Category Archives: TV

Blue Peter, TVC and me

When I was little I had this book.

Blue Peter Book of Television

Published two years before I was born, it was probably my older brother’s to begin with. I can’t quite remember. But certainly out of the pair of us, I was the one who found it captivating.

On “Blue Peter” we’re always fascinated by other people’s jobs, and between the three of us we’ve had a go at most things – from operating a tower crane to being a waiter for a day at the Hilton Hotel. But most of the time we’re so busy finding new things to show on “Blue Peter” that we forget that working in Television is quite an exciting job as well!

Among pen-portraits of arcane roles like “boom operator”, “sceneman”, “vision mixer” and “sound supervisor” the book offered tantalising insights into the minutiae of TV production. Like:

There are 104 lighting hoists in Studio 3 which can be lowered or raised at the touch of a button.

Or:

You might ask why we don’t use radio mikes all the time. The answer is that the sound isn’t nearly so good as with a boom mike, and radio mikes aren’t half as reliable.

But when we want shots that are wide and exciting, it’s well worth taking the risk.

For a while this book made me want to get into telly when I grew up. Soon I became fixated on the idea of being a videotape editor. Not long after, I discovered the qualifications this would require – and that changed my mind again. (Physics? Not really my thing.)

Peter Purves, John Noakes and Valerie Singleton - Image from the Blue Peter Book of Television

But the allure of working in television never quite got dislodged from my brain; nor did the knowledge that it was Blue Peter which put it there.

Even my fleeting associations with the programme during my time with the BBC have been unaccountably exciting. And trust me, if I told you how tenuous they were, you’d know why I say “unaccountably”.

That’s why I was thrilled to be at Television Centre today to see a little slice of cultural history happening: the recording of the final Blue Peter to be made in its spiritual home of London.

More specifically, I managed to catch rehearsals for the show’s attempt to break the world hula-hooping record.

Here’s my video of what was going on, shot quickly before I headed off for my real reason for being at TVC: a meeting (they didn’t include any of those in the Blue Peter Book of Television).

By way of neat coincidence, several of my colleagues were at Blue Peter’s new home in Salford today – and that’s looking pretty exciting too. I wish the programme many happy years there.

Good times, ad times

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I just watched Peter York’s The Rise and Fall of the Ad Man, a study of how the British advertising industry evolved from the 50s to the present day.

I’ve mentioned before that advertising copywriter was my dream job as a kid, and this programme reminded me why. UK advertising in the 70s and 80s was an industry at the peak of its creative powers, glamour and influence on the nation’s culture.

Here’s the programme’s stand-out clip for me.

Swimming Pool – an ad for Benson & Hedges directed by Hugh Hudson – is either the most brilliant or the most ridiculous use of a six-figure budget in the history of cinema advertising. Possibly both.

It’s genrally argued that its abstraction was inspired by tobacco advertising restrictions: rules which meant a cigarette ad couldn’t show… well, pretty much anything promoting smoking. (Read the present-day regulations on advertising rolling papers and filters to get a sense of what I mean.)

While the rules stuff is true, I suspect the creatives involved secretly liked the licence this gave them to, frankly, dick around and make a jaw-dropping film for its own sake.

Who can blame them?

Of course, what really made British advertising great was more prosaic, humorous work like these two clips. Enjoy.

I’m not sure that 1984 could feel any more like an entirely different world

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Steve Williams, an online friend from the halcyon days of the TV Cream mailing list, submits that this clip – recently uploaded to YouTube -  is “the very best kind of Top of the Pops performance”.

I have to agree.

A life in logos

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Legendary TV producer Steven J Cannell has, I learn, died at the age of 69.

I say “legendary TV producer” –  in reality I know as much about Mr Cannell as he knew about me.  (I just did some research. He created the A Team, Rockford Files and about a dozen other US TV classics.)

So why am I so saddened by the news?

In my last post (about the movie This Is It) I posited that Michael Jackson’s company had “literally the most bad-ass ident in corporate history”.  I wouldn’t go back on that, except to say:

  • Stephen J Cannell ran a very close second, and
  • For sheer brilliance in keeping his ident refreshed, both visually and musically, over several decades, Mr Cannell deserves special acclaim.

If you’ve no idea what I’m talking about, watch this, and experience vicariously what Paul Weller would call the “ever-changing moods” of one TV mogul. Relaxed. Amused. Aggressive. Bearded. They’re all here.

The Cannell ident was such a part of US pop culture it was memorably spoofed by Family Guy (not available online anywhere I can link to, sadly).

It also provided inspiration for the final moments of The Greatest Music Video in recent pop history: Justice’s DVNO.

I could write 10,000 words about why I adore this video, but thankfully I’m not going to. (Plenty of people did, though, when it first appeared. You have to love a music promo which inspires praise like: “This [scene] nicely displays the pros and cons of tightly spacing and stacking Eurostile Extended.”)

Plaudits to the creative geniuses behind it, stellar French types SoMe and Machine Molle.

Cute robots are singing to me

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Watched BBC Three’s excellent documentary about Beckii Cruel last night.

Don’t get me started on the programme itself  - I can’t remember the last time I shouted at the TV quite so much – but midway through came one of those magic moments which had me scrabbling for my iPhone to find out What The Hell Is That Music?

Surely even my trusty Shazam app wouldn’t identify a random piece of Japanese pop from 2006?

Oh, but it would. Here’s the fantastic Inryoku by Perfume. It’s where girlpop meets chiptune. Or as one YouTube commenter put it, perhaps more incisively:

THIS IS SO FRICKING CATCHY ITS LIKE LITLLE CUTE ROBOTS ARE SINGING TO ME ^o^

My obsession with Japanese pop, I should mention, is deep-rooted.

Here’s the second single I ever bought, at age 8, from Woolworths on Lister Gate, Nottingham. (Don’t ask about the first one I bought – it wasn’t anywhere near as cool as this one.)

Election night 1974: Latest analysis

Last Friday, BBC Parliament cleared its regular schedules and ran February 1974′s election night coverage instead. Not just the highlights, but pretty much the whole thing.

If the idea of sitting through that fills you with horror (or incomprehension) then please click away now.

If the idea thrills you, on the other hand, you may be a political scientist – in which case, sorry, this won’t be the blog post for you either. The historic political events of that night have been analysed thoroughly elsewhere.

But if, like me, you’re just unnaturally fascinated by the look and atmosphere of 1970s telly – well, I’m happy to say I did all the hard work for you, and ploughed dutifully through it. (Not all at 30x speed, either.)

Here are a few visual tasters from the BBC’s coverage. I’ll let most of the pics speak for themselves.

Note how the female results-takers are in uniform: grim, brown smocks reminiscent of Sainsburys uniforms from the 1980s.

David Lomax is in Cobberton, North Devon, outside the house of Jeremy Thorpe MP. Is the Liberal leader around for a few words?

No, he isn’t.

Meanwhile, Penrith’s count seems to have been transported back to the 1920s.

Southampton hasn’t quite reached the colour era yet, either.

This guy’s speaking live from The Hague – so the monochrome is perhaps to be expected. He appears to be taking the RECOUNT AT BODMIN news hard.

There was a fashion in 1974, it turns out, for announcing results on the balconies of grotty council buildings.

I have to (sincerely) pay tribute here to Sir Alastair Burnet’s outfit on the night.

Especially considering this is 1974 we’re talking about, Burnet’s combo of mid-grey suit, pink shirt with cutaway collar, black watch, tie with plum dots and – brilliantly – dark plum pocket square has barely dated. Fine work.

As you’ll have spotted, the biggest winner of the night was Letraset. I imagine art suppliers in West London had to helicopter in emergency supplies of Helvetica Bold during the election period.

We’ve now found Jeremy Thorpe, who’s on the phone…

…to Cyril Smith MP, who is at the Liberal party press conference, smoking a cigarette.

And here’s the complete studio set in all its majesty. You can’t see in this screengrab, but each pundit’s chair came complete with a chrome ashtray on a tall stand. Class.

Watch these amusing TV commercials

Sometimes you just have to let the work speak for itself. These ads are by Wieden & Kennedy, Portland US.

Obviously if I’d ever made it in advertising I’d be producing spots as good as these. Ahem.

Goodbye Johnny Dankworth

Sad news today of the death of Sir John Dankworth.

Though I’ve always been a fan of certain types of jazz, I can’t pretend to know much at all about Dankworth’s legacy.

But here’s the thing I most associate with his name – the original title music for Tomorrow’s World. It’s brilliant – and impossible to imagine even being considered as TV theme fodder these days.

Here’s the full version in stereo for your further enjoyment:

And finally, for good measure, the short version on piano.

“Complex” and “approachable” aren’t always easy attributes to combine in music – but this is a textbook example of how that formula can work. If you’re a bit of a genius, that is.

Remember scarcity?

Today I’ve been watching an Air Crash Investigation documentary (yes, I know I’m obsessed) about 1988′s tragic Lockerbie bombing.

I was taken by a quote from an AAIB expert, talking about the early stages of their investigation into the causes of the crash. “Maps of that area were in very short supply,” he recalled, “and we ran out of them very quickly.”

Ran out of maps?

I remember Lockerbie as if it was yesterday. Yet this is a powerful example of how the abundance of information, via digital means, has banished its scarcity to almost a faint memory within the last few years.

To underscore the point: if you have Google Earth installed, here’s a .kmz file with annotated geodata on what happened in Lockerbie 21 years ago, and what happened afterwards.

What I’ve learned from air crash TV

I’ve been getting some (understandable) ribbing at home about my recent fascination with aviation disaster documentaries – in particular National Geographic’s Air Crash Investigation.

Even with air security firmly in the news, it’s easy to dismiss programmes like these as sensationalist or morbid.

But what they’ve taught me over the last few months is how rich and multi-faceted aviation safety is – and how intellectually stimulating the subject can be.

Allow me to ruin your festive period by expanding a little on what I mean.

Sometimes, it turns out, the factors which jeopardise air safety are huge – like the failure in corporate ethics which allowed one near-catastrophic DC10 accident in 1972 to be followed two years later by another fully-catastrophic one which happened for the exactly the same (by then, avoidable) reasons.

But sometimes they’re about tiny details of plane design and ergonomics - like the decision to put a vitally important control next to a pilot’s footrest (one slip of the foot, in this example, and the craft becomes invisible to air-traffic control or other aircraft).

Sometimes they’re audio-related. When two cockpit warnings share the same sound, and one of the two warnings is much more prevalent, who can blame pilots for confusion when one day the second meaning is what’s being indicated?

(The Helios disaster I’ve just linked to was also compounded by linguistic issues – a Cypriot co-pilot and a German captain who had difficulty even understanding each other.)

Or the contributing factors can be physiological - like the pilot who, without visual cues to correct him, erroneously disregards what his instruments are telling him because he’s suffering from vertigo. (His inner ear, in other words, is playing tricks on him.)

Sometimes they’re managerial. If a pilot fails to properly delegate tasks to his team, and as a result everyone becomes fixated on a single part of the cockpit, vitally important signs elsewhere can be missed.

And sometimes they’re cultural. It was Malcolm Gladwell’s examination of why hierarchical, deferential societies traditionally crashed more planes (because co-pilots were less ready to challenge their superiors when mistakes were made) which first piqued my interest in this whole subject.

Sometimes they can be contributed to by regulations designed to make flying safer. If a few more minutes’ delay taking off means a flight will have to be postponed due to limits on working hours, a pilot could be more inclined to push ahead and take off in haste.

Or they can be about processes, and the failure to adhere to them. The repair that’s done skimpily; the service that’s missed because one maintenance worker’s off sick; the check that’s falsely signed as having been completed when one vital step has been omitted.

But the factors I find most interesting – in my capacity as a geek – are those faced not just by the aviation industry, but by everyone involved in interaction design and/or usability.

As planes have become equipped with ever more complex automation systems, how do airlines ensure that pilots properly understand how to use them? Improved training? Clearer manuals? Better visual and audio cues?

I’ve been surprised to learn how many accidents have been caused over the decades by pilots simply not grokking their autopilot: failing to understand what it controls, what it doesn’t, how elements of it can be inadvertently switched off, and how to recognise if that’s happened.

Worse still, there’s the psychological effect of reliance on automation. If as a pilot there’s little to do once you’re up in the sky – for hour after hour – how do you maintain concentration? (This is not an academic question.)

And I’ve only just begun to scratch the surface.

There must be other subjects as absorbing and multi-disciplinary as this. But right now I’m struggling to think of one.