(WARNING! CONTAINS EXTREME ANORAK-DOM AND OUTRAGEOUS, SERIAL NAME-DROPPING!)
Well, at least I can't be accused of rushing to judgement on this one! The original, and offending broadcast was nearly six weeks ago and the official report by the BBC's Trust was out last Friday, so I've had a fair bit of time to mull it all over and compare my own experiences with the Corporation to the views and judgement of others.
The first thing that struck me was how astonishing it was that the BBC, which is such a stickler for protocol on other matters (as I know to my cost-but that will have to be another Blog!), could possibly allow situation in which a producer - a Corporation employee - was allowed to put aside his contract to the Corporation and be paid directly by, and be responsible, to an independent production company, headed by the very "star" he was charged to produce!
I mean, wasn't there just one amongst the six figure salaried higher managers in the Corporation who thought this just might be a teeny-weeny bit risky? How likely was it that a £25,000 a year producer who was, temporarily, contractually required to follow the orders of said presenter, would put the interests of the Corporation first? The whole thing is insane.
As to the actual content of the broadcast: at first I have to say I thought it was a lot of fuss about nothing, but on further reflection it not only showed a grotesque error of judgement on behalf of the two 'stars', and then on all the way down the line - when the situation could have been rescued or at least mitigated before it reached crisis proportions - but that it revealed a nasty, cruel and very regrettable side of British culture. To embarrass and insult someone is not, in my view, something that should be encouraged on the public airwaves, certainly not those on the BBC, but it fits in with the YouTube, Facebook culture (and yes, I know I'm being somewhat hypocritical here because I do have a Facebook page and it is extremely useful for contacting people and general fun), which produces anxiety for so many people, who fear that they are likely to be publicly humiliated or ridiculed. To that extent, I suppose you could say that Ross and Brand were tapping in to the zeitgeist, which I suppose is what they were paid to do.
In Ross's case, there can be little doubt that the negative coverage was partly prompted by his outrageous but seemingly sincere belief that his £6,000,000 a year contract with the Corporation was "worth a thousand journalists". It was that remark that prompted me to stop listening to him -- I rarely watched him, in any case -- because the BBC must have, as its irreducible core, robust, well funded and well staffed journalism, and the thought that, at a time when it was cutting journalist posts, such cuts were helping to pay this grossly overcompensated 'star' was offensive, to say the least. No doubt Ross also felt threatened by a relatively new enfant terrible in the shape of Brand and possibly was going through a midlife crisis: that's the trouble with being an enfant terrible - by definition, you cannot be enfant for very long and you are required to be ever more terrible in order to keep up your status!
The thing is though, although this was on the radio, and neither Ross nor Brand are "radio people". They arrived at their semi-radio careers after they had become well established in television. I do not believe that any "radio person" would ever have committed this error of judgement, because "radio people" are of a different character and are much closer to their audience and more respectful of it then are television people - who are driven by a performance ethic, and live in s strange la-la land of commissioners and agents, rather than the intimate and more grounded experience of radio presenters.
Even those who are big television stars but started on the radio do, I believe, maintain their radio approach. An example of this type would be Chris Evans, who is a tremendously creative person and producing great television in his time but began his career by making tea at Piccadilly radio and now of course hosts Radio 2's Drivetime programme. He clearly loves the job -- he's a multimillionaire, so why do it otherwise? This comes over so strongly. Radio, when it works best, is a strange alchemy, and a lot of it is down to the atmosphere created in the studio. A significant difference between Ross and Brand and other radio presenters is that they never present the show on their own -- they always have to have a string of sycophantic sidekicks to perform to; whereas good radio people, even when they do have elements of the "zoo" format, can do it by themselves.
Terry Wogan,
the presenter of the most successful breakfast show in Europe, certainly in the UK, is another excellent example of this. He has had and, of course, continues to have, a tremendously successful TV career and has managed to adapt his persona to that very different medium, including in 'live' audience shows. To understand his real magic, though, you have to listen to his radio programme, where he creates a brilliantly warm and engaging show which never teeters over into blandness, containing as it does Sir Terry's often quite caustic wit. However, individuals are never the target, but rather attitudes and situations. This is what Ross and Brand have just not learned. Plus, as I say, they cannot just talk to the listener directly: the listener is eavesdropping on their programme, whereas with Wogan, or other great radio presenters, you believe he's talking directly to you. An even more impressive 'trick' – which impressed me so much today, when the show came from a cruise liner – is to combine both the intimacy of a radio show, with a 'live' performance in front of an audience.
In the process of researching a new book (note to publishers: it's coming! It's coming!) I was privileged to be allowed to watch the 'World's Greatest Living Irishman' at work on his breakfast show. I found it fascinating to see how he talked to the microphone as if it was a person -- and an intelligent and good-humoured person at that; his eye contact is directly at the centre of the microphone and the facial expressions all those that one would use if the person was sitting opposite.
His evident good humour and courtesy was vouchsafed by his producer who told me he was always exactly the same every day; was never starry and treated everybody exactly the same whether they be the Director-General or the cleaner. When he spotted me in the control room he took the first opportunity to come out to shake hands with me, making a quip: "is this the man who's come to tell us how to do it?" Thus, typically, breaking the ice by making a slightly caustic but good-humoured remark. He could not have been helpful in the interview we did in the studio after the show and interestingly, unlike many radio people, he held eye contact throughout. Tony Blackburn revealingly once said that the reason he loved being on the radio was that he could talk to people without having to maintain eye contact, which he always found awkward. It surprises many listeners that radio people are often diffident and shy and in social situations, as well as being quite serious -- they are the ones who are usually wallflowers at a party, talking earnestly about politics or whatever, whereas those in non-'showbiz' type jobs are the ones going mad on the dance-floor or cracking jokes. 'Introverted extrovert' I suppose best describes a typical radio personality. This is allied to what most would acknowledge is a somewhat imbalanced personality, which drives them to this rather weird type of performance (which is contrived and an artifice but has to sound completely natural) and the insecurity that comes from usually being freelancers on relatively short contracts and in a highly competitive business, in which their value and worth is usually judged by the most recent RAJAR audience figures.
Extreme examples of all the above are celebrated in last Saturday's Archive Hour on Radio 4, on Kenny Everett's radio career. Now, there was a complex personality! He was broadcasting's enfant terrible of his day and got sacked many times – but never for being nasty and certainly never for attacking anyone, except powerful people and institutions (such as the BBC!) and who had an excellent producer, Angela Bond (who worked with me years later on the music selection and format of a station I was programming). She also protected Kenny from the senior management and it was shortly after they split up that his famous (first!) BBC sacking occurred. Kenny is also probably best remembered generally for his television work, but was first, second and third a radio person. He was also somebody who everybody in the business loved and who was also never 'starry', despite his astonishing talent and the fact that he was, genuinely, a friend of The Beatles, who even did jingles for him (which, for a DJ, is about as good as it gets!) and was often given exclusive advance copies of their new albums, going on tour with them, and even being allowed to produce their Christmas Fan Club records. I'd been a huge fan of his since the late 1960s, on Radio 1 and even more, perhaps, of his commercial radio days, particularly on Capital Radio from October 1973, which bounced off the ionosphere and crackled through from London to my home in the West Midlands. My fandom even lead to trips with two friends to the station, so we could meet and talk with him before and after his Saturday show there. I remember he used to pull up outside Euston Tower in his black BMW, just a few minutes before the start of the programme and would sometimes take us up on our offer to help carry his "carts" (tape closed-loop cartridges), containing his jingles etc., into the building. After the programme he would descend in true camp style down that amazing staircase from the studios into the reception, where he would spend half an hour or more signing autographs, posing for photographs, chatting etc.
The Radio 4 programme also included interviews with Keith Skues -- talk about a living legend! He served on the 'pirate' Radio London with Kenny, Tony Blackburn, John Peel and many others, then on to Radios 1 and 2. I had met him when I was just 18, doing my journalism training course and I and a fellow student went to Radio Hallam (where he was Programme Director and mid-day presenter) to do a 'project' on the station. I was mortified – some 16 years later - to be told I was to take over from him on BBC Radio Sheffield's Drivetime programme, when the manager thought that a more 'news friendly' type was needed and my attachment to the station - which had initially been for three months - was extended indefinitely to allow me to do this. The fact that this meant the end of Keith's time at the station did not change his attitude towards me. He understood that it was not of my doing and was completely fine about it. We kept in touch and a couple of years later stayed over-night at our house en route to somewhere and I was added to the mailing list of his amazing annual Skuesletter.
The good thing about radio is that the 'nice guys' do tend to last and to prosper. I could go on and on about my life and times and thoughts about radio (and frequently do!) but time to hang up the anorak for now. Thanks for reading.
But what if he wasn't "beautiful"? What if he had a hare lip, or was awkward, squat and short, or disabled in some way, or just plain ugly? I was supposed to feel less outraged about his totally unnecessary death? Every time a child or young person is killed now they are betrayed as goodness and beauty personified -- think of the way those two tragic but completely unexceptional girls who were the victims of Ian Huntley were described. They even had a memorial service. I don't wish to sound unkind but, surely, a memorial service is completely inappropriate for two 10-year-olds, who had led completely unexceptional lives, but and died (thank goodness) a very exceptional death. I'm sorry, but I don't think that a memorial service is appropriate until you have reached well into what adulthood and have social and work contacts in addition to the immediate family. But the scene of any tragedy is now visited by grief tourists and we are all supposed to be enjoined in an emotional spasm about people whom we do not know. The 'modern approach' of course all started with Diana -- a neurotic and not very bright woman, whose death produced an almost psychotic reaction amongst millions of fellow citizens; some of whom confessed that her death had affected them more than that of their own parents. We seem to have lost all sense of judgement and perspective.
Well, as this is a personal Blog, I suppose the right thing to do is to make a personal reflections and links to my own life.
I thought it was one of the most amazing books I've ever read-written in the mind-1990s before he entered politics but almost certainly when he was thinking towards such a career, it is a both frank and profound. His frustrations, dilemmas, conflicts sometimes despair, and above all, love and compassion, combined with what we can call 'tough love' - his lack of sentimentality, particularly towards his African relatives, is quite striking: 