With highlights from Ariel

November 2010 Number 8

pages 2-3All change at the BBC

TVC in the50s & 60spage 6

CutsincludeByfordpage 3

Bookreviewpage 12

News

PROSPERONovember 2010

Editorial contributions

Write to: ProsperoBBC Pension and Benefits CentreBroadcasting HouseCardiff, CF5 2YQTel: 020 7765 1414

Email prospero@bbc.co.uk

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Prospero is provided free toretired BBC employees. It canalso be sent to spouses ordependants who want to keepin touch with the BBC. It includes news aboutformer colleagues, pensionissues and developments atthe BBC. Prospero includesclassified advertisements. To advertise in Prospero orthe BBC Staff magazine,Ariel, see page 12.

Subscription information forAriel is on page 12.

Complete the square by using the clues; these apply only to wordsrunning across. Then take these words in numerical order and extractthe letters indicated by a dot. If your answers are correct, these letterswill spell out the signature tune of a BBC programme featured in arecent Crospero.

Please send your answers in an envelope marked Crospero to The Editor, Prospero, BBC Pension and Benefits Centre,Broadcasting House, Cardiff CF5 2YQ by 19 November .

Clues: 1. Waste channel (5); 2. Yearn (4); 3. Devours (4); 4. Pains (5);5. TV and newspapers (5); 6. Down at heel (5); 7. Ancient (5); 8. Three-legged isle (3); 9. Snatch (5); 10. Giraffe-like animal (5); 11. Weight (3); 12. Famous battle (5); 13. Sing Ifield-fashion (5); 14. Women’s quarters (5); 15. French river (5); 16. Plant (4); 17. Solent town (4); 18. Express feelings (5).

Solution to Crospero 151: Ajar; Oases; Nor; Ant; Nil; Nag; Gee;Sly; Anode; Rate; Nabs; Bloodsucker; Hast; Dado; Avows; Ale; Tin;Bop; Yes; Ate; Ore; Skews; Mend.

The names of the hidden programmes were Jennings at School and Toytown

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CROSPERO 152Devised and compiled by Jim Palm

2 • • November • 2010

Less room

Dot to dot: John Morris’ keen eye spotted the boobs in the last issue ofProspero – a missing dot in the square numbered 19 and a closing date of16th July… We’re glad to have received some entries for Crospero 151 – thewinner being Richard Cox of Norwich – and we apologise to anyone whofound the puzzle impossible to solve on account of our lack of dots!

November • 2010 • • 3

News

Lyons to leave next year

Licence feefrozenAs this issue of Prospero was justabout to go to print, the Governmentannounced that the TV licence fee is tobe frozen for six years at £148.50.The BBC has been under intensepolitical pressure not to take the licencefee increase in these financiallystraitened times, and indeed the BBCTrust had already agreed to waive nextyear’s planned increase.Following the Spending Review, theBBC will also take over the cost of theWorld Service, currently funded by theForeign Office, as well as the Welshlanguage TV channel, S4C. It will alsotake over the cost of BBC Monitoring,which monitors, translates andanalyses media coverage from aroundthe world.The Department for Culture, Mediaand Sport currently funds S4C to thetune of just under £100m a year.There had been a proposal to makethe BBC pay the cost of free TVlicences for the over-75s, but this willnow not happen.It will mean a 16% real terms cut inthe BBC’s funds over the next six yearsas opposed to a 25% cut over fouryears if they had been obliged to coverthe licence fee costs.

Lyons was not available for an interview but inhis letter to Culture Secretary Jeremy Hunt,announcing his decision, he said: ‘The role ofChairman has been far more demanding thanthe nominal three to four days a week in the jobspecification. It is of course a compelling aspectof working at the BBC that it can become anall-consuming part of one’s life… but thisworkload has now reached a point where I amincreasingly concerned that it is crowding outother appointments to which I remaincommitted and other activity that I wish toundertake.’Throughout his tenure Lyons has faced

criticism. He has been charged with a lack ofleadership and, depending on the stance of thecritic, either being at loggerheads with or too

Sir Michael Lyons, chairman of the BBC Trust since April 2007 and thefirst person to hold the post, has announced he will go at the end of histerm next April. As recently as July he had indicated he would like asecond term, so what changed his mind?

involved with BBC management.A Department of Culture, Media and Sport

spokesman said the process of recruiting a newChairman will begin in about a month, with thepost likely to be advertised. Since its inception the Trust has been

criticised, not least by the Conservative Party, asan ill-conceived hybrid, on the one hand thevoice of the licence fee payer and on the other achampion of the BBC.Lyons defended the Trust in his letter to Hunt,

saying: ‘For all the continuing debate I am clearthat this model is robust, workable andeffective. I am proud of what we have achievedin safeguarding the BBC’s independence againstsignificant challenge, and bringing the interestsof audiences… to the centre of the BBC’s

thinking… the quality and public service focus of the BBC’s output has improved and the public’s affection for the BBC has strengthened.’The Trust has certainly proved it can hold

firm against the plans of the executive, mostrecently by reprieving 6 Music from the closureproposed in the Strategy Review.Mark Thompson said: ‘Sir Michael Lyons has

been a tireless advocate for the public interest ineverything the BBC does as well as an effectiveand dedicated Chairman of the BBC Trust. Butabove all he has been a vigilant guardian of theindependence of the BBC. He deserves ourprofound thanks for that – as well as acommitment to maintain the principles that hehas stood for as Chairman.’

The director general Mark Thompson has cutthe size and cost of the executive – sending outthe strongest possible signal that he is seriousabout trimming BBC management from top to bottom. Mark Byford, the deputy director general of

the BBC, is being made redundant. He willleave next spring and the post will be closed. In an email to staff Thompson said: ‘We have

concluded − and Mark fully accepts − that thework he has done to develop our journalismand editorial standards across the BBC hasachieved the goals we set to such an extent thathis role can now end.’ Byford said: ‘I said the drive to reduce senior

management should touch the ExecutiveBoard, and it has touched me. Obviously I amreally sad to go, I believe in the BBC and loveit, but it’s the right thing to do.’ Paying tribute to his deputy Thompson said:

‘I have never had a closer nor more supportiverelationship with any colleague and cannotbegin to express my personal sense of gratitudeto Mark for his honesty, steadfastness and courage.’ Byford’s responsibilities for overseeing BBC

Journalism will be picked up by director ofNews Helen Boaden, who will join theExecutive Board next April. The second high profile casualty of the

changes is director of MC&A Sharon Baylay.Like Mark Byford, Baylay is taking redundancy.She goes on maternity leave at the end ofNovember and will not return to the £376,000post she has held for 18 months. The changes to the executive level of the BBC

have put chief operating officer CarolineThomson centre stage. Her Operations grouphas been vastly expanded and now includesMarketing, Communications & Audiences andBBC People.She has been set three tasks, each of which

would be daunting on its own: to get the newOperations group up and running; to leadnegotiations on the next licence fee settlement,although these are not expected to start until mid-2011; and to deliver a simpler, more efficient BBC. How will she do it – given that each is a

crucial part of the BBC’s future? ‘The thingabout doing a complicated job with a large spanof responsibility is to make sure you have goodpeople working with you,’ she says. Fortunately,she adds, she is good at delegating and issurrounded by ‘some fantastic people’. They include Lucy Adams, director of BBC

People, who is stepping down from theExecutive Board (along with director of BBCNorth Peter Salmon) but taking on additionalresponsibilities for Workplace, businesscontinuity and safety. Adams, who has played a prominent role in

putting the BBC’s case during the pensionreform discussions, will report to Thomsonwhile continuing to maintain a direct line tothe DG on industrial relations and otherpeople-related issues. Giving the time-consuming Workplace brief

to Adams will ‘help me cope with my increasedworkload’, Thomson believes. In addition, the director of People will be

instrumental in the drive to make the BBC a

simpler place, the aim being to streamline layersand processes and have fewer managers. ‘About three years ago we had the slogan

digital, simple, creative and open,’ Thomsonrecalls. ‘Well, we’ve delivered on digital, we’recertainly more creative and, painful though ithas been, we’re a lot more open. But simple haseluded us.’ She explains: ‘Unfortunately, delivering on it

is not that… simple. It really isn’t, otherwisewe would have done it before.’ Regarded as friendly and down to earth,

Thomson has worked in broadcasting for 30years, joining the BBC as a trainee journalistand going on to make radio and TV currentaffairs programmes before leaving for Channel4. She returned to the BBC in 1990 and is aformer deputy director of World Service anddirector of Policy and Legal. ‘Good friends’ with her executive colleagues,

some of whom she has worked beside for manyyears, Thomson concedes that recentdevelopments have made for someuncomfortable moments in the corridors. ‘To be honest, it is a bit awkward. Those of

us who are staying and even being given moreresponsibilities feel slightly embarrassed aboutit vis à vis those who leaving. ‘For the people who are going – Mark

[Byford] in particular, but also Sharon – it’s anenormous wrench. People love working for theBBC and are very committed to it. On theother hand, everyone understands that in themodern corporate world, you have to beflexible and that change is always round the corner.’

It has been a dramatic couple of weeks for the BBC. The organisationhas been embroiled in a row with staff and unions over changes to itspensions provision and then it announced that the Executive Board willshrink by 30% next year (including the high-level departures of MarkByford and Sharon Baylay). This was followed by the Government’sSpending Review and the news that the TV licence fee is to be frozenfor six years (see box right).

at the top

Media commentator Steve Hewlett told Arielhe thought in years to come Lyons’ achievementin chairing the Trust would be better recognised.He said: ‘The Trust is essentially a fudge. It’sbeen a considerable achievement to get it to theposition where it can demonstrate a degree ofindependence from the management.’

Letters

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Contacts This issue… So when was the first live radio phone-in?;

4 • • November • 2010

Brian Willey’s splendidarticle in celebration ofthe 70th anniversary ofIt’s That Man Again(Prospero, July 2010)brought back particularmemories for this SpotFX Boy in days prior tothose of Brian andJohnny Ammonds. What was not mentioned in the slightlyshortened version of the original article whichBrian wrote for Evergreen magazine is the serieswhich attracted far greater wartime audiencesabroad thanks to the BBC Overseas Servicesand ITMA. Yes, there was often a studio shortage of

microphones so ‘Spot FX’ would sometimeshave to run from one to another for RattleRattle and ‘Can I Do You NOW, Sir?’ from MrsMopp. In truth, actress Dorothy Summers – asneither her character’s voice or dress showed –was one of wartime’s best dressed ladies andwhen reprimanded by Tommy for explodingover one thing or another, it was hard for SpotFX not to laugh when Mrs Mopp was to betold, ‘Your beads are bursting off your body likebits of shrapnel!’Since running from mic to mic, Mr Handley

had christened me ‘Nipper’. On the oneoccasion prior to the start of rehearsals I washanded a cheque. ‘Just tear round for anothertenner’. I was used to visiting that bank by theCriterion. Being paid about a quarter of thatamount as the weekly salary of a 17-year-old, atenner was a lot of money – and hence myalarm when on the way back another alarmsounded and I was to be herded into the nearestair raid shelter. The great Mr Handley laughedwhen I returned somewhat breathless. ‘Easy tohave had you nicked, Nipper. But I’d have askedBabs to boot you back!’ What did all that mean?

And then he told me that Barbara Price, hisyoung relative had been at Miss Webb’sPreparatory school in Mill Hill along with thisHill. He then mentioned another girl withwhom I’d shared that 1932 classroom. Moreabout her later. Good to see a photo of Dorothy along with

Hugh Moreton and Derek Guyler, both ofwhom were to be heard post-war in some of myown plays and productions. The first to bebroadcast by the BBC was the last which SgtsMargaret Potter and Hill had written whilstserving with Forces Radio in Hamburg. Beforethat, we’d done a series of The Adventures ofRobin Hood and which I had to cast from thosewho worked there besides from the CombinedServices Unit nearby since neither script noractors’ fees were available. The following cast ofthen unknowns included Cpl Nigel Davenportas ‘Robin’, Sq Ldr Cliff Michelmore as ‘LittleJohn’, Raymond Baxter as ‘Guy de Gisborne’and Cpl Brian Matthew as ‘King Richard’. Thepart of ‘Blondel’ the wandering minstrel wasplayed and sung by Cpl Geraint Evans. As mere‘Foresters’ with just the odd line or two, I’d cast

Sgt Brian Forbes and Lt Roger Moore. ButNOW Martyn C Webster was not only to dohis masterful production of Journey IntoDarkness. He’d invited me to sit in and, to mydelight, having cast Dorothy in a leading role Igot a HUGE hug; a whiff of VERY expensiveperfume and was greeted with, ‘Back doing theSound FX are we?’ to which Martyn replied,‘Dorothy dear, you are speaking to theco-author of this play!’ But earlier I’d referred to another pupil at

Miss Webb’s Prep School. About 85 now – anda year older than me, we’d done one playtogether, after which the kind theneight-year-old suggested I tried painting instead.And paint we did, myself just backgroundswhilst she not only tidied those up for me butdrew her own impressions of famous Biblicalcharacters before leaving Miss Webb’s forAmerica and becoming something of a wellknown character herself – my school chumAngela Lansbury and whom, bless her, I canSTILL see to this very day! Trevor Hill

Talking of Tommy

Tommy Handley and Dorothy Summers

Letters

memories of Jasmine Bligh; BBC portable microphone kit... and more

November • 2010 • • 5

Visions of Jasmine andBig Ben’s chimesI found the article on Jasmine Bligh mostinteresting and a reminder of my early days as avision mixer at AP at the same time as Jasmine.I well remember the time when Jasmine was

to be rescued by the local fire brigade. I think Iwas the vision mixer and Jasmine was directedto wear a long dress in the afternoon show – inthose prim and proper days of Reith’s BBC. Thereason being that she should not show any bareleg or underwear when carried over the shoulderby the firemen!I remember another incident with Jasmine

when I was vision mixer. In those days it tooktwo seconds to fade a camera onto the screen orfade out. The procedure on starting one hour at3pm or evening at 9pm was to bring up thechimes of Big Ben 15 seconds before the strikeof the hour and fade the announcer through the chimes.Unfortunately one evening I brought Jasmine

on screen still memorising her opening wordsinstead of Big Ben’s chimes. In those days ittook two seconds to correct – and so an apologyto Jasmine. Presenters had no prompters inthose days! Cameramen framed the picture ona ground glass screen the size of a postcard butupside-down. All very exciting!Bob Mears

Apollo 13Regarding the article OK Houston we have aproblem here (Prospero, October 2010), I wouldjust like to mention that John Humphries, AlecBooker and myself were the three studioengineers on duty at the time of the incident,and having worked all day were asked to stay allnight too, which of course we did.Ted Hartwell

What is money worthClay Keyes was probably the first man to giveaway money. A penny in the 30s. This wasaugmented to half-a-crown (two-and-sixpencein old money) in the 40s, when Wilfred Picklesasked his questions on Have a Go. Inflation hasput up the price to a million pounds todayunder Chris Tarrant’s questioning. That showswhat money is worth in 2010.Bob Colston

Philip MooreI was very sorry to hear of Philip Moore’s death.I have very happy memories of working withPhilip during my time at BBC Bristol in the 70sand 80s. I joined BBC Bristol in 1971 as anAudio Supervisor after 13 years working in TechOps for the television service in London.There were so many occasions when I worked

with Philip on recordings of organ musicprogrammes, and as an organist myself, Ienjoyed the challenges thrown up whenrecording a large organ in a really large buildingsuch as Salisbury Cathedral.We worked together on many of the BBC

Training Orchestra recordings and concerts andlater the Academy of the BBC until it wasfinally disbanded in the late 70s. There were alsovisits to the Southern Cathedrals Festival eachsummer and several studio-recording sessionswith the West of England Singers which Philip directed. We put together a number of live relays from

the Bournemouth Symphony Orchestra both inBournemouth and in the Colston Hall inBristol. We also worked together on many of theBath Festival concerts for a number of years. I fully agree with my old colleague Ian Carson

(with whom I also spent a great deal of timerecording and editing music programmesaround the South and West) that Philip’scontribution to the BBC’s serious music outputwas enormous. I feel really privileged to have had a small part

of that part of the BBC’s contribution to musicfrom the West of England. Philip was a great musician, a colleague and a

good friend. David Franklin-Kitchen

Can you help?Tom Beesley (some of you may remember himas Regional TV Manager, Birmingham,amongst other things) is about to retire asChairman of the Broadcast Journalism TrainingCouncil after 23 years.Among the farewell gifts we’ve bought him is

a wonderful piece of vintage broadcastingequipment – a BBC portable microphone kit,probably about the same age as Tom.It’s a Sennheiser mic (I think) with its own

equaliser box, in a specially made veneered caseabout 12 x 9 x 6 inches, and its own shoulderstrap.I believe it would have been used by early

sports reporters, with the mic connected via theequaliser to a landline at a fixed commentarypoint.A small plaque on the front of the box carries

the information ‘Lip Microphone, Type L2.SFRNo 138, BBC Patent Application No.24513/52.’Can any ex-engineering or sports types out

there shed any further light?Jim LathamBJTC Secretary

Speaker sagaMay I add to the ‘speaker’ saga? No mentionhas been made of the ‘Spendor’.Spencer Hughes was a member of Research

Department who was involved in thedevelopment of the process of vacuum formingcones. In the 70s he left the BBC and, with his wife

Dorothy, started to manufacture loudspeakersunder the name ‘Spendor’. The name derivedfrom their two names.Spendors were used by the BBC especially for

‘home listening’.Sadly, shortly after forming the company,

Spencer died but his wife kept it going.I retired in 1982 and at that time staff were

allowed to retain their home listening units.My two Spendors are still giving good service.

Cedric Stansfield

It was good to see so many old friends in theRadio London reunion picture (Prospero,October 2010).Jill Burridge was Jill Evans at the time; she

had useful ‘work experience’ at BBC RadioNottingham during her university breaks.Steve Bradshaw had a similar training

opportunity; his father ran the news agencywho were contracted to write the newsbulletins for the first couple of years inNottingham. It was sorted later and the twoexcellent journalists who wrote the copy, JohnHobson and Mike Hoskin, joined BBC staffand went on to have good careers as NewsEditor and Manager on our stations. They may all remember that the first

spontaneous live phone-in on the BBC was onRadio Nottingham early in 1968. Theprogramme was called What Are They Up ToNow? The producer/presenter was Tony

Church. The SA was Gina Madgett, whodocumented the event for the archives someyears ago. I devised the system of using theequipment we had to turn a device forrecording contributions into a live on-airmachine. I was Assistant Producer anddirected the programme. I was happy to join the training unit

(LRTU) and train our new stations under theguidance of Robert McLeish from 1970.Radio London was one of our first teams. Thattraining included how to set up a live phone-inthat other stations had been doing for a coupleof years.David Wilkinson

Radio London

First live radio phone-ins

In the October issue of Prospero, the report onRadio London’s 40th reunion included the line‘Radio London managed to initiate suchtechnical breakthroughs as the first livephone-in programme on the BBC’. Tony Lukewrites:I believe the first live phone-in for the UK was

initiated by John Symonds (Chief ProducerLight Entertainment – Radio) in 1963/64 afterprolonged negotiations with the Post Office toallow transmission of speech via their lines. I also attended the meetings with Post Office

officials – my role being taken over at a laterdate by Chris Searle (That’s Life). They agreed to John’s request and live

phone-ins were included in a new LightEntertainment idea of news, views and music,which was broadcast under the titleLight-Night-Extra.It was a two-hour programme on Friday

nights fronted by Don Davis (who handled thephone calls) and Peter Haigh the music etc (lateof Movie-Go-Round). It included the quizMystery Voice Challenge where listeners couldwin Premium Bonds.PS: With the current mania for TV’s X Factor,

it’s interesting to note that radio had its owntalent show called The Talent Spot, initiated byand produced by Brian Willey (1962/3). TheBeatles and Gerry and the Pacemakers are twoof the many acts who became household names.Brian can supply the correct complete list. (Iwas the SM for the series.)

Memories

6 • • November • 2010

Dick Levin was Head of Design, having beenappointed in 1953 following the sudden deathof Peter Bax, the first ‘Head of TelevisionDesign’ in the world.At the time of his appointment, Dick

practised as a Consultant Designer in Chelsea.He had been a major contributor to the 1951

Festival of Britain as the co-ordinating designerof the ‘Land Traveller’ which took apromotional version of the festival to majorcities by rail. He was awarded an OBE.Dick already had half-a-foot in the BBC,

having designed a mock-up television studio forthe BBC exhibit at Radio Olympia Fair, apost-war radio industries showcase, promotingthe sale of ‘wireless’ sets and television receivers.This made him a uniquely qualified

candidate. He was much respected in designcircles – experienced in the design and

construction of ‘temporary structures’ – able todeal with contractors and familiar with thehustle and bustle of the ‘here today and gonetomorrow’ world of the exhibition business.Quite a catch.Dick gave up his private practice and found

himself at Alexandra Palace, in charge of 17design staff – a scenery workshop and anone-too-clear responsibility for ‘Costume andMake-up’.In the 30s, once the pioneers and engineers

had the technology up and running, theysought programme makers and an ArtDepartment. For this they looked to the theatre– appointing Peter Bax, a much admired stagedesigner, who assembled a team of designers allof whom came from the ‘performing arts’ oftheatre and film, where it is the establishedtradition to engage designers by invitation.

Dick didn’t see it that way – not for televisionthat is – principally because this practice wasnot possible for the daily turn round oftelevision and equally because the centraloperational responsibility of his new job was tomaximise designer time ‘with no taxis in the rank’.His experience in art and design told him that

the new medium of television – required as itwas to inform, educate and entertain – neededa fresh design approach.Especially when informing and educating with

Current Affairs – magazine and unscriptedprogrammes which were unique to television andwithout any precedent in any other medium.(For drama and LE – Dick knew these would

be well served by the experienced and talenteddesigners he had inherited from Peter Bax.)He discovered that producers of current

affairs programmes were obliged to use one ofthree stock sets provided by the propertydepartment as a packaged deal complete withmatching furniture.

In 1955, the Television Centre site was occupiedonly by Design Department and the SceneryWorkshops. The ‘doughnut’ was a building sitewhere we trespassed during lunch breaks –ducking around scaffolding and cement mixersin the vast empty spaces that were to becomestudios – ‘the promise of the future’. Around thesite there were traces of the legendary 1914exhibition – a ‘White City’ of marble pavilions.

Life at the TVC inthe 50s and 60s

They were known as the ‘Tudor set’, the‘Georgian panelled set’ and the ‘Regencylibrary’. They were theatrical in conception –lumpy, solid and worthy and pretending to besomething they were not.To deal with this Dick created a ‘Studio

Design Unit’ which under the leadership ofStephen Taylor provided producers withcontemporary settings which supported theirprogrammes with elegance in the spirit of thecontent and the times.It was in this area of design for television that

Dick’s management and influence made asignificant contribution to the integrity of thelook of current affairs programmes.As a designer himself, Dick Levin was a man

with a mission to being the best of design totelevision. His often-uncompromising way offulfilling his responsibilities did not pleaseeveryone. He supported and admired hisdesigners and they admired him. Dick retiredin 1971 and died aged 90 in 2000.

By Cliff Hatts

In October, the annual Television Design &Scenic Services Reunion celebrated its30th anniversary lunch at Ealing Golf Clubwhere 66 colleagues and friends braved avery wet day to attend this alwaysenjoyable occasion. All things consideredthis was a most reassuring attendance.On behalf of Frank Holland, thefounder of this gathering, Hilary Worrallmade all the arrangements, welcomingus with a glass of sherry and bringingbest wishes from Frank who was unableto be with us owing to ill health. The golfclub once again provided a fine lunchwith a choice of dishes.Cliff Hatts spoke in remembrance ofStewart Marshall and RichardGreenough. Both had been active

members of this annual lunch. Stewarthad worked with Frank from thebeginning, each year contributing asouvenir programme enlivened with hisoriginal cartoons as well as being acheerful Master of Ceremonies.Our main speaker was another oldfriend – William ‘Bill’ Stewart – whostood in at short notice to give us aresume of his life in television, telling in alight and humorous manner of a careerwhich had many misadventures as wellas much success.Sustained applause marked the end ofthis much enjoyed 30th anniversary. Wemeet again for our 31st on the firstFriday in October 2011.Hilary Worrall

Television Design & ScenicServices Reunion Lunch 2010

Stephen Taylor’s set design for Tonight, 1957Scanned from Television by Design, by Richard Levin, Bodley Head 1961

Peter Bax.

Life after Auntie

November • 2010 • • 7

The book, Mission Mongolia – Two Men, OneVan, No Turning Back, tells the story of a charityroad trip to Mongolia he undertook with aformer newsroom colleague, Geoff Stayton. The two men raised almost £3,000 for Save

the Children before setting off – and oncethey’d reached the Mongolian capital,Ulaanbaatar, the van, a 1999 Nissan Terrano,formerly owned by Anglian Water, was sold toa mining company, raising more money forcharity. They met all the costs of the trip themselves.During the epic drive the two had to

negotiate mudslides in Kazakhstan,snowstorms in Siberia and thousands of milesof rough mountain tracks before crossing theGobi desert. David Treanor said: ‘Some of the worst

conditions were in Kazakhstan where it hadbeen raining hard and the roads were litteredwith abandoned lorries – and when the localsgive up, you know things are bad. Once overthe border into Mongolia, maps show a nicered road leading all the way to the capital,1,000 miles away. This is the greatest lie in thehistory of cartography. There are just roughtracks almost all the way – it’s been describedquite fairly as the worst road in the world.‘The van kept on going despite damaged

suspension, while we kept going onboil-in-the-bag curry and beer. As well as thenatural hazards, we also faced some humanones – crooked cops and bent border guards –but also found kindness from local peoplealong the way.‘Our worst moment was probably at the

Mongolian border at Tsagaanuur when the vanwas impounded in a row about import duty.It’s a desolate mountainous place and it waswell below freezing and snowing hard. Butthanks to a helpful man from MongolianIntelligence we found a mud brick shack tostay in which was kept warm by a yak dungfire. But I’m afraid we dodged their offer of ameal of goats’ testicles!’And the best time? ‘It has to be the nights we spent in the Gobi

desert. We’re not used to such space andemptiness – huge horizons and total quiet.And above us more stars then we ever thoughtexisted. That was special.’The book, which has been published bySummersdale, is available on Amazon andthrough all leading online retailers and ingood bookshops.

A former assistant editor in the Radio Newsroom, David Treanor, who tookearly retirement two years ago, has had his first book published.

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Give your windows a make-over withbeautiful, bespoke wooden shuttersand blinds from The CaliforniaCompany. Stylish and versatile,shutters suit any living space and canbe made to fit any unusual shape, fromovals to triangles. Every order is also checked by theteam before it’s processed, giving youcomplete peace of mind. This discount cannot be used inconjunction with any other offer. Log on to www.bbcclub.com/save.phpfor details of how to redeem this offer.

Vue Cinema off peak cinematickets for only £5.75 Valid all day Monday to Thursday at allVue Cinemas (including Westfield W12).Not valid at Vue West End and not forGold Class or Premiere. Pop into yourlocal Club site to buy your tickets.

The Luxury Travel Fair Two tickets for the price of one whenyou book in advance. That’s two ticketsfor just £15. The Luxury Travel Fair, in associationwith Condé Nast Traveller (4-7November 2010, Olympia, London) isyour must-visit destination forinspiration and advice. Whatever yourdream trip – whether it’s cruising in theGalapagos or rejuvenating in the Alps –enjoy a handpicked selection of travelcompanies, ready to create the holidayof a lifetime. What’s more, the Fair is filled withstunning entertainment and features tofire the travel imagination. Meet TheExperts in the theatre including BBCpresenter Dan Cruickshank, celebritychef Marcus Wareing and OlympicSkier and Ski Sunday presenterGraham Bell. Plus, visitors can enjoy asneak preview of Christie’s VintageTravel Poster Department’s Ski Sale attheir dedicated gallery area; sit backand relax with a complimentarytreatment on board the Elemis SpaBus;or ‘Taste the World’ with Harvey NicholsFoodmarket. Log onto www.bbcclub.com/save.phpand click on the offer for details.

10% discount on privatetreatment at White CityDental Clinic If you want to improve your dentalhealth, look no further than White CityDental Clinic, conveniently based inWhite City, Room 1423.They provide quality NHS and privatedental treatments in their moderntreatment rooms.They also provide a range of cosmetictreatments to enhance your facialappearance, ranging from professionalteeth whitening to facial rejuvenationthrough anti-wrinkle treatments such asBotox and Restylane, as well asInvisalign invisible braces to straightenyour teeth.Just present your BBC Club card toredeem this offer.

020 8752 6666

Pebble Mill Rum Punch RevisitedAnyone with Pebble Mill connections iswelcome to share a drink or two onMonday, 20 December from 12:00 atThe Nautical Club, 3-4 BishopsgateStreet, Birmingham B15 1EJ.

BBC Scotland This year’s retired staff reunion will be onFriday, 3 December. The venue is againthe Crowne Plaza in Glasgow, opposite‘P.Q.’, between 12:00 and 16:00.All retired staff are welcome, andplease feel free to draw the attention ofanyone not on our email list to the event.To get your name on that list, pleasecontact Stewart Shearer(Stewart.Shearer@NTLWorld.com)

BBC RELCSThe BBC RELCs are holding theirChristmas Lunch at the Miramar Hotel in

Bournemouth on Wednesday, 8 December starting in the bar from10:30, before moving across to therestaurant for lunch.This invitation is to remind all past and present members of the RELCs to contact our lunch organiser RussellHorne, on 01590 624389 or emailrussell@the3hornes.comIf you have been in the BBCbroadcasting system during your career,you are very welcome to come toBournemouth and meet up with fellowcolleagues and friends (includingpartners) and to enjoy some banter andchatter. This time, we will be listening tothe voice of Marconi’s daughter, recordedfrom the BBC Studio in Rome, talkingabout her well known father… of radio.Any problems, please contact PaulGouldstone, Vice-President, atpaul@jasmincottage.fsnet.co.uk

Forthcoming reunions

8 • • November • 2010

Back at the BBC

MONEYMATTERSCash savingssolutionEveryone needs to keep some moneyin cash deposits to cover anyshort-term emergency spending andimmediate capital needs. Getting a good rate of return on yourmoney has become more difficult. Twoyears ago, base rate was 5% anddeposit accounts paying 6% or morewere common. In October 2008, theBank of England cut the base rate from5% to 2% and soon after to 0.5%,where it has stayed ever since.Ironically savers, who were leastblameworthy for the credit crunch, arepaying a high price for others’profligacy. Interest rates have not beenthis low for this long since the 1950s.With the Retail Prices Index currentlyrunning at 4.7% per annum (August2010), the real value of cash savings isfalling rapidly. To make matters worse, many banksand building societies are not tellingexisting customers about their bestoffers. Loyal customers can be paid aslittle as 0.07% AER gross, while newcustomers may be offered 3% or more.Special offers usually expire after alimited time and keeping up with thesechanges is difficult. For savers with long-term cash ondeposit, it is worth finding competitiverates and doing this again whenexisting bonus rates expire. Forexample, a £50,000 deposit paying0.5% gross AER will yield only £250 ofinterest per annum. Currently a rate of2.8% is available with full instantaccess, giving £1,400 per annumwhich, even after tax, makes a bigdifference to your net return. You should also maximise thestatutory compensation protectionavailable on your savings (£50,000 perinvestor) and seek to steer clear of anybanks with weaker credit ratings. Thisis not so simple as it seems, as manybanks and building societies havemerged or been taken over but not alsochanged their trading names. Some special banking facilities,usually with names like Gold Accountor Premier, purport to offer specialprivileges. It is worth checking whatthese are. We recently discovered onehigh street bank which offers travelinsurance as a perk. This is attractive tothe older saver, but often over 70s areexcluded, so foregoing a better interestrate elsewhere would not beworthwhile.

Kay Ingram is a Chartered Financial Planner at LEBC Group Ltd, one of a panel of independentfinancial advisers selected by the BBC. Further details can be found on www.bbc.co.uk/mypension. LEBC Group Ltd is an appointedrepresentative of Sesame Ltd, which is authorised and regulated by theFinancial Services Authority.Telephone: 0203 036 0843.

MONEYMATTERS

MISSION: Find someone who isn’t onlineand help them to use the internet. REACTION: You have got to be joking… A few seconds later, it dawns on me that this isan ideal opportunity for my dad. He’s one ofthe 9.2 million adults in the UK who havenever accessed the web and are nowencouraged by the BBC’s First Click campaignto discover its wonders. The corporation has joined up with UK

Online Centres, Age UK and the Post Officeto run free start-up courses at libraries andcommunity centres. Plus internet users, likemyself, can teach non-users with the aid of theFirst Click website. Once my dad grasps how web domains work,

the first site he keys into the address bar is bbc.co.uk (naturally). It’s then that he – and I –realise that a new unexplored world really doesopen up for him. He clicks onto the Newssection and, having moved here fromBangladesh in 1970, he’s also keen to checkout the BBC Bangla site. Martin Wilson, head of BBC Media Literacy,

says that getting both his parents online in thelast six months informed his input to thepan-BBC campaign. ‘It’s all about confidencereally. They didn’t think it was for them, didn’tthink they’d be able to do it and didn’t reallysee the benefit.’ Although now able to useSkype and Google, their initial concerns mirrorthe unease preventing many from learning webskills. Nearly a third of people in north eastEngland have never used the internet, and60% of over-65s haven’t experienced onlineaccess. ‘The key thing that came from ouraudience research is that, particularly for thisolder age group, the amount of fear that theyfeel about using a computer or the internet isenormous,’ explains BBC Learning executiveKaren Gregory.

‘There are so many announcements withinTV shows about how viewers should visit thewebsite if they want to know more,’ she adds.‘It’s effectively excluding huge audiences whoare unable to tap into that additional content,which is also being paid for through theirlicence fee.’ Yet delivering the benefits of newtechnologies is one of the BBC’s publicpurposes, and so it has made a minimumtwo-year commitment to help get the nationonline.

As part of First Click, Rip Off Britain willfilm its presenter Gloria Hunniford as she takesher first steps into the world of computers – a

realm she had previously chosen not to enter.The programme realised they could inspirenon-users like Hunniford, when they werecontacted by viewers unable to benefit fromwebsite deals due to a lack of internetknow-how. And while my dad develops an (alarming)

awareness of Facebook, the fictional PeggyWoolley in Radio 4’s The Archers will alsolearn to use a computer when lessons areoffered at the village pub, in an effort to attractmore customers and prevent the inn’s closure. ‘It’s the perfect community story for us,’ says

the drama’s editor Vanessa Whitburn.Although she doesn’t reveal any plotlines, sheteases: ‘Once you get out there and make yourcontacts you never know what will happen inyour life, do you?’ Go to bbc.co.uk/firstclick for more details.

Beginners’ courses can be found by ringing08000 150 950.

Rumeana Jahangir tries out the BBC’s connection campaign

First steps online just a click away

All-out strikes planned for 19-20 October werecalled off, but the joint unions (Bectu, NUJ andUnite) called ‘action short of a strike’, frommidnight on 21 October. This protects theirprevious strike mandate which expired on 26October. The first ballot on proposed pensionchanges and pay returned a 90 per cent vote infavour of industrial action.During the work to rule, union members were

instructed to refuse to work longer than 12 hours or more than six hours without aone-hour meal break.Under the deal that the BBC says is its

final offer:• employee contributions to the new CAB

2011 plan are reduced from 7% to 6%;• increases in pensions in payment rise from

the lower of CPI (consumer price index) and2.5% to the lower of CPI and 4%;

• yearly revaluation of pensions rises to CPI or4% (from 2.5%) at the discretion of the BBCand scheme trustees;

• the BBC commits to revisiting pension

reforms if the deficit falls below £1bn at nextApril’s valuation.

The new proposal also clarifies the position onAVC and Added Years, which, the BBC says, issubject to equality legislation. Scheme memberswho join either CAB 2011 or the proposeddefined contribution plan will be offered amatching additional contribution up to 3% oftheir first £10,000 of pensionable salary – amaximum of £300 per year.In an email to staff, director of BBC People

Lucy Adams and chief financial officer ZarinPatel said the revised deal was the most the BBCcan afford: ‘We cannot offer further concessionsthat will disproportionately benefit one groupover another,’ they said, adding that the offerwill be withdrawn if staff reject it. Officially, the joint unions are not

recommending their members vote for oragainst the improved offer. Bectu assistantgeneral secretary Luke Crawley said: ‘The onlyway we could get a better offer would bethrough protracted industrial action, with

resulting significant loss of salary.’Locally, a campaign led by Bectu’s radio and

music production branch and supported bysome Bectu and NUJ officials is calling forcomplete rejection of the offer and restorationof what they claim is the affordable existingpension provision.NUJ general secretary Jeremy Dear predicted

a resounding ‘no’ vote, strike action and ‘awinter of growing discontent’ over pensions,cuts and jobs. He claims to have seen figuresdrawn up by BBC financial consultants whichsuggest the pensions deficit is under £1bn.Patel said: ‘This claim is misleading. The BBC

still believes that the 2010 actuarial deficit islikely to be around £1.5bn. However we havepublicly committed in our final offer to theunions to revisit elements of our proposals if thepension deficit falls and stays below £1bn. Aspublished in our 2009/10 annual report andaccounts, the accounting valuation shows a£1.64bn deficit at 31 March 2010.’

A 24-hour work to rule went ahead just as Prospero was sent to print (Friday22 October), as union members voted in a fresh ballot on the BBC’s revisedpensions offer.

Action and further balloton pension offer

60% of over-65s haven’texperienced online access.

November • 2010 • • 9

Back at the BBC

Rachmaninoff’s Second Symphony was on the BBC Philharmonic playlistwhen it performed in its brand newstudio in MediaCityUK last month. Theorchestra, currently based at BBCManchester, held its first acoustic test infront of an audience at the venue. ‘It’s astudio of outstanding potential,’ said

Richard Wigley, general manager of the Philharmonic. ‘The next stage is tolet the players settle into the acoustic [of the studio].’ Further test sessions will take placeuntil Christmas before the space isopened to the public next year.

Numerous bids and months of planning finallypaid off for BBC Persian TV when it landed anexclusive interview with Barack Obama. The TV channel had been trying for aninterview almost since it launched in 2009 andcame close this summer when the US presidentagreed to talk during the BP oil spill crisis, thencancelled at the last minute. On Wednesday 22 September, though, the

White House confirmed that Obama wouldspeak exclusively to BBC Persian whileattending the UN General Assembly in NewYork. With everything arranged for Friday 24

September, Iranian leader MahmoudAhmadinejad helpfully provided an extra sparkby telling the UN gathering on Thursday that‘most nations’ believed the US government wasbehind the 9/11 attacks. Such provocative comments demanded a

response and when Obama sat down oppositeBahman Kalbasi, BBC Persian’s New Yorkcorrespondent, in the Waldorf Astoria the nextmorning he was happy to oblige, condemningthe claims as ‘hateful’ and ‘offensive’. He went on to answer questions about the

latest economic sanctions against Iran and toexpress his solidarity with the people of Iranand Afghanistan.

‘We were told we’d have 15 minutes withBarack Obama but in the end we were given23 minutes,’ says Sadeq Saba, theLondon-based head of BBC Persian, who wentto New York to manage the interview. ‘The White House staff were extremely

helpful and even let us have the room the nightbefore to set up. Obama himself was charmingand charismatic and afterwards told me thatBahman was a good interviewer.’ It was a good result for Bahman Kalbasi, who

admitted he had felt ‘a weight of responsibility’at taking on the world’s most powerful leader. Sadeq Saba points out that the scoop was a

team effort between Persian TV andnewsgathering, which helped with planningand provided camera facilities and otherresources. As for why Obama chose to talk to Persian

TV rather than, say, Voice of America, the linefrom the White House was that he wasimpressed by the reach of the BBC service,which has an estimated audience of around 14million in Iran and also airs in Afghanistan andTajikistan.

Plays, the Proms and Wimbledon will becasualties of a new round of cost cutting atWorld Service. From next April, World Service English

language output will cease to include regulardramas. Highlights programmes dedicated toThe Proms and to the Wimbledon tennischampionships will also end. These were ‘difficult decisions’, said Craig

Oliver, controller English, Global News, but anecessary response to ‘the challenges of anincreasingly tough financial climate’. Drama and performance will continue to

figure in arts programme The Strand, which willalso reflect the Proms and world music. But the

weekly, hour-long Proms highlights show,together with The World of Music series, willnot be recommissioned. Grand Slam tennis, meanwhile, will be part of

sports shows and bulletins, but the hour-longprogramme on each day’s play at Wimbledonwill be scrapped. In a statement the BBC said it shared the

‘disappointment’ of audiences over what were‘tough decisions’. A Foreign Office decision over the level of

World Service’s grant in aid is expected withinthe next week or so, with speculation thatbudgets could be reduced by as much as 25 percent in public spending cutbacks.

After some late night negotiations in September,the pegs were pulled out on Project Canvas andYouView TV Ltd was pitched in its place.The seven Canvas shareholders – the BBC,

ITV, BT, Channel 4, Channel 5, Arquiva andTalk Talk – signed an agreement to incorporatethe venture that aims to deliverinternet-connected TV to our living roomswithin the first half of next year. Richard Halton was in Amsterdam at IBC at

the time. ‘It was 12.30 at night, but we reallyfelt that now was the time to get the brand outthere,’ says the newly appointed YouView CEOwho helped conceive the project and has led itsdevelopment from day one.‘It’s a truly independent joint venture, and

I’ve been delegated with the power to makethings happen.’YouView will be subscription free and will

require a broadband connection. It will allowviewers to watch free-to-air digital channels, tocatch up with programmes that have beenbroadcast in the last seven days, to pause live TVand to access web content. ‘It was born from the need to ensure that the

British public can continue to access BBCcontent and services as TV and the webconverge,’ explains Erik Huggers, FM&Tdirector. Halton is confident that his timetable is

realistic. The set top boxes – which are expected

to cost around £200 or be offered as part ofbroadband bundles – are not yet in productionas BBC R&D are still finalising the design.‘We’re not quite there yet, but the productioncycle is relatively short. It’s imperative in a verycompetitive market that these projects aredelivered quickly or you lose the moment.’Companies like Sky and Virgin have

complained that the launch of YouView willdistort the market, but Huggers regards the newbusiness – which won approval from the BBCTrust in the summer – as ‘a test of our ability tocreate public value in the face of intenseopposition from some powerful corporationswith vested commercial interests’.But what will its arrival mean for Freeview?

Halton, a former Freeview board member,believes it still has an important job to do.Where YouView will demand a ‘state of the artIP connect box’, Freeview offers across the pricerange from ‘a high definition PVR to a £19 boxfrom the supermarket’.The seven YouView shareholders have pledged

£4.5m each per year for the next four years tothe not for profit venture. ‘In layman’s terms itsounds like quite a lot of money,’ Haltonadmits, ‘but it’s quite a small, discreetinvestment when you’re talking about thelaunch of a new TV platform.’

So tell me Mr Presidentby Lisette Johnston

Philharmonic sees the potential

Goodbye Canvas, hello YouView

NEWSBITESA REVIEW of radio stations in thenations has been launched by the BBCTrust. A 12-week consultation coveringRadio Ulster, Radio Foyle, RadioScotland and Radio Wales started inOctober, and the review will also look atRadio nan Gàidheal, which caters forScotland’s Gaelic speakers, and Welshlanguage Radio Cymru. Licence feepayers can offer their views until 12January 2011, with a final report duenext summer.

WITH DIGITAL TV switchover due to becompleted by 2012, the BBC-run HelpScheme has reached almost 2.5 millionof those eligible for assistance, andinstalled equipment for more than350,000. Another 150,000 have takenadvice from the helpline. By 2012 theHelp Scheme expects to have directlyhelped about a million.

THE BBC is 9th in the latest edition ofThe Times Top 100 Graduate Employers.The list, in which students rank the

organisations they think offer the bestemployment opportunities, is headed byPricewaterhouseCoopers with Deloittesecond and the Civil Service third.

THE BBC has lost its exclusive rights tothe Masters golf tournament in Augusta,which next year will be screened live onSky.

DAWN FRENCH and Jennifer Saunderswill make their debut as radio presentersover Christmas and New Year, hostingthree Radio 2 specials. The two-hourshows, of chat, music and humour, willbe broadcast on Boxing Day, 1 Januaryand 3 January.

THE RESCUE of the Chilean miners wasviewed by four million users onBBC.com. The figure, which excludesUK online users, is a million more thanthe average October day. BBC Mundo,the Spanish language website, hadaround 500,000 unique users on rescueday, up 90%.

Curtain comes down onWorld Service drama

Obituaries

10 • • November • 2010

Union man admired by all

My thoughts when Ifirst met Joe Hallett atCaversham in August1966 were ‘there standsa big man’. I soonlearnt that he was a bigman with a big heart.Raised in Northern

Ireland, Joe knewabout survival and howto ‘live off the land’.

He certainly had a grip on life, enjoyed a pint(or two) and drank with a wide cross-section ofpeople. Equally at home with highermanagement and his immediate colleagues, hewould often announce his arrival with thatstentorian laugh.He devoted much of his time to union

activities as Branch Chairman and a member ofthe National Executive Committee, believingstrongly in ‘the greatest good for the greatestnumber’. He hated injustice against anyone andwould fight for their cause, often saying, ‘If Ihave to, I will take this to the House of Lords.’

He certainly made his mark with Cavershammanagement and more than once respectfullysaid, ‘We are here to assist management tomanage.’ They honoured him with a dinnerparty when he retired.I visited Joe in hospital just before he died. We

shook hands for the last time. He placed hisother hand over mine, looked at me and said‘God bless.’Joe Hallett was indeed a rough diamond.

Geoff Mitchell

BOTH AS A member of Cavershammanagement and as one of the ‘widecross-section of people’ with whom Joe drank,can I add to Geoff Mitchell’s tribute above.Newly arrived as Caversham’s Head of Personnelin 1973, I first met Joe when he introducedhimself to me in the club and it was there thatwe established an initially tentative relationshipwhich subsequently grew into firm friendship.Joe was great company and, while he never

dropped his union concerns and would enjoytaunting me with the perceived failings ofmanagement, we shared many agreeable hourstogether during which I was constantlyreminded of his concerns for others, albeit heoften managed to hide them beneath a bluff

exterior. Business could be discussed informallyand minor concerns resolved over a pint (orthree) and we continued to meet long after I hadleft Monitoring to return to work in London.In a series of weekend walks along the

Ridgeway Trail, we also put the world to rights– or so we felt at the time – and on some ofthese we were joined by Joe’s partner, JeanKinnon, a member of the editorial staff inMonitoring’s News Bureau. Jean’s suddendeath, only a couple of days after Joe’sadmission to hospital with cancer, was a mortalblow that probably extinguished his desire tolive and he followed her a month or so later; twobig people, both physically and in personality,they leave a big gap.Kevin Corrigan

Belfast Film Unit’s ‘mother’Eileen Fearon was laid to rest on a quiet hillsidethat overlooks the Irish Sea and the Scottishcoast beyond. As a young dynamic redhead, shejoined the Film Unit in Belfast as the manager’sassistant. Her superb organising skills and

Talentedletter writerOnly very recently did Jane Barrow’scircle of friends and colleagues learn ofthe serious illness she herself hadknown about for three-and-a-half years!It was so typical of her to carry onregardless, not wishing to burdenothers with her problems.Jane began her BBC career at RadioOxford, followed by several years inProgramme Correspondence in a rolefor which she was ideally suited! Shelater joined Radio Times. In Programme Correspondence, Janewas an excellent letter writer, alwayswilling to handle demanding and oftensensitive correspondence from listenersand viewers. She tackled any task withinfectious enthusiasm and goodhumour. Jane had great energy andebullience. Organised, efficient andexperienced, she coped admirably withan ever-mounting pile of letters. Hugely popular, Jane could brightenany day! She had many interests whichshe pursued with her usual flair, and anumber of charities benefited from hergenerosity.Jane never complained about any ofthe painful and traumatic symptoms herincreasing illness presented. Shehandled them all with great courage. Jane will be greatly missed. Specialthoughts and much sympathy go to hermother who cared for her throughoutand was such a tower of strength. Weshare her deep sense of loss at thistime and in the difficult months ahead.Maureen A Stevens

Reg HutchinsReg Hutchins joined the EngineeringDivision in Bristol. He moved to TVCand became a TM and worked onGrandstand and Sportview. Whilst atTVC he was active in the ABS and waspresident for a time.After a short attachment to Tel Obs hebecame a permanent member as an EM.He worked on shows like SeasideSpecial and the winter equivalent. Hetook early retirement to care for hiswife, whose health was causing themsome concern. He was a keen rugbyfan and was a vice-president ofBedford RFC. We would have lengthyphonecalls after each Six Nationsweekend and I will miss a great friend.R Griffiths

Noel FosterNoel Frederick Foster died peacefullyat home after suffering from lungcancer. Noel started at the BBC in 1966where he worked at News and CurrentAffairs, before taking early retirement in1997. His hobbies were photography,bookmarker collecting, and he was akeen walker. Noel was also a retiredcaver. He is survived by his wife Monicaand his four step-children whoremember him as an intelligent, lovingand kind man.M Foster

Adored & admiredmusical director

Neil Richardson was one of the stalwarts of theBBC Radio 2 musical output in the 70s and 80sand, although his contribution to commercialrecordings was substantial, it was often as a‘backroom boy’, arranging and conducting forwell-known names, such as Joe Loss andEdmundo Ros. He was also an accompanist tomany well-known singers, including JimmyYoung, in the heyday of Jimmy’s singing career.He recorded a substantial number ofcompositions for the KPM music library, oneof which, ‘Approaching Menace’, still featuresregularly on TV as the opening theme for Mastermind. The son of a clergyman, he was born in

Stourport-on-Severn on 5 February 1930. Hislove of music started when he became achorister at Westminster Abbey at the age ofeight, then he became a music scholar atLancing College, where he met BenjaminBritten and Peter Peers, who encouraged him to

pursue a musical career.He progressed to the Royal College of Music,

where he studied clarinet, piano andcomposition under Professor Lloyd Webber, thefather of those famous sons. During his nationalservice, he played solo clarinet in the Royal AirForce Band at Cranwell. After national service, he took up a career as a

writer and arranger, and secured a position asthe staff arranger for Chappell’s music. In themid-60s, the BBC reorganised their twoexisting radio orchestras, the ‘Revue’ and the‘Variety’, into the new BBC Radio Orchestra,and he was invited to become the musicaldirector of the string section, working with suchartists as Johnny Mathis, Neil Diamond, VicDamone and George Shearing. In 1975, he wasasked to take up the baton for the newly formed‘Northern Radio Orchestra’ in Manchester,where he remained until he retired from the BBC. It was my sublime pleasure to be one of his

producers in the early 70s, when he was themusical director of the strings of the BBC RadioOrchestra. His arrangements graced andenveloped the studio with the warmth of hispersonality, and it is no exaggeration to say thathe was adored and admired by all who workedwith him – musicians, singers, studio managersand producers.His self-effacing and jovial manner belied his

incredible talent, to the detriment of the truevalue of his contribution to modern popularmusic. Although small in stature, he was a giantamongst giants in the world of popularorchestral music. Robert Farnon is quoted asdescribing Neil as ‘the finest writer for stringsin Europe’ – a view held by the musicians andproducers who worked regularly with him. Alas,much of his work is unavailable to the public,as his ‘library music’ recordings are for use onlyas incidental music for films and TV. By the end of the 80s, live orchestral music

was disappearing from radio and TV, but hecontinued to arrange music for series such asPoirot, sometimes appearing on screen as thepianist in the band. Much to the regret of hismany friends, he decided to takesemi-retirement on the Costa del Sol, but, due

to the regular call for his talents, he continuedto visit the UK regularly, and to work as andwhen requested. In 1979, he wrote the majorityof the new arrangements for the SwingleSingers, which were featured on their Americantour of that year. He also formed his own NeilRichardson Singers, who were regularly featuredon Radio 2.He continued, tirelessly, to fulfil the many

demands on his talents, and, in 1992, hearranged a series of popular songs by Gershwin,Cole Porter and Jerome Kern for opera starMaria Ewing with Richard Rodney Bennett andthe BBC Concert Orchestra which formed thesecond half of a promenade concert. He alsoprepared all the music for Robert Palmer’sconcerts at the Royal Albert Hall and wrotemany of the arrangements for the 40thanniversary of the Queen’s accession to thethrone at Earl’s Court. In the late 80s, he collaborated with his old

friend, singer Mike Redway, to produce theRadio 2 show, Those Beautiful Ballad Years,songs from which are still available on a‘Redrock’ CD. He worked with Richard Rodney Bennett on

many projects, including the musical score forthe TV mini-series Poor Little Rich Girl, and wasthe music director for the BBC film Virtuoso,about the life of pianist John Ogden. He wrotesome of the music, and conducted, RichardRodney Bennett’s score for the award-winningfilm Enchanted April, and worked again withhim on the film Swan. In 1994, he alsoorchestrated and conducted some of Bennett’smusic for Four Weddings and a Funeral.It was in Spain that he met his third wife,

Christine. They were married on 16 October2005, and moved to Nerja. I know that Neilhad found true personal happiness withChristine and the times I spent together withthem, both in Spain and in the UK, was alwaysa joy. They exuded fun and happiness wheneverI met them and it was obvious to all that theyadored each other. Alas, their time together wasto be all too short, but I know they cherishedevery happy moment they spent with friendsand family.Bill Bebb

Obituaries

November • 2010 • • 11

Royal Air Force, whom she married six years later.Connie’s career spanned over 29 years. Prior

to settling in Somerset her career includedservice at Caversham. Connie was very much afamily person, and several members of her largefamily, in their retirement, persuaded byConnie, moved to live nearby. Over the yearsand in spite of a demanding post and a busyhome life, she and Reg were great supporters ofthe BBC Bristol Club’s activities and travels.Reg, who established himself as a villagecraftsman, died in August 2007, after whichConnie moved to Plymouth to be with hergrandson Tony. Connie died in July of this year. Her funeral

was in Winford at the church of St Mary and StPeter where Reg and Connie were married.She’ll be much missed by her daughter Sue,son-in-law David, her niece Angela, hergrandchildren Tony, Symon and Charlotte,together with her great grandchildren Joseph,Christopher, Jack and Jenson.Brian Hawkins

Experienced radiobroadcaster with a‘chocolate’ voiceBBC adverts for broadcasters’ jobs always usedto include the line ‘good microphone voiceessential’. I often thought John Hayes’s voicewould have been ideal as the benchmark.If that standard was still required today, an mp3

excerpt of his voice would have been helpful forcandidates. Accentless, neither ‘posh’ or ‘estuarialEnglish’, John was always switched on toknowing his voice was his audience winner. In death he has been proved so right. Ninety

per cent of the scores of online messages, textsand calls received enjoyed his ‘velvety’ tones, his‘chocolate’ voice, ‘the finest voice on Britishradio’. One woman went as far as saying hisvoice had wooed her into falling in love withhim. Even men wrote of being entranced by hisenchanting vocals. Coupled with a calm, unflappable style,

whether handling the breaking news of PrincessDiana’s death, live interviews with victors andvanquished on election nights, or commentatingto a million people at the Southend Airshow, heenjoyed a career spanning five decades. A former RAF man, he turned his Taunton

DJ’ing into a presenter’s job at the UnitedBiscuits Network where Sky News man AllanKing remembers he became the first tointerview the emerging Kate Bush. Years later John’s eyes would light up as he

related being in the company of one of popmusic’s beauties. He was, to put it politely, aladies’ man and yes I mean plural. His colleaguesRoger Day at Piccadilly Radio and Dave Cashat Radio West remain amazed by his success. At Essex Radio John helped set up the first

listeners’ community action helpline on localradio in Britain – independent or BBC. There, inthe evenings, he trained broadcasters of the future. In 1990 he joined BBC Essex, running the

Southend operation from where he hosted themorning phone in. Eight years later, with onefoot out of the door onto radio’s scrapheap, hiscareer was saved with an idea which turned outto be tailor made both for the audience andJohn. A Sunday morning music and memoriesshow allowed John and his listeners to wallowin nostalgia. It went on to draw the station’shighest audience of the week and set John oncourse to his triumphant place as co-presenterof the weekday breakfast show. For the past two years, and until his death

from cancer, John was presenting the DrivetimeShow. He was one of Britain’s most experienced

radio broadcasters but also switched on totoday’s world. He was what today’s presentersare told to be: himself on air. He also had that‘good microphone voice’. As one listener said:‘Thanks for the tribute package. I got to hearhim one more time.’ Tim Gille

attention to detail encompassed the activities ofall crews who respectfully called her ‘mother’.From early days Eileen was the fixer, buffer andsympathetic colleague to us all.In darker, more troubled days she managed to

find time to provide facilities for ‘foreign crews’and correspondents, who turned up, oftenunannounced with amazing regularity, as wellas dealing with her busy local crews. So smoothwas the efficiency of her planning office thatthese extra efforts went almost unnoticed. Toquestion Eileen’s schedules or planning was torisk a fiery glare of disapproval.Dependably unflappable, Eileen also found

time to service with the Police Reserve in herspare time. Her role in the Reserve was in thefield of welfare, visiting the families of injuredpolice personnel, a role demanding the ultimatein care, tact and sympathy. In her unassumingway, she helped secure the peace we now enjoy.Her light relief came from her love of dogs, a

passion she shared with Desmond, her longtime partner. Her award-winning GoldenRetrievers were her closest family and gave hergreat happiness. For many years she wassecretary of the Retriever Club and organisedmany shows of the breed. In retirement she brought her boundless

energy to work as a Pensioner Visitor inNorthern Ireland. Not a job for thefaint-hearted, as Eileen saw it, and she wasquick to tackle the more difficult problems herpensioners had. Never shirking a confrontationif she thought they were being treated unfairly,she achieved notable success through her sheerdetermination, so typical of ‘mother’ of old.Bill Brown

Long-time BeebfreelancerAlthough not a BBC staffer, some BBCpensioners might remember Norman Tozer,whose freelance involvement with and creationof programmes for the Beeb was long-standing. Norman’s career encompassed television and

radio, both behind the scenes and in front ofthe cameras. He was roving reporter on BBCchildren’s science programme Tom Tom, andarts and entertainment reporter for BBCLondon News. He worked in radio too,especially for You and Yours and Woman’s Hour,which is where he probably began hisinvolvement in consumer affairs that was to lead to roles representing the UK on EU committees. Norman’s finest radio achievement was the

prize-winning A Fine Blue Day about the Battleof Britain for Radio 4 in 1980. He died inAugust, aged 76.Warren Hearnden

At the heart of the West Country’s Telex NetworkBefore the days of the email and mobile phones,broadcasters and programme makers dependedvery much on the BBC’s Telex Network. Formany years at Broadcasting House, WhiteladiesRoad, Bristol it was Connie Wyatt who, in abrisk and friendly manner, supervised thesmooth running of the West Region’s (later tobecome the BBC Network Production Centre)side of its Telex operation. Her Bristol office, avirtual nerve centre, was always busy sendingand receiving communications, in particular toand from members of the Natural History Unitin far-flung locations spread across the world.Connie was a true Londoner and was in fact

born within the sound of Bow Bells. However,over the years she became very much a countryhousewife in the Somerset village of Winford,with a short daily commute to BroadcastingHouse in Bristol. Connie’s association withWinford went back to 1939 when she and hermother came to stay for a short period in thevillage to escape the Blitz. It was then that she metReg, a Winford lad at that time serving in the

Voice of theWorld Service

Peter King died on 13 September 2010, at theage of 89, after a long illness endured withstoicism and good humour.I first met Peter in 1947 when, as a very

junior Programme Engineer, I found myself inthe various continuity studios of the OverseasServices at 200 Oxford Street. Announcers inthose days could be rather intimidatingpeople, but Peter was very much theexception. You could not fail to like him butbehind the relaxed bonhomie lay a total professionalism.He was born in 1921 in Margate, where his

father ran a small business. He was educatedlocally and remembers attending aperformance of Handel’s Messiah inCanterbury Cathedral, an experience whichawakened a lifelong love of classical music. Onleaving school, he had a variety of jobs,including at one stage as a barber’s assistant!During World War Two, Peter was posted to

the 8th Army in Egypt, where he fought atTobruk and El Alamein. Subsequently he tookpart in the invasions of Sicily and Normandy.During the 2nd Army’s victorious advancethrough Germany, Peter was among the first toenter the camp at Bergen-Belsen; an experiencehe never forgot. At the end of hostilities, he wasposted to the newly created British ForcesBroadcasting Service in Hamburg, where helearnt the elements of his craft.Peter joined the BBC Overseas Services in

1946 as an announcer. As well as his usualduties of continuity and news reading, hequickly showed his aptitude for a wide rangeof activities, excelling in the presentation ofpopular music, working with the orchestras of

Joe Loss, Geraldo and George Melachrino, toname but a few.He was also a frequent presenter of the Proms

to an overseas audience. For these and otherprogrammes, he always wrote his own material.In 1948, he was asked to introduce the OlympicGames, which he did brilliantly, althoughadmitting he knew little about athletics!Peter always remained loyal to the Overseas

Services, but made periodic forays intotelevision in the 1950s and to Radio 2 in1965, where he presented the highly successfulLate Night Live, which mixed studio interviewswith OB contributions.He was called back from retirement in 1982

to present Calling the Falklands at the outbreakof the war, a programme he had lastintroduced 40 years earlier in very differentcircumstances. He always signed off with‘Keep your heads down and your hearts high,’a phrase which became a morale boosteramongst the Falklanders. At the end of theconflict, he was invited by the Governor toreceive the grateful thanks of the ‘Kelpers’.During retirement, Peter had joined Bowers

and Wilkins, a firm dedicated to thedevelopment of the highest quality ofloudspeakers, a life-long interest. He alsobecame an excellent potter. During the Queen’sJubilee, he was awarded the Queen’s Medal.Peter King was one of the finest broadcasters

of his generation. His old friend, John Arlott,would have called him a great all-rounder. Hewas also the nicest man you could wish towork with. We shall all miss him andsympathies go out to Glen and Toby.Brian Denney

12 • • November • 2010

Book review

The next issue will

appear in December

ARIEL SUBSCRIPTIONS

UK: 6 months £26 1 year £50Overseas: 6 months £36 1 year £60 Please phone 01709 768 199

John Street will be remembered by many whoworked in the BBC Television Service during itsformative (and many would say golden) years from1954 to 1974. As a floor manager, then directorand producer, he worked under iconic innovatorsof their era, including Ronnie Waldman, TomSloane and Billy Cotton Jr. His name was the end credit on shows which

starred the biggest names – Dick Emery, HarryWorth, Kenneth Williams, Bruce Forsyth, JoyceGrenfell, Mantovani, Peter Cook and DudleyMoore…all these and many more had cause to begrateful for the particular skills that John broughtto television from the film industry. Outsidelocation work was his forte, but in the studio hewould never miss an opportunity to use a differentangle or lens to get the shot he wanted. EricMorecambe once told him, ‘I like this man – hegives me better close-ups – we must work with himagain!’ This book is a delight to all who like a warming

success story and yet one feels that it might not have

been written at all if John’s second wife, Gloria,whom he married in 2004, hadn’t realised what akaleidoscope of memories he had, many of whichwere unknown to some members of his family. Shewrote the opening and closing chapters but the restis John’s own story. John had had a distinguishedcareer in the film industry before joining the BBC,so much so that when he arrived as a summer relieffloor manager at Lime Grove in 1955, he found ared carpet laid out for him at the door!John was fair haired and handsome as a young man

– no surprise that he became a ‘Deb’s Delight’ in theLondon society of the 1930s. As he sought a job infilm-making, he was surprised to find himself indemand as a glamorous extra, as well as takingprincipal parts in newspaper adverts like Rinso andStork Margarine! Later, as Assistant Director andDirector for MGM, he helped shape the careers of thegreats – including Laurence Olivier, Ava Gardner,Clark Gable, Elizabeth Taylor and Peter Ustinov –who later recounted the story in an interview of how‘an idiot trainee director put live leeches on my body’!

Realism was always John’s mantra.To illustrate further the breadth of canvas covered

by this most absorbing read, John describes thehorrendous scenes he witnessed during his role as anauxiliary fireman during the London blitz and histraining as a pilot in the RAF – the latter led to a briefencounter in control of a Lancaster bomber whilstdirecting scenes for the film Dam Busters in 1955.One of John’s proudest achievements was

introducing Benny Hill to American television –the only British comic to become a success in theUS, Coast to Coast.John Street passed away after suffering a massive

stroke in 2008. His father had been a Church ofEngland priest and he passed on this advice to hisson – ‘Kindness and humour will see you throughlife.’ As I can concur along with all his friends andcolleagues, they certainly did.Red Light and Bell can be obtained by post from

Gloria Street, Homewell End, Poughill Road,Bude, Cornwall EX23 8NZ for £23 inc. p&p. Tel: 01288 352683.

Volunteer BBC Pensioner Visitor Chris Blount reviews Red Light and Bell –Memoirs of a Producer, written by John and Gloria Street.

A warming success story

Prospero Classifieds, BBC Pension and BenefitsCentre, Broadcasting House,Cardiff, CF5 2YQ Please enclose a cheque madepayable to: BBC CentralDirectorates. Rate: £5 for 20 wordsIn a covering letter please includeyour pension number

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ClassifiedsRobert Seatter, Head of BBC History, writes:On 15 October 1940 a delayed-action 500lbbomb smashed through a seventh floor window ofBroadcasting House in central London, beforecoming to rest in the music library two floorsbelow. It exploded just after 9pm, when attemptswere made to move it, killing four men and threewomen. Bruce Belfrage, who was reading thenews in the BH basement, paused briefly andthen continued. Listeners at home heard a distantimpact but were otherwise unaware of the event.Plans for the wartime operation of BroadcastingHouse ensured that there was never anyinterruption to the Home Service. Althoughstudios above ground took three years to restore,the main broadcasting operation was already

going on from the basement of BH, and so wassaved. The bomb destroyed the switchboard, butoperators managed to keep eight out of thenormal 70 phone lines open. The news library wasalso wrecked and the next morning the librarianwas almost arrested as a looter while trying toretrieve files that had been blown into the street.The BBC handbook of 1941 reported thedamage to Broadcasting House and included aphotograph of a burnt out studio. The Corporationdemonstrated its resilience in the face of enemyaction – in common with the country at large –and its confidence that it would continue tobroadcast, come what may.See and hear the full story on BBC History’saudio slideshow, along with a History blog(http://www.bbc.co.uk/historyofthebbc/)… all partof the ever-evolving story of BBC's iconic home.

From the archives

John is centre, with Sid James and a well-known floor manager, Colin Farnell.

In the gallery. John directs Benny.