Scene, broadcast on BBC Bedfordshire. As an active environmentalist involved with charities such as the Royal Society for the Protection of Birds and Birdlife International, he was part of a group visit, organized by the European Common Market, to Sierra Leone to see if it was possible to create an infrastructure for ecotourism. It was his first and only trip to the country.

The following recording was made by Furnell on 24 January on Tasso Island, about 8 miles east of Freetown, the capital of Sierra Leone. Made on cassette, this is a sound recording of traditional Bubu music, a genre modernised and popularised by Sierra Leonean pop star Ahmed Janka Nabay (January 5, 1964 – April 2, 2018) who first released music in his early 20s, also on cassette tape. Traditional Bubu music, played on “bamboo flutes, carburetor pipes, and other metal tubes of different sizes, as well as large wooden boxes, shakers, cowbells, and triangles…” (Nuxoll, 2015) has served diverse purposes in Sierra Leone, being linked with folk rituals (witchcraft), Islamic festivities and carnivals. Its popularised version, enhanced with synthesisers and drum machines, was appropriated by the Revolutionary United Front (RUF) rebels during the Sierra Leonean Civil War –

'During the war, civilians who suffered direct encounters with the rebel insurgents witnessed terror operations involving Janka Nabay’s music. RUF combatants regularly used Bubu music when invading villages and towns as part of hit-and-run raids. The rebels would play Janka Nabay’s popular music from ghetto blasters in order to attract and lure out unsuspecting civilians for easy capture or forced conscription. At other times, rebels would create the impression of initiating a party, playing Bubu music from loudspeakers and inviting civilians to join in, only to later disclose their real motives and then capture them.” (Nuxoll, 2015)

Dennis Furnell arrived on Tasso Island and made this sound recording by sheer chance. Returning from a visit to a nearby island, the person driving the canoe said they would go to Tasso because the chief was a friend. Dennis was keen to share his recollection of the event –

'This was an unplanned gathering of musicians and dancers (mainly children dancing) done, I believe, simply for my benefit and that of a small group of Scandinavian visitors who had come along for the ride.  European visitors to Tasso Island were a rarity. As I said, the event was laid on by the Chief whose name I never discovered. It was a truly happy occasion after a relatively sombre visit to the nearby, uninhabited “Bunce Island” with its deserted slave compounds and rusting chains. There was a slave graveyard and armed forts, still with Georgian cannon pointing seawards and gun carriages eaten by termites.  It was a major slave shipping island taking slaves from the Sierra Leone River to America. To my mind it seemed to maintain a shadow of its awful memories and appalling cruelty.     
 
The musicians were residents of Tasso Island who simply appeared from dwellings and other buildings at the behest of the Chief, carrying with them a variety of tubes, pipes and drums, including car exhaust pipes, metal water pipes, steel vehicle brake drums – all in a variety of sizes. There were one or two sheet metal cones.'

Bubu music from Tasso Island (BL collection C741)

'When they began to tune up it was rather discordant, then the children and young women began to beat time with their feet and the band seemed to pick up the rhythm. I had been talking into my recorder when the music started, but didn’t start to record the music straight away as I had some problems with over-modulation from the tea-chest drummer and I also wanted to photograph the dancers… But, when the band began in earnest I started to record. The sounds were fascinating and I wished I had begun to record from the beginning. It was a wonderful happy sound that reminded me of traditional Jazz.'

'Just at the end of my stay, the government collapsed and the army took over – and after some worrying moments I left the country.  However, I retained a link through the Conservation Society of Sierra Leone (CSSL) and the Children’s Wildlife Week through a charity we had created with the support of my wife and several friends.

Not long after I returned to the UK war erupted, fueled by forces from Liberia under the control of the corrupt regime of President Taylor and the war continued for nearly 12 years* with appalling atrocities.  During this time (with the exception of 2 years) our charity, the Rainforest Action Fund, with the help of the RSPB’s contacts and Birdlife International, managed to channel funds to the Children’s Wildlife Week and CSSL.'

Dennis Furnell donated the cassette tape to the British Library after playing it on his radio programme, for fear of it becoming lost in his own library. It was later included on a CD to accompany the British Library’s exhibition West Africa: Word, Symbol, Song, distributed exclusively by Songlines magazine.

*The Sierra Leone Civil War lasted from 1991 to 2002. However, there was never really any peace after that which is why Dennis Furnell refers to it as having lasted 12 years.

References:
Nuxoll, C. (2015). “We Listened to it Because of the Message”: Juvenile RUF Combatants and the Role of Music in the Sierra Leone Civil War. Music and Politics, IX(1). doi:10.3998/mp.9460447.0009.104

Follow @BL_WorldTrad and @soundarchive for all the latest news.

This week's selection comes from Jonnie Robinson, Lead Curator of Spoken English.

Rhyming slang is a wonderful vehicle for individual and collective linguistic creativity. The expression here a bit Derby [= ‘cold’] was submitted to the Evolving English WordBank by two contributors from Nottingham and captures the playful rivalry between neighbouring cities.

It's a bit Derby (C1442)

'The term I was thinking of from Nottingham was we say if it’s cold we say it’s a bit Derby and this comes from it’s kind of a rhyming slang where we have a famous road called Derby Road but a lot of people in Nottingham seem to drop the L when they say cold so they say cowd so it rhymes with Derby Road so if someone says ooh it’s Derby they mean it’s cold.' (British Library shelfmark C1442/1310)

'In Nottingham we might say it’s cowd instead of it’s cold and if we’re feeling frisky we might actually turn that into rhyming slang so oh it’s a bit Derby Road obviously rhyming with cowd meaning cold and we particularly don’t like Derby in Nottingham so it’s doubly funny.' (British Library shelfmark C1442/684)

Both speakers explain that the phrase derives from a dialectal pronunciation of cold as ‘cowd’, thus potentially rhyming locally with road. As the conventions of rhyming slang require the rhyming component (‘road’) be omitted, it’s a bit Derby might appear incomprehensible to outsiders but immediately strikes a chord with locals. The phrase illustrates how dialect is constantly refreshing and re-inventing itself and the obvious enthusiasm with which it’s used confirms the continued relevance of dialect as a means of expressing local identity.

The Derby Road itself merges into a long stretch of the A52 recently re-named ‘Brian Clough Way’ in honour of the football manager who enjoyed unprecedented success at both Derby County and Nottingham Forest from the 1970s to early 1990s. Despite the fierce rivalry between the two clubs, he’s viewed with equal affection in both cities, so this simple phrase conveys much more to a local than outsiders can possibly imagine.

Follow @VoicesofEnglish  and @soundarchive for all the latest news.

This week's selection comes from Greg Green, Audio Project Cataloguer for Unlocking Our Sound Heritage.

Learning to identify bird song can be tricky at the best of times; to the untrained ear it can all sound remarkably similar. To add to the confusion, many birds like to show off by mimicking the songs of other species, and some are very good at it.

In the UK, our best copycat is the starling (Sturnus vulgaris). These incredible birds are like little avian hip hop artists. They take in ‘samples’ of the songs and calls around them and remix them! A typical starling song is very complex, consisting of multiple layers, and can incorporate song fragments from five or more species. Sometimes the song is reproduced faithfully, other times the rhythm is chopped up, repeated and mixed in with other sounds. It’s not just other birds they mimic too. They have been recorded mimicking mammals, car alarms, telephone ringtones, and even human speech.

This recording from Patrick Sellar showcases just some of the starling’s seemingly limitless repertoire. Patrick identifies the songs and calls of jackdaw, brambling, buzzard, blackbird, house sparrow, wren, arctic tern, northern bullfinch and willow tit.

WS5532 C10 - Common Starling mimicry recorded by Patrick Sellar on 1 st May 1978 (BL ref 07111) 

This spectrogram shows the similar harmonic content between the flight call of the buzzard and the starling’s mimicry.

Follow @gregegreen,  @BLSoundHeritage and @soundarchive for all the latest news.

This recording has been digitised as part of the library's Unlocking our Sound Heritage project.