Letterhead circa 1980s

PM comp slip SD (found in Comms 1984)

 

 

 

 

 

 

 

 

 

Copyright resides with the original holder, no reproduction without permission.

Thanks to Steve Dellow for keeping this A5 notepaper safe, and for sharing it.

Steve found the slightly crumpled letterhead in 1984, in the Communications Centre drawer! The sheet dates from the 1980s, and was designed by graphic designer Lesley Hope-Stone. It’s interesting that telegrams could still be sent to the phone line – I don’t know when that stopped being possible.

This version of the BBC logo was used between 1971 and 1988, the corners of the blocks are rounded in this iteration, whereas the previous version had sharp edged blocks. The line drawing logo of the Pebble Mill building was used soon after it opened in 1971.

The following comments were added on the Pebble Mill Facebook page:

Dave Harte: ‘Pebble Mill logo is awesome. That should be on a t-shirt.’

Ian Wood: ‘I did work experience at Pebble Mill during my BA Graphic Design course, working alongside graphic designer Lesley Hope-Stone in early 1984. Towards the end of my time she was working on a corporate identity for BBC Pebble Mill to be used across stationery with a view to extending it to the screen – possibly on regional news bulletins and for the copyright line on end credits.

It didn’t quite happen, which was a shame in my view – I loved Lesley’s design. It was superseded by the “flying plughole” logo used for BBC in the Midlands in 1986. It would have been in circulation from (roughly) summer 1984 to summer 1986. I think it was then felt that a logo was needed to represent the whole of the BBC’s activities in the Midlands rather than to symbolise Pebble Mill alone. Hence the flying plughole after the relatively short two years that Lesley’s stripes ruled.’

Here is the ‘flying plughole’ logo which Ian is referring to:

pebblemill letterhead PP

 

Phil Sidey Obituary

Phil Sidey (HoB) & John Wood (press officer). Copyright resides with the original holder.

Phil Sidey (HoB) & John Wood (press officer). Copyright resides with the original holder.

 

 

 

 

 

 

 

 

 

(Copyright resides with the original holder, no reproduction without permission. This obituary was published by The Independent in 2011.)

http://www.independent.co.uk/news/people/obituaries-phil-sidey-1579330.html

Obituaries: Phil Sidey by Leonard Miall

The Independent Saturday 22nd October 2011

 

As the Head of the BBC Network Production Centre at Birmingham, Phil Sidey was the man who converted Pebble Mill from a structural white elephant into a thriving source of daytime television. He was the first manager of Radio Leeds and played a leading role in establishing lively local broadcasting on a financial shoestring. He was a programme innovator with a spate of lively ideas and an abrasive tongue which tended to upset some of his colleagues. He was also an accomplished public speaker and a successful chairman of the Royal Television Society.

 

Sidey’s first experience of broadcasting was in Austria immediately after the Second World War. As a sergeant in the Royal Artillery he was in charge of the Army Broadcasting Station at Klagenfurt for three years. He then had a variety of journalistic posts including three years with the Associated Press before joining the BBC’s External News Service as a sub-editor in 1956. In 1963 he transferred to Television News, becoming a Duty Editor in 1964.

 

In 1966 Harold Wilson’s Labour government decided to inaugurate eight experimental local radio stations. They were only to broadcast on VHF and their meagre annual revenue of pounds 50,000 for each station had to cover staff salaries and all programme expenses. That sum was not to be a charge on either the BBC Licence income or the rates. It had to be found from other local sources.

 

In 1967 Sidey was selected to manage the new local radio station at Leeds. His application was a surprise, for many thought that he had abandoned radio for television, and he had no connections with the north of England. But he was ambitious to run his own operation and he feared he had made too many enemies in television news ever to reach its top position.

 

Sidey had a great flair for publicity, including self-publicity. In order to get the name of the experimental station regularly mentioned in the local press, albeit only on the sports page, he bought a greyhound and named in Radio Leeds. 24 Hours, the television magazine of which Sidey had been the news producer before moving to Leeds, sent a camera team to make a sequence about the programmes he planned to introduce. One was a record request show called Bring-a-Disc in which, because his library was limited, listeners had to bring their own records to be played. Sidey was filmed outside the door of Radio Leeds urging passers-by to come in with their favourite discs. The film was shown on the day the station opened in June 1968.

 

Sidey recruited a team of Yorkshire journalists to provide a valuable service of local news. The naïve idea of the Government that provincial newspapers would gladly provide the new experimental radio stations with copies of the local news they had gathered for their own us had soon evaporated.

 

One of his innovations was The Only BBC Programme the Money Can Buy. Listeners would telephone the studio and demand a favour, promising in exchange to pay a sum of money to any charity of their choice. This worried the authorities in Broadcasting House, who feared it might upset the central scheme that ensured fairness among charity appeals. Another was Teenage Week, presented entirely by schoolchildren, which caused Sidey to be dubbed “Fagin” and accused of exploiting cheap child labour.

 

In 1969 Sidey wrote a memorable article for the New Statesman, then influential with Harold Wilson’s government, on making community radio effective. Frank Gillard, the former managing director of BBC Radio, said that Sidey’s points convinced the entire Labour hierarchy of the success of the BBC’s local radio experiment.

 

In a lovely book, Hello, Mrs Butterfield……, published last year, Sidey also told the story of Radio Leeds. He described in detail the work of creating cheap local radio. “The rediscovery of radio and infliction of new communication ideas on to the city of Leeds,” he declared, “was surrounded by so much good-humour and lively, not to say outrageous, behaviour, that the station soon became dubbed ‘Radio Irreverent’.”

 

Sidey’s own lively, not to say outrageous, behaviour caused him trouble with the authorities at Broadcasting House on various occasions. After Radio Leeds he worked as the Deputy Editor of Nationwide until 1972, when he became Head of the Network Production Centre at Birmingham.

 

The Pebble Mill complex, newly opened but planned some 10 years earlier and built at a cost of pound 8m, has a marble entrance hall with a vast glass foyer which is reached via a footbridge. But by the Seventies visitors mostly came by car and had to park at the back of the building. Sidey’s appointment coincided with the Government’s de-restriction of broadcasting hours and he seized the opportunity of putting Pebble Mill on the broadcasting map by offering to mount a live daily magazine from the idle space of the glass foyer. The London technicians had grave misgivings about the lighting and acoustics. But the difficulties were overcome, and Pebble Mill at One became the first important daily current affairs programme to be produced outside London for the BBC. Viewers were surprised to see elephants participating and studio guests arriving by parachute.

 

Sidey insisted that every new programme originating in Birmingham should carry the name Pebble Mill in its title. As his successor, David Waine, put it, “He had a deep belief in the importance of regional broadcasting being independent of London and he pursued that belief with an acerbic and occasionally wounding wit.” It was Sidey’s defiant independence of London that led to his premature retirement in 1983.

 

The Royal Television Society, founded in 1927, was originally a group of television enthusiasts intent on furthering this new scientific discovery. It consisted entirely of engineers. In 1978 Sidey was the first non-technician to be elected chairman. With the vigorous support of Sir Huw Weldon, who succeeded the Duke of Kent as President of the RTS in 1979, Sidey threw open the society’d doors to programme people and made it representative of the whole television industry.

 

Sidey was chairman of the RTS for four years, twice the normal span. His speech on the retirement of Wheldon included a translation of Madame de Pompadour’s word “ Apres nous le deluge” as “After us that shower takes over.”

 

Phil Sidey was a trim, athletic man who loved walking along the Pennine Way. Hw was on a walking tour of the Peak District at the time of his death.

 

Leonard Miall

 

Philip John Sidey, broadcaster: born London 11 January 1926; staff, BBC External Service News 1956-60, Teelvision News 1963-67; Station Manager, Radio Leeds 1967-70; Deputy Editor, Nationwide 1970-72; Head of Network Production Centre, Pebble Mill, Birmingham 1972-83; Chairman, Royal Television Society 1978-82; President, Birmingham Press Club 1979-81; author of Hello, Mrs Butterfield….1994; married 1951 Daphne Finn (two sons, one daughter): died Castleton, Derbyshire 15 October 1995.

 

The following comments were left on the Pebble Mill Facebook page:

Chris Marshall: ‘That is the most wonderful call to arms for regional broadcasting!’

Lynn Cullimore: ‘A great man indeed and i did not realise he had died. John Wood in the picture too. He was my wonderful boss at the Beeb when I worked in the Press Office. Typical John and Phil poses in the bar!’

Ian Wood: ‘Would that Birmingham had a Phil Sidey in the 21st century. He’d have had a thing or two to say about the draining of production at London’s behest.’

Jane Mclean: ‘Fabulous photo. I only just missed him at Radio Leeds but his legacy lived/lives on. A great man.’

Pete Simpkin: ‘Worked with Phil for a while at Leeds on attachment, he was full of the great gimmicks…I recall a world Gargling competition!’

 

 

 

Radio WM – Sunday Night Party

left to right: Clive Payne (presenter), Ian Wood (main presenter and producer), front Nermin Aaron (presenter), right Paul Flower (presenter)

left to right: Clive Payne (presenter), Ian Wood (main presenter and producer), front Nermin Aaron (presenter), right Paul Flower (presenter)

 

 

 

 

 

 

 

 

 

 

 

 

I presented for Radio WM of a weekend between 1989 and 2000.  I also did some bits for television too but predominantly, my time was spent in radio.

I co-presented a Sunday night locally networked programme called the Sunday Night Party and it’s main presenter, Ian Wood, would occasionally allow me to go off and interview people, some of them famous, for the programme.
For those people who remember the configuration of Radio WM’s studios, they were basically five cubicles or ‘Areas’ as they were locally known.  Areas One and Two were self-op studios, Area Three, although designed as a studio but without self-op desk was used as the telephone answering area.  Area Four was the same as one and two and Area Five was set up with a round discussion table and a number of mic sources, which were controlled as ‘slaves’ from Area four.

The Sunday Night Party was transmitted live from Area Five because of the number of contributors participating in each programme and driven by me, also presenting from Area Four.  It was taken by WM, Hereford and Worcester, Shropshire and Stoke and in the earlier years Coventry and Warwickshire had us too, all under the local branding of ‘Midlands BBC’.  WM’s jingles were re-sung to reflect this.

On one occasion I became aware of a new band gigging in Birmingham and the SNP was a good platform to promote local talent.  I invited the band, whose name I can’t remember now, into the studios to record a couple of songs for the SNP early one evening.  I duly ordered up some extension leads and extra mics from Paul Hunt our engineer in charge and some acoustic screens too, to ‘encase’ the drummer in so the sound didn’t spill.
We cleared the furniture in Area five and prepared for a sound check.  I’m not saying they were loud but I’ve never seen PPM meters on a Mark 3 desk wrap themselves around the stop quite so quick!   Oddly enough the floor seemed to vibrate too.

The evening continued and we were about ready to record the two songs after I’d interviewed the band.
Radio WM provided locally networked programmes during the week too and ready to go out live in Area two was Tony Wadsworth and Julie Mayer.
The band started to play and rocked the first floor.  I heard that Tony and Julie had to apologise to their listeners as the sound of the band could be heard in their studio and therefore by their listeners.
Radio WM’s studios were above the Daytime Live offices downstairs.  Unbeknown to me, there were a couple of people working late in there that evening and they could feel the ceiling vibrate from the sound of the drums from the band immediately above their heads.  Rumour had it that a diffuser shade came loose off a light fitting in their office as a result of the vibration.
I never got to apologise for disturbing their evening so if they know who they are then perhaps this can go some way to being a belated apology.

As this was a one off band session, I did ask WM management if I could hire Studio 2 in Network Radio as this would have been easier but WM were unwilling to spend that kind of money in those days.  I therefore had to resort to the cheap option.

So that was the one and only time I made the earth vibrate for various people in Pebble Mill.

Clive Payne 1Clive Payne

 

 

 

The following comments were left on the Pebble Mill Facebook page:

Andy Walters: ‘Area 1 was Asian Network, Area 2 was the self op one that looked into Area 3, Phone in room. Area 4 was the other self op cubicle that could also drive the mics in Area 5 which was just a talks studio. Apparently Area 1 was the Editor’s office in the days of BBC Mk2 desks and the third studio was sat next to the record library.

I remember the night of the earthquake well which disrupted WM’s programmes as well as Edwina Currie on Radio 5 Live.’

Tony Wadsworth: ‘If I recall the studio configurations correctly, area one wasn’t a self-op studio. I presented the breakfast show from there 94/95 and Chris Christopher Baxter drove me from area two. And the late show came from area four….I think!’

Ian Wood: ‘So that was what went on when I was elsewhere! Sorry about that, Daytime Live office. And hats off to Clive for the blog and the photo.’

Tony Fisher – graphic artist and one time producer

Tony Fisher

Tony Fisher

Copyright resides with the original holder, no reproduction without permission.

Tony Fisher sadly died on Wednesday 15th January 2014.

Tony was an extremely talented graphic artist, who joined BBC Pebble Mill in 1984, and worked there until the Graphics Department closed, a little while before the building shut in 2004. He was a real gentleman, and always impeccably dressed – he was definitely the best-turned out man at Pebble Mill!

I had the privilege of working with Tony on several occasions, but the one I remember most was on a series called Countdown to Christmas. Tony had applied for an attachment as a producer, and was taken on by Executive Producer Steph Silk, on the factual Christmas series – I was his researcher. It was the winter of 1989. Pebble Mill was so busy at the time that we had to use offices in Selly Oak, next to the BBC costume store. The series was a five parter, which went out daily at 10.30am on BBC 2 in the run up to Christmas – 4-8th December. Bob Davies, then known as Bob Chippriott, was the director, and Marian Foster was the main presenter. The main location was the On The House house, set in the back garden of Pebble Mill, which operated as the studio.

I can remember a little about the programme. It was a magazine show packed with helpful advice about how to survive Christmas. There was a daily cookery strand, presented by the Observer food journalist and writer, Katherine Whitehorn; a guide to the must have presents; and a wrapping and decorating insert with a very camp window dresser and stylist from Libertys in London.

Tony found the producing part of the programme quite stressful, but what he really relished was the planning and designing of the title sequence and graphics. He commissioned a friend of his, who I think worked at Bournville College, to make a series of models, of almost childlike figures of a family, preparing for Christmas. The figures moved around a board with Christmassy activities. I think it was stop-frame animation. The title sequence was probably the best part of the programme, and Tony was very proud of it!

The whole experience of working on Countdown to Christmas was enough of a foray into production for Tony, and after the series was transmitted he returned to the Graphics Department, and subsequently designed the titles and graphics for many Pebble Mill programmes. I remained firm friends with Tony from then on.

Vanessa Jackson

The following are some of the comments left on the Pebble Mill Facebook page:

Liz Munro: ‘What a lovely tribute, Vanessa. And how sad. I do remember him because he was impeccably turned out. Also, he sounds typical of quite a few people at Pebble Mill – quietly talented and unassuming. As for the chap from Liberty’s, I think that if the recent series is anything to go by, it is not altogether surprising. Your comments made me smile.’

Dharmesh Rajput: ‘Oh how sad – as Liz says – he was such a gentleman and always took time to chat – and yes personifies a specific time and atmosphere at the beeb particularly at Pebble Mill that was pretty wonderful’

Janice Rider: ‘Very sad news . Lovely , witty, immensely talented , gentle soul and the Dandiest dresser of Pebble Mill . Worked with Tony on Boogie Outlaws and we seemed to instinctively both come up with a matching colour palette for the record producing character played by Ian Hogg . Always remember that moment of osmosis . My heart goes out to Camilla and his daughter .’

Louise Bagley: ‘So sorry to hear the sad news about Tony Fisher. Such a lovely guy, always impeccably turned out, a true gent!’

Pam Renoata: ‘Tony was a wonderful and hugely talented man. I met Tony through my husband Gurpreet Renoata who worked with him in the graphic design department. They’ve stayed good friends long after the section closed. Tony was always such fabulous company. Witty, charming, articulate, cultured, modest. A true gent. His passing is a tremendous loss to everyone who knew him and indeed the world. Talking about him in the past tense just doesn’t feel real. It’s lovely he’s being remembered here. Thank you.’

Dharmesh Rajput:  ‘If I’m not mistaken – I’ve just remembered he creates the map for Silver Street on BBC Asian Network.’

Harriet Fisher: ‘Thank you for writing this fond tribute Vanessa. It is lovely to read about other parts of Dad’s life and how many people he touched. And to all the other kind people who have written, thank you. Pam, what lovely words. I only wish he could read these comments and see the cards, flowers and tributes that have arrived. He deserves to see them, there are so many people that love him. He was a inspirational man, so kind, dignified, stylish and warm. He was witty and quick, even until the day he left us. I will miss my wonderful Dad forever. Thank you for your kind words’

John Greening: ‘So sorry to hear this sad news. I had the privilege to work on a number of shows with Tony, the most stylish man I ever met. If you seek a suitable memorial to his genius just watch the opening titles of “Martin Chuzzlewit”…’

Jane Brocklehurst Curry:  ‘So sorry to hear about this. I worked for a long time in the Graphic Design department at Pebble Mill and Tony was such a charming colleague. As everyone else has pointed out – a true gentleman. I’ve great memories of working with him and of his fabulous Christmas and graphic design dept invites.’

Ian Wood: ‘Greatly saddened to hear this. Tony was supremely talented, a wit and a gentleman – always had been, from the days when he taught Graphic Design while I was at Bournville School of Art in 1981-2, when he and Chris Brett steered and cajoled me into my degree course. It was a pleasure to renew my acquaintance with him when he joined Pebble Mill.’

Marie Phillips: ‘Tony Fisher is someone you never forget when you think of kindness and a willingness to help. He was never too busy when I asked for cards posters, leaflets etc for Children in Need. Aside from that, he willingly gave my daughter, Ruth, invaluable help with a major project for her Art and Design studies. A man a pleasure to have known.’

John Peries: ‘Yes, Tony created the drawing of the Silver Street location that got it out of our imaginations and onto the page to share with others. He was lovely to work with, and it was always good to see him when he passed by Pebble Mill or The Mailbox.’

Mandy Glynn: ‘Really sorry to hear the sad news. I worked with Tony in the Graphics Department at Pebble Mill for 7 years. Tony was a lovely, kind, caring and very talented man. A true gentleman.’

Kim Finch: ‘Lovely Tony took me on as work experience many years ago when I was at uni. It was his enthusiasm that led me to work in the fab graphics department for six years. Lovely memories. Thank you Mr Fisher.’