No More Targets!

What makes people hunt other people like animals, or hunt animals for that matter? Let’s explore a clip from the movie Targets, a UK demo against fox hunting, a great song from The Pentangle, and a rare reference to the Hunt Saboteurs in Doctor Who. But first this bunny hugger rabbits on a bit…

I feel like I’m in a grim version of Groundhog Day where every day I wake up to another school shooting, the latest in Santa Fe, Texas.

A talking head stressed that people in the community often feel like they’re to blame in some way, but said they’re absolutely not to blame — the only ones to blame are those who continue to oppose sensible gun laws. Though largely true, this is an oversimplification. We desperately need sensible gun laws, but the kind of society we have collectively created is also a factor in random acts of violence.

Our society is increasingly impersonal, based on material goods, mass entertainment, and high technology. Because we’ve not been able to agree on certain core values, we fail to teach them to the children in our schools. We need to help children foster peace, insight, compassion, and a sense that each human being has worth because he or she is created in the image of God. Or, if the latter idea about God has become too controversial, then let us at least teach them that there is something at the core of the human spirit which is noble, and that in spite of quarreling, in spite of suffering at each other’s hands, we must not harm human life or wantonly take the life of another.

I had to arrive at these ideas through some effort — certainly my parents and schoolteachers never explained them to me, though there were one or two teachers who created a caring space in which positive human values emerged naturally. And later on in life, as I began to consciously explore spirituality, I had a wonderful teacher in the person of Sri Chinmoy, who was a fount of all those good qualities with which we would hope to imbue our children.

But like many from my generation, I had already suffered greatly in adulthood before discovering these truths. It is much better if children receive good grounding in spiritual or (as a fail-safe) humanistic values before they have to confront the challenges of the adult world, which may include brutal competition to survive economically, as well as temptations to merely anesthetize oneself. There are many factors underlying the present opioid crisis, but certainly two factors are the sense of hopelessness which some people feel, and the view (reinforced by endless TV commercials for wonder drugs) that chemicals are the way to solve our problems, regardless of dreadful side effects (masked by pictures of puppies romping, children playing, kites flying, and lovers holding hands).

I suppose a third factor is the ultra-rationalist belief that we are merely collections of chemicals, that consciousness is a phenomenon which arises from chemical reactions, and that when our bodies die, our consciousness, our entire existence, dies with it. Some other time, I’ll discuss at length the “God delusion” and simulation theory as further hindrances to spirituality. The point is that these various views of human life as essentially meaningless estrange us from those truths which we need in order to value each other, to recognize the sacredness of human life, and to come to feel deeply that we would never want to kill a fellow human being.

I’m sometimes critical of our political leaders — the present batch in the White House being particularly corrupt and unenlightened. But I can also see things from their point of view. These are people who subscribe to materialism (perhaps having inherited it as their default view), and who feel driven to strive for money and fame — much more than any of us actually need. Lacking grounding in higher values, they are obsessed with money, sex, and power, and are eager to destroy each other in order to scramble to the top of the scrap heap.

Without making this another rant against Donald Trump, one thing I hear repeatedly from talking heads is that he’s never had to pay a price for doing dirt to people. His (possibly ill-gotten) riches have allowed him to pay off those he’s wronged (when forced to), like enrollees at Trump University. His campaign of hatred against the noble Barack Obama has not hurt Trump appreciably, nor has his womanizing. To the extent that the president is a role model for the nation, this particular role model confirms the worst materialist suspicions: that you get ahead in life by being a creep and throwing your weight around. Do it to the other guy before he does it to you! Truth is whatever the guy with the biggest megaphone, biggest bank account, and biggest army says it is! In this sense, it may be argued that materialism leads to authoritarianism.

But again, a critical issue is that there are seemingly no consequences for wrong action. The reason human justice is often harsh — amounting to years of torture in subhuman conditions — is that we do not collectively understand or believe in the law of karma. We view things from a narrow human time frame, and mistakenly assume that because someone like Donald Trump can act like the worst sort of blaggard and yet become president, therefore we should adopt a crude, materialist view of life. This is the lesson our children learn by osmosis from Trump’s ascent to power.

Spiritual insight tells us, however, that just because we do not see the punishment with our human eyes does not mean there is no punishment for wrong action. In this life we may act like the worst kind of corrupt king, but in the next life we may be born a blind beggar who has to fight with dogs for scraps of food.

When we throw out many spiritual insights acquired over the ages — including the insight that “As you sow, so shall you reap,” this has destructive ripple effects throughout society, including an increase in a particular type of mass shooter psychosis. Here, a person is seized by the notion that he will kill dozens of people and then kill himself, and that will be the end of it. He does not realize that for causing unimaginable suffering to dozens of people, he himself will have to undergo terrible suffering — if not in this world, then in the next.

So, to come back to my original point, there will always be a small percentage of insane shooters; and sensible gun laws can limit the amount of damage they inflict. But to the extent that we collectively subscribe to the view that human life is meaningless and valueless, and that there are no lasting consequences for wrong action; and where we construct a technocratic society devoid of human empathy; and where we fail to teach our children ideals of peace, love, and compassion, and fail to instill in them a proper understanding of the laws of the universe (which exist independently of our human codes and statutes), then we do bear some limited responsibility for mass shootings.

Of course, I don’t mean this in a fundamentalist “fire and brimstone” sense. I mean simply that we share in the societal environment we create. If we pollute that environment instead of tending to it with care, we may end up with freak weather conditions or mass shootings. We need to be more conscious of what we do, and not inflict harm through carelessness.

As a child, I had Grimm’s Fairy Tales, some of which were truly horrifying. I still remember the mean girl who “trod on a loaf.” She pulled the wings off flies, and then in hell the flies settled on her and could not fly away because she had pulled off all their wings.

There’s a lesson in environmentalism here. As human beings, we are collectively stewards of this beautiful planet which God created, or which arose spontaneously from His Soul. As president Kennedy remarked in a famous commencement address at American University in 1963:

Let us not be blind to our differences — but let us also direct attention to our common interests and to the means by which those differences can be resolved. And if we cannot end now our differences, at least we can help make the world safe for diversity. For, in the final analysis, our most basic common link is that we all inhabit this small planet. We all breathe the same air. We all cherish our children’s future. And we are all mortal.

Much of the speech in question dealt with peace. This brings me back to a theme I’ve oft sounded in response to mass shootings: Peace studies. It will help us to recognize (one might even say “admit”) that in an increasingly technocratic age, what we lack is compassion, insight, empathy, and inner peace. To recognize this is a kind of breakthrough; for only when we recognize the lack of something do we consciously seek it out, find methods to cultivate and attain it. To realize that we are presently lacking in certain core qualities which make us truly human is not to take a negative or defeatist approach. Rather, it is to take a positive, proactive approach to diagnosing our present malaise — of which opioid addiction, random shootings, and political corruption are only symptoms.

The qualities which we presently lack cannot be forced on society or on any individual; but as individuals we can become more conscious, and so help to foster a more conscious society in which hatred is less, injustice is less, and children grow up feeling loved and protected rather than like walking targets.

Segueing into the promised media clips: Targets was the name of a 1968 Peter Bogdanovich film dealing with the inexplicable (and impersonal) quality of mass shootings:

2018 is (ironically) the fifty year anniversary of Targets, but we are still dealing with the modern “flattening effect” or loss of empathy. The film is more complex than a one-dimensional study of a social phenomenon, however. It features multiple perspectives, and includes Boris Karloff as Byron Orlock, a retiring horror actor who is nonetheless a principled, old-school gentleman repulsed by violence in real life — but who tells a chilling story in this scene:

Learn more about Targets (which is partly based on real life mass shootings) from these two insightful YouTube reviews:

From hunting human beings we transition to hunting animals. The royal hunt plays a grand role in the history of England; and of the various political factions which exist in the UK, monarchists and Tories are perhaps most inclined to support a continuation of that tradition, while British Labour tends to champion animal rights.

Arguably the best British folk group from the late 60s/early 70s was The Pentangle, and their 1969 album Basket of Light included a remarkable flight of fancy called “Hunting Song”:

Much as I love it, the lyrics contain an element of cruelty:

As I did travel all on a journey
Over the wayside and under a dark moon
Hanging above a mountain

I spied a young man riding a fine horse
Chasing a white hart and all through the woodland
Head of a hunting party

And there followed after ten kings and queens
Laughing and joking, the white hart they’d seen
Bloodied running into the bushes…

Perhaps this cavalier, privileged attitude on the part of the hunting gentry is what spawned a counter-movement known as the Hunt Saboteurs (or “Sabs”), who first emerged in the winter of ’63 and continue on to this day, interfering in hunts by various physical means.

A rare (if fleeting) tribute to the Hunt Saboteurs occurs in the 1989 Doctor Who story “Survival” — the last story broadcast during the “classic” period. There, Ace (played by Sophie Aldred), visits her old stomping ground of Perivale in West London. Most of her friends have mysteriously disappeared, but one friend (Ange, played by Kate Eaton) is still around, looking waiflike with her collecting tin for the Sabs:

The story is interesting for a number of reasons, not least that it serves up an inversionist view of hunting, with catlike creatures on horseback hunting humans! (More here.)


Fast forward to 2017, when Prime Minister Theresa May threatened to end the UK’s ban on fox hunting, thereby spawning some lovely, creative, colourful, and humourous demos by animal rights activists:

While it’s always risky to characterize or stereotype entire movements, I think many animal rights activists are motivated by a sense of compassion and caring, and an insight that we are all fellow creatures on this planet. We should treat each other well and not hunt each other. In short: No more targets!

I don’t mean to be simplistic. With slogans like “Save a fox, hunt a Tory,” protesters are obviously embracing an element of class warfare. And as with all movements, animal rights can devolve into fanaticism or the assumption that “We are absolute good, you are absolute evil.” At one time, culling the fox population through hunts perhaps made more sense than it does today.

Earlier I mentioned TV commercials we have in the US made by drug manufacturers, where a long list of scary side effects is recited while viewers are shown pictures of puppies, children, kites flying, and lovers holding hands — certainly no pictures of the actual health catastrophes being enumerated! In other words, propaganda.

Likewise, the notoriously anti-liberal Daily Mail ran a pro fox-hunting spread with seemingly dozens of high definition colour photos. Lots of puppy dogs licking children’s faces, pretty ladies and handsome gentlemen in full riding regalia (including UKIP’s Nigel Farage), but not a single dead fox. Just sayin’…

Apart from all the politics, I must say I find it easier to identify with the beautiful people who turned out for the anti fox-hunting demo — though I suspect that somewhere among them might have been Edina Monsoon wearing one of her more eccentric outfits.

An alternative to harming living creatures is the mock fox hunt pictured here:

This first person account titled “Adventures in Mock Fox Hunting!” is less visual, but more informative.

Not to digress, but our curious commercial culture is such that generic nouns are frequently appropriated by companies for their own ends. In searching Google for “mock fox,” I had to wade through a number of commercial listings before getting to “the real animal.” FOR FOX SAKE!!!

And to really not digress, we could move from mock foxes to mock turtles, like the one Alice encountered in Lewis Carroll’s Alice’s Adventures in Wonderland. This in turn inspired a song by the Bruford band called “Fainting in Coils:

As a youthful maniac in search of ultimate guitar chops, I was led not only to Mahavishnu John McLaughlin, but also to the slightly-less-well-known Alan Holdsworth, who did some of his best work with Bill Bruford’s group. (Their styles are somewhat opposite: McLaughlin tends to pick every note (like Django Reinhardt), while Holdsworth (who also plays violin) makes extensive use of legato technique.) But there’s no way I’m going to get from there back to my original topic, so no point even trying. Heavens to Murgatroyd! (Exit, stage left.)

Michael Howard

The views expressed are my own, and do not represent any other person or organization.

Potent Quote

“Not a very efficient way to hunt, is it? All that noise and pantomime just to slaughter one little animal.” — Doctor Who (Sylvester McCoy) from “Survival”

Bonus Clips

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Doctor Who: Tom Baker and Sophie Aldred Interview (rare)

Here’s a very entertaining interview with Tom Baker and Sophie Aldred of Doctor Who fame (the classic period). Baker’s at his best here, given enough room to expand upon his tallish stories, but not overstepping the bounds of good taste. Sophie counterbalances him nicely with some lovely stories of her own, as they appear together on a pledge drive for Maryland Public Television broadcast in 1990.

I suppose the reason I wanted to post this now is that with the Trump administration occupying so much of the communications bandwidth in American life, we forget that actors and artists express themselves so much more gracefully. The president and his spokespeople regularly abuse the English language (arrivederci Scaramucci), so it makes a nice change of pace to listen to people who can put together sentences with intelligence, grace, and wit.

Tom Baker is especially good at spinning yarns with an improvisatory air, but occasionally landing on a serious point. Still, the atmosphere is light, and the paper plates stuck hastily to the studio walls in fond emulation of the old TARDIS set help ensure that we’re never far from a giggle.

You get an hour’s worth here, but I may post the final 15 minutes elsewhere. In those final minutes, when asked to deliver a soliloquy on the need to support public television, Baker goes over the top in reviling non-contributors as “parasites,” repeating and embellishing with a vengeance previously reserved only for Daleks! This is amusing in light of the fact that abolishing funding for public TV is one of the Trump administration’s avowed policy objectives. 😉

Michael Howard

The views expressed are my own, and do not represent any other person or organization.

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Survival, Friday The 13th, Doctor Who, and Black Cats

My entry on the topic of Survival


Surviving Friday The 13th has historically meant avoiding black cats. But the Doctor Who story “Survival” — which was the last story aired during the “classic” period ending in 1989 — was all about cats, cat people, and human beings surviving their excursions into animal nature. The not-so-subtle message telegraphed toward the end was “If we fight like animals, we’ll die like animals!”

Some cast members barely survived location filming at Warmwell Quarry, where temperatures reportedly soared into the hundreds. Lisa Bowerman, who was decked out in Fun Fur as a Cheetah Person named Karra, came down with heat stroke. Sylvester McCoy, who played the Seventh Doctor, was troubled by the heat, but more so by fellow actor Anthony Ainley’s approach to method acting. With an impish half-grin, McCoy recalls how Ainley (who played The Master) beat the crap out of him.

Sophie Aldred, who played Ace (and famously beat up a Dalek), is allergic to cats and barely survived playing a scene with a black cat without giving out a sneeze that would have blanketed Perivale. In addition, the animatronic cat used in some scenes (pictured above) was none too convincing, and had to be augmented by bringing in a sack of live cats, coaxing them to perform on cue — not much harder than getting cats to march in a parade. As finicky as these cats were, they demanded tea breaks and to be paid union scale.

Though none of the actors knew it at the time, Doctor Who itself would not survive. Producer John Nathan-Turner and script editor Andrew Cartmel suspected as much, and Cartmel dropped in some closing lines for “Survival” intended to address the possibility that this would be the last episode:

The Doctor to Ace: There are worlds out there where the sky is burning, the sea’s asleep, and the rivers dream. People made of smoke, and cities made of song. Somewhere there’s danger, somewhere there’s injustice, and somewhere else the tea’s getting cold. Come on, Ace — we’ve got work to do!

But like the Doctor himself, the series ultimately managed to survive by regenerating. Such regeneration was far from instantaneous, but when the series finally returned after a 16-year hiatus, one time-honoured Who tradition thankfully did not survive: the tendency to produce the show on a shoestring budget.

“The BBC Steadicam — a bit of rope and a lens,” Sophie Aldred famously remarks in an outtake from “Battlefield.” Yet when the series returned in 2005, it was given a budget that allowed for special effects comparable to major film releases. No more cheap rubber monsters (though the monster in “Vincent and the Doctor” is a bit goofy-looking, and does slightly resemble the carpet monster from the 1964 camp horror flick The Creeping Terror).

Perhaps more important to the new Who’s artistic merit, the character of Ace influenced the way that new Companions like Rose Tyler and Amy Pond were written. They had to have a good back story, be emotionally complex, and really drive the series, not just be window dressing or foils for the Doctor. Still, in an analogue to the classic Peter Cook & Dudley Moore routine about a “unidexter” applying for the role of Tarzan, things haven’t reached the stage where unattractive women need apply.

At least, having complex female characters who drive the series is progress for Doctor Who. Things weren’t always that way. Back in the 1970s women wanted challenging roles, and though actresses auditioning for Companion were often promised same, their roles frequently degenerated into screaming and being rescued by the Doctor. This was even true of Sophie Aldred’s immediate predecessor, Bonnie Langford, who played Melanie Bush. Though Andrew Cartmel originally had high hopes for bringing out Mel’s complex side (she was supposed to be a computer programmer), that complexity never emerged and Mel became instead the paradigmatic shrill screamer, able to shatter glass at thirty paces.

The character of Ace marked a genuine turning point for the show, and the final (26th) season was all about seeing Ace develop emotionally. “Survival” was written by Rona Munro, whose interest in feminist theory was not so heavy-handed as to spoil the story as entertainment. The strong female Companion is one good feature of “late period classic” that survived the regeneration.

An encounter between Ace and one of the Cheetah People

An encounter between Ace and one of the Cheetah People

Another surviving feature is the occasional dalliance in Doctor Who with political themes, usually left-leaning. “The Happiness Patrol” (also from season 26) is about a totalitarian world where it’s a crime to be unhappy. The main baddie is a female monarch who’s a scathing sendup of (then Prime Minister) Margaret Thatcher.

The new Who has its share of political themes and subtexts. “The Beast Below” (S05E02) is arguably about the exploitation of labour, or exploitation of Third World resources by First World powers. It’s also about repressive tolerance. You are free to protest, but those hitting the “protest” button are quickly whisked to Starship UK’s dank lower extremities. The story is also about survival and the ethical compromises a developed nation will make in order to survive. The implication is that few people can bear to know the truth about the means used, and those who see the truth find it more convenient to forget it.

Survival is a major theme of Doctor Who, and of science fiction in general. The survival theme may be handled crudely or elegantly, with comic-strip characters or complex human ones, but it tends to inform much great drama.

Trivia: In the dry spell between 1989 and 2005, some of the forms in which Doctor Who survived were novels and audio productions. The Seventh Doctor got a new Companion called Bernice Summerfield, who followed in the Ace tradition by being complex, rebellious and anarchic. Eventually, the character became independent of the Doctor and branched out on her own. In the numerous Bernice Summerfield audio plays produced by Big Finish Productions, Lisa Bowerman, the actress who played Karra in “Survival,” plays Bernice.

Sylvester McCoy as the Seventh Doctor, his arms brimming with cans of cat food

Sylvester McCoy as the Seventh Doctor, his arms brimming with cans of cat food

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Doctor Who: Ghost Light Picture Gallery

doctor-who-ghost-light-picture-galleryThe real world is so fraught with conflict and suffering it’s no wonder I sometimes take refuge in the Whovian universe. While writing about “That’s The Way To The Zoo” (a song sung in “Ghost Light”), I became obsessed with taking screenshots:

From left to right: the Doctor, Control, Inspector Mackenzie, and Ace

From left to right: the Doctor, Control, Inspector Mackenzie, and Ace

The Seventh Doctor in Full Philosophical Mode

The Seventh Doctor in Full Philosophical Mode

The Doctor and Ace: dramatic tension

The Doctor and Ace: dramatic tension

 Sylvester McCoy reacts with horror when John Nathan-Turner suggests tattooing a question mark on his forehead

Sylvester McCoy reacts with horror when John Nathan-Turner suggests tattooing a question mark on his forehead

Gordon Bennett! Suddenly I have a wicked headache. (Sophie Aldred)

Gordon Bennett! Suddenly I have a wicked headache. (Sophie Aldred)

Need a butler? Just bring your friendly neighbourhood Neanderthal out of stasis.

Need a butler? Just bring your friendly neighbourhood Neanderthal out of stasis.

Exchanging pleasantries with the magnificently muttonchopped Reverend Ernest Matthews

Exchanging pleasantries with the magnificently muttonchopped Reverend Ernest Matthews

Under the gun: Such rude treatment from the Royal Geographical Society!

Under the gun: Such rude treatment from the Royal Geographical Society!

Sophie and Sylvester: a defining moment

Ace and the Doctor: a defining moment

Sylvester McCoy and Katharine Schlesinger each have their scenes with Sylvia Syms

Sylvester McCoy and Katharine Schlesinger each have their scenes with Sylvia Syms

Ace teaches an evolving life form to say "The rain in Spain falls mainly down the drain." (No, really!)

Ace teaches an evolving life form to say “The rain in Spain falls mainly down the drain.” (No, really!)

From an unfinished episode: Just to give the Doctor aggro, the Master turns Ace into a babushka doll. This episode remained unfinished because all the babushka dolls went on strike. Apparently their motto is "One out, the lot out."

From an unfinished episode: Just to give the Doctor aggro, the Master turns Ace into a babushka doll. This episode remained unfinished because all the babushkas went on strike. Apparently their motto is “One out, the lot out.”

Sylvester does his Mr. Bean impression for Sophie

Sylvester does his Mr. Bean impression for Sophie

It's getting very near the end: the last scene filmed for Doctor Who classic

It’s getting very near the end: the last scene filmed for Doctor Who classic

Sophie and Sylvester (who share the same birthday) fooling around between takes. The joke here is that Sylvester is supposed to yell "Cover your eyes!" But because he's blinded by the light he keeps covering inappropriate body parts, causing Sophie to totally crack up.

Sophie & Sylvester (who share the same birthday) fooling around between takes. The joke is that Sylvester is supposed to yell “Cover your eyes!” But because he’s blinded by the light he keeps covering inappropriate body parts, causing Sophie to totally crack up.

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This fan page is intended to promote the BBC series Doctor Who. All source videos copyright BBC. Photoshopping and expressive captioning by Michael Howard.

See also “Rehearsing Doctor Who.” [link to follow]


That’s The Way To The Zoo – A Tribute To Anne Carlton

Combining the Doctor Who and “crazy” themes in a single post…

“Ghost Light” was the last story filmed during the classic period of Doctor Who, which ranged from 1963 to 1989. Even the actors claimed to be a bit befuddled by “Ghost Light,” which (on the surface) is about a group of eccentric characters holed up in a Victorian mansion. But aliens and monsters are afoot, and amidst this scintillating mix of Gothic horror and theatre of the absurd there lurks a subtext concerning evolution.

Darwin and his theories engendered much popular debate in Victorian Britain — and not a few comic songs, the best known of which is John Young’s “The Darwinian Theory” (a.k.a. “Have you heard the news of late/ About our great original state?”).

J. F. Mitchell’s “That’s The Way To The Zoo,” dating from 1883, may not explicitly mention Darwin or evolution, but borrows the trope in suggesting that the addled or ungainly might find hospice in an unlikely quarter:

That’s The Way To The Zoo

I don’t know what it is about my figure or my style,
That every time I walk abroad the passersby do smile;
I lost myself in Kensington about a week today,
I asked a cabman my way home when to me he did say:

That’s the way to the zoo!
That’s the way to the zoo!
The monkey house is nearly full
But there’s room enough for you.

Take a bus to Regent’s Park,
Make haste before it shuts;
Next Monday I will come and bring you
Such a lot of nuts!

— J. F. Mitchell, 1883

Sung with obvious amusement by Katharine Schlesinger (who plays Gwendoline), the line “Such a lot of nuts!” can’t help but remind us of the oddball characters we’ve met. Interviewed for the DVD extra “Light in Dark Places,” Schlesinger’s eyes light up when she talks about how much she loves singing.

Actress Katharine Schlesinger

Actress Katharine Schlesinger

(See also my Ghost Light Picture Gallery.)

Java programmers would be amused to learn that being “sent to Java” is a euphemism for being killed off or put into suspended animation. Nevertheless, two problems associated with “Ghost Light” are:

1. It was edited down to fit in the allotted time, and so proceeds at breakneck pace, making it hard for the audience to grasp the plot twists. There wasn’t time for breathers or pacing punctuation marks.

2. The music was mixed rather loudly, so that one strains to hear the actors, whose genuinely witty repartee is sometimes drowned out.

Example 1

Ace: Don’t you have things you hate?

The Doctor: I can’t stand burnt toast. I loathe bus stations — terrible places, full of lost luggage and lost souls. And then there’s unrequited love, and tyranny, and cruelty.

Example 2

The Doctor: Let me guess. My theories appall you, my heresies outrage you, I never answer letters, and you don’t like my tie.

Back in the day, folksinger Arlo Guthrie used to close out his talking signature piece “Alice’s Restaurant” by suggesting that singing a few bars would be a good way to freak people out, especially shrinks or army recruiters. Though times have changed, this does point to a strategy for dealing with lunatics like Anne Carlton and Mary Murphy: If accosted or otherwise importuned by them, simply point in any random direction and begin singing “That’s the way to the zoo…”

Michael Howard

For further listening, viewing, or reading:

The Splendid Chaps’ version of “That’s The Way To The Zoo” has two more verses not sung by Katharine Schlesinger:

The script for “Ghost Light” by Marc Platt, released by Titan Books in 1993, may be read or downloaded on

This article by Melanie Keene on “Science in Song” includes priceless illustrations from olde tyme sheet music:


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Doctor Who’s Tom Baker: Funny Story 1 (video)

Tom Baker (who played Doctor Who from 1974 to 1981) recounts how Michael Wisher (a.k.a. Davros) managed to be terribly funny by having no sense of humor.

It’s been said that Douglas Adams was the quintessential British nutter, but Tom Baker gives him a run for his money.

Quite a lot of the people who work with me are dead — particularly directors. The word has got out: Directors who work with me often die mysteriously afterwards, sometimes in agony.

— Tom Baker

Michael Wisher as Davros

Michael Wisher as Davros