Putting Religion on the Air – Pete Simpkin

THE CHALLENGES OF PUTTING RELIGION ON THE AIR

In the first Midlands edition of the Radio Times featuring the start of Radio Birmingham from Pebble Mill, the producer appointed to look after religious programming Terry Doughty asked ‘Is God Local?’ Since God was already regional and certainly National there did not seem much doubt that with the arrival of Local Radio God would certainly be local. But in what ways would this become apparent? The local stations were set up on minimal budgets (at the time they were classed as ‘provisional’ services and throughout their early years were constantly being threatened with some form of restriction or even closure.) All the producers were charged with seeking out local folk who would be interested in broadcasting their interests on the air with the help of basic training and the use of a producer’s time and even a staff presenter if required. There were some very strange interests covered away from the staple diet of News and Current affairs which were the responsibility of the Newsroom staff with their reporters and stringer journalists. So how did it work out for God in his local manifestation? It became clear that whilst the established churches were interested they were not prepared or even able to provide much more than an advisory committee which would attempt to back the religious programmes producer (who of course already had many other responsibilities in other areas. The first religious producer for instance had the brief also for countryside and environment topics, blind listeners and rotared production of mainline sequence programmes, as well as newsreading duties in this brave new multiskilled world of local radio. Certainly the ‘old guard’ BBC types at the Mill were surprised, amazed or even unsettled at the increasing number of vicars and nuns etc  turning up at reception asking for access to the local studios.

When I took over in the middle 70s the three main strands were a weekly magazine called Church in Action, presented and researched by a local vicar on day release from his parish and using a host of lay people, nuns, church leaders to do the interviews.  There were  irregular , usually live, broadcasts of Christian worship from local churches and a daily ‘Thought for the day’ talk in the breakfast sequence. The idea of non-christian broadcasts were some way off. Later a fully dedicated minister would take over the job and in my time in the 70s and 80s these were Wilfred Bridge from the Methodists and Michael Blood from the Church of England. Their arrival  greatly improved things and rationalised the production, with at first me acting as Editor but later Michael taking over completely and in his time seeing the move to the Mailbox.

To me, over the years  the challenges of broadcasting religion were tremendous, frightening and at times downright hilarious and nowhere more was this true than in the transmission of Services of Worship.  Preparing to record a public lunchtime service for the week of Christian unity one year for later transmission that evening I became embroiled  in an urgent and increasingly animated  debate with the leaders of all the denominations on the order in which they should process into Birmingham Cathedral to begin procedings. The Bishop of the time, the great Lawrence Brown, simply said something like ‘well Bishops always come in last;’ and went to the back of the vestry and waited for the others to sort the problem out. I thought I ought to pop out into the Cathedral to explain to the organist who was to start the event forgetting his pre arranged cue was to be me opening the vestry door…so as I opened the door he started playing and I had no choice but to shepherd the assorted clerics through the door in the order in which they were randomly disposed  about the place.

On another occasion, we were recording the very first service of the new United Reformed church at Weoley Castle, and halfway through the sermon, well into the service, the engineer suddenly informed me that the tape machine had stopped recording. He solved the problem quickly enough to get the last prayers and hymns,  but I was faced with the problem of having a recording of the start and the end of the service  but no middle and certainly no sermon, which was all about the terrific changes being wrought by this first uniting of denominations for generations. As the congregation beat a hasty retreat towards the celebration bunfight I had to find the minister, Ernest Crutchley, and explain the predicament. With true understanding he immediately agreed to come into Pebble Mill that evening when the service was to be broadcast and repeat his sermon ‘live’ in the studio.

On the tenth anniversary of the consecration of Coventry Cathedral, we were broadcasting the service live but got into musical timekeeping problems as the choir processed from the West door, but the organ stayed still at the other end of the building resulting in an unusual and unintended syncopation which slowly resolved itself as the choir got closer to the organ.

Producing Harvest festival from Droitwich nearly resulted in the fracturing of the traditionally delicate relationship between organist and vicar as we could only get the choir and organ balanced if the altar was dismantled. …the vicar supported the idea, the organist/choirmaster didn’t. My skills as a producer and diplomat lurched forward in giant strides that day.

Later, I was honoured to be responsible for the first broadcasts of non-christian worship anywhere in the country. We began with Sikh worship from the Gurdwara in Graham street, miraculously ‘opting in’ live  on day three of a three day service.  No mean feat and only possible with the enthusiastic co-operation of the worshippers and our commentator ,John Plummer from the Birmingham organisation ‘All faiths for one race’.

Hindu worship soon followed with Engineer Stuart Miller having to solve the problem of how to position a microphone centrally over a fire ceremony service without it melting…it did.

For the Muslim event we went to a recce at some large houses used by that community in the days before the Birmingham Mosques were built. I explained to the Imam that in order for the commentator to see what was going on we would need to have visual access from the room next to the worship area. With horror we watched as he summoned a member of the community who literally smashed a hole through the offending wall with a sledgehammer! This broadcast also gave rise to what the Manager, Jack Johnston saw as a possibly premature end to his career as complaints were received that as we were by now broadcasting on Medium wave AM as well as FM, that although the service was heard clearly in the Midlands on AM, listeners towards London on AM were hearing Radio London’s pop programme (which was being broadcast at the same time) in the background. This was at first seen as a sop to the host community by playing music in the background until the technical anomaly was explained to the complainants.

Nowadays, for a whole variety of reasons religion on Local Radio has largely disappeared except for sunrise magazines on Sunday mornings, no live worship of any denomination or faith and the morning thoughts have gone too.

Perhaps God isn’t as local as we, or he, had expected. However for me it was one of the most challenging, exciting and, yes, rewarding times in my career.

Pete

 

 

 

 

 

 

 

 

 

 

 

Pete Simpkin

May 2013

Grade ‘C’ Course – Wood Norton 1964

Grade C No 46 June 1964 PS

 

 

 

 

 

 

 

 

 

 

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

The photo is of the ‘Grade C’ No. 46 trainees at Wood Norton, from June 1964! Pebble Mill’s telecine engineer: Jim Gregory is on the front row, fourth from the left, and Pete Simpkin (who became a Radio Birmingham producer/presenter, after a stint in Southampton), is third from the left in the middle row.

Pete remembers that the trainees had a use a mix of different cameras, including two Marconi Mk 1′s, an EMI vidicon and an Marconi Mk 3 3″ IO.

Thanks to Pete Simpkin for making the photo available.

Paul Grice added the following information about the Grade ‘C’ course, on the Pebble Mill Facebook group:

‘The ‘C’ course was the final course in gaining ETSIs (engineering training standing instructions) for people recruited as school leavers or graduates. School leavers had to do part one (electronics) and part two ( TV, radio or transmitters) while graduates only did part two. It took part in the 2nd or 3rd years of careers and was recognised all over the world as the bet qualification for broadcast engineers. I taught at Wood Norton from 1977 to 1988 when I moved to Pebble Mill.’

Dawn Chorus – Pete Simpkin

Dawn Chorus PS

It’s at this time of year that International Dawn Chorus Day is marked and on the first Sunday in May 1984 to mark the start of the scheme Radio WM broadcast the first transmission of the Dawn Chorus live from Earlswood Lakes near Solihull, starting at 4 am with stereo mics in the woods and Local Naturalists Alan Richards and Brian George together with me providing a running commentary from my tent (seen on the right of picture) in which we had slept overnight! Engineer Dan Cooke manned the Radio car(left hand vehicle in the picture) and Jay Patel held the fort at the studio. The birds awoke very late that morning so several discs had to be played together with pre-recorded early morning ribaldry from all the members of WM staff. When we finished at arond 6.30 my Wife Pat arrived with very welcome hot bacon sandwiches and coffee. Dan made an On site stereo recording (Radio Cars were mono at the time) and I edited a pull together recorded repeat in stereo for the following Bank Holiday Monday. an unforgettable experience which I think has never been attempted since!

Pete Simpkin

Tales from the Archive – Princess Anne prefers Coca Cola!

Princess Anne touring the Pebble Mill studios

Princess Anne touring the Pebble Mill studios

 

 

 

 

 

 

 

 

 

 

 

 

 

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

I had a trip down to the BBC Archives at Caversham on Thursday to get more of an insight into the history of Pebble Mill.

If you haven’t been to the BBC Archives, it’s a fascinating experience. You make contact by email, and you are assigned a researcher, who then gets back to you confirming whether or not they have files for you to search through. You then arrange a day when there is a spare desk, and go down to have a look through the files. All the information you’ve requested is on a trolley waiting for you.

The files themselves are pink card folders, carefully catalogued with a reference number and dates. The files I’d asked for were mainly full of memos, often from the Controller of the Midland Region, to other BBC Staff, including the Director General. Each file had been certified by my researcher as suitable for me to look through, i.e. not containing any very sensitive or confidential material. I suspect that the vast majority of the memos hadn’t been read since they were filed away!

One file I came across was all about the Opening Ceremony of Pebble Mill in 1971. There were some fascinating insights into the politics of the occasion. ATV had secured Princess Alexandra to open their Birmingham television centre, and Pebble Mill did not want to be upstaged! There were discussions with the Director General about whether to ask Prince Charles or Princess Anne. It was felt that a Royal from the younger generation was more appropriate for a forward looking broadcasting centre. Princess Anne was agreed upon, and then there was a strategy of how and when to make the approach. Letters flew backwards and forwards to Buckingham Palace, and, after the original date was rearranged to avoid the Princess’s holiday in Scotland, the 10th November 1971 was confirmed.

The timetable and itinerary for the visit were also interesting. The Princess was to arrive at midday in a Wessex helicopter and land at the Police Training Centre across the Pershore Road. A BBC car would then take her over to Pebble Mill, whilst the Royal car carried her Personal Standard. The Personal Standard would be raised up the flagpole on arrival. A bouquet was to be given to the Princess by the eight year old daughter of the Controller of the English Regions, Patrick Beech, following which the Princess would unveil the plaque in the foyer, which read:

“This Broadcasting Centre was opened by Her Royal
Highness the Princess Anne on 10th November, 1971.”

Lunch for 150 guests was to follow at 12.45, after which there was a tour of both the television and radio studios. A highlight of the tour was to be the presentation of a gold-minted Archers’ medallion to commemorate 21 years of the drama! Signing the Visitors’ Book was to end the visit, with Princess Anne’s helicopter departing at 14.50.

I also found a memo about the menu for lunch, the food was to consist of:

Melon with Parma ham,
Steak chasseur,
French beans,
Parmentier potatoes,
Norwegian Cream,
Cheese and coffee.

A rather inferior buffet lunch was available for members of the Press, with a special roast turkey dinner being laid on for staff in the restaurant. Members of staff had to fill out a form, requesting the lunch, and they were then issued with a special ticket.

lunch ticket from Gail Herbert

lunch ticket from Gail Herbert

 

 

 

 

 

 

 

 

 

 

 

 

 

There was also a note about protocol on the day, about how to address the Princess, that she doesn’t smoke, and doesn’t want to be offered cigarettes, and about the fact that she would drink wine only when a toast was involved, and that otherwise she would like a soft drink, preferably Coca Cola! When people were to be presented to her, husbands would go first and shake hands, followed by wives, and ladies must always curtsey!

Vanessa Jackson

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

Stuart Gandy: ‘It was great positive time for Birmingham to get this great new broadcasting centre, and it became so well known thanks to PM @1, nationally too. sadly, it’s a very different story today.’

Pete Simpkin: ‘A fascinating piece of research, well done Vanessa. how far away it all seems now when the Mill was all sparkling new and clean and full of enterprising management and teams ready to make the place famous. As Stuart says what a different story for Birmingham today.’

Jean Thomas: ‘Yes I remember the day very well. Remember Prince Charles, Diana, Margaret Thatcher visiting also. John Smith the new Labour leader a lovely man, he passed away not long after his visit. Those occasions will always stand out to me.’

Pete Simpkin: ‘Re the Margaret Thatcher visit I remember ending my shift at about 4pm when she was in the building and being unable to get out of the front doors and guided by Security all the way round to the back followed by men in suits until I exited the North road. Overhead a sombre looking aeroplane was circling round and round on ‘secret security duty’ apparently according to a bobby on patrol.’

Jean Thomas: ‘I didn’t notice the plane. But special branch with their guns in the roof. I was at the front when she came in. You’ve guessed she headed straight for me. Cameras popping all over the place. I just wanted to disappear…’.

Marconi vidicon camera

Marconi showing inbuilt racks PS

 

 

 

 

 

 

 

 

 

 

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

The photo is of Pete Simpkin at the controls of a Marconi vidicon camera, with inbuilt racks controls, at BBC Southampton.

For more information see:

http://www.bbceng.info/Operations/studio_ops/reminiscences/southampton/simpkin1.htm

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

Mike Skipper:  ‘I don’t think Vidicon cameras would have been used for very long for broadcast – Vidicon tubes had an appalling low light performance (very laggy) and I believe gave a barely acceptable performance when scenes were well lit. I don’t know the times involved but the Plumbicon tube certainly outperformed the Vidicon when it became available… ‘

Pete Simpkin: ‘I agree, but remember these were the days of 405 lines and the whole system was pretty low definition. Also most of the studio shots were static with not too much in vision movement. However we achieved very good pictures in a small studio news environment.Our studio was on air for most of the 60s until 625 arrived.’

Alan Miller: ‘We used EMI 201 Vidicon 625 line cameras in Glasgow Studio B in the 1970’s and they were truly awful. They smeared all over the place especially if you were stupid enough to use a crawling caption across the screen.’

Pete Simpkin: ‘I agree Alan about the picture quality the 201s were never as good as the Marconis actually but they had quieter lens change!’