Pennod 4 Hywel Ddoe a Heddiw
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Transcript
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-Subtitles | 0:00:00 | 0:00:00 | |
-Subtitles - -Subtitles | 0:00:00 | 0:00:02 | |
-# You've heard -the celebrities many times # | 0:00:16 | 0:00:19 | |
-Three of the most recognizable -voices on the radio in the 1940s... | 0:00:19 | 0:00:24 | |
-..were Mered, Cled a Robin -or Triawd y Coleg. | 0:00:24 | 0:00:27 | |
-Meredydd Evans became BBC Wales's -Head of Light Entertainment. | 0:00:28 | 0:00:33 | |
-I worked with him -at the start of my career. | 0:00:34 | 0:00:37 | |
-You're officially recognized -as Dr Meredydd Evans... | 0:00:37 | 0:00:42 | |
-..but we all know you as Mered. | 0:00:42 | 0:00:47 | |
-It says a lot about you -as a person. | 0:00:47 | 0:00:51 | |
-There's something very endearing -about calling you Mered. | 0:00:51 | 0:00:55 | |
-Do you like the title or would you -prefer to be called Dr Evans? | 0:00:55 | 0:01:01 | |
-No, I like to be called Mered. | 0:01:01 | 0:01:06 | |
-I have been called -a lot worse than doctor. | 0:01:07 | 0:01:12 | |
-I won't give you any examples -because they will shock some people! | 0:01:13 | 0:01:19 | |
-I'm perfectly happy -to be called Mered. | 0:01:20 | 0:01:23 | |
-That hails from the time... | 0:01:23 | 0:01:27 | |
-..you performed on the radio -and Noson Lawen. | 0:01:27 | 0:01:30 | |
-Yes, it does. | 0:01:30 | 0:01:32 | |
-The three of us were known -as Cled, Robin and Mered. | 0:01:33 | 0:01:37 | |
-# If you come to the yard -at Y Fron # | 0:01:38 | 0:01:42 | |
-There has always been singing -and light entertainment in Wales. | 0:01:42 | 0:01:48 | |
-It took a definite course -that was more humorous... | 0:01:48 | 0:01:54 | |
-..when it was broadcast -on the radio. | 0:01:54 | 0:01:57 | |
-If you look back at the songs -that I composed... | 0:01:57 | 0:02:00 | |
-..you can see that -there were obvious influences... | 0:02:01 | 0:02:05 | |
-..such as the dance music -and women in America of the time. | 0:02:05 | 0:02:09 | |
-Those inspired that genre of music. | 0:02:10 | 0:02:13 | |
-There was a difference in the music. | 0:02:13 | 0:02:17 | |
-This led to more and more people... | 0:02:17 | 0:02:20 | |
-..composing their own melodies. | 0:02:20 | 0:02:24 | |
-Hogia Llandegai -wrote their own music... | 0:02:24 | 0:02:29 | |
-..as would Hogia'r Wyddfa. | 0:02:29 | 0:02:31 | |
-They've composed the majority -of their own music. | 0:02:31 | 0:02:35 | |
-I'm going to dare to say... | 0:02:35 | 0:02:37 | |
-..that none of the events -from the past 15 to 20 years... | 0:02:38 | 0:02:42 | |
-..would have happened -without your appointment in 1963... | 0:02:43 | 0:02:47 | |
-..as Head of Light Entertainment -at the BBC. | 0:02:48 | 0:02:51 | |
-What was the main problem -that you faced... | 0:02:51 | 0:02:54 | |
-..as you attempted to establish -a light entertainment department? | 0:02:54 | 0:03:00 | |
-The problem we had was the sudden -change in public communication... | 0:03:00 | 0:03:06 | |
-..from an audio format -to a visual medium. | 0:03:06 | 0:03:11 | |
-I'd had a lot of experience -with working on radio... | 0:03:11 | 0:03:16 | |
-..and was familiar -with radio performances. | 0:03:16 | 0:03:21 | |
-I was suddenly thrust into -the new world of television. | 0:03:21 | 0:03:26 | |
-The was a major stumbling block... | 0:03:27 | 0:03:30 | |
-..with Welsh-language -light entertainment. | 0:03:30 | 0:03:35 | |
-Our main competition was the world -of Anglo-American entertainment... | 0:03:35 | 0:03:41 | |
-..and it was a powerful force. | 0:03:41 | 0:03:44 | |
-You had to offer something... | 0:03:45 | 0:03:48 | |
-..that resembled cabaret -and included dancing. | 0:03:48 | 0:03:52 | |
-I soon discovered that Welsh artists -didn't have the legs for this. | 0:03:53 | 0:03:59 | |
-We were too self-conscious. | 0:03:59 | 0:04:03 | |
-You discovered the person -who embodied everything you wanted. | 0:04:03 | 0:04:09 | |
-At the time, -he was a teacher in London. | 0:04:09 | 0:04:12 | |
-I'm referring to Ryan Davies. | 0:04:13 | 0:04:15 | |
-Yes, that's right. | 0:04:15 | 0:04:16 | |
-I had seen him perform -in the National Eisteddfod... | 0:04:16 | 0:04:21 | |
-..when the London Welsh -staged a Noson Lawen or a drama. | 0:04:22 | 0:04:28 | |
-It was soon after this -that I approached Hywel Davies. | 0:04:28 | 0:04:32 | |
-In my opinion... | 0:04:33 | 0:04:35 | |
-..Hywel was the best programme -executive within television. | 0:04:35 | 0:04:39 | |
-Hywel was a television man. | 0:04:40 | 0:04:43 | |
-I remember saying to Hywel... | 0:04:43 | 0:04:46 | |
-..that I didn't think we would make -any groundbreaking advances... | 0:04:47 | 0:04:53 | |
-..in developing Welsh-language -light entertainment... | 0:04:53 | 0:04:59 | |
-..on television. | 0:04:59 | 0:05:01 | |
-If we wanted to succeed, -we needed a strong foundation... | 0:05:01 | 0:05:06 | |
-..of professional -male and female performers. | 0:05:06 | 0:05:12 | |
-Hywel asked if I had anyone in mind. | 0:05:15 | 0:05:20 | |
-"Yes," I said. | 0:05:20 | 0:05:22 | |
-"Who is he?" | 0:05:22 | 0:05:24 | |
-"Ryan Davies." | 0:05:24 | 0:05:26 | |
-Hywel agreed -that he was the man for the job! | 0:05:26 | 0:05:29 | |
-# Have you ever seen my Siani, -Hob a derry dando | 0:05:30 | 0:05:34 | |
-# She's the finest in the county, -Sian, Sian, lovely Sian | 0:05:34 | 0:05:38 | |
-# Sian, Sian, lovely Sian | 0:05:38 | 0:05:41 | |
-# That's the fairest, lovely Sian # | 0:05:42 | 0:05:45 | |
-Hob a derry dando! | 0:05:45 | 0:05:47 | |
-Good evening. | 0:05:50 | 0:05:52 | |
-The new medium was in place -in the homes of Wales. | 0:05:52 | 0:05:56 | |
-However, there were other steps -that needed to be achieved. | 0:05:56 | 0:06:00 | |
-We needed two entertainers... | 0:06:01 | 0:06:04 | |
-..if we were going to compete -with the Anglo-Americans. | 0:06:04 | 0:06:10 | |
-We had to develop this idea. | 0:06:10 | 0:06:15 | |
-We managed to achieve this -with Ryan and Ronnie. | 0:06:15 | 0:06:21 | |
-Wey! | 0:06:25 | 0:06:26 | |
-Hello, Ron. | 0:06:29 | 0:06:30 | |
-Hello, Ron. - -Hello, indeed. | 0:06:30 | 0:06:32 | |
-The whip has more meat than you! | 0:06:32 | 0:06:34 | |
-So you still want to be a jockey. | 0:06:35 | 0:06:37 | |
-So you still want to be a jockey. - -I could be the next Lester Faggot! | 0:06:37 | 0:06:40 | |
-Show us. | 0:06:40 | 0:06:42 | |
-Down you go. | 0:06:43 | 0:06:44 | |
-I'm only doing it to help a friend. | 0:06:44 | 0:06:46 | |
-I'm only doing it to help a friend. - -Good boy, down you go. | 0:06:46 | 0:06:49 | |
-Are you ready? Up I go. | 0:06:49 | 0:06:52 | |
-Into the stalls. | 0:06:52 | 0:06:55 | |
-# I'm a brave, courageous knight # | 0:06:56 | 0:07:00 | |
-Are you ready, Ron? -Gee up to the next sketch! | 0:07:00 | 0:07:03 | |
-There were others such as -Bryn Williams, Derek Boote... | 0:07:04 | 0:07:10 | |
-..and Margaret Williams. | 0:07:10 | 0:07:12 | |
-These were our main artists. | 0:07:12 | 0:07:15 | |
-There was also a drama department -at the BBC. | 0:07:15 | 0:07:21 | |
-You will not believe -the difficulties I faced... | 0:07:22 | 0:07:26 | |
-..when I said that the -light entertainment department... | 0:07:26 | 0:07:31 | |
-..could create situation comedies. | 0:07:31 | 0:07:37 | |
-The issue was debated -for many months. | 0:07:37 | 0:07:41 | |
-The creation process of a good -comedy sketch is very different... | 0:07:42 | 0:07:48 | |
-..when compared -to a situation comedy. | 0:07:49 | 0:07:52 | |
-The comedic elements are the same... | 0:07:52 | 0:07:55 | |
-..but the characters must be -at the heart of a situation comedy. | 0:07:56 | 0:08:02 | |
-Heavens above! | 0:08:07 | 0:08:09 | |
-Can you play that? | 0:08:11 | 0:08:13 | |
-Can you play that? - -Of course I can play the harmonium. | 0:08:13 | 0:08:16 | |
-PLAYS HARMONIUM | 0:08:17 | 0:08:19 | |
-I'm going out to listen -to the pigeons. | 0:08:20 | 0:08:24 | |
-HORN TOOTS | 0:08:26 | 0:08:28 | |
-CONTINUES PLAYING HARMONIUM | 0:08:33 | 0:08:35 | |
-HORN TOOTS | 0:08:36 | 0:08:38 | |
-When I look back -at those early days... | 0:08:39 | 0:08:43 | |
-..I still get very excited. | 0:08:43 | 0:08:47 | |
-How do you view that period of time -in general? | 0:08:47 | 0:08:52 | |
-Do you continue to feel excited -when you think about it? | 0:08:52 | 0:08:57 | |
-Something inside me -wanted to make it work. | 0:08:57 | 0:09:01 | |
-It had to succeed. | 0:09:02 | 0:09:05 | |
-We had to do something... | 0:09:06 | 0:09:08 | |
-..so that light entertainment -in the Welsh language... | 0:09:08 | 0:09:13 | |
-..was something acceptable. | 0:09:13 | 0:09:15 | |
-The language has to flourish -in its own country. | 0:09:16 | 0:09:20 | |
-It needs to be ingrained -throughout the nation... | 0:09:20 | 0:09:24 | |
-..so this was -a very exciting medium. | 0:09:24 | 0:09:28 | |
-It was important to succeed -in that medium. | 0:09:28 | 0:09:33 | |
-Thank you. | 0:09:33 | 0:09:34 | |
-Thank you. - -Thank you, Hywel. | 0:09:34 | 0:09:36 | |
-I would like to thank you -for being there at the beginning. | 0:09:36 | 0:09:42 | |
-You're welcome -and thank you very much. | 0:09:42 | 0:09:45 | |
-# In the morning | 0:09:45 | 0:09:48 | |
-# In the morning | 0:09:48 | 0:09:51 | |
-# When the birds were heard -singing their harmony | 0:09:52 | 0:09:59 | |
-# Wake up the world is alive | 0:09:59 | 0:10:02 | |
-# Is alive | 0:10:02 | 0:10:03 | |
-# Is alive | 0:10:03 | 0:10:05 | |
-# Is alive | 0:10:05 | 0:10:07 | |
-# Is alive # | 0:10:07 | 0:10:12 | |
-This is Theatr Felinfach -in the 1980s. | 0:10:17 | 0:10:20 | |
-I don't think -that nappy suited me... | 0:10:20 | 0:10:23 | |
-..but it caused a stir -among the audience. | 0:10:23 | 0:10:26 | |
-After the break, I meet a young man -who works at Theatr Felinfach... | 0:10:26 | 0:10:31 | |
-..and many other Welsh theatres. | 0:10:31 | 0:10:34 | |
-We celebrate the birthday of Wales's -first commercial radio station. | 0:10:34 | 0:10:40 | |
-Don't go away. I'll be right back! | 0:10:40 | 0:10:43 | |
-. | 0:10:44 | 0:10:44 | |
-Subtitles | 0:10:47 | 0:10:47 | |
-Subtitles - -Subtitles | 0:10:47 | 0:10:49 | |
-I've been very fortunate to walk -this world for over 50 years... | 0:10:50 | 0:10:54 | |
-..and meet people -from many different countries. | 0:10:54 | 0:10:58 | |
-But it still amazes me -that a country as small as Wales... | 0:10:58 | 0:11:02 | |
-..has produced so many talented -and interesting people. | 0:11:02 | 0:11:06 | |
-TODAY | 0:11:07 | 0:11:10 | |
-This is Gwyn Eiddior -from Garndolbenmaen. | 0:11:11 | 0:11:14 | |
-He's a talented designer... | 0:11:14 | 0:11:16 | |
-..who has worked on a variety -of stage and screen productions. | 0:11:17 | 0:11:21 | |
-Gwyn is currently -using his creativity... | 0:11:21 | 0:11:24 | |
-..to design a set for the latest -production by Theatr Genedlaethol. | 0:11:25 | 0:11:29 | |
-You're very familiar -with this grand foyer... | 0:11:30 | 0:11:34 | |
-..at the Royal Welsh College -of Music & Drama in Cardiff. | 0:11:34 | 0:11:38 | |
-I studied here for three years. | 0:11:38 | 0:11:41 | |
-It was an exciting and challenging -but fun too. | 0:11:41 | 0:11:44 | |
-This foyer itself -is the majestic, new extension... | 0:11:45 | 0:11:49 | |
-..that was built after my time here. | 0:11:49 | 0:11:52 | |
-I studied in the old building -behind this one. | 0:11:52 | 0:11:56 | |
-Why did you come here? | 0:11:57 | 0:11:59 | |
-I was drawn to the big city -and the bright lights of Cardiff! | 0:11:59 | 0:12:03 | |
-The course itself offered something -to suit all my interests. | 0:12:03 | 0:12:09 | |
-I decided to give set design a go! | 0:12:09 | 0:12:12 | |
-Your career comes as no surprise -as your grandfather was Wil Sam. | 0:12:13 | 0:12:17 | |
-My grandfather -was one of my biggest influences. | 0:12:17 | 0:12:22 | |
-I felt comfortable in the theatre. | 0:12:22 | 0:12:25 | |
-I met many actors, -writers and directors... | 0:12:25 | 0:12:29 | |
-..and I felt at ease -in that situation. | 0:12:29 | 0:12:33 | |
-It comes as no surprise -that I've followed in his footsteps. | 0:12:34 | 0:12:39 | |
-These are your designs -from your college days. | 0:12:40 | 0:12:43 | |
-This portfolio is full of memories. | 0:12:43 | 0:12:46 | |
-I've got many fond memories -as we flick through the pages. | 0:12:46 | 0:12:52 | |
-These are some set designs for the -productions in the college theatre. | 0:12:52 | 0:12:58 | |
-This is the set for Popcorn -at the Sherman Theatre. | 0:12:58 | 0:13:02 | |
-I designed it when I was in college. | 0:13:02 | 0:13:04 | |
-It's set in Hollywood. | 0:13:05 | 0:13:07 | |
-We turn the pages -and find my most recent work... | 0:13:07 | 0:13:10 | |
-..as a professional designer. | 0:13:11 | 0:13:13 | |
-These are for Yr Argae. | 0:13:14 | 0:13:15 | |
-It was Taid's translation -of The Weir by Conor McPherson... | 0:13:15 | 0:13:20 | |
-..that was performed -at the Cardiff Eisteddfod. | 0:13:20 | 0:13:24 | |
-It was a large set. | 0:13:24 | 0:13:26 | |
-The play is set in an Irish pub. | 0:13:26 | 0:13:28 | |
-The characters and Irish community -is reminiscent of Wales. | 0:13:29 | 0:13:34 | |
-I'm not surprised -that Taid translated it. | 0:13:34 | 0:13:38 | |
-You've also designed for television. | 0:13:38 | 0:13:41 | |
-I've been lucky to be able to turn -my hand to television and theatre. | 0:13:41 | 0:13:47 | |
-I've designed sets -for music programmes... | 0:13:47 | 0:13:51 | |
-..and redesigned -children's bedrooms. | 0:13:51 | 0:13:55 | |
-They are both very different. | 0:13:55 | 0:13:57 | |
-I use the same skills -that I learnt as a set designer... | 0:13:58 | 0:14:02 | |
-..but apply -those skills differently. | 0:14:02 | 0:14:05 | |
-A programme such as Hip neu Sgip... | 0:14:05 | 0:14:08 | |
-..puts me under -a lot of pressure as a designer. | 0:14:08 | 0:14:12 | |
-I'm used to working with -large budgets. | 0:14:12 | 0:14:16 | |
-However, you're designing -a child's bedroom... | 0:14:17 | 0:14:20 | |
-..and that child will sleep -in that room for many years. | 0:14:21 | 0:14:25 | |
-It's totally different to designing -a set for theatre or television. | 0:14:25 | 0:14:31 | |
-Kim's mother was happy -with the new room. | 0:14:33 | 0:14:36 | |
-It's a great effort -and two new happy customers. | 0:14:36 | 0:14:40 | |
-Until next time, ta-ra! | 0:14:40 | 0:14:44 | |
-This is the set of Ochr 1. | 0:14:45 | 0:14:48 | |
-It's a new series that -we've recently finished filming. | 0:14:48 | 0:14:52 | |
-The series surrounds pop music. | 0:14:52 | 0:14:55 | |
-Musicians and bands come here -to record sessions on this set. | 0:14:55 | 0:14:59 | |
-It looks rather bare -without all the guitars. | 0:14:59 | 0:15:03 | |
-This set was inspired -by the name Ochr 1 or side one. | 0:15:03 | 0:15:07 | |
-The image of the vinyl record is -conveyed by the circles and tubes. | 0:15:07 | 0:15:12 | |
-Can the tubes be moved -into different positions? | 0:15:12 | 0:15:17 | |
-Yes, we adapt the set -for the different bands. | 0:15:18 | 0:15:22 | |
-We get different shots -by filming through the tubes. | 0:15:22 | 0:15:25 | |
-You can be creative with your shots -by hiding cameras behind the tubes. | 0:15:26 | 0:15:31 | |
-Yes, the cameramen like having -something to work with. | 0:15:31 | 0:15:35 | |
-Your grandfather would be happy that -your next project is in the theatre. | 0:15:35 | 0:15:41 | |
-Yes, I'm returning to the theatre... | 0:15:42 | 0:15:44 | |
-..for Caryl Lewis's new play called -Y Negesydd for Theatr Genedlaethol. | 0:15:45 | 0:15:50 | |
-Rehearsals start in a fortnight so -I'm currently finishing the model. | 0:15:50 | 0:15:55 | |
-The drama is located -in a cottage in West Wales. | 0:15:55 | 0:15:59 | |
-A father and daughter -live in the cottage. | 0:16:00 | 0:16:04 | |
-It's quite a sad and dark drama. | 0:16:05 | 0:16:07 | |
-I hope the set reflects this. | 0:16:08 | 0:16:10 | |
-Does it challenge you as a designer? | 0:16:10 | 0:16:13 | |
-Yes, it will be challenging -as there are two levels... | 0:16:13 | 0:16:18 | |
-..and an array of different scenes. | 0:16:18 | 0:16:21 | |
-There's a dramatic incident at -the end but I can't reveal too much. | 0:16:21 | 0:16:25 | |
-But the set -will need to be adapted for that. | 0:16:26 | 0:16:29 | |
-Have you designed your own future -or do you take each day as it comes? | 0:16:29 | 0:16:35 | |
-I live for the moment and move -from place to place around Wales. | 0:16:35 | 0:16:40 | |
-I wish you the best of luck. | 0:16:40 | 0:16:42 | |
-We need more talented designers -like yourself in Wales. | 0:16:42 | 0:16:46 | |
-YESTERDAY | 0:16:48 | 0:16:51 | |
-# Swansea Sound # | 0:16:54 | 0:16:56 | |
-Hello and welcome to our -Welsh programme on Swansea Sound. | 0:16:57 | 0:17:01 | |
-In 1984, Swansea Sound -marked ten years... | 0:17:01 | 0:17:05 | |
-..as the first commercial -radio station in Wales... | 0:17:05 | 0:17:10 | |
-..and I was Garry Owen's guest. | 0:17:10 | 0:17:12 | |
-It was officially opened -a decade earlier... | 0:17:13 | 0:17:16 | |
-..by Wynford Vaughan-Thomas -in September 1974. | 0:17:16 | 0:17:20 | |
-This was where Glynog Davies -started his career. | 0:17:21 | 0:17:24 | |
-Had you done any performing -before you got the job? | 0:17:25 | 0:17:28 | |
-At the time, I was studying for -a diploma in education in Swansea. | 0:17:29 | 0:17:33 | |
-I was invited for an interview for -the new radio station in Swansea. | 0:17:33 | 0:17:38 | |
-I thought nothing of it -and attended the interview... | 0:17:38 | 0:17:42 | |
-..with John Bevan -who was the managing director. | 0:17:42 | 0:17:45 | |
-I arrived at a shoe shop -on the high street in Swansea. | 0:17:45 | 0:17:49 | |
-We went upstairs to an empty room. | 0:17:49 | 0:17:52 | |
-There was no furniture -so we sat on boxes. | 0:17:52 | 0:17:55 | |
-It was an informal interview and he -asked about my previous experience. | 0:17:55 | 0:18:00 | |
-I only had experience -of performing locally... | 0:18:01 | 0:18:04 | |
-..and had -no professional experience... | 0:18:04 | 0:18:07 | |
-..but I got the job! | 0:18:07 | 0:18:09 | |
-I was offered the job and that is -how I ended up working in the media. | 0:18:09 | 0:18:14 | |
-All your previous performances -had been in Welsh. | 0:18:14 | 0:18:19 | |
-Yes, it was all in Welsh... | 0:18:19 | 0:18:21 | |
-..and I was asked to produce and -present in Welsh on this new radio. | 0:18:21 | 0:18:27 | |
-It was the first commercial -radio station in Wales. | 0:18:27 | 0:18:31 | |
-This was a time -before Radio Cymru and S4C existed. | 0:18:31 | 0:18:36 | |
-Very little was broadcast in Welsh. | 0:18:36 | 0:18:39 | |
-Let's turn our attention -to another album. | 0:18:40 | 0:18:43 | |
-It's a new album on the market -called Goreuon Sain. | 0:18:43 | 0:18:46 | |
-We covered a wide catchment area -that included Swansea. | 0:18:47 | 0:18:51 | |
-Swansea was a pro Welsh region -at the time. | 0:18:51 | 0:18:55 | |
-The catchment also included the -Gwendraeth Valley, Swansea Valley... | 0:18:55 | 0:19:00 | |
-..and the Amman Valley. | 0:19:00 | 0:19:02 | |
-These areas were Welsh to the core. | 0:19:02 | 0:19:05 | |
-I was surprised to learn... | 0:19:06 | 0:19:08 | |
-..that Swansea Sound had hundreds -of thousands of Welsh-speaking fans. | 0:19:08 | 0:19:13 | |
-It was an exciting time for us as -a young team with little experience. | 0:19:14 | 0:19:19 | |
-But we had the enthusiasm -and drive to make it succeed. | 0:19:20 | 0:19:24 | |
-We wanted it to succeed... | 0:19:24 | 0:19:27 | |
-..and I felt that people -appreciated what we did. | 0:19:27 | 0:19:30 | |
-We had a fantastic response -to our programmes. | 0:19:31 | 0:19:34 | |
-The best thing about the job -was meeting people. | 0:19:34 | 0:19:37 | |
-People make programmes. | 0:19:37 | 0:19:39 | |
-Interesting people make the best -programmes. That will never change. | 0:19:39 | 0:19:44 | |
-In the early days, Wyn Thomas was -a popular presenter on the station. | 0:19:45 | 0:19:51 | |
-He loved causing a stir! | 0:19:51 | 0:19:54 | |
-This is the studio where it all -began for you all those years ago. | 0:19:54 | 0:20:00 | |
-Yes, this is where it all started -on 30 September 1974. | 0:20:00 | 0:20:04 | |
-I was totally petrified. | 0:20:05 | 0:20:08 | |
-I became famous, or rather infamous, -for my phone-in programme. | 0:20:08 | 0:20:14 | |
-Today, I would be called -a shock jock as I said silly things. | 0:20:14 | 0:20:18 | |
-If I didn't like what I heard, -I would hang up on people. | 0:20:18 | 0:20:22 | |
-This attracted many listeners. | 0:20:22 | 0:20:25 | |
-It was the first ever phone-in -and I made some outrageous comments. | 0:20:25 | 0:20:30 | |
-In the week -of Elvis Presley's death in 1977... | 0:20:30 | 0:20:34 | |
-..I said it wasn't a great loss. | 0:20:34 | 0:20:36 | |
-He would struggle to sing -second tenor in the Morriston Choir! | 0:20:36 | 0:20:41 | |
-I also said that he couldn't act and -played less chords than Dafydd Iwan. | 0:20:41 | 0:20:46 | |
-The switchboard went wild. | 0:20:46 | 0:20:48 | |
-You said these things to get -a reaction from your listeners. | 0:20:48 | 0:20:52 | |
-How much of the Welsh language -was heard on the service? | 0:20:53 | 0:20:57 | |
-At that time, we were under an -independent broadcasting authority. | 0:20:57 | 0:21:02 | |
-We had a contract -that dealt with our broadcasts. | 0:21:02 | 0:21:06 | |
-It said that 13% of our programmes -needed to be in Welsh. | 0:21:06 | 0:21:12 | |
-We wanted to use the Welsh language -as it was heard on the street. | 0:21:12 | 0:21:17 | |
-If you went to Swansea market, -Morriston, Llanelli or Loughor... | 0:21:18 | 0:21:23 | |
-..you heard a mixture of languages. | 0:21:24 | 0:21:26 | |
-It was up to us to reflect it. | 0:21:27 | 0:21:29 | |
-We needed to use Welsh -in the English-based programmes. | 0:21:29 | 0:21:33 | |
-The station's strength was that it -was at the heart of the community. | 0:21:34 | 0:21:39 | |
-The listeners had an outlet -to express their problems. | 0:21:39 | 0:21:44 | |
-That's exactly it. | 0:21:44 | 0:21:46 | |
-Glynog played the organ -in chapel on a Sunday night... | 0:21:46 | 0:21:50 | |
-..and the congregation -gave him their requests. | 0:21:50 | 0:21:54 | |
-His aunt -worked in a local coal mine... | 0:21:54 | 0:21:57 | |
-..and the miners gave her -their requests to pass on to Glynog. | 0:21:57 | 0:22:01 | |
-The secret to our success was -our relationship with the audience. | 0:22:01 | 0:22:06 | |
-We felt that we were pioneering. | 0:22:07 | 0:22:10 | |
-The things -that were relevant yesterday... | 0:22:10 | 0:22:13 | |
-..are just as important today. | 0:22:13 | 0:22:16 | |
-The only thing that has changed is -the packaging around the programmes. | 0:22:16 | 0:22:21 | |
-In broadcasting, -and especially television... | 0:22:21 | 0:22:24 | |
-..it's possible to add -a lot of colour and polish... | 0:22:24 | 0:22:28 | |
-..but the same virtues apply. | 0:22:28 | 0:22:32 | |
-If you know the answer, pop it -on a card and send it to me... | 0:22:32 | 0:22:37 | |
-..Glynog Davies, Radio 257, -Victoria Road, Gowerton, Swansea. | 0:22:37 | 0:22:42 | |
-Next week, I meet a real -rock and roller from the 1970s. | 0:22:43 | 0:22:47 | |
-I also chat with a lady who -builds bridges in the arts world... | 0:22:48 | 0:22:53 | |
-..and speak to the man -who's carved out his name in stone. | 0:22:53 | 0:22:58 | |
-S4C Subtitles by Tinopolis | 0:23:14 | 0:23:16 | |
-. | 0:23:16 | 0:23:16 |