Everything it authorised had been done

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Everything it authorised had been done.The proposition that a legal aid certificate granted to cover certain procedural steps or stages protected the assisted party against an order for costs until the certificate was discharged was not sound. Littaur v Steggles Palmer [1986] 1 WLR 287 showed that the legal aid certificate did not have to be discharged if it was spent.So, from the time of the issue of proceedings, the plaintiff held no relevant legal aid certificate. His solicitors were not thereafter entitled to be paid by the legal aid board until a new certificate had been issued. And the plaintiff was not entitled to the protection of section 17. Everything which the current certificate authorised to be done had been done The appeal was dismissed.Lord Justice Peter Gibson agreed Lord Justice Schiemann concurred.. Everything we do is driven by you, the Ford Motor Company declares - but not everyone who does what we do deserves to be put on display. That was the sour message left by last week's mini-scandal, when it emerged that the non-white faces in a publicity shot of staff at Ford's Dagenham factory had been replaced by whites.

When one of those eliminated from the picture spotted the doctored image on a poster, a wave of anger hit the company, and workers downed tools for a token unofficial strike. Ford acted quickly to silence the offended parties, giving them pounds 1,500 each to compensate for the insult, and pinning the blame on its advertising agency, Ogilvy & Mather. The agency, one of the world's biggest, had, Ford said, removed the "ethnics" in the picture in order to use it in a campaign in Poland, where there are few blacks. When the picture was required for a British catalogue, Ogilvy & Mather by mistake sent the transparency that had been doctored.

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The error may have been innocent, the insult unintended. But the episode drew attention once again to the fact that however multicultural and ethnically heterogeneous Britain becomes, a Martian inspecting our society through the medium of our commercials would get little inkling of that fact. On the one hand are the basket cases and low-lifes: the actors in ads for HIV awareness, drug warnings, income support, campaigns against domestic violence, recruiting campaigns for the police. Often shot in grainy monochrome, these feature blacks in almost over-generous measure.But then in a flash we are transported to another world of whiter-than- white underclothes, of perfect dinners, charming interiors, exciting car rides, brilliant sunshine; a world almost entirely - pace the latest Persil ad - populated by whites.

There is a world of trouble and grief, teeming with all sorts; and a world of aspiration and achievement, thinly dotted with the chosen people. It is depressing to reflect that more than 40 years after the onset of mass immigration, this is where we are. The images of ideal Britain are still imprisoned in the era of our (relative) racial homogeneity; only when our thoughts turn to the grim realities will we concede the presence of strangers in our midst.How is it possible that an industry which prides itself on being at the cutting edge can reflect such a distorted image of our society? When more and more blacks and Asians are inhabiting that sunlit world of home ownership and discretionary spending, why don't the agencies and their clients wise up to the fact and start selling to them?"Ignorance and laziness," declares one industry insider. "There are very, very few black people in the advertising agencies: the agencies are simply not representative of the world outside - their portrayal of women is even worse.