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Super Troupers

Radio 2's Dance Season continues with Arlene Phillips looking back at the rise and fall of the television dance troupes: the Beat Girls, Go Jos, Ruby Flipper, Legs & Co, Hot Gossip, and the most famous of them all - Pan's People.

For more than two decades, no television music show was complete without its own troupe of glamorous dancers. The girls - and sometimes boys - became stars in their own right.

Choreographer and Hot Gossip founder Arlene talks to some of the dancers and producers behind the routines, telling the story of dance troupes; from shaky beginnings on live black and white TV, to their demise at the hands of the million dollar music video.

Download the show as an MP3.

From Folded Wing:

On Monday, 5th December at 10pm our ‘Swinging at the Savoy’ documentary launches BBC Radio 2’s special Dance season.

Running throughout December the season of shows celebrates ‘Dance’ in all its forms and includes three Folded Wing programmes.

As well as ‘Swinging at the Savoy’, in which Len Goodman celebrates swing dance, from the Savoy Ballroom in 1930s Harlem to its modern day renaissance, the season also includes episode 6 of our ‘Gloria Estefan’s Latin Beat’ series on Thursday, 8^th December at 11pm. In this episode, Gloria puts on her dancing shoes and explores how the rhythm and movement of the dancefloor has been central the to the success of Latin music.

Finally, on Monday 19^th December at 10pm, you can catch our documentary ‘Super Troupers’, in which Arlene Phillips takes a look back at the rise and fall of the television dance troupes: the Beat Girls, Go Jos, Ruby Flipper, Legs and Co, Hot Gossip and the most famous of them all - Pan’s People.

BBC Radio 2’s Dance season also includes documentaries on stars like Gene Kelly, Fred Astaire and Ginger Rodgers, as well as programmes on Morris Dancing, Riverdance and the American Dance Marathons of the 1930s.

INTERVIEW WITH JO COOK

Conducted on 17th June and 3rd August 2011

By Gary P. Rose

I feel very privileged to have spoken to Jo Cook on the telephone and also to have met her in person.  We first spoke in June, the day before her birthday, when she was about to meet Bebe Robson for lunch. As she was in a rush, she asked me to ring the following day and said she was looking forward to talking about her career. As requested, I rang the next day and spent the next few hours immersed in Jo's fascinating conversation. Although she couldn't recall everything in detail, she spoke with frankness and honesty.

In July, I received a telephone call from her, inviting me to meet her and the other Gojos at a London hotel but, unfortunately, I had other commitments so I couldn't make it. However, when she told me she was was visiting a friend in Yorkshire in August I told her that I lived in Yorkshire, (half an hour's drive from her friend) and suggested that we meet then.

On Wednesday 3rd August I drove through the beautiful Yorkshire countryside to the small village where she was staying with her friend, Mervyn, and his wife.  I was greeted at the door by Mervyn who took me through to the living room and introduced me to a tall and elegant lady. That lady was the legendary Jo Cook. 

Gary: "How did you get involved with Top of the Pops?"

Jo: "I started the Gojos on the 18th November 1964. It's a day I'll never forget and one that changed my life forever. Prior to that day, I'd been working at the Pigalle Club in Piccadilly, where I used to dance every night. I was only on a six-month contract. Then I got pregnant but my husband left me so I had to find work. When my son was born, I had to leave him in the care of my family and friends so that I could work, because I needed the money desperately."

"I auditioned for Gary Cockrell at the Dance Centre and he invited me to join a new group he was forming called the Beat Girls. Babs Lord was auditioning too and I remember sitting on the bed with her as we both signed our contracts. Gary also asked me to do some choreography for him. Then, one day, he sacked me! I was furious and wanted to know why and Gary told me it was because he'd had a telephone call from the manager of the Pigalle saying that I was still under contract and shouldn't be working for Gary. This was a lie. I told Gary that my contract with Pigalle had only been for six months but Gary decided I had to go. In reality, he had met a young girl and wanted to put her in my place."

"Gary wanted to get the Beat Girls on Top of the Pops so I went to the BBC and, literally, knocked on Johnnie Stewart's door. Johnnie asked: 'Who are you?' to which I replied "I'm Jo Cook. I used to be with the Silhouettes. We worked for you on The Jimmy Wheeler Show and The Vera Lynn Show'.  Johnnie asked: 'What can I do for you?', so I said 'If I show what I can do, will you give me the chance to dance on Top of the Pops?'. He agreed. So I contacted Linda Hotchkin, Jane Bartlett and Pat Hughes and asked if they would dance for me. They agreed to rehearse for nothing! Then I bought some pale blue trousers and white T-Shirts and had The Gojos emblazoned on the front, which we wore for the audition. Johnnie rang to ask if we could do a routine to 'Baby Love' by The Supremes, which was climbing up the charts and I said 'Yes'".

"The Gojos made their debut on Top of the Pops on the 18th November 1964 and I'll never forget it. We got to the studio and saw our name, The Gojos, had been written in big letters at the back of the BBC studios. The letters were huge, about 12 feet tall, and we had to dance to 'Baby Love' in front of them. it was wonderful. After that performance, Johnnie would ring me when he couldn't get an artist to appear on the show."

Gary: "You were the first dance group to appear on Top of the Pops, why didn't you get the resident spot?"

Jo: "I worked with Babs and Ruth Pearson in the Beat Girls. Then the group split into two. Babs continued to work in the Beat Girls, where she was joined by Flick Colby and Dee Dee Wilde. And Ruth formed her own dance group. Then Babs, Flick and Dee Dee broke away to form Pan's People and eventually got the resident spot on Top of the Pops. The Gojos were edged out really but, in a way, they did us a favour because we got lots of work elsewhere. I had already formed another group, called the Jo Cook Dancers, and they would often be on one channel while the Gojos were on another. We did lots of television work, like The Val Doonican Show, Three of a Kind and The Mike Yarwood Show. We did five years on Thank Your Lucky Stars for ITV. We went to Birmingham to record that. They weren't paying expenses then so I had to drive the girls all the way there and then drive them back home again after each show. We also did a television show for Western Wales Television called Disc-a-Gogo."

"We worked with stars like Tom Jones, Liberace, Roy Castle, Anita Harris and Leslie Crowther. The Gojos did lots of cabaret too. But, you know, there were several other Gojos groups going on at the same time. Linda Hotchkin was in one group, Bebe Robson was in another. This meant that the Gojos could do work on television and also do cabaret in different parts of the country, all at the same time."

Gary: "I've been in contact with several of the original Gojos, including Linda Hotchkin, Lesley Larbey and Wendy Hillhouse, but would like to know more about the other Gojos."

Jo: "Thelma Bignell came from Essex and trained at the Arts Educational School in Tring.  Jane Bartlett came from Birmingham and trained at the Royal Ballet School. We used to dance together in the Silhouettes. She married someone from the Royal Ballet Company and went to live in France but, when she became ill, she moved back to Birmingham so that she could be nearer her family. She was ill for many years before she died. She was a lovely girl and a beautiful dancer. Barbara Von Der Heyde was from Shoreham in Sussex. She did her training at ballet school. She was a gorgeous girl but was beset with problems. She'd been adopted as a child and was very quiet and reserved. She got very nervous when flying so I had to console her. Unfortunately, I have lost touch with Thelma and Barbara but would love to see them again."

Gary: "I had read somewhere that Barbara has died."

Jo: "Really? I hope not, I couldn't bear it."

Gary: "Can you tell me something about your background, such as where you were born, and how you started dancing?"

Jo: "I was born in Northamptonshire. My dear mother, bless her, suffered from mental illness for many years and was put into an institution when I was three years old. I lived with my Aunts and never saw my mother again until I went to her funeral. My father met this wonderful lady who was a ballet teacher and that's how I got interested in dancing. She was my inspiration. She ran her own dance school, called the Pitt-Draffen School."

"My first job was in a pantomime, in Hudderfield, when I was fourteen. I was chosen as one of the Balmoral Four who did sword-dancing! I was very proud to have chosen as one of the four because lots of other girls wanted to do it."

Gary: "What is the highlight of your career?"

Jo: "I danced at Windsor Castle for the Queen when I was with the Silhouettes."

Gary: "Why did you stop performing with the Gojos?"

Jo: "I decided to step down as a dancer and concentrate on the choreography. I think a good choreographer should stand back and watch rather than perform"

Gary: "One of the website's members, Mayday, has put a question forward. In most databases, there are only six entries for the Gojos performances on Top of the Pops in 1965. Can you recall any more songs you choreographed for 1965?"

Jo: "There was so many! I can't always remember which year the songs were released but I remember some of the songs I choreographed for Top of the Pops: 'Jumpin' Jack Flash' by the Rolling Stones, 'Glad All Over' by The Dave Clark Five, 'Simon Says' by the 1910 Fruitgum Company, 'Down Town' by Petula Clark, 'Reflections' by Diana Ross and the Supremes".

Gary: "Mayday also asked if you can remember how you interpreted the song 'Guantanamera' by the Sandpipers. It seems such a hard song to set a routine to."

Jo: "I handled this song with great care. It had a sort of Rumba feel to it so I choreographed it with that in mind."

Gary: "Another member, mishmash, asked why the hiatus in Gojos performances in 1966? Was it to do with the World Cup being on?"

Jo: "I can't recall a hiatus. The Gojos worked consistently. We weren't required to work every week on Top of the Pops. When we weren't appearing on Top of the Pops were working on other shows. We never stopped working."

Gary: "Kevin Mulrennan from Popscene is interested in the Gojos time on Thank Your Lucky Stars. What was it like to work on that show?"

Jo: "It was fun. It was much the same as Top of the Pops but involved more travelling. We had to go to Birmingham every week and I'd drive the girls all the way there and back again. We used to rehearse in London but had to go to ABC Studios in Birmingham to record it. Keith Beckett was the director of the show. He was a former ballet dancer who had performed with the Festival Ballet Company. Because of his dancing background, he chose songs that weren't always in the charts. Most of the music he chose was picked especially for the Gojos to dance to and for me to choreograph."

Gary: "Are there any performances that stick in your mind?"

Jo: "We did a show for Southern Television called Tale of Two Rivers which I had to choreograph routines for. Filming took place, first in London, and then in Paris. We had to dance on the Tower Bridge in London and over the Seine in Paris. On both occasions, it was early in the morning and the roads were cleared of traffic!. The Gojos also danced on the Cutty Sark. The song they performed to was 'Sloop John B'. The show was directed by Mike Mansfield and was shown by Southern Television."

Thank you, Jo, for all the time you've given to me. I feel very privileged to have spoken to you and honoured to have met you. Thank you for providing publicity photos and for shedding the light on many unanswered questions. Thank you.

(c) G. P. Rose / Jo Cook 2011

Read Jo Cook's Biography

Three clips of Gojos Wendy Hillhouse, Linda Hotchkin and Bebe Robson partnering the Goodies in 'Ballroom Dancing'! (Courtesy of Wendy Hillhouse.)

INTERVIEW WITH WENDY HILLHOUSE

Conducted by Gary P. Rose

Conducted on Monday 27th June 2011

Wendy Hillhouse is warm and funny but is also the most spiritual member of the Gojos. She has a passion for environmental issues and is deeply concerned about our planet and the ever-increasing threats to world peace. Wendy's social awareness and caring nature has led her to work for people less-fortunate than herself, as the following interview reveals.......

Gary: "How did you start your career?"

Wendy: "I started as baby ballet classes at the age of two, I loved it and knew it was what I wanted to do. To quote words from the famous Abba song ('Thank You for the Music') "Mother said I was a dancer before I could walk"! I trained with a teacher in London called Letty Littlewood who studied ballet at the school of Nanette de Valois and was appointed artistic director for the Anglo-Russian ballet and Ballet Russes. She became director of her school called the Associated Arts School, a combination of all-round training for the stage, especially ballet, with a good academic education up to 'O' level standard. She was an innovative and inspiring teacher and I studied under her guidance for eleven years, starting from the age of five".

"At the age of 16, I left this school and danced in a production at Bournemouth with Millicent Martin and Tommy Cooper after which I toured the UK with 'The Student Prince'. I then travelled to Scotland and danced in the 'Five Past Eight Show' and 'A Wish for Jamie'. My first television appearance was in 'The Roy Castle Show' where I worked for a choreographer called Pamela Devis".

"Because I loved to travel and see new places, I auditioned to work as a dancer with an entertainment company on board two cruising ships and travelled all over the world. I visited South Africa, Australia, New Zealand, Mexico, South America, the West Indies, the South Sea Islands, Scandinavia and all over the Mediterrannean. I was virtually dancing 'at sea' for two years which was very exciting although a bit scary at times, particularily when we sailed through a cyclone in the Bay of Biscay but we still had to put on a show and dance through it!"

Gary: "How did you get involved with Jo Cook and the Gojos?"

Wendy: "Well I had just returned from dancing on a cruise to Australia and someone told me Jo was auditioning in London. I went to the audition alongside 200 other hopeful dancers and Jo was looking for one dancer to make up six Gojos. She offered me some work and invited me to join the Gojos. I couldn't believe it, but was very happy and I worked for Jo for the next four years altogether. I performed with the Gojos on programmes such as the Mike Yarwood series, 'The Val Doonican Show', 'The Morecambe and Wise Show', the Bachelors series, 'Top of the Pops', 'The Goodies', the Save/Rave concert at the London Palladium and 'The Stiffkey Scandals of 1932' at the Queen's Theatre in London. I feel I was very privileged to work with so many wonderful celebrities and be a part of the history of 'Top of the Pops'

Gary: "What did you do after leaving the Gojos?"

Wendy: "I married, had three children and was teaching during those years - I taught jazz dance classes for adult education centres and choreographed dance routines for local charities and shows. After my children had grown up, I saw an advert to train as an Arts thearapist, which appealed to me as it involved dance, music and acting, so I decided to take that up. For the next four years, I studied at university and graduated with an MA Degree in Arts Psychotherapy"

"The course enabled me to use my dance skills as well as music, drama and poetry. It was wonderful training. I then worked for the NHS but, in 2000, I opened a private practice in Scotland. As I'm qualified to work with trauma, I work with children and adults who have suffered trauma in their lives and some of my clients include ex-servicemen who have come back from Iraq and Afghanistan. I do group sessions with them, such as painting. It's very hard work but also very rewarding"

Gary: "All that training must have cost a fortune!"

Wendy: "I was very lucky because Equity (the British Actors Association) paid for my training. They have a charity trust fund which enables professionals to re-train later in life and they gave me a grant to pay for the whole of my training. They awarded me the grant because I'd worked in the dancing profession for over 20 years and was a member of Equity during those [dancing] years. Some people dropped out because the course was so tough. I am lucky that they gave me the opportunity to re-train for a new profession that I'm still working in"

Gary: "What other work have you done?"

Wendy: "I worked in Canada for a year with Native American offenders as an Arts Psychotherapist / Case Manager and also worked as a nurse in the A&E department for four years. It's been fun to experience different careers in my life and also be a proud mum of three amazing sons! I've been very fortunate to do the things I dreamed of doing. I always believed that if you follow your heart your dreams do come true and you should never give up"

Gary: "Going back to your dancing career, are there any special moments that you'd like to share with us?"

Wendy: "One of the special moments of my career was when Jo and the Gojos were asked to take part in a pioneering International Conference at Grosvenor House in London. It was at the end of the 1960's and they were experimenting with colour television at the time and they asked us to take part in the experiment. There was quite a mixture of male and female dancers and all we had to do was dance or just sit in front of the cameras while they adjusted the colour. We did that for a week. It was very exciting and a lot of fun. Jo had organised the whole thing. There were cameras all over the hotel. It was fascinating!"

Gary: "How does it feel to have worked on television?"

Wendy: "Working with famous people was wonderful. On 'The Val Doonican Show', we met someone famous every week! The Gojos did a show with Morecame and Wise. They were fantastic to work with but so funny. We had to do a lot of re-takes because they kept making us laugh. The same thing happened when we worked with The Goodies on their show. I was Bill Oddie's dance partner in the Come Dancing episode and, because he kept making me laugh, we had to keep re-shooting!. I look back on those days on television in the 60's with happy memories and nostalgia.....they were halcyon days!"

Gary: "Did you ever meet Pan's People?"

Wendy: "We used to see them at the same rehearsal studios and sometimes at dance classes in London but I haven't met any of them personally"

Gary: "What was it like working for Jo Cook?" 

Wendy: "Jo was a very caring and respectful choreographer to work for because she never lost her temper with us despite the lack of time we had, sometimes, to get several routines together before a live performance. She did everything to look after us and was always very concerned about our lives. Jo was very good to me when my father died in Westminster Hospital the night after dancing live to 'Jumping Jack Flash' on 'Top of the Pops' and she comforted me. She is still a wonderful person and a fantastic friend in my life"

Gary: "It's been a pleasure speaking to you about your life and career. It's fascinating to hear how you and the other Gojos started your careers and to learn what you have done since 'hanging up your ballet pumps'!" 

Wendy: "It's really nice that you are doing this - including us on the website. Jo and the Gojos were the pioneers of 'Top of the Pops' but are almost forgotten today. It's sad that there isn't much footage left of the Gojos. So thank you for bringing the Gojos out of the shadows and for your time and patience talking to so may dancers. It's been a really lovely experience to speak to you and remember so many happy times. Thank you"

Gary: "The Gojos deserve to be be recognised. They worked very hard and were pivotal to 1960's telelvision. I hope that this website will introduce the Gojos to a new generation of fans"

On behalf of the website, I would like to thank Wendy for taking part in this interview. Thank you, Wendy, you're a truly remarkable lady.

(c) G.P.Rose / W. Hillhouse, 2011

Read Wendy's Biography

'In Search of the Super Troupers', The Independent, Saturday 28 April, 2007.

Click for the high resolution version.

INTERVIEW WITH LINDA HOTCHKIN

Conducted by Gary P. Rose

Conducted on Friday 10th June 2011

I recently spoke to Linda Hotchkin about her life and career. She was one of the original Gojos, having joined the group from the very beginning, in November 1964, and has lots of memories about her life in show business.  Linda's bubbly personality shone through and it was a pleasure to talk to her

Gary: "How did you start your career?"

Linda: "I wanted to be a dancer from the age of four. I started off doing pantomime in Coventry and then worked for a choreographer called Pauline Grant who had been a ballet dancer at the same school as myself. Then I auditioned for a dance troupe called The Silhouettes, who appeared on lots of BBC television programmes. My first television appearance was in The Billy Cotton Show. Jo Cook was also one of dancers in The Silhouettes. That's how we met. When she decided to form The Gojos, she invited me to join. She got all the work started."

"I performed with The Gojos on programmes such as The Val Doonican Show, Thank Your Lucky Stars and The Mike Yarwood Show. We did a stint at the London Palladium, for six weeks, with Max Bygraves and Freddie Starr. We danced to two numbers in the show; the theme tune to Mission: Impossible and Grandfathers Clock."

Gary: "Where did you receive your training?"

Linda: "I did classical ballet training, as we all did in those days. It's very different now because I don't think many people are trained in ballet, which is a shame. Anyway, I trained with a teacher in London called Helen Wolska. She had been with a Polish Ballet Company during the war and was very well known. I trained with Helen for about nine years, starting from the age of eleven."

Gary: "The Gojos were very popular and appeared on many of the top light entertainment programmes. You were obviously very busy."

Linda: "Yes. I remember when The Gojos were on both major channels (BBC and ITV) at one and the same time. It was before the days of video recorders and there was no such thing as handsets so my Mum used to switch from one channel to another to watch both shows. On one occasion, I was appearing on The Val Doonican Show and, the same night, I was also on Thank Your Lucky Stars. Luckily, the programmes had been recorded and were transmitted at different times so my Mum got the chance to watch both shows!"

Gary: "You worked on Top of the Pops. How does it feel to be a part of television history?"

Linda: "The Gojos had worked for Johnnie Stewart on The Billy Cotton Show so we already knew him. Jo heard that he wanted dancers for a new show, which became Top of the Pops, so she contacted him. He auditioned us and we, as the Gojos, got the job. We were the first dancers to appear on the show. We weren't residents, as such, but we were there whenever an artist couldn't appear. There was no such thing as videos in those days, so they used us to fill in the spot. Jo did all sorts of songs for us to rehearse to."

"I remember once when we had to rehearse two songs, one by The Beach Boys and the other by Barbra Striesand. Both songs were climbing the charts but kept overtaking each other. We didn't know which song we would dance to until transmission so we had to rehearse to both. It was very hard work!"

Gary: "Back in the early 1960's, the entertainment world was a male dominated industry so it was quite an achievement for Jo to persuade the BBC to let The Gojos have a regular dance spot."

Linda: "Yes. Jo was very determined and had the courage to ring a lot of people. She pressed hard to get us noticed. She certainly got us a lot of work."

Gary: "The Gojos did a lot of theatre work too. Was it easy making the transaction from theatre to television?"

Linda: "We all had to be Equity members in those days. If you had a provisional Equity card you couldn't do a London show or appear on television. You had to have a fiull Equity card before you could do television"

Gary: "Have you ever met Pan's People?"

Linda: "When the TV Centre in White City was completed, it was supposed to be a fantastic big studio but, unfortunately, they discovered that they had no provisions for a rehearsal studio. Usually, there would be a basement which had small rooms for people to rehearse in but the designers hadn't thought it out properly and didn't include them in the plans. So the new building was outdated as soon as it was completed!"

"This meant that we had to rehearse in other places, usually boys' clubs or church halls. The Gojos and Pan's People usually reheared at a boys' club at Dalgarno Gardens, in Shepherd's Bush. The Gojos would be rehearsing in one room and Pan's People would be in another so we would often pass each other in the corridor. And we all used the BBC canteen so I would often see them in there."

"Jo and I did Top of the Pops: The True Story, which also featured members from Pan's People and other dance groups. But we never got to meet any of the other dancers because our interviews were recorded on seperate days. Jo and I went along to the studio, did our bit and then went home again. We were never in the same room as the others, it was all down to editing"

Gary: "Apart from working with The Gojos, what other work have you done?"

Linda: "The last job I did was Drury Lane for two years with Michael Crawford in a musical called Billy, which was based on Billy Liar. It was around 1973, I think. It was directed by Patrick Garland. I'd worked with Patrick before, when I performed with The Gojos in a West End play called The Stiffkey Scandals, Noel Coward's name was mentioned in The Stiffkey Scandals and, on account of that, he came to see it! Karl Davies was the musical director of the play. He had recently come over from America and was completely unknown in the world of show business at the time"

Gary: "One of the forum members, mojo2007, would like to know how difficult it was for dancers to adapt from light entertainment shows, such as The Billy Cotton Show, to the up and coming pop shows. How did you cope with the go-go influenced new shows, like The Beat Room?. Even the 6.5 Special to The Beat Room was a big difference. Did the dancers retain a formal sense?"

Linda: "All good dancers are well trained and can, therefore, adapt to any new styles. It can be difficult when working with different choreographers, of course, because they all have their own way of doing things. But our training prepares us to adapt to different styles. As in most cases, some people are more in-tune with new styles than others but, with a lot of hard work, you soon get used to the new routines. Dancers have to be very skilled."

Gary: "Another of our members, mayday, has asked if The Gojos were invited back on to the Christmas 1968 edition of Top of the Pops and danced to Cinderella Rockerfella as it states on another website."

Linda: " Pan's People became the regular dancers by Christmas 1968 and The Gojos never appeared on Top of the Pops after they started."

Gary: "mayday also asked which your favourite dance routine from Top of the Pops was and was there any routine that you didn't think worked so well. Also, can you remember The Gojos final performance on Top of the Pops and which song you danced to?"

Linda: "My favourite dance routine is Baby Love by The Supremes. It was the very first song we danced to on Top of the Pops and our very first appearance on the programme. I remember how excited we all were about appearing on the show and being in Jo's group. Before that, Jo was just one of us, a dancer and a friend, but now we were dancing in her group and she was our choreographer. It was all very exciting!"

"With regard to the routine that didn't work well I don't think there's any that I didn't enjoy. If the routine went well, no one fell off the rostrum, and we performed well, then we were very satisfied. All the routines worked well because Jo did the best she possibly could. She didn't have the choice when it came to which songs we danced to. A lot of the time, she wouldn't have chosen the song but she had no choice. She was told which song she had to choreograph and she did the best with what she was given. Some of the songs were very difficult to choreograph so Jo had to be very inventive. But she always did a good job. To answer the final part of your question, the last song we danced to was Simon Says by 1910 Fruitgum Company."

Gary: "Can you give a brief summary of your career?"

Linda: "Most of my career was with The Silhouettes and The Gojos. I started dancing professionally at the age of 17 and continued until I was 33. I'm proud to have been a part of Top of the Pops. The Gojos were the pioneers of that programme. I had a lovely career and met lots of people. I found it very rewarding."

Gary: "Do you still dance?"

Linda: "I still go to salsa and jazz classes, but haven't danced professionally for many years."

On behalf of the website, I would like to thank Linda for all the time she's given to me. Without her patience and co-operation this interview would not have been possible. Thank you Linda.    

(c) G. P. Rose / L. Hotchkin 2011

Read Linda's Biography