Wednesday, 29 July 2015

On the Light - Part 1

The BBC Light Programme, launched 70 years ago today, so often gets a bad press. I've lost count of the number of times I've read or heard someone say that the station offered little in the way that was new and entertaining. Admittedly the view is often expressed by those that fondly remember the 60s pirates stations. And there's no denying that the BBC both wilfully and by dint of MU agreements and lack of needletime was spinning very few pop records. And when you heard programmes like this you can understand why:


In 1964 an editorial in the Sunday Express offered the opinion that Radio Caroline was providing millions of people with "lively and gay music" and asked why can't the BBC "turn over the Light Programme to just this kind of entertainment instead of the pompous, pretentious pap it so often purveys?"     

Does the much-maligned Light Programme deserve this slating? After all the most most-listened to shows on BBC radio in 1964 where all on the Light: Two-Way Family Favourites, (1) Housewives' Choice, Children's Favourites, Saturday Club and Easy Beat.  This is also the sound of the station:


The BBC Light Programme first went on air on Sunday 29 July 1945 as part of a promised "first step towards a return to normal broadcasting". For the Home Service there was a return to the pre-war regional service (2) whilst the Light succeeded, at least for British listeners, the General Forces Programme and also the Allied Expeditionary Forces Programme. Indeed, as you'll hear in the programme below, the Light Programme borrowed from the AEFP its Orange and Lemons interval signal.  


During the planning stages, which had started back in 1943, the idea of a 'popular' station had been mooted to compete with "sponsored programmes from our neighbours", i.e. Radio Luxembourg. Whilst BBC bosses wanted the same kind of programme mix that listeners enjoyed on the Forces network there was an insistence that the new stations should be "firmly British in character" and that there should be "an effective resistance to the Americanisation of our entertainment".

The Radio Times promised that the service would have programmes that were new but there would also be "old favourites reintroduced in a new form." Some of those wartime programmes that continued on the Light Programme included ITMAMusic While You Work and Variety Bandbox. Comedy series badged under the Merry-Go-Round title split off to become Waterlogged Spa, Stand Easy and the much-loved Much Binding in the Marsh.

During the Light Programme's early years a number of programmes came on stream that would become stalwarts of post-war radio: Family Favourites (7.10.45), Housewives' Choice (4.3.46  see note 3), Have a Go (16.9.46 see note 4),  Woman's Hour (7.10.46), Dick Barton-Special Agent (7.10.46), Sports Report (3.1.48), Mrs Dale's Diary (5.1.48),  Jack Jackson's Record Round-Up (10.1.48), Take It From Here (12.4.48), Top of the Form (1.5.48), Ray's a Laugh (4.4.49), The Billy Cotton Band Show (1.5.49), Listen with Mother(16.1.50), Life with the Lyons (5.11.50), The Archers (1.1.51) and Friday Night is Music Night (25.9.53) 

Other long-running or fondly-remembered series included Journey Into Space (first heard on 21.9.53), Children's Favourites (23.1.54), Hancock's Half-Hour (2.11.54), Make Way for Music (13.5.55), Pick of the Pops (4.10.55), Movie-Go-Round (16.9.56), Semprini Serenade (29.9.57), Music Box (23.4.58), Saturday Club (4.10.58),  Roundabout (13.10.58), Go Man Go (23.12.58), The Navy Lark (29.5.59), Round the Horne (7.3.65), and I'm Sorry I'll Read That Again (4.10.65 see note 5).

Some of these programmes are recalled in this fiftieth anniversary tribute to the Light Programme presented by Chris Stuart. It was broadcast on BBC Radio 2 on 30 July 1995. Edits have been made for some copyrighted music.



This is how the BBC Year Book for 1946 described the new Light Programme service:

Some months before the end of the war the Director-General promised that within ninety days of the end of hostilities in the West, the BBC would provide its listeners in the United Kingdom with two full-scale alternative programmes ; and that regional programme services, necessarily interrupted for security reasons, should also return. VE-day came on 8 May, and the programme
and technical staff at once began to make good the promise, even while a week of special victory programmes was being broadcast. On 29 July the new programmes were launched ; the `Home'
service with its regional variations, and the new alternative `Light' programme.

THE LIGHT PROGRAMME- `Designed to appeal not so much to a certain class of listener -but to all listeners when they are in certain moods'
The Light Programme, latest -comer to the air, sets out to give British listeners a continuous service of information and entertainment, contrasting now with the various Home Services and in
future with the Home Services and the third programme that is to begin in 1946. It is broadcast nationally on long wave, backed up by medium -wave transmission in urban areas, where long -wave
reception may be subject to interference. The long wavelength is the famous 1500 metres used for the National Programme before the war, and devoted to the European Service from 16 November,
1941, to 28 July, 1945 ; now back at the service of listeners at home. The medium wavelength, 261 metres, is also that used for the subsidiary National stations before the war.

As a second programme for listeners in the United Kingdom, the Light Programme succeeds the General Forces Programme, which itself succeeded the original Forces Programme that catered for
the BEF from the days of the Maginot Line. Incidentally, the General Forces Programme continues on short waves for British troops outside North -west Europe.

Both these predecessors were addressed to specialized audiences, and the civilian listener at home knew that in listening to them he was virtually eavesdropping (which, by the way, is a popular
pastime with British listeners, as was evident with the European Service and the AEF Programme). Unlike them, the Light Programme is meant for civilians, and they have the right to expect
it to give them what they want.

The title `Light' Programme does not mean that everything broadcast in it must necessarily be frothy or frivolous. It does mean that the overall content of the daily or weekly programme contains
a higher proportion of sheer entertainment than either the Home Service or the third programme. More Variety shows, dance bands, brass bands theatre organs, popular orchestras, sport ; more `easy listening' in general, designed to appeal not so much to a certain class of listener but to all listeners when they are in certain moods. This does not exclude a proportion of more serious items -religious services of a rather different kind from the broadcast service that has become traditional, talks, fine music played by great orchestras (but not formal `symphony concerts'), plays, dramatic features on subjects with wide appeal. But these items will always form a minor element in the programme as a whole.

In two respects the Light Programme forsakes its special character in order to take its place in the BBC's general plan. It carries news broadcasts, at times which alternate with those of the Home
Service, and these news broadcasts do not differ in style from the Home Service news, although they are read by different voices. Also it carries an hour a day of Forces educational broadcasts planned in consultation with the Service education authorities. These are included in the Light Programme because its long -wave transmission brings them within the reach of the greatest possible number of Service listeners. Among these are the British occupation forces in Germany, and it is worth mentioning that there has from the first been close co- operation between the Light. Programme and the British Forces Network in Germany, run by Army Welfare. The BFN relays a large proportion of the Light Programme and in return contributes regularly to it. A notable example of this co- operation is the two-way 'Family Favourites' series, in which a tune requested by a civilian listener for a relative in the occupation forces is followed by a tune requested by a Service man in Germany for a relative at home, the whole programme being broadcast both in the Light Programme and by
the BFN.


1 - Family Favourites topped 18 million listeners, the biggest audience of any regular radio or BBC TV programme. (Source: BBC Handbook 1964)
2- The regions were London, Midland, North, West, Scotland and Wales  with Northern Ireland having to share one of the North regions wavelengths (285.7m) due to a shortage of available wavelengths.  
3- Although the regular series of Housewives' Choice started in March 1946 the BBC Genome site lists two earlier weeks: w/c 26 November 1945 with Roy Rich and then w/c 1 January 1946 with Franklin Engelmann.
4- In fact Have a Go  had started on the Northern Region of the Home Service some 6 months earlier on 4 March 1946 but was quickly transferred to the Light Programme where it ran until 1967. Of course the other programme transferring from the Regions, and still broadcast today, was The Archers from the Midlands. Another popular show was Welsh Rarebit, from Wales (naturally), that had started life as a magazine programme in 1940 but became a 60-minute variety show from 6 April 1949. 
5- The first 3-part series in 1964 had aired on the Home Service but the second and all subsequent series were broadcast on the Light Programme and then Radio 2.   


Tuesday, 14 July 2015

The Official Chart - A New Era

It won't have escaped your notice that the BBC's OfficialChart Show has shifted from its traditional Sunday slot to Friday afternoon. Whilst it's easy to get all misty-eyed about listening to (and in all probability recording) the Top 40 on a Sunday, most of those doing so are unlikely to still be listening to Radio 1 and would struggle to name the current number one.    

Greg James delivered an exemplary performance on Friday's new chart. Minimum chat and maximum music. With a running time almost half that of the old Sunday show there's only time to play the Top 25 but at least it cut back on the extraneous stuff that had crept into the show in recent years. Note how Greg welcomes in the "new era" with the full date, ideal for archive clipping, and refers to "the exciting new sound", a lovely touch I thought. This is "proper radio history."


That mention of "the exciting new sound" was probably on Greg's mind after speaking to Tony Blackburn earlier in the day on BBC Radio Berkshire.


The chart show had been a Sunday afternoon fixture since 7 January 1962 when Alan Freeman's Pick of the Pops moved from Saturday nights. Two DJs stand out as imbuing the programme with energy and excitement: Bruno Brookes and Mark Goodier. Both have made appearances on BBC local radio in the last few days.  

John Foster, a self-confessed radio anorak, put together a montage of clips and played some classic JAM jingles as part of his chat with Bruno Brookes on BBC Radio Tees last Friday:


Meanwhile Mark Goodier, the man who's got the best music, spoke to Stephanie Hirst on her new BBC Radio Manchester show Nothing But the 90s:


And the current number one: David Zowie's House Every Weekend

Other chart shows are available ... on a Sunday!

Monday, 13 July 2015

Live Aid

"It's twelve noon in London, 7 am in Philadelphia and around the world it's time for Live Aid. Sixteen hours of live music in aid of famine relief in Africa".

Richard Skinner's opening announcement thirty years ago today launched the start of an unforgettable day for the "global jukebox" that was Live Aid. In this edited version of a Radio 1 documentary those involved in performing at the concert and those working behind the scenes on the mammoth broadcast operation recall that day, Saturday 13 July 1984.

Live Aid-One Year On: One Day That Shook the World is introduced by Simon Bates and features the voices of Bob Geldof, Stuart Grundy, Dave Atkey, John Keeble, Elvis Costello, Sting, Howard Jones, Michael Appleton, Chris Lycett and Elton John. It was produced by Roger Lewis and aired on Saturday 13 July 1986.



Tagged on the end of the recording are some of the Live Aid jingles produced by JAM Creative Productions. 

Sunday Times illustrations by Mick Austin

Saturday, 30 May 2015

Frequency Guide

I was always fascinated by the frequency charts that used to appear in London Calling, codifying and condensing all the shortwave and medium wave listening – VHF in Berlin, of course – to the BBC World Service. You can almost imagine someone having to draft them out on a sheet of graph paper. This one dates from July 1977.



Well even today, surprisingly, they still produce them. With just a little searching I found this page for West & Central Africa. It now looks like they work it all out on a spreadsheet.

Friday, 1 May 2015

Take Me to Your Leader

Election debates. Leadership interviews. Question Time Special. Party Election Broadcasts. It won't have escaped your notice that (in the UK) there's a General Election happening next week.

The political spectrum is much more fragmented these days and the parties are undoubtedly planning for coalition deals and agreements - even if they publicly deny this.

Cast your mind back to the mid-80s, at the height of Thatcherite Britain, and it was still a two-party system. But thoughts of a possible coalition government were on the minds of the Liberals and the (now defunct) Social Democrats who had formed the SDP-Liberal Alliance.

These four interviews feature the main party leaders (for the majority of the decade). Three come from a series of conversations with Michael Charlton, best known for Panorama, that were broadcast on BBC Radio 3 at a time when the station still carried current affairs amongst the classical music and drama (see Six Continents).

From 10 December 1985 this is Labour leader Neil Kinnock:


From 3 December 1985 this is Liberal Party leader David Steel:


From 26 November 1985 this is SDP leader David Owen:



And finally from an edition of The World this Weekend on 31 May 1987 is PM Margaret Thatcher talking to Gordon Clough.

Monday, 27 April 2015

Fun at One – Thirty Minutes of Unadulterated Garbage


With the news that Victor Lewis-Smith’s Radio 1 programmes are to get a Radio 4 Extra repeat next month – their first airing since 1990 – I thought it timely to dip my toe into the VLS archive.

Victor Lewis-Smith studied Music at York University and made his first broadcasts for the campus radio and TV station. His professional radio career started at the newly launched BBC Radio York in July 1983 with a Sunday morning programme known as Snooze Button (followed a year later by One- Way Family Favourites).  (1)

Whilst still on Radio York in 1984 national radio beckoned and Victor performed a series of comic vignettes alongside Laurie Taylor (for many years billed on-air as “Laurie Taylor, Professor of Sociology at York University”) under the title Modern Manners.  These were part of the station’s ill-fated Thursday morning sequence Rollercoaster, the whole being linked by Richard Baker.

Victor Lewis-Smith (pictured top right) was part of the weekend
team when Radio York launched in 1983.
The following year Modern Manners transferred to the second series of the Sunday morning magazine show The Colour Supplement. (2) Here are two clips of Modern Manners from 21 July and 11 August 1985.  All these years later I still call the Radio Times the “Raddy Otimees”!



By now Victor was also working behind the scenes at Radio 4 as a producer on Midweek. Presenter Libby Purves had to deal with an increasingly oddball set of guests and on one memorable occasion  (3), when Libby was on holiday, the replacement was Arthur Mullard, hardly the most eloquent of hosts. This show has now passed into the realms of radio infamy and you can chortle away at clips from that programme on this edition of iPM. Ever the performer Victor Lewis-Smith gets in on the action over the talkback.
Listener reaction to that edition of Midweek was divided: “what a ridiculous programme”, “it was worth the whole licence fee”, “an insult to the listening public”, “sheer genius” and “an insult to one’s intelligence”.

Lewis-Smith worked as a producer on Midweek and then Start the Week in 1985 and 1986 by which time he was appearing on Ned Sherrin’s Loose Ends with his comedy writing partner Paul Sparkes – they’d met at York University. You can hear one of those frenetic sketches on my post about Ned Sherrin.

Amongst the Sherrin acolytes on Loose Ends was Radio 1 producer John Walters and it was John who promoted the idea of Victor putting together a show for Radio 1. That show, airing in May 1988, featured a character first heard in some of the Loose Ends sketches, a spoof DJ named Steve ‘More Music’ Nage, complete with a nasal mid-Atlantic twang, a kind of proto-Mike Smash type. It was a mickey take on the sound of the station that was now employing him – his shows would consistently lampoon the BBC – complete with jingles and faux dedications. Here's a clip from that show:


Victor Lewis-Smith would appear on Radio 1 over two years. The first show in his own name went out late on Boxing Day night in 1989 under the title Victor Lewis-Smith’s Christmas Message, though it contained nothing seasonal.  My tape machine was running that evening and here’s the recording. Note at the end a continuing obsession with mention of TV’s Mr Derek Batey.


His fast-paced approach, slick tape-editing, multi-layered sound, funny voices and musical pastiche contained elements of Jack Jackson and Kenny Everett’s styles – his acknowledged influences. But his comedy, and certainly that on Radio 1, was increasingly dripping with vitriol, insults and sarcasm. At the same time one detects a genuine love of radio and the parodies of old style radio shows, films and newsreels show a nostalgic undertone that would also manifest itself in the TV editions of Buygones.

Listening back to the programmes you can appreciate their technical brilliance with Lewis-Smith providing all the voices, but at the end of half-an-hour it is also quite draining. You feel like you’ve been bludgeoned with a giant comedy hammer.
Two series and two specials followed on Radio 1. It’s the first ten-part 1990 series that’s getting the Radio 4 Extra repeat starting at 22.30 on Friday 8 May 2015. One wonders if they’ve edited out the warnings that preceded and followed each programme. Where Radio 1 listeners really possessed of such delicate sensibilities? “The following programme contains material which some people may find offensive. If you consider yourself likely to be offended then perhaps you’d like to retune to another frequency for the next thirty minutes. You may like to telephone your views about the programme, call 9274364 prefix 01 if you live outside London. Your comments will be passed onto the Controller of Radio 1. Extracts may also be used in future programmes”. I’m still not sure if this was intended to be taken seriously.

Recalling these shows former station controller Johnny Beerling wrote: “It was quite brilliant but there was hardly a single BBC rule which Victor did not seek to break in delivering new and challenging comedy. He would always deliver his finished programme at the last possible moment so there was little time for the poor Radio 1 producer responsible for it to do much editing”.
One rule that Lewis-Smith broke was to obtain permission from the participants to use the recordings of his hoax phone calls. These calls were a staple of the shows, witness the one in the first programme to Harrods complaining of his dissatisfaction with a vacuum cleaner purchased for supposed “specialist” use to “suck the dust off sausages”.

Ahead of the Radio 4 Extra repeats here’s taster of that first show:


I’ve not heard if there are plans to repeat the second series. At the time of its first broadcast a number of edits had to be made (4) and one programme features a skit on the now-verboten subject of Jim’ll Fix It 

Dedicated to the memory of Mrs Tribley.

(1) One-Way Family Favourites replaced Snooze Button in the Spring of 1984, again on a Sunday morning. A typical Radio Times billing read “a sideways Sunday lunchtime entertainment from the heart of Yorkshire. This week Victor links up with Katie Boyle in the lost City of Atlantis”. 
(2) The first series of The Colour Supplement in 1984 was presented by either Sarah Kennedy or Fern Britton with roving reporter Nigel Farrell.  The second series in 1985 was presented by Margo MacDonald.
(3) The edition broadcast on 21 May 1986
(4) Some of the removed hoax calls made it onto the album Nuisance Calls. “Hear the tapes the BBC never dared transmit”.

Programmes for BBC Radio 1:
Steve ‘More Music’ Nage 30 May 1988  (1 hour)
Victor Lewis-Smith’s Chrsitmas Message 26 December 1989

Victor Lewis-Smith
Series 1: 10 shows 31 March 1990 to 2 June 1990
Bank Holiday Special: 27 August 1990
Series 2: 4 shows 4 July 1992 to 25 July 1992
Christmas Special: 26 December 1992


Saturday, 4 April 2015

That Was the Week – Part 2


The comedy factory that was Week Ending proved to be one of the most enduring programmes in Radio 4’s history and helped launch the careers of hundreds of comedy writers. It first aired forty-five years ago today.    

The roll-call of scriptwriters who ventured into the famous writers’ room is formidable and includes Pete Spence, Guy Jenkin, Andy Hamilton, Colin Bostock-Smith, Ian Brown, Richard Quick, Alistair Beaton, John Langdon, James Hendrie, Barry Pilton, Simon Bullivant, David Renwick, Steve Punt, Ian Pattinson, John O’ Farrell, Simon Brett, Rob Newman, David Baddiel, Richard Herring and Stewart Lee to name but twenty!
But how did it all start? BBC television had ridden the wave of topical satirical comedy in the early 60s but by the end of the decade had gone cold on the idea. BBC radio’s Listen to this Space had enjoyed a successful four series run but its star Nicholas Parsons was now controlling proceedings on Just a Minute.

Meanwhile Radio 4 controller Tony Whitby was having to reshape his schedules to accommodate the re-alignment of the station’s output in accordance with the Broadcasting in the Seventies policy and he let it be known that he wanted a ‘light’ Saturday night show. Comedy producer David Hatch came up with the proposal for a review of the previous seven days “featuring comic sketches performed by a band of actors, punctuated with quick-fire gags and devoid of a studio audience”. The programme’s title was What You Missed.
Hatch, working alongside co-producer Simon Brett, pulled together a show that featured members of the BBC’s Drama Rep (1) and a young comedy writer called Peter Spence who’d previously written for Les Dawson, Crackerjack and the Quiz of the Week. Tony Whitby was also drafting in some TV names to front some of his new shows – Richard Baker on Start the Week and Robert Robinson on Stop the Week – so Nationwide’s Michael Barrett was picked to host What You Missed.

By the time the pilot was recorded on 23 January 1970 the programme had been re-titled Week Ending. (2) From the start some of Week Ending’s now familiar elements were in place: the short news gags that would later develop into the pithy ‘newslines’ and the look at next week’s news. (3)

The pilot was a success and the series got the full go-ahead, kicking off at 23.05 on Saturday 4 April 1970. That first show, of which no recordings exist (4), also introduced another element to the format, the Week Ending theme tune known as Smokey Joe, a piece of library music that would bookend the show for the next twelve years.

Although Tony Whitby had foist Michael Barrett onto the producers he wasn’t that happy with his performance, but then neither was Barrett who felt out of place: “I wasn’t sure whether I was supposed to do it deadpan and straight or whether I was supposed to turn myself into a comic.”  As it happened the production team got the opportunity for a re-think when a General Election was called in May and the programme pulled from the schedules – a fate it would endure until 1987 when it did continue throughout the election campaign.  
Week Ending returned to the airwaves in June 1970 initially with Graeme Garden acting as host. But by 1971 the programme was now talking on its familiar sound and feel with less reliance on the Drama Rep and with David Jason, Bill Wallis and later that year Nigel Rees taking on the multitude of gags, sketches and impersonations. The reliance on actors was very much Week Ending’s modus operandi, in contrast to today’s topical comedy shows.

David Jason has found fame in the 1960s on ITV’s Do Not Adjust You Set but his radio work, mainly in the 1970s, is overlooked. He was a superb mimic and as well as his Week Ending work – he stayed with the show until 1983 – he was a regular on TheImpressionists and starred in four series of The Jason Explanation alongside Sheila Steafel and Jon Glover.
Bill Wallis had come up through the Footlights route – together with Robin Ray and Joe Melia he’d been in the substitute cast of Beyond the Fringe when the original cast toured the States – and had appeared in several TV productions in the 1960s. (5) Bill would be the longest-serving of the Week Ending cast, appearing until 1992, though by then he was doing fewer and fewer shows. “I did become very grumpy” he admitted. He was known for railing against some of the more outrĂ© sketch ideas. In October 1990 the programme supposedly took the form of a magazine and a Peter Baynham-penned script called for Wallis to play the staples in the centrefold. “I don’t do staples, I do Gorbachev!” he bellowed off-mic.

Nigel Rees’s appointment was a little more unusual. At the time he was more familiar to radio listeners as a reporter on Today, The World at One and Movie-Go-Round and he’d previously worked at Granada and ITN. But from his days at Oxford, and more particularly, performing in various Oxford revues he’d met Simon Brett and it was he who invited Nigel to join Week Ending, where he remained until 1976 – just in time for The Burkiss Way and devise Quote … Unquote.
For most of the 1970s and 1980s Week Ending retained a core cast of four. Joining in 1976 was David Tate, another stalwart he remained with the show until 1993. A year later saw the recruitment of the first regular female member, Sheila Steafel, who stayed until 1982. This meant, at the very least, that Nigel Rees or David Tate no longer had to ‘do’ the Queen or Margaret Thatcher.  When Sheila left she was replaced by Tracey Ullman. (6) But in 1983 Sally Grace joined the programme, intitally for just two weeks whilst Ullman was in America, but she remained a fixture until the final edition some fifteen years later.

From that period here’s the tenth anniversary show from 4 April 1980. The cast are David Jason, Bill Wallis, David Tate and Sheila Steafel. It starts off with a rather different version of the sig tune.


From a couple of years later this edition aired on 30 April 1982 just a few weeks into the Falklands War. Performing on this occasion are David Tate, Chris Emmett, Sheila Steafel and Jon Glover. My recording comes from the Saturday repeat as, for some reason, two sketches were cut from the original transmission. 
 


There was considerable cross-over with Radio 2’s topical comedy show The News Huddlines (more of which in a future post) amongst the writers but the man providing the impressions on Huddlines, Chris Emmett, also had a 20-year association with Week Ending.  There was also some cross-over with ITV’s Spitting Image. Chris worked on some episodes as did other Week Ending voices Jon Glover (1980-98) and Alistair McGowan (1989-93).  By the 1990s there were usually three regulars plus one ‘other’, too numerous to list here. The ‘regulars’ though included Toby Longworth (1993-96), Jeffrey Holland (1993-96), Dave Lamb (1994-98) and Sarah Parkinson (1997-98).
With a voracious appetite for topical sketches and one-liners Week Ending employed an open door policy for writers, the first programme to do so. By 1977 there was a Writers’ Room at 16 Langham Street where every Wednesday budding comedy writers could pitch their ideas alongside the small number of commissioned writers. Added to this absolutely anyone could send in their newslines and experience the thrill of hearing their joke make it to air and their name added to the ever lengthening end credits.  

As well as providing a training ground for comedy writers Week Ending also saw its fair share of producers, 49 in all during its full run. Many went on to become recognised names in radio and TV comedy: Paul Mayhew-Archer, Paul Spence, Griff Rhys-Jones, Geoffrey Perkins, Jimmy Mulville, John Lloyd, Bill Dare, Jan Ravens, Harry Thompson, David Tyler, Sarah Smith, Armando Iannucci and so on.

In later years there was something a revolving door policy on producers, much to the ire of the regular performers. Whilst in part this was radio policy to let producers learn the ropes it also reflected the need for the show to remain fresh and also to encourage the use of new talent on air too. Sally Grace recalled that “there was one week when I had three people with L-plates on. They were friends of the producer, who fancied having a go. One was a dentist. Another actually said, ‘Do I speak when the green light some on?’” (7)

To celebrate the programme’s twentieth anniversary producer Jon Magnusson and scriptwriter Bill Matthews compiled the two-part documentary for Radio 4 titled Two Decades of Weekending (sic). Providing the links was Sir David Steel, who had himself been the butt of several jokes on the series, especially during the SDP-Liberal alliance period with David Owen. Part one was first heard on 31 August 1990.   


For such a long-running show Week Ending rarely courted controversy but it hit the headlines in 1980 when it lampooned the tabloid newspaper editor Derek Jameson in a Man of the Week skit written by John Langdon. Describing him as “the archetypal East End by made bad”, “a nitty-gritty titivation tout” and a man “who is to journalism what lockjaw is to conversation and who still believes that erudite is a glue.” Jameson sued the BBC for libel. When it came to court four years later the jury found the sketch innocent fun and fair comment and so he lost the case and ended up paying £75,000 in legal costs.  Jameson never got over that “character assassination” as he recalls in the second part of Two Decades of Weekending first broadcast on 7 September 1990.  (8)



Over the years Week Ending itself was subject to parody, some good humoured mickey-taking and some with a bit more edge. Here are four examples. The first from a 1980 episode of The Burkiss Way has fun with Week Ending’s by now familiar recital of writers in the end credits. Both Andrew Marshall and David Renwick wrote for Week Ending and, of course, Chris Emmett who reads out the names (most of which are genuine) worked on both. Plus there’s Jo Kendall apologising for the “somewhat unwarranted outburst. In future, the closing credits on Week Ending will be kept considerably shorter … by reading out the names of the people who listen to it”.  
The second clip is also from a 1980, an episode of Injury Time, one of the programmes that occupied Week Ending’s time slot whilst it took a summer break. You’ll detect that the writer, probably Rory McGrath, may not have been entirely happy with his Week Ending experience. As well as another go at the end credits there are digs at the programme’s well established sketch formula: the Father and Son routine in which the offspring ask increasingly precocious and complicated questions on a news story and the A&B where the listener eavesdrops on two men in a pub (originally Jason and Wallis) picking apart a story and usually ending with the catchphrase “Well, this is it”. Appearing here with McGrath are Jimmy Mulville, Martin Bergman and Robert Bathurst. (9)

The third clip is from a more affectionate look at the programme, and indeed the whole of the network, A Day in the Life of Radio 4. The cast were all Week Ending alumni: Russell Davies (who provided this script), Chris Emmett, Sally Grace and Sheila Steafel. It was broadcast on 3 September 1983, though my recording was made of the 29 December repeat.
And finally Chris Morris couldn’t resist having a pop at the programme in a 1991 episode of On the Hour. In practice the Thank God It’s Satire Day sketch was more than likely written by Stewart Lee and Richard Herring, again former Week Ending contributors. The nonsensical closing credits are written and performed by Morris. 



Regular listeners to Week Ending will remember the theme tunes, Smokey Joe and that classic piece of 80s pop Party Fears Two, both of which feature in the recordings I’ve posted. But there were, in fact, four themes during the programme’s run.
Smokey Joe played by Small-Group Jazz used between April 1970 and April 1982
Party Fears Two by the Associates used between May 1982 and July 1993 
Week Ending Signature Tune specially composed by Richard Attree with a newsy feel to it. Used from September 1993 to July 1997
Week Ending Signature Tune composed by Richie Webb and Matt Katz with a more funky news style used from October 1997 to April 1998

Sunday Times 24 September 1989
Somewhat unusually Week Ending also made brief appearances over on Radio 2, popping up on some celebratory comedy/light entertainment shows. Here are a couple of examples. First David Jason, David Tate, Sheila Steafel and Bill Wallis join Roy Hudd on The Light Entertainment Show from October 1982. The second clip comes from a live programme hosted by David Frost in September 1988 to mark 21 years of Radios 1, 2, 3 and 4, The Radio Show, Radio Show. Appearing here are Sally Grace, David Tate and Jon Glover.


By the early 1990s the series was beginning to struggle and there were threats that the plug would be pulled. The high turnover of producers didn’t help and cast veterans Bill Wallis and David Tate had moved on. In 1993 Gareth Edwards was brought in as Executive Producer and the show got something of a re-launch. Edwards tackled the issue of a vast number of writers on small commissions that had led to a lack of commitment and direction in the Writers’ Room. The regular cast members were now Sally Grace, the recognised star of the show, with Jeffrey Holland (Hi-de-Hi’s Spike Dixon) and Toby Longworth.

New network controllers inevitably mean schedule changes and the incoming James Boyle (arriving in late 1996) would cut a swathe through Radio 4’s programmes. By July 1997 Week Ending was already earmarked as being for the chop and the obituaries were written before the last series started in the October. A number of established programmes were dropped and others re-timed. The supposed replacement for Week Ending was the Sunday night show The Beaton Generation in which “Alistair Beaton hosts a satirical comedy discussion programme”. It ran for 12 weeks. (10)
The final edition, Week Ending Ending, aired on 3 April 1998 with the Saturday repeat going out exactly 28 years after the first broadcast.  Here’s that final show complete with a re-appearance of David Hatch and a production credit for Jonathan James-Moore, by then Head of Radio Light Entertainment.



And that is the end of next week’s news. In the next post in this series I recall The News Huddlines.

Week Ending
1132 episodes broadcast over 83 series between 4 April 1970 and 3 April 1998.
Plus 147 specials such as Year Ending and compilation shows for the BBC World Service broadcast either annually or monthly under the Two Cheers for … banner.

Additional reading:
Prime Minister, You Wanted to See Me-A History of Week Ending by Ian Graves & Justin Lewis (Kaleidoscope Publishing 2008)

With thanks to Charles Rooke.
Notes:
1:  Sean Arnold, Geoffrey Collins, Garard Green and Frederick Treves all featured in the pilot episode.
2: The World at One presenter William Hardcastle also appeared in the first episode.
3: This feature, always prefaced “And Now Here is Next’s Week’s News” was eventually dropped in 1991.
4: For the first ten years only 25 complete episodes exist in the BBC Sound Archives.
5: Spot him in a couple of episodes of The Avengers.
6: Alison Steadman also appeared during 1983, yet another News Huddlines crossover.
7: I’ve not been able to establish who Sally is referring to here.
8: The BBC made it up to Derek Jameson by employing him on Radio 2’s Breakfast Show a couple of years after the court case.
9: Injury Time also featured Emma Thompson in the cast though she’s not heard in this clip.
10: Radio 4 listeners didn’t have to wait too long for a topical comedy show as The Now Show launched in October 1998.
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