“Alas, poor Yorick! I knew him, Horatio; a fellow of infinite jest, of most excellent fancy; he hath borne me on his back a thousand times; and now, how abhorred in my imagination it is! My gorge rises at it. Here hung those lips that I have kissed I know not how oft. Where be your gibes now? Your gambols? Your songs? Your flashes of merriment, that were wont to set the table on a roar?”
The Rutles (also known as the Prefab Four) are a band that are known for their visual and aural pastiches and parodies of The Beatles. Originally created by Eric Idle and Neil Innes as a fictional band to be featured as part of various 1970s television programming, the group (remaining a parody of The Beatles) recorded, toured, and released two UK chart hits in reality.
Initially created for a short sketch in Idle’s UK television comedy series Rutland Weekend Television, the Rutles gained international fame after being the focus of the 1978 mockumentary television film, All You Need Is Cash (often referred to as just The Rutles). Having been encouraged by the reaction to the sketch, featuring Beatles’ music pastiches by Neil Innes, the film was written by Idle, who co-directed it with Gary Weis. It featured 20 songs written by Innes, which he performed with three musicians as “The Rutles”. A successful soundtrack album in 1978 was, much later, followed in 1996 by Archaeology, which spoofed the Beatles’ Anthology series which had recently been released. The Rutles pre-date the American parody Spinal Tap by about a year.
A second film, The Rutles 2: Can’t Buy Me Lunch — modelled on the 2000 TV special The Beatles Revolution — was made in 2002 and released in the US on DVD in 2003, but it did not prove as popular as the original film.
The Jungle Book (1894) is a collection of stories by English Nobel laureate Rudyard Kipling. The stories were first published in magazines in 1893–94. The original publications contain illustrations, some by Rudyard’s father, John Lockwood Kipling. Kipling was born in India and spent the first six years of his childhood there. After about ten years in England, he went back to India and worked there for about six-and-half years. These stories were written when Kipling lived in Vermont.
The tales in the book (and also those in The Second Jungle Book which followed in 1895, and which includes five further stories about Mowgli) are fables, using animals in an anthropomorphic manner to give moral lessons. The verses of The Law of the Jungle, for example, lay down rules for the safety of individuals, families and communities. Kipling put in them nearly everything he knew or “heard or dreamed about the Indian jungle.” Other readers have interpreted the work as allegories of the politics and society of the time. The best-known of them are the three stories revolving around the adventures of an abandoned “man cub” Mowgli who is raised by wolves in the Indian jungle. The most famous of the other stories are probably “Rikki-Tikki-Tavi”, the story of a heroic mongoose, and “Toomai of the Elephants”, the tale of a young elephant-handler. As with much of Kipling’s work, each of the stories is preceded by a piece of verse, and succeeded by another.
The Jungle Book, because of its moral tone, came to be used as a motivational book by the Cub Scouts, a junior element of the Scouting movement. This use of the book’s universe was approved by Kipling after a direct petition of Robert Baden-Powell, founder of the Scouting movement, who had originally asked for the author’s permission for the use of the Memory Game from Kim in his scheme to develop the morale and fitness of working-class youths in cities. Akela, the head wolf in The Jungle Book, has become a senior figure in the movement, the name being traditionally adopted by the leader of each Cub Scout pack.
Opening from J.G.Ballards 1977 short story, ‘The Intensive Care Unit’.
Within a few minutes the next attack will begin. Now that I am surrounded for the first time by all the members of my family it seems only fitting that a complete record should be made of this unique event. As I lie here – barely able to breathe, my mouth filled with blood and every tremor of my hands reflected in the attentive eye of the camera six feet away – I realize that there are many who will think my choice of subject a curious one. In all senses, this film will be the ultimate homemovie, and I only hope that whoever watches it will gain some idea of the immense affection I feel for my wife, and for my son and daughter, and of the affection that they, in their unique way, feel for me.
It is now half an hour since the explosion, and everything in this once elegant sitting room is silent. I am lying on the floor by the settee, looking at the camera mounted safely out of reach on the ceiling above my head. In this uneasy stillness, broken only by my wife’s faint breathing and the irregular movement of my son across the carpet, I can see that almost everything I have assembled so lovingly during the past years has been destroyed. My Svres lies in a thousand fragments in the fireplace, the Hokusai scrolls are punctured in a dozen places. Yet despite the extensive damage this is still recognizably the scene of a family reunion, though of a rather special kind.