Saturday, 4 June 2016

Muhammad Ali, boxing heavyweight



Muhammad Ali seen knocking out Sonny Liston
Muhammad Ali knocks Sonny Liston to the canvas in the first round of their 1965 World Heavyweight title fight 
Muhammad Ali, who has died aged 74, called himself the greatest and made good the claim, not merely as the most talented world heavyweight boxing champion, but also as one of the most irresistible and compelling personalities of his age.
If his emergence as a symbol of political and racial protest was rather more specious, Ali became the most universally recognised figure in the world. And unlike so many other icons of the Sixties - John and Robert Kennedy, John Lennon, and Martin Luther King - he survived the hostility he aroused.
His tragedy, rather, was that his long career in the ring reduced him to a physical wreck, albeit a greatly loved physical wreck. “Hell, even people who don’t like Ali like Ali now”, it was observed in the 1990s. In 2005 George W Bush bestowed upon him the Presidential Medal of Freedom. Poll after poll recorded that he was regarded as the most influential sportsman of the century.
Yet when he first burst upon the scene in the 1960s, as Cassius Clay, he appeared as the most outrageous braggart ever to have adorn a boxing ring. “If Liston even dreamed he could beat me,” he taunted the world heavyweight champion, “he’d wake up and apologise.”

Muhammad Ali

“I’m so fast,” he would explain, “that I can turn light off and be in bed before the bulb goes out.”
His admirers warmed to the high spirits and good humour that underlay his unremitting self promotion, and loved him the more for taking such huge delight in his own act. But American boxing commentators - men who had blithely ignored the gangsterism that surrounded the sport - fulminated against the upstart for undermining what they conceived as the dignity of the ring.
It gradually became evident, however, that Clay possessed the talent to match his own hype. In the first stage of his stage of his career, it was difficult to lay a glove on him. If Henry Cooper succeeded in knocking him down at the end of round four of their fight in 1963, that was largely because Clay was fooling around prior to fulfilling his prediction that the British boxer would fall in five.

Clay fooling around in the ring ahead of his fight against Henry Cooper 
Clay fooling around in the ring ahead of his fight against Henry Cooper  
Clay’s mantra, that he would “float like a butterfly, sting like a bee” was an accurate description of his boxing style. In his prime he would glide effortlessly around the ring with his hands down, casually swaying out of the way of fearsome blows, and countering with lightning punches from all angles.
Even so, before Clay fought Liston for the world championship at Miami Beach on February 25 1965, the experts were virtually unanimous that he would receive his comeuppance. The result seemed so inevitable that the arena was only half full.
Liston was a terrifying figure, who had scored even more knockout victories than he had served prison sentences. Clay privately admitted that he was scared; in public, though, he redoubled his braggadocio and baiting, turning up at Liston’s training camp with a lasso, to go “bear hunting”.
“I’m going to put that ugly bear on the floor,” he boasted, “and after the fight I’m gonna build myself a pretty home and use him as a bearskin rug. Liston even smells like a bear. I’m gonna give him to the local zoo after I whip him.”

Cassius Clay throwing a punch during a fight
Cassius Clay during his fight against Liston  
“This will be the easiest fight of my life,” he assured incredulous reporters. “I’m too fast. He’s old. I’m young. He’s ugly, I’m pretty.” And he produced some new verses for the occasion:
Who would have thought  When they came to the fight  That they’d witness the launching  Of a human satellite.
Liston, never loquacious even in his rare moments of affability, could only promise pain and destruction. At the weigh-in it seemed that Clay was breaking down in hysteria as, with his pulse beating at twice its normal rate, and his eyes rolling, he shrieked insults at Liston.
But when the fight began Clay proved, gloriously, as good as his boasts. Surviving a desperate fifth round when he was blinded by some mysterious substance, he completely demoralised Liston, and by the sixth round was hitting him at will. The supposedly unbeatable champion failed to appear for the next round. “Eat your words,” Clay screamed triumphantly at the hacks from the ring.

Cassius Clay seen yelling as he leaves the ring after a victory
A victorious Clay yells at journalists as he leaves the ring  
On the morrow he gave the assembled scribes fresh cause for grievance him by declaring that he had become a Black Muslim. He was renouncing his “slave name”, and would thenceforward be known as Muhammad Ali.
In fact he had been involved with the Nation of Islam since 1959. Before the Liston fight, Malcolm X, the movement’s most charismatic figure, had been at Miami Beach to instil the challenger with a sense of destiny. “Do you think Allah has brought about all,” Malcolm X demanded, “intending for you to leave the ring as anything but champion?”

Muhammad Ali with Malcolm X
Muhammad Ali with Malcolm X
The Black Muslims were dedicated, under their leader Elijah Mohammad, to the separation of the black from the white race. White civilisation, they believed, was the product of the devil’s race, and Christianity was the means whereby they maintained their domination.
From such doctrines Ali now claimed to draw his spiritual sustenance. He became scathingly dismissive of what he called “Uncle Tom” negroes, and cast himself as folk hero to underprivileged American blacks who found a role model in his cocky and confident demeanour.
“I had to prove you could be a new kind of black man,” he would say years afterwards. “I had to show the world.” This meant taunting even black opponents - Joe Frazier, George Foreman, Ken Norton - with being great white hopes.

Yet no one who knew Ali could believe for a moment that he really hated whites. His membership of the Black Muslims was a shameful inconsistency, another of the myriad paradoxes that formed his character.
The accomplished chat show performer, full of charm and wit, and razor-sharp with his repartee, could turn on the instant into a ranting religious lunatic. The high-minded Muslim, given to expressing disgust at the provocative dress of white women, was a promiscuous womaniser with a penchant for foul-mouthed jokes.
The supreme practitioner of the most brutal of sports continued to pride himself - and with some reason - on being “the prettiest”. The most joyous of pranksters, a man who genuinely loved children, handed out a vicious beating in the ring to an incapacitated Ernie Terrell - merely because Terrell had insisted on calling him “Clay” rather than “Ali”.

Muhammad Ali with his hands up in the air after defeating Ernie Terrell
Muhammad Ali defeating Ernie Terrell 
In 1966 Ali put himself further beyond the bounds of white American respectability when he used his Black Muslim religion to claim the status of a conscientious objector and refuse call-up into the American army. “Man,” he told reporters, “I ain't got no quarrel with the Vietcong”.
The issue had at first been avoided, for in 1964 Ali had been adjudged unfit for military service after failing a mental aptitude test. But when, under the pressure of the Vietnam war, standards were lowered, Ali was reclassified as fit for the draft.
Even then, he could certainly have negotiated a deal with the army whereby he would have been allowed to pass his national service giving exhibition bouts without any combat duty. But having once nailed his colours to the mast he rejected compromise.
Rather, he linked his opposition to the war with his stand on civil rights. “Why,” he demanded, “should they ask me to go 10,000 miles from home and drop bombs and bullets on brown people while so-called Negro people in Louisville are treated like dogs?”
In April 1967 he refused to take the symbolic step forward when summoned to Houston for induction into the army. One hour later the New York State Athletic Commission stripped him of his licence to box, and other boards soon followed suit.
In June, after a Houston jury had found him guilty of draft evasion, he was sentenced to five years in prison and a fine of $10,000. The court also took away his passport, making it impossible for him to fight abroad.
The extended appeals process ensured that the only jail sentence Ali served was for ten days in 1968 - and that for driving without a licence. He was, however, banned from the boxing just when he was at his absolute prime.

Muhammad Ali being escorted from the Armed Forces Examining and Entrance Station by officers
Ali is escorted from the Armed Forces Examining and Entrance Station in Houston, Texas, after refusing Army induction 
When Ali returned to the ring in 1970 it was immediately evident that he had lost the ability to keep up his speed for more than a round or two at a time. On the other hand his will and self-belief were as strong as ever, while his experience and cunning enabled him to maintain a psychological advantage over most opponents.
He also made the ultimately disastrous discovery that he could take a punch - indeed, almost any punch. In place of the quicksilver artist who was hardly ever hit appeared a man of unconquerable pride and superhuman courage, who for years unflinchingly absorbed punishment from the hardest hitters in the world.

Muhammad Ali fighting against George Foreman
The Rumble in the Jungle, Ali v Foreman
His bravery ensured some of the most brutal and exciting fights ever seen - notably the three bouts against Joe Frazier, and “the rumble in the jungle” in 1974 against George Foreman. It also led to his destruction.
By 1978 he retained only the shadow of his former skills, and his speech was already slurred. In that year he lost the heavyweight championship to Leon Spinks, a relative novice of only seven professional fights. By a herculean effort he regained the title from Spinks seven months later - the first time anyone had won the championship on three separate occasions.
After that Ali at last retired, but in 1980 - missing the fame, wanting the money, still searching for glory - he insisted on making a comeback to fight the new world champion, Larry Holmes.

Muhammad Ali in the ring fighting against Larry Holmes
Ali returns from retirement to face world champion Larry Holmes 
The match was always madness, and Ali’s difficulties were compounded by a doctor who prescribed a drug which drained him of all energy. He took a terrible beating before the fight was stopped in the tenth. Yet in 1981 he submitted to further torture, losing on points to Trevor Birkbeck before finally accepting that his career in the ring was over.
As the 1980s wore on Ali’s face, which had once radiated joie de vivre, became a flat, lifeless mask. He suffered from permanent fatigue, his mouth drooled saliva, a tremor developed in his hand. In 1984 he was diagnosed as suffering from post-traumatic Parkinsonism caused by injuries sustained from boxing.
It is easy to reflect that wiser counsels would have forced his retirement from boxing five years earlier. But then wisdom had never played any part in Ali’s extraordinary career. The valour and the fathomless self-belief that drew him to his doom were precisely the qualities which had propelled him to the summit.
Muhammad Ali was born Cassius Marcellus Clay at Louisville, Kentucky on January 17 1942, the elder son of Cassius Marcellus Clay senior, a sign painter. His paternal ancestors were probably slaves, but his mother Odessa Grady Clay had a white grandparent, an Irishman named Abe Grady from County Clare, and a white great-grandfather called Moorehead, who had married a slave named Dinah.
From infancy the boy showed extraordinary energy, confidence and panache. He started boxing at 12, after his bicycle had been stolen, and a policeman called Joe Martin persuaded him that the sport offered the best hope of chastising the offender.

Cassius Clay pictured as boy training with Johnny Hampton
A young Cassius Clay training with Johnny Hampton 
At first it seemed that he would be merely an average boxer, but he trained with unremitting dedication, and was always exceptionally fast, able to avoid punches by reflex. So rapidly did he advance that by 18 he had won six Kentucky, and two National Golden Gloves championships.
At Louisville Central High School Clay’s record was less impressive; he only just scraped the marks required to graduate, while intelligence tests placed him in the bottom quarter of the school.
Selected for the 1960 Olympics as a light-heavyweight he at first refused to go to Rome because he was afraid of flying. But once there he made himself immensely popular in the Olympic village. He also carried off a gold medal, which (according to the legend) he symbolically threw away on his return, after being excluded from a hamburger joint in Louisville.
But Clay was already set on his destiny. In New York after his return from Rome, he had newspapers printed with the headline “Clay signs to fight Patterson”, the world heavyweight champion. At Louisville a group of millionaires formed a syndicate to finance his first years as a professional boxer.
In October 1960 he won his first professional fight on points, after which he was sent to train with Archie Moore, light-heavyweight champion of the world. But Clay decided Moore had nothing to teach him, and at the end of 1960 began began working with Angelo Dundee, who would be his trainer for the rest of his career.

Muhammad Ali with his trainer
With his trainer Angelo Dundee  
There were no scares in his early fights, all of which he won easily. More significantly, when he sparred with Ingemar Johansson, the former world heavyweight champion was unable to touch him, least of all when maddened by Clay’s taunts of “Come and get me, sucker”.
Clay’s bragging owed something to a meeting in 1961 with a wrestler called Gorgeous George, who used to promise that he would crawl across the ring if his bum of an opponent should beat him. Clay took up the style. That year he became a television attraction, and began predicting - with remarkable success - the rounds in which his opponents would fall.
One of them, in 1962, was Archie Moore: “that old man will fall in four,” Clay opined, “I’m here to give him his pension plan.” The prophecy was correct. But he failed to fulfil his prediction to dispose of Doug Jones in six, only narrowly winning a points decision.

Muhammad Ali

The triumph over Liston came in Clay’s 20th professional fight. Having announced his conversion to the Nation of Islam, the new world champion departed to Africa to discover his roots.
In May 1965, when he defended his title against Liston, and knocked him out in the first round, many felt that the challenger had taken a dive. Later that year Ali disposed of Floyd Patterson in the 12th.
Even before Ali’s conviction in 1967 for refusing the draft, his dispute with the army made it difficult to find places in America where the authorities would allow him to fight. So he went to Toronto in the spring of 1966 to beat a bruiser called George Chuvalo, and that summer crossed the Atlantic to confront Henry Cooper (for the second time), Brian London and Karl Mildenberger.
None of these opponents caused him much trouble.

Muhammad Ali surrounded by a crowd 
Ali leaving his London hotel in 1966 
That autumn, when his contract with the Louisville consortium expired, Ali further alienated himself from the boxing establishment by appointing Herbert Muhammad, Elijah’s son, as his new business manager.
In November 1966 the Texan authorities permitted a fight at the Houston Astrodome against Cleveland Williams. Watched by the largest indoor crowd (35,460) in the history of boxing, Ali put on a superb display, destroying Williams in three rounds.
Next came the disgraceful fight against Ernie Terrell; then in March 1967 Ali re-emphasised his supreme skill by knocking out Zora Folley in the seventh round. That was his peak as a boxer. He would not fight again for three and a half years.

Muhammad Ali in the ring against Zora Folley
Ali's fight against Zora Folley 
Away from the ring, Ali enjoyed earning money on the college lecture circuit, where he was an immense success - though he tended to turn a talk on some general topic such as “Friendship” into a question-and-answer session about who was the true heavyweight champion of the world.
He also appeared in a documentary film called A/K/A Cassius Clay, which came out in 1970; acted a fight with Rocky Marciano for the benefit of the television cameras (in the American version Marciano won; in the British version he lost on cuts); and won favourable notices when he played the lead in a musical called Buck White on Broadway.

Muhammad Ali dressed in costume for his Broadway musical
Muhammad Ali in costume for his acting debut in the Broadway musical Buck White  
Ali’s absence from the ring was the harder for him because he found himself ostracised by Elijah Muhammad. Early in 1969 Ali remarked on television that he would go back to boxing if the money was right. To Elijah Muhammad that was tantamount to saying that he was giving up his religion for the white man’s money. Ali was not rehabilitated until 1975, just before Elijah Muhammad’s death; nevertheless he remained loyal to his religious leader.
Meanwhile attitudes to the Vietnam war had been changing, so that statements which had been judged treasonable in 1966 now appeared simply as constructive opposition. In 1970, even before the Supreme Court had made any final pronouncement on Ali’s case, the state of Georgia permitted a bout between Ali and Jerry Quarry.
The fight, in October 1970, was stopped by a cut over Quarry’s eye in the third round. But cognoscenti noticed that Ali, after dancing in the old manner in Round One, had looked slow and vulnerable.
That December he was no more impressive against Oscar Bonavena. Though he finally won by a knockout in the 15th round, he absorbed more punishment than ever before.

Muhammad Ali after a fight against Oscar Bonavena
At the end of his gruelling fight against Oscar Bonavena 
If Ali had been canny he would have delayed the inevitable confrontation with the world heavyweight champion, Joe Frazier. But with the Supreme Court’s judgement still pending, there was every possibility that he might be in jail within months. He therefore seized the chance to fight Frazier at Madison Square Garden on March 8 1971.
For once Ali encountered an opponent as psychologically strong as himself. It was a savage contest; and in the 11th round Frazier established a decisive advantage, which won him the fight. Even so, when Ali, completely exhausted, was hit flush on the jaw by a thundering left hook in the 15th round, he was up instantaneously.

Muhammad Ali fighting against Joe Frazier
The 1971 bout against Joe Frazier 
Three months later the Supreme Court discovered a technical argument by which the case against Ali could be dropped without creating a precedent that might be used by other draft dodgers. Frazier, though, was in no hurry to offer a return bout.
Over the next three years Ali beat ten opponents in a row - Jimmy Ellis, Buster Mathis, Jurgen Blin, Mac Foster, George Chuvalo (again), Jerry Quarry (again), Al “Blue” Lewis, Floyd Patterson (again), Bob Foster and Joe Bugner.
Yet, though he called himself the People’s Champion these performances left no certainty that he would ever be the real one. Then in March 1973, overconfident and undertrained, he encountered Ken Norton.
Ali’s jaw was broken in the second round, and though with incredible bravery he struggled through the remaining ten rounds he lost the bout. But what looked like the end of his career turned out to be the prelude to its most glorious phase.

Muhammad Ali fighting against Ken Norton
Despite suffering a broken jaw in the second roud, Ali finished the fight against Ken Norton 
After six months recuperation he beat Norton on points. In January 1974, at Madison Square Garden, he won his second battle against Joe Frazier, and in October of that year, in Kinshasa, Zaire, he triumphed over the seemingly unbeatable George Foreman.
Everybody had expected Ali to try to escape Foreman’s punches. But when he found himself feeling tired after the first round he simply lay on the ropes and invited the world heavyweight champion, universally feared for the power of his punches, to hit him.
Then, in the eighth round, when Foreman was exhausted, Ali launched a sudden counter attack and knocked his opponent out. After seven years he was world champion again.

Muhammad Ali fighting against George Foreman
Ali taking advantage of an exhausted Foreman  
In the next three years he successfully defended the title 10 times. But there was only one more great fight, the “thriller in Manila” against Joe Frazier in October 1975. Frazier really hated Ali, who never lost an opportunity to mock him as a gorilla, and this fight transcended even their two previous bouts in unrelenting aggression.
Though Frazier was forcibly retired by his corner with one round to go, Ali said afterwards that the contest had been the closest thing to death that he knew of.
It did not help either that, before the fight, Ali had fatally compromised his second marriage to the long suffering Belinda by taking his stunning mistress Veronica Porche to President Marcos’s palace, as though she were his wife.
After Manilla, Ali’s decline in the ring was rapid. The last knockout victory he scored was against the British fighter Richard Dunn in May 1976.
Sixteen months later he was badly hurt in a bout with Ernie Shavers, though he contrived to to hold on to gain a points decision. The warning went unheeded, and Ali continued self-destructively into the disastrous final phase of his career.

Muhammad Ali throws a punch at Ernie Shavers
The fight against Ernie Shavers
His final record was 56 wins (including five knockouts) against five defeats. In retirement he spent most of his time on his farm at Berrien Springs, Michigan, devotedly cared for by his fourth wife, Lonnie. Though he had earned more in the ring than all previous heavyweights combined, he was now no more than comfortably off.
For two decades Ali had kept scores of hangers-on, while his generosity to charities knew no bounds. He gave his time as well as his money, and without wearing his heart on his sleeve established an instant rapport with the sick and the poor.
Much of his fortune went to the Black Muslims. After the death of Elijah Muhammad in 1975, his son Wallace Muhammad turned the movement into more moderate courses, refuting the notion of black superiority, and dropping the demand for a separate state for blacks.
Ali was wholly in sympathy with these changes. As his health gave way his religion deepened; by his own reckoning he only became a true believer around 1983.
Every morning he rose at five to pray and to study the Koran. “Everything I do now, I do to please Allah,” he said around 1990. “I conquered the world, and it didn’t bring me true happiness. The only true happiness comes from honouring and worshipping God.”

Muhammad Ali praying
The former world heavyweight boxing champion praying in the mosque he built at his former training camp in Deer Lake, Pennsylvania 
Those who saw Ali struggling to control his violently shaking left arm in order to light the Olympic torch at Atlanta in July 1996 might have interpreted the scene as a terrible example of the havoc which the Furies wreak on those who have presumed too far. The fastest of all heavyweights could hardly move; the Louisville Lip was scarcely capable of coherent conversation.
Yet that was only half the story. At the end of the Olympic Games Ali was presented with a new gold medal to replace the one he had thrown away in 1960. As he showed the gleaming disc to each section of the crowd and laboriously kissed it for their benefit, he inspired waves of affection throughout the world.

Muhammad Ali holds the torch at the 1996 Olympic Games
Ali holds the torch aloft at the 1996 Olympic Games
The incident recalled the tribute which his old antagonist George Foreman had paid a few years before. “People talk about Muhammad now, and they say, 'Man, he’s sick. Don’t you feel sorry for him?’ And I say to those people, 'Hey, Muhammad Ali is still the greatest show on earth.’”
Perhaps Foreman was over-sentimental, but the extraordinary personality which had lifted Ali to the heights was still unbowed in misfortune.
Muhammad Ali married first, in 1964 (dissolved 1966), Sonji Roi. He married secondly, in 1967 (dissolved 1976) Belinda Boyd; they had three daughters and a son. He married thirdly, in 1977 (dissolved 1986), Veronica Porche; they had four daughters. He married fourthly, in 1986, Yolanda (“Lonnie”) Williams; they adopted a son. Ali’s youngest daughter Laila is a woman boxer and was (at her retirement in 2007) the unbeaten super-middleweight champion of the world.
Muhammad Ali, born January 17 1942, died June 4 2016

Richard Davalos, actor

Richard Davalos in East of Eden
Richard Davalos in East of Eden 
Richard Davalos, who has died aged 85, was a Hollywood actor best known for his role as Raymond Massey’s dutiful son Aaron Task in East of Eden (1955) starring James Dean; in the 1980s he achieved cult status when Morrissey, lead singer of the Smiths, told a friend, “East of Eden is such a wonderful film. It is my ambition to track down and interview Richard Davalos.”
Although it is not known whether Morrissey did contact the actor, a photograph of Davalos, taken during the filming of East of Eden, featured on the cover of the Smiths’ final album Strangeways, Here We Come (1987).
Richard Davalos was born on November 5 1930 in the Bronx, New York City, to Finnish and Spanish parents. Having decided to become an actor, he started out in 1953 in early television with a role in the series Goodyear Playhouse, and in 1955 won a role on stage in the one-act Broadway drama A Memory of Two Mondays, by Arthur Miller.
It was presented in tandem with another play by the author, a one-act version of A View from the Bridge, and in 1956 Davalos won the Theatre World Award for his performances in both plays.
Richard Davalos (standing), James Dean and Julie Harris in East of Eden
Richard Davalos (standing), James Dean and Julie Harris in East of Eden 
It was Elia Kazan, who was preparing an adaptation of John Steinbeck’s East of Eden to star James Dean, who lured him to Hollywood, where he arranged for Davalos and Dean to share an apartment above a pharmacy across the street from the Warner Bros studios. Kazan apparently hoped that Davalos’s presence would help keep Dean out of trouble and dissuade him from indulging in the sort of after-hours antics that had been attracting unfavourable attention in the press.
Davalos had not been the first choice to play Aaron Task. Paul Newman was originally given a screen test with Dean (who had been cast as Cal, Aaron’s ne’er-do-well younger brother), but as the actress Lois Smith (who played Anne in the film) observed, “Dean and Newman together – that would have been too much. How would theatre managers have handled the mobs of screaming, adoring, hormonal girls?”
Davalos was not happy about sharing with Dean, whose slovenly personal habits disgusted him and who, he later suggested, had a crush on him.
Although Dean told the press that he was in love with the actress Pier Angeli, a scene which was later cut from the film, involving a tussle between the two brothers, is said to have been removed because it was too homoerotic.
(l-r) Richard Davalos, James Dean, Julie Harris in East of Eden
(l-r) Richard Davalos, James Dean, Julie Harris in East of Eden
It was Dean who grabbed audiences’ attention, though many critics thought that Davalos had the edge as an actor. Dean’s premature death in 1955 elevated the film, and Dean, to cult status, but Davalos was unable to hitch a lift on the dead star’s coat-tails. After East of Eden, Davalos’s film career faltered. His other credits included The Sea Chase (1955), with John Wayne and Lana Turner, the film-noir thriller I Died a Thousand Times (1955), with Jack Palance and Shelley Winters, and the Alan Ladd and Sidney Poitier Korean War vehicle All the Young Men (1960).
He gave solid performances as Blind Dick in Cool Hand Luke (1967), and as Rick Bowman, a street punk who winds up in jail after a street car race goes wrong in Pit Stop (1969). In Kelly’s Heroes (1970) he was Private Gutowski.
His television credits included Bonanza; Rawhide; Perry Mason; The Rockford Files and Hawaii Five-O. He also appeared in some mostly forgettable straight-to-video releases. His final role was as Don Lazzaro in Ninja Cheerleaders (2008).
By his marriage to the dancer Ellen van der Hoeven he had two daughters.
Richard Davalos, born November 5 1930, died March 8 2016

Alan Devereux, actor - the archers

Alan Devereux
Alan Devereux 
Alan Devereux, the actor, who has died aged 75, spent nearly 50 years voicing the role of Sid Perks, the gruff landlord of The Bull, in The Archers.
Sid was a teenage former Borstal boy from Birmingham when he arrived in Ambridge on September 30 1963 and he took his place behind the bar of The Bull in 1972 when he and Polly, the first of his three wives, took over the pub. He continued to run it until his character was killed off in 2010.
Sid made the news in 1979 when, in the episode broadcast the day after the general election (but pre-recorded before the poll), he commented on Mrs Thatcher’s victory. William Smethhurst, the former editor of the series, recalled that “In the studio actor Alan Devereux remained at the microphone expectantly, waiting for an alternative script to be given to him. It wasn’t. The national press happily ran the story – Ambridge, the only place in England that knows the result of the general election...”
Undoubtedly the highlight of his time on the show, however, came in 2000 when he and “saucy line dancer” and country singer Jolene Rogers (Buffy Davis) got down to some serious hanky panky in the shower.
Alan Devereux
Alan Devereux 
Fans knew that Sid, married to his second wife Kathy (Heidi Niklaus), had fallen for the voluptuous Jolene because they had heard the pair kissing and canoodling, with Sid sighing: “Ooh, Jolene, you shouldn’t be doing that. You’ll be the death of me.”
Though the heavily-trailed shower scene was not the first time The Archers plotline had featured sex, previous affairs had been conducted on the quiet. Sid and Jolene were the first to have “explicit” sex in the series.
Listeners were promised the “raunchiest” episode in the soap’s 49-year history. “They’re in the shower all right,” claimed the editor Vanessa Whitburn. “The actors are excellent and it’s a passionate and sensitive story line.” To family campaigners who condemned the scene she was unrepentant. “It is not a cynical exercise to boost ratings,” she declared. “It is a story about life, and we do them all the time.”
As it transpired, however, many listeners found the scene, recorded in the distinctly unsexy environs of the BBC’s Pebble Mill studios, a bit of a disappointment. “Instead of the sounds of unbridled passion among the soap suds, listeners were treated to a mundane discussion of water temperature and the relative merits of shower gel versus coal-tar soap,” complained one reviewer.
“The scene was so tame that Sid Perks... was able to utter the line 'I’m putty in your hands’ without it even sounding like a double-entendre.”
Alan Devereux was born in 1941 and educated in Sutton Coldfield. Aged 14 he began attending evening classes in speech and drama and a year later went to Birmingham Theatre School.
After featuring in BBC radio plays and in walk-on parts on television, he made his first professional appearance on stage as the young Coriolanus at the Birmingham Repertory Theatre in 1956. He then spent five years as assistant stage manager at the Alexandra Theatre, Birmingham, and the Grand in Wolverhampton.
As well as his long-running role as Sid Perks, he performed in more than 100 radio plays, supplied voiceovers for audio-visual films and radio commercials and also appeared in many television advertisements.
In 2010 Sid Perks was announced to have mysteriously died off-scene while jogging in New Zealand, prompting speculation that Devereux had fallen out with the producers. It seems, however, that he was not in good health and had wanted to go.
In 1965 he married his wife Christine, who survives him with their son and daughter, the actress Tracy Jane White, who played Sid Perks’s daughter Lucy.
Alan Devereux, born 1941, died May 29 2016

Wednesday, 1 June 2016

Carla Lane, television scriptwriter

Carla Lane
Carla Lane 
Carla Lane, who has died aged 87, created The Liver Birds, Butterflies and Bread, classic television sitcoms that crowned her the most successful woman writer in British television comedy; she was also a prominent, if eccentric, campaigner for animal rights.
No television writer became more accomplished at lightly rueful reflections on the clichés of English middle-class family life, observed The Daily Telegraph, although it was Carla Lane’s excursion into the netherworld of Liverpool scallywags in Bread (1987-91) that marked her out as a true original.
Having flaunted 1960s popular Liverpool culture in The Liver Birds, she became the first woman to mine television comedy from sexual and personal relationships through a galère of expertly-etched contemporary characters, developed against a backdrop of social issues such as divorce, adultery and, in one of her later works, alcoholism.
Sandra (Nerys Hughes) and Beryl (Polly James)  in The Liver Birds
Sandra (Nerys Hughes) and Beryl (Polly James)  in The Liver Birds 
Unemployment was the underlying theme to Bread, which excited mixed feelings in Carla Lane’s native city with its stereotypical depictions of a sprawling family of streetwise, dole-fiddling, scrounging Scousers. Never one to rely on straightforward wisecracks, Carla Lane infused her scripts with the humour created by sharply-drawn characters and narratives that were more realistic than the typical bland sitcom of the 1950s and 1960s.
Although not an instant success, within little more than a year, Bread had climbed to the top of the television ratings. Freighted with humorous observation and nifty phrase-making, Carla Lane’s scripts drew and unflinching but affectionate portrait of the Boswells (a smarter and more endearing television clan than the cartoon Simpsons, which they partly resembled), to become, as the Telegraph approvingly noted, “as deeply a part of British TV culture as the denizens of Coronation Street”.
What kept the series on the boil was Carla Lane’s rich infusion of folksy philosophy and the way the family invariably returned (after often extravagantly aberrant detours) to the values of its redoubtable matriarchal heroine, Nellie Boswell (played by Jean Boht). With more than 11 million viewers, Bread was only trumped in the ratings by EastEnders and Neighbours.
Some, however, considered the bittersweet Butterflies (1978-83), with its subversive theme of unfulfilled, adulterous yearnings, to be Carla Lane’s most successful series. She managed to maintain an upbeat mood while exploring overwhelming marital boredom and frustration as her middle-class heroine Ria (Wendy Craig) contemplates an affair. In 1979, when the format was sold to American television, Carla Lane flew to Los Angeles to work on the script but was gravely disappointed with the pilot and a series was never made.
In Solo (1981-82), Felicity Kendal was cast against type after her submissive character in The Good Life to portray a woman seeking a more assertive role as a successful singleton, a quest that Carla Lane handled with a characteristically light touch.
But amid the triumphs, there were duds. No Strings (1974), starring Rita Tushingham and Keith Barron, commissioned as a series on the strength of a promising pilot for Comedy Playhouse, guttered after a mere six episodes. The Mistress (1985), again starring Felicity Kendal in the title role, also disappointed, amounting, in the opinion of The Daily Telegraph’s Richard Last, to “a waste of two outstanding talents”.
In the same year, Carla Lane’s excursion into darker comedy territory, in I Woke Up One Morning (1985), depicted a group of recovering alcoholics drying out in hospital, a scenario beyond the ken of a teetotal writer, and the show was pulled after two short series.
In Screaming (1992), a trio of angst-ridden woman of a certain age determined to do without men, while each remaining secretly in love with the same one. Critics objected to Carla Lane’s overt, old-fashioned feminism, and after a tabloid mauling, she declined to write a second series.
Basically, I’m a loony, but it’s the best way to be with all the horrible things going on in the worldCarla Lane
Since 1965, Carla Lane had been not only a vegetarian but a vociferous campaigner for animal rights. “I can’t understand why people kill and eat animals,” she insisted. In 1990 she formed an animal trust, Animal Line, with her friend Linda McCartney and the Liverpool-born actress Rita Tushingham. “Basically, I’m a loony,” she declared, “but it’s the best way to be with all the horrible things going on in the world.”
Carla Lane protesting against marchers participating in the Countryside Alliance march for Liberty and Livelihood in  London in 2002
Carla Lane protesting against marchers participating in the Countryside Alliance march for Liberty and Livelihood in  London in 2002 
Carla Lane was born Romana Barrack on August 5 1928, the daughter of DeVinci Barrack, a 19-year-old Italian engineer in the Merchant Navy. She started writing as a child, winning her first award for a school poem published in the Liverpool Echo when she was seven. After an unhappy spell at a Liverpool convent, she left school aged 14 and was working as a nurse when she married three years later. While bringing up her two young sons, she wrote short stories for local newspapers and radio scripts, and joined a writer’s workshop in Liverpool where she met Myra Taylor.
With her new friend, Carla Lane wrote a series of bizarre comic sketches Up, Down, All Around, and sent it to the BBC’s head of comedy, Michael Mills. “Give me something I can understand,” he replied. “Or not totally beyond my imagination.” Mills had discerned a hidden comic talent.
The two Liverpool housewives came up with The Liver Birds, about two single Liverpudlian girls, Beryl and Sandra, sharing a flat. After a pilot was floated in the Comedy Playhouse strand in April 1969, a series of four (in black and white) debuted the following July, a week after the first Moon landing. Reaction was muted. A disappointed Mills declined a second series, and Carla Lane’s agents wrote to say that they did not feel she had any potential as a writer.
Her response was to lock herself in her room and write, unaided and unedited, a single episode of The Liver Birds. In it Beryl (Polly James) wanted to spend the night with a man, and Sandra (Pauline Collins, later to be replaced by Nerys Hughes) was appalled. Carla Lane sent it to Mills, who replied with a handwritten note: “Six more. By yesterday. Love, Michael”
Carla Lane had tapped into the  zeitgeist. “This was a breakthrough period for young, single women following centuries of repression,” noted the television writer Mark Lewisohn. “They had independence, both sexual and financial, and the opportunity to live life as they wanted it, and Carla Lane’s scripts reflected this admirably, as well as sketching the uncertainties and philosophies of being single when everyone else seemd to be married.”
Already her ability to conjure “laughs out of pathos” and life’s “little tragedies” as she called them, was becoming apparent. From series three, in 1972, Carla Lane and Myra Taylor wrote unencumbered by script editors, but Myra Taylor left the writing partnership shortly afterwards leaving Carla Lane in sole charge. In all, The Liver Birds ran for 87 episodes, including a revival in 1996.
In 1988, the year in which Bread topped the Christmas television ratings, Carla Lane bought the Grade II Zoffany House on the Thames at Strand-on-the-Green, once occupied by the portraitist John Zoffany, for £675,000.
Carla Lane in the grounds of her home and animal sanctuary in Sussex
Carla Lane in the grounds of her home and animal sanctuary in Sussex 
In 1991 she bought the tiny inhabited island of St Tudwal’s East, off Abersoch on the north Wales coast, to rescue its starving wildlife, mainly deer, and built a stone circle there to commemorate the animals who had not survived winter food shortages. At around the same time she moved from London to establish a menagerie at a 50-room Elizabethan manor house in Sussex. An unexpected tax demand in 1993 coincided with the launch of Luv, a new sitcom she had written about a wealthy middle-aged Liverpool couple whose marriage has failed, but it was a feeble effort for a writer with such an impressive track record. Nor did Searching, her 1995 series for ITV, succeed in restoring her early reputation.
Latterly she returned to live with her family in Liverpool, wistfully recalling “my rich days” and reflecting on her reversal of fortune. Although she considered a way with words to be her only gift, she was ashamed to admit that she had never read a book from beginning to end.
Appointed OBE in 1989, she returned the insignia in 2002 in protest at the CBE awarded to Brian Cass, head of Huntingdon Life Sciences, which runs laboratories where drugs are tested on animals. She received a handwritten note from the prime minister, Tony Blair, saying she could have it back at any time she cared to ask. She never did.
Obsessively opaque about her real age, she invariably rolled forward her birth date by as much as nine years.
Carla Lane married Eric Hollins, a naval architect, when she was 17. The couple divorced in 1981, and she is survived by two sons of the marriage.
Carla Lane, born August 5 1928, died May 31 2016

Conrad Phillips, actor - (William Tell)

Conrad Phillips
Conrad Phillips 
Conrad Phillips, who has died aged 90, became a familiar face on television in the late 1950s when he starred in the title role of The Adventures of William Tell.
Period tales of derring-do were a staple of the early evening television of the time and when The Adventures of Robin Hood (starring Richard Greene) wound down at the end of the 1950s, Phillips began to perform a similar “swashbuckling” role. As the 14th-century Swiss folk hero (though speaking his lines in crisp English RP), he wielded a crossbow against the occupying forces of Emperor Rudolph of Austria in 39 episodes of the ITC series.
While shooting in Snowdonia, each day’s rushes would be screened at the only cinema nearby, at the village of Llanberis. Phillips did much of his own stunt work in the mountains and suffered several injuries.
The show was sold throughout the world, even, to Phillips’s surprise, behind the Iron Curtain: “I think there was the association with the wartime resistance that still lingered on. It was an easy concept for people to understand: the occupation by Austria in the case of William Tell, and the occupation of most of Europe by the Nazis.”
Conrad Phillips: did much of his own stunt work
Conrad Phillips: did much of his own stunt work 
He was born Conrad Philip Havord on April 13 1925 in south London. His father, Horace Havord, was a journalist on The Sunday Express who also wrote mystery novels under the nom de plume Conrad Phillips. He later suggested it to his son as a stage name.
Phillips attended St John’s Bowyer School, Clapham, and when war broke out joined the Home Guard. Aged 17, he volunteered for the Royal Navy, with which he served as an able seaman manning a gun on landing craft. Invalided out of the service in 1945, he enrolled at Rada on a ex-serviceman’s grant. “My audition was, to say the least, committed,” he said. “I threw myself around the stage with passion and secured a place as a student for two years.” His fencing lessons at Rada would later come in useful while filming The Adventures of William Tell.
During the 1950s he alternated theatre work with television and film roles, including an appearance alongside Peter Finch in Powell and Pressburger’s The Battle of the River Plate, before winning the part of William Tell.
After the series ended Phillips and Peter Maxwell, one of the programme’s directors, formed Arriba Productions and worked together on the B-movie Impact (1963), about a crime reporter framed for a robbery. Maxwell directed while Phillips starred as the wronged man.
Throughout the 1960s and into the 1970s he continued to appear on stage, including a run with the ENO at the Coliseum, on the small screen (Fawlty Towers, Heidi, Callan), and in cinema. By the mid-1970s he was balancing an acting career with the management of a hill farm in Scotland.
Phillips in The Adventures of William Tell
Phillips in The Adventures of William Tell 
During the 1980s Phillips’s credits included The Return of Sherlock Holmes; Emmerdale; Howard’s Way and Hannay. He returned to the story of William Tell for Crossbow (1987-88) in which he played Stefan, the protagonist’s mentor. “Stefan was a much older and grizzled character,” Phillips recalled. “I had far more action in my series but I enjoyed the challenge [of being] an arthritic warrior.”
He retired from acting in the early 1990s and in later life lived in Chippenham, Wiltshire. In 2013 he published his memoirs, Aiming True (2013). “I’ve had quite a bouncy life,” he wrote.
In 1949 Phillips married Jean Moir, who also studied at Rada. The marriage was later dissolved and in 1968 he married, secondly, Jennie Slatter, who survives him with their two daughters. A son from his first marriage predeceased him.
Conrad Phillips, born April 13 1925, died 13 January 13 2016

Alan Young, actor

Alan Young with Mister Ed in 1962
Alan Young with Mister Ed in 1962 
Alan Young, who has died aged 96, was a British-born actor who became famous as the human sidekick of Mister Ed, the talking horse, in the eponymous 1960s CBS sit-com.
When he was first approached to play the role of Wilbur Post, Mister Ed’s hapless owner, in the early 1950s, Young, an Emmy-winning star of his own comedy revue, replied that he “didn’t want to work with anybody who doesn’t clean up after themselves”.
In the meantime the actor George Burns had financed an unsuccessful Mister Ed pilot with another actor and in 1959 he again approached Young, saying that he looked “like the kind of guy a horse would talk to”.
Seven years later, nobody was knocking on my door and I was willing to talk to anyone, including a horseAlan Young
 “Seven years later,” Young recalled, “nobody was knocking on my door and I was willing to talk to anyone, including a horse.”
The star of the show was a palomino gelding called Bamboo Harvester, whose gravelly voice was provided by Allen “Rocky” Lane, a star of 1930s low-budget Westerns. From 1961 to 1965 the mischievous Mister Ed and his less intelligent owner entertained viewers with plot lines that revolved around the horse’s skills as a troublemaker and Wilbur’s efforts to conceal their conversations.
Wilbur, Young recalled, was “naive and bumbling”, while “Ed was a wily one. I think it’s the same chemistry that made Laurel and Hardy and Jackie Gleason and Art Carney: it’s the one guy making a fool of the other guy.”
Alan Young and Mister Ed
Alan Young and Mister Ed 
Each show began with Mister Ed whinnying: “Hello, I’m Mister Ed,” followed by the theme song: “A horse is a horse, of course, of course...” Star guests included, one one occasion, Zsa Zsa Gabor who, Young recalled, tried to drive off with a $10,000 mink coat that she wore for the show. Stopped by security guards as she left the studio, she was unrepentant. “I’m sorry, dahling,” Young recalled her saying, “but most of the studios give me coats like this as gifts.”
The show spawned all sorts of stories about Mister Ed. Claims that he was really a trained zebra, which had been brought in at the last minute as a replacement for a recalcitrant horse to save the show from being cancelled, were denied – as was a story put about by two Ohio fundamentalist preachers that the “Mister Ed” theme song played backwards referred to the devil.
Young  once spread a rumour that the film crew used peanut butter to get Mister Ed to 'speak'
 Young once spread a rumour that the film crew used peanut butter to get Mister Ed to 'speak' 
Young himself confessed to spreading a rumour that the film crew would spread peanut butter on the horse’s lips to get him to “speak”, though he later claimed that the trick had been to place a piece of soft nylon under his lip which the horse would try to work out: “But I’ll tell you this. After the first year, you couldn’t shut him up, because as soon as I stopped talking, his lips started to move.”
The rumours continued after the show ended, when Young, who owned shares in Mister Ed, made a fortune off the royalties and often attended fan conventions, sometimes accompanied by Connie Hines, his television wife Carol.
There was a continuing mystery over the circumstances of Mister Ed’s death and in 1997, with the 1960s comedy gaining in popularity through reruns, a Californian radio personality launched a contest to determine where the horse was buried.
Three people won after identifying a site in north-eastern Oklahoma, but Young felt obliged to set the matter straight. “I don’t want to prick the people in Oklahoma’s bubble,” he said, but the horse had died on the California ranch owned by his trainer, Lester Hilton.
Alan Young posing with a Mister Ed lookalike in San Francisco in 1997
Alan Young posing with a Mister Ed lookalike in San Francisco in 1997 
After the show ended its five-year run in 1965, Mister Ed had lived out his life on the ranch, where Young would ride him every day. In about 1973, however, he “went over to Lester’s little spread, and Lester was sitting very quietly. He said, 'We lost Ed.’ He said he had a horsesitter and the horsesitter thought Ed was having a fit, and he gave him a tranquilliser and Ed just didn’t wake up.” The horse was subsequently cremated.
He was born Angus Young to Scottish parents at Tynemouth, Northumberland, on November 19 1919 and moved with his family to British Columbia, Canada, when he was young: “My dad’s specialty was losing money, so after he lost it in a mining venture in northern British Columbia, he wound up as a shipyard worker in West Vancouver, where I finished high school. I was acting in radio plays at 13 and had my own [radio show] at the age of 16.” He performed as a mimic, specialising in Gracie Fields impressions until his voice broke.
After working for the Canadian Broadcasting Corporation during the Second World War, Young moved to New York as a summer replacement for Eddie Cantor on his radio comedy show. He decided to stay on, with a tour as Liberace’s opening act, and in 1946 Darryl F Zanuck brought him to Hollywood to co-star with Jeanne Crain in Margie. He appeared with a young Natalie Wood in Chicken Every Sunday, and with Shirley Temple in Mr Belvedere Goes to College (both 1949) before landing his own television comedy variety show, The Alan Young Show, which ran from 1950 to 1953 on NBC Radio and won two Emmys.
In the mid-1950s, with invitations drying up, he returned to Britain, where he appeared on radio and made two low-budget films. In 1960, however, he moved back to America to work with George Pal on The Time Machine, an adaptation of HG Wells’s novel.
After Mister Ed was put out to grass, and an unsuccessful stint on Broadway, Young dropped out of acting for nearly a decade to set up broadcasting facilities for the Christian Science Church, which he had joined as a child.
Returning to acting, he appeared in television series and developed a new career as a voice-over actor on film and television. He voiced the Disney animated character Scrooge McDuck in the television cartoon series Duck Tales, and several characters in the Belgian comic franchise The Smurfs.
Young’s first marriage was dissolved and in 1948 he married Virginia McCurdy, a singer who died in 2011. He is survived by four children.
Alan Young, born November 19 1919, died May 19 2016