Town prepares for musical VE Day celebrations
Residents in a Cornish town are preparing for a special musical celebration to mark the 80th anniversary of VE Day.
Thursday 8 May marks 80 years since the end of the Second World War in Europe.
As part of the celebrations, Saltash has been busy organising and rehearsing for their celebration of music, drama and remembrance.
It is believed 122 people from Saltash died during the war and their sacrifice will be high in people's minds during the commemorations.
Community workshops are being held twice-weekly to get the Saltash VE 80 choir in order and in tune.
Julian Barnicoat, the choir's musical director, has written and composed a new score for the concert
"I have chosen to write music that has a certain amount of period flavour, but also a lot of 21st Century flavour as well, in order to make the whole project more accessible and more understandable, especially to younger people," he said.
"You are always up against a time limit but we're doing very well and we have a very very supportive choir... and it's working well and we will have an amazing concert, I am sure."
Jane Smith, who has volunteered to perform, she said: "I haven't sung in a choir since I was at school, I'm not the most brilliant singer, but I heard it was a community choir and so I came along.
"I've really enjoyed it and had a great time and maybe when it's all finished I will then go and join a choir."
The festivities are being funded by The Sue Hooper Charitable Foundation, founder Sue Hooper said.
She added: "Saltash celebrates and commemorates VE Day because we had 122 fallen during the Second World War, including 15 civilians, and we wanted to play our part as we have done with so many special anniversaries as a community."
The VE 80 community workshops are being held on Tuesdays, in the afternoon at Burraton Methodist Chapel and in the evenings at Ashtorre Rock on the Waterside.
VE Day celebrations across the South announced
New Saltash memorials planned for 77 missing names
Flypast and concert for VE Day 80th commemorations
Hashtags

Try Our AI Features
Explore what Daily8 AI can do for you:
Comments
No comments yet...
Related Articles
Yahoo
2 hours ago
- Yahoo
Helston's 'Beating of the Bounds' tradition baffles stars on popular BBC show
Helston's unique 'Beating of the Bounds' tradition received national attention this week after being featured on the extended edition of a popular TV show. During an episode of Have I Got a Bit More News for You, the extended version of Have I Got News for You, a photograph of a sod of turf was shown on screen, with host Richard Ayoade asking team members what it was. The panels were asked what the picture represented (Image: BBC iPlayer) Ian Hislop replied straight away: 'It's grass. If you put it on your head and someone hits you, it softens the blow.' Presenter Richard Ayoade quipped back: 'You speak from experience.' Read More: Fate of one of Helston's much loved and unique traditions revealed When Richard explained that the sod of turf represented a tradition in the historic Cornish town of Helston, Ian highlighted Helston's biggest tradition, Flora Day. He said: 'Oh, where they have the dance! Has anyone else been to see it?' Sadly, no one replied, but Ian added: 'You have had sad lives.' Richard then questioned Ian, asking if it was just him dancing in a field, much to the amusement of the audience. A passage from a recent Beating of the Bounds article was read out (Image: BBC iPlayer) He then read a passage from one of the Falmouth Packet's recently published articles about the Beating of the Bounds tradition. Helston's Beating of the Bounds receives lifeline from local church A photograph from this year's event was displayed, capturing one of the event's key organisers, John Boase, lifting a participant over a boundary marker topped with a sod of turf. An image of John Boase lifting a member of the public was shown on the screen (Image: BBC iPlayer) The feature was a welcome sight for Helston residents and fans of the tradition, which successfully returned last month under new management. St Michael's Church now runs the event after its future was in doubt following safety concerns raised by the Town Council. REVIEW: Wheal Dream's new carvery breakfast a 'sunny side up' delight John Boase, who serves as both a Helston Town Councillor and a St Michael's Church Warden, was instrumental in ensuring the tradition's continuation and was delighted by the promising turnout. This Have I Got a Bit More News For You episode can be found on BBC iPlayer, series 69 episode ten.
Yahoo
3 hours ago
- Yahoo
Gay Teen Survived Massive Tornado, Thinking He Was Left Behind in the Rapture. The Truth Set Him Free (Exclusive)
Cecil Cornish was one of the survivors of the deadly EF5 tornado that struck Joplin, Mo., in 2011 Cornish tells PEOPLE that many people have come out to him in some of the messages he has received since his appearance in the Netflix documentary The Twister: Caught in the Storm Cornish now leads a nonprofit support group for openly queer people who experience emotions similar to those he felt as a kidFourteen years ago, in May 2011, an EF5 tornado tore through the small town of Joplin, Mo., leaving nearly 160 people dead and injuring more than 1,100 others. At the time, one teen thought the Rapture — the end times as described by some Christian denominations — had begun. When the storm ended, 17-year-old Cecil Cornish believed he'd been left behind and God had abandoned him because he was gay. But as the dust cleared, he realized that wasn't the case. He'd survived. His whole life lie ahead of him. Now Cornish is sharing his emotional story, including embracing his identity, in a new Netflix documentary, The Twister: Caught in the Storm. He tells PEOPLE that since speaking out, he's heard from fellow members of the LGBTQ+ community who have been touched by his experience. '[They were] coming out to me, or they said that they watched my special on Netflix and they came out to their family, which is pretty insane,' Cornish says. 'It's great, but it's also been a little overwhelming for sure.' In the documentary, Cornish recalls how he was working at a local frozen yogurt store when the deadly twister ripped through town. After spotting the monster storm barreling toward the business, he and others hunkered down inside the shop and held on for dear life as they begged God to 'protect us with your light.' Cornish thought to himself, "If this is going to be the end of the world, I don't want to stay around for what's going to happen.' ' After the storm passed, Cornish stepped outside and saw there was 'nothing' left of Joplin. While he assumed being gay meant that he had been ignored by God, soon he realized that his parents were still alive and that the world had not ended after all. 'I was so happy,' he said in the doc, tearfully describing the moment he was reunited with his mom and dad. Later in the documentary, Cornish acknowledged that he was 'concerned about being chosen,' but now realizes 'it's important to choose yourself.' Cornish tells PEOPLE it 'was not easy' being gay as a young person in rural Missouri — and that it 'tested' him, his family and his friends 'in complex ways' until he finally came out. But he says it was also 'fun' being able to eventually embrace his sexuality. He 'found joy in the little things' in life, which he recalls 'kept me going.' Now openly gay, Cornish leads a nonprofit support group known as Joplin Missouri Equality, or Jo Mo EQ, for queer people who experience emotions similar to those he felt as a kid. He is also writing a memoir 'about growing up queer in a place that often had no blueprint for people like me.' Speaking with PEOPLE about the documentary's reception, Cornish says he has 'received several' messages from other LBGTQ+ people. 'I think in America we don't see a lot of men be intimate or be emotional,' he explains. 'And I think that that's resonated with men and women and queer people in general, and they like to have kind of a role model … And I'm glad that could be me.' Cornish thanks the film's director, Alexandra Lacey, for showcasing him and his story in a 'beautiful' way. 'I know that the truth of my story was told, and that's my biggest concern,' he says. He adds: 'I love that I was able to talk about being rejected from the church, because that's a very shared experience that people have throughout America. I think that's resonating with a lot of people. And that's way beyond the storm … people that are queer can feel more comfortable being themselves, especially in [today's] current climate.' Never miss a story — sign up for to stay up-to-date on the best of what PEOPLE has to offer, from celebrity news to compelling human interest stories. Lacey tells PEOPLE she is thrilled that 'something good' could be taken away from 'something so catastrophic" like the tornado. 'Our priority is always the people whose stories that we're helping to tell. It's very much their story, not ours,' she says, calling the process of creating the film 'an emotional journey.' 'I really care about the subjects of my films,' Lacey continues. 'And all that matters to me right now, honestly, is what these guys think of the film. I don't really care what the public has to say. It's really about the people that chose to bravely share their stories in the film ... They're the most emotional interviews I've ever done.' Since the documentary's release in March, Cornish says, he has read nearly every message he's gotten. 'One of the biggest things I didn't anticipate were stories from folks. Just like people with PTSD or people that have lived through tornadoes or some kind of natural disaster,' he says, adding, 'It's been a joy to hear from everyone and to hear how sweet people think I am, and to hear the good things has been really awesome.' Read the original article on People


Atlantic
4 hours ago
- Atlantic
What Victor Hugo Would Make of Trump
On February 7, the John F. Kennedy Center for the Performing Arts suffered a presidential coup. Donald Trump filled its board of trustees with loyalists and declared himself its 'amazing Chairman.' On June 11, he is set to celebrate the dawn of what he has called a 'Golden Age in Arts and Culture' by attending a Kennedy Center performance of one of his favorite musicals, the globally popular adaptation of Victor Hugo's epic novel Les Misérables. Several cast members plan to boycott the opening. Perhaps they find it strange or even disconcerting that Trump is a big fan of Les Mis. Having declared of his Kennedy Center, 'It's not going to be woke,' why would he enjoy a tale in which the official victimization of society's underdogs is contrasted with the civilizing power of love, charity, and forgiveness? The term misérables can translate roughly to 'the wretched,' 'the dirt poor,' or even 'the scum of the Earth.' The frequent Trump epithet losers would be a suitably pejorative modern equivalent. This despised underclass is pitted against a punitive regime that honors bullies, sycophants, and plutocrats. They are not the sort of people who might expect compassion and understanding from the current administration. I find the gaudy, mass-market musical's appeal to Trump ironic but not surprising. Since it premiered on London's West End in 1985, the show, with its rousing anthems and its tear-jerking tale of victory over oppression, has thrilled more than 100 million people. We know that Trump has a weakness for bombastic 1980s musicals, and Les Mis is certainly that. Having spent four years writing a biography of Hugo, I can't help but find it a sweetened, antiseptic version of his weird, digressive underworld of moral and literal sewers. The original book would surely bamboozle and exasperate Trump if he ever undertook the journey through its 1,500 pages. The author himself wouldn't seem to hold much appeal for the leader of the MAGA movement. The president mentioned Hugo in 2018 at a White House dinner for Emmanuel Macron and the French delegation: 'This is the divine flame, which Victor Hugo wrote that 'evil can never wholly extinguish,' and which 'good can make to glow with splendor.'' Trump was referring to the shared military glories of France and the United States from the American Revolution through the Second World War. In fact, the words were taken from a description of the central character of Les Misérables, destitute following his conviction for stealing a loaf of bread to feed his sister's starving children. The narrator wonders whether Jean Valjean's soul has been destroyed, or whether an immortal 'spark' (not 'flame') has survived his dehumanization by a vindictive justice system. When Les Misérables was published in 1862, Hugo was an outcast. The founder of two distinct periods of Romanticism, he was the world's most famous living writer and an international symbol of freedom and democracy. By then, at the age of 60, he had spent 10 years in exile after opposing the coup d'état led by Napoleon Bonaparte's nephew, Louis-Napoleon Bonaparte, the self-crowned emperor of France who reigned as Napoleon III from 1852 to 1870. Hugo, as a refugee in the Channel Islands, was an embarrassment to the British government. The intelligence services of France and the United Kingdom considered him a socialist menace. Spies reported his dealings with suspected immigrant terrorists. His diatribe against ' Napoléon le Petit ' was smuggled across the English Channel in walking sticks, sardine tins, and women's underwear. Miniature copies were concealed in souvenir plaster busts of Napoleon III. The exiled poet was criticized for his arrogant attempts to influence British and American foreign policy. He was mocked for his poor English and his wild appearance, as he recalled in his notebooks: 'To the English, I am shoking, excentric and improper '; 'I oppose the death penalty, which is not respectable'; 'I am an exile, which is repellent, and on the losing side, which is infamous.' I would venture to say that Hugo would not be made welcome in the Oval Office today: 'I look like a workman,' he wrote, and 'I fail to wear my tie in the correct fashion.' Les Misérables is one of the last universally read masterpieces in Western literature. In its own day, it was as popular as its musical adaptation would be in the next century. In France, it was bought even by people who had never learned to read. It was devoured by soldiers in the trenches of the American Civil War. Like all great works of art, it has a mind and momentum of its own. This ostensibly simple tale contains labyrinthine complexities and contradictions. Hugo had been a monarchist in his youth and then became a moderate liberal. At the time of the 1832 revolt, which takes up almost one-fifth of Les Misérables, he was a property-owning family man firmly opposed to violent protest. 'We should not allow barbarians to bespatter our flag with red,' he wrote in his diary. The barricade at the heart of the novel and the musical is actually a scene from the savagely repressed uprising of June 1848. Hugo had just been elected to the National Assembly as a right-wing moderate. When the rioting broke out, he fought with the forces of law and order against the insurgents, whom he considered innocent but misguided. These were the starving unemployed of the Paris slums, the malodorous and degraded masses that polite society called ' les misérables.' He took prisoners and was directly responsible for deaths and deportations. Tormented over his culpability, he had a crise de conscience and joined the socialist opposition to the dictatorship of Louis-Napoleon Bonaparte. Hugo became the mascot and inspiration of liberation movements in Greece and Italy and throughout Central and South America, so it is fitting that the musical's opening and concluding song, 'Do You Hear the People Sing?' has been chanted in this century by antigovernment protesters in China, Sri Lanka, the Philippines, and Belarus. Less obviously appropriate is the adoption of Les Mis by Trump and the MAGA movement. No artistic genre is the exclusive property of one faction. As the Trump administration demonstrates, forms of moral discourse evolved by left-wing thinkers can serve the purposes of right-wing ideologues. The novel and the musical both have roots in popular 19th-century entertainment—vaudevilles, comic operas, and newspaper serials. Both were sneered at by middle-class reviewers and adored by the public. The MAGA reading of Les Misérables is just the latest example of its populist appeal. It also typifies the volatile nature of political buzzwords. Misérables was an insult that French insurgents picked up and brandished as a banner. By the same process, after Hillary Clinton called Trump's supporters 'deplorables' during the 2016 election campaign, her dismissive term inspired the digital backdrop of a Trump rally in Miami: Under the words les deplorables, a doctored image from the musical showed a crowd storming a barricade, waving the French Tricolor and the Stars and Stripes. That evening, the crowd sang a MAGA version of 'Do You Hear the People Sing?' In 2025, the U.S. Army Chorus sang this appropriated anthem of popular revolt at the White House Governors Ball. Hugo would likely have been repelled and fascinated by Trump's demagoguery, his rambling mendacity, his grammatically illogical but easy-to-follow oratory. The writer might have been reminded of Napoleon III, who hovers in the background of the novel as a sinister, clownish figure. Two significant differences are that Napoleon III had a long-standing interest in justice, and that he was never envious of Hugo's fame. After granting him and his fellow outcasts amnesty in 1859, Napoleon III lamented the great man's decision to remain in exile. In 1862, he allowed Les Misérables to be advertised and sold in France, leading his government to review its penal and industrial legislation and to concern itself with the exploitation of women and orphans, as well as the education of the poor. Trump's attacks on universities, the arts, and free expression increase the likelihood that any future American equivalent of Les Misérables will also have to be written in exile. But none of this knotty history need spoil Chairman Trump's triumph when he sits in the royal box at the Kennedy Center and hears the people sing for his pleasure.