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John Craven has been appearing on our television screens | 0:00:04 | 0:00:07 | |
for the best part of half a century. | 0:00:07 | 0:00:10 | |
He has been with us as we moved from black and white to colour. | 0:00:12 | 0:00:15 | |
He's reported on conflicts abroad... | 0:00:18 | 0:00:20 | |
The war in the Lebanon has broken out again with a vengeance. | 0:00:20 | 0:00:23 | |
..and at home. | 0:00:23 | 0:00:24 | |
What's it like when you try and play outside? | 0:00:26 | 0:00:28 | |
There's usually shooting down the street. | 0:00:28 | 0:00:30 | |
He's seen us through eight prime ministers... | 0:00:30 | 0:00:33 | |
-Morning, Mrs Thatcher. -Good morning. -..and five recessions. | 0:00:33 | 0:00:35 | |
And throughout it all, John has been a reassuring presence... | 0:00:35 | 0:00:38 | |
-Hello again. -..making sense of the world, | 0:00:38 | 0:00:41 | |
from Newsround to Countryfile. | 0:00:41 | 0:00:44 | |
It's a well-known phrase that you should never work with children and animals, | 0:00:44 | 0:00:48 | |
and I've spent the last 40 years doing just that! | 0:00:48 | 0:00:51 | |
This is the story of the man who brought the news to children... | 0:00:53 | 0:00:57 | |
His role in those early Newsrounds was that of elder brother. | 0:00:57 | 0:01:00 | |
You did feel it was especially for you. | 0:01:00 | 0:01:04 | |
..and brightened up our Saturday mornings. | 0:01:04 | 0:01:06 | |
We all genuinely liked each other and we very much loved John. | 0:01:06 | 0:01:11 | |
'He is one of the most decent entertaining, kind,' | 0:01:11 | 0:01:14 | |
compassionate people that you could ever want to meet. | 0:01:14 | 0:01:17 | |
Generations of us have grown up with John Craven | 0:01:19 | 0:01:21 | |
and John has grown up with us. | 0:01:21 | 0:01:23 | |
This is a journey through... | 0:01:25 | 0:01:27 | |
MUSIC: "Act Naturally" by Buck Owens | 0:01:33 | 0:01:36 | |
It's a cold morning in November | 0:01:45 | 0:01:48 | |
and John Craven is on location in Southport with the Countryfile team. | 0:01:48 | 0:01:52 | |
Two miles beneath the surface, here, there's natural gas trapped in rocks | 0:01:56 | 0:02:02 | |
and getting it out involves a new technique in this country | 0:02:02 | 0:02:05 | |
called fracking... | 0:02:05 | 0:02:06 | |
'I'm proud of being a journalist. I think its a wonderful job.' | 0:02:06 | 0:02:10 | |
It's a great window on the world. You get this opportunity to, kind of, | 0:02:10 | 0:02:15 | |
walk down a street and then some doors you throw a bouquet | 0:02:15 | 0:02:17 | |
and then other doors you throw a ton of bricks! | 0:02:17 | 0:02:21 | |
'But all the time you are, hopefully, | 0:02:21 | 0:02:23 | |
'responsibly, reporting to your audience | 0:02:23 | 0:02:26 | |
'about what is really happening.' | 0:02:26 | 0:02:28 | |
..I'll be investigating. And also on Countryfile tonight... | 0:02:28 | 0:02:31 | |
Journalism and broadcasting have been in John's blood | 0:02:34 | 0:02:37 | |
ever since he was old enough to read and write. | 0:02:37 | 0:02:40 | |
When I was 11 or 12, | 0:02:41 | 0:02:43 | |
I asked my parents, as a birthday present, for a microphone! | 0:02:43 | 0:02:48 | |
And it was like one of those, you know, sports commentators hold | 0:02:48 | 0:02:51 | |
and...it was plugged it into the radio in the sitting room | 0:02:51 | 0:02:57 | |
and I sat in the kitchen with the Yorkshire Evening Post | 0:02:57 | 0:03:00 | |
and read them the stories from the front page of the paper, | 0:03:00 | 0:03:04 | |
just like a radio newsreader | 0:03:04 | 0:03:05 | |
and they were very tolerant - they just sat and listened. | 0:03:05 | 0:03:08 | |
The budding broadcaster was born in Leeds in 1940. | 0:03:10 | 0:03:14 | |
He grew up in a country ravaged by the effects of the Second World War | 0:03:14 | 0:03:17 | |
and like many children, the harsh reality of conflict was brought home to him in a very personal way. | 0:03:17 | 0:03:24 | |
My father was captured by the Japanese in 1942, in Singapore, | 0:03:27 | 0:03:32 | |
and he was one of the few who did survive The Death Railway. | 0:03:32 | 0:03:36 | |
My mother didn't know if he was dead or alive for nearly three years. | 0:03:36 | 0:03:40 | |
One of my first memories was going to Leeds station | 0:03:43 | 0:03:46 | |
and meeting this stranger who weighed about five stone | 0:03:46 | 0:03:48 | |
because, you know, the treatment he'd had at the hands of the Japanese | 0:03:48 | 0:03:52 | |
and he carried me on his shoulders, I thought he was a great hero | 0:03:52 | 0:03:54 | |
returning home from killing tigers and things like that! | 0:03:54 | 0:03:57 | |
'Well, Mr Nomad, you can't say I didn't pick a grand day for your trip to Bird Island...' | 0:03:57 | 0:04:02 | |
For young boys with vivid imaginations, | 0:04:02 | 0:04:04 | |
post-war childhood regained a sense of adventure and excitement through the radio. | 0:04:04 | 0:04:10 | |
'For me it was Children's Hour, five o'clock every night,' | 0:04:10 | 0:04:14 | |
with Uncle Mac and people like that, | 0:04:14 | 0:04:16 | |
and Norman and Henry Bones, the boy detectives, and Wandering with Nomad. | 0:04:16 | 0:04:20 | |
'I love the little puffin. | 0:04:20 | 0:04:22 | |
'I think he has the most comical face of any bird I know.' | 0:04:22 | 0:04:26 | |
This was a naturalist nomad who took a group of children out | 0:04:26 | 0:04:31 | |
and on the radio explained what they were seeing, | 0:04:31 | 0:04:33 | |
you know, as they walked down country lanes | 0:04:33 | 0:04:35 | |
and I think that's first what got me interested in wildlife and nature | 0:04:35 | 0:04:39 | |
cos I was, then, a city kid. | 0:04:39 | 0:04:40 | |
MUSIC: "Johnny B Good" by Chuck Berry | 0:04:40 | 0:04:44 | |
Radio might have nurtured a lifelong interest in the countryside, | 0:04:48 | 0:04:51 | |
but it also provided the spark for a pop culture explosion | 0:04:51 | 0:04:55 | |
that would transform the lives of children coming of age | 0:04:55 | 0:04:57 | |
in the decade of Pop Art, rebels and rock and roll. | 0:04:57 | 0:05:01 | |
Suddenly this raucous American wave swept over us | 0:05:03 | 0:05:08 | |
and we were very impressed. | 0:05:08 | 0:05:10 | |
We were the first teenagers - the word had never been heard of before - | 0:05:16 | 0:05:21 | |
and everything was happening, in fashion, in music especially, | 0:05:21 | 0:05:26 | |
you know, Elvis Presley, wow. | 0:05:26 | 0:05:27 | |
I had Elvis Presley records and my parents HATED the fact. | 0:05:27 | 0:05:30 | |
They almost banned the records from the house. | 0:05:30 | 0:05:32 | |
And I had a DA haircut, a Tony Curtis haircut, you know, | 0:05:32 | 0:05:37 | |
and I wore an Italian suit, | 0:05:37 | 0:05:40 | |
you know, four buttons down the front and all that. | 0:05:40 | 0:05:42 | |
Brimming with teenage confidence, | 0:05:50 | 0:05:52 | |
John Craven made his first ever television appearance in 1958 | 0:05:52 | 0:05:57 | |
as a guest on a long-lost youth programme called The Sunday Break. | 0:05:57 | 0:06:01 | |
This is the cutting about my very first television interview, on The Sunday Break. | 0:06:03 | 0:06:10 | |
"John Craven, of Grimthorpe Street, Headingley, Leeds, | 0:06:10 | 0:06:13 | |
"is a braw laddie, as the Scots say. | 0:06:13 | 0:06:16 | |
"Last Sunday this 18-year-old sales apprentice | 0:06:16 | 0:06:19 | |
"suddenly found himself in front of the television cameras. | 0:06:19 | 0:06:23 | |
"I say 'suddenly' because he only had four days warning that he was to appear. | 0:06:23 | 0:06:27 | |
"But John didn't panic - he didn't even bat an eyelid." Not sure about that. | 0:06:27 | 0:06:32 | |
The Sunday Break offered teenagers a short-lived taste of TV stardom, | 0:06:33 | 0:06:38 | |
but one of the shows more famous guests spotted John's potential. | 0:06:38 | 0:06:43 | |
On the very first program I talked to Sam Wanamaker, | 0:06:43 | 0:06:47 | |
you know, founded the Globe Theatre, father of Zoe Wanamaker, | 0:06:47 | 0:06:51 | |
and, in fact, Sam was very kind to me, you know, he took me to one side and he gave me a few tips. | 0:06:51 | 0:06:56 | |
Obviously, my first time on television I was very nervous | 0:06:56 | 0:06:59 | |
and he said, "You might be able to do this job." | 0:06:59 | 0:07:02 | |
During a tumultuous decade that spanned free love, moon landings | 0:07:04 | 0:07:09 | |
and revolting students, | 0:07:09 | 0:07:10 | |
John honed his journalistic skills on local papers | 0:07:10 | 0:07:13 | |
like The Harrogate Advertiser. | 0:07:13 | 0:07:16 | |
It wasn't until the late 60s that he broke into regional television, | 0:07:19 | 0:07:22 | |
where runaway dogs were headline news. | 0:07:22 | 0:07:25 | |
He went straight into the acres of wood and grass which surround the airport, | 0:07:25 | 0:07:29 | |
and he's resisted all attempts to capture him. | 0:07:29 | 0:07:31 | |
He's eating food that's been put down for him, | 0:07:31 | 0:07:34 | |
but he took no notice of some greyhound bitches | 0:07:34 | 0:07:37 | |
brought up here to try lure him back with love. | 0:07:37 | 0:07:39 | |
In 1971, John gained national exposure | 0:07:41 | 0:07:44 | |
on the BBC's flagship current affairs series Nationwide, | 0:07:44 | 0:07:49 | |
where the closure of local bus services was headline news. | 0:07:49 | 0:07:52 | |
We've had a lot of letters from the village, | 0:07:55 | 0:07:57 | |
letters which say things like, | 0:07:57 | 0:08:00 | |
"We love our little village, but we don't want to be buried alive in it." | 0:08:00 | 0:08:04 | |
So we decided to use this as the starting point of our enquiry... | 0:08:04 | 0:08:09 | |
and feelings are running so high that when they discovered we were coming, | 0:08:09 | 0:08:13 | |
this is the reception committee that greeted us. | 0:08:13 | 0:08:15 | |
'This is the nine o'clock news.' | 0:08:15 | 0:08:18 | |
Although John quickly mastered the formal broadcasting style of the time, | 0:08:18 | 0:08:22 | |
the news was a turn-off for a large and increasingly powerful section of the viewing public - | 0:08:22 | 0:08:28 | |
children. | 0:08:28 | 0:08:30 | |
Children were absolutely bored stiff by the adult news, | 0:08:30 | 0:08:33 | |
because of the way it was presented... | 0:08:33 | 0:08:35 | |
A leading Conservative Shadow Minister, Sir Keith Joseph, | 0:08:35 | 0:08:38 | |
tonight came out firmly against any statutory incomes policy... | 0:08:38 | 0:08:43 | |
It was quite inaccessible and often, | 0:08:43 | 0:08:45 | |
because you didn't understand the context, when it came on, | 0:08:45 | 0:08:48 | |
we'd just go out of the room | 0:08:48 | 0:08:50 | |
cos we felt like it had nothing to do with us. | 0:08:50 | 0:08:52 | |
Yet the world was a volatile place in the early '70s, with violence on the streets of Northern Ireland, | 0:08:56 | 0:09:00 | |
war in Vietnam and Britain on the verge of industrial unrest. | 0:09:00 | 0:09:04 | |
# Come in from school | 0:09:04 | 0:09:06 | |
# My head buzzin' with rules | 0:09:06 | 0:09:10 | |
# That would bring any boy to his knees... # | 0:09:10 | 0:09:15 | |
The idea that television should guide children through this world | 0:09:15 | 0:09:19 | |
began to gain ground with BBC bosses such as Monica Sims. | 0:09:19 | 0:09:22 | |
# ..to my room and I slam the door... # | 0:09:22 | 0:09:26 | |
I belonged to the school of thought which felt it was a good thing for children to be stretched, | 0:09:26 | 0:09:32 | |
and to use their imaginations, and to understand, gradually, the world around them. | 0:09:32 | 0:09:38 | |
Five, four, three. | 0:09:38 | 0:09:41 | |
Producers in Bristol were the first to tap into the new mood | 0:09:41 | 0:09:44 | |
with a programme called Search... | 0:09:44 | 0:09:46 | |
..and they recruited John Craven to present it. | 0:09:48 | 0:09:51 | |
Hello and welcome once again to Search. | 0:09:54 | 0:09:57 | |
Well, how many boys do you know who can bake a cake | 0:09:57 | 0:10:01 | |
and how many girls do you know who can mend a fuse? | 0:10:01 | 0:10:03 | |
'Search was the first current affairs programme in the world for children' | 0:10:03 | 0:10:09 | |
and what did, we looked at a topic every week, | 0:10:09 | 0:10:11 | |
made a film about it, a short film, | 0:10:11 | 0:10:14 | |
and then I had a studio full of children - maybe 30 or 40 children sometimes - | 0:10:14 | 0:10:18 | |
who all wanted their say on that issue. | 0:10:18 | 0:10:22 | |
I've got a younger brother than myself | 0:10:22 | 0:10:25 | |
and I usually get the household chores to do | 0:10:25 | 0:10:29 | |
and he's sitting down watching television or something like that, and I don't think that's fair. | 0:10:29 | 0:10:34 | |
I think boys should stick to what they're made for, | 0:10:34 | 0:10:38 | |
you know, being, playing with toy soldiers and things like that. | 0:10:38 | 0:10:43 | |
'It was probably the first time that anybody had really' | 0:10:43 | 0:10:46 | |
taken children's opinions seriously. | 0:10:46 | 0:10:49 | |
And we looked at issues, you know, some big news issues, | 0:10:49 | 0:10:52 | |
we looked at relationships, | 0:10:52 | 0:10:55 | |
you know, "How'd you get on with your grandparents? | 0:10:55 | 0:10:58 | |
"What do you think of the older generation?" That sort of thing. | 0:10:58 | 0:11:02 | |
In a way, quite a breakthrough. | 0:11:02 | 0:11:04 | |
Search offered children a voice, | 0:11:04 | 0:11:06 | |
but whether they had anything pressing to say was another matter. | 0:11:06 | 0:11:10 | |
'I can't tell you how pleased I'd be if I could be on television | 0:11:10 | 0:11:14 | |
'and I know my parents would be pleased | 0:11:14 | 0:11:17 | |
'and so would my budgie, who enjoys TV, | 0:11:17 | 0:11:19 | |
'and my pet fish, who also enjoys TV, certainly would.' | 0:11:19 | 0:11:24 | |
Sorry, Louise, that your budgie and your pet fish | 0:11:24 | 0:11:26 | |
and indeed you are going to be disappointed | 0:11:26 | 0:11:29 | |
because you didn't give us any real opinions in that letter, did you? | 0:11:29 | 0:11:32 | |
In Search, we were encouraging children to respond | 0:11:32 | 0:11:37 | |
and give their own opinions. | 0:11:37 | 0:11:40 | |
Well, I disagree with making children to sports. | 0:11:40 | 0:11:43 | |
I'm not one of those people who likes sport | 0:11:43 | 0:11:45 | |
so I rather agree with Jane. | 0:11:45 | 0:11:47 | |
-You should have shown a wider range of schools. -Siobhan, what you think? | 0:11:47 | 0:11:51 | |
'I have a distant memory of Search' | 0:11:51 | 0:11:55 | |
and, I think, probably like every child viewer, | 0:11:55 | 0:11:58 | |
particularly those with my temperament and ambitions, | 0:11:58 | 0:12:01 | |
fantasised about giving my opinions on the issues of the day on that programme. | 0:12:01 | 0:12:05 | |
Search also encouraged children to express themselves | 0:12:05 | 0:12:10 | |
though the medium of film. | 0:12:10 | 0:12:12 | |
Hello again. Well, today is the big day | 0:12:13 | 0:12:15 | |
when we find out the winners of the Search film competition for 1971. | 0:12:15 | 0:12:20 | |
One of our innovations on Search was to have a film competition. | 0:12:20 | 0:12:23 | |
This was long before videotape. | 0:12:23 | 0:12:26 | |
Children sent in their films, they had to edit themselves, | 0:12:30 | 0:12:33 | |
and we picked the best ones. | 0:12:33 | 0:12:35 | |
# Hey kids You did it all yourselves | 0:12:35 | 0:12:41 | |
# You'll never change the world So what you think about that... # | 0:12:41 | 0:12:46 | |
And I was at a reception, a few years ago now, | 0:12:46 | 0:12:49 | |
and Trisha Goddard and Nick Park were there and we were chatting and Trisha said, | 0:12:49 | 0:12:54 | |
"Oh, you probably don't remember this, John, but I entered the Search film competition | 0:12:54 | 0:13:00 | |
"and I came second one year and I got to make a film with the BBC crew | 0:13:00 | 0:13:03 | |
"and it really got me interested on being on television." | 0:13:03 | 0:13:07 | |
And Nick Park, you know, from Wallace and Gromit fame, Nick said, | 0:13:07 | 0:13:12 | |
"Well, do you know," he said, | 0:13:12 | 0:13:14 | |
"I entered my very first plasticine modelled film animation | 0:13:14 | 0:13:21 | |
"to the Search film competition and I got nowhere. | 0:13:21 | 0:13:25 | |
"They didn't even write back!" | 0:13:25 | 0:13:27 | |
So, what a mistake we made there! | 0:13:27 | 0:13:29 | |
Congratulations, mainly, of course, to Malcolm Dalton for winning the competition. | 0:13:29 | 0:13:33 | |
He wins this - an 8mm, battery-operated, zoom lens camera. | 0:13:33 | 0:13:37 | |
John's performances on Search had caught the eye | 0:13:37 | 0:13:40 | |
of the BBC's Children's department in London, | 0:13:40 | 0:13:43 | |
where the idea of a dedicated news bulletin for children | 0:13:43 | 0:13:45 | |
had begun to gain ground. | 0:13:45 | 0:13:48 | |
'I know we saw several other people, | 0:13:48 | 0:13:51 | |
'but John Craven seemed to have a rapport with children | 0:13:51 | 0:13:55 | |
'that did not involve talking down to them.' | 0:13:55 | 0:13:59 | |
Most children resented being treated like a child - | 0:13:59 | 0:14:02 | |
we wanted somebody who could talk straight and John could. | 0:14:02 | 0:14:06 | |
John had the qualities the producers were after, | 0:14:06 | 0:14:10 | |
but they'd need access to the full resources of the mighty newsroom | 0:14:10 | 0:14:14 | |
if their idea was to work. | 0:14:14 | 0:14:15 | |
Edward Barnes, deputy head of the Children's department, | 0:14:17 | 0:14:21 | |
had to persuade the head of news to collaborate. | 0:14:21 | 0:14:23 | |
'He poured out two ENORMOUS gins,' | 0:14:23 | 0:14:28 | |
topped up with a little warm, flat tonic and no ice and said, "Speak." | 0:14:28 | 0:14:35 | |
So I told him what I wanted to do. | 0:14:35 | 0:14:37 | |
Right, stand by, studio. | 0:14:37 | 0:14:40 | |
And he gave me use of a news studio, use of all newsgathering facilities | 0:14:40 | 0:14:45 | |
and the use of correspondents | 0:14:45 | 0:14:48 | |
and everything you need to set up a news programme. | 0:14:48 | 0:14:51 | |
With a studio, reporters and a presenter in place, | 0:14:51 | 0:14:55 | |
all the show needed now was a title. | 0:14:55 | 0:14:57 | |
I thought up the word Newsround | 0:14:58 | 0:15:01 | |
because I wanted the audience at home to connect with it. | 0:15:01 | 0:15:04 | |
I thought, well, a lot of children had paper rounds | 0:15:04 | 0:15:07 | |
and this is an amalgam of "paper round" and "television news", | 0:15:07 | 0:15:11 | |
so we had Newsround. | 0:15:11 | 0:15:12 | |
And then Edward said, "Yeah, but if its a paper round, | 0:15:12 | 0:15:15 | |
"it's Joe Bloggs's paper round or Jill Brown's paper round, | 0:15:15 | 0:15:19 | |
"so this is John Craven's Newsround." That's how it got its title. | 0:15:19 | 0:15:22 | |
'First on BBC1, John Craven's Newsround.' | 0:15:22 | 0:15:26 | |
John Craven's Newsround took to the air on 4th April 1972. | 0:15:26 | 0:15:31 | |
It was soon providing children with reports on everything, | 0:15:31 | 0:15:34 | |
from endangered birds of prey to Ugandan refugees. | 0:15:34 | 0:15:38 | |
Several thousand Asian children from Uganda | 0:15:38 | 0:15:41 | |
are now settling down to life in this country - | 0:15:41 | 0:15:43 | |
and the big problem is getting them back to school. | 0:15:43 | 0:15:46 | |
'What we wanted to do was to explain to children | 0:15:49 | 0:15:52 | |
'what's happening in the world in a way they're going to understand.' | 0:15:52 | 0:15:56 | |
Everything had to be totally understandable by a nine-year-old, | 0:15:56 | 0:15:59 | |
which is quite a journalistic challenge. | 0:15:59 | 0:16:02 | |
-JON CULSHAW: -I remember the first-ever Newsround story, | 0:16:02 | 0:16:05 | |
which was a great John Craven word. | 0:16:05 | 0:16:07 | |
It was "ospreys". | 0:16:07 | 0:16:08 | |
-AS JOHN: -Today we're looking at some nesting OSPREYS | 0:16:08 | 0:16:13 | |
and how people are helping the OSPREYS. | 0:16:13 | 0:16:16 | |
The programme broke with many of the conventions of news broadcasting. | 0:16:18 | 0:16:22 | |
'I didn't sit behind a desk. I didn't want to appear to be a teacher.' | 0:16:22 | 0:16:26 | |
Hello again. | 0:16:26 | 0:16:28 | |
'Children had just got home from school -' | 0:16:28 | 0:16:30 | |
they were entitled to flop in front of the telly and enjoy what was on, | 0:16:30 | 0:16:34 | |
so I didn't want them to feel they were back in a classroom again. | 0:16:34 | 0:16:37 | |
John's dress sense also added to his casual appeal. | 0:16:37 | 0:16:41 | |
Some of those shirts, in the '70s, | 0:16:41 | 0:16:43 | |
you know, the voile shirts with the great big collars | 0:16:43 | 0:16:46 | |
and the kipper ties. | 0:16:46 | 0:16:48 | |
Hello again. Hello. Hello again. | 0:16:48 | 0:16:50 | |
Hello again. Hello again. Hello again. Hello again. Bye for now. | 0:16:50 | 0:16:53 | |
That's what everyone else was wearing at the time. | 0:16:53 | 0:16:55 | |
I think informal was right for the kids. | 0:16:57 | 0:17:00 | |
It was saying, "This is a different kind of programme. | 0:17:00 | 0:17:03 | |
"Look up and listen up, you might find something interesting." | 0:17:03 | 0:17:06 | |
Will there won't there be a general election next month? | 0:17:06 | 0:17:10 | |
General elections are always held on a Thursday | 0:17:10 | 0:17:13 | |
and many schools are closed because they are used as polling stations. | 0:17:13 | 0:17:16 | |
I remember watching Newsround, while fighting with my brothers, | 0:17:16 | 0:17:20 | |
walloping each other with cushions. | 0:17:20 | 0:17:22 | |
I always felt very safe with John. You trusted him | 0:17:22 | 0:17:26 | |
and, above all else, you understood what the programme was saying. | 0:17:26 | 0:17:31 | |
John just governed that brilliantly | 0:17:31 | 0:17:34 | |
with that great sense of authority, but with warmth. | 0:17:34 | 0:17:39 | |
Kashmir is now one of the world's major exporters of walnuts. | 0:17:40 | 0:17:44 | |
2 million pounds in a year. | 0:17:44 | 0:17:47 | |
Nutty story! | 0:17:47 | 0:17:48 | |
THEY CHUCKLE | 0:17:48 | 0:17:49 | |
John and the editorial team chose a mix of stories | 0:17:52 | 0:17:54 | |
designed to capture the imagination of younger viewers. | 0:17:54 | 0:17:57 | |
'We would try and entice the audience in to watching us.' | 0:17:59 | 0:18:02 | |
Hello again. On Newsround tonight, from Britain, the children who were being turned away from school. | 0:18:02 | 0:18:08 | |
From the Middle East, a million pilgrims flock to their holy city. | 0:18:08 | 0:18:11 | |
And from Australia, surfers who may not be all they seem to be. | 0:18:11 | 0:18:15 | |
The most important news of the day around the world | 0:18:15 | 0:18:19 | |
would be in Newsround, | 0:18:19 | 0:18:21 | |
but it wouldn't necessarily be the lead story | 0:18:21 | 0:18:23 | |
as it was in the grown-up news. | 0:18:23 | 0:18:25 | |
Police in New York have just made the biggest swoop on organised crime in their history. | 0:18:25 | 0:18:30 | |
Striking the right balance between stories was crucial | 0:18:30 | 0:18:34 | |
if Newsround was to have a long-term future. | 0:18:34 | 0:18:38 | |
'Not only might we be in serious trouble | 0:18:38 | 0:18:40 | |
'for parading the horrors of the world | 0:18:40 | 0:18:43 | |
'to innocent eyes and innocent ears,' | 0:18:43 | 0:18:46 | |
the ears and eyes and innocent ears | 0:18:46 | 0:18:48 | |
were in grave danger of switching off or switching over. | 0:18:48 | 0:18:51 | |
To find out what children really thought of the new programme, | 0:18:51 | 0:18:54 | |
John hosted a special edition of Search | 0:18:54 | 0:18:57 | |
that would vindicate all their hopes. | 0:18:57 | 0:19:00 | |
When you're watching children's programmes, | 0:19:00 | 0:19:02 | |
do you want to be entertained or, like Newsround, be informed? | 0:19:02 | 0:19:06 | |
-ALL: -Informed. -You learn more that way. | 0:19:06 | 0:19:08 | |
And if you were in charge of children's programmes | 0:19:08 | 0:19:12 | |
what kind of changes would you make, if any? | 0:19:12 | 0:19:15 | |
Mostly children, instead of adults. | 0:19:15 | 0:19:17 | |
You'd want more children involved in programmes? | 0:19:17 | 0:19:20 | |
-The adults are taking over the world. -So would you prefer Paul sitting in this seat? | 0:19:20 | 0:19:25 | |
-ALL: -Yes. -Oh! | 0:19:25 | 0:19:28 | |
Divers rescue from the sea a piece of lost history. | 0:19:29 | 0:19:32 | |
'I heard about this guy who was working in his garden | 0:19:34 | 0:19:37 | |
'and his child came rushing out to tell him about this sunken ship' | 0:19:37 | 0:19:41 | |
that had been discovered. And he said, "Where did you hear that?" | 0:19:41 | 0:19:45 | |
And the child said, "On the news," and his dad said, "Don't be silly, | 0:19:45 | 0:19:49 | |
"the news isn't on until six o'clock. He said, "No, I heard it on MY news!" | 0:19:49 | 0:19:53 | |
A massive operation is going on to salvage a rare shipwreck. | 0:19:53 | 0:19:56 | |
And I thought, "That's it, clicked with the audience." | 0:19:56 | 0:20:00 | |
-JON CULSHAW: -You did feel it was especially for you. | 0:20:03 | 0:20:07 | |
It did, sort of, crystallise the news | 0:20:07 | 0:20:10 | |
in a way that you can understand when you're eight, nine or ten years old. | 0:20:10 | 0:20:14 | |
MUSIC: "I Only Want To Be With You" by The Bay City Rollers | 0:20:14 | 0:20:18 | |
With an audience of over four million regularly tuning in, | 0:20:25 | 0:20:29 | |
Newsround's future was secure. | 0:20:29 | 0:20:32 | |
The main challenge for the programme makers | 0:20:37 | 0:20:39 | |
lay in taking difficult editorial decisions during unsettling times. | 0:20:39 | 0:20:44 | |
'We wanted to make a programme which would widen children's horizons, | 0:20:47 | 0:20:52 | |
'but we also wanted to help them understand' | 0:20:52 | 0:20:57 | |
the tragedies and disasters happening around the world, | 0:20:57 | 0:21:02 | |
rather than just be horrific or frightening. | 0:21:02 | 0:21:05 | |
More than 200 American Red Indians have captured a trading post | 0:21:06 | 0:21:10 | |
in the state of South Dakota. They're holding people to ransom | 0:21:10 | 0:21:13 | |
and shooting at police who try to get near. | 0:21:13 | 0:21:15 | |
We were dead straight. We told it as it was, in a way that was acceptable. | 0:21:15 | 0:21:23 | |
I mean, you never saw blood on Newsround. | 0:21:23 | 0:21:26 | |
It all sounds like the old Wild West come to life again, | 0:21:26 | 0:21:30 | |
but, in fact, the Indians are members of a group called AIM, | 0:21:30 | 0:21:33 | |
which stands for the American Indian Movement | 0:21:33 | 0:21:36 | |
and they want a better deal all-round for modern Red Indians. | 0:21:36 | 0:21:39 | |
We didn't do murder stories, | 0:21:39 | 0:21:41 | |
unless there was some sort of a kind of positive end to it, | 0:21:41 | 0:21:46 | |
like, the Yorkshire Ripper was headlines all over the world, | 0:21:46 | 0:21:50 | |
but we never mentioned it on Newsround | 0:21:50 | 0:21:53 | |
until he was actually caught, and then that was a reassurance thing. | 0:21:53 | 0:21:56 | |
The 11 hostages on the hijacked jumbo jet are now safely on their way home. | 0:21:56 | 0:22:01 | |
MUSIC: "Sunday Bloody Sunday" by U2 | 0:22:03 | 0:22:06 | |
In a decade scarred by international terrorism, | 0:22:12 | 0:22:16 | |
Newsround had to explain the politics of violence | 0:22:16 | 0:22:18 | |
right on its doorstep. | 0:22:18 | 0:22:20 | |
Hello. New ways of cracking down on teenage violence in Northern Ireland | 0:22:25 | 0:22:29 | |
have been put forward by a special government commission. | 0:22:29 | 0:22:32 | |
We had a large number of children watching us in Northern Ireland | 0:22:40 | 0:22:44 | |
as we reported some of the horrors that went on there during The Troubles. | 0:22:44 | 0:22:49 | |
So, we were very much aware of that. | 0:22:49 | 0:22:52 | |
What's it like when you try and play outside? | 0:22:52 | 0:22:54 | |
There's usually shooting down the streets. | 0:22:54 | 0:22:58 | |
-MARK LAWSON: -I do strongly remember having a sense that there were children of my age and younger | 0:22:58 | 0:23:03 | |
who were living in Northern Ireland, | 0:23:03 | 0:23:05 | |
through what was, in effect, a war zone | 0:23:05 | 0:23:08 | |
and there's always a tendency in children's broadcasting | 0:23:08 | 0:23:12 | |
to talk down and to sanitise | 0:23:12 | 0:23:14 | |
and leave out the bits we think children won't get | 0:23:14 | 0:23:18 | |
and they didn't do that in Newsround. | 0:23:18 | 0:23:21 | |
Explaining the world's most complex and bloody conflicts to grown-ups | 0:23:21 | 0:23:25 | |
was difficult enough for the newsroom's hardened correspondents. | 0:23:25 | 0:23:28 | |
..three men, either in the hotel or very close to it, | 0:23:28 | 0:23:31 | |
and so the strategic fire, strategic position... | 0:23:31 | 0:23:35 | |
"Explaining them to children," Edward Barnes warned, | 0:23:35 | 0:23:38 | |
"would be even trickier." | 0:23:38 | 0:23:40 | |
When I talked to them I said, | 0:23:40 | 0:23:42 | |
"Remember you are talking to highly intelligent people, | 0:23:42 | 0:23:45 | |
"but they have got no background information at all. | 0:23:45 | 0:23:48 | |
"This is all new to them, so don't ASSUME knowledge." | 0:23:48 | 0:23:52 | |
These children live at the Sacred Heart orphanage in Danang, | 0:23:52 | 0:23:56 | |
once a principal American army base. | 0:23:56 | 0:23:58 | |
Of the 300 here, 50 orphans whose parents have died in the war... | 0:23:58 | 0:24:02 | |
The way in which children were caught up in war | 0:24:02 | 0:24:05 | |
had a particular resonance for correspondents | 0:24:05 | 0:24:07 | |
and the Newsround audience back home. | 0:24:07 | 0:24:11 | |
-MARTIN BELL: -War is about people. One of the features of modern warfare | 0:24:11 | 0:24:14 | |
is that children are so much caught up in it | 0:24:14 | 0:24:17 | |
cos they are unable to get out of the way. | 0:24:17 | 0:24:19 | |
And if I was doing something about the Vietnam War, | 0:24:19 | 0:24:22 | |
and any other wars for Newsround, | 0:24:22 | 0:24:24 | |
I would often try to relate them to the children | 0:24:24 | 0:24:28 | |
in the countries I was in. | 0:24:28 | 0:24:30 | |
In Vietnam, orphans in the past were frequently taken into rich houses | 0:24:30 | 0:24:33 | |
to become servants. | 0:24:33 | 0:24:35 | |
To stop that, complex laws have been introduced. | 0:24:35 | 0:24:38 | |
In one sense, they safeguard the children. | 0:24:38 | 0:24:41 | |
They also make adopting them an almost interminable legal operation. | 0:24:41 | 0:24:45 | |
Of the 300 children at Sacred Heart, | 0:24:46 | 0:24:48 | |
only 17 will be with their new families by Christmas. | 0:24:48 | 0:24:53 | |
'Writing for Newsround taught me to simplify, | 0:24:53 | 0:24:55 | |
'which was a very good lesson. To try to avoid jargon, | 0:24:55 | 0:24:59 | |
often to let this sound run a little bit or the music | 0:24:59 | 0:25:03 | |
or whatever it might be... | 0:25:03 | 0:25:05 | |
THEY SING | 0:25:05 | 0:25:07 | |
I think that writing for Newsround made me a better journalist, actually. | 0:25:07 | 0:25:13 | |
It always used to give me a huge kick, when they'd send in their pieces and they'd say... | 0:25:13 | 0:25:17 | |
This is Michael Bourke for John Craven's Newsround in Yorktown, Virginia. | 0:25:17 | 0:25:21 | |
This is John Humphrys for Newsround in Salisbury, Rhodesia. | 0:25:21 | 0:25:25 | |
This is Martin Bell reporting for John Craven's Newsround. | 0:25:25 | 0:25:29 | |
Wow, yeah! HE LAUGHS | 0:25:29 | 0:25:31 | |
What're we missing? | 0:25:31 | 0:25:33 | |
No page five. | 0:25:33 | 0:25:35 | |
Come on, Lucy. You're late. | 0:25:35 | 0:25:37 | |
Newsround's stories might have resonated with its young audience, | 0:25:39 | 0:25:43 | |
but not everyone was pleased with the glimpse of the real world that the show offered. | 0:25:43 | 0:25:48 | |
Some people criticised us. I had one letter from a lady saying I was | 0:25:48 | 0:25:52 | |
"destroying the garden of childhood," and I dispute that. | 0:25:52 | 0:25:56 | |
I like to think that what we were doing on Newsround | 0:25:56 | 0:25:58 | |
was in that garden of childhood | 0:25:58 | 0:26:02 | |
and putting a ladder up against the wall | 0:26:02 | 0:26:05 | |
and letting children climb that ladder, | 0:26:05 | 0:26:07 | |
see what was happening in the grown-up world over the top of the wall | 0:26:07 | 0:26:12 | |
and I was there as an adult friend, if you like, | 0:26:12 | 0:26:15 | |
to explain to them what they were seeing... | 0:26:15 | 0:26:19 | |
in a way that they would understand. | 0:26:19 | 0:26:21 | |
And that's always been my philosophy. | 0:26:21 | 0:26:24 | |
Victims of war... | 0:26:26 | 0:26:27 | |
Gang of thieves... | 0:26:30 | 0:26:31 | |
Computer tapes... | 0:26:33 | 0:26:34 | |
John's convictions were borne out by Newsround's growing stature | 0:26:37 | 0:26:41 | |
as a lynchpin of the weekly schedule. | 0:26:41 | 0:26:44 | |
But in the summer of '76, as Britain baked and punk rock brewed, | 0:26:45 | 0:26:50 | |
he was about to embark on an adventure that would introduce him to a wider audience | 0:26:50 | 0:26:55 | |
and reveal a very different side of his personality. | 0:26:55 | 0:26:58 | |
'Well, I'd been doing Newsround for about four years, I think,' | 0:26:59 | 0:27:03 | |
when children's television decided to do a Saturday morning show, | 0:27:03 | 0:27:06 | |
a non-stop light entertainment show for three hours. | 0:27:06 | 0:27:10 | |
First time it had ever been attempted, | 0:27:10 | 0:27:12 | |
I think it was the longest programme the BBC ever transmitted, apart from sports. | 0:27:12 | 0:27:16 | |
'It's now 9.30, time on BBC1 for the Multi-coloured Swap Shop. | 0:27:16 | 0:27:20 | |
Taking to the air in October 1976, | 0:27:27 | 0:27:30 | |
Multi-coloured Swap Shop offered viewers the chance to swap unwanted toys and games on air. | 0:27:30 | 0:27:35 | |
You want to get rid of a Stylophone and you want to swap it for what? | 0:27:35 | 0:27:39 | |
'A leather football.' | 0:27:39 | 0:27:41 | |
At the helm was former radio DJ Noel Edmonds. | 0:27:41 | 0:27:45 | |
..9.30, Saturday morning. Welcome. | 0:27:45 | 0:27:47 | |
I hope we find you fit and well and you'll stay with us as long as possible. | 0:27:47 | 0:27:51 | |
-Hello, Keith! -Hi, Noel. -Good morning! -How are you? -Good. Have you had a good week? | 0:27:51 | 0:27:55 | |
Marvellous week, no problems... | 0:27:55 | 0:27:57 | |
He was ably assisted by two bubbly newcomers - | 0:27:57 | 0:28:00 | |
Keith Chegwin and Maggie Philbin. | 0:28:00 | 0:28:03 | |
Incredible! Now, tell me what on earth made you decide to make shoes | 0:28:03 | 0:28:06 | |
like this and that dragon shoe? It's quite fierce, actually! | 0:28:06 | 0:28:12 | |
'I was a raw student from Manchester. I'd never done anything like this ever. | 0:28:12 | 0:28:17 | |
'I didn't really know what I was doing.' | 0:28:17 | 0:28:20 | |
And I'd asked. I'd said, "Should we have a run through?" | 0:28:20 | 0:28:22 | |
"Oh, no, no, we don't have run throughs. Don't worry about it." | 0:28:22 | 0:28:26 | |
'It was a very casual, but a deliberately casual approach.' | 0:28:26 | 0:28:30 | |
As always on the Swap Shop, we've got a new swap and good morning to John Craven. | 0:28:30 | 0:28:34 | |
Morning, Noel. | 0:28:34 | 0:28:35 | |
In order to add a measure of experience, | 0:28:35 | 0:28:38 | |
the producers turned to John Craven. | 0:28:38 | 0:28:41 | |
'They asked me if I would take part because I think they wanted a bit of grit.' | 0:28:41 | 0:28:46 | |
They felt it was necessary to have a bit of seriousness, so that was my role. | 0:28:46 | 0:28:50 | |
A team of experts from the British Museum is to fly to Egypt | 0:28:50 | 0:28:53 | |
to try and save the Sphinx from crumbling. | 0:28:53 | 0:28:56 | |
We've got a really packed programme today, a programme... | 0:28:56 | 0:28:59 | |
-Morning! -Morning! | 0:28:59 | 0:29:02 | |
-Morning, John. -Morning, Noel. | 0:29:02 | 0:29:04 | |
Between them, the Swap Shop foursome would have to deliver | 0:29:04 | 0:29:07 | |
a marathon of entertainment to the newly awake. | 0:29:07 | 0:29:11 | |
This was a programme that went on for hours! | 0:29:11 | 0:29:14 | |
This was, like, three hours! How can you do a programme for an entire Saturday morning? | 0:29:14 | 0:29:18 | |
And then you started to watch it and "Oh, right, this is how it works. | 0:29:18 | 0:29:21 | |
"There's a few cartoons here and then there's a phone-in bit there." | 0:29:21 | 0:29:25 | |
'Hi, Delia, I want to know | 0:29:25 | 0:29:26 | |
'at what age did you take an interest in cooking?' | 0:29:26 | 0:29:30 | |
Well, I'm 38 now and I started cooking at 22. | 0:29:30 | 0:29:34 | |
-NOEL: -'We were dealing with very serious matters at times...' | 0:29:34 | 0:29:38 | |
1981 is now the International year of the disabled. | 0:29:38 | 0:29:41 | |
..the frivolous, humorous, anarchic... | 0:29:41 | 0:29:45 | |
We don't have any hard-working cameramen! | 0:29:45 | 0:29:48 | |
All we've got is this mob here. | 0:29:48 | 0:29:49 | |
How long has he taken so far? | 0:29:49 | 0:29:51 | |
25 seconds. | 0:29:51 | 0:29:53 | |
KEITH SHOUTS | 0:29:54 | 0:29:56 | |
John might have been recruited to add some gravitas to proceedings, | 0:29:56 | 0:29:59 | |
but he was soon caught up in the freewheeling energy of the show. | 0:29:59 | 0:30:02 | |
The borders gradually eroded between being serious all the time and having fun. | 0:30:02 | 0:30:07 | |
He looks like something out of Blake's 7, doesn't he?! | 0:30:07 | 0:30:11 | |
'If you know John, there are two Johns. | 0:30:11 | 0:30:14 | |
'And he is brilliant as a broadcaster of serious matters.' | 0:30:14 | 0:30:20 | |
-Say something! -I can't talk, I'm a dummy. | 0:30:20 | 0:30:22 | |
He also has a devilish sense of humour. | 0:30:22 | 0:30:25 | |
# Hands, knees and a bump! | 0:30:25 | 0:30:27 | |
# Oops a daisy | 0:30:27 | 0:30:29 | |
# It's lovely to dance with a prince. # | 0:30:29 | 0:30:32 | |
'We used to do pantomime every year. I remember once, | 0:30:32 | 0:30:35 | |
'Noel and I got dressed up as the Ugly Sisters | 0:30:35 | 0:30:37 | |
'and we had Ricicles stuck to our cheeks as warts.' | 0:30:37 | 0:30:41 | |
That is my face cream, sister dear. Perhaps you'd like to try some. | 0:30:41 | 0:30:46 | |
A girl must always look her best to catch a fella handsome. | 0:30:48 | 0:30:52 | |
I had a few letters from viewers saying, was my hair real? | 0:30:52 | 0:30:56 | |
'Could you please tell me if it's true that John Craven | 0:30:56 | 0:31:00 | |
'wears a hair piece as I've heard... | 0:31:00 | 0:31:02 | |
'As I've heard many rumours about it.' | 0:31:02 | 0:31:05 | |
I had this jet black hair at the time | 0:31:05 | 0:31:07 | |
and some people thought I looked like Mr Spock...so we did Swap Trek. | 0:31:07 | 0:31:13 | |
John was a great performer. He really enjoyed performing | 0:31:16 | 0:31:20 | |
and I think his performances reached their height in the role of Spock. | 0:31:20 | 0:31:27 | |
Ah, Mr Speck, what kept you? | 0:31:29 | 0:31:31 | |
What seems to be the problem, Captain? Why this display of emotion? | 0:31:31 | 0:31:34 | |
The problem is we are heading out of control towards | 0:31:34 | 0:31:37 | |
an unknown planet and unless checked, | 0:31:37 | 0:31:39 | |
the total destruction of our team is inevitable | 0:31:39 | 0:31:42 | |
and Grandstand will just have to start earlier. | 0:31:42 | 0:31:45 | |
They stuck some great big ears on me. There was a passing likeness. | 0:31:45 | 0:31:49 | |
-I think those ears have gone to his head. -What about you? | 0:31:49 | 0:31:53 | |
He's just trying to browbeat us. | 0:31:53 | 0:31:55 | |
It was great fun to do those things because, you know, for me, | 0:31:55 | 0:31:58 | |
it was out of the ordinary. | 0:31:58 | 0:31:59 | |
I didn't normally get dressed up to go on the telly! | 0:31:59 | 0:32:03 | |
Saturday mornings bought an extra dimension to John Craven | 0:32:03 | 0:32:07 | |
because you were able to see the real John Craven | 0:32:07 | 0:32:11 | |
as well as John Craven, the newsreader. | 0:32:11 | 0:32:13 | |
I'm getting messages to say that we haven't got the film at the moment. | 0:32:13 | 0:32:17 | |
I've been told to tell you that we haven't got the film. | 0:32:17 | 0:32:20 | |
-Oh, thank you. -Sorry about that. -That's all right. | 0:32:20 | 0:32:23 | |
I loved working with Noel - you never knew what to expect. | 0:32:23 | 0:32:26 | |
We've got a reputation for springing things on people | 0:32:26 | 0:32:28 | |
and for running a studio where anything can happen. | 0:32:28 | 0:32:31 | |
He took all sorts of chances. He was great fun to work with. | 0:32:31 | 0:32:35 | |
I learnt a lot about live television, | 0:32:35 | 0:32:39 | |
and the informal side of live television, from Mr Edmonds. | 0:32:39 | 0:32:43 | |
For some, the show's spontaneity was too much. | 0:32:45 | 0:32:49 | |
Certain parts of the BBC were not very pleased about this. | 0:32:51 | 0:32:55 | |
The idea of going off into unlit areas was an anathema, | 0:32:55 | 0:32:59 | |
and I remember getting a memo | 0:32:59 | 0:33:01 | |
from somebody saying, "The BBC has a reputation throughout the world | 0:33:01 | 0:33:06 | |
"of providing the finest pictures and you're just chucking it out | 0:33:06 | 0:33:11 | |
"without a single thought." | 0:33:11 | 0:33:13 | |
And that's really what made the programme! | 0:33:13 | 0:33:16 | |
On a programme where technical hitches were an occupational hazard, | 0:33:16 | 0:33:20 | |
even veteran newsman John had to be ready to improvise with anything that came to hand. | 0:33:20 | 0:33:26 | |
And...at the moment, a gentleman upstairs is winding | 0:33:26 | 0:33:30 | |
the machine through so we can see Brown Sauce. | 0:33:30 | 0:33:34 | |
'The videotape broke down so we had to fill for about five minutes...' | 0:33:34 | 0:33:38 | |
I am sorry. | 0:33:38 | 0:33:40 | |
..and I picked up this lamb, popped under the desk and brought it up. | 0:33:40 | 0:33:46 | |
..have a chance, I will give all the details again...in a moment. | 0:33:46 | 0:33:52 | |
Lamb then became quite a big fixture. | 0:33:52 | 0:33:55 | |
Lamb, of course, is here. You can come out now. | 0:33:55 | 0:33:57 | |
Since the stardust fell on him, Lamb has taken his fame very seriously. | 0:33:57 | 0:34:02 | |
Every Saturday, he plays back the programme on his video machine | 0:34:02 | 0:34:05 | |
to check his performance. | 0:34:05 | 0:34:07 | |
Sometimes it was quite hard to separate John from Lamb. | 0:34:08 | 0:34:12 | |
And you'd be saying "Right, John, you've got the news to do." | 0:34:12 | 0:34:16 | |
And he would still be operating Lamb. | 0:34:16 | 0:34:19 | |
Ladies and gentlemen, we are going to reveal the lamb's mentor, | 0:34:19 | 0:34:22 | |
in the sense that you haven't done it all on your own, have you? | 0:34:22 | 0:34:26 | |
In fact, a very famous impresario | 0:34:26 | 0:34:30 | |
has had a hand in... the lamb's success. | 0:34:30 | 0:34:33 | |
And I don't know which camera will get it best of all... | 0:34:33 | 0:34:38 | |
Have a little look at what goes on down here! Come on out, John. | 0:34:38 | 0:34:43 | |
APPLAUSE | 0:34:46 | 0:34:49 | |
This is a favourite picture of mine. | 0:34:53 | 0:34:55 | |
It's the four of us on Swap Shop. | 0:34:55 | 0:34:57 | |
Keith and Maggie, and Noel and myself all having a big smile | 0:34:57 | 0:35:02 | |
and actually, it's not fake. | 0:35:02 | 0:35:04 | |
We were great friends and were having a wonderful time doing that show | 0:35:04 | 0:35:07 | |
and I think it shows in that picture. | 0:35:07 | 0:35:11 | |
Hello, Vince. | 0:35:11 | 0:35:14 | |
Swap Shop came to a close in 1982 | 0:35:14 | 0:35:17 | |
and, in a fitting symbol of the show's reputation | 0:35:17 | 0:35:19 | |
for unscripted chaos, one of the guests made short work | 0:35:19 | 0:35:23 | |
of the only bit that was written down. | 0:35:23 | 0:35:26 | |
-Was that anything important? Was that the news? -A script! -Is that it? | 0:35:26 | 0:35:32 | |
MUSIC: "House Of Fun" by Madness | 0:35:36 | 0:35:40 | |
Swap Shop had made Saturday morning television essential viewing | 0:35:40 | 0:35:43 | |
and the BBC was quick to devise a replacement. | 0:35:43 | 0:35:46 | |
In a year that saw war in the Falklands, | 0:35:46 | 0:35:50 | |
the launch of Channel Four and the Secret Diary of Adrian Mole, | 0:35:50 | 0:35:54 | |
John Craven returned to action on the Saturday Superstore, | 0:35:54 | 0:35:58 | |
accompanied by DJ Mike Read | 0:35:58 | 0:36:00 | |
and a host of the biggest names of the day. | 0:36:00 | 0:36:03 | |
Hello, I'm Mike Read, it's 9.30 on Saturday morning | 0:36:03 | 0:36:05 | |
and time for me to open the Saturday Superstore. | 0:36:05 | 0:36:09 | |
# Saturday morning Get down to the superstore. # | 0:36:09 | 0:36:12 | |
What a thrill to get up on Saturday morning and go "Who's coming up? | 0:36:12 | 0:36:16 | |
"Elton's coming in." "Is he? Oh, great!" | 0:36:16 | 0:36:19 | |
"And a choir, and the England cricket captain, Mike Gatting." | 0:36:19 | 0:36:24 | |
Great! So it was terrific fun. | 0:36:24 | 0:36:26 | |
You'd have poets, painters, astronauts, politicians. | 0:36:28 | 0:36:33 | |
And, of course, like Swap Shop before us, | 0:36:33 | 0:36:35 | |
we were accessible to kids, you know, "Call in, | 0:36:35 | 0:36:38 | |
"we'll put you on air. Oh, that's great!" | 0:36:38 | 0:36:40 | |
-'Hello, Paul.' -Yeah? | 0:36:40 | 0:36:41 | |
'Do you get on well with your children?' | 0:36:41 | 0:36:44 | |
Yeah, I do actually, I'm very lucky. | 0:36:44 | 0:36:46 | |
The live phone-in was a risky prospect for Superstore's guests | 0:36:46 | 0:36:49 | |
in an era when children could be candid in their views. | 0:36:49 | 0:36:52 | |
That was the quickest answer we've had! | 0:36:52 | 0:36:54 | |
It was decided to have the political leaders on the show | 0:36:54 | 0:36:57 | |
and they all agreed. First, we had David Steele from the Liberals, | 0:36:57 | 0:37:00 | |
Hello, you're through to David Steele. | 0:37:00 | 0:37:02 | |
-'Hello?' -Hello, Christian. | 0:37:02 | 0:37:04 | |
'Do you get fed up with the Spitting Image puppets poking fun at you?' | 0:37:04 | 0:37:07 | |
Yes, but you've got to to laugh at yourself in politics. | 0:37:07 | 0:37:10 | |
The next week, we had Neil Kinnock from Labour | 0:37:10 | 0:37:13 | |
and on the third week, along came the Prime Minister, Margaret Thatcher. | 0:37:13 | 0:37:17 | |
We do have the Prime Minister with us this morning. | 0:37:17 | 0:37:20 | |
Mrs Thatcher making her first visit to Saturday Superstore. | 0:37:20 | 0:37:23 | |
You can ring her and talk to her. The phones are open now. | 0:37:23 | 0:37:26 | |
You cant imagine many other shows having that appeal. | 0:37:26 | 0:37:31 | |
We welcome our special guest this morning, one of the world's most powerful women, | 0:37:31 | 0:37:35 | |
the Prime Minister, Mrs Thatcher. | 0:37:35 | 0:37:37 | |
-Good morning, Mrs Thatcher. -Good morning. -Thank you for joining us. | 0:37:37 | 0:37:40 | |
Margaret Thatcher's appearance led to one of the most awkward encounters of her career. | 0:37:40 | 0:37:45 | |
You're nervous? I'm nervous! | 0:37:45 | 0:37:47 | |
That's good - that gives me a lot more confidence! | 0:37:47 | 0:37:50 | |
Some of the questions really surprised her. | 0:37:50 | 0:37:52 | |
In particular, there was one from a young girl. | 0:37:52 | 0:37:55 | |
-'Hello?' -Hello, Alison. | 0:37:55 | 0:37:56 | |
'Hello. In the event of a nuclear war, where will you be?' | 0:37:56 | 0:38:00 | |
LAUGHTER | 0:38:00 | 0:38:03 | |
Oh, my goodness me! | 0:38:03 | 0:38:04 | |
Gasps from everybody. | 0:38:04 | 0:38:06 | |
And Margaret Thatcher said, "Well, the whole point of our policies | 0:38:06 | 0:38:09 | |
over the last 30 years is that this will not happen." | 0:38:09 | 0:38:12 | |
The whole point of those weapons is to say, "Any war will be | 0:38:12 | 0:38:16 | |
"so horrific that it doesn't start" and that's been right - it hasn't. | 0:38:16 | 0:38:20 | |
So that's the purpose of it, dear. | 0:38:20 | 0:38:23 | |
-'But if there is one, where will you be?' -I shall be in London. | 0:38:23 | 0:38:26 | |
So the child was persistent. | 0:38:26 | 0:38:28 | |
"You know, if it did...have you got a bunker under number 10?!" | 0:38:28 | 0:38:31 | |
'Have you got your own bunker or something?' | 0:38:31 | 0:38:33 | |
Look, dear, let me again point out that the possession of these weapons | 0:38:33 | 0:38:37 | |
has kept the peace for 40 years. | 0:38:37 | 0:38:40 | |
Questions you couldn't ask. It would be naive to do that. | 0:38:40 | 0:38:43 | |
"Do you have your own bunker?" Nailed her to the wall. | 0:38:43 | 0:38:46 | |
It's like the bully in the playground. | 0:38:46 | 0:38:48 | |
They don't attack strong guys, they try to attack the weak ones. | 0:38:48 | 0:38:52 | |
Thank you, let's move on to the next call... | 0:38:52 | 0:38:54 | |
And it was left to the Sunday papers to reveal there is indeed | 0:38:54 | 0:38:58 | |
a bunker under Number 10. | 0:38:58 | 0:38:59 | |
After a bruising encounter with a persistent caller, | 0:38:59 | 0:39:03 | |
the Prime Minister then had to face an even more daunting task... | 0:39:03 | 0:39:07 | |
Judging the week's pop videos. | 0:39:07 | 0:39:09 | |
# A heartache. # | 0:39:09 | 0:39:11 | |
They used to sing in Wham! That's Pepsi and Shirlie and Heartache. | 0:39:11 | 0:39:14 | |
Good voices, professional production, | 0:39:14 | 0:39:16 | |
but not quite what I would expect of Heartache. | 0:39:16 | 0:39:19 | |
I would say three. | 0:39:19 | 0:39:20 | |
She was honest. I mean, she could easily have mugged up | 0:39:20 | 0:39:24 | |
and got her people to say "We want to know what the videos are." | 0:39:24 | 0:39:27 | |
She could have sat down at home and watched them and made some notes. | 0:39:27 | 0:39:30 | |
But she didn't. | 0:39:30 | 0:39:32 | |
She was honest and said "Look, I won't pretend to be a big pop fan, | 0:39:32 | 0:39:36 | |
"I won't pretend to know anything about them, I'll judge them on what I hear." | 0:39:36 | 0:39:40 | |
-Kelly, thank you. -Thank you, Kelly. | 0:39:40 | 0:39:41 | |
That's all we have time for, Prime Minister. | 0:39:41 | 0:39:44 | |
Equally at ease with heads of state and stubborn children, John Craven's | 0:39:44 | 0:39:48 | |
appearances on Saturday morning brought a new audience to Newsround. | 0:39:48 | 0:39:51 | |
'Help at last for the victims of Africa's man-made famine.' | 0:39:51 | 0:39:56 | |
Newsround figures went up, | 0:39:58 | 0:40:01 | |
as a result of John becoming more of a friendly figure than a newsreader. | 0:40:01 | 0:40:05 | |
It worked tremendously well for us. | 0:40:05 | 0:40:08 | |
Newsround's reputation had grown with its audience, | 0:40:10 | 0:40:13 | |
with the programme often breaking stories that would once have been exclusive to the newsroom. | 0:40:13 | 0:40:17 | |
'Shocked reaction to the news that Pope John Paul II has been shot.' | 0:40:21 | 0:40:25 | |
A gunman shot at the Pope in his Popemobile just before he was about | 0:40:25 | 0:40:29 | |
to make his appearance at a regular audience in St Peter's Square, Rome. | 0:40:29 | 0:40:33 | |
Newsround, for a long time, was the first bulletin of the day. | 0:40:37 | 0:40:41 | |
There was no breakfast news, no lunchtime news, | 0:40:41 | 0:40:45 | |
no 24-hour news stations. | 0:40:45 | 0:40:47 | |
It meant that we got quite a few scoops. | 0:40:47 | 0:40:51 | |
NEWSROUND JINGLE | 0:40:51 | 0:40:55 | |
In a decade when nations woke up to the plight of the third world, | 0:40:59 | 0:41:03 | |
from famine in Africa to poverty in India, Newsround dispatched John | 0:41:03 | 0:41:07 | |
in person to report back on global issues and meet iconic figures. | 0:41:07 | 0:41:12 | |
for the Newsround Extra strand. | 0:41:12 | 0:41:15 | |
For being a good boy, sitting in the studio for nine months, | 0:41:15 | 0:41:18 | |
they let me out and I went to some fascinating places. | 0:41:18 | 0:41:22 | |
I went to the Taj Mahal and explained the effects | 0:41:22 | 0:41:26 | |
of pollution and the way it was eating away at the marble there. | 0:41:26 | 0:41:30 | |
I went looking for tigers and all sorts of things. | 0:41:30 | 0:41:33 | |
Hello, again. | 0:41:33 | 0:41:34 | |
Today, Newsround Extra is in India, and I'm on my way | 0:41:34 | 0:41:37 | |
to the city of Calcutta to meet an extraordinary lady... | 0:41:37 | 0:41:41 | |
A woman who is as famous throughout the world | 0:41:41 | 0:41:43 | |
but who herself is poor as the people she cares for... | 0:41:43 | 0:41:48 | |
Mother Theresa. | 0:41:48 | 0:41:49 | |
In the 1980s, an Albanian nun called Mother Teresa had become | 0:41:50 | 0:41:54 | |
renowned throughout the world for her work with the poor and needy. | 0:41:54 | 0:41:58 | |
I knocked on the door... and I couldn't believe it. | 0:42:00 | 0:42:03 | |
Mother Teresa opened the door! | 0:42:03 | 0:42:06 | |
One of the most famous ladies in the world. | 0:42:07 | 0:42:10 | |
Did you ever imagine when you began your work here, | 0:42:17 | 0:42:20 | |
that you would become so famous? | 0:42:20 | 0:42:22 | |
Nothing at all. | 0:42:22 | 0:42:25 | |
Talking about me, naturally they speak about the poor. | 0:42:25 | 0:42:29 | |
In helping me, naturally, they are helping them. | 0:42:29 | 0:42:31 | |
It was early morning and Mother and the 300 nuns who live here | 0:42:31 | 0:42:36 | |
had just finished mass and were preparing for the day ahead. | 0:42:36 | 0:42:40 | |
And she said to me, | 0:42:40 | 0:42:41 | |
"We have a habit, a spare habit and a bucket to wash them in. | 0:42:41 | 0:42:45 | |
These are our only possessions. | 0:42:45 | 0:42:48 | |
I said to her, "What about the Order Of Merit that the Queen gave you?" | 0:42:48 | 0:42:52 | |
Because the merit is one of the highest awards she can give. | 0:42:52 | 0:42:55 | |
I said, "I've never seen you with it." | 0:42:55 | 0:42:57 | |
She said, "Let me take me you to my private chapel." | 0:42:57 | 0:43:01 | |
And there was a statue of the Madonna | 0:43:03 | 0:43:06 | |
with the Order Of Merit around her neck, and she said it was for her. | 0:43:06 | 0:43:10 | |
God bless you. | 0:43:10 | 0:43:12 | |
Thank you, Mother. | 0:43:12 | 0:43:14 | |
Mother Teresa might have welcomed John in person, | 0:43:18 | 0:43:21 | |
but in South Africa, where inequality was a product of government policy, | 0:43:21 | 0:43:25 | |
one door slammed firmly shut. | 0:43:25 | 0:43:27 | |
I went there to do some filming, | 0:43:30 | 0:43:32 | |
and got to the airport in Johannesburg and this official looked | 0:43:32 | 0:43:35 | |
in his big book and he said, | 0:43:35 | 0:43:37 | |
"I'm sorry, Mr Craven but you're banned in this country." | 0:43:37 | 0:43:41 | |
So I wasn't allowed in and I went on to Rhodesia, Zimbabwe, instead. | 0:43:41 | 0:43:48 | |
It was only later that I discovered that the South African government, | 0:43:49 | 0:43:54 | |
who had tapes of all BBC bulletins sent to Pretoria, | 0:43:54 | 0:43:58 | |
didn't like the way that whenever Newsround mentioned apartheid, | 0:43:58 | 0:44:03 | |
we qualified it to explain what it meant. | 0:44:03 | 0:44:05 | |
Apartheid, separation of black and white people in South Africa. | 0:44:05 | 0:44:10 | |
The South African cricket team is strictly whites only, | 0:44:10 | 0:44:13 | |
in line with the apartheid laws. | 0:44:13 | 0:44:15 | |
This local club for white South Africans is next door | 0:44:15 | 0:44:18 | |
to one for the blacks, but there, the conditions are very different. | 0:44:18 | 0:44:22 | |
They didn't like that constant repetition of the fact, so that's why I was banned. | 0:44:22 | 0:44:26 | |
Very proud of that. | 0:44:26 | 0:44:27 | |
After 15 years in the Newsround hot-seat, | 0:44:32 | 0:44:35 | |
John also became the programme's editor in 1987. | 0:44:35 | 0:44:39 | |
A year that saw the Great Storm and the Hungerford massacre. | 0:44:39 | 0:44:43 | |
Conscious of the programme's responsibility to explain | 0:44:45 | 0:44:48 | |
the most sensitive topics to its young audience, | 0:44:48 | 0:44:51 | |
Newsround then tackled the AIDS crisis. | 0:44:51 | 0:44:54 | |
Now for that special report that I told you about last night. | 0:44:56 | 0:45:00 | |
Scientists in many countries are searching for a cure | 0:45:00 | 0:45:03 | |
for a deadly disease called AIDS, | 0:45:03 | 0:45:05 | |
which is very much in the news at the moment. | 0:45:05 | 0:45:07 | |
'We thought it was important to cover AIDS because we'd been told | 0:45:07 | 0:45:10 | |
'that children were getting the wrong ideas about AIDS. | 0:45:10 | 0:45:13 | |
'They thought they might get it from toilet seats.' | 0:45:13 | 0:45:16 | |
They thought they might get it if their daddy gave them a kiss. | 0:45:16 | 0:45:19 | |
Stupid things like that. | 0:45:19 | 0:45:21 | |
You know, playground gossip, which goes out of all proportion. | 0:45:21 | 0:45:24 | |
So I thought it was important that we set the record straight. | 0:45:24 | 0:45:27 | |
And we did it without mentioning sex, which was an achievement! | 0:45:27 | 0:45:30 | |
Its main victims are some older people | 0:45:30 | 0:45:32 | |
and because of all the attention that's been given to AIDS, | 0:45:32 | 0:45:36 | |
they should now be very much aware of the risks. | 0:45:36 | 0:45:38 | |
John's report would prove controversial... | 0:45:38 | 0:45:41 | |
for an unexpected reason. | 0:45:41 | 0:45:45 | |
In those days, Phillip Schofield was doing the presentation, | 0:45:45 | 0:45:48 | |
on children's television with his little puppet, Gordon the Gopher, | 0:45:48 | 0:45:52 | |
and I had a word with Phil, and I said, "Because Newsround | 0:45:52 | 0:45:55 | |
"is quite serious today, best not to lark about too much with Gordon." | 0:45:55 | 0:46:00 | |
He said, "Fine, we'll banish Gordon for those two slots." | 0:46:00 | 0:46:04 | |
Indeed, he did. | 0:46:04 | 0:46:05 | |
And I checked the audience log the next morning to see if there'd been | 0:46:05 | 0:46:10 | |
any complaints about tackling AIDS, and there'd been a couple. | 0:46:10 | 0:46:15 | |
But there were far more about Gordon the Gopher not appearing with Phillip! | 0:46:16 | 0:46:21 | |
Which put things into perspective. | 0:46:21 | 0:46:23 | |
"Gordon is cool," they say. | 0:46:23 | 0:46:25 | |
Look at that though. I mean, you are this morning! | 0:46:25 | 0:46:28 | |
Gophers aside, there is one furry creature with a special place | 0:46:28 | 0:46:32 | |
in the hearts of the Newsround audience. | 0:46:32 | 0:46:35 | |
Giant pandas. Giant pandas. | 0:46:35 | 0:46:37 | |
Giant pandas. | 0:46:37 | 0:46:39 | |
An urgent plan to save China's giant pandas. | 0:46:39 | 0:46:42 | |
The number of stories we ran about pandas was unbelievable. | 0:46:42 | 0:46:45 | |
A million pounds is need to help bring pandas together | 0:46:45 | 0:46:48 | |
and to keep people away. Roger Finn explains. | 0:46:48 | 0:46:51 | |
There was a huge vogue for pandas. | 0:46:51 | 0:46:53 | |
Pandas became almost a symbol of countries getting together. | 0:46:53 | 0:46:58 | |
Also, they're just incredibly cute. | 0:46:58 | 0:47:00 | |
I mean, there's no such thing as a dull panda picture. | 0:47:00 | 0:47:04 | |
In fact, we did an April fool once. | 0:47:04 | 0:47:06 | |
And finally, tonight, at London Zoo, attention has been growing over | 0:47:06 | 0:47:10 | |
the black-and-white egg that's been sitting in the panda cage. | 0:47:10 | 0:47:14 | |
The solitary egg with its distinctive markings | 0:47:14 | 0:47:17 | |
lay still among its small nest of straw. | 0:47:17 | 0:47:20 | |
A mystery to the visitors who daily peer into the panda cage. | 0:47:20 | 0:47:25 | |
But for Cha-cha, used to the glare of the camera, | 0:47:25 | 0:47:27 | |
it was just another day at the zoo, | 0:47:27 | 0:47:29 | |
munching thoughtfully on his diet of bamboo shoots. | 0:47:29 | 0:47:33 | |
April Fools' pranks are part of a Newsround tradition | 0:47:34 | 0:47:38 | |
of ending on a lighter story, | 0:47:38 | 0:47:40 | |
generally preceded with John Craven's trademark sign off, "And finally". | 0:47:40 | 0:47:44 | |
And finally today, the tale of the runaway cow that's been causing quite a commotion. | 0:47:44 | 0:47:49 | |
I didn't want the audience going to sleep having nightmares, | 0:47:49 | 0:47:52 | |
so we'd always end up with something amusing. | 0:47:52 | 0:47:55 | |
And finally tonight, a student from Bristol has slithered | 0:47:55 | 0:47:58 | |
into the record books by sitting in a bath of spaghetti for 73 hours. | 0:47:58 | 0:48:04 | |
And finally tonight, there's been strange happenings | 0:48:04 | 0:48:07 | |
on the Cheltenham Racecourse this morning, | 0:48:07 | 0:48:09 | |
where Operation Newt went into action. | 0:48:09 | 0:48:11 | |
"And finally" might be a Craven catchphrase | 0:48:11 | 0:48:15 | |
but its origin has been hotly debated. | 0:48:15 | 0:48:18 | |
There's always been a dispute between Newsround | 0:48:18 | 0:48:21 | |
and News at Ten over who was the first to say, "And finally". | 0:48:21 | 0:48:26 | |
I believe that Newsround was the first, no disputing. | 0:48:26 | 0:48:30 | |
The phrase even inspired a sketch on satirical puppet show | 0:48:30 | 0:48:34 | |
Spitting Image. | 0:48:34 | 0:48:36 | |
Mr Craven, sir, we're in a bit of a jam on the grown-up news | 0:48:36 | 0:48:39 | |
because we haven't got a funny story to put at the end. | 0:48:39 | 0:48:43 | |
Well, you jolly well can't have mine! | 0:48:43 | 0:48:45 | |
Oh, surely, I can have the one about Frank the tortoise who had some babies. | 0:48:45 | 0:48:50 | |
That's my lead story, it's a world scoop! | 0:48:50 | 0:48:52 | |
In a year that witnessed the fall of the Berlin Wall | 0:48:57 | 0:49:01 | |
and the end of the Cold War, John Craven delivered his very last | 0:49:01 | 0:49:04 | |
"And finally" on 22nd June, 1989. | 0:49:04 | 0:49:09 | |
And finally, this is the last time I'll be saying, "And finally," | 0:49:13 | 0:49:17 | |
and there's no funny story today because, for me, | 0:49:17 | 0:49:20 | |
this is a rather sad moment. | 0:49:20 | 0:49:22 | |
I've come to the end of my very last Newsround. | 0:49:22 | 0:49:25 | |
I've had a great time over the last 17 years bringing you the news | 0:49:25 | 0:49:28 | |
and I'd like to thank everybody behind the scenes | 0:49:28 | 0:49:31 | |
who's helped me do it. | 0:49:31 | 0:49:33 | |
'It was a very emotional day | 0:49:33 | 0:49:35 | |
'when I said goodbye to the Newsround audience. | 0:49:35 | 0:49:38 | |
'It had been so much a part of my life for such a long time' | 0:49:38 | 0:49:43 | |
and I'd been so proud of it - a television first, | 0:49:43 | 0:49:47 | |
a programme everyone respected. | 0:49:47 | 0:49:50 | |
The fiercest critics of television always had nice things | 0:49:50 | 0:49:54 | |
to say about Newsround. | 0:49:54 | 0:49:56 | |
Newsround will be back again on Monday, but from me, bye-bye. | 0:49:56 | 0:50:01 | |
Just three days after leaving Newsround, | 0:50:06 | 0:50:10 | |
John joined the BBC's fledgling rural affairs series Countryfile. | 0:50:10 | 0:50:14 | |
His very first report looked at the trend towards organic farming. | 0:50:16 | 0:50:21 | |
But now, more and more, consumers are wanting food | 0:50:21 | 0:50:24 | |
that's grown in this kind of soil, | 0:50:24 | 0:50:26 | |
that hasn't seen a drop of chemical of any kind for many years. | 0:50:26 | 0:50:30 | |
When I moved to Countryfile, my life couldn't have been more different. | 0:50:30 | 0:50:34 | |
After all those years of doing live television, I was working on a recorded programme. | 0:50:34 | 0:50:38 | |
And instead of being in a studio in London, | 0:50:38 | 0:50:42 | |
I was in the middle of fields, with the wind blowing your words away | 0:50:42 | 0:50:46 | |
and the frost sealing your lips, and still trying to look happy. | 0:50:46 | 0:50:51 | |
Since joining Countryfile in 1989, John has reported on everything | 0:50:52 | 0:50:57 | |
from the foot and mouth crisis to the Countryside March. | 0:50:57 | 0:51:01 | |
It's not just fox hunting, | 0:51:01 | 0:51:02 | |
it's the whole countryside, the country way of life. | 0:51:02 | 0:51:07 | |
In the process, he's won over a notoriously reticent audience. | 0:51:08 | 0:51:12 | |
Farmers have always been reluctant to talk to people like me | 0:51:14 | 0:51:19 | |
about their business and the way they feel about things. | 0:51:19 | 0:51:23 | |
Many of them wouldn't even tell their neighbours about that. | 0:51:23 | 0:51:27 | |
So with Countryfile, they realised eventually | 0:51:27 | 0:51:29 | |
that it was a very good platform for them to put over their point of view. | 0:51:29 | 0:51:33 | |
93, 94. | 0:51:33 | 0:51:35 | |
I think John Craven has built up a huge amount of respect | 0:51:35 | 0:51:39 | |
from farmers and landowners. | 0:51:39 | 0:51:41 | |
When there were difficult times in farming - | 0:51:41 | 0:51:43 | |
there was BSE, there were salmonella scares and animal welfare issues - | 0:51:43 | 0:51:48 | |
John went out and reported on them like a good journalist should. | 0:51:48 | 0:51:51 | |
He knows what he's talking about. | 0:51:53 | 0:51:55 | |
He cares about what he's talking about. | 0:51:55 | 0:51:58 | |
And most of all, he cares about the viewer. | 0:51:58 | 0:52:01 | |
He cares about the people watching. | 0:52:01 | 0:52:03 | |
..to protect the countryside from this... | 0:52:03 | 0:52:05 | |
With Countryfile regularly commanding audiences of 6 million viewers, | 0:52:05 | 0:52:10 | |
John's status as a household name is assured. | 0:52:10 | 0:52:12 | |
..says that when supermarkets set up shop, | 0:52:12 | 0:52:16 | |
that needn't mean disaster for local traders. | 0:52:16 | 0:52:18 | |
But with it comes the dubious honour of being impersonated. | 0:52:18 | 0:52:24 | |
Good morning, and welcome to Countryfile, with me, John Craven. | 0:52:24 | 0:52:28 | |
Think of me as a sort of decaffeinated Nick Ross. | 0:52:28 | 0:52:31 | |
One thing I've had to get used to recently is Jon Culshaw | 0:52:31 | 0:52:34 | |
taking me off on The Impressions Show. | 0:52:34 | 0:52:37 | |
Which came as a bit of a shock at first. | 0:52:37 | 0:52:39 | |
Hello again, and welcome to Countryfile with me, John Craven. | 0:52:39 | 0:52:42 | |
Yes, if they'd still let me wear a sweater, | 0:52:42 | 0:52:45 | |
I would go back to Newsround. | 0:52:45 | 0:52:47 | |
You don't realise that you have these kind of affectations | 0:52:47 | 0:52:52 | |
that Mr Culshaw has picked up on. | 0:52:52 | 0:52:54 | |
You see the red jacket there and the hands in the pockets, | 0:52:54 | 0:52:58 | |
and the way that he would sort of punctuate | 0:52:58 | 0:53:01 | |
the way that he would speak through the story or the item | 0:53:01 | 0:53:06 | |
with a certain amount of going to one side like that | 0:53:06 | 0:53:09 | |
and then over to the other side, | 0:53:09 | 0:53:10 | |
and there was this sort of visual rhythm | 0:53:10 | 0:53:13 | |
that accompanied the vocal style, | 0:53:13 | 0:53:15 | |
like that, which was a great thing to play with. | 0:53:15 | 0:53:17 | |
This week, I'm in Hertfordshire | 0:53:17 | 0:53:19 | |
to look at what remains of our wonderful British greenbelt | 0:53:19 | 0:53:23 | |
before it disappears completely. | 0:53:23 | 0:53:25 | |
The biggest surprise of all was on the 20th anniversary programme | 0:53:27 | 0:53:31 | |
of Countryfile, when I was just sitting and working | 0:53:31 | 0:53:34 | |
on my next bit of script, and suddenly behind me, I heard my voice. | 0:53:34 | 0:53:39 | |
Hello again, and on this special 20th anniversary of Countryfile, | 0:53:39 | 0:53:43 | |
what better way to surprise John Craven | 0:53:43 | 0:53:46 | |
-than with another John Craven? -Jon, how are you? | 0:53:46 | 0:53:50 | |
-John Craven went to find out more. -Hello, John! | 0:53:50 | 0:53:54 | |
Well, how about that? | 0:53:55 | 0:53:58 | |
It is a moment I enjoy, | 0:53:58 | 0:53:59 | |
that moment when you meet someone you do an impression of | 0:53:59 | 0:54:02 | |
for the first time. You never know how it's going to go. | 0:54:02 | 0:54:05 | |
It's always a bit tentative. | 0:54:05 | 0:54:06 | |
-Happy birthday! -Thank you very much. Look at the jacket! | 0:54:06 | 0:54:11 | |
Welcome to Countryfile. | 0:54:12 | 0:54:14 | |
Newsround was 20-odd years ago. This is what I do now. Get over it. | 0:54:14 | 0:54:19 | |
And you're looking for a little flicker of reaction, | 0:54:19 | 0:54:22 | |
as if to say, "Was it all right? Did we overstep the mark?" | 0:54:22 | 0:54:25 | |
I'm very impressed with the impression. | 0:54:25 | 0:54:28 | |
-Thank you. -I wasn't quite sure about being on Brokeback Mountain. | 0:54:28 | 0:54:32 | |
With Bill Oddie. | 0:54:32 | 0:54:33 | |
-That's what I call the funky gibbon. -Damn right. | 0:54:34 | 0:54:39 | |
So far, he's been quite kind to me. But I live in trepidation. | 0:54:39 | 0:54:43 | |
I think it'd be cool to do a sketch with John, | 0:54:43 | 0:54:47 | |
with John as he is now on one side, and I'd like to play his character | 0:54:47 | 0:54:52 | |
as it was from the 1970s, with the dark hair and jumpers and knitwear, | 0:54:52 | 0:54:56 | |
and see how they'd get on. | 0:54:56 | 0:54:58 | |
See how these two eras of John Craven | 0:54:58 | 0:55:01 | |
would interact with each other in a sort of Life On Mars kind of way. | 0:55:01 | 0:55:05 | |
That might be fun, if he'd do that. | 0:55:05 | 0:55:08 | |
In the five decades | 0:55:17 | 0:55:18 | |
since John Craven first appeared on our screens, the world has changed. | 0:55:18 | 0:55:23 | |
Wars have been won and lost. Politicians have come and gone. | 0:55:23 | 0:55:27 | |
Fortunes have been made and squandered. | 0:55:27 | 0:55:31 | |
Yet some things remain constant. | 0:55:31 | 0:55:34 | |
From my point of view, my job has hardly changed | 0:55:34 | 0:55:37 | |
since I was a junior reporter on the Harrogate Advertiser. | 0:55:37 | 0:55:40 | |
It's still reporting the truth, getting the facts right | 0:55:40 | 0:55:43 | |
and then reporting them in a way that people will find entertaining, | 0:55:43 | 0:55:47 | |
informative and balanced. | 0:55:47 | 0:55:48 | |
Those journalistic values underpin | 0:55:48 | 0:55:51 | |
the success of a programme that is still going strong after 40 years. | 0:55:51 | 0:55:58 | |
Ladies and gentlemen, | 0:55:58 | 0:56:00 | |
the BAFTA Special Award goes, of course, to Newsround. | 0:56:00 | 0:56:05 | |
A lot of people in our business tend to be remembered for programmes | 0:56:06 | 0:56:10 | |
which they personally would prefer to forget. | 0:56:10 | 0:56:14 | |
But I'm terribly proud of Newsround - always have been. | 0:56:14 | 0:56:17 | |
It comes as a bit of a shock, though, these days, when people | 0:56:17 | 0:56:20 | |
who I think look pretty old come up to me | 0:56:20 | 0:56:23 | |
and say, "Thank you for being part of my childhood." | 0:56:23 | 0:56:26 | |
Generations of us have grown up with John Craven, and those who have been lucky enough | 0:56:29 | 0:56:34 | |
to work with him have cherished the experience. | 0:56:34 | 0:56:38 | |
We all genuinely liked each other, and we very much loved John. | 0:56:38 | 0:56:42 | |
I think you can smell it through the screen. | 0:56:42 | 0:56:45 | |
And that, I think, made the audience all the fonder of John. | 0:56:45 | 0:56:49 | |
We can even forgive him the occasional fashion faux pas. | 0:56:49 | 0:56:54 | |
Yeah, I mean, he did have some amazing pullovers, | 0:56:54 | 0:56:56 | |
which I hope he's now sold or given to Oxfam. | 0:56:56 | 0:57:00 | |
But then again, I have to confess, we all did. | 0:57:00 | 0:57:03 | |
I'll swap this jumper, | 0:57:03 | 0:57:04 | |
because people are always asking about my jumpers. | 0:57:04 | 0:57:07 | |
If you say John Craven's name to people, | 0:57:07 | 0:57:11 | |
they'll smile and always say something appreciative. | 0:57:11 | 0:57:15 | |
And that is the mark of somebody | 0:57:16 | 0:57:18 | |
who's made an area of broadcasting their own. | 0:57:18 | 0:57:21 | |
Somewhere in a distant corner of Britain, | 0:57:25 | 0:57:28 | |
John Craven is still doing what he does best. | 0:57:28 | 0:57:31 | |
I've been on television | 0:57:31 | 0:57:32 | |
a long time now, almost every week, I suppose, for the last 40 years. | 0:57:32 | 0:57:38 | |
It's such a great job, | 0:57:38 | 0:57:39 | |
because you never know what's going to happen next week. | 0:57:39 | 0:57:43 | |
And that keeps me going, I think. | 0:57:43 | 0:57:45 | |
That desire to make sense of the world and share it with others | 0:57:45 | 0:57:50 | |
has driven John ever since he was old enough to hold a microphone. | 0:57:50 | 0:57:56 | |
If I come away thinking I've learned something, maybe the audience have as well. | 0:57:56 | 0:58:00 | |
-What do you want? -Sorry, but we've still got a bit of work to do. | 0:58:00 | 0:58:05 | |
Oh, yeah, it's rapidly getting dark. | 0:58:05 | 0:58:08 | |
-We've got the last bit to do. -Look at that, sunset. | 0:58:08 | 0:58:12 | |
'I hate the thought of retiring. | 0:58:15 | 0:58:17 | |
'I'll keep on going as long as people want me to. | 0:58:17 | 0:58:20 | |
'I'll probably be retired, rather than volunteer to retire.' | 0:58:20 | 0:58:26 | |
I just want to keep on going. | 0:58:26 | 0:58:28 | |
Subtitles by Red Bee Media Ltd | 0:58:46 | 0:58:49 | |
E-mail [email protected] | 0:58:49 | 0:58:52 | |
Bye-bye for now. | 0:58:54 | 0:58:55 |