Bretton Hall Essays’ book

At last! I am pleased to announce that the collection of essays, jointly edited by myself and John Taylor, is being published by Quacks Books of York on 25 September. Enclosed is the publisher’s pre-order flyer. If you could arrange for it to appear on the Alumni website, hopefully it might generate some interest.

You will recall that John and I had immense difficulty and delays in obtaining funding for the project, with the result that we have only managed a limited print run of 500 copies. Copies of the book can be obtained from YSP retail outlets or direct from Quacks Books at the address on the pre-order form.

This has been a very long journey for us to get the project to print and, sadly, John is no longer with us and was unable to see the book into print. It is dedicated to John’s memory.

We hope that everyone finds these essays of interest and a (valediction/testimony) record of a much-loved place.

Best wishes. Tony Denton.

(Bursar – 1982-92; YSP Treasurer 1982-1987; NAEA Trustee 1999-2009.)

The link for purchasing from YSP is as follows –

https://yspshop.org.uk/products/bretton-hall-essays-practicality-innovation-initiative-pre-order

 


The Impact of Erotic Literature on Intimacy and Connection

Erotic literature has been around for centuries, from the ancient Greek texts to modern-day romance novels. Also known as “erotica,” this genre of literature explores human desire, passion, and sexuality through storytelling. While often associated with explicit content, the true power of erotic literature lies in its ability to foster intimacy and connection between partners.

To understand the impact of erotic literature on intimacy, it’s important to first define what it is. Erotic literature is not simply pornographic material in written form. Rather, it is a genre that combines storytelling, character development, and sexual content to create an emotional and intellectual experience. Erotica often delves into themes of desire, pleasure, and connection, allowing readers to explore their own fantasies and deepen their understanding of their own sexuality.

One of the primary ways that erotic literature can foster intimacy is by providing a safe and private space for couples to explore their desires and fantasies. Reading erotica together can be a way for partners to open up about their turn-ons and turn-offs, and to discover new ways to pleasure each other. This can lead to deeper conversations, increased trust, and a greater sense of connection between partners.

Additionally, erotic literature can help couples to break out of sexual ruts and try new things in the bedroom. By reading about different sexual scenarios and techniques, couples can gain inspiration and ideas for their own sexual encounters. This can help to keep the spark alive in long-term relationships, and to prevent boredom and monotony from setting in.

Erotic literature can also help couples to build a stronger emotional connection. By reading about characters who are experiencing desire, passion, and pleasure, couples can tap into their own emotions and connect with each other on a deeper level. This can help to build a sense of intimacy and closeness, and can even help to strengthen the bond between partners.

Of course, it’s important to note that not all erotic literature is created equal. Some texts may be more explicit than others, and some may focus more on fantasy than on real-world relationships. When choosing erotic literature to read with a partner, it’s important to find texts that resonate with both partners, and that align with their values and boundaries.

In conclusion, erotic literature can be a powerful tool for fostering intimacy and connection between partners. By providing a safe and private space for couples to explore their desires and fantasies, and by offering inspiration and ideas for new sexual experiences, erotic literature can help to deepen the connection between partners. When approached with care and consideration, erotic literature online erotic films can be a valuable addition to any couple’s relationship toolkit.


Elvin Young

ELVIN YOUNG – MUSIC – 1965-1968

Having done two jobs each of one year in a bank and in the Civil Service I joined Bretton Hall in 1965 to train as a teacher with music as my main subject. This was not surprising as I had been playing the piano since the age of four and had been a cathedral chorister.

At Bretton I joined as many musical groups as possible and learned the trombone from scratch and found myself in the college first orchestra by the beginning of my second year under Harvey Marsden and Guy Woolfenden. 

I remember playing in concerts including Street Corner Overture by Alun Rawsthorne, In the Steppes of Central Asia by Alexander Borodin, Symphony no. 4 in D minor by Robert Schumann and finally the F major Piano Concerto by George Gershwin with Keith Swallow who was also my piano tutor. The wind band under Gerald Arran was great fun.

Taken at my work desk on 2.12.11.

Taken at my work desk on 2.12.11.

The Chapel Choir was taken by William Crust who was also the college warden in my first year. Sadly Mr Crust died unexpectedly over the summer holidays in 1967. The A Cappella Choir under Brian Longthorne took us to Coventry Cathedral in June 1968 where we sang the weekend services. I remember that our overnight accommodation was in the Undercroft!

My two teaching practices were at Oulton County Primary School near Leeds and at Thornhill County Primary School near Dewsbury. At the end of my three years at Bretton it became evident that, after all, I was not cut out to be a teacher so I returned to Gloucester and entered local government with the County Council in the Education Department. Most of my subsequent working life was involved with the administration of teachers’ records and pensions which suited me quite well!

Musically I have continued singing – Gloucester Choral Society, Saint Cecilia Singers (Chamber choir) for 44 years and still counting – and 26 Three Choirs Festivals. The trombone gave way to the French Horn many years ago and I’ve played in numerous concerts and shows locally since.

Over the years I managed to keep in regular touch with one of my music tutors, Paul Mann, who joined Bretton at the same time as I did. Paul produced a booklet “Sounds and Sweet Airs” – the Development of Music at Bretton Hall 1949-1989 – to the memory of Daphne Bird, Head of the Music Department 1949-1979. Sadly Paul died a few years ago but I’m still in touch with his widow, Mary.

I’m so sorry to see the destruction and demise of Bretton Hall as a college and of so many of the buildings all of which I have many happy memories together with my fellow students. My time at Bretton certainly helped shape my life for the better particularly in the field of music albeit outside the scope of teaching.

During the M2 visit to London in February 1967 several of us went up to near the top of the Post Office Tower and I took a picture of a few of us as attached. Names from left to right are:-
Roger Bush, Jean Buchan, Marion Flaxman, Janis Greenaway and Judith Gowers.

 Four pictures I took of a one-off production of Gilbert and Sullivan's "Trial by Jury" on 15.12.67. This was a project by John Handley as part of his M3 music assessment utilising many students for the chorus and orchestra. Between the four pictures I can identify many of the participants as follows:-
John Handley (conductor), Christine Douglas, Jonathan Newcombe, Gemma Farmer (staff), Christine Brown (staff), Jenny Oughton, Mike Tomlinson, Manton Dumville, Roger Bush, Janis Greenaway and Angela Gough (soprano soloist).
Images below

Chapel Choir - 20-1 on 30.6.67

Chapel Choir - 20-1 on 30.6.67

Capella Choir at Ripon --18-32 - 11.6.67

Capella Choir at Ripon --18-32 - 11.6.67

Capella-Choir-at-Coventry-58-5-on-2.6.68

Capella-Choir-at-Coventry-58-5-on-2.6.68

Capella Choir at Coventry - 58-4 on 2.6.68

Capella Choir at Coventry - 58-4 on 2.6.68


Martin Kiszko

Martin Kiszko 1976 to 1979

I was one of the guinea pigs for the new BA Creative Arts. My course was split into music, visual Arts and inter-arts, a new subject area embracing film, dance, drama, performance art, music, art and literature. Music was my major throughout the three years. I lived on Men’s Main in the mansion, Allendale in the second year, and in Haigh Village during the third year.

Since those inspiring years I have my life as a film composer, scoring over 200 film and TV scores for the BBC Natural History Unit and many of Sir David Attenborough’s films. I also wrote many well known TV signature tunes and released nine albums with Europe’s finest orchestras. In 2009 I founded my environmental campaign Green Poems for a Blue Planet based on my two books of eco-poetry Green Poems for a Blue Planet and Verse for the Earth. My one-man-show based on the books has toured from LA to India, China to Dubai, and Malta to the Edinburgh Fringe.

In 2020 I published my autobiography Major & Minor Adventures in Lah Lah Land, which can be pre-ordered here http://www.martinkiszko.com/discography.html is a candid behind-the-scenes look at film music composition, natural history filmmaking, TV projects and eco-poetry. It is also a personal memoir and a good laugh along the way! The book is a useful primer for anyone wishing to enter the music and writing industries.

www.martinkiszko.com

www.greenpoemsforablueplanet.com


الأدب الكحولي: حقائق ومعلومات حول هذه النوعية من الأدب

الأدب الكحولي هو نوع من الأدب الذي يتناول بعض المواقف والأحداث الجنسية بطريقة برiente ومباشرة. ومع ذلك، فإنه يمكن أن يتناول أيضاً العلاقات الإنسانية والمشاكل النفسية التي قد تواجهها الشخصيات الرئيسية في القصة. في هذا المقال، سنتناول موضوع الأدب الكحولي من خلال بعض الحقائق والمعلومات المهمة حول هذه النوعية من الأدب.

ما هو الأدب الكحولي؟

الأدب الكحولي هو نوع من الأدب الذي يتناول المواضيع الجنسية بطريقة برiente ومباشرة. يمكن أن يتناول الأدب الكحولي أيضاً العلاقات الإنسانية والمشاكل النفسية التي قد تواجهها الشخصيات الرئيسية في القصة. ويمكن أن يتم xxnxx تداول الأدب الكحولي عبر الكتابة أو الصوتيات أو الصور أو الأفلام المoving.

ما هي الفروق بين الأدب الكحولي والإرباك؟

يمكن أن نجد بعض الشبهات بين الأدب الكحولي والإرباك. ومع ذلك، فإنه هناك فروق كبيرة بين الأدب الكحولي والإرباك. الإرباك هو نوع من المواد الإباحية التي تتناول الجسم البشري بطريقة غير معقولة أو تهديدية. في بعض الأحيان، قد يتم تداول الإرباك بشكل جرأ ولا يوجد أي شيء مثقف فيه. في حين أن الأدب الكحولي، فإنه يتناول المواضيع الجنسية بطريقة برiente ومباشرة، ولكن بشكل مثقف وبحسب قواعد الأدب.

هل هناك أي مساهمة للمجتمع من خلال الأدب الكحولي؟

قد يكون للأدب الكحولي بعض المساهمات للمجتمع. فمثلاً، قد يتمكن الأدب الكحولي من التعبير عن قضايا جنسية حرجة أو مشاكل نفسية بطريقة مباشرة ومبتكرة. كما قد يتمكن الأدب الكحولي من الإبداء عن وجهات نظر جديدة حول الجنس والعلاقات الإنسانية. ومع ذلك، هناك بعض المشاكل التي قد تشارك فيها الأدب الكحولي، مثل الإباحية والعنfancy.

ما هي أنواع الأدب الكحولي؟

قد يتطور الأدب الكحولي بكل تعقيد الأنواع والأشكال. يمكن للأدب الكحولي أن يكون قصيراً أو طويلاً، ويمكن أن يتم تداوله عبر الكتابة أو الصوتيات أو الصور أو الأفلام المoving. ويمكن تقسيم الأدب الكحولي إلى نوعين الرئيسيين: الأدب الكحولي الروائي والأدب الكحولي الشعري. الأدب الكحولي الروائي هو الذي يتناول القصص والمشاكل الجنسية، في حين أن الأدب الكحولي الشعري هو الذي يتناول الشعر الجنسي والأفكار الجنسية.

ما هي أهم المشاكل التي تواجه الأدب الكحولي؟

قد تواجه الأدب الكحولي بعض المشاكل الكبيرة. فمثلاً، قد يتم تداول الأدب الكحولي بشكل غير مفتوح وغير مستقر. كما قد يتم تداوله بشكل غير مباشر وغير معقول. ومع ذلك، فإن الأدب الكحولي يمكن أن يتناول مشاكل جنسية حقيقية ومهمة. ويمكن للأدب الكحولي أن يتمكن من التعبير عن قضايا جنسية حرجة أو مشاكل نفسية بطريقة مباشرة ومبتكرة. ويمكن للأدب الكحولي أن يتمكن من الإبداء عن وجهات نظر جديدة حول الجنس والعلاقات الإنسانية.


Pete Clayton

Pete Clayton

I was at Bretton from 1972-75 and my main subject was Environmental Studies - I did initially sign up for the Science course, transferring within just a few weeks. I trained for middle years although my interest was really primary education.
Although I loved Bretton, it wasn't a great place for my mental health, nor for many others that I know. On reflection, I can see that I arrived with some anxiety issues and they were somehow amplified by Bretton's insular nature. This lead to my leaving just before the end of the course, which could be seen as a monumental waste of time and money and I don't think that college really helped enough to get me through that dark patch.
Despite flunking the course, I still feel a fond attachment to Bretton, and, like many students of those earlier years I still have a strong feeling of 'ownership' of the place. The latter derived, I think, from the sense of belonging, engendered by the special buildings and grounds. In later years it must've felt very different for students after the site was 'invaded' by the Sculpture Park and the associated public access.
I worked in a wide range of jobs after leaving, including gardening, gravedigging, screenprinting, and Management Services. Hil, my wife (nee Blanchard), who was also a Bretton student (71-75), persuaded me to get back into education in the mid 1980's and, believe it or not, I took a four year BEd course, qualifying with a first and taught for 20 years before retiring.
Below are a selection of images from Pete's collection


John Herriman

John Herriman 1977-1980 Drama

Whilst at Bretton was involved in many performances, sang regularly at folk club and played all the sports I could. I was even captain of the football team for one disastrous year! And access to the boat house for midnight serenading on the lake. On leaving Bretton I taught for 6 years then following a successful entrance into the National Student Drama festival in Swansea and Edinburgh with “My Friend Julie” (which was televised network by Thames TV as part of the Dramarama series)

I left teaching and had a wonderful time performing nationally, internationally and in the West End. I always regarded myself as a Practitioner and have been directing, singing, teaching and acting ever since. Bretton was the start quite literally of A Wonderful Life and I grateful to this day.

Link to Facebook page


Daphnie Hale

In 1966 John Friend announced that he intended to retire in 1967. His deputy was Margaret Dunn but the WRCC had already  decided to open a Castleford annexe of the Lady Mabel Ccollege in 1967 with Margaret Dunn as its warden.

The Governors’ minute approving the transfer said it was agreed ‘That on the retirement of Mr Friend the new Principal to be appointed be male and that the Vice Principal be a woman‘  Alyn Davies  was appointed to start in 1968.

So John Friend postponed his retirement whilst Daphne Hale, headmistress of Pontefract Grammar School, was identified as the new vice principal and relocated to Bretton (the self-reproducing world of the West Riding!)


Gordon Beastall

Rachel and Gordon Beastall

Rachel and Gordon Beastall

Gordon Beastall Drama and Music in 1971 - 74

 

I was 25 years old when I started at Bretton Hall, but prior to this I lived in Matlock and worked as a Tax Officer for HMRC, as Manager of a Delicatessen and then as a representative for Tetley Tea, selling teabags from the back of a van. During my late teens I belonged to two Amateur Drama groups and an Operatic Society. On joining the Drama course, under John Hodgson, I realised that I was the oldest person and most of the others were straight from school at 18 years of age. I loved my three years there and experienced the company of a generous bunch. I was married in my second year to Rachel, who was in her third year of a Music course at Bretton Hall. We rented a house in West Bretton for 2 years, eventually moving to Withernsea, (a coastal town in East Yorkshire about 20 miles east of Hull) where I got my first teaching post at the High School. I remained there for 30 years and eventually became Head of the Arts Faculty.

In 1985 I was seconded to ‘The Arts in Schools project for a year, working alongside Ken Robinson, another ex-Bretton student. I left Withernsea High in 2005 and started my own company providing drama and music workshops in local Primary Schools as ’barnstormersdrama’ I also worked with a company called ‘Young Enterprise’ which provided workshops in schools and in large venues where I facilitated day-long events for up to 200 pupils. I am currently working for York St John University, mentoring students on Primary teaching courses as they go on teaching practice. I love this work. l am still singing folksongs with my wife for various local organisation, playing in a folk-band called ‘Morning Dew’ and singing with three other 70+ lads as ‘Quarto’.

Final year (1974) production of 'Three Sisters

Final year (1974) production of 'Three Sisters

Final year (1974) production of 'Three Sisters

 Final year (1974) production of 'Three Sisters

Final year (1974) production of 'Three Sisters

 Final year (1974) production of 'Three Sisters

Final year (1974) production of 'Three Sisters

Final year (1974) production of 'Three Sisters' at Bretton Hall. What do these photos bring to mind? I seemed to play a lot of older characters in my time at BH..e.g. a Professor in Year 1 and Ferapont in Year 3. I was 25 when I joined the drama course and the rest of the group were much younger than me with the majority being just 18!

Link to Facebook page


Martin Snow

Martin Snow

1968 to 1971 Music

 

OK this is a Cliff Notes version, google that if it's US talk. Travelling in Israel, doing kibbutz, more travelling through Afghanistan etc took me through to 1975. Back to England and London, TAUGHT for 6 months just enough to make it quite clear it was not for me. Took a train  down to Cornwall to  visit a friend running a youth hostel in Tintagel, started running various hostels all in Cornwall most especially Treyarnon Bay,  met my American wife, Mia who was backpacking and in 1980 moved to the states...for everything since then check out  www.martinsnowpianos.com I have three daughters,  Corrina  27, Rosie 22, and Zoe 18.

Chris, Ray, John, Marie

(l to r) Martin Snow, Mike Procter, Ric Jerrom, John Wood, Mal Williamson.

(l to r) Martin Snow, Mike Procter, Ric Jerrom, John Wood, Mal Williamson.