Why definition of treasure is changing – and what it means for detectorists

Published

2 years ago

February 18, 2023

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Spending their days in muddy fields armed with their metal detectors and packed lunches, Andy and Lance – aka actors Mackenzie Crook and Toby Jones – have brought the simple pleasure of searching for treasure to the masses, thanks to their hit comedy show Detectorists.

Demand for metal detectors has risen in recent years – with experts citing the series and pandemic lockdowns as possible reasons for the surge in popularity.

Under the current rules, newly discovered artefacts can only be legally classified as treasure if they are more than 300 years old and made of precious metal, or part of a collection of valuable objects or artefacts. But now, the legal definition of what constitutes as treasure is changing.

The government plans to amend the definition set out in the Treasure Act to cover more rare and precious archaeological finds, with the plans due to be laid before parliament next week. They are subject to debate, but if approved, the change would come into effect four months later.

It comes after a number of recent discoveries fell outside the definition of treasure, including “spectacular” Roman finds such as the Ryedale Hoard, now at York Museum, and the Birrus Britannicus figurine on display at Chelmsford Museum.

“While these artefacts were, thankfully, acquired by museums, this new definition will make it easier for them to do so in the future,” a spokesperson for the Department of Culture, Media and Sport (DCMS) told Sky News.

But other finds have been lost to the public – the Roman Crosby Garrett Helmet, for example, which was sold at auction for £2.3m after being discovered by a metal detectorist in 2010. A private buyer outbid several museums to acquire the artefact.

The definition will mean that future discoveries of objects made of non-precious metals, such as the “exceptionally rare” Bronze Age Rudham dirk, a ceremonial dagger which has been on display at Norwich Museum Castle since 2104, after being dug up from a farmer’s field in Norfolk, could now be classed as treasure.

But will all detectorists be happy at the news? Under the act, treasure is owned by the crown and a person who finds an object they believe to be treasure must notify the relevant authorities within 14 days.

Maurice Rogers, the former secretary of Colchester Metal Detecting Club, says he fears the move could drive metal detecting “underground” and result in people hoarding their interesting finds privately.

Potential treasure discoveries are assessed by a coroner and go through a formal process before they are classified and then acquired by a museum to go on display to the public.

There were 1,071 reported treasure finds in total across England, Wales, and Northern Ireland in 2020, the latest year for which confirmed figures are available; the Treasure Act does not apply to Scotland The provisional figure for reported treasure finds in 2021 is 1,079 – making it the eighth year in a row when reported finds exceeded 1,000.

Following the change to the definition of treasure, there will no doubt be even more.

“At the moment, the definition says that an object has to be precious metal, and it has to be over 300 years old,” says Stephen Parkinson, Lord Parkinson of Whitley Bay and the minister for arts and heritage. “We want to bring that down to 200 years old. So that it can be made of any metal, but also have a new test for significance.

“So if something has importance to local, regional or national history, or a connection with a particular figure or event from our past, then it can be shared and saved and inspire people.”

The new criteria will apply to the most exceptional finds that are more than 200 years old, regardless of the type of metal they are made from, as they provide an important insight into the country’s heritage. This includes rare objects, those which provide a special insight into a particular person or event, or those which can shed new light on significant regional histories, the DCMS says.

For most detectorists, actual treasure discoveries are rare – just ask Andy and Lance. But there’s always a chance of finding the holy grail.

Entertainment

‘The heartbeat of Blondie’: Drummer Clem Burke dies aged 70

Published

13 hours ago

April 7, 2025

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'The heartbeat of Blondie': Drummer Clem Burke dies aged 70

Blondie drummer Clem Burke has died at the age of 70

The band said Blurke had been diagnosed with cancer, and described his death as a “profound loss”.

He featured on all the Debbie Harry-fronted group’s studio albums since joining a year after their formation in 1975.

Blurke was with the band from their self-titled debut, through their 1978 classic Parallel Lines, to 2017’s Pollinator.

In a statement on Blondie’s Instagram, Harry and the band’s guitarist, Chris Stein, said: “It is with profound sadness that we relay news of the passing of our beloved friend and bandmate Clem Burke following a private battle with cancer.

“Clem was not just a drummer, he was the heartbeat of Blondie.

“His talent, energy, and passion for music were unmatched, and his contributions to our sound and success are immeasurable.

“Beyond his musicianship, Clem was a source of inspiration both on and off the stage. His vibrant spirit, infectious enthusiasm and rock solid work ethic touched everyone who had the privilege of knowing him.

“Clem’s influence extended far beyond Blondie, a self-proclaimed ‘rock and roll survivalist’, he played and collaborated with numerous iconic artists.”

Burke featured on Iggy Pop’s 1982 album Zombie Birdhouse and also performed with Bob Dylan, The Ramones, The Who guitarist Pete Townshend and Joan Jett.

The statement went on to say Burke had left an “indelible mark on every project he was part of”.

It added: “We extend our deepest condolences to Clem’s family, friends, and fans around the world. His legacy will live on through the tremendous amount of music he created and the countless lives he touched.”

Burke, who performed on classic tracks such as Call Me, Heart Of Glass and One Way Or Another, made his final live appearance with Blondie last year.

Among those paying tribute to him was Kinks guitarist Dave Davies, who said: “I feel saddened that Clem Burke was taken from us so soon.

“May he rest in peace, spectacular drumming, we were friends.”

Nancy Sinatra said: “My heart is shattered. Clem became an icon as a member of Blondie, but he was also an important part of my band, the K.A.B. I was blessed to call him my friend.

“If I ever needed him, he was there. Always. Sending healing prayers and comfort to his widow, Ellen, his family, and all who loved him.”

Entertainment

Olivier Awards: US actor says ‘special relationship firmly intact’ despite Trump’s tariffs

Published

1 day ago

April 7, 2025

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Olivier Awards: US actor says 'special relationship firmly intact' despite Trump's tariffs

British star Lesley Manville and American actor John Lithgow have won the acting categories at this year’s Olivier Awards, which recognise excellence in London theatre.

Lithgow, 79, played Roald Dahl in Giant, which is about the children’s author wondering whether to make a public apology.

While accepting his award he appeared to reference the current controversy over Donald Trump’s second term as US president.

The Conclave star quipped: “It’s not always easy to welcome an American into your midst, and at this particular moment, it’s probably a little more complicated than usual.”

He also told the audience at the Royal Albert Hall that the “special relationship is still firmly intact”, despite Mr Trump imposing tariffs on British exports to the US.

His co-star, English actor Elliot Levey, took best actor in a supporting role.

Giant was also named best new play.

Manville, 69, was honoured for her performance in the Greek tragedy Oedipus at the Wyndham’s Theatre.

She said she felt “emotional” while accepting her statuette because it was a production she had “felt very strongly about being” in.

Manville, who played Princess Margaret in The Crown, added that she was taking an early flight to Dublin on Monday to do some filming, and would not be getting “much sleep tonight”.

Best actress in a supporting role went to Romola Garai for her performance in The Years, based on a memoir by French writer Annie Ernaux.

Garai, whose film credits include Scoop and Atonement, was nominated in the same category for Giant.

Dame Imelda Staunton won a fifth Olivier, for best actress in a musical for the London revival of classic musical Hello, Dolly!

The Curious Case Of Benjamin Button won best new musical, a best actor musical award for Lark Rise To Candleford actor John Dagleish, and the outstanding musical contribution award.

The annual event was co-hosted by British singer Beverley Knight and Pose star Billy Porter.

Entertainment

Pete Townshend’s Quadrophenia talked about modern masculinity before Gen Z was born

Published

3 days ago

April 5, 2025

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Pete Townshend's Quadrophenia talked about modern masculinity before Gen Z was born

Despite The Who’s Quadrophenia being set over 60 years ago, Pete Townshend’s themes of identity, mental health, and modern masculinity are just as relevant today.

The album is having a renaissance as Pete Townshend’s Quadrophenia A Mod ballet is being brought to life via dance at Sadler’s Wells East, and Sky News has an exclusive first look.

As Townshend puts it, the album he wrote is “perfect” for the stage.

“My wife Rachel did the orchestration for me, and as soon as I heard it I said to her it would make a fabulous ballet and we never really let that go,” he tells Sky News.

“Heavy percussion, concussive sequences. They’re explosive moments. They’re also romantic movement moments.”

If you identify with the demographics of Millennial, Gen Y or Gen Z, you might not be familiar with The Who and Mod culture.

But in post-war Britain the Mods were a cultural phenomenon characterised by fashion, music, and of course, scooters. The young rebels were seen as a counter-culture to the establishment and The Who, with Roger Daltry’s lead vocals and Pete Townshend’s writing, were the soundtrack.

Quadrophenia the album is widely regarded as an essay on the British adolescent experience at the time, focusing on the life of fictional protagonist Jimmy – a young Mod struggling with his sanity, self-doubt, and alienation. 

Townshend sets the rock opera in 1965 but thinks its themes of identity, mental health, and modern masculinity are just as relevant today.

He says: “The phobias and the restrictions and the unwritten laws about how young men should behave. The ground that they broke, that we broke because I was a part of it.

“Men were letting go of [the] wartime-related, uniform-related stance that if I wear this kind of outfit it makes me look like a man.”

This struggle of modern masculinity and identity appears to be echoing today as manosphere influencers like Andrew Tate, incel culture, and Netflix’s Adolescence make headlines.

For dancer Paris Fitzpatrick, who takes on the lead role of Jimmy, the story resonates.

“I think there’s a connection massively and I think there may even be a little more revival in some way,” he tells Sky News.

“I love that myself. I love non-conforming to gender norms and typical masculinity; I think it’s great to challenge things.”

Despite the album being written before he was born, the dancer says he was familiar with the genre already.

“I actually did an art GCSE project about Mods and rockers and Quadrophenia,” he says.

“I think we’ll be able to bring it to new audiences and hopefully, maybe people will be inspired to to learn more about their music and the whole cultural movement of the early 60s.”

In 1979, the album was adapted into a film directed by Franc Roddam starring Ray Winstone and Sting but Townshend admits because the film missed key points he is “not a big fan”.

“What it turned out to be in the movie was a story about culture, about social scenario and less about really the specifics of mental illness and how that affects young people,” he adds, also complimenting Roddam’s writing for the film.

Perhaps a testament to Pete Townshend’s creativity, Quadrophenia started as an album, was successfully adapted to film and now it will hit the stage as a contemporary ballet.

It appears that over six decades later Mod culture is still cool and their issues still relatable.

Quadrophenia, a Mod Ballet will tour to Plymouth Theatre Royal from 28 May to 1 June 2025, Edinburgh Festival Theatre from 10 to 14 June 2025 and the Mayflower, Southampton from 18 to 21 June 2025 before having its official opening at Sadler’s Wells Theatre, London on 24 June running to 13 July 2025 and then visiting The Lowry, Salford from 15 to 19 July 2025.