Dirty Feed

Theatrical Sparkle

Published 18th October 2018

Here’s a nice little find: a good quality version of the second title sequence to BBC political programme On The Record, from 1993:

The clip was uploaded by one of the creators, Stephanie Chappell:

“This was designed and directed by me and my fellow designer Dimitri Kevgas. It turned out to be one of the longest running titles on the BBC – running over 11 years until the programme was retired in 2004.¹

We created a story for the UK political animal – the crocodile based on one of the gargoyles at Westminster. Because we were moving into the EU in the early 90s, we sent the crocodile on a journey, reflecting the interaction with his European allies. The whole project took 3 months to complete – with 1 month of solid single frame animation covering a second of the sequence each day.”

Here’s my question: could you ever imagine a political programme commissioning such a title sequence today? A piece of stop motion animation which took three months to create from beginning to end? I can’t. The money for such luxuries has long gone.

And this is the kind of thing I mean when I say: a lot of TV looks cheaper these days.

Oh, sure, there are endless newspaper columns and blog posts going on about the current golden age of television, and I’m not going to sneer at shows like Killing Eve. But they aren’t the only kinds of television there is. And over the years, imperceptibly at first, huge swathes of TV has been squeezed. Sometimes fundamentally: we’ve all read endless stories about the lack of rehearsal time on the soaps even compared to the 90s. And sometimes just with the fun stuff at the edges.

Because of course: On The Record didn’t need those opening titles, per se. But they did set a certain… tone. TV’s no fun if you cut everything to the bare bone. Television shouldn’t just be utilitarian, in the same way that your dinner shouldn’t just be about nutrition. Blockbusters didn’t need this glorious set of titles, but surely we can all agree it’s brilliant that they did… and also agree that there’s not a chance in hell they would ever be made now.

When I think back to my memories growing up with television, it’s often that fun stuff on the edges I remember the most. When TV just goes all-out on something beautiful, brilliant, and a bit mad, just because it can. Like, for instance, spending three months on a stop motion animation sequence of the Palace of Westminster acting like a crocodile and taking a short holiday around Europe. When budgets shrink, that stuff is the first thing to go. And I miss it like hell. ²

I’m not particularly pinning blame on programme-makers here. They do the best with the resources available. Nor is this really the place for my long, uninformed thesis on how to fix television. I’m just saying, for all the talk about the current golden age of TV… it’s worth remembering some of the fun stuff we’ve lost, just because it has the temerity not to be a “premium” drama.

A bit of theatrical sparkle shouldn’t be restricted to a narrow set of programming.

This is incorrect, in fact: the last ever episode of On The Record was broadcast on the 15th December 2002. ↩
I love this argument too, from Dave Jeffery: “To me, commissioning titles like that is the BBC supporting and promoting the arts in a way that is just as important as supporting an orchestra or composer. Similarly the BBC should do things like commission sculptures or murals for its buildings.” ↩

On Not Leaving Twitter

Published 25th September 2018

Internet

Recently, I’ve been making my way through the excellent Adam Buxton podcast. And out of all the great jingles, funny stories, and debates about whether you should nick stuff from a hotel’s breakfast buffet, I want to talk about Twitter, like a boring twat.

Let’s focus then, on Episode 20 with Iain Lee from 2016¹, 26:36 in:

IAIN LEE: If I wasn’t doing this career, I would get rid of Twitter, but Twitter’s a really good tool for selling stuff, for selling, you know…
ADAM BUXTON: Yeah, is it? I don’t know.
IAIN LEE: Well it is… I think here, because this is a brand new radio station, you’re building an audience from nothing, so for me to say to 47,000 people: “I’m on tonight at 10 o’clock and I’ve got Adam Buxton on”, some of those people will listen.
ADAM BUXTON: But if you weren’t on Twitter, I just don’t believe it would really materially affect the way that your show went.
IAIN LEE: I’m going to bear that in mind, thank you for that.
ADAM BUXTON: I just don’t believe it. I really don’t. I mean, I’m sure it’s different if you’re sort of a pop star, or maybe if you’re younger, I don’t know.
IAIN LEE: That’s rude.²
ADAM BUXTON: But I often say at gigs: “Raise your hand if you’re here because I tweeted about this” – two, three hands go up.
IAIN LEE: But those three people, though… loud laughers.
ADAM BUXTON: I mean, they are amazing. They’re the best chaps in the audience.

Of course, Adam Buxton can only talk about his personal experiences, so that’s fine. I’m certainly not saying that he shouldn’t do that.

But here’s my experience. Right down here, when you’re not even remotely famous, I can say that the only way anybody knows about the stuff I write about on here is through Twitter. Looking through my stats, Twitter accounts for the vast majority of clicks I receive.

Take, for instance, my short piece about how I love the churn of television. It hasn’t spread in any particularly meaningful way. But a fair few people saw the link on twitter, liked it, retweeted it, and talked to me about it. My stats hardly went through the roof. But through Twitter, a fair few people read it and enjoyed it. That’s all I really expected from it.

Without Twitter, how would people know about it? I’m not on Facebook.³ Sure, there are potential replacements for Twitter, and stuff like forums, RSS, etc has never entirely gone away. But nothing has the reach and ease Twitter has. If I left Twitter, I’m fairly certain my stuff wouldn’t be read nearly as much.

I’m not obsessed with stats. I don’t care about scraping every single reader my way. Some articles I actually write almost entirely for myself. But for some pieces, “people read and enjoy my stuff” is nice to have.

Just because you have a certain profile, never forget how useful things like Twitter can be for others.

* * *

All the controversy last month to do with Jack Dorsey and Alex Jones – leading to Jones’ eventual banning – has weighed heavily on my mind. I’m not about to recount it all here; you probably know it all anyway. Click the links and read if you don’t, I’m not your mum.

Out of all of that nonsense, for me it was Dorsey going on The Sean Hannity Show to defend himself which seemed to me to indicate… shall we say, a lack of good faith. That would not have been my choice of outlet.

And I’ll admit it: through it all, I seriously thought about leaving Twitter. In the end I decided I couldn’t, for various reasons, but chief among them is what I talk about in the first part of this post. We can wax lyrical about RSS all we like – indeed, I’ve put some new, more obvious links to Dirty Feed’s RSS feed in the navbar – but it’s just not where my audience is, at least right now.

Still, it was fun watching people get outraged, say they were leaving Twitter, delete all their tweets… and then slowly crawl back. To take just one very prominent example: Matt Haughey made a big deal of leaving Twitter, and yet is still bloody tweeting.

I have a great deal of respect for anyone with the moral scruples to leave Twitter. But if you’ve announced that you’re going, then Just. Go. You don’t get to performatively leave the service and have people cheering you along… and then still get all the benefits of sticking around as well.

Just make a decision.

This episode also contains Adam talking at length about the ‘You Break It, You Pay For It’ section of The Adam and Joe Show and lots of stuff about The Persuasionists, both of which are more interesting than all this nonsense. ↩
This is highly amusing, by the way. ↩
If you’re going to write an article about leaving, you’d best stick to it. ↩

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social media

Cheap Cheap Cheap: Escape from the Cuntery

Published 22nd September 2018

TV Comedy / TV Gameshows

Cheap Cheap Cheap - Barry and Noel

It isn’t a game show crossed with a sitcom, of course.

Oh, Hat Trick might have tried to sell it like that. It was the line used in all the pre-publicity. But the word “sitcom” simply oversells the narrative element of Cheap Cheap Cheap. If people really tuned into the programme expecting a sitcom, no wonder they were disappointed with what they saw.

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best of

Jon Wolfert on Rewound Radio

Published 26th August 2018

Jingles / Radio

Short version: you should all be listening to Jon Wolfert’s live Rewound Radio show (Sundays, 3pm ET, 8pm BST), full of great 60s/70s music, and loads of talk about radio and advertising jingles.

Long version: why would you want to do this?

Well, I’ve talked before about some of the reasons I love jingles, but hey – I’m just a fan. Jon Wolfert is president of JAM Creative Productions, who have made some of the finest jingles ever made… and also just happens to be the biggest jingle fan in the world. There is literally nobody else in the world who knows more about jingles than Jon. And listening to people talking about stuff they know and love is one of my favourite things in the world.

And he can bring the history of jingles to life in a way I’ve never heard anyone else do. Here’s one of my favourite examples from recent weeks – an eight minute segment from his show, on the topic of 1960s soul jingles:

[mejsaudio src=”https://dirtyfeed.org/wordpress/wp-content/uploads/2018/08/rewound-souljingles.mp3″ volume=”false”]

Download “Rewound Radio (12/08/18) – Soul Jingles” (8MB MP3, 8:32)

Jon takes what could have been a difficult subject, and brings out a fascinating tale of not only music, not only radio, but of history, and people. Every jingle has a tale behind it, and nobody can tell those tales better than Jon Wolfert.

Rewound Radio, Sundays, 3pm ET, 8pm BST. Three hours of jingle fun, and loads of great music too. You can’t go wrong.

Here ends your public service announcement.

Now Weary Traveller, Rest Your Head, for Just like Me, You’re Utterly Dead

Published 9th August 2018

Internet / Life

Earlier this year, a well-known web rascal died.¹ I didn’t know him. I didn’t even really like his writing, despite it being much lauded; I found it a little pretentious, and prone to sweeping judgements. I have no reason to write about him. His death is none of my business.

Except: I can’t stop thinking about it.

It’s gone, you see. All his writing: he deleted it from the web years ago. So when his death was announced, and people across the world went to look for their favourite posts to remember him by… they weren’t there. None of his sites were still online. Sure, people went scrabbling around on the Wayback Machine to find his stuff again, but however amazing the Wayback Machine is, it isn’t perfect at preserving sites. For a guy who cared so much about how the web looked and felt, and gave attention to every detail, to see people being forced to link to the equivalent of a dodgy photocopy was… well, a shame.

Don’t misunderstand me: I’m not criticising him, and his specific situation. (There are particular reasons for this which are not necessary to go into here.) This isn’t really about him, in fact.

It just made me think. When you die, unless you were a right nasty piece of work, people will want to remember you. In years past, aside from the famous, that might only have been family and friends, gathering together and flicking through a book of photos. These days, if you live your life online, you might have people who read your nonsense who live halfway across the world. For that nonsense to just disappear into the ether means that when it comes for people to mourn… they can’t remember you in the way they would have liked. It’s the equivalent of chucking that book of photos onto a big bonfire.

When I die, I want to leave as much of myself behind as possible. Eventually, I’ll fade, as everything does. But I don’t want that to happen before it has to.

I don’t need to name him; who he was is irrelevant to this post. ↩

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A Few Notes on the Recording of The Lenny Henry Birthday Show

Published 5th August 2018

TV Comedy

TV Centre

On the 30th July, I went to see The Lenny Henry Birthday Show recorded in TC1 at TV Centre. The following are a few notes from the experience. Nothing too spoilery, if only because my brain has an innate capability for forgetting the funniest of jokes precisely 10 seconds later.

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recording report

Blocks.

Published 28th July 2018

Internet

Back in April, Twitter started grouping responses to news stories together in your timeline, in a determined attempt to annoy you as much as possible. Now, they seem to have gone one step further. Take a look at what appeared in my timeline today:

Responses to actual tweets, all grouped together. Annoying enough, you might think, seeing as it’s one of the most lame-ass tweets anybody has ever posted in the entire history of Twitter. (Luckily, all the replies were pointing this out.) But that’s not what I’m complaining about.

What I’m complaining about is that it happened despite this:

Yes, @IL0VEthe80s blocked me two years ago, because I was mildly sarcastic to them. In which case: why the hell did their ludicrous tweet suddenly show up in my timeline? It surely doesn’t matter whether it’s a normal retweet, or Twitter’s weirdo “Tweeted about this” nonsense – if an account has blocked me, I should not be able to read their tweets.

And sure, it doesn’t matter in this instance. I was a little rude because their account is shit, they blocked me, we all move on. But if you’ve blocked someone for rather more serious reasons, then it really could matter. Once you block someone, you really need to be confident that person will see none of your tweets. You don’t need me to list all the circumstances where someone you’ve blocked seeing your tweets would be a terrible thing to happen.

Twitter protests that they’re really trying when it comes to dealing with abuse on their platform. But – alongside a million and one other indicators – things like this prove that they aren’t thinking about it nearly enough. They’ve rolled out a brand new feature, without taking into consideration the very fundamentals of account blocking – a hugely important safety feature of the platform. It should have been one of the first things that was thought of. Seemingly, it’s slipped through the net.

It really doesn’t feel like Twitter gives a damn about this stuff, does it?

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social media

“A British Netflix”

Published 21st July 2018

Other TV

BBC News, ‘Netflix effect’ poses challenge to British TV’, 18th July 2018:

Video streaming services such as Netflix and Amazon Prime now have more subscribers than traditional pay TV services in the UK, new data from Ofcom has revealed.

The media regulator says British TV will have to change the way it operates if it wants to compete with the internet giants.

Sharon White, Ofcom’s chief executive, says: ‘We’d love to see broadcasters such as the BBC work collaboratively with ITV, Channel 4 and Channel 5 so that they have got that scale to compete globally, making shows together, co-producing great shows that all of us can watch.

“I think it would be great to see a British Netflix.”

* * *

BBC Media Centre, ‘BBC announces changes to political programming’, 12th July 2018:

The BBC has announced changes to its political and parliamentary output to improve its digital coverage, better serve its audiences, and provide more value for money.

The changes include:

[…]

A changed schedule for BBC Parliament: the channel will still broadcast live and replayed coverage of Parliament and the devolved parliaments and assemblies, but will no longer make bespoke programmes and will not air in the weeks when the UK Parliament or the devolved Parliaments and assemblies are not sitting.

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