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MUSIC BOX TINKLES | 0:00:14 | 0:00:17 | |
The first edition of Blue Peter was broadcast on 16 October 1958 from the BBC's Lime Grove studios. | 0:00:22 | 0:00:30 | |
ORIGINAL THEME MUSIC PLAYS | 0:00:34 | 0:00:37 | |
It was aimed at five- to eight-year-olds. | 0:00:42 | 0:00:45 | |
It was the brainchild of producer John Hunter Blair and Gilly Reilly. | 0:00:45 | 0:00:51 | |
To present it they chose actor Christopher Trace. | 0:00:51 | 0:00:56 | |
My father said that, at the audition, | 0:00:56 | 0:00:58 | |
he was ready to talk about TV and children, but there was a train set. | 0:00:58 | 0:01:05 | |
He and John Hunter Blair were enthusiasts and they got on famously. | 0:01:05 | 0:01:10 | |
It was a foregone conclusion he'd get the job. | 0:01:10 | 0:01:14 | |
Onto the water...and start up. MOTOR CHIRRS | 0:01:14 | 0:01:18 | |
The programme was named after the flag raised | 0:01:18 | 0:01:22 | |
as a ship is about to set sail. | 0:01:22 | 0:01:24 | |
All the works are inside. MOTOR OFF | 0:01:24 | 0:01:28 | |
Pretty good! | 0:01:28 | 0:01:31 | |
Now it's time for 6-5's own popular discoveries, the Mudlarks, | 0:01:31 | 0:01:35 | |
with My Grandfather's Clock. | 0:01:35 | 0:01:38 | |
Chosen to join Chris was Leila Williams, | 0:01:38 | 0:01:42 | |
already a TV presenter and famous for being Miss Great Britain 1957. | 0:01:42 | 0:01:48 | |
I was told I was booked for a week definitely - possibly two weeks - | 0:01:49 | 0:01:55 | |
and I was to act as assistant to Christopher Trace. | 0:01:55 | 0:02:00 | |
It was more than we dared hope that it would last six months. | 0:02:00 | 0:02:04 | |
I expected to hear I wasn't needed the following week, but I didn't, | 0:02:04 | 0:02:09 | |
so I turned up to the next rehearsal and Gilly and John both met me | 0:02:09 | 0:02:16 | |
and said, "It's a success! We're on the air!" It was absolutely superb. | 0:02:16 | 0:02:21 | |
ANNETTE MILLS: # We want Muffin, Muffin the Mule | 0:02:21 | 0:02:25 | |
# Dear old Muffin, playing the fool... # | 0:02:25 | 0:02:29 | |
In the 1950s, programmes such as Muffin The Mule and Andy Pandy | 0:02:29 | 0:02:34 | |
were the staple diet of children's programming. | 0:02:34 | 0:02:38 | |
John Hunter Blair wanted Blue Peter to be completely different. | 0:02:38 | 0:02:44 | |
He wanted it to be like a magazine, | 0:02:44 | 0:02:47 | |
where you turned the page and there was something going on all the time. | 0:02:47 | 0:02:52 | |
That was what he was aiming at. | 0:02:52 | 0:02:55 | |
Also recruited in the early months was artist Tony Hart, whose cartoon strip, | 0:02:55 | 0:03:01 | |
Packi The Elephant, was recreated on screen. | 0:03:01 | 0:03:05 | |
I wrote the story, did the drawings and then I had to narrate it, you see. | 0:03:05 | 0:03:11 | |
I remember in those old studios - black and white, of course, then - | 0:03:11 | 0:03:16 | |
that I had a clock. | 0:03:16 | 0:03:19 | |
The clock told me when to start and exactly when I had to come out. | 0:03:19 | 0:03:25 | |
And Chris - dear old Chris - he was very naughty, | 0:03:25 | 0:03:29 | |
and towards the end, | 0:03:29 | 0:03:32 | |
he'd do this, which he wasn't supposed to do, because I could see my clock perfectly well, | 0:03:32 | 0:03:39 | |
and he would try and make me laugh. | 0:03:39 | 0:03:42 | |
Chris and I had a brother-sister relationship. That's the best way to explain it. | 0:03:42 | 0:03:49 | |
That's how we were. We got on really well. | 0:03:49 | 0:03:52 | |
And John gave me away at my wedding. It was just a little happy family. | 0:03:52 | 0:03:58 | |
Blue Peter WAS a family, | 0:04:00 | 0:04:02 | |
and I was extremely pleased to be allowed to be a cousin. | 0:04:02 | 0:04:07 | |
Two years later, Blue Peter was thriving. | 0:04:07 | 0:04:10 | |
But John Hunter Blair had to take sick leave. | 0:04:10 | 0:04:14 | |
One stand-in producer was Clive Parkhurst. | 0:04:14 | 0:04:17 | |
The Blue Peter family was about to break up. | 0:04:17 | 0:04:21 | |
We were like two raw wires and we just exploded. | 0:04:21 | 0:04:25 | |
I had a monthly contract, so at the end of the month, that was it. | 0:04:25 | 0:04:31 | |
What's on? | 0:04:31 | 0:04:32 | |
Auditions were held to find Leila's replacement. | 0:04:32 | 0:04:36 | |
-Hello, Caroline. -Hello, everyone. | 0:04:36 | 0:04:39 | |
'I was interviewed by Christopher Trace.' | 0:04:41 | 0:04:44 | |
Christopher asked if I'd come far, | 0:04:44 | 0:04:47 | |
and I said, in a very high-pitched voice, "Only from Earl's Court." | 0:04:47 | 0:04:52 | |
Only from Earl's Court, about ten minutes away. | 0:04:52 | 0:04:56 | |
I didn't get it the first time. Someone else did. | 0:04:56 | 0:05:00 | |
I believe you started in Hollywood. | 0:05:00 | 0:05:03 | |
TONY HART: It was a most beautiful lady, and her name was Anita West. | 0:05:03 | 0:05:09 | |
She was brought into the studio by the producer one day, | 0:05:09 | 0:05:14 | |
and I remember all the men - there was a sort of move to get closer! | 0:05:14 | 0:05:19 | |
She really was a dish! | 0:05:19 | 0:05:22 | |
I was a Blue Peter presenter | 0:05:25 | 0:05:28 | |
between Leila and Val Singleton, but not many people remember me. | 0:05:28 | 0:05:35 | |
Anita West has never been publicly acknowledged as a BP presenter until now. | 0:05:35 | 0:05:41 | |
'I was in it for about six and a half months. | 0:05:41 | 0:05:45 | |
'You made your things, you told a story,' | 0:05:45 | 0:05:49 | |
you introduced somebody - I had some wonderful interviews. | 0:05:49 | 0:05:53 | |
One was the guy from Disney who drew The Sword In The Stone. | 0:05:53 | 0:05:58 | |
I thoroughly enjoyed it. | 0:05:58 | 0:06:00 | |
But her marriage to jazz musician Ray Ellington | 0:06:00 | 0:06:04 | |
was ending in divorce proceedings and Anita felt forced to resign. | 0:06:04 | 0:06:09 | |
I was upset, and I know they were with me, because they didn't know the background of why I was leaving. | 0:06:09 | 0:06:17 | |
'I didn't know how the divorce would go. | 0:06:17 | 0:06:21 | |
'A messy one could have embarrassed the programme.' | 0:06:21 | 0:06:25 | |
And I wanted to be there for the children. | 0:06:25 | 0:06:29 | |
I don't have any regrets. | 0:06:29 | 0:06:31 | |
Professionally I do, if I'm honest. | 0:06:31 | 0:06:34 | |
But privately I don't. My two children are the best thing I ever did in my life. | 0:06:34 | 0:06:41 | |
Let's join Christopher Trace and Valerie Singleton for Blue Peter. | 0:06:41 | 0:06:46 | |
THEME PLAYS | 0:06:46 | 0:06:48 | |
Second choice Valerie Singleton was asked back. | 0:06:48 | 0:06:51 | |
She stayed for ten years, | 0:06:51 | 0:06:54 | |
becoming the programme's longest-serving female presenter. | 0:06:54 | 0:07:00 | |
Decorating cakes isn't just a job for girls, as I found out last week. | 0:07:00 | 0:07:06 | |
Some of them don't look like cakes, | 0:07:06 | 0:07:09 | |
but believe me, it is all cake. | 0:07:09 | 0:07:11 | |
Another appointment in 1962 was Biddy Baxter. | 0:07:14 | 0:07:18 | |
This young radio studio manager was offered the job of editor | 0:07:18 | 0:07:23 | |
over other staff in the Children's Department. | 0:07:23 | 0:07:27 | |
I had a sleepless night, thinking, "I'm not capable of doing it. | 0:07:27 | 0:07:34 | |
"I'll have to say I can't take the job." | 0:07:34 | 0:07:37 | |
But in the morning, I thought, "If I do that, | 0:07:37 | 0:07:41 | |
"bang goes my career with the BBC, so I'd better plunge in." | 0:07:41 | 0:07:45 | |
We all had a terrible feeling Biddy would get it. | 0:07:45 | 0:07:50 | |
We weren't best pleased about it. She had an idea | 0:07:50 | 0:07:55 | |
about what children wanted before she was able to translate it into TV terms. | 0:07:55 | 0:08:01 | |
At last, the weather is kind enough to let us come to Chessington Zoo | 0:08:01 | 0:08:07 | |
to finish off our Blue Peter seal competition. | 0:08:07 | 0:08:11 | |
We're waiting for the prizewinner, and I can see the car coming now. | 0:08:11 | 0:08:16 | |
Edward and I wanted the programme to have a distinct identity. | 0:08:16 | 0:08:21 | |
He came up with the idea of a logo. Of course now it's called branding. | 0:08:21 | 0:08:26 | |
TONY HART: I thought perhaps a galleon shape, a simplified form. | 0:08:26 | 0:08:32 | |
There we are. | 0:08:32 | 0:08:34 | |
And now, in true Blue Peter style, | 0:08:34 | 0:08:37 | |
let me show you one that I did earlier. | 0:08:37 | 0:08:41 | |
That is the original Blue Peter ship | 0:08:43 | 0:08:46 | |
which I drew in 1963. | 0:08:46 | 0:08:48 | |
I put it to Biddy - "Could you see your way to letting me have a penny | 0:08:48 | 0:08:54 | |
"every time it's used?" | 0:08:54 | 0:08:56 | |
I think we paid him £100. If only he'd been on a royalty, | 0:09:04 | 0:09:08 | |
he'd have been a millionaire! | 0:09:08 | 0:09:11 | |
The logo led on to the famous Blue Peter badge, launched with a massive nationwide balloon release. | 0:09:11 | 0:09:18 | |
The badge was for programme material. | 0:09:18 | 0:09:21 | |
That's what children would win for sending in ideas for the programme, | 0:09:21 | 0:09:26 | |
so it was a very good way of becoming interactive. | 0:09:26 | 0:09:31 | |
And it rewarded children who were helping us, so everyone was happy. | 0:09:31 | 0:09:36 | |
You were shot at dawn with a rusty bullet | 0:09:36 | 0:09:40 | |
if you went out on location without a badge - it was a cardinal sin. | 0:09:40 | 0:09:46 | |
-VAL: -You had to wear it. It annoyed us. | 0:09:46 | 0:09:50 | |
We should have had them like little Indian marks on our brows. | 0:09:50 | 0:09:55 | |
One should have seen it as the trademark. | 0:09:55 | 0:09:58 | |
It was perfectly valid, and we were stupid to be annoyed by it. | 0:09:58 | 0:10:05 | |
I never had any problem. I had badges on swimming costumes, | 0:10:05 | 0:10:09 | |
hard hats and everything - wherever you are, you must have your badge. | 0:10:09 | 0:10:16 | |
Even on pyjamas! | 0:10:16 | 0:10:18 | |
She was such a Pollyanna - sorry, Anth! She was SO good. | 0:10:18 | 0:10:23 | |
She'd WANT to wear her badge, like a good girl at school. | 0:10:23 | 0:10:28 | |
Putting it on today, I just think, "Hey! Back with the badge on." | 0:10:28 | 0:10:33 | |
It feels quite at home. | 0:10:33 | 0:10:36 | |
My father nicked some and took them home, which he shouldn't have done. | 0:10:38 | 0:10:43 | |
Unknown to him, I nicked a few and sold them in the playground. | 0:10:43 | 0:10:48 | |
It started my entrepreneurial life! | 0:10:48 | 0:10:51 | |
In 1963, Rosemary Gill joined Biddy and Edward Barnes, | 0:10:51 | 0:10:55 | |
forming children's TV's most influential team ever. | 0:10:55 | 0:10:59 | |
EDWARD BARNES: We all had something different to offer, yet we worked well as a team. | 0:10:59 | 0:11:06 | |
Chris Trace said it was like having a three-headed monster coming at him. | 0:11:06 | 0:11:11 | |
NEWSREEL FANFARE 'Commercial television is here.' | 0:11:11 | 0:11:15 | |
In the early '60s, the arrival of ITV had serious consequences for the BBC. | 0:11:18 | 0:11:24 | |
Ratings fell, and the BBC took drastic action. | 0:11:24 | 0:11:28 | |
The Children's Department was left with Watch With Mother and Blue Peter. | 0:11:28 | 0:11:34 | |
Those of us left | 0:11:34 | 0:11:36 | |
were angry because we believed in children's programmes. | 0:11:36 | 0:11:40 | |
There was a job to be done, and it needed people | 0:11:40 | 0:11:44 | |
with a specialisation to do it. | 0:11:44 | 0:11:47 | |
'And it obsessed us, you know.' | 0:11:47 | 0:11:50 | |
I'm in one of the children's wards of the Mayday Hospital in London. | 0:11:50 | 0:11:55 | |
We thought it would be fun to come down with the Blue Peter cameras | 0:11:55 | 0:12:00 | |
and play records for the children. | 0:12:00 | 0:12:02 | |
RECORD PLAYS: "Twist And Shout" by The Beatles | 0:12:02 | 0:12:06 | |
The team's obsession paid off - Blue Peter's audience grew, | 0:12:08 | 0:12:13 | |
and it was given a twice-weekly slot. | 0:12:13 | 0:12:16 | |
Now some news. From now on, you won't have to wait a week for the next programme. | 0:12:16 | 0:12:23 | |
Blue Peter will be on Thursdays | 0:12:23 | 0:12:25 | |
as well as on Mondays. | 0:12:25 | 0:12:28 | |
-BIDDY BAXTER: -It was absolutely crucifyingly hard work! | 0:12:28 | 0:12:33 | |
Could I have some Extra Strong Mints, please, and some syrup? | 0:12:33 | 0:12:38 | |
It's hard work, doing the shopping with a lion! | 0:12:41 | 0:12:46 | |
-Five shillings. -Thank you. | 0:12:46 | 0:12:48 | |
HE GROANS | 0:12:48 | 0:12:50 | |
Phew! Well, we got that out. | 0:12:50 | 0:12:53 | |
Today in Great Britain, we have some of the finest firefighters in the world. | 0:12:53 | 0:13:00 | |
It was too much for two presenters. There was one moment on Camber Sands. | 0:13:00 | 0:13:05 | |
They were filming. It was cold, and he'd been in swimming trunks, waist-deep in water all day. | 0:13:05 | 0:13:12 | |
He'd had enough. He said to Biddy, "It's too much. You have to bring in a third." | 0:13:12 | 0:13:18 | |
This is Steve. | 0:13:20 | 0:13:23 | |
Steve is a dray horse. He works for a brewery. ..Round, boy, round. | 0:13:23 | 0:13:28 | |
'I wasn't keen on horses because I'd never had anything to do with them.' | 0:13:28 | 0:13:33 | |
I thought, "What happens if he starts to run? What do I do?" | 0:13:33 | 0:13:40 | |
Of course I dried, but I got myself out of it. | 0:13:40 | 0:13:43 | |
He was a disaster when he came. | 0:13:43 | 0:13:46 | |
I've never known anybody dry so much on air as Noakie did to begin with! | 0:13:46 | 0:13:51 | |
There's the complete kite, all ready for frying. ..FLYING. | 0:13:51 | 0:13:56 | |
-BIDDY BAXTER: -I think John Noakes has to be the most charismatic presenter of all time. | 0:13:56 | 0:14:03 | |
There's never been one like him before or since. | 0:14:03 | 0:14:07 | |
MUSIC: Overture to "The Marriage Of Figaro" by Mozart | 0:14:07 | 0:14:12 | |
Aaaaaaaaaaagh! | 0:14:16 | 0:14:20 | |
Ooh! Ow! | 0:14:34 | 0:14:36 | |
Grub is up. | 0:14:44 | 0:14:46 | |
Suddenly I feel awfully alone up here! | 0:14:52 | 0:14:56 | |
The hard thing for an actor is to be yourself and not put on a show. | 0:14:56 | 0:15:02 | |
I'm not stepping on John's toes if I say he continued to put on a show. | 0:15:02 | 0:15:08 | |
His invented character, John Noakes, was not really like John Noakes. | 0:15:08 | 0:15:13 | |
This is a trunk call from Ceylon to England. | 0:15:13 | 0:15:16 | |
I hope I don't get cut off! | 0:15:16 | 0:15:19 | |
I was never frightened going on stage. I used to get excited. | 0:15:19 | 0:15:24 | |
I used to laugh at folk who trembled in the wings on the first night. | 0:15:24 | 0:15:28 | |
"Why are you in the business? Go on and be whoever you're going to be." | 0:15:28 | 0:15:33 | |
But did I get my comeuppance! | 0:15:33 | 0:15:36 | |
Because that thing - that lens, that piece of glass - stripped me naked. | 0:15:36 | 0:15:42 | |
-Do you want a piece? -Steady! | 0:15:42 | 0:15:45 | |
Whatever you do, don't drop this on your foot! | 0:15:45 | 0:15:49 | |
-That's for you. -You don't do yourself justice. It's very light. | 0:15:49 | 0:15:54 | |
-Anyone got an electric saw? -Let me... | 0:15:54 | 0:15:56 | |
'I then invented this idiot who I called John Noakes, who was not really the real John Noakes. | 0:15:56 | 0:16:04 | |
'I'm really a quiet person.' | 0:16:04 | 0:16:06 | |
It's got no cheese and onion in it! | 0:16:06 | 0:16:09 | |
Action Man's advent took away a bit of glory from Dad. | 0:16:09 | 0:16:14 | |
There was a BP Special Assignment in Norway where my father had rather more than a special assignment. | 0:16:14 | 0:16:22 | |
This got picked up. Not only did it sour the relationship with my mother, | 0:16:22 | 0:16:26 | |
but it also didn't help his reputation within the BBC, and he felt it was time to move on. | 0:16:26 | 0:16:34 | |
We weren't brokenhearted. | 0:16:34 | 0:16:36 | |
He knew he'd had enough and we felt it was time he moved on. | 0:16:36 | 0:16:41 | |
We made mistakes later, keeping on people for too long. | 0:16:41 | 0:16:45 | |
Chris's replacement was actor Peter Purves. | 0:16:45 | 0:16:48 | |
I saw it as a job for six months, | 0:16:48 | 0:16:51 | |
and then I could go back to the serious business of acting...ho-ho. | 0:16:51 | 0:16:57 | |
-Right in your ear'ole! -Thanks(!) | 0:16:59 | 0:17:01 | |
You went all round the head, like this. | 0:17:03 | 0:17:06 | |
-It's not self-raising flour! -Sorry. | 0:17:06 | 0:17:09 | |
Oops! I blew instead of sucking. | 0:17:09 | 0:17:12 | |
Special graded grains for you, Pete. | 0:17:14 | 0:17:17 | |
Instead of bellows, you could use something like this. | 0:17:17 | 0:17:23 | |
Holes in the top and flour inside and just sprinkle that on. | 0:17:23 | 0:17:27 | |
-The holes are rather large, I'm afraid. -They are, aren't they? Oh! | 0:17:27 | 0:17:32 | |
It's on your uniform now! | 0:17:34 | 0:17:37 | |
We worked so well together and then they stopped us - we were getting too powerful. | 0:17:37 | 0:17:43 | |
We were like Laurel and Hardy. | 0:17:43 | 0:17:46 | |
-Keep an eye on him, Peter. -Yes. -Go to your tables. | 0:17:46 | 0:17:50 | |
Whatever you do, keep your bottles upmost. | 0:17:50 | 0:17:54 | |
-Here we go...to the woods... -He said keep it UPMOST! | 0:17:54 | 0:17:59 | |
CUCKOO! | 0:17:59 | 0:18:00 | |
-Right, Bunnies, are you ready? -WHISTLE PEEPS | 0:18:00 | 0:18:04 | |
Go on, faster! | 0:18:04 | 0:18:07 | |
Go... Oh, no, you don't! How dare you try it on me?! Wait, wait. | 0:18:07 | 0:18:13 | |
CUCKOO! PEEP! | 0:18:13 | 0:18:14 | |
Good. Next. | 0:18:14 | 0:18:16 | |
Johnny and I thought it was funny. | 0:18:16 | 0:18:19 | |
Self-indulgent, maybe, but funny. But that was when they decided not to make films like that any more. | 0:18:19 | 0:18:26 | |
-VAL: -We re-name this locomotive | 0:18:26 | 0:18:29 | |
the 532 Blue Peter. | 0:18:29 | 0:18:32 | |
'The sad thing was that you worked FOR the Blue Peter production team rather than with them.' | 0:18:33 | 0:18:41 | |
When I moved into grown-up telly, for want of a better word, | 0:18:41 | 0:18:45 | |
you could talk to your editor like an adult about problems, or suggest ideas. | 0:18:45 | 0:18:51 | |
It wasn't like that on Blue Peter. We were like schoolchildren, really. | 0:18:51 | 0:18:56 | |
I didn't go to the office often. I tried to avoid it, to be honest. | 0:18:56 | 0:19:02 | |
Biddy ruled the roost, no question. | 0:19:02 | 0:19:04 | |
EDWARD BARNES: She'd resent "ruthless", but she was ruthless on behalf of the audience. | 0:19:04 | 0:19:11 | |
She would die for the audience. | 0:19:11 | 0:19:14 | |
Biddy never took "no" for an answer. | 0:19:14 | 0:19:16 | |
Denied money to launch the BP badge, | 0:19:16 | 0:19:19 | |
she confronted Assistant Controller Donald Baverstock. | 0:19:19 | 0:19:23 | |
Everyone was terrified of him. He hit the roof. | 0:19:23 | 0:19:26 | |
She said, "I've got something you need to know." | 0:19:26 | 0:19:30 | |
After the interview, he called in Joanna Spicer, the planning person, | 0:19:30 | 0:19:35 | |
and said, "Joanna, give her £500 for badges." She said, "You can't do that!" | 0:19:35 | 0:19:41 | |
He said, "I've just done it!" Donald liked that. He liked someone who'd take him on. | 0:19:41 | 0:19:48 | |
Was I frightened of Biddy? Most of the BBC was. It probably still is! | 0:19:48 | 0:19:53 | |
Great respect for her, but she was very demanding. | 0:19:53 | 0:19:57 | |
If people weren't living up to those standards or giving their very best, | 0:19:57 | 0:20:03 | |
or were cynical, God help them! | 0:20:03 | 0:20:06 | |
He doesn't need a monitor. He's looking at Jemima. | 0:20:06 | 0:20:10 | |
NEW SPEAKER: I loved her - I thought she was a one-off. I thought she was terribly astute. | 0:20:10 | 0:20:16 | |
I had a lovely relationship with her. | 0:20:16 | 0:20:20 | |
If you were introduced to Biddy as "editor", you'd absolutely assume | 0:20:24 | 0:20:30 | |
she edited Vogue or Harper's, or even Cosmo, actually. | 0:20:30 | 0:20:35 | |
SHE LAUGHS | 0:20:35 | 0:20:38 | |
Because that's what she looks like. | 0:20:38 | 0:20:40 | |
I'd imagined Biddy Baxter to be a cardiganed, grey-haired person. | 0:20:40 | 0:20:45 | |
Cardigan not on, but draped round her shoulders. | 0:20:45 | 0:20:49 | |
She was very glamorous. Big earrings. | 0:20:49 | 0:20:53 | |
-SARAH: -Wearing black tights that you just knew weren't tights - | 0:20:53 | 0:20:57 | |
were stockings. | 0:20:57 | 0:20:59 | |
Who thought nothing of showing a little too much decolletage - | 0:20:59 | 0:21:04 | |
not for the scoutmasters, which was when she used it. | 0:21:04 | 0:21:08 | |
She could persuade any scoutmaster | 0:21:08 | 0:21:11 | |
to spend an extra hour in the cold in the garden to get the right shot. | 0:21:11 | 0:21:17 | |
I thought, "She'll be a challenge, but I'll enjoy working with her." | 0:21:17 | 0:21:22 | |
'My God, she taught me so much!' | 0:21:22 | 0:21:25 | |
You read the script. | 0:21:25 | 0:21:28 | |
-PETER: -The thing everyone remembers about Biddy | 0:21:28 | 0:21:31 | |
is the sound of her - the sound of her approaching, for notes or to bollock somebody or whatever it was. | 0:21:31 | 0:21:38 | |
The sound of Biddy is stilettos down the steps from the gallery. | 0:21:38 | 0:21:44 | |
Click, click. | 0:21:44 | 0:21:46 | |
-Click, click. -Down the metal steps. | 0:21:46 | 0:21:49 | |
You knew by the pace how bad you'd been or what had gone wrong. | 0:21:49 | 0:21:54 | |
We're knocking the Pompeii story on to another programme. | 0:21:54 | 0:22:00 | |
CARON: There was no autocue. You had to learn it. | 0:22:00 | 0:22:03 | |
At 4.50pm, Biddy would click down the steps and change it all anyway. | 0:22:03 | 0:22:08 | |
You'd go on air thinking, "I've got no idea what I'm about to say!" | 0:22:08 | 0:22:14 | |
"I'm cutting this. I'm changing that." | 0:22:14 | 0:22:17 | |
It took me a couple of years to acquire a discipline to cope with those changes. | 0:22:17 | 0:22:24 | |
'Initially, I didn't understand why there was this additional pressure.' | 0:22:24 | 0:22:29 | |
Can we swap the order of handing round lava? Hand it to Peter first. | 0:22:29 | 0:22:34 | |
-It's a bit odd... -But it's funnier if he gives the small bit to me. > | 0:22:34 | 0:22:39 | |
-It's the way it works out... -It doesn't matter. Stop panicking. | 0:22:39 | 0:22:44 | |
Because of the demands of the live programme, you would do all sorts of mischievous things. | 0:22:44 | 0:22:52 | |
If he'd done a cracking innuendo, coming out of a film, say, | 0:22:52 | 0:22:56 | |
those heels would be there, but he'd be out like a bat out of hell before she could catch him. | 0:22:56 | 0:23:03 | |
-SIMON: -Hedges give the country a patchwork look, and it's good to know people are looking after them. | 0:23:03 | 0:23:10 | |
There's a lot to it, isn't there? | 0:23:10 | 0:23:13 | |
Yes. It's also the luck of the draw. | 0:23:13 | 0:23:15 | |
One of them said if you have a good length, you can manage a good lay. | 0:23:15 | 0:23:21 | |
Innuendo? What do you mean, matron?! | 0:23:22 | 0:23:25 | |
We never ever saw the programme as a whole until the dress rehearsal. | 0:23:25 | 0:23:30 | |
'You had this one time to put the thing together, to see if it gelled. | 0:23:30 | 0:23:35 | |
'Some items wouldn't be as good as you thought. We'd expand some and cut others.' | 0:23:35 | 0:23:42 | |
"Cut that page, darling..." | 0:23:42 | 0:23:45 | |
'Suddenly, your whole brain had to be changed.' | 0:23:45 | 0:23:49 | |
She was convinced...cos I used to back-comb my hair to keep it up, then spray masses of spray on it. | 0:23:50 | 0:23:57 | |
She was certain, when she did notes in the make-up room before the show, that I sprayed it to keep her away, | 0:23:57 | 0:24:05 | |
but I can't tell you if that was true or not! | 0:24:05 | 0:24:09 | |
'It was the only way to produce a programme that was really going to deliver to the audience.' | 0:24:09 | 0:24:16 | |
No, you get a cue to move, first of all. | 0:24:16 | 0:24:20 | |
Since you can hear the drum roll finish, do it after that. | 0:24:20 | 0:24:24 | |
-JANET: -I think I'm very unusual in this. | 0:24:24 | 0:24:28 | |
I liked the last-minute changes - | 0:24:28 | 0:24:31 | |
"Cut that item, take five seconds out of that." I got off on that. | 0:24:31 | 0:24:36 | |
Janet Ellis could learn the telephone directory! | 0:24:36 | 0:24:40 | |
Charlotte died on March 31st 1859, | 0:24:40 | 0:24:44 | |
the last of the brilliant, tragic Bronte family who'd come to the Haworth parsonage 35 years before. | 0:24:44 | 0:24:51 | |
Until recently, we knew what she looked like from pictures like this. | 0:24:51 | 0:24:56 | |
But in 1984, the National Portrait Gallery made a discovery... | 0:24:56 | 0:25:00 | |
'If the programme had gone well, you'd be thinking, "Yeah, great!"' | 0:25:00 | 0:25:05 | |
She'd say, "What happened? It was 1848, darling. You said 1847. What happened?" | 0:25:05 | 0:25:12 | |
"In the middle of it all, I forgot!" | 0:25:12 | 0:25:15 | |
Um...now...where am I? I'm talking... Sorry. | 0:25:15 | 0:25:21 | |
-SIMON: -'I think, if they're honest, | 0:25:21 | 0:25:24 | |
'all the presenters will admit | 0:25:24 | 0:25:28 | |
'that, at one time or another, we moaned about not having autocue.' | 0:25:28 | 0:25:33 | |
I'm completely lost. OK, let's start about darts again. | 0:25:33 | 0:25:37 | |
Most studio programmes already used autocue. | 0:25:37 | 0:25:40 | |
But it wasn't until 1987 that Biddy allowed it, | 0:25:40 | 0:25:44 | |
finally putting an end to the studio memory test. | 0:25:44 | 0:25:49 | |
There's just so much to learn, it's almost impossible not to have it. | 0:25:49 | 0:25:54 | |
But it can really dampen spontaneity in the studio. | 0:25:54 | 0:25:58 | |
That's why you tended to see more of the presenters' personality on film. | 0:25:58 | 0:26:03 | |
Faster! | 0:26:03 | 0:26:05 | |
Whoo! | 0:26:05 | 0:26:06 | |
SCREAMING | 0:26:07 | 0:26:09 | |
SHE SCREAMS | 0:26:09 | 0:26:12 | |
Wow! That is the best! | 0:26:12 | 0:26:15 | |
-Forget the fear. -Yes. | 0:26:15 | 0:26:18 | |
What...? Oh! | 0:26:19 | 0:26:21 | |
He won't strangle me, will he? | 0:26:21 | 0:26:24 | |
-Keep your mouth shut. -I will! | 0:26:24 | 0:26:26 | |
Blue Peter began travelling when Benidorm was considered a long haul. | 0:26:28 | 0:26:33 | |
The Summer Expedition became a regular fixture. | 0:26:33 | 0:26:37 | |
-VAL: -We didn't stop at the Raffles Hotel, because we'd heard a glass of squash there costs 3s 6d! | 0:26:37 | 0:26:44 | |
'Showing them a new country and a new culture, meeting the people - | 0:26:46 | 0:26:52 | |
'I think most people enjoyed it.' | 0:26:52 | 0:26:55 | |
Can you guess what this is? | 0:26:55 | 0:26:57 | |
MUSIC: Mendelssohn's Violin Concerto, Third Movement | 0:26:57 | 0:27:02 | |
A detergent bottle. | 0:27:02 | 0:27:04 | |
This one is cheap and easy to make. I'll show you what to do. | 0:27:04 | 0:27:09 | |
CHRIS: Cut it off... | 0:27:09 | 0:27:11 | |
-We need a base for our island... -The hat is an ice cream cone... | 0:27:11 | 0:27:16 | |
-JANET: -Cut out a base from card. | 0:27:16 | 0:27:19 | |
Then two circles of sticky-backed plastic stuck together... | 0:27:19 | 0:27:24 | |
Here's some that I froze earlier. | 0:27:24 | 0:27:27 | |
CARON: This is Margaret's idea for 1986... | 0:27:27 | 0:27:31 | |
Mother-of-two Margaret Parnell first wrote to the programme over 30 years ago. | 0:27:31 | 0:27:37 | |
I sent an idea for a dolls' house to Valerie Singleton. | 0:27:37 | 0:27:41 | |
It was made out of crepe paper. | 0:27:41 | 0:27:44 | |
I put together the stages and the different bits. | 0:27:44 | 0:27:48 | |
She wrote back and said they were going to use it, much to my surprise, and had I got any more ideas? | 0:27:48 | 0:27:55 | |
She became a fixture. She was brilliant and enormously inventive. | 0:27:55 | 0:28:00 | |
I certainly didn't have any formal art training. I left school at 14. | 0:28:00 | 0:28:06 | |
That was it. But it was just that I enjoyed making things. | 0:28:06 | 0:28:10 | |
Terrible scissors! | 0:28:10 | 0:28:13 | |
It takes about a week to work it out | 0:28:13 | 0:28:16 | |
and try different ways to do it, | 0:28:16 | 0:28:19 | |
a week to do the different stages and get it ready - a fortnight on average. | 0:28:19 | 0:28:25 | |
Try it against your face... | 0:28:25 | 0:28:28 | |
'I still find, if I go to the shops and see the new containers, | 0:28:28 | 0:28:33 | |
'I get ideas like that. | 0:28:33 | 0:28:35 | |
'I have to twist them round to see if they look like an animal or a mask.' | 0:28:35 | 0:28:40 | |
I see the customers looking at me, | 0:28:40 | 0:28:43 | |
but I've also had a security guard looking at me once. | 0:28:43 | 0:28:48 | |
I decided to leave before it got too embarrassing, | 0:28:48 | 0:28:52 | |
and he followed me out. | 0:28:52 | 0:28:54 | |
So it is a bit dodgy sometimes! | 0:28:54 | 0:28:58 | |
Reacting to Thunderbirds fever in 1993 | 0:28:58 | 0:29:02 | |
triggered Blue Peter's most famous make - Tracy Island. | 0:29:02 | 0:29:06 | |
ANTHEA: We knew it was going to be a very good make, | 0:29:06 | 0:29:10 | |
because everybody was so interested in Thunderbirds. | 0:29:10 | 0:29:15 | |
But we didn't know HOW big it would be. It was the talking point of the nation! | 0:29:15 | 0:29:21 | |
I haven't made a Tracy Island for five weeks! | 0:29:21 | 0:29:25 | |
700 makes later, Margaret is still finding uses for detergent bottles. | 0:29:25 | 0:29:31 | |
Live battles with sticky-backed plastic are not all the presenters have to contend with. | 0:29:31 | 0:29:38 | |
There was no turning back. | 0:29:38 | 0:29:40 | |
'I did the thing. I've got to say I was scared - no question about it. I'm proud that I didn't chicken out. | 0:29:40 | 0:29:48 | |
'It was total stupidity not to.' | 0:29:48 | 0:29:50 | |
Here I go! | 0:29:50 | 0:29:53 | |
'That was scary. I reached nowhere near the cars to cushion the blow.' | 0:29:56 | 0:30:02 | |
The second before you hit the ramp, you want to go back. | 0:30:02 | 0:30:06 | |
'At that point you think, "I'm going to die now." | 0:30:06 | 0:30:11 | |
'Then you didn't die and you think, "What am I moaning about?"' | 0:30:11 | 0:30:16 | |
Danger money! Never heard of it! | 0:30:16 | 0:30:20 | |
Not a penny! | 0:30:20 | 0:30:23 | |
I had fear...twice. Once was a kid's swing, would you believe! | 0:30:23 | 0:30:30 | |
Oh, dear! | 0:30:30 | 0:30:32 | |
Ahhh! This is painful! | 0:30:32 | 0:30:36 | |
I'm hitting the trees! Ahhh! | 0:30:38 | 0:30:41 | |
'The worst one | 0:30:41 | 0:30:44 | |
'was these three giant sway-poles, they usually went up to 80 feet | 0:30:44 | 0:30:49 | |
'but these just had 60 feet. | 0:30:49 | 0:30:52 | |
'Fear is probably the most terrifying emotion you can actually have. | 0:30:52 | 0:30:58 | |
'You freeze up, you can't think straight, your muscles don't work.' | 0:30:58 | 0:31:03 | |
At the bottom, there was a concrete block that was full of dirty water. | 0:31:03 | 0:31:08 | |
SQUEAKING | 0:31:08 | 0:31:11 | |
I was terrified! I really was! | 0:31:11 | 0:31:14 | |
My mouth is so dry I can hardly talk. Hang on, there's some water here. | 0:31:14 | 0:31:20 | |
I had to swill my mouth out in order to talk. | 0:31:20 | 0:31:24 | |
'That is fear!' | 0:31:24 | 0:31:26 | |
I would never like to go through it again. | 0:31:26 | 0:31:30 | |
It was heading along and then I heard a terrific crash! | 0:31:30 | 0:31:35 | |
I could only see a shattered hull - the remains of Val's boat. | 0:31:39 | 0:31:44 | |
'Later, I was told that when the engine had broken, it had flipped back and torn my seat' | 0:31:44 | 0:31:52 | |
to shreds - it was within that much of tearing my back to pieces! | 0:31:52 | 0:31:57 | |
INSTRUCTOR: Ready! Set! Go! | 0:31:57 | 0:32:01 | |
'I was hurtling earthwards at 120mph and it was fantastic! | 0:32:05 | 0:32:10 | |
'I'm a great coward and I also don't like heights.' | 0:32:10 | 0:32:15 | |
It was amusing to see me going, "How high? I'll go up!" because not in real life. | 0:32:16 | 0:32:22 | |
The real Janet Ellis came down to Earth with a bump - | 0:32:22 | 0:32:26 | |
she broke her leg while training for a record and wanted to give up. | 0:32:26 | 0:32:31 | |
Biddy said, "We'd like you to carry on. How do you feel?" I explained that I was reluctant. | 0:32:31 | 0:32:37 | |
She said, "I want to think of your courage like a ketchup bottle, | 0:32:37 | 0:32:42 | |
if there's only a bit left, turn it upside down and shake it. I'm sure some'll come out!" | 0:32:42 | 0:32:48 | |
It did, I suppose! | 0:32:48 | 0:32:51 | |
Enough to jump into the records. | 0:32:51 | 0:32:54 | |
She was the first civilian woman to freefall from 20,000 feet. | 0:32:54 | 0:32:59 | |
'We jumped nearly four miles above the ground.' | 0:33:00 | 0:33:05 | |
'I always felt, as a girl, that I wanted to do everything.' | 0:33:06 | 0:33:11 | |
I didn't see why girls shouldn't do everything. | 0:33:11 | 0:33:17 | |
We had role reversal on Blue Peter years before it became common in programmes. | 0:33:17 | 0:33:23 | |
MUSICL: You've Got To Roll With It by Oasis. | 0:33:23 | 0:33:28 | |
I'll give you the ingredients. | 0:33:44 | 0:33:46 | |
Can you imagine the postmen delivering this! | 0:33:46 | 0:33:50 | |
Careful! | 0:33:50 | 0:33:51 | |
You don't have to put it through the blender. | 0:33:51 | 0:33:54 | |
"Souflett" is what it's called! | 0:33:54 | 0:33:57 | |
Probably the most extreme example of role reversal was when viewers gained a TV brother. | 0:33:57 | 0:34:04 | |
'I thought it'd be a switch-off | 0:34:04 | 0:34:07 | |
for boys if Valerie Singleton was holding a baby. | 0:34:07 | 0:34:12 | |
So, the idea was that John and Peter would look after Daniel. | 0:34:12 | 0:34:18 | |
Ahh! Fat, hairy thing! Daniel, send them away! | 0:34:18 | 0:34:23 | |
But pioneering ideas | 0:34:27 | 0:34:29 | |
didn't prevent criticisms that it was old-fashioned - unlike its ITV rival. | 0:34:29 | 0:34:35 | |
Magpie was a show I watched as a kid. | 0:34:40 | 0:34:43 | |
Blue Peter didn't say anything for me growing up in Leeds as a working class kid. | 0:34:43 | 0:34:49 | |
It always seemed a little bit too middle class. | 0:34:49 | 0:34:53 | |
They always said, "Go up into the loft and find some crepe paper." | 0:34:53 | 0:34:59 | |
We didn't have a loft. I lived in a council house near Castleford. | 0:34:59 | 0:35:04 | |
There aren't enough middle class children to make up the viewing figures. We know that's nonsense. | 0:35:04 | 0:35:10 | |
That has been proved by the contact we've had from viewers. | 0:35:10 | 0:35:16 | |
These were sent in after the garden was vandalised. | 0:35:16 | 0:35:20 | |
Blue Peter wasn't above cashing in on other programmes' bright ideas - like the garden. | 0:35:20 | 0:35:26 | |
'I nicked it from Magpie. | 0:35:26 | 0:35:31 | |
'We always monitored the opposition. | 0:35:31 | 0:35:34 | |
'One of our great strengths was | 0:35:34 | 0:35:36 | |
that we saw things through - if we decided to do something, we did it.' | 0:35:36 | 0:35:42 | |
The Correspondence Unit has always played a crucial role. | 0:35:42 | 0:35:47 | |
A record is kept of every letter to avoid sending out identical replies if a child writes more than once. | 0:35:47 | 0:35:54 | |
Biddy began the system to avoid the disappointment she'd felt after writing to Enid Blyton. | 0:35:54 | 0:36:02 | |
'I remember going to my mother in tears. | 0:36:02 | 0:36:07 | |
'It was an identical letter to the first one. It was simply awful.' | 0:36:07 | 0:36:12 | |
Whenever a viewer writes, they receive a personal reply. | 0:36:12 | 0:36:18 | |
It is a truly interactive programme, with the target audience, | 0:36:18 | 0:36:22 | |
ie children, interactive before its time - before the word was used. | 0:36:22 | 0:36:28 | |
I've got some news about your letters because we've got an unusual programme today. | 0:36:28 | 0:36:34 | |
Nearly every item is hinged on your ideas and suggestions you've sent us. | 0:36:34 | 0:36:39 | |
'About 70% of the ideas | 0:36:39 | 0:36:41 | |
'in each programme came directly or indirectly from viewers' letters.' | 0:36:41 | 0:36:47 | |
"Vogue" by Madonna | 0:36:51 | 0:36:54 | |
When Caron Keating's desire to follow the '80s fashion trends brought in large numbers of letters, | 0:36:57 | 0:37:03 | |
the programme turned the complaints to its advantage. | 0:37:03 | 0:37:09 | |
They had a competition to design an outfit. They had 97,000 entries. | 0:37:09 | 0:37:14 | |
I chose, I think, the most inventive one I could find. | 0:37:14 | 0:37:19 | |
Most people who watch Blue Peter, at any point in their lives, | 0:37:19 | 0:37:24 | |
have not only sat and watched it - they've been involved in it. | 0:37:24 | 0:37:28 | |
They've contributed to an appeal, | 0:37:28 | 0:37:31 | |
made something they've seen, they've visited a place they've seen. | 0:37:31 | 0:37:37 | |
'The key to its success | 0:37:37 | 0:37:41 | |
'is the involvement that everybody has in the programme.' | 0:37:41 | 0:37:45 | |
We're calling it our Rags Appeal because that's what we want - rags. We want old wool and cotton. | 0:37:45 | 0:37:52 | |
We want you to collect them and send them to us. Every can will turn into money. | 0:37:52 | 0:37:59 | |
The philosophy of the Blue Peter appeals has always been for every viewer to take part, | 0:38:00 | 0:38:08 | |
not just to raise the maximum amount of money. | 0:38:08 | 0:38:13 | |
Years before TV appealery | 0:38:13 | 0:38:15 | |
had become commonplace, Blue Peter had been raising millions of pounds. | 0:38:15 | 0:38:21 | |
It had to be something where children could make a difference and have some sense of empowerment. | 0:38:23 | 0:38:31 | |
The 1979 appeal reacted to the devastation in Cambodia | 0:38:33 | 0:38:40 | |
caused by Pol Pot. | 0:38:40 | 0:38:42 | |
I think we were the first people to film there since John Pilger. | 0:38:42 | 0:38:47 | |
It was quite a struggle to get in. | 0:38:47 | 0:38:50 | |
It obviously touched the hearts of the nation because we had a phenomenal response. | 0:38:50 | 0:38:57 | |
An extraordinary £3 million was raised. It bought food, equipment and lorries. | 0:38:57 | 0:39:03 | |
Nine years later, | 0:39:03 | 0:39:07 | |
Blue Peter returned when more help was needed. | 0:39:07 | 0:39:12 | |
'You could see what an enormous change a programme could make. | 0:39:12 | 0:39:17 | |
'We got stuck in mud and people came out to dig the Land Rover out. | 0:39:17 | 0:39:23 | |
'They had hoes from ten years ago still with the Blue Peter stickers. | 0:39:23 | 0:39:29 | |
'I've been in Oxfam shops' | 0:39:29 | 0:39:31 | |
where I've seen kids in tears, giving away their favourite toy. | 0:39:31 | 0:39:36 | |
They didn't understand what was going on, | 0:39:36 | 0:39:40 | |
but they realised that they could help another girl or boy. | 0:39:40 | 0:39:45 | |
You've done it! You've made £1 million! | 0:39:45 | 0:39:50 | |
Your bring-and-buy sales have raised this enormous amount. Well done. | 0:39:50 | 0:39:55 | |
Blue Peter thrives on tradition. | 0:39:55 | 0:39:58 | |
Its cyclical nature is not only demonstrated by the appeals | 0:39:58 | 0:40:03 | |
but by the favourite items that return. | 0:40:03 | 0:40:07 | |
Not coming in, Leslie? | 0:40:07 | 0:40:09 | |
No! There's a rule saying ladies can't swim in the Serpentine in winter! | 0:40:09 | 0:40:14 | |
'This was the moment of truth! | 0:40:14 | 0:40:17 | |
'It was colder than I'd expected! | 0:40:19 | 0:40:22 | |
'You had to be hardy to be a member of the Serpentine Swimming Club!' | 0:40:22 | 0:40:28 | |
Biddy decided to do this film which had been done with John Noakes. | 0:40:28 | 0:40:34 | |
"You'd like to do it, wouldn't you?" I said, "I can't think of anything worse!" She said, "It'll be great!" | 0:40:34 | 0:40:40 | |
I just couldn't jump in. Caron jumped in. | 0:40:40 | 0:40:45 | |
It was like instant frostbite on my foot. I thought, "What's that going to do to other parts?" | 0:40:45 | 0:40:51 | |
Finally, I jump in. I couldn't breathe. | 0:40:51 | 0:40:56 | |
I was just going, "Ahhh! Ahhhh!" | 0:40:56 | 0:40:59 | |
When Biddy saw it, | 0:40:59 | 0:41:02 | |
she said, "You stupid boy! What's the matter with you? | 0:41:02 | 0:41:06 | |
"John Noakes went up and down." I said, "He would, that's typical! At least it's different, Biddy!" | 0:41:06 | 0:41:13 | |
STARTING PISTOL | 0:41:13 | 0:41:16 | |
A new challenge for the men began in 1981 with the first London Marathon. | 0:41:16 | 0:41:23 | |
It was probably the first time I'd been out of the studio to see how the power of TV works - | 0:41:26 | 0:41:32 | |
to run 26 miles through London and see those people cheering. | 0:41:32 | 0:41:38 | |
It felt like my marathon. That was special. | 0:41:38 | 0:41:41 | |
Outside of the studio, leaving TV Centre, you did want to take it all off - | 0:41:41 | 0:41:48 | |
take off the guise of the Blue Peter presenter. | 0:41:48 | 0:41:52 | |
There are things that happen to you where you were forced to do that. | 0:41:52 | 0:41:57 | |
If you nearly get run over and you scream abuse at someone... | 0:41:57 | 0:42:02 | |
It's a good feeling anyway, but when they look at you and think, | 0:42:02 | 0:42:07 | |
"That was Sarah Greene, Blue Peter presenter, telling me to mmm off!" | 0:42:07 | 0:42:12 | |
It has a double impact. | 0:42:12 | 0:42:15 | |
One had to check that there wasn't a five-year-old standing in earshot, | 0:42:15 | 0:42:20 | |
because you're kind of letting them down. | 0:42:20 | 0:42:23 | |
My granny used to say you should always warm the pot first. | 0:42:23 | 0:42:28 | |
'When children saw a presenter, | 0:42:28 | 0:42:31 | |
'it was like an old friend. They'd start a conversation.' | 0:42:31 | 0:42:36 | |
Those presenters were their friends. | 0:42:36 | 0:42:39 | |
She said, "Whatever's going on in those children's lives, | 0:42:39 | 0:42:44 | |
"whether their parents are fighting, or getting divorced - | 0:42:44 | 0:42:49 | |
"I want you presenters there in their living rooms. You're going to be a stable influence." | 0:42:49 | 0:42:56 | |
That stability was shaken periodically when a presenter decided to move on. | 0:42:56 | 0:43:04 | |
'I left it too late, I should have left after seven years - I stayed ten and a half' | 0:43:04 | 0:43:11 | |
It wasn't, "I've got to get away from this." It was, "I've stayed here too long. | 0:43:11 | 0:43:17 | |
"I can't do a kids' programme all my life." I was 40! | 0:43:17 | 0:43:22 | |
-What's in here? -It's to remind you. -Good heavens! | 0:43:22 | 0:43:27 | |
LAUGHTER | 0:43:27 | 0:43:29 | |
'Towards the end,' | 0:43:29 | 0:43:32 | |
I was so tired, knackered. | 0:43:32 | 0:43:35 | |
People used to say, "I wish I had your job!" I said, "You can have the bloomin' job - you can have it!" | 0:43:35 | 0:43:42 | |
Percy Thrower! | 0:43:42 | 0:43:44 | |
-Ohh, Percy! -You remember you gave me a surprise earlier in the year? | 0:43:44 | 0:43:52 | |
Biddy couldn't accept that I would want to present any other programme. | 0:43:52 | 0:43:56 | |
What more could somebody want? | 0:43:56 | 0:43:59 | |
Then, when it transpired that it was another children's programme, | 0:43:59 | 0:44:04 | |
that must have taken some getting over. | 0:44:04 | 0:44:07 | |
Oh, dear. Look at this pink. Matches me hair! | 0:44:07 | 0:44:12 | |
Blue Peter had shown that it could survive the loss of a presenter. | 0:44:12 | 0:44:17 | |
But in 1988, Biddy herself decided to call it a day. | 0:44:17 | 0:44:21 | |
Her deputy, Lewis Bronze, took over. | 0:44:21 | 0:44:25 | |
-There you are. -You're so kind! | 0:44:25 | 0:44:30 | |
It's a bit like, could we imagine life without Mrs Thatcher? | 0:44:30 | 0:44:34 | |
Well, we could. | 0:44:34 | 0:44:36 | |
We were all very nervous about it. | 0:44:36 | 0:44:39 | |
I would have said it was on the verge of becoming a bit twee. | 0:44:39 | 0:44:44 | |
And during my era there, with Lewis, it had more of an edge to it. | 0:44:44 | 0:44:50 | |
-How long have these cracks been here? -A couple of weeks. | 0:44:50 | 0:44:56 | |
I wanted to bring a slightly more topical, newsy... | 0:44:56 | 0:45:00 | |
It's not a news programme, but I wanted a more topical edge. | 0:45:00 | 0:45:06 | |
Nelson Mandela has claimed victory in South Africa's election. | 0:45:06 | 0:45:11 | |
He tells his people they can now reclaim their country. | 0:45:11 | 0:45:15 | |
..we can loudly proclaim from the rooftops... | 0:45:15 | 0:45:19 | |
free at last. | 0:45:19 | 0:45:22 | |
Under apartheid, Tim and I wouldn't be able to walk together. | 0:45:23 | 0:45:28 | |
I would never have set foot in a black township like Soweto. | 0:45:28 | 0:45:32 | |
We would have been forced to use separate buses and separate schools. | 0:45:32 | 0:45:37 | |
Diane wouldn't have been able to go to a white town without permission. | 0:45:37 | 0:45:41 | |
For a children's programme to do a trip, without being heavy about it, | 0:45:41 | 0:45:47 | |
presenting the facts, to bring an issue up like that, | 0:45:47 | 0:45:51 | |
in a way children can understand, is one of the strengths of Blue Peter. | 0:45:51 | 0:45:56 | |
In a couple of weeks, there will be three Blue Peters a week. | 0:45:56 | 0:46:00 | |
You can see from our clock which days they're going to be. | 0:46:00 | 0:46:05 | |
The biggest change for Lewis came in 1995. | 0:46:05 | 0:46:08 | |
It was a risk that paid off. | 0:46:08 | 0:46:11 | |
Three times a week worked. | 0:46:11 | 0:46:14 | |
The audience figures were fantastic for six months after we did it. | 0:46:14 | 0:46:18 | |
When I left, I thought, "Go while you're ahead." | 0:46:18 | 0:46:23 | |
During his eight years as editor, he's been known as "Funky Lou". | 0:46:23 | 0:46:28 | |
Lewis Bronze is also credited with bringing in a more relaxed approach, | 0:46:28 | 0:46:34 | |
behind and in front of the camera. | 0:46:34 | 0:46:37 | |
-I'm going to miss the whole team. -30 seconds on chat. | 0:46:37 | 0:46:42 | |
-And, um... 30 seconds on chat?! -30 seconds, Lewis! | 0:46:42 | 0:46:46 | |
It's a great programme to work on, Tim. | 0:46:46 | 0:46:49 | |
I love standing on telly with a pom-pom! | 0:46:49 | 0:46:53 | |
His successor, Oliver MacFarlane, had also worked under Biddy Baxter. | 0:46:53 | 0:46:58 | |
He had to face the challenge of cable and satellite channels. | 0:46:58 | 0:47:03 | |
Can't the other three be a bit closer? | 0:47:03 | 0:47:08 | |
PROMOTION: 'Digital television - | 0:47:08 | 0:47:11 | |
'the biggest development in TV since the introduction of colour.' | 0:47:11 | 0:47:15 | |
We'll need to adapt, but we're not going to rush along with the pack. | 0:47:17 | 0:47:23 | |
Blue Peter has a website and its own CD-ROM. | 0:47:23 | 0:47:27 | |
The programme can't dominate in a multi-channel world. | 0:47:27 | 0:47:32 | |
But we can remain distinctive, and be a major voice for children. | 0:47:32 | 0:47:38 | |
The days of one programme dominating the landscape are gone for ever. | 0:47:38 | 0:47:43 | |
They'll never come back. | 0:47:43 | 0:47:46 | |
No programme could become today, starting from scratch, | 0:47:46 | 0:47:51 | |
what Blue Peter was in the '60s and '70s. | 0:47:51 | 0:47:54 | |
I think, as long as BBC ONE exists, Blue Peter will exist. | 0:47:54 | 0:47:59 | |
It may change its transmission times, | 0:47:59 | 0:48:02 | |
or its shape, or its presenters. | 0:48:02 | 0:48:05 | |
But there will always be Blue Peter. | 0:48:05 | 0:48:08 | |
It will always provide that public service - | 0:48:08 | 0:48:12 | |
informational cornerstone to BBC children's programmes. | 0:48:12 | 0:48:15 | |
Subtitles by Red Bee Media | 0:48:37 | 0:48:40 |