Here’s What Happened To The Queen’s Staff After She Died –  Hw

Butlers, dressers, cooks, and pipers —  the royal household is more than just   princes and kings. But what happened to these  people after the death of Queen Elizabeth? Lady Susan Hussey was one of Queen Elizabeth  II’s closest aides and worked for her right   up until the end.

But what exactly did she  do for the queen? Hussey started working   for Elizabeth in 1960 as a lady-in-waiting,  an unpaid job that is traditionally given to   aristocratic women. The responsibilities  involved can be varied, but Hussey was   often spotted accompanying Elizabeth to  events and helping her complete her daily   tasks.

When Elizabeth died, Hussey became a  lady-in-waiting to Camilla, Queen Consort,   but her time with the royal family came to an  end in November 2022 amid accusations of racism. At an event hosted by Camilla,   charity organizer Ngozi Fulani claimed that  Hussey asked her where her people came from,   among other inappropriate questions.

Fulani  tweeted about the incident, including a   transcript of the exchange and also detailed  how Hussey touched her hair without consent. “So then she says, ‘no where are you from?’ ‘Well,  I was born here.’ ‘But where are you from?!'” Hussey tendered her resignation soon after.   Speaking to Sky News, a Kensington Palace  rep condemned her actions, explaining: “Obviously, I wasn’t there, but racism has  no place in our society.

The comments were   unacceptable, and it is right that the individual  has stepped aside with immediate effect.” Accusations of racism be damned, Hussey was  recently seen representing Princess Anne at   an event and, according to a friend who spoke to  The Daily Mail, is now “back in the royal fold.” Queen Elizabeth employed many butlers and  servants over the course of her reign,   but one of the most prominent was Paul Whybrew,  otherwise known as “Tall Paul.

” Whybrew,   who served the queen for four decades, held  an especially close bond with the late queen,   not least because they worked together for  so long. The butler likely gained further   appreciation after he came to Elizabeth’s aid  when an intruder was found in her bedroom back   in 1982.

Whybrew escorted the 33-year-old Michael  Fagan away from the queen’s chambers and took   him to the butler’s pantry, where he calmed his  nerves with whiskey and called the authorities. Over the years, Whybrew’s relationship with  the queen only deepened. He was one of the   few people to tend to Elizabeth during her last  days at Balmoral, reportedly bringing her the   morning paper and spending time with her.

As a  mark of just how important he was to Elizabeth,   Whybrew was asked to take part in her  funeral procession, something reserved   for those nearest and dearest to the monarch.  With no queen left to serve, it’s likely that   “Tall Paul” has now moved on, although there has  been no official statement regarding his exit. Queen Elizabeth was known for  always dressing immaculately,   whether she was attending a public engagement or  hosting a lavish reception.

Elizabeth’s dresser,   Angela Kelly, had played a prominent part  in finessing the queen’s appearance since   she was hired in 1994. Kelly remained a  committed member of staff over the years   and eventually became one of Elizabeth’s most  trusted confidantes. Kelly was even gifted a   grace-and-favor home in Windsor, which she wasn’t  expected to relinquish after Elizabeth’s death.

That being said, it came as a surprise  to many when the designer took to her   now-deleted Instagram account to share a  “farewell” picture of her cottage garden just   days before King Charles’ coronation. Kelly  didn’t explain the reason for her leaving,   but did post a cryptic Instagram story that read: “I am too old to worry about who likes me and who  dislikes me! I have more important things to do!   If you love me — I love you! If you support me  — I support you! If you hate me — I don’t care!”

“Boom.” The private secretary to the monarch is a  difficult position that requires considerable   organizational skills. Essentially, it is the  private secretary’s job to relay information   to the sovereign and take care of their needs on  a day-to-day basis. This can range from breaking   redundancy news to staff members to making dinner  reservations.

It’s not a simple undertaking,   and certainly not for the faint of heart. Queen  Elizabeth’s private secretary was Sir Edward   Young, who took up the position in 2017 after  his predecessor, Sir Christopher Geidt, resigned. Sadly for Young, he will eventually  be replaced by Sir Clive Alderton,   who has acted as a trusted adviser to King Charles  III and Camilla, Queen Consort, for almost two   decades. Since Alderton has worked with the couple  for such a long time, the transition makes sense.

It won’t be an immediate switch, though —  for the moment at least, Young and Alderton   are sharing the position to ensure the early  days of Charles’ reign go off without a hitch. It makes sense that King Charles will keep  some of his mother’s staff, but it’s not just   maids and servants that are staying put.

If you watched Queen Elizabeth’s funeral,   you may remember the prominent role pipers  had to play in the service. One moment,   in particular, saw Pipe Major Paul Burns  play a rendition of “Sleep Dearie Sleep”   as Elizabeth’s coffin was lowered out of  sight at St George’s Chapel in Windsor. Reportedly, Charles himself was so pleased with  Burns’ performance at the queen’s funeral that   he appointed him his personal piper.

It may seem  strange, but the position has been around since   1843, making it a highly sought-after royal job,  one held previously by Pipe Major Scott Methven. “You’re thrust right into the inner circle of the  monarchy. The cliched word would be ‘surreal.'” Burns will take on the responsibility of waking  Charles up at 9 o’clock every morning by standing   outside his window and playing a song on his  bagpipes. It certainly beats an alarm clock.

Queen Elizabeth had a select few ladies that  served as her closest aides. For those in   aristocratic circles, it was a deep honor and  privilege to serve the queen in this way. Dame   Mary Morrison first undertook the position of  Woman of the Bedchamber in 1960 before becoming   a lady-in-waiting.

As part of her role, Morrison  often accompanied Elizabeth to events and kept her   company during her downtime. As a reward for her  dedication, Morrison was awarded several honors,   including multiple Royal Household  Long and Faithful Service medals. It wasn’t always smooth sailing, though. In  2018, Morrison was with the queen at Balmoral   when she tripped and fell down a flight of stairs,  breaking her ankle.

Morrison was 81 at the time,   but soon recovered and was back serving  the queen before long. Some expected that   Morrison would leave the royal household  after the death of Elizabeth, but King   Charles decided to keep the ladies-in-waiting  in the new, rebranded role of “ladies of the   household.

” Their job will be to help the  king when arranging events at his new home,   Buckingham Palace. Given her experience, Morrison  seems to be up to the task; now well into her 80s,   Morrison shows no signs of slowing down  when it comes to serving the sovereign. Cooking is one of the most important jobs  in the royal household. Not only do you   have to ensure that the monarch  and other royals are well-fed,   but you have to create menus for  important events such as state dinners.

“Perhaps you would like a marmalade  sandwich? I always keep one for emergencies.” For many chefs, landing a job at a royal  household is a true mark of excellence.   Mark Flanagan became the head chef of the  royal household back in 2002 and, even   though Queen Elizabeth is no longer in charge,  it doesn’t look like Flanagan is going anywhere.

Back in 2021, Elizabeth made her  favorite cook a Lieutenant of the   Royal Victorian Order. Flanagan remained  busy in the run-up to the coronation,   and the BBC released his official recipe for the  so-called “Coronation Quiche” which included eggs,   cheese, spinach, and more.

It’s perhaps  no surprise that Flanagan is staying put,   considering he has some of the finest  credentials in the business. He previously   worked for Raymond Blanc and handled the food at  Prince Harry and Meghan Markle’s wedding in 2018. Queen Elizabeth’s death didn’t just mark a  seismic shift in daily life for her own staff,   but for King Charles’ staff,  too.

As Charles and Camilla,   Queen Consort prepare to move from Clarence  House to Buckingham Palace in the next few   years, it’s thought that around 100  employees will be made redundant. While it’s not clear who will be saying goodbye  when the time comes, the staff were reportedly   told at the thanksgiving service for the queen  that their posts could be on the chopping block.

News like that is worrying  even if you’re new to a job,   but some of these staffers have  been with Charles for decades.   Sir Clive Alderton delivered the news to  Charles’ employees in a letter that read: “The change in role for our principals will  also mean change for our household. […] It   is therefore expected that the need for the  posts principally based at Clarence House,   w

hose work supports these areas will no longer  be needed. […] I appreciate that this is   unsettling news and I wanted to let you know of  the support that is available at this point.” The health of a monarch is always  under constant scrutiny — after all,   it’s in the best interests of the Firm for  them to keep well and live long. By and large,   Queen Elizabeth was blessed with good health,  living until the ripe age of 96.

Her husband,   Prince Philip, also lived until he was  99 years old, proving that their doctors   seemed to be doing something right. As you  might expect, taking on the role of the king   or queen’s doctor is a huge responsibility.  Elizabeth had numerous doctors over the years,   but Professor Sir Huw Thomas was the head  of the medical household from 2014 to 2022.

While Thomas only served Elizabeth  for a relatively short period of time,   she thought highly of him, honoring him with   a knighthood in 2021. He expressed  his gratitude at the event, stating: “It’s been a busy couple of years in this role,   so I feel very grateful to have been  recognised for my service to date.

” It’s quite usual for this position to  be replaced when the monarch changes and   nothing is different in this instance;   King Charles likely has his own trusted  physician who will follow him into his reign.

QQ4 Bob Dylan and Keith Richards have been close friends for nearly 40 years. The friendship began on a live television program in November of 1986 in the 11 seconds after Bob Dylan called Keith Richards music derivative on camera. Keith Richard’s response to that assessment, one sentence said without anger, without performance, with the specific directness of a man who has nothing to prove and knows it made Bob Dylan laugh.

Then made Bob Dylan go quiet. then made Bob Dylan say two words that people who know Bob Dylan say he almost never said to anyone. This is the story of those 11 seconds and the 40 years that followed them. The program was a live music interview special broadcast on an American network on the evening of November 3rd, 1986. The format was simple.

Two musicians, a host, an hour of conversation about music and the state of it. The producers had assembled the pairing of Bob Dylan and Keith Richards with the specific calculation of television producers who understand that two people with equally strong and potentially incompatible views about what music is and what it should do will produce better television than two people who agree about everything.

The calculation was correct, though not in the way the producers had anticipated. Bob Dylan was 45 years old in November of 1986. Bob Dylan had released Empire Burlesque the previous year and had been on the road for most of the intervening period as part of the True Confessions tour with Tom Petty and the Heartbreakers.

Bob Dylan was in November of 1986 in one of the most prolific and restless phases of a career that had consisted almost entirely of prolific and restless phases. A career that had moved through folk, rock, country, gospel, and back again, that had been declared finished at least six times by the music press, and at each time continued with the serene indifference of a river to the opinions of people standing on its banks.

Bob Dylan had been redefining what music could be. Since 1962, Bob Dylan had invented and reinvented himself so many times that reinvention had become his defining characteristic, not in the superficial sense of a performer changing costumes, but in the deeper sense of a musician who had never allowed his work to settle into a form that could be anticipated or categorized from the outside.

Bob Dylan understood influence and originality and the relationship between them better than almost anyone alive in 1986. Bob Dylan had spent 24 years thinking carefully and specifically about where music came from and where music was going and what it meant that those two things were always in constant conversation with each other.

Keith Richards was 42 years old in November of 1986. Keith Richards had been playing guitar professionally since 1962. Keith Richards had built a career on a foundation of American blues and rhythm and blues. A foundation that Keith Richards had studied with the systematic devotion of someone who understood that the tradition he was building on was not incidental to the music he was making, but essential to it.

that you could not understand what Keith Richards did without understanding where Keith Richards had come from and what Keith Richards had been listening to since he was a teenager in Dartford with American Import Records and a secondhand guitar and no teacher except the recordings themselves. Keith Richards had never pretended otherwise. Keith Richards had in fact spent considerable energy across his career making the lineage explicit, naming the artists, citing the recordings, insisting on the acknowledgement of influence that the mainstream music

industry had a long history of suppressing or ignoring or crediting to the wrong people. If anything, Keith Richards was more transparent about his sources than most musicians of his generation. Keith Richards had always said openly that the Rolling Stones came directly from the blues, that Muddy Waters and Robert Johnson and the specific tradition of the Mississippi Delta were not background influences, but foundational ones.

The music Keith Richards made was in direct and sustained conversation with that tradition, something Keith Richards considered not a limitation, but a responsibility and a form of respect. The interview had been running for 8 minutes when the host asked Bob Dylan about the current state of rock and roll.

Bob Dylan answered with the density and the indirection that characterized Bob Dylan’s responses to direct questions, turning the question over, approaching it from an unexpected angle, finding his way to what he actually thought through a series of observations that moved like a river rather than a road. Bob Dylan was not a straightforward interview subject.

Bob Dylan had been asked about rock and roll in hundreds of interviews across 24 years and had developed the habit of treating the question as an invitation to think out loud rather than a request for a prepared position. The producer Gerald Sherman said afterward that in the first 8 minutes of the interview, he had been slightly anxious, not because anything was going wrong, but because nothing was going anywhere in particular yet.

The interview had the feeling of two conversations happening simultaneously. Bob Dylan’s internal one and the external one visible to the cameras. And Gerald Sherman was not certain in those first eight minutes that the two conversations would converge into something. Bob Dylan talked about influence. Bob Dylan talked about originality.

Bob Dylan talked about the difference between music that absorbed a tradition and transformed it and music that absorbed a tradition and reproduced it. And then Bob Dylan made his assessment. And then Bob Dylan said with the precision of a man making a musical assessment rather than a personal judgment that the Rolling Stones work, and Bob Dylan was specific, naming Keith Richards as the guitarist whose approach he was discussing was derivative in a way that Bob Dylan found limiting.

Bob Dylan said it without hostility. Bob Dylan said it as a technical observation about the relationship between source material and the work that came from it. Bob Dylan said that Keith Richards played the blues the way the blues had already been played, rather than using the blues as a starting point for something that had not yet been played.

Keith Richards had been listening to this with the specific attention Keith Richards gave to things being said about music by people who knew music. Keith Richards did not interrupt. Keith Richards did not shift in his chair or display any of the visible signals of a person preparing a defensive response. Keith Richards listened to Bob Dylan’s complete observation all the way to its conclusion without interrupting and without displaying any visible signal of preparing a response.

Then Keith Richards said one sentence. The sentence was not a rebuttal. The sentence did not defend Keith Richards music or argue for its originality or challenge Bob Dylan’s characterization of what the blues meant in the context of rock and roll. The sentence was something else entirely, something that required a specific kind of confidence to say.

The confidence of a person who has spent long enough thinking about the same things as the person they are talking to that they can locate the exact point where their thinking diverges and say something useful about that point rather than simply defending their own position. The sentence acknowledged everything Bob Dylan had said, the assessment, the distinction Bob Dylan was drawing, the specific musical concern underlying the observation, and then turned it 90°.

Keith Richards took Bob Dylan’s own framework, the one Bob Dylan had used to analyze Keith Richards relationship to the blues tradition, and applied it back to Bob Dylan’s work with the same precision Bob Dylan had used to apply it to Keith Richards. Spare aimed. The sentence asked Bob Dylan something about Bob Dylan’s own music, about the relationship between Bob Dylan’s sources and Bob Dylan’s output that Bob Dylan had not been asked on television before.

The sentence did not attack. The sentence illuminated. Bob Dylan laughed. The laugh was not the polite laugh of someone responding to a joke. The laugh was the involuntary laugh of someone who has been genuinely surprised. The specific kind of surprise that a person of exceptional intelligence experiences when someone else’s intelligence exceeds their expectations.

Bob Dylan laughed for 4 seconds. Then Bob Dylan stopped laughing. Then Bob Dylan was quiet for 3 seconds in the way that Bob Dylan was quiet when Bob Dylan was thinking rather than performing thought. Then Bob Dylan said, “You’re right.” The producer in the booth, a man named Gerald Sherman, who had been working in television for 14 years, said afterward that in 14 years of live television production, he had never heard Bob Dylan say those two words in a public forum.

Gerald Sherman said he had worked with Bob Dylan on two previous occasions and had observed Bob Dylan in numerous other contexts and that you’re right was not a phrase that Bob Dylan deployed easily or often because Bob Dylan had spent 24 years being right about music in ways that other people eventually caught up with. And the experience of being right ahead of everyone else does not generally produce a man who says you’re right readily when someone else makes a point.

The host of the program, a journalist named Patricia Wells, who had been interviewing musicians for 12 years, said afterward that the 11 seconds between Bob Dylan’s assessment and Bob Dylan saying, “You’re right,” were the most extraordinary 11 seconds of television she had been present for. Patricia Wells said that what she witnessed in those 11 seconds was not a debate or a confrontation or a celebrity exchange of competing opinions.

Patricia Wells said what she witnessed was one musician recognizing another musician as an equal, which was in the specific context of Bob Dylan in 1986, not something that happened in public very often. The interview continued for another 42 minutes after those 11 seconds. The conversation between Bob Dylan and Keith Richards in the remaining 42 minutes was described by everyone who watched it as fundamentally different from the first 8 minutes.

The host, Patricia Wells, who had been conducting music interviews for 12 years and understood the difference between the performance of conversation and actual conversation, said that at approximately the 9-minute mark, something shifted in the studio. That the formal interview, architecture dissolved, and what replaced it was something less structured and more genuine.

Bob Dylan and Keith Richards talked about influence and originality and the blues and what it meant to build on a tradition without being consumed by it. They talked about specific recordings and specific musicians with the specificity of two people who had spent their entire adult lives thinking about these things and rarely found another person who had thought about them with equivalent care.

They talked about where music came from and where music was going and whether those two questions were actually one question or two. Patricia Wells said afterward that she had asked approximately four questions in the remaining 42 minutes because Bob Dylan and Keith Richards did not require questions. They required only a room and a camera and the shared understanding that what they were saying together was worth recording carefully.

She said it was the best interview she had ever conducted and that she had conducted the smallest part of it. After the program, Bob Dylan and Keith Richards were in the corridor outside the studio when the host Patricia Wells passed them. Patricia Wells said she did not stop because she did not want to interrupt.

She observed them for approximately 30 seconds from a distance. She said they were talking with the ease of people who had known each other for years rather than people who had met for the first time 2 hours earlier. She said that something had shifted between them during the broadcast that the broadcast had made permanent rather than temporary.

She continued down the corridor and did not look back. She said in her account of that evening that she had decided in that moment not to interrupt the conversation because some conversations are more valuable than any question a journalist might ask and that the conversation she had observed for 30 seconds in the corridor outside the studio was one of them.

She had been a music journalist for 12 years. She recognized the difference. Bob Dylan and Keith Richards have maintained their friendship across four decades. They have appeared together at various events, most significantly at the concert for the Rock and Roll Hall of Fame in 1995, where people who were present described them as inseparable for most of the evening, occupying the same corner of the backstage area and talking with the concentrated attention of people who only have a limited amount of time together and intend to use it

well. Bob Dylan has spoken about Keith Richards in interviews with the specific thoughtful care that Bob Dylan reserves for musicians whose work Bob Dylan considers genuinely important rather than merely culturally prominent. Keith Richards has spoken about Bob Dylan in similar terms with the specific respect of someone who recognizes in another person a commitment to music that goes deeper than career.

Neither Bob Dylan nor Keith Richards has made a public statement specifically about how the friendship began or about the November 1986 interview. Bob Dylan has not mentioned the 11 seconds. Keith Richards has not mentioned the sentence. The interview exists in the archive. The 11 seconds are there. The laugh is there. The two words are there.

What is also there for anyone who watches the interview from its beginning and pays attention to the shift that happens at the 9-minute mark is the specific moment when two people who thought they were appearing on a television program discovered they were actually talking to each other. What Keith Richards said in that one sentence has never been officially reported.

The people who were in the studio that evening, Gerald Sherman, Patricia Wells, the floor crew, the two camera operators, the makeup artist who was watching from the side of the set, have described the sentence in consistent terms. They have described its effect. They have described Bob Dylan’s laugh and Bob Dylan’s silence and Bob Dylan’s two words.

They have not repeated the sentence itself in the specific understanding that the sentence was said between two musicians on a television program and that its power resided in the specific context of that exchange and would not survive removal from it intact. What can be said is this. Keith Richards said something to Bob Dylan about Bob Dylan’s music that used Bob Dylan’s own observation about Keith Richards as its starting point and arrived somewhere that Bob Dylan had not anticipated.

Keith Richards turned Bob Dylan’s assessment 90° and showed Bob Dylan something about the music they had both spent their lives making that Bob Dylan recognized immediately as true. And Bob Dylan said, “You’re right.” Two words said by Bob Dylan in public on live television in 1986 to Keith Richards in response to a single sentence Keith Richards had said about music.

Two words that Gerald Sherman, who had worked with Bob Dylan on two previous occasions, said he had never heard Bob Dylan say in a public forum. Two words that Patricia Wells, who had been interviewing musicians for 12 years, said were the most significant two words she had heard in those 12 years. Not because of their content, but because of who said them and what it cost to say them and what it meant that Keith Richards had produced them in 11 seconds from a conversation that began with Bob Dylan calling Keith Richards’s music derivative. And Keith Richards and

Bob Dylan have been close friends for nearly 40 years. The sentence did its work in 11 seconds on the evening of November 3rd, 1986. The work has been ongoing ever since. If this story moved you, subscribe and leave a comment below. Have you ever said something to someone that turned a potential disagreement into an unexpected and lasting connection? Tell us about it in the comments below.

Share this with someone who needs to be reminded that the right sentence said at the right moment can completely change the entire direction of a relationship. Ring the notification bell for more untold stories about the extraordinary human beings behind music’s greatest legends.