In 2000 Jon Clark Emeritus Professor of Industrial Relations at Southampton University was appointed Independent Chair of the Police Negotiating Board

In 2000 Jon Clark, Emeritus Professor of Industrial Relations at Southampton University, was appointed Independent Chair of the Police Negotiating Board. With quick intelligence and quiet diplomacy he negotiated a path through a bureaucracy that Jack Straw, then Home Secretary, had previously described in Parliament as “Byzantine”.
Clark delivered on an elusive but vital political goal – the modernisation of the pay and conditions structure of the UK police service. Moreover, he did so against the background of profoundly different interests between rank-and-file police officers, middle managers and senior commanders; managing shifting political requirements and constant disruptive media interference, stoked politically behind the scenes. Stone film starring Doris Day as a air hostess on the run from her murderous husband Louis Jourdan, and in episodes of Rawhide, Laramie, Colt 45 and Dr Kildare.When her last three film appearances, in Don’t Give Up the Ship (1959) starring Jerry Lewis, as Pearl in Summer and Smoke (1961) and as the cigarette girl in the Elvis Presley vehicle Girls! Girls! Girls! (1962) went uncredited, Duncan knew that she would not make the leap from starlet to bona fide actress. In 1951, she moved to Hollywood and landed the part of a saloon barmaid in a B-western, Whistling Hills, subsequently appearing in Lawless Cowboys (1951) and The Saracen Blade (1954).Her dark looks meant she was often cast as a se?ta (in 1956, in Budd Boetticher’s Seven Men From Now or in 1957, in Gun Battle at Monterey) or as a private detective’s secretary (My Gun Is Quick, 1957) Still, she also appeared in Julie (1956), the Andrew L. Retrogression proved a popular theme at the box office and the pneumatic charms of the bosomy witches and wenches portrayed by Duncan, Allison Hayes and Dorothy Neumann lured in enough viewers to enable Corman to recoup his $70,000 outlay within weeks of the movie’s release.These lead parts came halfway through a busy 12 years for Duncan, who appeared in over 50 episodes of television series such as Dragnet, The Adventures of Rin Tin Tin, Maverick and Perry Mason between 1951 and 1962.

When the acting work dried up, she left California and moved back to the East Coast and, in 2000, was one of several entertainers interviewed at the Lillian Booth Actors’ Fund of America Home in Englewood, New Jersey, for the Chuck Braverman documentary Curtain Call, which was nominated for an Oscar.Born in Brooklyn, New York, in 1932, Pamela Duncan had such grace and poise as a teenager that she won several beauty pageants in the New York area. The cast almost suffocated during filming in Los Angeles when Corman filled the small soundstage located in an abandoned supermarket on Sunset Boulevard with creosote fog. Pamela Duncan, actress: born New York 28 December 1932; died Englewood, New Jersey 11 November 2005. The 1957 B-movie Attack of the Crab Monsters was promoted with the tagline “From the depths of the sea. a tidal wave of terror!” Directed and produced by Roger Corman, it grossed over $1m at the US box-office even though it had only cost $70,000 to make. Corman attributed its success and subsequent cult status to “the wildness of the title and the construction of the storyline”.
Under the effects of radiation, crabs on a remote Pacific island mutate into 25ft monsters relishing the taste of human brains and mimicking their victims’ voices to lure the surviving scientists towards their claws.

Pamela Duncan was the female lead, Martha Hunter, fighting the giant talking crustaceans, alongside the Corman regulars Richard Garland and Mel Welles.She also starred in Corman’s horror movie The Undead (1957), again alongside Garland and Welles, this time as Diana Love, a call girl who is submitted to hypnosis and relives her past life as Helene, a medieval witch. Yesterday’s report from the Qualifications and Curriculum Authority, offered some basic rules parents should follow:It’s OK to…* Discuss any topic with your child, and to read and comment on it* Suggest ways to carry out research or the type of websites to look at* Advise that a certain piece of work should be put through a spelling and grammar check* Argue that evidence in the coursework doesn’t support the conclusionsIt’s not OK to…* Get out the red pens and correct poor spelling and grammar* Start writing the child’s essay – as 5 per cent of the 400 parents surveyed by for the QCA admitted to doingRichard Garner, Education Editor. What few point out is that if parents do overstep the mark their child can be disqualified from gaining the qualification. And as the QCA guide makes clear, this is the danger zone where the child could be disqualified because of “inappropriate parental involvement.”But it’s never that simple. Who is to criticise the parent who works through GCSE Maths with their child, showing the working and supplying the answers, so long as the child eventually twigged how to do it? If your daughter reveals that her Art A-level requires her to produce a portfolio of paintings by Friday, but she is still six paintings short, and if she and you stay up half the night knocking up between you some plausible alternative copies of what she’s already done, does the child deserve disqualification – or a pat on the back for having such an inspired and enterprising parent?So how far can you go?The problem facing parents is that there are no official guidelines on just how much they can help with coursework.Schools will say they should not write the work themselves.