Dalesman February 2012

My trips this month span the breadth of North Yorkshire, with visits to Leyburn, Thirsk, and Sutton Bank.

Castle Bolton is a visitor attraction near Leyburn

Castle Bolton, once a fearsome Mediaeval stronghold, now a peaceful visitor attraction

In Leyburn, Alix Warland and Martin Crowson were typical of so many people I meet in the Dales.  For every person who can trace their family back over generations in the same village, there’s someone else who has moved in because they fell in love with the Dales.  And that love has caused them to throw themselves wholeheartedly into learning about their new home, and supporting its community.

As we drank our coffee, we fell to discussing the shopping in Leyburn.  Martin described it as “A totally difference experience to a lookalike high street.”  And, he commented, “There are three food stores, including one of the finest independents in the country.”

I had to agree.  I’ve bought things in Leyburn that I couldn’t find in other towns.  For instance, the household goods store in the former town hall, smack in the centre of the market place, is an Aladdin’s cave for the homemaker.

And Leyburn is a hidden gem for quality clothes and shoes, as well as food.

In fact, as I walked back to the car, a shop caught my eye, I nipped in for a browse – and came out with a new skirt.

A result for Leyburn!

Find out more about visiting Leyburn at www.welcometoleyburn.co.uk

Prof Dominic Powlesland

Prof Dominic Powlesland has spent decades studying the prehistoric landscape of Yorkshire

Over at Sutton Bank, Professor Dominic Powlesland, of the Landscape Research Centre, was explaining what they discovered when they dug a Bronze Age burial mound at Boltby Scar.  Such burial mounds pepper the Moors, and, he says, the remains of many more lie beneath the ploughed fields of the Vale of Pickering.

Traditionally, they were believed to be the burial place of an important personage, but Dominic’s work now points, he says, to longer term use as a burial site over hundreds of years, perhaps for a family or clan.

The barrow they dug at Boltby, he thinks, may be indicative of similar practices for other, similar looking barrows.  He says it revealed, “A long and complex history of both construction and robbing.”

They identified six phases of the life of the barrow.  Phase 1 was a stone ring, with large irregular limestone blocks laid on bed of pebbles.  They think it may have defined the area of a flat cemetery.  There was evidence of burning – perhaps funeral pyres?

Phase 2 was a turf mound within the stone ring.  There was lots of charcoal in the turf – carbonised hazel shells, indicating domestic activity.  Carbon 14 dating gave an age of around 1920-1730 BC.

They called phase 3 the ‘yellow mound’, as a thick deposit of yellow-brown clayey soil had been laid over the charcoaley soil of phase 2.

Phase 4 was a pebbly mound that covered over the yellow clay and extended to the stone ring.  It was made of clean silty soil with a layer of pebbles on the surface.

Phase 5 placed a wattle fence around the mound, with limestone slabs leaning up against the fence.  The vertical slabs of pale limestone, high on the escarpment, would have been visible from a considerable distance.

At phase 6, the whole mound , fence and stone rings were buried with a thick layer of fine silty soil.  Covering the limestone dimished its visibility in the landscape, but made the mound taller.

Dominic thinks that these phases probably developed over hundreds of years, starting around 2000 BC, in the early Bronze Age.  That is why he believes that it was used for many burials, not just one single person.

Whatever the significance of the mound to its original builders, the mound continues to draw people to it even today, around four thousand years later.

Read more about Dominic’s work at www.landscaperesearchcentre.org

Later this year, an exhibition of the findings at Boltby will be staged at Sutton Bank Vistor Centre.

Advanced student Alex Coode learns about historic ironwork at C Topp and Co

Advanced student Alex Coode learns about historic ironwork at C Topp and Co

Meanwhile, today, Chris Topp’s ironworks near Thirsk are attracting visitors from far and wide, who come to learn about his work with historic iron.

Although Chris also designs and makes brand new items, he has been involved with restoring historic iron work for decades.

He also does ‘practical archaeology’: making a replica of a historic artefact, in order to discover how it was made.  Much of this work has been filmed for TV, and he’s been involved in projects relating to a Roman Well, the Titanic, the Mary Rose, and even the Eiffel tower.

So when it was decided to form a body to provide proper training and qualifications for people working on valuable historic ironwork, it was natural that Chris should be involved.

The National Heritage Iron Group has been formed in order to provide training for a new generation of blacksmiths to continue learning the historic skills to care for our ironwork heritage.

www.christopp.co.uk

www.nhig.org.uk

Craft&Design November/December 2011 issue

For Craft&Design’s November/December 2011  issue, I had the pleasure of meeting four more inspiring people.

I’m always impressed by the prodigious energy that the makers I meet pour into their work, but Yueh Yin Taffs was exceptional.  Vitality fizzed off her as she enthused about the horses she loves to sculpt.

As her words overflow, it becomes clear that she has given up two careers –  in the  highly desirable, competitive fields  of fashion design and television – in order to follow her dream of becoming a sculptor.  She pours all her passion into her sculpture, giving it emotion as well as attractive lines and shapes.  Horses and other animals are favourites, but she also enjoys recreating classic myths.

The life and energy in her works make it attractive to buyers, and, as word of her work spreads, Yeuh Yin expects to see more commissions.

www.yuehyintaffs.co.uk

Like Yueh Yin, Louise Gardiner also has endless energy for her work – energy she likes to infect others with via the workshops that she teaches.  She also pushes this energy into developing opportunities for people to see her work, whether at exhibitions, on the internet, or through other media such as TV, radio or books.

Louise, realises that no-one has an endless supply of energy: one day, even she will have to slow down.  So she’s planning for the future, by working on ranges such as greetings cards,  that can be reproduced and provide income without Louise having to make something new every time.

It’s a long –term strategy for a lady who shows no sign of running out of steam any time soon.

www.lougardiner.co.uk

Jan Beaney’s energy shows no sign of abating, despite decades as a fibre artist.  She managed to continue developing her career whilst bringing up a family, and since then, has travelled the world to teach embroidery – travels that provide inspiration for her own exhibition pieces.

And the more she does, the more ideas she gets.  So, defying the laws of physics, energy breeds even more energy.

www.doubletrouble-ent.com

Mike Goldmark uses his creative energy not to make art, but to bring art to buyers.  He cares deeply about art himself – which he defines as ‘stuff that moves you’.  From his shop in the market town of Uppingham, he has reached out to customers across the world.  And although, like anyone, he has to pay the bills, he puts much more into his business, commenting, “While we have to pay our way, it’s not the only reason why we’re here.  So we are busy doing things that have nothing to do with profit, but make us a magnet for like-minded people who enjoy the sort of things that we do.”

The result is a gallery that also publishes books, creates films, and holds events in its own auditorium – as well exhibitions.  Perhaps this is why potter Phil Rogers credits Mike with ‘revolutionising the way we present, sell and appreciate fine pottery in this country.”

www.goldmarkart.com

Read all about these inspirational people in Craft&Design, Oct/Nov 2011 issue.

Does a craft maker need an agent?

I’m now a blogger on Craft&Design’s website:

Having met hundreds of makers over the years, this question comes to me time and time again.  Musicians, actors, authors – so many people in the ‘creative industries’ have an agent.  So why not Craft Makers?

The agent  – or manager – manages publicity, commissions (aka sales) and contracts, allowing the ‘creative person’ to focus on being creative.  Sometimes they may charge a fixed fee, or be employed within the business.  But many managers are freelances who manage several ‘names’ and charge a commission to fund their services.

So could craft makers have agents?

I recently spoke to Jake Mee, a young man who recently achieved his dream of setting up his own glass blowing studio.  His story will go into a forthcoming issue of Craft&Design.

Jake had to save hard to set up  his studio – but he still has an ‘agent’, and a very good one too.

Jake’s Mother, Jo, had taken on the role.  As a mother myself, I saw at once that this was a ‘dream job’ – a job telling people how wonderful your adored son is!

But, Jo was good at it.  A capable administrator, she kept on top of correspondence, phone calls, mailing, and talking to visitors to the studio.  And while Jake took a holiday, she organised a new 25-piece exhibition for him.

Some might balk at being managed by Mother.  But Jake’s an independent adult who has developed an effective working relationship with someone who just happens to be a family member.  He says, “My Mother is good at marketing and talking to people.  So she does that, and it gives me more time to work with the glass.”

I can think of many other makers who would love to have the services of such an effective assistant.

See Jake’s studio and work at  http://www.smithbrookglassblowingstudio.co.uk/,

And you can see my, and other contributors’ blogs, at http://www.craftanddesign.net/blog/?p=148


Craft&Design Magazine, September 2011

The September 2011 issue of Craft&Design features a bumper selection of award-winning craft makers.

The magazine sponsors the Selected Awards, which are bestowed following a procedure of public vote followed by specialist judging.

So Selected winners have both peer and popular approval, making it an award that people love to achieve.

I had the pleasure of talking to Phil Rogers, the overall winner.  His achievements – even over so many years – were breathtaking.  He makes art pottery.  He sits on committees.  He builds kilns.  He teaches workshops.  He writes books.  He appears in films (about pottery, of course.)  He goes on tour – and talks to people like me.

No wonder the specialist judge, Geoff Cox, said that Phil shows strong committment!

But, despite all his activities, Phil is still a maker at heart.  He experiments with all the aspects of his craft: shape, colour, the technicalities of glazes and their interaction with the heat of the kiln.

And through these experiments, he is able to create something new, something unique.  And that is the satisfaction of his craft.

To read  the full article about Phil, buy Craft&Design Magazine by  clicking here. Read more about Phil in Craft&Design,

Or see to find a nearby stockist, click here.

Craft&Design, July/August 2011

This month’s issue of Craft&Design features a bumper crop of talented craftspeople who I had the pleasure of talking to.

From Bex Simon’s beautiful nature-inspired metal work, to Iain Broadbent’s detailed wood carving, to Jill Fanshaw-Kato’s carefully considered ceramics, their works combine function, decoration, and  art all in each individual piece.

Jill Fanshaw-Kato (http://www.jillfanshawekato.com/) was illuminating about the special place that ceramics have in the hearts of Japanese people.   Just a few days before the catastrophic earthquake and tsunami, Jill was explaining to me that Japan is a geologically active country, where it is easy to believe that the earth has a spirit of its own – a spirit channelled by the artists who create using  clay dug from the earth.

Sadly, her words were proved only too true when devastation struck.   She told me that potters in Japan had helped with the iconic Leach pottery in Cornwall, and now, the Leach pottery is fundraising to help fellow potters in Japan who suffered from the earthquake.  See http://www.leachpottery.com/What-s-On/News-Feed.aspx for details.

Bex Simon (http://www.bexsimon.com/)  is an artist blacksmith who has made a name for herself with many bespoke gates, railings and so on.  But with a baby on the way, she wanted to venture into product design as well.  So when an email from a TV company arrived, asking if she’d like to appear on a ‘reality show’ about business,  she decided to give it a go.

Appearing on TV was quite an experience – as Bex explains in her feature.  But the publicity it generated helped her new venture to go well, creating a new job for husband Dave.

Meanwhile, Iain Broadbent (http://www.iainbroadbent.co.uk/) works quietly and often alone, restoring detailed and intricate historic wood carvings.  But he also works on  his own contemporary designs, which are deceptively clean and crisp, belying the deep thought that has gone into their creation.

Whenever I speak with such craft makers , a joy in creativity shines through them.  I long to experience such a joy myself, but without kiln, forge or workbench, I have to satisfy myself with cooking dinner as my creativity for the day.

Hallo kitchen!

Meanwhile, you can read all about these makers in Craft&Design, see http://www.craftanddesign.net/stockists/map/ to find a local stockist, or order online.

Countryman April 2011 – How to Save the Village Pub

GEORGE AND DRAGON HUDSWELL IS OWNED BY A VILLAGE CO OP

THE GEORGE AND DRAGON WAS SAVED BY A VILLAGE CO OP

When researching how to save the village pub for Countryman, I ended up getting far too many comments to fit onto three pages.  Here are the extra bits that wouldn’t fit onto the pages….

Despite almost universal agreement that community pubs provide a social focus with very few of the ‘binge drinking’ problems seen in city centres, these much loved pubs just keep closing.  Why, and what can we do about it?

The British Pub and Beer Association publishes statistics on this.  The most recent report I found, for 2008, reported that, of a total of 57,500 pubs, 31% are independent, 53% tenanted or leased, and 16% were managed by a brewery or Pub Company.  This means that, in practice, 84% of pubs are run by independent, often family-based, businesses.  Each of these businesses, mainly because of the jobs it creates, is estimated to be worth around £80,000 a year to the local economy.

Furthermore, total average beer consumption per person has declined by about a third over the last thirty years.  But the bit that really hurts pubs is that thirty years ago, only a negligible proportion of beer sold was ‘off’ sales – bottles and cans to drink at home.  Nowadays, almost half the beer sold is through ‘off’ sales – beer that is not drunk in pubs.

This is why John Longden, of Pub is the Hub, describes a ‘tidal wave’ of change affecting pubs.  He is a practical man, clear about the fact that pubs close simply because costs exceed income, and that in some cases, traditional pubs simply are no longer viable.

However, many others are, and he says, “Pub is the Hub began with the concern that rural services were disappearing.  Often the last remaining business was the pub, and could we encourage good licensees to provide other services?”  Typically, these services attract more people, and he says, “Good licensees who do Pub is the Hub can increase turnover 30 or 40%.”

Pub is the Hub has also helped communities to take over their pub.  He says, “It’s a hard slog: you have to identify if the pub is sustainable.”

And, he adds, “Running a pub is not like running a shop.  Pub customers come in a great variety, and come in for different things.  There are special skills involved in running a pub.  You need to know how to do catering, how to purchase beer, how to do stocktaking, how to do rating (rates are complicated), insurance, gambling laws, employment laws, food hygiene, licensing laws, and so on and so on.  That’s why we always advise getting a professional manager.”

For those determined on taking over their pub, he advises getting good advice, be sure the business is sustainable, get a good solid business plan, and consider how to promote more activity in the pub.

He also advises having a clear plan for what happens if, despite all the hope and hard work, the community pub fails.  What happens to the assets, to shareholders’ money, and so on?

John says, “We offer impartial advice.  We’re currently advising around 107 groups around the country.  50% of the time we have to say ‘nice idea, but we don’t think it’s viable’.  But if it works, the rewards are there.  It gives a sense of spirit in the community, and if people feel it is their pub, they will use it.

There are various business models he’s seen used, and describes them:

1.  Try to purchase the pub as a co-operative.  “We’ve helped 30 communities to take over their pubs, and we’re presently advising about 16 more.  Things to look out for, he says, are to have a manager or tenant making the day to day decisions.  “There’s nothing worse than a group agonising over the menu, so best to get a manager.”  Also, you need to decide what will happen with dividends, what if the pub fails, and what if investors want their money back.  Once a co-op has ownership of the pub, they can hire a manager to run it on their behalf, or rent or lease it to an operator.

2.  A smaller group buys the pub.  This, says John, has been a popular route.  “Forty or more people come together to buy the pub.  Typically, they will invest between £500 and £10.000.”  John advises having a cap on investments, to keep the balance of power balanced.  “The same caveats as for a co-op, especially for what if it fails, apply,” he says.  He also describes how one group bought the pub, then sold a long lease to an operator, at a peppercorn rent.  The sale of the lease enabled the shareholders to get their money back.  “Then,” he says, “They pledged the freehold to the Parish Council, resulting in the Parish Council retaining control of the pub.”

This was useful when the main threat to village pubs was a change of use to housing.

3 The third way is ‘try before you buy’ – rent the pub.  The big advantage is that communities need less capital to do this.  Therefore, says John, “It’s what we’re recommending at the moment.  We’ve been working with breweries and pub groups to enable communities to take on the pub for a trial, at a set rent for a fixed period, perhaps, say, three years.  It depends on good terms for the lease/rent, and we have an advisor for this.”

One group, he said, did this.  They raised money that wasn’t enough to buy the pub, but was enough for a much-needed refurbishment.  He comments, “A lot of pubs close because they need refurbishing.”

Although pubs close, John points out that others open, and says, “Pub is the Hub tries to work with people to come up with solutions.”

Rural services that have added onto pubs include shops, post offices, playgrounds, allotments, libraries, internet access, school dinners and meeting rooms, and Pub is the Hub is now working to identify services that are needed, and matching them with a pub to provide them.  John says, “There’s no fixed way, you’ve got to go with the priorities in an individual area.”

John has hopes for the future of pubs that are at the heart of life in their communities.  But, he says, “It’s very, very hard work to run a pub.  You realise what heroes licensees are.  What we need to do is make it easier for them to make a living.”

At Hudswell, in North Yorkshire, villagers came together as a co-operative to buy their local pub.  After the pub re-opened, the co-op began offering other services too: a library, allotments, and a village shop.  Martin Booth, Secretary of Hudswell Community Pub Ltd, explains how they went about it:

“The pub shut in 2008.  The owners had bought it at the height of the property boom, and had a big loan.”  Martin says that there was a lot of sympathy for these people: they had worked hard and built up trade, but were victims of the credit crunch, and went bankrupt.

Thereafter, with the credit crunch in full swing, no-one else came forward to buy the pub.  So, he says, “We looked at setting up a co-op.  It took us a year from thinking of it to doing it.”

Crucially, having seen the figures from the previous owners, they thought the business was viable if they could only avoid big loan payments.  “That’s the advantage of doing it this way,” he says, “We raised capital from shareholders.  We had 200 investors, and raised £250,000.”

There are about 80 houses in the village, and Martin says, “Most of the rest of the membership is people within about 30 miles who like owning a share, and coming out here at the weekend.”

“We bought the pub for £210,000, and spent £60,000 doing it up.”  They had to refit the pub as all the contents and fittings had been sold off by the receivers.  They got some grant funding, which they used to improve the layout of the pub.  Without the grants, says Martin, “We would probably still have done it, but we might not have afforded such a good refurbishment.  There are some grants and loans available via the Plunkett Foundation and the Co-operative.”

Martin says, “Two things make it work.  One is we own the asset and have no debt, and the other is that we charge a realistic rent.”

Martin explains that they could have hired a manager to run the pub on their behalf.  The co-op could have participated in any potential profits this way.  But, says Martin, it would have been harder work, with the co-op having to take a much closer interest in the running of the pub.  This way, the tenants run the pub as their own business, releasing the co-op from worrying about day to day management.  They tenants take both risk and reward, meaning that they are self-motivating.

The rent will pay a dividend to shareholders.  But, says Martin “if the business were to struggle, we could lower the rent, and not pay a dividend.”

The tenants are Margaret and Jackie Stubbs, who run the pub as their own business.  Martin says, “We’ve fixed the rent for three years, so they know where they are.”  They are very experienced, and the landlords selected them from several applicants.

Setting up the co-operative, says Martin, “Took over my life.  We were meeting every two or three weeks, launching the prospectus, selling shares, refurbishing the pub, and looking for a tenant.  Now it’s up and running, we only meet once every 2 or 3 months.”

The co-op has also introduced ‘nice to have’ village services.  Martin says, “last December, we converted one room into a shop.  It’s a separate business, because we wanted Jackie and Margaret to concentrate on making the pub a success.”

In order to keep prices down, the shop is staffed by volunteers on two hour shifts.  The aim is less for profit, than simply to provide a service and break even.  Martin says, “We hope that it will eventually make enough to hire a manager.  Volunteers enjoy their shifts, but stock control, ordering, accounts and so on are onerous for volunteers, and two of our directors currently do this.”

They worked with a well-known independent retailer, Campbell’s of Leyburn, who act as wholesaler and advised on what stock to take.  Although the shop is staffed by volunteers, when the shop is shut and the pub open, Jackie and Margaret will serve customers with shop goods.  Many come in for a pint of beer and a pint of milk, and Margaret says, “We’ve had quite a bit of after-hours shop business.”

The pub has also used its land to provide allotments, and has an arrangement with the County library for a bookcase housing a small village lending library.  Martin doesn’t believe they contribute significantly to pub profits, but says, “We did them because we thought they were a good thing to do, and in a small way, they bring people in.”

Things have gone well, and Martin says, “The pub has built trade because we’ve had a lot of publicity for what we’ve done.  People have come once out of curiosity, and, because Jackie and Margaret have done a good job, customers come back again.”

Martin’s advice to others, he says, is “it’s an ideal solution, except you need volunteers to get started.”  When they started, with the pub closed, there was no-where to meet or put up a poster, and the group had to get out onto the street and leaflet every house to alert them to the project.  Now, the pub is full of posters and information.

Martin adds that, having bought the building, if the pub did fail, shareholders would still have an asset to sell and recoup some money.  “If we’d leased, we’d have nothing to sell if things went wrong,” he comments.

His other tip is to get a good manager.  He says, “This has worked because Jackie and Margaret have been so good.  We’ve been impressed with their enthusiasm and ideas.  They have a Fijian chef, and Fijian additions to the menu add interest.  And they had a Fijian summer festival, that went down very well.”

So what do Jackie and Margaret think of it all?  They are mother and daughter, who between them, have clocked up an impressive number of years of experience in the pub trade.  Jackie says, “This is exactly the type of pub we wanted – we wanted land for my Kune-Kune pigs.  And the allotments use the land constructively, and we hope to use the produce in the kitchen and shop.”

They have ideas to bring in new people.  Margaret says, “It’s the sort of pub where ladies can come in on their own, and get a friendly welcome.  If we’d had room, we’d have liked a tea room, but we do coffee and cake in the dining room.  We did a Hallowe’en festival, and we do the ‘Women of Hudswell’.  We did a pumpkin carving session with an art teacher.  There were 20-odd people in the dining room, all carving pumpkins.”

The children’s Hallowe’en party attracted more children than they had realised lived in the village, and Christmas Carol singing was popular too.  They have a walks booklet, and are considering a challenge run for next summer.

The library shelf has spawned a book club, and the after hours shop gives people an excuse to stop off for a drink while picking up essential supplies.  And, says Margaret, “When we had a musical theatre evening, we had someone stopping in the village who’d been a West End show. That raised £500 for charity.”

So, getting together enough shareholders to buy the pub, then renting at a rent to enable good tenants to make a living sounds a success.  But what if you’re not blessed with enough spare cash in the village to buy the pub?

At Cherry Willingham in Lincolnshire, villagers took over their pub with much less capital, by leasing it.  But if the last tenant couldn’t make a go of it, what’s different about a community group?  Barbara Mawer, who is licensee and runs the pub, explains what happened: “The pub kept closing.  New landlords would come, but after about six months, it would change hands again.”

Eventually, locals thought the pub would close, and, says Barbara, “Someone thought that if we could get enough people together, we could take it over.”

They formed a syndicate of 43 people, with four directors.  Barbara, who under previous management was a barmaid, is one of the directors.   She says, “We asked for pledges of £100 to £1,000, and raised £14,000, to take the lease for five years.  We’ve been running it since May last year.”

“It’s a village pub,” explains Barbara, “with a restaurant that we also use for functions, for instance the drama group, bingo nights, and so on.  We run parties, get the cricket and football teams in, and it’s going from strength to strength.”

Barbara believes that the syndicate is doing better than previous tenants because, she says, “The last few licensees weren’t interested in food.  The restaurant wasn’t open a lot of the time.  Food brings in lots of new custom, and the Sunday carvery is fully booked.”

The syndicate agreed to re-invest their dividend in the pub, and Barbara says, “It’s important to keep motivated.  One of the syndicate does a business plan, but everyone has different jobs.  It helps with ideas to move on.  I took a course to become the licensee, and run it from day to day.  Someone else does the cooking, and another syndicate member has improved the grounds.  We have a committee of six members who do functions.  It helps to bring in fresh ideas.”

As John advised, they have a ‘what if it fails’ clause, and Barbara says, “We had to put up a bond to get the lease, but if we have to pull out, we get a 60% cash refund.  If we do make a profit, it gets shared.  We have a five-year lease, and at the end of that, everything has to be re-negotiated.”

She says, “We have a good village. Our community is very close, and we all join in together.

Barbara’s tips to others thinking of doing a similar thing are to have a good business plan.  And, she says, “It’s long hours, but well worth it.”

So, even though we have cuts and credit crunch, there are ways to take over the village pub.  The key is to have the will, some cash, but most of all, the imagination to create extra reasons for customers to visit the pub.

And for those who’ve got cash but not time, Martin may be able to do the work for them.

To get further information and advice, see:

Plunkett Foundation. www.plunkett.co.uk, Tel 01993 810730

Plunkett have decades of experience helping groups to take over shops.  They have now teamed with the Co-op to offer advice and financial assistance to those wishing to set up community pubs.

Co-operatives UK: www.cooperatives-uk.coop 0161 246 2900

Pub is the Hub, www.pubisthehub.org.uk, 01423 546165

Camra, www.camra.org.uk 01727 867 201

British Beer and Pub Association  www.beerandpub.com

Featured Pubs:

The Old Crown, Hesket Newmarket, Cumbria, Tel 016974 78288

The George and Dragon, Hudswell, North Yorks, 01748 518373

The Cherry Tree Inn, Willingham, Lincs, Tel 01522 754244

Martin Booth: 01748 824204

Radio Debut

After years of visiting  people and places in Yorkshire for Dalesman Magazine, today BBC Radio York invited me to comment on my experience of customer service in Yorkshire.

Breakfast show host Adam Tomlinson suggested that Yorkshire folks’ economy with words might make them seem a bit brusque.

But my experience is that the small family businesses that make up the backbone of our market towns offer really good service.  They are expert, helpful, care about their work, and are genuinely pleased to welcome customers.

They know that their  customers are like themselves: they expect nothing less than excellent quality and value – and that’s what they get.

You can listen to the debate, just over two hours into the show,  at

http://www.bbc.co.uk/iplayer/episode/p00f6rcy/Adam_Tomlinson_10_03_2011/

DALESMAN MARCH 2011 JOHN WALKER WATCH REPAIRER

JOHN WALKER AT WORK

JOHN WALKER MAKING NEW PARTS TO REPAIR A WATCH

John Walker had a long career as a repairer of clocks and watches in Harrogate.

When I met him, he was retired – but he loved his work so much that he’d kept a few tools, so that he could still maintain his own clocks.

He explained that the first clocks had only one hand: knowing the hour was good enough in those days.  As he described how the clocks worked, how to repair them, and some of the different timepieces he’d worked on, I was interested to learn more about the history of timekeeping.

Looking at the history of timekeeping brings up the question ‘what is time?’  We all know how to tell the time: we look at our watch and it is, say 3.30.  Simple.  But once, this was cutting edge technology.

Before the invention of clocks, people told the time from the sun and the stars.  Sundials measured ‘temporal hours’ – each one a twelfth of the time between sunrise and sunset.  Therefore, the hours in summer really were longer, while in winter, the hours were short – twelve hours compressed into the brief period of light between sunrise and sunset.  Our fixed hours were only possible once someone had invented a clock.

Noon was the time when the shadow of the sundial was at its shortest, as the sun reached its highest point in the sky that day.  Due to the rotation of the earth, noon occurs at differing times at different longitudes (the imaginary lines running from the North Pole to the South Pole): Therefore, temporal noon in Scarborough, for instance, will occur slightly earlier than noon in Kendal.

In the Mediaeval period, people largely worked near home and accurate time keeping wasn’t necessary.  Furthermore, your work was your life: our modern day concept of selling our labour by the hour didn’t exist either.

In those days, the problem of accurately measuring time was cutting-edge science, a bit like studying sub-atomic particles today.

The ‘clockwork’ mechanisms we know evolved over the Mediaeval period.  The first such clocks were the preserve of the fabulously rich, and of large organisations.  It was the job of a watchman to check the town clock, and sound the hours.

Gradually, clocks became more widely available, but they were still set to local temporal time.  This didn’t matter until people began travelling quickly.  As railways began to cover the land, they found that varying local times were a problem – it even led to crashes.  So railways began keeping clocks at the stations, showing ‘railway time’.

Eventually, the Government took action, to set an official time for all parts of Britain.  And it used Greenwich Mean Time, a time standard that had been set up to help sailors to navigate the globe.

British Summer Time was instituted in 1916, as a wartime energy saving measure.  The clocks were advanced by an hour, allowing more daylight when people needed it.

According to the Greenwich Maritime Museum the idea was first suggested by one William Willett who enjoyed early morning rides in the summer.  He was incensed that, as he enjoyed the summer morning, many other people were still in bed.  So he proposed changing the clocks as a way of getting them up earlier to make use of the daylight, and save artificial lighting in the evening.

At first, his idea wasn’t liked.  But in 1916, Germany did it, and Britain, then at war, followed suit a few weeks later, creating British Summer Time.

All this, of course, can only happen because we have clocks.  Before mechanical clocks, when we told time by the sun, our rising and sleeping would automatically be related to dawn and dusk.

Changing the clocks raises people’s passions, and every autumn, when clocks go back and make it dark earlier in the evening, someone suggests we stay on BST for winter.

Moving the clocks, however, can’t actually create more light, and in winter, there is no escaping the short days.  BST means more light in the evening, but less light in the morning.

From 1986 to 1971 a three year experiment gave us ‘summertime’ – renamed ‘British Standard Time’ in winter.  Unsurprisingly, a review discovered pros and cons, especially the dark mornings, and we returned to GMT in winter.  I remember, as a child, going to school in the dark during that time – not much fun.

During the Second World War, we had ‘double summer time’ – BST in winter, then the clocks went forward another hour in summer.  Again, the aim was to save energy.  Therefore, some people are now suggesting we do this again, in the interest of saving energy to combat climate change.

Of course, anyone who wanted to take advantage of light summer mornings could simply get up earlier: what’s stopping them?

Today, most of use electronic quartz clocks and watches, rather than mechanical ones.  They too are the result of high technology, a spin off from space exploration.  But that’s another story.

Anyone interested in learning more about mechanical clocks, or finding someone to repair a clock, can contact the British Horological Institute, www.bhi.co.uk

Read the article in full in Dalesman Magazine, http://www.dalesman.co.uk/

Dalesman January 2011 – Ribblesdale Cheese

Ribblesdale  Cheese

IONA HILL STOCKS A RANGE OF SPECIALITY CHEESES IN HER LITTLE CHEESE SHOP

IONA STOCKS A VARIETY OF CHEESES IN HER SHOP IN HAWES

When I met Iona Hill, we discussed her previous work as an accountant in London and Dubai.  It  seemed totally unrelated to making cheese.  But, she says, many people starting in business struggle to learn the business side: keeping accounts, complying with legislation, etc.  Here, she had the advantage, as she was expert at this.  And, as a specialist in turnaround, she knew about making changes to a business.

When her Uncle founded Ribblesdale Cheese, he milked the goats and made the cheese himself.  But age and ill-health had forced him to contract out these tasks, until, in Iona’s analysis, he was ‘simply wholesaling a brand that he had created.’

She wanted to return the business to its heart, but she couldn’t cope with both keeping goats and making cheese, so which was it to be?  The decision fell into place as John Parker offered to keep goats and supply the milk, while cheesemaking friends taught Iona to make cheese.

And, she says, it was probably easier to learn to make cheese than to learn, from new, all the technicalities of running a business.  Iona says that, since the credit crunch, times are hard for small businesses.  She comments that she’d like to expand – she can see new products that she knows customers would love, but with no loans available, she has to wait until she’s saved up the money for new equipment.

Meanwhile, there’s a mountain of paperwork.  While I was there, Iona was speaking to a potential new supplier of cows’ milk.  They had to fill in forms certifiying where his milk quota would move on to.  Then a fax came through from Trading Standards: they’d been having a new label design checked for compliance before sending it to the printers.

And there are people too.  They’re a tight-knit team at Ribblesdale.  Each person’s contribution is vital in ensuring that the cheese is not only lovingly made, but the right product gets to the right customer at the right time.

So what happens if someone wants to go on holiday, or is ill?  Iona says, “We’re all learning each others’ jobs, so we can switch round.  We’ll be able to cover for each other, and it gives us variety.  And we can all talk to customers, knowing how the cheese is made, and with the pride that we’re actually making our own cheese.”

With everyone’s involved in hand-making the cheese, that pride shines through everyone at Ribblesdale Cheese.

See Iona’s blog at http://ribblesdalecheese.wordpress.com/,

Read the article in full, in print only, in Dalesman Magazine

Craft and Design – Nov/Dec 2010 issue

The new issue of Craft and Design is out, featuring a host of award-winning makers, plus advice for those starting or building their businesses.

I spoke to Ornella Iannuzzi, who grew up in the Alps, but now works in London.  Ornella  makes unique jewellery inspired by so many things: minerals from the mountains; woodlands; deep sea life; ‘Lucy’, the oldest know human fossil, and countless other things.  It’s amazing that so much knowledge and enthusiasm can reside in only one head.

Ornella had a technical training in France, followed by artistic training in England.  The result is a unique blend of ground breaking designs, executed with technical excellence.

Ornella is interested in so many things, and  so talented, that I feel she is one to watch: her fame can only grow.

The full article is available in print only, in Craft and Design Magazine, see http://www.craftanddesign.net/stockists/map/ for a stockist near you.

logo for craft and design magazine

See Ornella’s website at http://www.ornella-iannuzzi.com/