Pebble Mill Peelable

 

Two Point 4 Children, photo and design by Lynda Kettle

Two Point 4 Children, photo and design by Lynda Kettle

 

 

 

 

 

 

 

 

 

 

 

 

A special paint was developed to paint on the floor of Studio A, the television drama studio – it was called ‘Pebble Mill peelable’ and was available commercially.

The following comments were posted on the Pebble Mill Facebook Page, about this special paint, what it did, and whether it was a good thing – or not!

Raymond Lee: ‘Before Pebble Mill peelable the studio floor was painted in water based paints, which ran if anything got spilt on them. Also it required a day between productions to wash the studio floor and let it dry, before the next painting could take place. One of the downsides of of the peelable paint was that after a number of layers the floor became quite uneven, so tracking shots became increasingly wobbly! I’m fairly sure it was only used in Studio A, and not the foyer. A base coat was put on the studio floor, which involved closing the studio for a couple of days. The fumes were quite pungent. Then the special floor paint was used to create the required floor using rollers, as previously. When a new drama went in the next floor scene was just painted on top. This continued for a number of productions, and then the paint was peeled off a bit like lino back to the base layer.’

Lynn Cullimore: ‘Yes, I remember it and it was a company headed by a man called Terry Field – I would think he is long retired now. It was really rated apparently. I knew Terry as he was a friend of John Woods in the press office when I then worked. They did use it in Studio A I believe but I am not sure if they did in the foyer.’

Guy Heselden: ‘The paint used at the London studios sounds similar. It goes on with a roller and can be touched up or painted over as and when and then when required gets washed off back to the bare brown coloured studio floor, ready for a new coat of paint!’

Gerry King: ‘Pebble Mill Peelable existed for many years totally dependent on Pebble Mill studios for income. They had premises on the Hagley Road close to the Plough & Harrow. For the life of me I cannot remember the name of their MD.’

Keith Brook (Scouse): ‘It was the most awful invention ever to fall on the lovely lino floors of Studio A. The original water paint system could be sucked up immediately after the sets had been removed and the new floor painted soon after. That system had the added effect of cleaning the floor and so we were left with a smooth surface to do our famous tracking shots. Pebble Mill Peelable often had it’s thick base coat put down without the floor being cleaned first. To add insult to injury, subsequent layers weren’t cleaned off either and the build- up was horrific. Many of the camera crew carried a Stanley knife and cut out the offending items which annoyed the manager who had introduced the paint. A short lecture on camerawork shut him up until the next time he wanted to flex his muscles.’

Remembrance Day – The Longest Silence

The season of Remembrance brings back a terrifying experience I had when attempting to relay live the Remembrance Day Service at Queen’s Square Wolverhampton in November 1985.

We had on Radio Birmingham/WM for several years taken on the mantle of broadcasting local services as an alternative to simply re-broadcasting Radio 4 from the cenotaph in London and the Wolverhampton event had special relevance that year as the town was celebrating its Millennium.

With due attention to detail I had carried out all the essential ‘recces’ including the parking of our vehicle, the site of a suitable commentary position for  myself as commentator/producer and all the relevant permissions and local arrangements with the Council and the Police. An early harbinger of challenges to come was the fact that I was issued with a parking ticket whilst actually attending a Council/Police joint planning meeting!

However come the day and I was first on parade at 0730 and thought it advisable to make early use of the Public Convenience situated under Queen’s Square. There I encountered a council cleaner and mentioned in passing if he was giving the place an extra clean ahead of the special event to be held above. His answer bothered me slightly and is registered as harbinger number two ”What special event?” he offered “ I’ve not been informed”

Next to arrive was the OB vehicle, in this case the Radio Car towing a converted caravan which had been kitted out as a fully equipped Radio Mobile control room.

Slowly over the following hours somberly dressed council officials and ladies and gentlemen of military and religious bearing made their presence known as they took up their allotted positions. I climbed the scaffolding platform where stood the Rector who would be conducting the service and confirmed my on air starting cue to him, the raising of a freshly pressed white handkerchief from my position in the crowd.

Finally Transmission time. At precisely 1045 my colleague at Pebble Mill handed over ‘Live to Pete Simpkin at Queen’s Square Wolverhampton.’ By this time as I began for me this historic broadcast harbinger number three was already rearing its ugly head. You see by now the parade of Soldiers, Veterans and local dignitaries and accompanying Brass Band was still not drawn up in front of the Rector and Civic dignitaries on their scaffolding platform. They were about 100 yards down the hill still approaching the event. I immediately launched into my Dimbleby- inspired routine using up almost all my fact cards describing the event, the location, the Regimental details of the soldiers and the veterans and by nine minutes to eleven was almost reduced to describing the shop fronts when the parade swept into the square and formed up ready for the service leading to the Two minute’s silence at 11 o’clock. At this point, as I introduced the Rector and discretely waved my cue-ing handkerchief just two of of us in that square were under pressure. How, I wondered, would the Rector condense a fifteen minute service into what by now was  eight minutes and how would I respond on air…or even should I …to the shortened order?

Magnificently the Rector managed to lead what amounted to ‘a story, a hymn and a prayer’ and finish a few seconds before the 11 o’clock maroons.

And so began the Silence, what turned out to be the longest two minutes of my life. A few seconds into this a re-assuring engineer’s voice whispered quietly into my headphones “Don’t panic Pete’. By now we were beyond harbingers of doom, we were here! “ Don’t panic Pete, the Radio car is on fire!” Looking back from this distance in time I can still feel the panic which this guidance was designed to allay was palpable. With all the smoothness I could muster I very slowly turned my head without disturbing the population of Wolverhampton surrounding me to see a gentle wisp of white smoke surrounding the Radio Car. As this minor incendiary event took hold the signal level of the ‘silence’ arriving at Pebble Mill decreased to such a point that the presenter on duty in the studio felt obliged to slowly up the gain control so that at least the atmosphere of the ‘silence’  was still audible on air. Events now took a frightenly rapid turn for the worse as one of the engineers found he could by-pass the smoking component and return the signal level at base to normal. This resulted in a sudden increase in signal in my headphones so great that I feared a bomb had gone off.  I winced and frantically closed my eyes fearing the worst. I knew I would have to open them again and work out how to describe the expected carnage when I realised that all the sound was in my head and around me the good burgers of Wolverhampton were still observing their silence unaware of the chaos assaulting my head. Within seconds the closing Maroons were sounding, the buglers were playing the last post and, completely on auto pilot, I was summing up and handing back to the studio.

I cannot remember getting back to The Mill and trying to describe what had happened because of course apart from a sudden lurch in sound levels during the Observation of the Silence no-one else was aware of the events that had truly been just in my ears.

Oh, as a final reward the parking ticket was personally withdrawn by the Chief Constable.

Peter Simpkin

Pete

 

 

 

 

 

 

 

 

 

 

 

 

As a post script I recall that Radio Cars were often getting into trouble. This one caught fire again somewhere near Telford and Phil Horner who was driving it had to retreat a long way to the nearest motorway phone point to summon the AA. When asked the registration number he couldn’t remember it and when the AA asked how they could identify it he cooly said,” it’s big and white, signwritten BBC Radio and it’s on fire!”

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

Michael Fisher: ‘Might add a tale about the news version of the Radio Car, the Ford estate ‘Yellow Peril’ with (new technology!) bulky mobile phone fitted (not portable!!). I used it to travel to report on a soccer match in Carlisle (v Walsall) and on my return down the M6, smoke started appearing from under the bonnet! Turned out it had not been topped up with oil. Chief engineer Stuart not impressed with my driving skills…..’

Peter Poole:’Thanks Pete, an amazing story and you kept the show on air. Service beyond the call of duty!’

Lynn Cullimore: ‘Forever the professional Pete. A lovely story…I don’t think people ever realise just how good and professional presenters and production people are!’

Pete Simpkin: ‘Thanks Lynn, actually it only works for most because we have had such great teams behind us but on this occasion there was terrible loneliness for those two very long minutes!!’

1984 Spring and Summer line-up

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

This page from the 1984 Pebble Mill News, includes an article about David Waine’s press briefing about Pebble Mill’s output: 500 hours of network TV, 1,000 hours of network radio, and 160 hours of regional television. Highlights include a new Saturday night light entertainment show, new series of Top GearKick Start and Top Sailing, as well as Now Get Out of That, Gardeners’ World, Asian Magazine, and Gharbar. On the drama front there is mention of The Groundling and the Kite, Phoebe, The Amazing Miss Estelle, and Morte d’Arthur. 

Network Radio was also busy, with a new Radio 4 series of Enterprise, and Rollercoaster,  as well as hosting a Schools Radio Festival hosted by Sue Lawley, Rolf Harris and Duncan Goodhew.

In regional television there were new series of, Midlands Sound and Midlands Tonight, and a television version of Malcolm Stent’s Radio WM series, In the Barmaid’s Arms.

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

Peter Poole: ‘I worked on The Barmaid’s Arms in Studio A. They had a good band called The Nightriders. This was before producer choice. After that regional TV could never afford Studio A.’

Pete Simpkin: ‘As producer of the Radio version of the Barmaids it was quite pleasant to be a member of the audience with the real beer and not have to worry about anything! I do remember that someone had crafted a tiny hole in the chest of Malc’s shirt to take the cable for his personal mic.’

Lynn Cullimore: ‘Yes, Peter it was Mike Sheridan and the Nightriders…I was the PA and I loved it. Malc was wonderful to work with and i did many programmes with him. Malcolm is still going too..doing shows and things. Mary someone or other did a brilliant set for it…cannot remember her other name but she was very good.’

Peter Poole: ‘Hi Lynn, it was great when regional TV could do shows like this. Do you remember who the producer was? Malcolm often did warm up for PM at One. He always did a great job entertaining the audience.’

Lynn Cullimore: ‘The Producer was John Clarke whom I worked with for a long time. I did many Studio A programmes at one time – do you remember The Garden Game?’

Stuart Gandy: ‘I do remember The Garden Game. Wasn’t it on during the Friday night opt slot? In those days regional programmes had two opt slots per week.’

Peter Poole: ‘I remember John he was great producer and a very nice man. It’s amazing the programmes produced on such small budgets. I didn’t work on The Garden Game but do remember it. One of the many panel shows in Studio A. I always enjoyed working on regional TV programmes. The production teams were lovely people.’

Keith Jones obituary

Keith Jones obit Prospero Aug 13

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

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

This obituary for Pebble Mill Engineering House Services Manager, Keith Jones, written by Tony Pilgrim, appeared in Prospero, the BBC retirees’ magazine, in August 2013.

Thanks to Peter Poole for sharing it.

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

Lynn Cullimore: ‘Yes of course I remember Keith. I worked in Engineering as it was my first job at the BBC. I am sad to hear he has passed away. He was always nice to me, always kind and helpful which as a young lass then i appreciated. He was known as HSE – House Services Engineer.’

Keith Brook: ‘Keith was a lovely man and did a great job, not only with the building but as chairman of the club.’

East

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

East was a topical factual magazine show about Asian affairs, with reports from Britain and abroad.  It went out on BBC 2 between 1990 and 2002.

The series tended to go our weekly in the spring or summer, in runs varying between 6 and 10 episodes.

Thanks to VT editor, Ian Collins, for making this grab available.

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

Peter Poole: ‘I often worked on the Studio B recordings. The music sessions ranged from traditional to electro-pop. A very interesting and enjoyable experience.’

Matthew Sly: ‘I did Audience Security when it was Network East, always found it very enjoyable.’

Dawn Trotman: ‘It was experimental as an editor they pretty much let you do what inspired you. Oh I yearn for those days.’

Lynn Cullimore: ‘Yes, I worked in what was known as The Asian Unit. I enjoyed it and i remember we never went without food! I wonder what happened to Nahrendra.’