Funny Fortnight - As easy as Chelmsford 123...

At this time Channel 4, has seen fit to look back over its comedy output of the last thirty years. Which maybe right in that they will by the end of it, but some of it will be only a paper cut compared to a disection of all the rest. 

Since Thursday, the channel has been looking into its archive to find shows to be put out late at night, almost filling an awkward spot for itself regularly. We've seen the wonder of Peter  Cook at his best improvising different character in the surrounding of Clive Anderson Talks Back, also Chris Morris in the first ever edition of Brass Eye from 1997, of which originally half the material was filmed for a BBC pilot in the same year. 

This in itself has been, the channel touching first with genius or maybe get the best stuff out of the way first. Now for me, some of these shows are new to me. In having to to admit, really the first time I would have seen them would have been during Channel 4's 15th birthday celebrations in 1997, as for instance with Chelmsford 123, I would have only been 11 at that time and I would have been watching whatever BBC2 would have on at 9pm then Channel 4 would have say at 10.30pm. 

Essentially looking at Chelmsford 123 with both Jimmy Mulville and Rory McGrath aided by Howard Lee-Lewis, Phillip Pope and Neil Pearson, it does seem that Mulville's character Aulus Paulinus could have been played by Angus Deayton. Mulville does take Deayton's mannerisms and uses them into the character. But by this reflection where as the same that Mulville may have got there first with that style of delivery. Its could be said that Mulville and Deayton could have been interchangable in the TVS sitcom That's Love, but Mulville adds to the show with McGrath. Having written the series themselves, its little surprise that they would want to play the main parts themselves. Seeing things, like Horrible Histories which you could argue is for a more toned down audience, an influence is there though by using history and trying to keep as close to what it would have been but also altered for comic effect. The release on DVD of both series last year, gave the chance for the series to seen by a newer generation of fans.

The glue which holds together this huge group of performers at that time who were just getting their television breaks is Phillip Pope, both seen in Chelmsford 123 and also with Deayton, Perkins, Atkinson-Wood and Michael Fenton Stevens as well. But with also his composing of music for most comedy shows such as Spitting Image, his input into the comedy of that age is a vital one. Pope's own resume has seen him take alternative comedy, light entertainment and also most memorably in Only Fools and Horses as well. 

Looking at the upcoming schedule for the Funny Fortnight, something strikes me as odd. For all the thirty years that Channel 4 has been broadcasting for, that there is no comedy it seems before 1990 at all. Now the channel didn't suddenly start to broadcast comedy from 1990 onwards and I can see which shows around that time have been picked to reshown because of the influence of the performers. But Who Dares Wins was influencial, Friday/Saturday Live was influencial. Maybe in Friday/Saturday Live, the ground has been covered before or maybe with more to come for shows like Desmond's during the time actually around the birthay celebrations in late October/early November.  

But coming up later in the Fortnight from the Comic Strip is the excellent Bad News Tour from 1983, it was the Comic Strip which actually put into a sense of drama into comedy. They were more comedy plays then shows, which could bared out by the later film style of Comic Strips such as The Yob, A Fistful of Pesestas, Mr Jolly Lives Next Door and even Dirty Movie. There was a sense, also that in the case of Eddie Monsoon, it used television to be able to play about with. Genres could moulded as far as they could be as good as the reak documentaries which were on, it was always the twist that they could pull in people such as Tony Bastable who were well known, putting them in the middle of the show and bringing some believability to the programme even though it was comedy based.

Could it be that Channel 4 has found its funny bone again? Perhaps the people who lead the departments now, were the viewers of twenty/twenty-five years ago, the teenagers of that age. I can say that my joining with Channel 4's comedy and output will recalled in my next blogpost, of how I came to it in the mid-90's and why 1997 was a year that was important to my development of my love of comedy.

Boggenstrovia at the Olympics - Part Two...

After the Mexico Olympics of 1968 showed the public the wonders of colour television and a mass sporting occasion, meant the take up for colour television sets was steady as by the time the 1972 Munich Olympics came around. Broadcasting using the PAL system both used in the UK and also in host country Germany, unlike Mexico when the pictures needed converting to both 405 lines and also 625 lines as well. It allowed pictures just to stream back to the BBC in London bringing more extensive coverage then ever before and more live events as well.

Historical feats of endevour such as Mark Spitz's seven gold medals, Mary Peters winning the hepthalon could be seen live and brought into people's homes but to all this there was one event which overshadow these Olympics and them from a great sporting event to looking at dramatic and tragic unfolding before the viewing public.

On September 5th, what was seen as the friendly games was to be shaken to its core when the Palestinian terrorist group Black September got into the Athletes Village and held hostage five Israeli athletes and six of the Israeli coaching staff. When this happened, it was clear that the world's eyes would focused on their television sets watching an apartment block in the Athlete's Village. With this developing situation, what had been the world's top sports broadcasters covering the Olympic event meant they had turned into news anchors informing the public what was happening.

For David Coleman, that day was to be a rest day for him having commentated on the Athletics and also having anchored coverage as well the previous day. But this was all to change when his fellow athletics commentator Ron Pickering came to his room banging on his door. After being awoke by the rapid pounding of the room he was staying in, Pickering relayed the news that no-one wanted to hear.

Coleman went straight to the studio to anchor what was effectively rolling news coverage of the events unfolding, unbelievable to think now with twenty-four hour news available. Such was the BBC's higher management judgement, they trusted Coleman with holding the coverage together whilst reporting any news as to what was going on. As hour after hour passed with a single locked-off camera looking at the apartment block's balcony with the terrorists on it, the events came to their gory conclusion with the terrorists trying to escape with the hostages by helicopter but with them, German police and Secret Service officers being involved in a firefight. The story which had unraveled was one of tragedy and such as a mark of respect, the games were postponed for a few days for those who had died.

When coverage started again with a memorial service for those who had died, Coleman was once again called upon to be the BBC's commentator for the service relaying the feelings of all athletes, officials and the public to the viewer at home. It was during these games that Coleman's reputation was cemented as one of the broadcasting giants.

For all the BBC's coverage of the 1972 Olympic Games, ITV had made different plans themselves. They had announced they were going to show the day's best action in a two hour block of programming per day, as the TV Times had said about their plans "You can catch all of the day's best Olympic action, but also still watch Max Bygraves as well..."

This in itself seemed antiquated, but compared to the overshadowing events seem irrelivant. But ITV's relationship with the Olympics has been patchy at times though. Through the European Broadcasting Union's purchasing wholesale of the coverage of the Olympic Games, like the World Cup, allowed ITV to cover them as well as the BBC.

The first time that ITV covered the Olympics with full gusto was in 1968 when LWT had been put in charge of editing ITV's coverage of the games. Though one man made his debut on commentary duties for ITV in 1968 who would commentate on every Olympics right upto the 2012 addition of the games, but more later on him...

With similar coverage in 1976 for the Montreal games, ITV's coverage seemed almost non-exsistant in the public's eye. But for the BBC, who broadcast more live hours of sport then ever before, these games were memorable for the public being able to vote on which theme tune the BBC would use for their coverage via Nationwide and a postal vote. Unique by the way the theme was chosen, apart from very few other programmes this was one of the first examples of interactivity. By 1980 though both the broadcasting and the political landscape surrounding the Moscow Olympics was very different.

With the Soviets invasion of Afganistan in 1979, lead to questions being asked about the games and participation of nations by both the sporting organisations themseves and politicans as well.

With several countries withdrawing from the games including the United States, which meant NBC which had big plans for covering the games had to withdraw their live coverage apart from highlights on the nightly news. But for British broadcasters it was catch-22, some sports had gone to Moscow such as the Athletics team and the swimmng teams, other completely withdrew. Where as it was British athletes competing, they had go under the Olympic flag as independent athletes after the government gave the choice to the individual athletes if they wanted to go to Moscow or not.

But this lead to both BBC and ITV scaling down coverage for these games, though the events which counted the most were covered live by both. It was costly for NBC in the end, but for memorable moments for British competitors great for ITV and more so BBC. Though as it came around to 1984, the BBC were able to offer through the night coverage of the LA Olympics even changing the BBC1 globe of the time to the Olympic rings with the globe contained within them.

These games were truely Hollywood with sun beating down and also the Americans as host broadcaster, it gave a new perspective to the coverage with the BBC wanting to showcase what was going on but really from this point the coverage changed more to live events and with the BBC gaining full live rights in 1992, it may gained huge audiences upto and including the London games. But it somehow lost a little bit with one network showing coverage and that alone.

Coleman, Pickering and the other great commentators may have been there, but as we have seen new commentators have taken their place, some good, some bad... But the experience of Olympic Grandstand, it was a part of coverage but that will never be forgotten for what it did for sports broadcasting...

Thought what about that man who's commentated on every Olympics since 1968? Barry Davies, the man behind the mic... His commentary has brought moments of importance to the screen such as the 1988 men's hockey gold medal, his line "Where were the Germans? Frankly who cares..." It struck a cord with the viewers. Yes maybe jingoistic in some ways, but it captured the moment so well and his dulcet tones are still commentating on the hockey at the latest games nearly 44 years later...

Boggenstrovia at the Olympics - Part One

As you may have noticed the Olympics have started in London during the past few days, no matter what your viewpoint on the games like Marmite, love or hate... No matter television has been the number one medium to see the games on and this has been shown in the remarkable viewing figures for the Opening Ceremony and also events which would not be called mainstream at all outside of the usual big sports.

Television has played a major part in the Olympics development and bringing them to the people, from using them as propaganda through to both historic and also tragic moments as well.

The first televised Olympics were in 1936, when Adolf Hitler used the games to show off his ideal society and ideal image through sport. A closed circuit television system using 180 lines was set up in association with a radio system to bring the games to over 41 different countries, two different companies Telefunken and Fernseh using different systems themselves retrospectively bringing 72 hours of live coverage to special booths set upto to allow the public to watch the events live, based in Potsdam and also Berlin, this gave the public for the first the opportunity to watch live action of the athletes competing.

But this was to backfire on Hitler, when Jessie Owens won four gold medals at the games with apparent ease. Allowing the historic footage to be captured not only live but on film as well, capturing the first of many moments in Olympic history to be replayed again and again.


With the outbreak of World War Two, the planned Olympics which were meant to take place in both Tokyo and also London were cancelled. Though in London's case they hosted the first post-war games in 1948, with the BBC covering the events zeal allowed even more coverage to be beamed to even more homes then ever before allowed live coverage to the lucky few people who had television sets at that time. It can be said that a different type of propaganda was used to persuade austerity Britain to see this great event and buy a television set, patriotic pride maybe but on television's journey in Great Britain this was another step along the way. 

The Olympics went through both the Helsinki, Melbourne and Rome games with Melbourne being the first games to allow pictures to come from the other side of the world but still on film but with a delay, the new watchword was live and live is how the public wanted to see the events of the games. With new technologies coming in such as satellite technology allowed events to be covered almost live but more live then they had been than ever before, meaning events that had happened on that very same day. The Relay 1 satellite allowed only 15-20 minutes of broadcast to take place during each of its orbits allowing European viewers to see pictures, plus as also the Telecast satellite allowed pictures to beamed to the United States but also allowed the pictures to be beamed to Relay 1 as well.

This was to be the first major Olympics were one man came to the attention of the whole of the nation and not just sports fans, one David Coleman was the main athletics commentator whose reputation as one the best commentators in Britain was made in one race. The 800 metres featuring Britain's Anne Packer, the favourite for the women's 400m. The finish itself of the 800 metres, saw packer overtake Mayvonne Dupureur of France in a thrilling finish to allow Coleman's enthusiasm to come through the screen and into living rooms to experience the event themselves. A stalwart of every Olympic Games up until his retirement after the 2000 Sydney games, his most proudest moment has to be the linking of the tragic events of the Israeli Athletes hostage situation at the 1972 Munich Games where his journalistic training came into its own, staying live with events for several hours live whilst the events unfolded and also at the memorial service for the dead athletes and the other who had died a few days later.

Such was his contribution to broadcasting that the outgoing International Olympic Committee President Juan-Antonio Samaranch presented Coleman with the Olympic Order in 2000 in recognition of his services to the Olympic ideals. There are so many other moments with David Coleman, he represents a huge part of British Olympic History in which for many people he was the voice of the Olympics.

The Mexico Olympics was another turning point for Olympic coverage and television, with Satellite technology now improved it meant that for the first time totally live coverage could happen allowing the viewing public to see the event at the same time as people in the venues themselves but more importantly that BBC 2 had started broadcasting in colour in 1967, that the fully majesty of the technicolour aspects of the Olympics could be seen such as what colour the athletic track was, how blue the water in the swimming pool was but also in the Opening Ceremony as well, in future years would allow people to the full spectacle live and direct as well.

 Coming up next time, we go to Germany, see Canada nearly go Bankrupt, America not turn up behind the Iron Curtain but Britain does and does rather well plus the USSR don't do as well and a different kind of rocket man and UFO...

Pipkins down at Cockleshell Bay with Mr Spoon (Part Two)

So where did we get to then? Its the early 1980's and it all change with the new ITV franchises coming into effect and even over at the BBC where Watch with Mother is phased out for something new and a new raft of programmes as well.

In late 1980, the new ITV franchises were announced with the biggest being ATV changing into Central Television. With that came new ideas and for Hartley Hare, the end of the line... 


Let's Pretend which used both former Pipkins puppeteer Nigel Plaskitt and also former Pipkins producer Michael Jeans and deviser of Let's Pretend as well, was unique in that it used what it found around to make stories and also letting children use their imagination to create their own stories following on from the programme's end. First broadcast in January 1982, parents were disappointed to see Pipkins being replaced by a new programme but over time the programme grew in people's conciousness not only for the theme but also the puppet caterpillar which would move across the screen in the titles. For some people it would seem almost surreal with the puppet making a squeaking noise as it moved along, with its montage of what had happened during the programme at the end. It lasted nearly seven years until 1988 when once again new shows were brought in to replace it.




Meanwhile over at the BBC, the Watch with Mother strand has changed into See Saw. The See Saw branding was first used in 1980 introduced Pigeon Street, King Rollo and The Flumps to programmes for the under five's. Originally like Mr Benn, King Rollo had been a series of books  for children written by David McKee published in 1979. Seeing the potential once again, the BBC commissioned the books to be animated creating 13 episodes made by King Rollo Films 
which was set up by McKee in 1978. 


The tales of King Rollo, The Magician, Cook and his cat Hamlet were one of the young king exploring through life much like the young viewers at home whilst entertaining them as well. By using the same animation technique as Mr Benn, it gave the programme a bright look almost like a parent would have drawn for their child. With the walking aspect, the characters legs rotating outwards as they walked gave it charm and a look of something which had taken time to create. Much like the simple animations of Firman and Postgate did before this, enabling simplistic animation to become the norm which would used again in Peppa Pig at the start of the 21st century. 


After the 13 episodes had been broadcast, King Rollo Films found a niche area for producing animations for younger children. Towser made in 1982 voiced by Roy Kinnear, Victor and Maria broadcast by ITV in 1983 and The Adventures of Spot made in 1987 adapting Eric Hill's books for television very much like had been done to McKee's one nearly twenty years before that. Such was the success of the animation studio, that it still makes programmes for the under fives, even reviving Mr Benn for Nickelodeon's Nick Jr channel in 2004 with a brand new adventure following McKee writing Mr Benn - Gladiator as a book in 2001. 




Pigeon Street which like Mary, Mungo and Midge was set in an urban settting. Where as Mary's flat was a penthouse, Pigeon Street was more like an ordinary urban estate with terraced housing and tower blocks. Much were the norm of social housing at that time, Alan Rogers and Peter Lang made the animation who were later to make Rub-A-Dub-Dub for Tv-am. It showed an urban landscape which was real for most children in early 80's Britain. Using the character and their mixture of them allowed something different to what had been seen before, by taking Long Distance Clara and Hugo the Cook, who were cohabiting partners showed that people lived together who might not be married but this was balanced out by Mr Macadoo, his wife and  their twins Molly with an 'M' and Polly with a 'P' as their song went when ever they first appeared on screen during the episode. 


But not only this, the use of ethnic characters as well meant that these programmes were showing that Britain was changing and so the characters in these programmes had to as well. Reflecting the world outside the young viewers windows meant that seeing this changing Britain that they could recognise.


Meanwhile up at Yorkshire Television, they had been invaded by the cat from outer space... Get Up and Go featured Beryl Reid and Stephen Boxer assisting Mooncat in adjusting to his life on earth explaining his new surrounds to him much like a parent or guardian would do to a young child. In a similar vain to earlier shows such as Hickory House, the exploration of a young child's  world. With a tried and tested format of filmed inserts, stories and songs kept the series going for four years even with a change of title to emphasize Mooncat's role in the show and allowed Mooncat to finally dump the Moon Machine in which he saw life outside on and get out into the wide world. Though Beryl Reid wasn't available to film the 1984 series after being offered a role in a major ITV drama, meaning the setting was changed to Mooncat and Boxer living in a junk shop that Boxer was supposed to own. 


The role of Reid was filled by various celebrities playing different roles when they popped in the junk shop such as Pam Ayres, Wilf Lunn, Patsy Rowlands, Kenny Lynch and Pat Coombs later to have her own programme with Ragdolly Anna. Boxer eventually left as well with former Opportunity Knocks winner Bernie Flint taking over Boxer's role with Mooncat even though Boxer's face was on the opening credits still.


With Claridge's move with Roland Rat to the BBC in late 1985 meant Mooncat ended but the format of celebrities playing roles in a shop would be seen again though...


By the mid to late 80's, shows for the under fives were changing with more animations and puppet based shows becoming the norm each trying to compete with Rainbow which by 1987 had been on the air for fifteen years. In the mid to late 80's though two comedy stars were on both sides of the airwaves lending their voices to animated shows. From the BBC came Bertha  
with Towzer's own Roy Kinnear lending his vocal talents to the show, the show made by Woodland Animations came from a line of shows such as Postman Pat made by Ivor Wood. Bertha's purpose was to manufacture varying items but whenever there was a problem, Bertha would solve it. Bringing out teamwork and helping people in the show to the children.


On ITV, a man who had links with Monty Python was already performing in Puddle Lane for Yorkshire Television. Neil Innes, who had previously worked along side the Pythons and Eric Idle in Rutland Weekend Television narrated, voiced the characters, performed and composed the music as well. Where are Pigeon Street reflected a different Britain at the start of the 1980's , The Raggy Dolls encouraged young children to think about people with disabilities and also teaching them about humility as well. With Sad Sack being gloomy and cynical but with a heart of gold, Dotty with paint split on her and being the leader of the Raggy Dolls, Hi-Fi having a stammer after being dropped when being tested, Lucy having limbs which were poorly stitched,  Back to Front having his head round the wrong way, Claude who was dropped out of a box of French Dolls heading for export over the channel and finally of the original dolls comes Princess who is made up of left over material. 


The vast majority of the dolls in their own ways represent different disabilities both physical and mental as well. Hi-Fi having a speech impediment, Sad Sack having a mental illness Lucy having weak joints, Dotty having a birthmark and Back to Front having mobility problems etc. But this is a difference in these types of shows, at the time it doesn't seem obivious like most of  these shows, they are dealing in social issues behind the background of animations and songs.  



Where as The Raggy Dolls brought an understanding of physical disabilities to the screen, Granada's Tickle on the Tum brought the everyday local shop to the screen, familiar to any young child or parent who would go shopping locally. Ralph McTell who had come from another Granada programme for the under fives, Alphabet Zoo along with Danuschia Harwood in the first series and Jaqueline Reddin from the second series onwards worked in their shop where a local person came in recalling something which happened to them during that week, allowing McTell to play a song on the guitar or either play a song which would be related the story in that week's episode. 


Similar to Mooncat and Co. performers played the local residents who came into the shop, such as Tim Healy playing Barney Bodger, the local handyman or Kenny Lynch, playing the local milkman. Plus Penelope Keith playing the local school bus driver or the late, great John Wells playing a local farmer. These characters helped the plot along interacting with Ralph, Danuschia or Jaqueline, it was a fun series always seeing familiar faces coming into the shop and making good use of performers as well who were established at that time and especially good comic people as well. Before the end of the final series in 1988, McTell went back to his recording career leaving Jaqueline in charge of the shop and to sing the theme tune that McTell did previously. 




By the end of the 1980's lead to the ITV franchises changing again in 1992, meaning saying goodbye to another lot of shows, but with new franchises came new shows such as Meridian getting in on the slot with Wizadora. Wizadora, the trainee wizard performed the usual role of being the main performer with her friends Stan, the local shopkeeper played by Brian Murphy and Tatty Bogle, a scarecrow who was more bumbling then dim witted played from 1993 to 1994 by Joe Greco  and from 1995 to 1998 by later to become the main anchor of CITV and future Dick and Dom in Da Bungalow producer Steve Ryde, himself a alumni of the Central Television Workshop in the early 1980's. 


Taking elements from other shows meant that Wizadora followed in a long line of shows which is continued by both Cbeebies and Mini CITV for the terrestrial channels as well as plenty of other digital channels. 


Television for younger children maybe seen by some people as stunting their growth, its also a part of growing up no matter what their age is. From the grandparents of The Woodentops, the parents of Pipkins, the Uncles and Aunties of Pigeon Street and King Rollo to the children of Wizadora. Thanks to DVDs, that we no matter what our age can still see them and show them to the next generation too...

Pipkins down at Cockleshell Bay with Mr Spoon (Part 1)...

You may think "Now that's an odd title for a blogpost..." But in a way, our earliest memories of television watching comes from puppets and their human friends. I'll admit, my earliest memory comes of watching Cockleshell Bay eating cheese and pickle sandwiches as a very young avid viewer. I know its odd that something as odd as a cheese and pickle sandwich can remind me of that, but it just does.

For as long as we've known it, we been lead on a journey by television through trying to make sense of the world as a young child. Programmes for the under fives do this, in their time dealing with new experiences even touching on death as well. Though with that, escapism play a part in the development of new viewers. Though originally For The Children which was presented by Annette Mills, the sister of Sir John Mills was conceived in 1937 being broadcast in a ten minute slot, with Muffin the Mule becoming the first success of this slot. With this arrangement happening until 1952 when Watch with Mother was launched.

From Watch with Mother's launch in 1952 as an offshoot of radio's Listen with Mother, these programmes have formed formative memories. Created by Freda Lingstrom, this slot was seen to be as a pre Children's Hour programme allowing older children their own programme a bit later in the afternoon. The show such as Bill and Ben, Andy Pandy and Muffin the Mule would have their own longevity such as Muffin being shown upto 1955, just before Annette's own death. Andy Pandy, which its twenty-six episodes had been repeated until just before the advent of colour, lead to the BBC commissioning thirteen new ones in colour and showing this upto 1976. 

None the less, Andy even made a comeback at the turn of the 21st century when Cbeebies brought him, Teddy and Looby Loo back again so a new generation could see them playing together. Similarly the same happened with Bill and Ben and Muffin the Mule being revived for a new audience, meaning that in these classic shows that Grandparents, Parents, their children and their own children could watch together.

As the Sixties drew in new programmes such as the Johnny Morris voiced Tales of the Riverbank, The Trumptonshire Trillogy, The Herbs, Pogles' Wood were added to the line-up not reflecting as such the times outside the window. But one programme, got the atmosphere of that time just right. Oliver Postgate and Peter Firmin, had been making children's programmes since the 1950's with Alexander the Mouse for Rediffusion being their earliest example of work. Though having to do cut-out animation live was not the most ideal solution for either of them. Their first joint project was to be a story told over and over again, as in 1959 they let the handbrake off Ivor the Engine for the first time. As this was such as success for the fledgling network, that Rediffusion wanted more to made, although Postgate and Firmin thought that Ivor had arrived in the sidings for good.

They offered a new idea Noggin the Nog to Rediffusion as a replacement for Ivor, but much like the Beatles being rejected like Decca, they took the idea to the BBC and six episodes were made, shortly after their success another six were made. Leading to other projects for their new production company Smallfilms to be made for both the BBC and ITV, but it was in 1968 that they took a colourful leap into a new era of programmes for younger children. Taking two ideas which come together to make seminal programme of its age.

The Clangers was the right programme at the right time, with the focus being on the lunar landings and also the new age as well. It was seen as something different to what had gone before, where as series previously had been only earth bound. It took an age old question and made it real, which was "Is there anybody out there?" By taking the situation of lunar exploration let Postgate and Firmin run their imaginations to another level, take on these types of programmes to new levels and to new imaginary worlds. But even The Clangers made it out of their own sphere when Postgate and Firmin made "Vote for Froglet" which was broadcast on the night of the second election of 1974, this was an answer the political unrest of the early 1970's and to be able to convey this to the voters in such a way they could understand it much like a child would.

Over at ITV, with the relaxing of broadcasting hours in 1972, this allowed programme for the under fives to become part of their daily daytime schedule. Allowing each of the big four weekday franchises to provide programmes of their own in different styles. From Thames came  

Rainbow, originally with David Cook presenting with Bungle, Sunshine and Moony. When Zippy came along, they were phased out for George and the pattern of the regulars was completed when Geoffrey Hayes came into present. As such the programme lasted for twenty years, even with revivals the early 90's.

Those as such were memorable, but backing Rainbow up was Indigo Pipkins. Originally based around a puppet maker and his puppets, Hartley Hare was sent into the world on the first day of 1973. With George Woodbridge originally presenting up until March 1973 when during the filming of the second series he died. The following year this was put into the programme, which this had never been done by children's television. Although the subject was repeated in 1978 when a pet goldfish died, leading to Topov the Monkey and Johnny, played by Wayne Laryrea to discuss why did people had to die. When Woodbridge died, the original idea of a puppet workshop was changed to the puppet becoming "The Help People" as suggested they would help people in their daily lives. 

Laryrea moved on himself in 1978 to be replaced by Jonathan Kydd, with him coming the human helper to Hartley and all with Kydd himself leaving in 1980 replaced by Paddy O'Hagan for the final two years. Even the set was given a revamp in 1979, by using techniques perfected on The Muppet Show lead to the set becoming roomier and giving the puppeteers more space to move around in.   

Meanwhile, Granada had gone for different approach in its programme. Hickory House from the outside seemed almost like ITV's own version of Playschool. With human presenters in a mocked up house with puppers, it did have the feel of being able to talk down the lens to children at home, almost one on one... But also had the same sort of thing as Rainbow, Pipkins and other shows, with humans and puppets interacting with each other. But with concept of being based in a house, it allowed household objects to come alive. By setting it in what a young child could recognise as similar to their own surroundings with everyday objects. Encouraging them to build a fantasy world in their own real one, allowing them to learn at the same time. 


Alan Rothwell with fellow Coronation Street alumni Amanda Barrie, Louise Hall-Taylor later present Watch for the BBC and Julia North all presented Hickory House until 1977 when the programme finished, though the programme may have been memorable in itself, it was also so for the Granada Giro 'G' ident transforming into the house itself through animating. Of all the shows for the under fives, it has never been released on DVD much to the opposite of Pipkins released through Network DVD although 129 editions remain in the Granada archives to this day.


For all the puppets and humans, come the shows from left field. One of the strangest has to be Yorkshire's entry into the pantheon of these shows, Mr Trimble. It was first broadcast like the others in 1972, by using the usual mixture of live actors, puppets and filmed inserts. Tony Boden played Mr Trimble whose wife Maureen Sutcliffe worked on another Yorkshire series for schools, My World took the leading part, although Sutcliffe provided some of the voices for the puppets. Based in an attic, Mr Trimble lived with Glug the Goldfish and also a robot for company as well. Though Trimble's look owed more to Mr Pastry, with glasses and a prominent moustache on his top lip, almost like a friendly uncle type of figure to be exact. Its strange combination of elements lead to the viewing experience to be slightly odder for anyone tuning in to catch Leonard Parkin reading the News at One, but this gave it a freedom to be more informal to younger eyes almost they had been invited to visit this man to interact with him. Seemingly almost trusting him in learning new experiences and also being entertained as well.


Though from the mind of John Read, a key part of Gerry Anderson's Supermarionation films during the 50's and 60's, having worked on Four Feather Falls, Supercar, Stingray, Thunderbirds and Captain Scarlet came three series which were to key parts of the schedule in the mid to late 70's. Cloppa Castle was the first of these three, where he took a producing role then came Here Comes Mumfie in 1975 where he was producer/director. 


The Munch Bunch set of books were created in 1979 by Denis Bond under the pen name Giles Reed, after their success Lord Lew Grade through ITC Entertainment commissioned 12 episodes to be made under Read and Mary Turner, the stories were different to the books with Read mainly penning new stories for the characters. The success of those first twelve, lead to another forty to be made over the next four years. The series of books lasted longer then the television show lasting until 1984 with the final episode of the series being shown in May 1982.


By this time with the ITV franchises changing in January 1982, lead to shows coming in plus new ideas as well, though old favourites would still be there on both channels...


Coming up next time...


A King, A cat from Outer Space, Neil Innes in full effect and a ride on the See Saw...


That's in Part Two of Pipkins down at Cockshell Bay with Mr Spoon...

TV Nostalgia - Chain Letters

Here is the latest TV nostalgia column printed in the Portsmouth News on Saturday 16th June on Chain Letters... Enjoy!

"Change a letter, do it again and that's how you play Chain Letters.." An easy enough explaination of a gameshow, but this daytime show was a lot more then that. First broadcast in 1987 with Jeremy Beadle as host, it seemed like a cut price version of the letters round in Countdown.

Contestants were individually given words, and they must change one letter at a time to make new words. Though its never what it seems, from a simple four letter word, they would usual change it to what viewer at home was thinking about, usually leading to them using a different kind of four letter word instead!

Various hosts each had a go at presenting duties. From Jeremy's replacement, Andrew O'Connor to Dave or as he was billed back in 1997, David Spikey. Affable and genial, seem the words to describe him , at times though it did seem like he looked like he was caught in headlights! But he had needn't have worried as one of his main writers on the show was none other then a pre-Phoenix Nights Peter Kay, supplying the jokes for him. Though some good must have come out of it for Spikey and Kay, as they employed former host and warm up man for the show Ted Robbins and Spikey, made that version of himself into the character Jerry 'The Saint' Sinclair. 

Now who said that presenting gameshow wasn't good for the career, especially when you can get great material for future projects from them!

We are family? A blank holiday usually sort that out...

At this time, when it seems everyone is celebrating or avoiding the Jubilee (delete where applicable...) The creation of two Bank Holidays in a row has been a boom time for some digital channels such as Dave being able to put out back to back editions of its favourite shows such as QI and Top Gear, though this is the case for most channels on Freeview. Though there was a time when these occasions were treating as something special, a day off from the norm. But not now, in part because of any Bank Holidays meaning nothing at all to anyone now. As such schedulers in telly land agree the same as any member of the public, why bother?

Go back at least twenty years, when it seemed like Bank Holidays last had any meaning to anyone, there would be a smattering of family friends films on television to keep people who didn't go out amused. This fare would usually be a Disney film, nothing offensive almost like candy floss or chewing gum for the eyes. 

An off-shoot would be Disney Time where a presenter would be at a family friendly venue to link inbetween clips of Uncle Walt's finest films and cartoons. To anyone now this would seem antiquated, almost stale and boring. You were even lucky to get special editions of The Generation Game, Swap Shop and the alike, there to entertain the family. As a business, television does not provide this at all and it seems it wants to give up on these occasions and let other things win and just be a piece of furniture in the corner rather then something special to provide entertainment to people. 

But we look back on this with fondness and wonder why it can'y be like this again, the reason because we let it happen in this way. We throw some many babies out of bath water to the effect that we basically discount everything which maybe vaguely entertaining. So we are the cack handed society, who want things to be how they used to be, but hate it if it's put back to that way.  

Maybe its time that people, took a look at themselves to see what they have become as such. A blank holiday, that's what...