In 2009 I started watching Strictly Come Dancing with my then 4 year old daughter Amy.
Then as now, on a Monday, we had a feature called "The Shots in 60 seconds". Here the relevant commentary highlights of Aldershot Town's Saturday match, plus the comments of the manager, would be condensed into 60 seconds and set to music.
It didn't take me long to realise I could do something like that with Strictly Come Dancing, and so was born "Strictly in 60".
Every Sunday in the Autumn of 2009 I would record my daughter's thoughts about the show - who left and why, who did well etc - cut them down to 60s and play them out straight after The Shots in 60.
I liked it because it was a piece of audio, in quality, which broke up the tone of the show - you don't often get to hear a 4 year old speak for a minute on any subject, let alone on the radio, so it provided us with something very different to the usual ebb and flow of the morning.
When Strictly was over I thought about what I could do next, and the idea of Amy's diary presented itself to me. A once a week insight into Surrey life from a 4 year old's perspective.
So in January 2010 we started broadcasting Amy's journal, 60s to 90s worth of audio, every Monday morning. The need to keep it short was essential - there is nothing more boring than other people's children. But if you keep it tight, and the narrative bumps along, you do get that momentary jolt of seeing into a young person's world via the subjects they choose to talk about and the sometimes wonderful turn of phrase they have when articulating it.
Every Sunday evening I would sit down with Amy and we'd record the raw audio. Before recording we'd discuss two or three big moments that happened for her in the week and what we were going to say about them. The diary always starts with "Hello my name is Amy, I'm xxxx years old and this is my diary" and it would always end with "Thank you for listening to Amy's diary". In between we'd record Amy's narrative, using the days as chapter markers. "On TUESday...." or "On SATURday...."
If she lost track of things or used names or words that needed explaining, she went too far off topic, or needed a sentence to signify the end of a section, I'd prompt her. If she rambled on on topic I'd let her go, because that's when you get something that was purely her, and I could isolate it and chop out the stumbles and irrelevant stuff in the edit.
Then I'd upload the raw audio into my PC and cut it at home on Audacity, the free editing software, before emailing it to my producer for him to pick up and chuck into the BBC playout system on Monday morning.
I didn't quite realise how it would take off. There are a lot of people listening to the show who have grown up children themselves. They just love hearing a child's voice, and being reminded of the obssessions that children that age have.
When, after a year in the job on 1 Sep 2010, I asked, on air, for an end of year report from the listeners, I was taken aback by the universal praise we got for Amy's diary.
I went to a New Year's Day drinks party at my in-laws this year and that was the conversation starter for many guests (most of whom were in their sixties). "Oh I do love Amy's diary" they would say, "is it coming back in the New Year?"
My brother-in-law told me he was talking about radio with a friend of his and mentioned I worked in radio. The friend didn't know my name, didn't know the correct name for the station, but once he'd worked out Dave was talking about the local BBC radio station for Surrey he said "Oh yes of course! Amy's diary!"
That's when I realised we had a brand on our hands. Well, that and the number of Christmas cards Amy got from listeners.
This year we have formalised the time slot to 8.50am on a Monday (in the early days it would move around the running order) and introduced our secret weapon - Abi.
Abi is Amy's sister, she's just turned three and through watching Amy do her thing every Sunday, has picked up a very good understanding of what's required. Now when Amy finishes her diary, she adds "Now it's Abi's turn" and the listeners get 20s of Abi. "Hello my name is Abi, I am three and this is my diary..."
Abi is very talkative and quite headstrong, but also something of a performer. Yet she still has that ridiculously raw, unformed little voice that small toddlers have. In terms of pure sound it's just not something you hear every day in that environment.
I'm aware talking about my daughters is much more interesting to me than anyone else, by a factor of, ooh, a million, so I always play it straight when trailing the item.
My feeling is making a big deal about it is twee and dull - if you don't like it, it's around 75 seconds long, it'll be all over before you know it and hopefully there is nothing too irritating, and enough in there to stop you turning off.
Amy and Abi love it, of course. It would be interesting to see how long we can keep this going. Amy has grown over the past year, and I can hear the changes in her voice from her early diaries. I also get the sense that a lot of listeners are enjoying sharing in these tiny glimpses of her childhood. Now Abi is on board, it'll be fun to see if they develop an on air dynamic together.
For me it justifies itself as a bit of audio contrast, in the way that Thought For The Day is a deliberate pause to the rhythm of the Today programme. The moment Amy, Abi, the listeners or my bosses get bored with it, it will go.
If you want to have a listen to the latest diaries, scroll forward 1hr 50m in the most recent Saturday breakfast show on the BBC Surrey page of the iplayer.
.
Friday, 21 January 2011
Sunday, 7 November 2010
Ricky Gervais, Jarvis Cocker, Ed Byrne and Peter Kay
The 2010 Student Radio Awards take place this week. I am usually involved as a judge, and this year I had the privilege of arguing over who should win the non-news speech category. I was also asked to contribute my memories of the first two* awards ceremonies.
Although some of the key moments of the first (in 1996) spring readily to mind, I had to ask where the 1997 awards were held. At this point they probably should have taken me off the project.
They didn't, so I made an appeal on Facebook and Twitter to see if anyone else could remember anything about either awards.
Despite several people coming forward, which at least established the 1997 awards' location (Oxford), it seems there is a general air of folk amnesia surrounding what happened. This, I think, suggests both were a spectacular success.
If you were at either event (or the third in '98 at Brick Lane), please add your comments below. This is a slightly re-written version of what I submitted to the 2010 awards organisers:
"Details of the first two Sudent Radio Awards are largely lost in the mists of time, with most of the participants now dead, or having faded into insignificance.
This was in the days before your social medias, your so-called Facebooks and fancy Twitterspaces. Hard though it may be to imagine, mobile phones were the size and weight of gold ingots, with about the same functionality.
There were no digital cameras (thankfully), and because the water in the last century wasn't safe to drink, most students survived on a form of methanol suspended in food colouring, known as Mad Dog 20/20.
As a result almost no records of these events taking place actually exist, and the ones that do are a little hazy. But ULU 96 and Oxford Brookes 97 did definitely happen, much to the surprise of almost everyone involved.
This much I know. In November 1995 I was elected Chair of the SRA. In December 1995 I wrote (when people conducted business by sending letters in the post to each other) to Matthew Bannister, the then Controller of Radio 1, suggesting the SRA and Radio 1 set up a student radio awards.
He wrote back, on a letter (I know!), two weeks later, saying it was a jolly good idea and that we ought to come down to Radio 1 to discuss it.
For a student with far-off dreams of working in the radio industry this was like receiving an invitation to the Emerald City.
Armed with the Secretary of the SRA and a nice man called Dan McEvoy (now a high up at 5live) who independently had the same idea as me, we converged on an office somewhere in Yalding House (or was it Egton? It was probably the now-demolished Egton).
There we were welcomed by the poshest woman I have ever met. In a faintly disinterested manner, she told us Matthew Bannister was sorry he couldn't come to our meeting, but he really wanted the awards to happen and so they would.
We went away and did everything we could to make sure student stations entered the competition and came to the event. Radio 1 put a genuinely fantastic team (not including the posh lady, who I never saw again) on the case, who provided patient, friendly and expert guidance whilst making sure the very first Radio 1 Student Radio Awards was worthy of the name.
The first ceremony took place at the University of London Union in November 1996. The Evening Session's Jo Whiley and Steve Lamacq hosted. The gig afterwards featured the bands Shoot, The Longpigs and Space.
The compere at the gig was a chubby, cheerful northern fella called Peter Kay, who had recorded childrens' TV theme tunes onto a dictaphone, and spent most of his act playing them out through the PA and saying "Remember that?".
Jarvis Cocker, one of the most famous people in the country, was on the guest list that night. I remember seeing his name and asking the Radio 1 press person "Why is Jarvis Cocker on the guest list?".
She said "Dunno, we thought he might like to come, we invited him, and he said yes..."
Never going to happen, I thought. A few hours later I was standing at the bar and Jarvis Cocker walked past. "Jarvis Cocker!" I blurted, in amazement.
"Hello." he said politely, and walked on. The man who wrote Common People and who, the previous year, had headlined Glastonbury with Pulp, had just popped his head round the door at an event I helped set up.
Mind you the Ents Manager at ULU...
Me: "Is the ents manager alright with us coming here and taking over most of his union for a private function on a Friday night?"
Radio 1 person: "yeah he's fine. He's a really nice bloke actually..."
.... was Ricky Gervais, who was 8 years away from being in the same room as Clint Eastwood and Jack Nicholson, clutching a Golden Globe for The Office.
It was a good night.
The second Radio 1 Student Radio awards was the centrepiece of the 1997 Student Radio Association autumn conference, held at Oxford Brookes University. Word had spread through the student radio community (using some sort of rudimentary semaphore) about the success of the inaugural event and loads of students from all over the country piled into Oxford.
All the talk was of Oxygen 107.9, the student radio station which had broken out of closed-loop AM broadcasting and FM RSLs to win a permanent FM licence. We all know how that turned out. Oh well.
The star turn at the awards was Ed Byrne, a hilarious young comedian who went on to become the voice of Mowbli in the Carphone Warehouse adverts, and despite never having to work again, is a now an older, but still hilarious, award-winning comedian.
Ed was effectively hired to give us all a laugh before the awards started, but when Dave Pearce dropped out of presenting duties due to illness, Ed was forced to announce himself as the host, a job he did with considerable aplomb, given it had been sprung on him at the last moment.
There are rumours that Oxford Brookes marked the first sit-down dinner at a student radio awards, but I don't remember it like that. At ULU the refreshments were basically crisps, nuts and beer. I seem to remember us being seated theatre-style for Oxford Brookes.
Having trawled around for peoples' memories, that recollection appears to be in dispute.
As I say, it's all a little hazy now."
I'd like to wish all the students who have been nominated for awards this year the very best of luck. The standard in the category I judged was particularly high, and there is some genuine talent there, which I hope the industry will be in good enough shape to pick up before long.
--------------------------------------------------
*The Radio 1/student radio awards relationship had actually existed well before the "first" ones in 1996. I didn't know this when I first approached Radio 1, and neither did the people at Radio 1. At that time there was something of a scorched earth policy towards Radio 1's previous regime and everything it represented.
The previous existence of an older awards scheme became apparent when we were working on the new ones. The discovery that Radio 1, in its incredibly naff phase, had held a relationship with the Student Radio Association's predecessor NASB (National Association of Student Broadcasters) filled me with terror. If Radio 1 discovered the previous regime had also thought holding a student radio awards was a good idea, they might feel it was tainted by association and drop the new one like a shot.
Nonetheless I felt I had to bring it to Radio 1's attention. After all, knowing the awards had existed previously hardly meant we could launch the new awards as the first.
The conversation went something like this:
Me: "Er... I've discovered that Radio 1 used to have a student radio awards scheme which it ran with our predecessor organisation."
Radio 1 person: "And...?"
Me: "Well that means this isn't the first Radio 1 student radio awards, like we've been calling them."
Radio 1: "Oh, I don't think we need to worry about it now."
Me: "Er... okay."
And so the new awards were born. The first between Radio 1 and the SRA, and the ones that have grown into the extraordinary talent-sourcing behemoth they are today.
Although some of the key moments of the first (in 1996) spring readily to mind, I had to ask where the 1997 awards were held. At this point they probably should have taken me off the project.
They didn't, so I made an appeal on Facebook and Twitter to see if anyone else could remember anything about either awards.
Despite several people coming forward, which at least established the 1997 awards' location (Oxford), it seems there is a general air of folk amnesia surrounding what happened. This, I think, suggests both were a spectacular success.
If you were at either event (or the third in '98 at Brick Lane), please add your comments below. This is a slightly re-written version of what I submitted to the 2010 awards organisers:
"Details of the first two Sudent Radio Awards are largely lost in the mists of time, with most of the participants now dead, or having faded into insignificance.
This was in the days before your social medias, your so-called Facebooks and fancy Twitterspaces. Hard though it may be to imagine, mobile phones were the size and weight of gold ingots, with about the same functionality.
There were no digital cameras (thankfully), and because the water in the last century wasn't safe to drink, most students survived on a form of methanol suspended in food colouring, known as Mad Dog 20/20.
As a result almost no records of these events taking place actually exist, and the ones that do are a little hazy. But ULU 96 and Oxford Brookes 97 did definitely happen, much to the surprise of almost everyone involved.
This much I know. In November 1995 I was elected Chair of the SRA. In December 1995 I wrote (when people conducted business by sending letters in the post to each other) to Matthew Bannister, the then Controller of Radio 1, suggesting the SRA and Radio 1 set up a student radio awards.
He wrote back, on a letter (I know!), two weeks later, saying it was a jolly good idea and that we ought to come down to Radio 1 to discuss it.
For a student with far-off dreams of working in the radio industry this was like receiving an invitation to the Emerald City.
Armed with the Secretary of the SRA and a nice man called Dan McEvoy (now a high up at 5live) who independently had the same idea as me, we converged on an office somewhere in Yalding House (or was it Egton? It was probably the now-demolished Egton).
There we were welcomed by the poshest woman I have ever met. In a faintly disinterested manner, she told us Matthew Bannister was sorry he couldn't come to our meeting, but he really wanted the awards to happen and so they would.
We went away and did everything we could to make sure student stations entered the competition and came to the event. Radio 1 put a genuinely fantastic team (not including the posh lady, who I never saw again) on the case, who provided patient, friendly and expert guidance whilst making sure the very first Radio 1 Student Radio Awards was worthy of the name.
The first ceremony took place at the University of London Union in November 1996. The Evening Session's Jo Whiley and Steve Lamacq hosted. The gig afterwards featured the bands Shoot, The Longpigs and Space.
The compere at the gig was a chubby, cheerful northern fella called Peter Kay, who had recorded childrens' TV theme tunes onto a dictaphone, and spent most of his act playing them out through the PA and saying "Remember that?".
Jarvis Cocker, one of the most famous people in the country, was on the guest list that night. I remember seeing his name and asking the Radio 1 press person "Why is Jarvis Cocker on the guest list?".
She said "Dunno, we thought he might like to come, we invited him, and he said yes..."
Never going to happen, I thought. A few hours later I was standing at the bar and Jarvis Cocker walked past. "Jarvis Cocker!" I blurted, in amazement.
"Hello." he said politely, and walked on. The man who wrote Common People and who, the previous year, had headlined Glastonbury with Pulp, had just popped his head round the door at an event I helped set up.
Mind you the Ents Manager at ULU...
Me: "Is the ents manager alright with us coming here and taking over most of his union for a private function on a Friday night?"
Radio 1 person: "yeah he's fine. He's a really nice bloke actually..."
.... was Ricky Gervais, who was 8 years away from being in the same room as Clint Eastwood and Jack Nicholson, clutching a Golden Globe for The Office.
It was a good night.
The second Radio 1 Student Radio awards was the centrepiece of the 1997 Student Radio Association autumn conference, held at Oxford Brookes University. Word had spread through the student radio community (using some sort of rudimentary semaphore) about the success of the inaugural event and loads of students from all over the country piled into Oxford.
All the talk was of Oxygen 107.9, the student radio station which had broken out of closed-loop AM broadcasting and FM RSLs to win a permanent FM licence. We all know how that turned out. Oh well.
The star turn at the awards was Ed Byrne, a hilarious young comedian who went on to become the voice of Mowbli in the Carphone Warehouse adverts, and despite never having to work again, is a now an older, but still hilarious, award-winning comedian.
Ed was effectively hired to give us all a laugh before the awards started, but when Dave Pearce dropped out of presenting duties due to illness, Ed was forced to announce himself as the host, a job he did with considerable aplomb, given it had been sprung on him at the last moment.
There are rumours that Oxford Brookes marked the first sit-down dinner at a student radio awards, but I don't remember it like that. At ULU the refreshments were basically crisps, nuts and beer. I seem to remember us being seated theatre-style for Oxford Brookes.
Having trawled around for peoples' memories, that recollection appears to be in dispute.
As I say, it's all a little hazy now."
I'd like to wish all the students who have been nominated for awards this year the very best of luck. The standard in the category I judged was particularly high, and there is some genuine talent there, which I hope the industry will be in good enough shape to pick up before long.
--------------------------------------------------
*The Radio 1/student radio awards relationship had actually existed well before the "first" ones in 1996. I didn't know this when I first approached Radio 1, and neither did the people at Radio 1. At that time there was something of a scorched earth policy towards Radio 1's previous regime and everything it represented.
The previous existence of an older awards scheme became apparent when we were working on the new ones. The discovery that Radio 1, in its incredibly naff phase, had held a relationship with the Student Radio Association's predecessor NASB (National Association of Student Broadcasters) filled me with terror. If Radio 1 discovered the previous regime had also thought holding a student radio awards was a good idea, they might feel it was tainted by association and drop the new one like a shot.
Nonetheless I felt I had to bring it to Radio 1's attention. After all, knowing the awards had existed previously hardly meant we could launch the new awards as the first.
The conversation went something like this:
Me: "Er... I've discovered that Radio 1 used to have a student radio awards scheme which it ran with our predecessor organisation."
Radio 1 person: "And...?"
Me: "Well that means this isn't the first Radio 1 student radio awards, like we've been calling them."
Radio 1: "Oh, I don't think we need to worry about it now."
Me: "Er... okay."
And so the new awards were born. The first between Radio 1 and the SRA, and the ones that have grown into the extraordinary talent-sourcing behemoth they are today.
Friday, 5 November 2010
Have a Lovely Day
I'm not a very good shopper. The only "retail experience" I enjoy is at the supermarket. It's a once-weekly opportunity to indulge in some anticipative bonding with my digestive tract. The rest is just stress.
Today I was sent to Walton town centre with instructions to retrieve a pair of Mrs Wallis' boots, which were being re-heeled at Timpsons. On the way I was distracted by an ancient Top of The Pops trivia quiz game, sitting in the window of our local Sam Beare charity shop.
Everyone has their weakness. Mine is a limitless capacity for consuming pop trivia. Who doesn't want to know which member of Duran Duran was made ill by drinking water infected with elephant wee, why Trevor Horn never got to produce U2, what The Smiths' manager said as he watched Morissey record the lyric to How Soon Is Now and how the drum sound was created by accident on Phil Collins' In The Air Tonight?*
So I was in the Sam Beare shop like a shot. I grabbed the box and took it to the till, with the exact money counted into my immaculately moisturised palm.
At the till, the nice foreign (South American? Mediterranean?) lady set me on my way by saying "have a lovely day".
Have a lovely day?
A lovely day?
I am on my own, in a charity shop, in Walton on Thames. How lovely can it get?
Deploying the sharpness of mind for which I am justly revered, I replied "and you" as I left.
I think I did so mainly out of cultural embarrassment. After all, "have a lovely day" might be a perfectly normal thing to say in a shop in her country (wherever it is). And, to be fair, she was really nice, so if she was prepared to wish me a lovely day, I was happy to wish the same for her.
I did make several other instant assumptions, mainly that as a volunteer in a charity shop she was doing something she actually wanted to do, and therefore was well on her way to having a lovely day anyway. I would never wish someone a lovely day when there was a good chance they were nowhere near getting one.
Now, Timpsons pride themselves on customer service. Everytime I go into Timpsons I am struck by how ebullient and knowledgeable they are about heels and batteries and keys. It takes a lot to care about that sort of thing. It also takes a lot to care about how your customer feels about their interaction with that sort of thing. I generally think heels and batteries and keys are mainly annoying, so gearing myself up to deal with someone who straddles the world of heels, batteries and keys like a knowledgeable Colussus takes some effort.
Having retrieved Mrs Wallis' boots and paid for them, I still wasn't prepared for the Timpsons man to suggest, as I left his shop, that I might like to "have a lovely day", exactly echoing the phrase I had just heard in the Sam Beare shop.
The Timpsons man was not foreign. He was an honest-to-goodnes, salt-of-the-earth heel-repairer, key-etcher and battery retailer. And now he was staking an interest in the rest of my day. It threw me a bit.
It didn't feel right to suggest to a man I just met that he too should have a lovely day, so deploying the sharpness of mind for which I am justly revered, I replied "Cheers" as I left.
Was this churlish? Was I wrong not to wish him a lovely day too? Maybe he was having a lovely day at work, surrounded by keys and batteries and heels.
Or maybe, once he had taken off his maroon apron at 5.30pm that evening, he would be off to a wedding in the grounds of Hampton Court Palace, where he would enjoy the company and bonhomie of old friends, on a special occasion, in a magical setting. That would be lovely.
By saying "Cheers" was I reinforcing the inherent client/supplier relationship in every retail transaction? The idea that because I have money and you want to take it from me, you have to be obsequieous and I can act like an arse? You state, on the record, that you want me to have a lovely day and I am so self-obssessed, so uninterested in your poxy little life that the most I can bring myself to utter is an expression of thanks for a superfluous entreaty?
Well, really....
Also (and I have no idea why) I felt uncomfortable about wishing another man a lovely day. It just felt wrong.
"Have a lovely day."
"You too, boss."
"A day filled with love."
"For both of us."
"Kiss me, Timpson."
I wandered into The Works, attracted by the usual collection of books reduced from RRPs of £18 or £19 to £1.99. My kind of bookstore.
I picked up a book on grammar which I had once flicked through in a different shop, thought was brilliant, then refused to buy because of the cover price. Now it was going for a fiver, so I had it. I took it to the till. I paid my money. I took the receipt. The store assistant, as we parted, said "enjoy the rest of your day".
Oh, ffs.
Enjoy the rest of your day?
There is an unwitting hint of the directive in that sentence, which isn't entirely welcome. And once more I am left speculating as to why someone selling me a bargain-bin book in a discount store would choose to chuck coins in the fountain of my immediate future.
Once is fine. Twice is odd. Three times is unnerving. Did I miss the memo which introduced a new paradigm of retailer/consumer interaction expectation? Is this unique to Walton? Why would three complete strangers gun for me and my prospects in such gushing terms for no apparent reason? Do they know something?
I tweeted about this experience earlier today, and a dear friend suggested the people I encountered in Walton High Street were merely being friendly and polite. This is fair enough.
However, I like to consider myself friendly and polite (esp when dealing with strangers), but I have never briefly met someone and then speculated that they might have a lovely day.
Especially without any inkling as to what the rest of the day might hold in store for them. Why would you?
*Answers on a postcard.
Today I was sent to Walton town centre with instructions to retrieve a pair of Mrs Wallis' boots, which were being re-heeled at Timpsons. On the way I was distracted by an ancient Top of The Pops trivia quiz game, sitting in the window of our local Sam Beare charity shop.
Everyone has their weakness. Mine is a limitless capacity for consuming pop trivia. Who doesn't want to know which member of Duran Duran was made ill by drinking water infected with elephant wee, why Trevor Horn never got to produce U2, what The Smiths' manager said as he watched Morissey record the lyric to How Soon Is Now and how the drum sound was created by accident on Phil Collins' In The Air Tonight?*
So I was in the Sam Beare shop like a shot. I grabbed the box and took it to the till, with the exact money counted into my immaculately moisturised palm.
At the till, the nice foreign (South American? Mediterranean?) lady set me on my way by saying "have a lovely day".
Have a lovely day?
A lovely day?
I am on my own, in a charity shop, in Walton on Thames. How lovely can it get?
Deploying the sharpness of mind for which I am justly revered, I replied "and you" as I left.
I think I did so mainly out of cultural embarrassment. After all, "have a lovely day" might be a perfectly normal thing to say in a shop in her country (wherever it is). And, to be fair, she was really nice, so if she was prepared to wish me a lovely day, I was happy to wish the same for her.
I did make several other instant assumptions, mainly that as a volunteer in a charity shop she was doing something she actually wanted to do, and therefore was well on her way to having a lovely day anyway. I would never wish someone a lovely day when there was a good chance they were nowhere near getting one.
Now, Timpsons pride themselves on customer service. Everytime I go into Timpsons I am struck by how ebullient and knowledgeable they are about heels and batteries and keys. It takes a lot to care about that sort of thing. It also takes a lot to care about how your customer feels about their interaction with that sort of thing. I generally think heels and batteries and keys are mainly annoying, so gearing myself up to deal with someone who straddles the world of heels, batteries and keys like a knowledgeable Colussus takes some effort.
Having retrieved Mrs Wallis' boots and paid for them, I still wasn't prepared for the Timpsons man to suggest, as I left his shop, that I might like to "have a lovely day", exactly echoing the phrase I had just heard in the Sam Beare shop.
The Timpsons man was not foreign. He was an honest-to-goodnes, salt-of-the-earth heel-repairer, key-etcher and battery retailer. And now he was staking an interest in the rest of my day. It threw me a bit.
It didn't feel right to suggest to a man I just met that he too should have a lovely day, so deploying the sharpness of mind for which I am justly revered, I replied "Cheers" as I left.
Was this churlish? Was I wrong not to wish him a lovely day too? Maybe he was having a lovely day at work, surrounded by keys and batteries and heels.
Or maybe, once he had taken off his maroon apron at 5.30pm that evening, he would be off to a wedding in the grounds of Hampton Court Palace, where he would enjoy the company and bonhomie of old friends, on a special occasion, in a magical setting. That would be lovely.
By saying "Cheers" was I reinforcing the inherent client/supplier relationship in every retail transaction? The idea that because I have money and you want to take it from me, you have to be obsequieous and I can act like an arse? You state, on the record, that you want me to have a lovely day and I am so self-obssessed, so uninterested in your poxy little life that the most I can bring myself to utter is an expression of thanks for a superfluous entreaty?
Well, really....
Also (and I have no idea why) I felt uncomfortable about wishing another man a lovely day. It just felt wrong.
"Have a lovely day."
"You too, boss."
"A day filled with love."
"For both of us."
"Kiss me, Timpson."
I wandered into The Works, attracted by the usual collection of books reduced from RRPs of £18 or £19 to £1.99. My kind of bookstore.
I picked up a book on grammar which I had once flicked through in a different shop, thought was brilliant, then refused to buy because of the cover price. Now it was going for a fiver, so I had it. I took it to the till. I paid my money. I took the receipt. The store assistant, as we parted, said "enjoy the rest of your day".
Oh, ffs.
Enjoy the rest of your day?
There is an unwitting hint of the directive in that sentence, which isn't entirely welcome. And once more I am left speculating as to why someone selling me a bargain-bin book in a discount store would choose to chuck coins in the fountain of my immediate future.
Once is fine. Twice is odd. Three times is unnerving. Did I miss the memo which introduced a new paradigm of retailer/consumer interaction expectation? Is this unique to Walton? Why would three complete strangers gun for me and my prospects in such gushing terms for no apparent reason? Do they know something?
I tweeted about this experience earlier today, and a dear friend suggested the people I encountered in Walton High Street were merely being friendly and polite. This is fair enough.
However, I like to consider myself friendly and polite (esp when dealing with strangers), but I have never briefly met someone and then speculated that they might have a lovely day.
Especially without any inkling as to what the rest of the day might hold in store for them. Why would you?
*Answers on a postcard.
Tuesday, 7 September 2010
War, Walton and interviewing people in their nineties
Hazel Green (above), 93, one of the interviewees for the Walton Memories film
*********************
Melvyn had long complained that the Walton Heritage Day, held down by the river every year in September, wasn't very good, or very well publicised. So to shut him up, the organisers put him in charge of it.
Melvyn decided the theme of the Heritage Day this year would be Walton at War, in order to mark the 70th anniversary of the start of the Blitz.
Because Melvyn lives next door to a TV picture editor called Simon, he decided it would be nice to raise the profile of the Walton Heritage Day by making a short film about the war. Excitingly the "film" is getting its debut (and very possibly only) showing on the double-decker bus which Brooklands Museum sends along to the Heritage Day every year, and which just so happens to be kitted out with a DVD player, brand new flat screen, sound system and window blinds. Wahey.
Melvyn has lived in Walton all his life and knows virtually everyone, so it wasn't long before he had a list of people who had lived in and around Walton during the war. Now all he had to do was get all of them to the same place at around the same time whilst fitting in with his full-time job, my schedule and Simon the TV picture editor-turned-amateur-cameraman's schedule. This summer Simon has been contracted to work for this year's Big Brother on a rotating shift basis, with very little downtime.
Eventually we chose two of Simon's rare rest days, I took two days out of my holiday and Melvyn took a couple of days off. Simon borrowed a £10K HD camera from a friend, I put a suit on, and Melvyn rounded up our interviewee subjects by asking them to put in an appearance at the Walton Day Centre for Retired People on the specified dates.
Melvyn worked very hard. People in their nineties don't do times, they do mornings and afternoons. When you reach a certain age, getting out of the house can be a long and exhausting process. Added to that, nonagenarians don't really care all that much about being on telly, or how nice or polite you are when you want something.
In short, all our interviewees were absolutely within their rights to treat our whole operation as a rather presumptuous inconvenience.
Eve (below) had actually come along to the day centre to keep another interviewee company. She had to be persuaded to sit in front of the camera and talk to us. Once she did, her story of being bombed by the Luftwaffe whilst working at the Vickers factory in Weybridge was astounding. On 4th September 1940, 85 people were killed in three minutes. Eve told us of the speed of the attack, which happened in broad daylight - there was no air raid siren, just the sudden realisation they were in serious trouble.
She described watching electricity arc-ing across the factory floor, and as the ceiling caved in looking through a hole in the roof to see a German swastika on a plane as it swooped over. Eve told us of her escape, climbing over a body to get out and then being strafed by machine guns from the German planes as she and her friends ran towards the air raid shelters, seeing people around her being shot as they ran. At the time, she was 20 years old.
Other interviewees told us of losing loved ones, being bombed out of their houses, watching doodlebugs being shot out the sky, living in air raid shelters, putting babies to sleep in drawers because there was no furniture left in the house and trying to find a way of struggling through under immense duress. Needless to say, hearing their stories was a very humbling experience.
It was also inspiring to meet people who'd been around for so long and seen so much. It must be strange, carefully negotiating your way around a world which barely acknowledges you, with a lifetime's worth of memories echoing through your head.
The resulting material is being given the reverence it deserves - we have been playing the interviews out on BBC Surrey Breakfast throughout this week, and Simon is working frantically on getting the film together for Saturday. We are also in the process of putting the audio up permanently on the BBC Surrey website and I will be down at the Walton Heritage Day this Saturday (11 Sep 2010) to do some live reporting from the event. Do come down if you live nearby.
I would like to profoundly thank everyone who agreed to be interviewed, and went out of their way to meet up with us.
One thing I did notice over the course of the two days was that the media tradition of asking pre-recorded interview guests to tell us what they had for breakfast became less a technical exercise in getting the right sound level and more a research project into longevity. If you want to make it into your nineties in good nick I would suggest you first of all ensure you are a woman, and then eat fresh fruit every morning.
Although when I asked one of the liveliest 93 year olds I've ever met what she had for breakfast, she said "Two slices of toast and marmalade," before fixing me with a meaningful stare "and TWO cups of tea."
Monday, 23 August 2010
One year in the job
On 1 Sep 2010, I will have been presenting the BBC Surrey Breakfast show for exactly a year.
In summary: I have got better, it has got better and the listening figures have gone up.
The above belies twelve months of teeth-grindingly hard graft. That said, nattering on the radio is still at the dossier end of what constitutes actual work, so you're not going to find me complaining. It's been enormous fun and I've met some incredible people.
One of the things I am most proud of is that we have, on occasion, spoken to people who have contacted us about an injustice, or a problem they're having with local bureaucracy, and shone a light on it by calling those in authority to account. Sometimes, possibly as a result of our involvement, things get resolved very quickly and I am grateful our listeners have come to us, and reminded of the value of a strong, totally independent, local media.
One significant recent career developement is that over the past few months I have been able to pick up some television work. As well as the language programme for BBC World, I am also doing some investigative filming for another part of the BBC, the fruits of which should appear in October.
Radio has the advantage over television because of its intimacy, immediacy and unpredictability, but when it comes to impact (especially in a news programme), television can be hard to beat. It's good to be working in both worlds.
.
In summary: I have got better, it has got better and the listening figures have gone up.
The above belies twelve months of teeth-grindingly hard graft. That said, nattering on the radio is still at the dossier end of what constitutes actual work, so you're not going to find me complaining. It's been enormous fun and I've met some incredible people.
One of the things I am most proud of is that we have, on occasion, spoken to people who have contacted us about an injustice, or a problem they're having with local bureaucracy, and shone a light on it by calling those in authority to account. Sometimes, possibly as a result of our involvement, things get resolved very quickly and I am grateful our listeners have come to us, and reminded of the value of a strong, totally independent, local media.
One significant recent career developement is that over the past few months I have been able to pick up some television work. As well as the language programme for BBC World, I am also doing some investigative filming for another part of the BBC, the fruits of which should appear in October.
Radio has the advantage over television because of its intimacy, immediacy and unpredictability, but when it comes to impact (especially in a news programme), television can be hard to beat. It's good to be working in both worlds.
.
Monday, 5 July 2010
How my friend Chris saved BBC 6 Music
There were obviously a few significant strands to the campaign to save 6 Music. The grassroots efforts of the listeners, with their Facebook campaigns, twitter hashtags, real live demonstrations and flashmobs. Adam Buxton was the perfect poster boy for the campaign, and he rose to the challenge admirably, somehow successfully articulating the listeners' rage through his deafult filter of knowing lunacy.
Other important pop culture figures like David Bowie and Damon Albarn weighed in to save the station. Jarvis Cocker's impassioned "rant" at the Sony Awards in May (hear my interview with him about it here) left the BBC hierarchy in no doubt that the fuss over 6 Music was not going to die down.
In fact, the sustained level of support the Save 6 Music campaign enjoyed from the moment this story was leaked to The Times in February, to today's decision, is a tribute to the passion (and savvy) of its fans.
But I would argue the BBC's plan to can the station was fatally holed by an email my mate Chris wrote to Ed Vaizey MP, who was then the Conservative Party spokesman on culture. Ed's response gave the campaign hope and momentum.
Every day for the last eight years, Chris's company, CMU music, has sent out a free daily email for people who work in the music industry. At the last count he had around 18,500 subscribers. Within a week of the decision to close 6 Music being announced by the BBC, Chris wrote an open letter to Ed Vaizey. In the email, he explained why he thought the BBC should cherish, rather than close 6 Music, and asked Ed for his help.
The email itself, (published on Chris's personal blog) is worth reading. It is a long, beatifully-pitched and incredibly well-informed piece of writing. Ed may not have known about Chris, or his blog, before he received Chris's email, but he clearly felt it was a credible enough forum to send a strong message to the BBC and the BBC Trust about what senior Conservatives were thinking about all this. Ed's reply is also posted on Chris's blog.
Chris press released the email exchange to all his contacts. Within minutes he had a call from someone purporting to be from BBC News online who said (breathlessly, I'd like to think):
"Is this genuine?"
"Yes."
"Can you send us those emails?"
"Yes."
And he did.
The exchange was confirmed at Vaizey's end, and the story was taken up by The Guardian and The Telegraph (probably picking it up from a PA re-write) before gaining wider currency in the broadcast and online media. I cannot find the orginal story (if it was ever published) on BBC news online at all.
In seems in that period in early March, Ed Vaizey wrote a number of emails to outraged listeners who contacted him. You can see one of Ed's emails on the Facebook campaign to save 6 Music, but the email to Chris, as far as I am aware, was the first, and it was a damn good scoop.
I think Chris's initial contact may have gone some way towards persuading Ed Vaizey to come out in favour of 6 Music. It was certainly the very first shaft of light for 6 Music's fans. What was originally presented as a fait accompli suddenly looked shaky and the station's supporters found they had gained a powerful friend in a very high place.
The CMU website doesn't really break stories. I was having lunch with Chris a week or so after he sent his email to Ed Vaizey and asked what other exclusives he's nailed, expecting him to reel off a list.
The best, no, the only one he could come up with was when Anthony Hall resigned from the BPI over their "three strikes and you're out" policy on illegal file-sharing. Anthony sent a copy of his resignation letter direct to CMU, rather than the paywalled Music Week, ensuring maxiumum online exposure. Clever Anthony.
But that was it. Which makes the Ed Vaizey email and its subsequent impact all the more interesting.
So hats off to Chris and congratulations to everyone who fought the campaign. I worked at 6 Music as a freelance music newsreader and had a great time there, and I'm pleased it's going to remain part of the BBC's radio portfolio.
Other important pop culture figures like David Bowie and Damon Albarn weighed in to save the station. Jarvis Cocker's impassioned "rant" at the Sony Awards in May (hear my interview with him about it here) left the BBC hierarchy in no doubt that the fuss over 6 Music was not going to die down.
In fact, the sustained level of support the Save 6 Music campaign enjoyed from the moment this story was leaked to The Times in February, to today's decision, is a tribute to the passion (and savvy) of its fans.
But I would argue the BBC's plan to can the station was fatally holed by an email my mate Chris wrote to Ed Vaizey MP, who was then the Conservative Party spokesman on culture. Ed's response gave the campaign hope and momentum.
Every day for the last eight years, Chris's company, CMU music, has sent out a free daily email for people who work in the music industry. At the last count he had around 18,500 subscribers. Within a week of the decision to close 6 Music being announced by the BBC, Chris wrote an open letter to Ed Vaizey. In the email, he explained why he thought the BBC should cherish, rather than close 6 Music, and asked Ed for his help.
The email itself, (published on Chris's personal blog) is worth reading. It is a long, beatifully-pitched and incredibly well-informed piece of writing. Ed may not have known about Chris, or his blog, before he received Chris's email, but he clearly felt it was a credible enough forum to send a strong message to the BBC and the BBC Trust about what senior Conservatives were thinking about all this. Ed's reply is also posted on Chris's blog.
Chris press released the email exchange to all his contacts. Within minutes he had a call from someone purporting to be from BBC News online who said (breathlessly, I'd like to think):
"Is this genuine?"
"Yes."
"Can you send us those emails?"
"Yes."
And he did.
The exchange was confirmed at Vaizey's end, and the story was taken up by The Guardian and The Telegraph (probably picking it up from a PA re-write) before gaining wider currency in the broadcast and online media. I cannot find the orginal story (if it was ever published) on BBC news online at all.
In seems in that period in early March, Ed Vaizey wrote a number of emails to outraged listeners who contacted him. You can see one of Ed's emails on the Facebook campaign to save 6 Music, but the email to Chris, as far as I am aware, was the first, and it was a damn good scoop.
I think Chris's initial contact may have gone some way towards persuading Ed Vaizey to come out in favour of 6 Music. It was certainly the very first shaft of light for 6 Music's fans. What was originally presented as a fait accompli suddenly looked shaky and the station's supporters found they had gained a powerful friend in a very high place.
The CMU website doesn't really break stories. I was having lunch with Chris a week or so after he sent his email to Ed Vaizey and asked what other exclusives he's nailed, expecting him to reel off a list.
The best, no, the only one he could come up with was when Anthony Hall resigned from the BPI over their "three strikes and you're out" policy on illegal file-sharing. Anthony sent a copy of his resignation letter direct to CMU, rather than the paywalled Music Week, ensuring maxiumum online exposure. Clever Anthony.
But that was it. Which makes the Ed Vaizey email and its subsequent impact all the more interesting.
So hats off to Chris and congratulations to everyone who fought the campaign. I worked at 6 Music as a freelance music newsreader and had a great time there, and I'm pleased it's going to remain part of the BBC's radio portfolio.
Saturday, 3 July 2010
John Inverdale and Alison Booker
Last week John Inverdale made his second visit to BBC Surrey since I started working there. Although he lives in Kingston (just outside our patch, and despite what anyone tells you, including many residents, NOT in Surrey), John is also Chairman of Rugby at Esher RFC. Esher are the most successful rugby club in our patch, and last season were promoted back to the Championship in stunning style, winning every game but one.
I approached John at the Sony Awards in May and asked if he would like to drop by BBC Surrey in the run-up to Wimbledon, to talk about Oxshott Andy's chances of winning the championship and Esher's plans now they were promoted. He asked if we'd like to have him in on the Monday Wimbledon started. I jumped at the chance.
John actually ended up coming in a day later than planned, but it was still great to get half an hour of his time on a day when he would be working long into the evening, presenting live television.
Why am I telling you this? Well, John Inverdale is the reason I work in radio. Many years ago during a summer break from university I was watching Wimbledon at home on TV. The match being shown was a little dull, so I wandered into the kitchen where the (then) BBC Radio Five was on.
Having picked a match, TV is more-or-less bound to stick with it to its conclusion, but radio can abandon a tedious error-fest, ping out to commentators and their co-hosts at the other courts, bring in some interesting studio guests, range off into the furthest reaches of the grounds to get a flavour of the non-tennis side of the tournament, all the while keeping you informed of every single significant score as it happens.
That kind of style has almost come about out of necessity - tennis doesn't lend itself to radio commentary (the time between each stroke is too short to describe it), so unless it's a really big match where listeners are hanging on the outcome of every shot, the presenter has to tell the story of the whole tournament as it is at that exact moment. And John Inverdale did it in a way that seemed almost magical. He kept his eye on the scores and would link fluently to the court commentators, who all seemed to be as articulate, warm and well-informed as he was.
John injected interest into meandering conversations, let them flow when they deserved it and asked exactly the right question of whoever he was talking to at the time. The light bulb went on and I decided there and then that I was going to try and make a career in the media as a radio presenter.
A few years later, in 1997, John won Broadcaster of the Year at the Sony Awards. I was there (a young, wet-behind-the-ears wannabe, working, I think, as a general gopher for the Radio Academy) and was absolutely thrilled that the radio industry rated him as much as I did.
After a long night, I was trying to find my way out of the Grosvenor House Hotel when I bumped into John and his wife, possibly as refreshed as I was, clutching his Sony, and trying to do the same. I blurted out that he was my inspiration and how glad I was for him. He thanked me, shook my hand and gave off one of the happiest grins I'd seen in a long time, before his wife dragged him out to their waiting car.
Nine years later I started presenting at 5live and although John and I had the odd chat on air, I never met him, because he would be on location at whatever sporting event he was covering and I would be in the studio.
When he first dropped in on my show at BBC Surrey, it was during my first week on air so it didn't seem appropriate to say anything, but when he came in last Tuesday I introduced him adding something like "and purely for the purposes of embarrassing him, John is the reason I decided to become a broadcaster, so everything about this show is entirely his fault."
Given he was there to talk about Wimbledon, it felt right to do it. As I expected, a set up like that quickly led to a discussion about how many Wimbeldons he'd covered (25) from when it was on Radio 2, then Radio 5, then 5live and his subsequent shift into television.
A dear ex-colleague of mine, Alison Booker, died of cancer on Thursday. Ali was the best broadcaster at the first BBC radio station I worked at - BBC Oxford. We lost touch, but thanks to Twitter and Facebook, regained it. She lived with her disease for years and wrote a very droll blog about it. Just over two weeks ago she won a major radio award for her cancer diaries. She was too ill to attend the ceremony, but was ambushed on tape with the news at Sobell House hospice. In her impromptu acceptance speech, she thanked her tumours "for making it all possible".
People like Ali and John are the benchmarks for the sort of presenter I want to become. I've got a long way to go, but I'm grateful for the way they've influenced my life, as broadcasters and unwitting mentors.
I approached John at the Sony Awards in May and asked if he would like to drop by BBC Surrey in the run-up to Wimbledon, to talk about Oxshott Andy's chances of winning the championship and Esher's plans now they were promoted. He asked if we'd like to have him in on the Monday Wimbledon started. I jumped at the chance.
John actually ended up coming in a day later than planned, but it was still great to get half an hour of his time on a day when he would be working long into the evening, presenting live television.
Why am I telling you this? Well, John Inverdale is the reason I work in radio. Many years ago during a summer break from university I was watching Wimbledon at home on TV. The match being shown was a little dull, so I wandered into the kitchen where the (then) BBC Radio Five was on.
Having picked a match, TV is more-or-less bound to stick with it to its conclusion, but radio can abandon a tedious error-fest, ping out to commentators and their co-hosts at the other courts, bring in some interesting studio guests, range off into the furthest reaches of the grounds to get a flavour of the non-tennis side of the tournament, all the while keeping you informed of every single significant score as it happens.
That kind of style has almost come about out of necessity - tennis doesn't lend itself to radio commentary (the time between each stroke is too short to describe it), so unless it's a really big match where listeners are hanging on the outcome of every shot, the presenter has to tell the story of the whole tournament as it is at that exact moment. And John Inverdale did it in a way that seemed almost magical. He kept his eye on the scores and would link fluently to the court commentators, who all seemed to be as articulate, warm and well-informed as he was.
John injected interest into meandering conversations, let them flow when they deserved it and asked exactly the right question of whoever he was talking to at the time. The light bulb went on and I decided there and then that I was going to try and make a career in the media as a radio presenter.
A few years later, in 1997, John won Broadcaster of the Year at the Sony Awards. I was there (a young, wet-behind-the-ears wannabe, working, I think, as a general gopher for the Radio Academy) and was absolutely thrilled that the radio industry rated him as much as I did.
After a long night, I was trying to find my way out of the Grosvenor House Hotel when I bumped into John and his wife, possibly as refreshed as I was, clutching his Sony, and trying to do the same. I blurted out that he was my inspiration and how glad I was for him. He thanked me, shook my hand and gave off one of the happiest grins I'd seen in a long time, before his wife dragged him out to their waiting car.
Nine years later I started presenting at 5live and although John and I had the odd chat on air, I never met him, because he would be on location at whatever sporting event he was covering and I would be in the studio.
When he first dropped in on my show at BBC Surrey, it was during my first week on air so it didn't seem appropriate to say anything, but when he came in last Tuesday I introduced him adding something like "and purely for the purposes of embarrassing him, John is the reason I decided to become a broadcaster, so everything about this show is entirely his fault."
Given he was there to talk about Wimbledon, it felt right to do it. As I expected, a set up like that quickly led to a discussion about how many Wimbeldons he'd covered (25) from when it was on Radio 2, then Radio 5, then 5live and his subsequent shift into television.
A dear ex-colleague of mine, Alison Booker, died of cancer on Thursday. Ali was the best broadcaster at the first BBC radio station I worked at - BBC Oxford. We lost touch, but thanks to Twitter and Facebook, regained it. She lived with her disease for years and wrote a very droll blog about it. Just over two weeks ago she won a major radio award for her cancer diaries. She was too ill to attend the ceremony, but was ambushed on tape with the news at Sobell House hospice. In her impromptu acceptance speech, she thanked her tumours "for making it all possible".
People like Ali and John are the benchmarks for the sort of presenter I want to become. I've got a long way to go, but I'm grateful for the way they've influenced my life, as broadcasters and unwitting mentors.
Subscribe to:
Posts (Atom)