Английская Википедия:Cliff Hanley

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Clifford Leonard Clark "Cliff" Hanley (28 October 1922 – 9 August 1999) was a journalist, novelist, playwright and broadcaster from Glasgow in Scotland. Originally from Shettleston in the city's East End, he was educated at Eastbank Academy.

During the late 1930s, he was active in the Independent Labour Party. During the Second World War he was a conscientious objector.

He also wrote a number of books, including Dancing in the Streets, an account of his early life in Glasgow (in its contemporaneous serialisation in The Evening Times, retitled My Gay Glasgow), The Taste of Too Much, a coming-of-age novel about a secondary schoolboy, and The Scots.

During the 1960s and 1970s, he published thrillers under the pen-name Henry Calvin. They were more successful in the US and Canada than in the UK. A collection of his humorous verse in Scots, using the pseudonym 'Ebenezer McIlwham', was published by Gordon Wright Publishing of Edinburgh. He also wrote the words of what some still feel is Scotland's unofficial national anthem, Scotland the Brave, and both wrote and recorded The Glasgow Underground Song - a humorous anecdote on the pre-modernisation era Glasgow Subway. A recording of this was made famous by Francie and Josie.

He wrote a number of film and TV scripts, including Between the Lines, an episode of which was described by Mary Whitehouse as the "filthiest programme" her family had seen on TV "for a very long time" at the first public meeting of the 'Clean-Up TV' campaign in May 1964. Hanley's other scripts include Seawards the Great Ships, The Bowler and the Bunnet, and The New Road. His son was artist Clifford G. Hanley.

Following updates added by his daughters, February, 2024.

Highlights

Pseudonym: Henry Calvin, Ebenezer McIlwham

Nationality: Scottish

Born: Glasgow, Scotland, October 28, 1922

Died: Glasgow, Scotland, August 9, 1999

Wife: Anna Hanley, married January 1948

Children: Clifford G. Hanley, Jane Hanley, Joanna Hanley

Education: Eastbank Academy, Glasgow

Conscientious Objector in WWII

Reporter, Scottish Newspaper Services, Glasgow 1940-1945

Sub-Editor, Scottish Daily Record, Glasgow, 1945-1957 (Columns/features also under pseudonym Andrew Bonar)

Features Writer, TV Guide, Glasgow, 1957-1958

Director, Glasgow Films, Ltd., 1957-1963

Columnist, Glasgow Evening Citizen, 1958-1960

Television Critic, The Spectator, London, 1963

Visiting Writer in Residence, Glendon College, York University, Toronto, Canada, 1979-1980

Awards

Oscar Award for 1961’s Seawards the Great Ships

Member

Close Theatre Management Committee, Glasgow 1965-1971

Inland Waterways Amenities Advisory Council, 1967-1971

Scottish Arts Council, 1967-1974

Scottish PEN, Vice-President 1966-1973, and President 1974-1977

Writers’ Guild of Great Britain, Scottish President 1968-1973

Comments on Cliff Hanley’s Work by Cliff Hanley in 1972

Dancing in the Streets, my first published book, was written at the suggestion of my publisher, who wanted a book about the city of Glasgow. At the time I thought it a rather pedestrian recital of childhood memories and was taken aback by its critical and commercial success (it is still used as background reading in schools of social studies and urbanology).

My first novel, Love from Everybody, written previously but published later, was frankly intended as a light entertainment, to make money, and was later filmed as Don't Bother to Knock. Having then retired from journalism, I wrote what I considered my first serious work, The Taste of Too Much, as a study of "ordinary" adolescence, without crime and adventitious excitement, and it may well be my most successful book in the sense of fully achieving the author's original conception.

In the subsequent novels under my own name, I think my intention was to look at some areas of life—a businessman's troubles, the family situation, the agonies of work in the theater—simply in my own way, without reference to fashionable literary conceptions. I have often been surprised when people found the novels "funny" because their intention was serious; but an author can't help being what he is. I do see the human condition as tragic (since decay and death are the inevitable end), but I don't distinguish between comedy and tragedy. Funerals can be funny too, and life is noble and absurd at the same time. I also insist on distinguishing between seriousness and solemnity, which are opposite rather than similar.

On looking back, I realize that the tone of the novels tends to be affirmation rather than despair. This may be a virtue or a fault, or an irrelevance—a novelist should probably leave such judgments to critics and simply get on with what he must do. Maybe they also betray some kind of moral standpoint of which I was unconscious. This was explicit, in fact, in my first professionally produced play, The Durable Element, which was a study of the recurrent urge to crucify prophets. It was also deliberate in The Chosen Instrument, a pseudonymous Henry Calvin ten years later, in which a contemporary thriller mode was used to do a sort of feasibility study on the New Testament mythology. (The intention was so well disguised that no critic noticed it).

But I suppose cheerfulness keeps breaking through. I am an entertainer as well as novelist, and the two may be compatible. My first commandment as a writer is not at all highfalutin. It is Thou Shalt Not Bore. A Skinful of Scotch is an irreverent guide to one man's Scotland and was written for fun. So, originally, were the Henry Calvin thrillers. I enjoy reading thrillers and I adopted the pen-name simply to feel uninhibited. The thriller too is a morality, but the morality is acceptable only if it has character and pace. These are not intellectual mysteries but tales of conflict between good and evil.

My later work for the theater was exclusively devoted to calculated entertainment and I am glad that people were actually entertained. I find now that I see life in more somber terms, but whether this will show in future novels is hard to tell. It may even be a temporary condition.

(Addendum 1991) Self-assessment has always struck me as a futile exercise, in the sense that we can study a bug through a microscope, but we can't study the microscope through itself. I wrote my novels for fun or from internal compulsion (the two are the same, maybe) but have always seen myself as an entertainer, so they were intended for the reader's fun, which could include laughter, fear, enlightenment, puzzlement, and any other response.

They are not bad, probably. I did feel I hit the target with The Taste of Too Much (a committee title I don't like too much) in picturing the pangs of teenage love. School pupils agreed, especially girls, and it seems nothing has changed in 30 years. Nothing But the Best was partly stolen from life, and when I myself was widowed in 1990 I was interested in how my own responses followed those of the hero.

Another Street, Another Dance was compulsive. The heroine, Meg, came into my mind fully formed, I was back in the time and place of my autobiographical first book Dancing in the Streets. It went onto the typewriter at the rate of 4, 000 to 7, 000 words a day with no hesitation because Meg was in the room with me. A very strange experience.

The Henry Calvin thrillers were entirely for fun, and I can only hope readers have shared it. (Odd, how many Scottish writers have hidden under pseudonyms). Henry was my father's name, and I picked Calvin because in these light tales virtue would triumph over vice, and to hell with some of the grim realities.

Not sure if I'll produce any more. I am now lazy, and comfortably fixed—a serious disincentive to work. But I am being nagged by an idealistic young New Yorker on a voyage of discovery through working-class and academic Glasgow, and I fear I shall have to let him right into the brain to dictate his misadventures and revelations. He is taking over, and I mildly resent that, but life is real and life is earnest, and the gravy is our goal, still.

Known list of books written by Clifford Hanley, giving pseudonyms and coworkers where relevant.

Dancing in the Streets	1958 1960 1972 1972 1978 1979 1983 1985 1986	London, Hutchinson (+2 x 1958, 1x 1966) London, Arrow (reprint 1966) London, Corgi Glasgow, UR Books Colchester, The Book Service London, White Lion Edinburgh, Mainstream London, Magna Boston, G.K. Hall (Large Print)
Love From Everybody aka Don't bother to Knock (filmed in 1961 as Don’t Bother to Knock, Warner Brothers)	1959 1961	London, Hutchinson London, Digit
The Taste of Too Much	1960 1964 1967 1977 1979 1989 1990	London, Hutchinson Hammondsworth, Penguin Glasgow, Blackie London, White Lion Glasgow, Blackie Edinburgh, Mainstream London, Corgi
The System (as Henry Calvin)	1962	London, Hutchinson
It's Different Abroad (as Henry Calvin)	1963	London, Hutchinson New York, Harper & Row
The Wall: What Stands Between Catholic and Protestant in Scotland	1963	Scotland, Daily Mail
Nothing But the Best As Second Time Round	1964 1964 1969 1964	London, Hutchinson London, Mayflower London, Mayflower Boston, Houghton Mifflin
A Skinful of Scotch Illus. by Hartley Ramsay	1965	London, Hutchinson Boston, Houghton Mifflin
The Italian Gadget (as Henry Calvin)	1966	London, Hutchinson
The Hot Month	1967 1968	London, Hutchinson Boston, Houghton Mifflin London, Arrow
A Nice Friendly Town (as Henry Calvin	1967	London, Hutchinson
The D.N.A. Business (as Henry Calvin)	1967	London, Hutchinson
Miranda Must Die (as Henry Calvin) As Boka Lives	1968 1969	London, Hutchinson New York, Harper & Row
The Red-Haired Bitch	1969	London, Hutchinson Boston, Houghton Mifflin
The Chosen Instrument (as Henry Calvin)	1969	London, Hutchinson
The Poison Chasers (as Henry Calvin)	1971	London, Hutchinson
Take Two Popes (as Henry Calvin)	1972	London, Hutchinson
Selected Poems (as Ebenezer McIlwham)	1975	Gordon Wright, Edinburgh
Burns Country: The Travels of Robert Burns	1975	Newport, J. Arthur Dixon
The Unspeakable Scot Illus. by John Mackay	1977	Blackwood, Edinburgh
Prissy	1978 1979	London, Collins London, Fontana
The Biggest Fish in the World Verse only. Idea & Illus. by Eric Marwick	1979	Chambers, Edinburgh
The Scots	1980 1982	Newton Abbot, Devon, David & Charles New York, Times Books London, Sphere
Another Street, Another Dance	1983 1984	Edinburgh, Mainstream New York, St. Martin’s Press
Glasgow, a Celebration Editor	1984	Edinburgh, Mainstream
The History of Scotland	1986	London, Hamlyn New York, Lomond
The Sheer Gall of it! Cartoons by Willie Gall Commentary	1988	Edinburgh, Mainstream
Gall in the Day's Work.  Cartoons by Willie Gall Commentary	1989	Edinburgh, Mainstream
Rab Hat the Glasgow Glutton Verse only, Illus. by Dorothy Whitaker	1989	Glasgow, General District Libraries

Known list of plays written by Clifford Hanley, with coworkers where relevant

The Durable Element	1961	Dundee, Dundee Repertory Theatre
Saturmacnalia Music by Ian Gourlay	1962	Glasgow, Citizens Theatre, Pantomime
Oh! For an Island Music by Ian Gourlay	1963	Glasgow, Citizens Theatre, Pantomime
Dick McWhittie Music by Ian Gourlay	1964	Glasgow, Citizens Theatre, Pantomime
The Hero of a Hundred Fights or The True McGonagall	1969	Perth, Perth Repertory Theatre
Commissioned by Perth RepertoryTheatre; this play incorporated the first public performance of "Jock o' the Cudgel" by William McGonagall
Oh Glorious Jubilee Music by Ian Gourlay	1970	Leeds, Leeds Playhouse
Commissioned for the opening by the Prince of Wales, of Leeds Playhouse
The Clyde Moralities	1972	Glasgow Festival
The Mountain People Libretto for workshop performances		Scottish Opera

Known list of Film scripts/work by Clifford Hanley

The Prosperous Path	1959	Films of Scotland
Pleasure Island	1960	Films of Scotland
Seawards the Great Ships 1962 Oscar for Best Short Live Action	1961	Templar Films
Young in Heart: Scottish Industry in Action	1963	Films of Scotland
The Big Mill	1963	Films of Scotland
Fibre Web	1964	Films of Scotland
The Bowler and the Bunnet	1967	STV Studio Films
Sinful Davie As language consultant	1969	Mirisch/United Artists
The Duna Bull	1972	Films of Scotland
The Great Mill Race	1974	Films of Scotland
The Boat	1975	Films of Scotland
Sea City: Greenock	1975	Films of Scotland

Known list of Television works by Clifford Hanley

Dear Boss	1962	ITV Films
Dr. Finlay’s Casebook Various episodes	1962-1971	BBC Scotland
Between the Lines Revue Series – called the “Filthiest programme on television” by Mary Whitehouse	1964	BBC Scotland
High Living Various episodes	1968-1971	ITV Scottish Television
Down Memory Lane	1972	ITV Scottish Television
The New Road Five episodes	1973	BBC Scotland
Late Night Drama	1974	Granada Television
Sula series	1975	BBC Scotland
Wax Fruit	1975	BBC Scotland
Alas, Poor Derek	1976	BBC Scotland
Return to Sula series	1978	BBC Scotland
The Spirit of Scotland.  1. A Hypnotic Trance	1980	BBC Scotland

Known List of Song Lyrics by Clifford Hanley

Several of these are integral to shows and as such would not be performed as 'stand alone' numbers

Abroad is Nice Affluent Society Alexandra all Forlorn Anything can Happen As Long as I've Got Fiona As long as the Sun Shines (UK Song for Europe Runner up 1966) Auld Coo Shed Balmoral Waltz Beautiful April Day Bongo Beat Bonjour Tristesse Broken Hearted Twist Bruce and the Spider Bruce's Hornpipe Camlachie Chips with Everything Cockles and Mussels Come a Fishin' Isabella Come to Bonnie Scotland Crows in the Corn Dick McWhittie Do You Come Here Often Down With the Jones Duke McCash we Salute You Empire Oh Empire Fain Would I Fly Faraway Isle Fate Worse Than Death Fireman Follow The Sun Future Belongs to You Glasgow Glasgow Smiles Better Glasgow, Glasgow GO GO GO Gone Away Granny Great Scotland Happy English Family Heigh Ho For Murdering Hero's Goodbye Holiday Fair How Can They Have a Coronation I am the Music Man I Like a Man I Like You Fine I Saw It In The Crystal Ball I Should Have Listened to Granny If You Were A Seagull I'm Glad That I Was Born In Glasgow Independence Kitty Brewster Land Full of Song Land of The Free

Land of the Rising Sun Life Long Long Story Lord Love a Duck Madrigal Man Eating Mona Marching Through The Heather Money is Bad for People Monster Monster My Bonnie Lassie My Life For The Flag My Sister, My Sister My Song Nobody Ever Listens Oh Glorious Jubilee Oh My Jock Mackay One Is British After All One Upon a Time Piano In The Parlour Point of no Return Raven Haired Maiden Royal Scots Fusiliers Saint Andrew Saturmacnalia Scotland is the Place Scotland the Brave (5 versions) She Shall Have Music Sorrow And The Pity And The Pain Sourocks And The Heather Spaceman ( I Want to Be a) Standing In The Sink Story Behind The Song Strike A Light Suddenly It's Summertime Sweet Morning Time The Cameronians The Gathering of the Clans The Glasgow Underground The Noo There's Going to be a Dance Thingummy Cowboy Trouble With Women Today Two Note Blues Vote For Emelina Brown Wachlin Hame What Are We Gonna Do What Does a Fella Do Whatever Will Become Of Sylvia When Will It All Begin White Heather Wye Valley Yo Ho Ho You Were There

(2024) While the copyright to Scotland’s first and we feel, true, “National Anthem” is still held by the Estate of Clifford Hanley, we have not attempted to list the innumerable instances where Scotland the Brave has been featured in film, television, sound and media of all sorts.

Other Work by Clifford Hanley

Sleeve Notes for John Laurie’s album The Great McGonagall, 1969

Cliff Hanley’s Notable Scots, a 52 week compendium collection produced by the Daily Record in 1988

And countless columns, appearances, presentations

As a Broadcaster:

Hanley's light and humorous touch, and sharp observations on Scottish life, saw him much in demand as a commentator on radio and television, not only in Scotland but on UK-wide programmes. Very much a 'professional Glaswegian', he was often called upon to comment on issues affecting the city.

When Radio 4 Scotland re-launched its morning radio programme, Today in Scotland, in April 1970, Hanley was hired as a presenter.  

External links

• Шаблон:IMDb name