Editing Round the Horne (section)

===Julian and Sandy===
{{main|Julian and Sandy}}
{{Quote box |bgcolor=#F7F8F9 |salign=center|quote =From "Bona Bijou Tourettes":

:'''Sandy''': Jule had a nasty experience in Málaga
:... he got badly stung.
:'''Horne''': Portuguese man o' war?
:'''Julian''': I never saw him in uniform.{{sfn|Took|1989|p=250}}| align=right| width=25&}}
The camp pair Julian and Sandy (played by Paddick and Williams) made their debuts in the fourth programme of the first series and rapidly established themselves as a permanent fixture throughout the run of ''Round the Horne''. They are out of work actors whom Horne encounters each week in new temporary jobs. The writers' original idea was that the characters should be elderly and dignified Shakespearean actors filling in as domestic cleaners while "resting" (i.e. unemployed), but the producer, John Simmonds, thought they seemed rather sad, and at his suggestion Took and Feldman turned the characters into chorus boys.{{sfn|Took|1998|p=98}}{{refn|The old actor laddies were to be called J. Behemoth Cadogan and T. Hamilton Grosvenor.{{sfn|Took|1998|p=97}} Took later wrote that he and Feldman named the chorus boys after [[Julian Slade]] and [[Sandy Wilson]], the composers of the popular 1950s musicals ''[[Salad Days (musical)|Salad Days]]'' and ''[[The Boy Friend (musical)|The Boyfriend]]''.{{sfn|Baker|2004|p=3}}|group=n}}  In a typical sketch Horne looks in at a new establishment, usually in [[Chelsea, London|Chelsea]], with a title such as "Bona Tours", "Bona Books", "Bona Antiques" or "Bona Caterers", and is greeted with, "Oh hello, I'm Julian and this is my friend Sandy".{{sfn|Took|Feldman|1976|pp=10 and 13}} The latter adds, using the gay and theatrical slang, [[polari|palare]],{{refn|The most usual spelling, according to the ''[[Oxford English Dictionary]]'' is "polari", but Took and Feldman used the alternative "palare".{{sfn|Took|Feldman|1974|p= 12}}{{sfn|Took|Feldman|1976|p=18}}|group=n}} "How bona to vada your dolly old eek again", or "What brings you trolling in here?"{{refn|"How good to see your nice old face again"; "What brings you walking into here?"{{sfn|Took|Feldman|1974|p=12}}|group=n}} Having first appeared as house cleaners,{{sfn|Took|Feldman|1974|pp=36–38}} they are later shown working in a variety of implausible jobs. Took summed them up: "From working as part time domestics while 'resting' they progressed to running almost every trendy activity going from fox-hunting in [[Carnaby Street]] to the gents' outfitting department of [[MI5]]".{{sfn|Took|Feldman|1974|p=10}}

The use of palare enabled the writers to give Julian and Sandy some [[double entendre]]s that survived BBC censorship because the authorities either did not know or did not admit to knowing their gay meaning.{{sfn|Baker|2004|p=10}} In one episode, Sandy tells Horne that Julian is a brilliant pianist: "a miracle of dexterity at the cottage upright",{{sfn|Took|Coward|2000|p=216}} which to those familiar with gay slang could either refer to pianistic excellence or to – illegal – sexual activity in a public lavatory.{{refn|In a study of British comedy published in 2011 Andy Medhurst writes: "'cottage upright' is a valid term for one variety of [piano], but what the writers, performers and subculturally attuned listeners all knew was that in Polari, 'cottage' meant those public toilets in which queer sex was a frequent occurrence. Sandy's line, therefore, is actually a proud announcement that Julian is particularly skilled at manipulating his own and other men's erect penises in locales often raided by police in search of prosecutions for what was legally deemed to be 'gross indecency'."{{sfn|Medhurst|2007|p=99}} A modest cottage upright may be seen at the [[Royal Academy of Music]].{{sfn|Upright Piano, John Broadwood and Sons, London, 1850}}|group=n}} At the time of the first three series, gay male sex was a criminal offence in Britain. Julian and Sandy became nationally popular characters and are widely credited with contributing a little to the public acceptance of homosexuality that led to the gradual repeal of the anti-gay laws, beginning in 1967.{{sfn|Morrison|1998|p=33}}{{sfn|Baker|2004|pp=3–5}}