“First Night”

Here’s a real treat: the official programme of “First Night”, the first studio transmission from BBC Television Centre on Wednesday June 29th, 1960.  As the programme states, the studio audience that evening consisted mostly of people involved in the design and building of TVC – the second-oldest television studios in the UK (after Granada Studios in Manchester)*, and still one of the largest television facilities in the world.

More details on the programme can be found on this excellent site: http://www.78rpm.co.uk/bbc.htm, which also contains details of other landmark broadcasts in the BBC’s history.

*An interesting, if depressing, side note to this is that both TVC and Granada Studios will cease recording/broadcasting from those original sites in 2013.  Thankfully Television Centre, or at least parts of it, are listed and so will be protected from demolition, but no such security is (yet) in place for Granada House.

(click on the thumbnails to see larger versions of each page)

"First Night" programme front cover, 1960

"First Night" programme front cover, 1960

"First Night" inner pages

"First Night" programme inner pages, 1960

"First Night" back cover

"First Night" programme back cover, 1960

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BBC Television Centre, c.1960

A quick item to start the new year, picked up (quite randomly) from a stamp-collecting auction site and delivered from India.  I’ll have to guess at the year as 1960 (the year that TVC opened), but it’s certainly thereabouts.

A nice reminder of what this cultural and architectural icon used to look like now that, as of June 2011, it’s officially on the property market.

BBC Television Centre

BBC Television Centre, c.1960 (postcard)

Television Centre postcard (back)

Television Centre postcard (back)

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If in doubt, put a pretty girl on the cover

The inside front cover of the “What Do You Think Of It So Far?” booklet, issued in 1977 as a more audience-friendly (i.e. there were lots of pictures) version of the BBC Handbook.

As it’s nearly Christmas, it seems only right to present that traditional staple of the Christmas Top Of The Pops compilation, Legs & Co.  Perhaps this is the kind of marketing ploy the BBC should return to to give them the commercial edge over Sky?

Legs & Co from Top of the Pops

Legs & Co from Top of the Pops

These and more you’ll see
At home on BBC tv
A front row seat – no queues to beat
The cost? One licence fee

Just work it out – a simple sum
Take one night on the town
Compared with what you spend to view
Each night the whole year round.

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The Odd Jobs Of The Research Engineers

An abridged article from the 1951 Handbook, written by E.C. Drewe. The “new” home of the Research Department, Kingswood Warren, was acquired by the BBC in 1948 and occupation began the following year. Thankfully the site was able to celebrate its 60th anniversary shortly before it was closed, in favour of moving the Research & Development department to split sites in London and Salford.

There’s a wealth of information on both Kingswood itself, and the work of the Research department over the years at the BBC’s own R&D site: http://www.bbc.co.uk/rd/about/history.shtml

The Odd Jobs Of The Research Engineers

E.C. Drewe, M.I.E.E.

It is fashionable nowadays to look for glamour and excitement even in the most humdrum of occupations.  BBC research, though seldom humdrum, can certainly provide unusual activities.  To name a few at random – flying a barrage balloon in the middle of the Yorkshire moors, in the Lowlands of Scotland, and in fierce gales in the West Country – climbing the seven hundred and fifty feet of the Sutton Coldfield television aerial, there to carry out precise electrical measurements – installing apparatus in a helicopter to hover above a transmitter to find out what is really happening up there, and thus check the theoretical predictions – solving the problem of how to produce a television picture in colour.  There are only a small number of the things which the research engineers are called upon to do, in carrying out their role of being the Engineering Division’s technical consultants.  Their scope is far wider than that of the four engineers who, in 1925, formed the Research and Development Section in two rooms at Savoy Hill.

The present staff of the department numbers just under 200, with its laboratories and workshops in the new headquarters at Kingswood Warren, Surrey.  Inevitably, perhaps, the building is too small for the Research Department, and the construction of special accommodation is now in progress in the grounds.  When this is possible it will be possible to move the remainder of the staff from the old premises in London.

Broadly speaking, the work divides itself under three headings: electro-acoustics, radio, television.

Electro-acoustics is the terms applied to all that goes on between, say, the reading of the news, or the playing of an orchestral item, and its actual transmission from the broadcasting station.  One of the most important problems is the design of good studios, and this is a job which is as difficult as it is to describe a good studio.

New programme activities mean new microphones – special ones for cricket matches so that the noise of the ball against the bat can be clearly heard – inconspicuous ones for commentators at the ring-side – and the time may come when the demand arises for invisible microphones for television!  The development of microphones calls for special techniques, and even for special buildings with a thickness of glass wool upon the walls, floor, and ceiling.

Radio as a heading covers all the problems which arise in getting the programme from the transmitting station to the listener’s aerial, or, in other words, in the provision of a satisfactory service.  The recipe is simply that of putting a first-class transmitting aerial on a first-class site.  But first-class sites have first to be found and have to be most carefully chosen, not only with respect to the location of the population to be served, but also with respect to other transmitters carrying the same service for other districts.  Such planning has to be done on a national scale, and it is the job of the Research Department to do it, first on paper with the aid of mathematics, geological maps, relief maps, population maps, and maps of the areas to be avoided, such as National Parks!  After this comes the actual testing of the sites, which is done by a mobile transmitter and an aerial, which, in the case of television station sites, is suspended 750 feet in the air from the barrage balloon mentioned in the first paragraph.

Television – the latest job for research.  There is much work to be done under this heading.  The techniques employed are new, and improvements to them are continually being produced in this country and elsewhere.  It is the duty of the Research Department to keep abreast of all developments, to examine the likely looking ones, and where practicable, recommend their adoption for the improvement of the national 405-line service.

Work is going on upon such diverse subjects as picture flicker, the best screen size, and common wavelength working of television transmitters.  Developments in colour television now taking place abroad are being studied, and experience has been obtained by constructing laboratory equipment to produce a coloured picture.

Kingswood Warren, the new home of the BBC Research Department

Kingswood Warren, the new home of the BBC Research Department

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Broadcasting House in the 1930s

A selection of pictures from the 1934 edition of the Handbook, celebrating the opening (on 14th May of that year) of Broadcasting House, the BBC’s flagship building, and still the hub of its radio operations 77 years later. These are a selection of the images showing off B.H. in all its 1930s art-deco glory.

Broadcasting House Restaurant

The Restaurant


Broadcasting House Religious Studio

The daily Morning Service in the Religious Studio


Broadcasting House Listening Room

In the Listening Room


Broadcasting House Bookshop

The B.B.C. Bookshop in the foyer of Broadcasting House, at which B.B.C. publications can be obtained


Broadcasting House Artists' Foyer

Putting up the Daily Programme in the Artists' Foyer at Broadcasting House

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From Peace To War

This article has been abridged from the first chapter of the 1942 “BBC At War booklet by Antonia White (chiefly known as a fiction writer in the aftermath of World War I, but who also worked for the BBC as a translator during the Second World War).

BBC At War (1942) by Antonia White

BBC At War (1942) by Antonia White

It’s interesting to note that, despite wartime austerity, the BBC continued to publish its annual Handbooks and literature such as this. Given the exposure that the British public had to the War (unlike the global conflict which preceded it), and the fact that this was issued at a time when the Allied victory was far from a certainty, I wonder if this was a an exercise in global propaganda; perhaps one of the ways in which Britain was appealing to the Americans to offer assistance (the attack on Pearl Harbor was yet to happen when this booklet was published)?

From Peace To War

“I have to tell you…that this country is at war with Germany.”  Into the peace of a September morning, through the air still echoing with Sunday bells, broke the voice of the Premier announcing stress, strain and violent upheaval.  For those few minutes the wireless set was the focus of the whole nation’s life.

It was a dramatic moment in the short and eventful history of broadcasting.  But for the BBC the real drama had begun thirty-six hours earlier.  On the night of Friday, 1st September 1939, you heard for the first time the now familiar words, “This is the BBC Home Service.”  Flat, unexciting words, giving no hint of the convulsive changes that had gone on behind the scenes to produce them.

Ever since the days of Munic, the BBC had been preparing secret plans for mobilisation in case of war.  Two difficult problems had to be solved.  One was that, at all costs, even if the country were dislocated by bombing or invasion, the broadcasting service must continue.  The other was to reorganise the transmission system so that it could give no guidance to enemy aircraft.  In certain circumstances a continuous strong wavelength can be as efficient a help to an aeroplane as a lighthouse beam to a ship.  The extraordinary technical feats accomplished by the BBC engineering staff in reorganising the transmission system so as to give enemy aircraft no possible help in reaching their objective cannot unfortunately be told here.

Early in the evening of 1st September 1939 came the message from Whitehall that sent the BBC to its war stations.  All over the country the broadcasting engineers opened their sealed orders and acted upon them.  Within an hour and a half the change-over had been effected; at 8.15pm the Home Service was on the air for the first time.  For security reasons that new and highly promising child, the world’s first high-definition television service, had to be unceremoniously put to sleep “for the duration.” The BBC was at war.

On the programme side, the first emergency period was soon over.  The inevitable contraction to one programme only for home had by no means meant contraction in working hours.  New services in foreign languages and the Empire were speedily created.  And though there was now only one home programme, it ran for seventeen hours instead of for under fourteen as in peacetime.  This means that transmitters now have to be manned at all hours of the day and night – a heavy demand both on the apparatus and the engineers.

By the end of the 1939 the programme service had been built up to something like its pre-war quality.  There was still only the Home Service to cater for the ranging tastes of millions of listeners, but, as time went on, the programmes began to reflect the rich and varied life of the Regions much more fully though not so fully as in peacetime.  Nevertheless, both among the audience and behind the scenes of the BBC itself, there was a growingdemand for an alternative programme.  One most important section of the community particularly needed it – the fighting forces both at home and abroad.

The Forces Programme was planned originally for the men spending that winter of bitter cold and forced inactivity in the front line.  Over and over again the items asked for were – “Something to cheer us up…something to keep us in touch with home.”  But long before the Forces Programme cam under discussion, the BBC had had its representatives in the front line.  Immediately war was declared, a recording car and its crew of commentator, engineer and programme official, landed in France to accompany the B.E.F. and make records under all sorts of conditions.  The bitter cold of that winter made it hard to get good records.  Sometimes frost patterns would form on the blank discs and ruin the surface.  Often the only way to safeguard the discs was for the engineer to take them to bed with him.

It seems a long time since those days in France.  In 1939 a BBC war correspondent, recording despatches in a camouflaged car eighty-five feet from the enemy’s front line, was certainly taking risks.  A year later a home announcer sitting at his desk in Broadcasting House was taking even more.

With the evacuation from Dunkirk and the Battle of Britain, the war-centre shifted to this country.  In September 1940, London was in the front line of attack.  In October, Broadcasting House received its first direct hit and six people in the building were killed.  The BBC was no longer observing the war; it was right in the middle of it.

Broadcasting House turned overnight into a fortress.  Wandering through the basements at night you saw corridors littered with mattresses on which tired men and women were trying to snatch a few hours’ sleep.  In those first days it was not an uncommon sight to see the Director-General dossing down between a commissionaire and a secretary.

As a result of the first bomb, men and women lost their lives in the service of the BBC.  In a second incident, a month or two later, though there were fewer fatal casualties, blast, fire and flood played such havoc that part of the building had to be temporarily evacuated.  Working in their own homes, queueing up at public call-boxes, somehow the people responsible for the talks and features due to go out the next few days made their contacts and kept up to their schedule.  In spite of every kind of breakdown, the service itself went on unbroken.

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How did their ovaries not impede their work?

A little light relief from preparing tomorrow’s mammoth post on the early days of the Second World War in Broadcasting House, here’s one of the pictures from the 1942 “BBC At War” booklet.  It was, as they say, a different time.

"In war-time, girls do some BBC engineering jobs"

"In war-time, girls do some BBC engineering jobs"

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“Light switches (several): 40””

OK, hands up, who has at some point owned a BBC Sounds Effects record or tape? Anyone? Oh. Just me then? I had a lot of the commercially-available LPs and cassettes – “Sci-Fi” (no.26), “Death and Horror” (no.13), “Doctor Who” (no.19). All BBC Radiophonic Workshop classics of their time, and absolutely something any healthy, right-minded early-teen would spend their pocket money collecting. *ahem*

Fast forward to November 2011 and the great “New Broadcasting House closure fire sale”. Very few bargain were to be had, presumably all the good stuff sent off to the Archive and any other pieces of memorabilia spirited away under the jackets of the MediaCityUK emigrants. The two souvenirs I came away with were 2 7″ sound effects records, not part of the commercial releases but used in anger on any number of radio and (possibly) TV shows. Running at 33rpm (rather than the 45rpm you’d expect from 7″ vinyl), they’re both in very good condition considering they’re library records, although how much call there was for “Filling plastic coal hod (twice)” you do have to wonder.

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A Dial-A-Page News and Information Service

Another selection from the “What’s Auntie Been Up To” booklet from 1976, here’s a full-page advert for the Ceefax service. The service, based on a system originally developed by the Designs Department (Television Group) for transmitting farming and stock-market information via dormant TV transmitters, was launched on 23rd September 1974 (with a full 30 pages of information). 1976 is a key year in the life of Ceefax as it was in this year that a common standard was agreed between the BBC and the Independent Broadcast Authority (IBA) , who had launched their similar Oracle system also in 1974.

Ceefax full-page advert

Ceefax is the latest form of BBC broadcasting - a dial-a-page news and information service with which viewers can see facts of their choice - ranging from news and stock market reports to horse-racing results and gardening tips. Invented by BBC engineers, it gives Britain a world lead in 'teletext transmission'.

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Changes in Religious Television

Another recent find, a 64-page glossy colour booklet entitled What’s Auntie Been Up To? (Price 30p), from 1976, is a consumer-friendly ‘BBC Handbook-lite’. By this time, the BBC Handbooks had lost their enticing covers, and were little more than financial and organisational statements. As the booklet says, “But as [the Handbook] runs to 350 pages and costs £1.50 (incidentally, the same price as last year) we thought our licence-fee payers might like us to make a shorter version available.” I might venture as far as to say, in these times of increased choice in broadcasting mediums and providers, a booklet such as this might well provide the kind of positive marketing push that the BBC needs.

This article forms the Religious Broadcasting section of the booklet. The changes listed as coming into effect in “April 1977″ actually came into effect on Easter Day of that year. This brought about changes to religious television that had previously been in force for more than 20 years. The ‘closed period’ on a Sunday evening was originally a time early on a Sunday evening when no television programmes were broadcast, in case that kept people from attending church. The 1977 scheduling changes reduced the so-called ‘God-slot’ to 35 minutes, when the BBC and ITV would broadcast religious programming simultaneously. The mentioned Anno Domini programme, already successful at this point, would be developed in a 10.15pm slot under the name Everyman.

Changes in Religious Television

The BBC issued the following statement on 12 May 1976:

For many years the BBC and Independent Television have placed most of their religious programmes in the period between 6.15 and 7.25pm on Sunday evening.

After thorough discussion with both braodcasting authorities the Central Religious Advisory Committee has made a number of recommendations for change. These recommendations have now been accepted by the BBC and the changes will be introduced in April 1977.

From that date Songs of Praise on BBC1 will start at 6.40 and will finish at 7.15pm (ITV will also be transmitting religious programmes at this time.) Anno Domini or future comparable programmes will be shown at 10.15pm. Both programmes will be backed by increased resources and the total amount of time given to religious television on Sunday evenings will be slightly increased.

These changes are designed to improve the placing and the range of religious programmes. The BBC believes that they will provide a better service to the viewing public.

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