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*Wind rustling, creepy crawlies scattering, owls hooting and ghosts howling*#settingthescene
“Hello Boils and Ghouls, I’m glad you could make it to my crypt party!” (a directreferenceforanyonewhousedtowatch‘TalesfromtheCrypt’).
We are officially into the season of Pumpkin Spiced Latte and cinder toffee –hurrah!
First things first, I hope you love our front covers as much as we do! We’ve gonewithahorrorcomictheme.OurdesignerLisahadsomuchfuncreating these,andwethinkwe’vebossedtheHalloweenbriefthisyear!Ifyouwant toreadmoreabouthorrorcomicsLauraBillinghamhaspennedagreatarticle inside.
At the time of print I’ve only had a few minor disasters this month, such as the soles of my shoes coming off midway through the dog walk and my tardinessshamingmeagainasweranthroughthelobbyofablack-tieevent wewereattending,injeansandt-shirts,passingeveryoneintheirpenguin suitsandelegantdresses–standard!We’vestillgottheweddingoftheyear toattendasyetbutI’mconfidentthatwillbeasmoothsailingeventforall involved………………….
With the clocks going back this month (27th October in case you haven’t clocked it yet!), I think we can officially mention the Chrimbo word. We’re already working on our end of year editions, so if you need to publicise anythingorboostyoursales,giveusashout.Iknowthatsomeoftheteam atVoiceMagazineshavealreadystartedtalkingtoSantaandgottheirgift shopping underway…..obviously not me….that’s reserved largely for the 20th December. If you’re already thinking ahead then why not enter our ChristmasGiftFairticketscompetition.Seeinsideformoredetails.
Anyhoo, have a spooky October and in the words of the Crypt…. “Just a cheery Crypt Day wish to let you know we’re trusting. But each and every passingyearwillmakeyoumoredisgusting.”
Scaryreadingeverybody, Emily x
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Your community needs more foster carers. Currently there are over 3,314 children in care across Derby City, Derbyshire, Nottingham City, and Nottinghamshire, with only half finding foster homes. There is a high demand for long-term carers, short-term carers, and specialists for children with special needs. Carers for sibling groups and teenagers are also critically needed.
In April 2024, a regional fostering hub was launched through a collaboration between local councils to boost recruitment and support for foster carers. The “Foster for East Midlands” hub guides prospective carers from enquiry to application and enhances support for existing carers.
YOUR SUPPORT CAN TRANSFORM A CHILD’S LIFE! To
England’s oldest continuous sheepdog trials have concluded another triumphant event with the second year of support from renowned Hope Valley legal firm, Graysons Solicitors.
Longshaw Sheepdog Trails enjoyed bumper crowds once again for its 126th year.
The event, which takes place at the picturesque Longshaw Pastures, near Grindleford, has only been interrupted by the two world wars and the 2001 foot-and-mouth outbreak.
Peter Clark, managing partner at Graysons, said: “We are pleased to support Longshaw Sheepdog Trials - an event deeply rooted in the Hope Valley community. As a family firm, we are committed to engaging with and supporting local traditions, and this sponsorship aligns perfectly with our values.”
Graysons provides the Hope Valley Community with a full range of legal services, including estate and trust administration, wills, powers of attorney and lifetime planning, elderly client services, a bespoke private wealth service, Court of Protection, conveyancing and property, family law, personal injury, occupational injury and illness, and medical negligence.
To find out more visit: www.graysons.co.uk
Longshaw Sheepdog Trails information from: www.longshawsheepdog.co.uk
The first Longshaw Sheepdog Trials was held way back in 1898, and by 1901, it was attracting crowds in excess of 3,000.
Peter Clark (left), managing partner at Graysons, with illustrator Alan Pennington and the artwork commissioned to celebrate the sponsorship of Longshaw Sheepdog Trials.
Pitcherwits® are crossword puzzles where some of the clues are in pictures. Sound easy? It’s not called “Pit-your-wits” for nothing! The mixture of cryptic and picture clues, combined with Professor Rebus’ unique sense of humour, will keep you entertained for hours.
Across
8 Sacked Moray City’s manager (5)
9 As a result of a layer of the Church (5)
10 Somewhere below a revolting person (5)
12 Some characters will have nothing to do with an elk (5)
Down
2 Fish around while re-supplying liners forsailing away (5)
3 Gas supplied for extension that’s an off-site build (5)
11 Bulge is slightly dented at Little Horn (5)
13 Seoul confused about the flyer (5)
Across 1 Ox is a blessing in disguise for old train features (6,5)
Chooses power, but victimises (5,2)
Spectacular sort of drinks containers? (7)
It used to make driving a bit flat! (5,6)
Are they boggy, seasonally? (4,7)
To reek, per se, makes shopping his business! (11)
Dispersed or local, it’s a circle of flowers (7)
Plans to play me at chess (7)
■
■
■
makes of stairlifts
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Method:
1. Tip the chorizo into a large non-stick saucepan, put it over a medium heat and cook for 2 minutes, or until the chorizo releases its wonderful red oil. Remove the chorizo with a slotted spoon and set aside.
2. Add the onion, garlic, paprika and thyme to the pan and fry in the chorizo oil for 5 minutes or until the onion begins to soften.
So, October means Autumn has properly arrived, and it really is the season of the senses. So why not tickle those tastebuds with this warming, yummy soup?
Ingredients:
3. Pour in the stock and stir in the sweet potatoes, passata and beans. Bring to the boil over a high heat then cover, reduce the heat to low and simmer for 15 minutes or until the sweet potatoes are tender.
4. Season to taste, reunite the chorizo with the soup and heat through gently. Scatter over the parsley and thyme sprigs to serve.
• 40g chorizo, diced
• 1 large onion, finely chopped
• 2 garlic cloves, crushed
• ½ tsp smoked paprika (sweet or hot, whichever floats your boat)
• 1 tbsp fresh thyme leaves, plus sprigs to
serve
• 600ml hot vegetable stock
• 2 large sweet potatoes, cut into chunks
• 600g passata
• 400g can mixed beans, drained and rinsed
• Chopped fresh parsley, to serve
Ready in: 35 mins
a
As we approach the creepiest time of the year – aka Halloween – the topic of “horror comics” arose at Voice HQ.
Now I will admit to being totally in the dark (get it?) about such scary mags, but I agreed to delve deeply into the wonders of online search engines to see what I could uncover about these spine-chilling missives.
First of all I input “horror comics” into the search bar…
This is what I was presented with, “A horror comic is a comic book, graphic novel, or manga that focuses on horror fiction. Horror comics have been around since the 1940s, when they began to emerge from crime comics that included supernatural and macabre elements.”
So far so good…except I am absolutely sure they were around before the 1940s – “penny dreadfuls” springs to mind, and they were around in the 19th century. Penny dreadfuls were stories published in weekly parts of 8 to 16 pages, each costing one penny. The stories were sensational, focusing on the exploits of detectives, criminals, and supernatural entities.
The description of a penny dreadful is so similar to that of a horror comic that I was left with the impression that the former was a particularly British publication, whilst the latter, although touching on the same subject matters, was more widespread and originated in the USA. I will stand corrected if I have misinterpreted this!
I’ve digressed (as per usual) – back to “horror comics”.
My friend Google says, “horror comics have their roots in American crime comics
such as Thrilling Crime and Crime Does Not Pay”. (Looks like I was right then…)
The first dedicated horror comic books appear to be Gilberton Publications’ Classic Comics (August 1943), with its full-length adaptation of Robert Louis Stevenson’s Strange Case of Dr Jekyll and Mr Hyde.
In January 1947, Avon Publications’ anthology Eerie No.1 became the first horror comic with original content.
We Brits appear to have been rather anti these American horror comics, with panicked headlines in the press such as “Now Ban This Filth That Poisons Our Children,” “Drive Out the Horror Comics.” In fact, in 1955 the (Children and Young Persons) Harmful Publications Act came into force which forbade the importation or publication of horror comics in the UK that were likely to fall into the hands of children.
Perhaps it was the use of the word “comic” in these publications which discombobulated the great and the good in the UK. After all, to us, comics are something children read, and the contents of horror comics were (are) definitely not child friendly!
There were British horror comics, and one, “Misty”, first published in 1978 and aimed at young women, has just had a reboot with an all-new 48 page anthology special published in July.
As someone who has never been a fan of comics, the lure of horror ones passed me by and I can say with certainty that I’ll be passing on any reboots!
These articles are researched and written by
Laura Billingham, a local
content
writer and author.
Laura moved to the Peak District several years ago to pursue her passion for writing.
She wanted to visit the museum, take her time to admire the unique building, one of the oldest in Bakewell she’d been told. She’d paused to look at gravestones in the churchyard on the way, read interesting inscriptions, noted family names. Sitting on a bench next to the church, she basked in the sunshine and admired the view back down to Bakewell.
Arriving at the museum she was welcomed by a friendly volunteer who guided her across a courtyard into the Buttery. Cool and refreshing in there she soon became intrigued by a selection of farming tools from long ago. How hard life must have been before modern machinery was available. In the next room the figure of Mr Plant made her smile, once she realised he wasn’t real. Christopher was the original resident of the Old House. Hand poised over his account books, he sat at his table ready to make notes of the tithes paid by local residents - tithes being the equivalent of taxes.
She joined him to watch a video showing the history of the Old House. She thought of all the people who must have lived in the building over the years, so many families crammed into each of the tiny rooms, all grateful for a roof over their heads.
Wandering on she passed through the Parlour where giggling children and their parents were dressing in the bright Tudor costumes provided. They looked for all the world like a family who had truly stepped back in time. She paused for a moment to admire the magnificent fireplace which she had been informed had been instrumental in saving the building during the 1950s. Soaking in the atmosphere of the wonderful building she stepped into the Victorian kitchen.
Suddenly the voices of the family faded into the distance. Could she smell a hint of pipe smoke? She shivered then jumped when she saw an old man sitting by the fire. Who would light a fire on a day as hot as this? He nodded, as if to acknowledge her presence, then carried on filling his pipe. He leaned toward the fire, a spill in his hand. When it caught the flame he lifted it and proceeded to light his pipe. Anxious, she looked round, no one else was there. Should she call for someone?
‘I don’t think…’ she started. Puffing on his pipe, the man looked up at her and smiled, as
if waiting for her to go on. She hesitated, didn’t know what to do. The smell from his pipe filled the kitchen and for a moment she felt dizzy. Surely they had CCTV, smoke alarms, surely someone would come. She couldn’t tell him to not to smoke, could she? Giving him an uncertain smile she made her way up the little wooden staircase.
Upstairs she soon forgot about the man as she admired the fascinating artefacts collected from Bakewell and the surrounding area. She learned about ‘Ashford Marble,’ of the highly skilled technique of ‘pietra dura’ a method of decorating it with intricate designs using tiny pieces of semi-precious stone. On display she found an umbrella stand, one of the feet of ‘Philis’ the famous Bakewell elephant who decided to go on a rampage; there was war memorabilia and in the toy room an ancient Noah’s Ark. She found the whole place fascinating.
It was only as she finished her tour that she remembered the man sitting in the kitchen, smoking his pipe. She mentioned it to the volunteer as she left.
‘Oh no dear, we haven’t had any old men in today. No, it was just you and a few families.’
*Please note this story is fiction BUT it is based on the fact that I have walked through Pitt’s kitchen many times and, on three separate occasions, I have been acutely aware of a smell of smoke from a pipe.
Don’t forget our HALLOWEEN celebrations at BAKEWELL OLD HOUSE Terrifying Tudor House: The Ghouls’ Games Saturday 26 October to Sunday 1 November, 11am to 4pm - Book online.
RECEIVES £3,738.40 GRANT FOR
Wirksworth Heritage Centre is delighted to announce that it has received a generous grant of £3,738.40 from Museum Development Midlands (MDM) to fund a new and exciting Community Art Project.
This initiative invites the local community and visitors to collaborate in creating a permanent artistic celebration of Wirksworth, while playing a pivotal role in enhancing audience engagement and supporting the museum’s future resilience.
The project will debut at the renowned Wirksworth Festival, an annual event that draws an audience of approximately 10,000 people to the town. As part of the festival, Wirksworth Heritage Centre will waive its admission fee for the first weekend (7-8th Sep), inviting all visitors to join in the creation of a unique, community-driven art installation.
This immersive experience will allow participants of all ages and abilities to co-create a series of portraits under the guidance of an experienced artist and facilitator, Hannah Sawtell. These portraits, inspired by notable figures from Wirksworth’s past and present, will be transformed into permanent ceramic tiles by a second artist (Hannah Buchannan of Wirksworth Pottery Company) and displayed in the Centre’s courtyard as a lasting tribute to the town’s rich history and culture.
“We are incredibly grateful to Museum Development Midlands for this support,” said Jo Higton Metcalf, Events and Marketing Manager of WHC. “This grant will enable us to celebrate the people of Wirksworth, welcome new audiences into the museum, strengthen local engagement, and create a truly special piece of community artwork that will inspire visitors for years to come.”
Workshops will be held in the museum’s main gallery and studio during the Wirksworth Festival, where participants will work closely with the lead artist to create a vibrant and diverse collection of portraits. The wider selection of portraits will be showcased in a temporary exhibition celebrating the collective spirit, creativity, and heritage of Wirksworth.
The most impactful designs will be converted into ceramic tiles, mounted on a custom-designed metal frame by a third artist (Wirksworth artist, Dan Marsh), and prominently displayed in the museum to commemorate its 40th anniversary and the 45th anniversary of the Wirksworth Festival.
In addition to the community art installation, Wirksworth Heritage Centre will collaborate with the festival team to create a visitor trail, highlighting the town’s past through an archive of festival brochures from previous years. These brochures will also be featured in a temporary exhibition, further celebrating the rich cultural history of Wirksworth.
Key Details:
1. EVENT: Community Art Project & Temporary Exhibition at Wirksworth Heritage Centre
2. DATES: September – November 2024 (whole project). Workshops take place on 7.9.24 and 12.9.24
3. LOCATION: Wirksworth Heritage Centre, St John’s Street, Wirksworth, DE4 4DS
4. ADMISSION: Free during the first weekend of the Wirksworth Festival. Normal price: £5 adults and concessions for young children (tickets valid for one year).
This dynamic project seeks to increase local awareness, boost visitor numbers, and foster a greater sense of community ownership of the museum. By inviting the public to co-create art that will permanently adorn the museum, Wirksworth Heritage Centre hopes to engage new audiences and inspire them to become advocates for its mission of preserving and celebrating the town’s history.
We have several sizes of OXO tin in our collection, all instantly recognisable with the red colour and simple lettering.
This iconic product has been with us since the beginning of Victorian times. In 1840, the liquid form of meat juices was developed as a protein substitute. The OXO trademark was instituted in 1899 and by 1910, affordable solid beef extract cubes were introduced for a penny.
In our house, we always used meat juices, cabbage water and an oxo cube to make gravy, thickened with a bit of flour. Needless to say, the consistency was a bit hit and miss.
We all grew up with the characters from the adverts. In the case of OXO, it was the “Life with Katie” and the “OXO family”.
Bisto, the manufacturers of meat flavoured gravy powder, had “The Bisto Kids”. They were two children sniffing an aroma from a meat pie and sighing “Ahhh, Bisto”.
Many of us enjoy a hot drink of Oxo on a cold day but some of the more unusual uses areOxo to be given to children in warm milk as a healthy, nutritious drink or to aid sleep at bedtime. How about mixing OXO with butter and spread on crackers as an appetiser?
For many people, gravy is about family, tradition and continuity. Long live gravy!
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If you think the shenanigans, plotting and crisis of the last few years in politics is something new, a swift look at history shows the exact opposite.
Jesse Norman’s novel The Winding Stair takes us back to the time when Queen Elizabeth 1 was coming to the end of her power, with James waiting in the wings to become King. And as with all periods of uncertainty the bid for influence and position becomes frenetic.
At the heart of the story are rivals Sir Francis Bacon, the greatest scholar of his time and
Edward Coke, said to be the finest lawyer of the period. This is no dusty history book. The research is good, and the book has been compared to Hilary Mantel’s Wolf Hall series; it’s a clever and gripping political thriller which manages to be entertaining and touches on interesting ideas like the divine right of the monarchy to power. Maybe some things never change…
If you like complex and engrossing historical fiction, it’s well worth a punt.
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Fill in all the numbers!
This is a sudoku 1 square grid 81 cells 9 3x3 blocks
1 simple rule: Use all the numbers 1-9, with no duplicates allowed, in any row, column, or block.
These puzzles are devised by the brilliant Professor Rebus. For more of his puzzles visit www.pitcherwits.co.uk
The charm of a glass conservatory roof is not simply aesthetic – it’s also about the sense of openness it brings to your living space. The sprawling canvas of the sky above, viewable in all its glory, can be a priceless addition to your home. Beyond the visual appeal, there are many other advantages of glass conservatory roofs. including year-round comfort, selfcleaning properties, reduction in energy bills and beautiful visual options to suit any property style.
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Plants such as Buddleia and anything else which you would generally prune back hard in spring can be cut back by about half to stop them being affected by wind rock from winter gales which can weaken plants. Hedges can be trimmed now to neaten their shape and climbing and rambling roses should also be taken back and stems tied in to protect the bush before winter.
Old flower stems on perennials can be cut as low as you can to the ground, but those which have seedheads such as honesty or thistles can be left to provide a bit of shape to the garden at what can be a pretty bleak time.
If you’re in a cold area lift your dahlia and begonia tubers and stripping back dead foliage, store them in a cool dry place over winter. When moving tender plants into a greenhouse or conservatory don’t be tempted to stack too many together – that way lies disease. They need plenty of ventilation around them.
Give the lawn a last mow before winter and aerate with a garden fork to avoid it getting waterlogged and frozen hard over winter. If there is still some warmth around you can scatter lawn seed where you have aerated and water it in to thicken up any bare patches. Most spring bulbs should be in now, but you can wait till next month for tulips, thus avoiding tulip fire which they can be prone to if planted too early.
If you have used compost from the top three or four inches of pots which you’re clearing out after summer, use it as a mulch on beds.
Throughout the summertime, family parties of starling have been visiting garden feeders and then grouping into larger flocks to visit the moors and bogs of the Peak. From a situation where their numbers were dropping rather sharply a few years back, it seems that these birds are now doing rather well. Certainly, the local breeding birds are thriving, and as we move into the autumn they are joined by large numbers of migrant birds from continental Europe, and the flocks grow in size. Depending on the weather both here and elsewhere, by the later autumn and into winter, there may be a build-up into the famous ‘murmurations’ where in the late afternoon, sometimes millions of birds gather. The lagoons above Stony Middleton are one of the best sites to check out as the birds come in as smaller flocks from every direction.
So, we have both local-bred birds and those from elsewhere in Britain and also from northern Europe. One of the things that does cause confusion is the dramatic differences in plumage between the dark but multi-coloured adult starlings and their juveniles. The latter have distinctive pale grey heads, necks, and mantles, and they are so different that people assume it is another species altogether. Of course, the reason for the differences is that the youngsters are still learning the ropes in terms of how to survive in the wider world, and the other birds need to recognise them as juveniles, still semi-dependent, and not fully fledged adult birds. Soon however, these babies will morph gently into adulthood and moult into their grown-up plumage.
The same processes happen with other birds though not always so dramatically. My garden robins have included juveniles which lack the red breast and sport speckled markings which are rather thrush-like in their appearance. Of course, if the youngsters had bright red breast they would trigger, not the parental response to provide food, but sheer aggression against a perceived rival. Even a small, red ball in the garden can have the same result! Many young birds have a pronounced yellow marking around the base of the bill and called a ‘gape’ which produces an uncontrollable urge by an adult to stick food into it. Herring gulls go a step further where the adult has a red spot on the beak, and this triggers a response from the youngster to peck at it. In reaction to this action, the adult bird regurgitates a tasty meal of warm, part-digested fish or something similar. All this just goes to show how important these differences in markings and behaviour are to bird survival. The wrong markings or plumage will lead to a confused or possibly damaging outcome.
The changes in plumage and markings from juvenile to adult may happen over a number of years for longlived, larger birds like common buzzards and eagles for instance, especially those where the juvenile has much to learn. For these species survival is a craft to be carefully learnt, and success is breeding somewhere down the line. For smaller birds however, they are short-lived, and the changes occur quickly during the first year as juveniles morph into full adults. By next season, so long as they survive the winter, then they will be the new parents and there will be a fresh generation of youngsters
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