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Speaker 1: Welcome to Stuff you should know, a production of iHeartRadio.

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Speaker 2: Hey, and welcome to the podcast. I'm Josh, and there's

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Speaker 2: Chuck and Jerry's here too, and this is stuff you

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Speaker 2: should know.

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Speaker 1: That's right. You got a quick announcement.

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Speaker 2: Huh, I do huh?

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Speaker 1: I think so.

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Speaker 2: Well, if you're talking about our new playlist that's coming

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Speaker 2: out that one, that's right. Yeah, we have a new

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Speaker 2: playlist coming out, right, Chuck.

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Speaker 1: Yeah, this holiday season, I think coming out very soon. Actually,

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Speaker 1: we have the Twelve Days of Holiday Toys because we've

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Speaker 1: got lots of great toy episodes over the years and

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Speaker 1: we've compiled them together for the whole family to enjoy.

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Speaker 2: That's right, we love those toy episodes. I think it

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Speaker 2: comes out on December twelfth.

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Speaker 1: Right, I think so. And that's what I mean in

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Speaker 1: real time. This's probably are not real time, but in

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Speaker 1: real podcast time this week.

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Speaker 2: I think I think so too. And what do you

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Speaker 2: have to do to get these episodes? You may ask nothing.

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Speaker 2: You don't have to lift a single finger. We're going

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Speaker 2: to put them in the feed like we have been

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Speaker 2: and hope you enjoy them.

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Speaker 1: Yeah, totally. And I have another announcement for this BBC episode.

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Speaker 2: Okay, is that how you say it the beb Yeah,

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Speaker 2: I've heard that too.

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Speaker 1: What do you say?

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Speaker 2: That's how I was going to say it?

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Speaker 1: The whole episodes this one even more so than a

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Speaker 1: lot of our others that are you know, you could

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Speaker 1: potentially do one hundred episodes on. This is like serious

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Speaker 1: overview territory. When you're talking about something as far reaching

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Speaker 1: and long standing and sort of legendary culturally as the

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Speaker 1: BBC is, I don't want our our listeners across the

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Speaker 1: pond to be like, guys, you're gonna give us, you know,

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Speaker 1: forty five minutes on the BBC.

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Speaker 2: That's exactly what we're going to do, and it's with love. Yeah,

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Speaker 2: and big thanks to our man in Britain Kyle, for

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Speaker 2: wrangling this huge, massive topic into something pretty pretty good

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Speaker 2: and understandable.

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Speaker 1: Yeah, because I gotta say I love the BBC. Always have. Yeah,

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Speaker 1: since I was a little kid watching really yeah, watching

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Speaker 1: their content on public television. Uh huh, you know, everything

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Speaker 1: from Flying Circus to Benny Hill to Faulty Towers and

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Speaker 1: then having a British roommate in college. He would tell

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Speaker 1: me about the east Enders and you know, all the

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Speaker 1: all the you know, stuff that he grew up with,

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Speaker 1: and it's just been near and dere. I read the

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Speaker 1: BBC news all the time. It's just, you know, I

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Speaker 1: love it.

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Speaker 2: I definitely watched Benny Hill a lot when I was

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Speaker 2: a kid too, so I guess I didn't realize it

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Speaker 2: was BBC content, But it totally was, wasn't it.

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Speaker 1: Yeah, you just thought it was some guy who talked

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Speaker 1: funny from Indiana, right, who liked bear breasts.

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Speaker 2: Yes, he was really into boobs, man, he was. If

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Speaker 2: there was ever a person into boobs, it was Benny Hill.

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Speaker 1: Yeah, twelve year old chuck.

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Speaker 2: So yeah, that's cool. I guess I've loved the BBC

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Speaker 2: longer than I thought too, So this is it's a

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Speaker 2: hat tip, I guess, also a big thanks to the

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Speaker 2: BBC and also deeply critical of it.

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Speaker 1: Yeah, to this one hundred and three year old institution.

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Speaker 2: Yeah, just in time for it one hundred and third birthday.

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Speaker 2: So let's get started. You mentioned that it's called BIB.

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Speaker 2: I had not heard that before, but apparently it's quite accurate.

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Speaker 2: And the BIB you can liken it in the US

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Speaker 2: to MPR, where there's a lot of you know, accusations

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Speaker 2: of it being left leaning bias, and then people on

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Speaker 2: the left are like, no, it's right bias. It does

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Speaker 2: its best to stay middle ground if possible. It has

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Speaker 2: to do with public funding, but in a much different way.

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Speaker 2: It's a it's a venerable institution, but like way more

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Speaker 2: venerable than MPR. Public broadcasting is here in the United States.

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Speaker 2: It is a big chunk of British culture. And in

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Speaker 2: that sense, I get the sense that even people who

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Speaker 2: are like to hell with BBC still feel some sort

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Speaker 2: of like pride in the BBC in its existence.

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Speaker 1: Yeah, and you know that is all as we have

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Speaker 1: learned by design. That was no accident. It is the

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Speaker 1: world's largest broadcaster, has twenty one thousand plus employees, and

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Speaker 1: nobody knows it's the it's the oldest national broadcaster, and

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Speaker 1: nobody knows how many programs they put out. Kyle said

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Speaker 1: between ten and twenty million. So that's that's a lot

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Speaker 1: of stuff. And that's also a big cushion.

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Speaker 2: It really is as a margin. Yeah, that's called hedging.

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Speaker 1: Yeah, and that includes I think, you know, everything radio.

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Speaker 1: And because as we'll see, their little fingies are in

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Speaker 1: all the Figi puddings.

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Speaker 2: Yeah, and I mean, if you live in the UK,

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Speaker 2: there's some way, shape or form that you're taking in

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Speaker 2: BBC content almost certainly because they dominate or they they

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Speaker 2: did at one point dominate radio, dominate television, now that

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Speaker 2: they blaze the trail onto the Internet as far as

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Speaker 2: news sites go, they have a huge web presence and

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Speaker 2: then in the like across the world as well. They

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Speaker 2: have what's called the World Service where you can watch

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Speaker 2: BBC news all over the world, so it's appropriately named,

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Speaker 2: and they say that they have an audience of almost

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Speaker 2: half a billion people around the world, and.

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Speaker 1: I believe it.

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Speaker 2: I believe it too. I know probably two hundred and

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Speaker 2: fifty million people who watch the BBC myself.

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Speaker 1: Because should we go back to the beginning.

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Speaker 2: Yeah, let's go with the beginning, all right.

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Speaker 1: So we got to go I said it was one

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Speaker 1: hundred and three years old. So if you carry the one,

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Speaker 1: you subtract that nineteen twenty two is where we're going

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Speaker 1: in our British wayback machine. Mind the gap, which you

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Speaker 1: know runs on coal and shepherd's pie and October eighteen,

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Speaker 1: nineteen twenty two is where we're going because that is

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Speaker 1: where the British Broadcasting Company was formed before they became

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Speaker 1: the corporation as a partnership between what they called the

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Speaker 1: post Office, which at the time was basically there they

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Speaker 1: ran the telegraph service over there, and the Marconi Company,

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Speaker 1: who said, I got a lot of radios. I'd like

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Speaker 1: to assail, but you got nothing to put on the radio.

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Speaker 2: Oh, we haven't heard that in a while.

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Speaker 1: It's been a minute.

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Speaker 2: So yeah. Remember in our AM radio episode we talked

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Speaker 2: about the Marconi Company setting up companies all over the world. Yeah,

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Speaker 2: this is a good example of that. And the British

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Speaker 2: government was like, hey, how about this. We will make

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Speaker 2: sure you have zero competition. That will give you a monopoly,

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Speaker 2: but you got to make some pretty good content here.

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Speaker 2: We want to hear good stuff. Right now, all we

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Speaker 2: hear is and we want to hear better stuff than that. Yeah,

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Speaker 2: And so the Marconi Company set us up. They established

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Speaker 2: this this station, like you said, in nineteen twenty two,

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Speaker 2: and I guess five years later the British government was like,

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Speaker 2: this is ours now, this is a state owned monopoly.

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Speaker 2: I don't know what happened to the Marconi Company, but

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Speaker 2: it sounds like they got hung out to dry. I

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Speaker 2: guess is the nicest way I can put it.

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Speaker 1: Yeah, I bet they did. Okay, So that was twenty

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Speaker 1: seven when it became the Broadcasting Corporation and very you know,

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Speaker 1: kind of right out of the gate, they were like,

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Speaker 1: here's what we're gonna do. We're not gonna it's gonna

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Speaker 1: be this weird hybrid of culture and entertainment kind of

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Speaker 1: ran through run through the government, but supposedly the government

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Speaker 1: doesn't intervene too much. It's kind of hard to reckon

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Speaker 1: how that all works, and sometimes it works really well.

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Speaker 1: Sometimes there's been a lot of controversy. But what they

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Speaker 1: did decide early on is we're not going to advertise

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Speaker 1: we're not going to tax people outwardly. At least, we're

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Speaker 1: going to have what's called a license fee, which is

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Speaker 1: this to us in the United States, a very strange

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Speaker 1: sort of arrangement wherein households pay a certain amount of

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Speaker 1: money starting in nineteen twenty three with ten shillings a

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Speaker 1: year to fund the BBC. And that's like your household

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Speaker 1: license to listen to and then later watch stuff on

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Speaker 1: television and listen on the radio, like.

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Speaker 2: You have to have a license to watch TV in

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Speaker 2: the UK, is what you're saying.

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Speaker 1: Yeah, but they don't say, all right, now here's the

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Speaker 1: codes to turn it on. I mean, I guess, is

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Speaker 1: it just like an honor system?

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Speaker 2: That's what Kyle. So we had to follow up with

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Speaker 2: Kyle or like, we do not get this license thing

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Speaker 2: because it's just you Brits just take it as like

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Speaker 2: it's just the most normal thing in the world. It's not.

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Speaker 2: So it turns out that it does seem to be

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Speaker 2: on an honor system, and that most people follow that

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Speaker 2: in part because most people have honor. But also there's

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Speaker 2: apparently a very real threat that the BBC will send

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Speaker 2: out some government goons to show up at your door

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Speaker 2: step and be like, hey, are you do you have

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Speaker 2: a TV license? And I guess some people think that

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Speaker 2: it's it's incumbent upon them to open their door and

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Speaker 2: let the person in to see that they have a

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Speaker 2: TV and they can't produce a license and you can

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Speaker 2: get fined one thousand dollars.

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Speaker 1: And apparently they have trucks.

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Speaker 2: They say pounds thank you, which is more than one

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Speaker 2: thousand dollars. You should have also said the goon squad,

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Speaker 2: I should have let me just retake this whole Let's

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Speaker 2: just start at the beginning again.

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Speaker 1: You have to put on your newsboy cap and get

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Speaker 1: out your cup of tea to really get in the zone,

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Speaker 1: you know.

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Speaker 2: Really my Lipton's BlackBerry tea. Yeah, but apparently they will

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Speaker 2: come to your house. So think about this, right. If

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Speaker 2: you are not in the UK and you subscribe to

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Speaker 2: Netflix and you get Netflix because you're using a friend's password,

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Speaker 2: imagine if Netflix showed up on your doorstep and said

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Speaker 2: are you getting Netflix for free?

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Speaker 1: Yeah?

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Speaker 2: And you say no, and they say prove it, let

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Speaker 2: me in, let me go, let me go check and

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Speaker 2: see if you have Netflix, because we know you don't

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Speaker 2: have your own account. That's essentially what they do with that.

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Speaker 1: Yeah. I believe the Color TV license for twenty twenty

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Speaker 1: five is one hundred and seventy four pounds fifty twenty

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Speaker 1: two point eight million people pay this about twelve percent,

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Speaker 1: don't They just sort of evade that cost for a

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Speaker 1: total of about three point eight billion pounds that goes

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Speaker 1: to the BBC and the government. But this license expires

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Speaker 1: in twenty twenty seven, and there's a lot of himming

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Speaker 1: and howeing going on over what's going to happen next.

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Speaker 2: Yeah. Over the course of its history, these ten year

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Speaker 2: charters that they get that get renewed and reviewed. Usually

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Speaker 2: the government wants something in return, or at the very

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Speaker 2: least rakes them over the coals publicly. But it does

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Speaker 2: seem from what I was reading that this does seem

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Speaker 2: like to be a particularly dire situation for the BBC

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Speaker 2: in their charter.

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Speaker 1: Yeah, for sure.

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Speaker 2: So there's a lot of people who are like, no,

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Speaker 2: let's get rid of the ABC altogether, or let's let

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Speaker 2: them compete in the free market. They can sell ads.

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Speaker 2: It's an unfair, aggressive tax where the poorest people have

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Speaker 2: to pay the most percentage of their income for it,

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Speaker 2: whether they want to or not, just to watch TV.

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Speaker 2: There's a lot of competing ideas for what to do,

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Speaker 2: and the BBC's like, how about this, let's just not

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Speaker 2: change anything and increase the license fee a little bit.

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Speaker 2: And they're getting crickets back right now.

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Speaker 1: Yeah, they're getting crickets. So time will tell. In twenty

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Speaker 1: twenty seven, will report back what happened, right, Yeah, yeah,

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Speaker 1: a little follow up, But let's go back to the beginning,

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Speaker 1: because they had a guiding light at the beginning which

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Speaker 1: I was talking about, which was after the World War One,

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Speaker 1: the Great war. They really said, let's let's start this

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Speaker 1: thing to embody what it means to be a Britain

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Speaker 1: and to sort of get our common culture out there

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Speaker 1: to the world through you know, sports obviously would come along,

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Speaker 1: and music and interviews and documentaries and plays and things

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Speaker 1: at the time. And there were three dudes early on

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Speaker 1: that were the I guess the founders. Cecil Lewis, who

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Speaker 1: was a fighter pilot, former fighter pilot.

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Speaker 2: Man, you were nailing the British pronunciations here.

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Speaker 1: He might have gone by Cecil, I don't know, a

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Speaker 1: broadcaster named Arthur Burrows. And their first director General, who

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Speaker 1: was the person in charge of the whole thing. His

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Speaker 1: name was John I think, right.

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Speaker 2: I'm going with Wreath.

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Speaker 1: You're going with Wreath and the director General is in charge.

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Speaker 1: But they also there's also a government board of governors

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Speaker 1: that they work with or maybe answer to.

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Speaker 2: Right. And one of the things about the BBC, one

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Speaker 2: of the reasons it's so venerated, it was a huge

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Speaker 2: trailblazer thanks to these three guys in their vision. I

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Speaker 2: saw that John Reith was described by the New World

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Speaker 2: Encyclopedia as a man of high intelligence, great ambition, and

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Speaker 2: rigid moral views and just like out of the gate,

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Speaker 2: they set the standard for broadcasting, for broadcast journey for

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Speaker 2: what it meant to kind of create a common culture.

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Speaker 2: Remember in our Saturday Morning Cartoon episode we talked about

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Speaker 2: how Saturday Morning Cartoons played like a bardic function. Yeah,

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Speaker 2: it gives a common culture to a bunch of people.

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Speaker 2: That was like part of their goal was to create

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Speaker 2: a common British culture and that happened right after World

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Speaker 2: War One. At the time, nobody had anything in common,

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Speaker 2: so it was a good thing that the BBC came along.

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Speaker 1: Yeah, and this was in the infancy of radio at

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Speaker 1: the time and such that Kyle dug up this kind

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Speaker 1: of fun thing. I guess there was a sign in

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Speaker 1: some of the recording studios and broadcasting studios where it

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Speaker 1: said you will all caps deafen thousands. So people didn't

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Speaker 1: know what they were doing, so they really had to

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Speaker 1: kind of figure this whole thing out. It was a

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Speaker 1: very intimidating thing, you know, early on to sit in

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Speaker 1: front of a microphone when no one had done that

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Speaker 1: kind of thing before. And even Arthur Burrows as a broadcaster,

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Speaker 1: he said broadcasting to millions was awful and they were

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Speaker 1: worried about getting you know, quote some madman on the

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Speaker 1: microphone who could do a lot of damage. So it

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Speaker 1: was a it was a pretty intimidating thing at first

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Speaker 1: when they were getting their feet wet.

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Speaker 2: Yeah, And so for people outside of Britain too, the

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Speaker 2: BBC was it. They were the only radio station, not

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Speaker 2: because there were there was no competition. They had a

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Speaker 2: monopoly for years and years and years. They had a

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Speaker 2: monopoly on radio and then television. So just bear that

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Speaker 2: in mind. So it was really incumbent upon these guys,

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Speaker 2: and they realized their responsibility to be the provider of

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Speaker 2: mass communication for their entire nation, and they took that

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Speaker 2: responsibility seriously. And they started the whole thing out on

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Speaker 2: November fourteenth, nineteen twenty two, with the call sign TWOLO

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Speaker 2: that was their broadcast license from the Marconi Company, and

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Speaker 2: Arthur Burrows said, Hello, Hello, this is too low the

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Speaker 2: London station of the British Broadcasting Company call too WELLO calling,

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Speaker 2: and that was my Arthur Burroughs.

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Speaker 1: It's pretty good. Keep in mind everyone, he was very

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Speaker 1: nervous on the first day. That's why Josh sounded liked that.

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Speaker 1: Then he went on to just sort of get the

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Speaker 1: content underway. He did a one minute weather and news

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Speaker 1: bulletin and this is adorable. Then he repeated it slower

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Speaker 1: so people could take notes to I guess, read back

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Speaker 1: to their family. And from the get go they didn't

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Speaker 1: call it BBC English at the time. What it was

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Speaker 1: called was received pronunciation. But it was this sort of

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Speaker 1: accent that they all agreed would be the accent. They

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Speaker 1: didn't like regional accents coming on and everyone sort of

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Speaker 1: doing their own thing. They opted for this middle class

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Speaker 1: southern English that like at the Eton School, where it

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Speaker 1: was just sort of the same.

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Speaker 2: Yeah, apparently have been generating among aristocrats since like the

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Speaker 2: eighteenth century. And at that same time there were colonists

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Speaker 2: who were setting up the call colonies in North America

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Speaker 2: who had separated from that, and so there are in

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Speaker 2: some ways a lot more similarities to how Americans talk

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Speaker 2: today to how people in Shakespeare's time would have spoken

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Speaker 2: than the people in Great Britain today and the UK

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Speaker 2: have with the people in Shakespeare's time, especially hard ours

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Speaker 2: like Shakespeare would have been like what is a car

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Speaker 2: or the h's instead of Henry Higgins, right, you would

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Speaker 2: say Henry Higgins. That's how Americans say it. So those

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Speaker 2: two big differences. That's how Brits used to speak before,

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Speaker 2: like I guess about the eighteen hundreds.

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Speaker 1: Yeah, and so they you know, they got the ball

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Speaker 1: rolling very fast on all kinds of content. In the

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Speaker 1: nineteen twenties, they had something called the Children's Hour, They

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Speaker 1: started playing live concerts at some of London's you know,

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Speaker 1: venerated halls. In nineteen twenty seven, they started sports broadcasting

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Speaker 1: with the FA Cup Final, which the very first ever

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Speaker 1: live commentary for any event, not just sports. And by

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Speaker 1: the end of the nineteen twenties, by the end of

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Speaker 1: that first decade, really just eight years, they had two

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Speaker 1: million license holders. Those were households, so they had a

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Speaker 1: lot more than that as active listeners, and they were

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Speaker 1: a venerated, respected institution kind of right out of the.

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Speaker 2: Gate, yes, But before that they ran into their first

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Speaker 2: major headbut with government. And I say, we take a

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Speaker 2: break and come back and talk about.

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Speaker 1: That about chew chill.

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Speaker 2: That's right, We'll be right back, so, Chuck. We talked

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Speaker 2: about them headbutting with government and the first time it

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Speaker 2: ever happened was with the nineteen twenty six general strike,

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Speaker 2: which is when a bunch of people go on strike

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Speaker 2: from all different kinds of professions, and they were doing

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Speaker 2: this in sympathy with coal miners. I think more than

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Speaker 2: a million coal miners were having their wages reduced, and

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Speaker 2: so a bunch of different people from different professions went

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Speaker 2: on strike, and that included print workers at the newspapers.

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Speaker 2: So the newspapers effectively shut down except for the British Gazette,

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Speaker 2: which was a government owned newspaper. And the government owned

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Speaker 2: newspapers like this strike sucks and everybody who likes it

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Speaker 2: sucks too. But that left the BBC is the only

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Speaker 2: form of mass communication reporting on this stuff. And apparently

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Speaker 2: Winston Churchill was not very happy with the idea that

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Speaker 2: the BBC, the government owned monopoly, was not just being

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Speaker 2: like this strike sucks and anybody likes it sucks. They

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Speaker 2: were reporting neutrally on it.

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Speaker 1: Yeah, he was Finance Minister at the time, but he

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Speaker 1: had a lot of sway, obviously, and he was like, hey,

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Speaker 1: I think we should declare an emergency and take over

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Speaker 1: the BBC. And the Director General resisted. Reith did and

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Speaker 1: he said, no, we're not gonna let that happen. But

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Speaker 1: they it seems like they were strong armed into not

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Speaker 1: airing the other side as much. One example is when

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Speaker 1: they had Prime Minister Stanley bald went on at one

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Speaker 1: point and this was at Rice's house. They were broadcasting

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Speaker 1: out of the leader of the opposition, Ramsey McDonald was like, well,

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Speaker 1: I'd get to come on now, too, right, and the

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Speaker 1: government refused that. So they remained, you know, through the

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Speaker 1: rest of the strike somewhat impartial. They didn't let McDonald on,

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Speaker 1: but they did block Churchill basically from being on the

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Speaker 1: BBC until he resigned in nineteen thirty eight. So they

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Speaker 1: were like, you're never coming on here.

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Speaker 2: No, that's quite a coup actually, because Churchill talk and

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Speaker 2: give speeches, so throughout the forties or the beginning of

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Speaker 2: the forties through World War Two, they managed to hang

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Speaker 2: on and keep reporting as best as possible. The radio

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Speaker 2: definitely did. It became a government propagand it's outlet. Some

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Speaker 2: of the European powers that had been overrun by the

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Speaker 2: Nazis and it made their way to the UK used

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Speaker 2: the BBC to broadcast to their people back home, or

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Speaker 2: I think the Polish army in exile, a Polish government

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Speaker 2: in exile sent coded messages to Polish resistance forces. It

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Speaker 2: still kept going. Apparently their studio was bombed in nineteen

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Speaker 2: forty and it took out a lot of the top

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Speaker 2: few floors, but luckily they were broadcasting out of the

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Speaker 2: basement still, and I guess the guy who was reading

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Speaker 2: the news at the time dusted the script off and

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Speaker 2: kept reading. You heard kind of a boom in the background,

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Speaker 2: but the news reader basically didn't miss a beat.

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Speaker 1: Yeah, they kept going because they had that charge to

380
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Speaker 1: do so. In the nineteen thirties is when TV came along.

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Speaker 1: So at the beginning there was a Scotsman named John

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Speaker 1: Logi Baird. This was in nineteen twenty six where he

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Speaker 1: had this really archaic at you know, I guess it

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Speaker 1: was pretty advanced for the time, but archaic now a

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Speaker 1: mechanical system where they had rotating discs scanning and displaying images.

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Speaker 1: And so they said, all right, that's good enough for now.

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Speaker 1: It's nineteen thirty two. No one will know that this

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Speaker 1: isn't very good.

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Speaker 2: I can't imagine.

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Speaker 1: They put out a very experimental thirty line service to

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Speaker 1: demonstrate that it didn't look so great. But it didn't

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Speaker 1: take very long before they had Marconi came along again

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Speaker 1: and said that he had a better system along with EMI,

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Speaker 1: and in nineteen thirty six they had the first high

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Speaker 1: def television service launched from Alexandra Palace in North London.

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Speaker 1: And at the time, high deaf meant two hundred and

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Speaker 1: forty lines of resolution or more.

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Speaker 2: Yeah, which is nuts because TV high def today has

399
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Speaker 2: something like two hundred and fifty. Yeah, at least at

400
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Speaker 2: least so the BBC TV so BBC Radio continued broadcasting

401
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Speaker 2: throughout the war, but BBC Television shutdown because apparently there

402
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Speaker 2: was a lot of concern that the signal could be

403
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Speaker 2: used to lock on as a target and bomb Alexandra Palace,

404
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Speaker 2: where they were broadcasting from. So they're like, well, we

405
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Speaker 2: don't want to risk that, we'll just stop broadcasting, and

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Speaker 2: they did for seven years, from nineteen thirty nine and

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Speaker 2: nineteen forty six.

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Speaker 1: Yeah, right after they got this new thing in their households. Yeah,

409
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Speaker 1: they were like all right for seven years. Can you

410
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Speaker 1: imagine being a child? No, I mean there was the

411
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Speaker 1: most kids content at the time, but still anything on

412
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Speaker 1: a TV screen, imagine was hard to lose after you

413
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Speaker 1: tasted it.

414
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Speaker 2: I know. And it was around for three years, so

415
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Speaker 2: that was enough time to get people pretty strong out

416
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Speaker 2: on TV.

417
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Speaker 1: Right, Yeah, you know, huh.

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Speaker 2: So, remember, these guys are figuring this stuff out as

419
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Speaker 2: they go along, Like the BBC were trailblazers in just

420
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Speaker 2: about everything they ever dipped their toe into. And one

421
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Speaker 2: of the ways that they did figure stuff out was

422
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Speaker 2: basically being dropped into the middle of it. And a

423
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Speaker 2: really good example of that came in the fifties in

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Speaker 2: nineteen fifty three when Queen Elizabeth the Second the sequel,

425
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Speaker 2: when she was coronated. But basically the BBC was like,

426
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Speaker 2: this is one of the biggest things we've ever covered,

427
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Speaker 2: if not the biggest thing we've ever covered so far.

428
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Speaker 2: So we're gonna we're just gonna throw everything we can

429
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Speaker 2: at it. So they started developing new technology, They figured

430
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Speaker 2: out new ways of broadcasting. They figured out like rolling

431
00:23:25,480 --> 00:23:28,800
Speaker 2: news coverage from you know, station to station, and it

432
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Speaker 2: was quite successful from what I understand too. Plus also

433
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Speaker 2: a lot of people bought TV sets as a result.

434
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Speaker 1: Yeah, so they could see that thing.

435
00:23:36,720 --> 00:23:39,439
Speaker 2: Yeah, so they could see what Queen Elizabeth looked like.

436
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Speaker 1: Finally, yeah, they told us on the radio, we could

437
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Speaker 1: see what she looked like on TV. So went out

438
00:23:44,240 --> 00:23:44,880
Speaker 1: and bought one.

439
00:23:45,840 --> 00:23:49,840
Speaker 2: She's got pretty nice hair. She's wearing a tiara. I

440
00:23:49,880 --> 00:23:52,200
Speaker 2: think those are white gloves or else. She's quite pale.

441
00:23:52,200 --> 00:23:56,280
Speaker 2: I can't see from here is that a corgie?

442
00:23:56,920 --> 00:24:00,280
Speaker 1: So you mentioned the monopoly. That monopoly was eventually broken

443
00:24:00,320 --> 00:24:05,040
Speaker 1: in nineteen fifty five when ITV into independent television was launched,

444
00:24:05,440 --> 00:24:09,040
Speaker 1: the oldest commercial network in Britain. And then eventually in

445
00:24:09,119 --> 00:24:12,959
Speaker 1: nineteen eighty two Channel four would come along and you know,

446
00:24:13,000 --> 00:24:15,520
Speaker 1: all of a sudden, programming started to get somewhat interesting

447
00:24:15,560 --> 00:24:17,600
Speaker 1: in like the nineteen fifties, because you started to get

448
00:24:17,640 --> 00:24:22,480
Speaker 1: a lot more. You know, it wasn't just let's do

449
00:24:22,920 --> 00:24:26,639
Speaker 1: the coronation or this concert from Royal Albert Hall or

450
00:24:26,680 --> 00:24:29,520
Speaker 1: something like that. They started to get into comedy and

451
00:24:29,560 --> 00:24:33,760
Speaker 1: sort of true entertainment, for better or for worse. One

452
00:24:33,840 --> 00:24:36,320
Speaker 1: example of for worse was a show called The Black

453
00:24:36,359 --> 00:24:40,400
Speaker 1: and White Minstrel Show in nineteen fifty seven. They had

454
00:24:40,440 --> 00:24:45,120
Speaker 1: sixteen million viewers for that show and it ran from

455
00:24:45,200 --> 00:24:51,520
Speaker 1: nineteen fifty seven to nineteen seventy eight. A super super

456
00:24:51,600 --> 00:24:56,200
Speaker 1: super racist minstrel show. We will say from nineteen sixty two.

457
00:24:56,800 --> 00:24:59,119
Speaker 1: Starting in nineteen sixty two that the chief accountant of

458
00:24:59,160 --> 00:25:01,679
Speaker 1: the VBSA was like, this is a disgrace and like

459
00:25:01,760 --> 00:25:06,439
Speaker 1: really racist, and so it took another sixteen years for

460
00:25:06,600 --> 00:25:09,360
Speaker 1: BBC one to say, yeah, maybe you're right.

461
00:25:09,960 --> 00:25:12,479
Speaker 2: Yeah. That chief accountant's name was Barry Thorn, and he

462
00:25:12,560 --> 00:25:15,359
Speaker 2: was quite vociferous about getting this thing off the air.

463
00:25:15,920 --> 00:25:18,480
Speaker 2: And one of his memos that he sent, he got

464
00:25:18,480 --> 00:25:22,000
Speaker 2: a reply from one of the higher ups that said,

465
00:25:22,040 --> 00:25:25,800
Speaker 2: for heaven's sake, shut up. They just buried their heads

466
00:25:25,800 --> 00:25:28,000
Speaker 2: in the sand. They would not accept that this was

467
00:25:28,040 --> 00:25:32,040
Speaker 2: an offensive, racist show. And I read like even in

468
00:25:32,119 --> 00:25:35,679
Speaker 2: nineteen fifty seven, this was offensive and racist, let alone

469
00:25:35,800 --> 00:25:38,520
Speaker 2: nineteen seventy eight. And if you go and watch it,

470
00:25:38,520 --> 00:25:40,520
Speaker 2: it is jaw droppingly racist.

471
00:25:40,640 --> 00:25:42,560
Speaker 1: Like, yeah, they're just not good.

472
00:25:43,200 --> 00:25:47,040
Speaker 2: It isn't It's like Lawrence Welk terrible. That's essentially it was.

473
00:25:47,280 --> 00:25:50,800
Speaker 2: Imagine Lawrence welkword. Every man is in blackface for no

474
00:25:50,920 --> 00:25:54,280
Speaker 2: reason whatsoever. There's no context to it. They're just in

475
00:25:54,359 --> 00:25:57,680
Speaker 2: blackface doing all these different things and doing all these

476
00:25:57,680 --> 00:26:01,720
Speaker 2: different song performances. It's it's insane, Like you should definitely

477
00:26:01,800 --> 00:26:04,760
Speaker 2: go check it out, Like if you're not just like

478
00:26:04,880 --> 00:26:07,639
Speaker 2: completely staggered by it, I will be surprised.

479
00:26:08,119 --> 00:26:10,880
Speaker 1: Yeah, there may be. You know, check in with yourself.

480
00:26:11,520 --> 00:26:14,560
Speaker 2: That's a good litmus test watching the Black and White

481
00:26:14,560 --> 00:26:16,320
Speaker 2: Minstrel Show and seeing what you think of it.

482
00:26:16,720 --> 00:26:19,200
Speaker 1: Yeah, that should be the test moving forward.

483
00:26:19,200 --> 00:26:22,480
Speaker 2: I think it's so nuts, dude, just.

484
00:26:22,840 --> 00:26:26,840
Speaker 1: Hook people up to a machine. Yep, it's nineteen sixties.

485
00:26:26,840 --> 00:26:30,479
Speaker 1: Now we're really flying through the decades. BBC two has

486
00:26:30,520 --> 00:26:33,639
Speaker 1: come along in nineteen sixty four, and Color TV with

487
00:26:33,720 --> 00:26:37,880
Speaker 1: a U comes along in nineteen sixty seven, and this

488
00:26:37,920 --> 00:26:41,960
Speaker 1: is when some of the legendary shows over there of

489
00:26:42,000 --> 00:26:44,800
Speaker 1: all time came about in the sixties, not the least

490
00:26:44,800 --> 00:26:47,960
Speaker 1: of which, from nineteen sixty three was the sci fi

491
00:26:48,000 --> 00:26:52,880
Speaker 1: series Doctor Who Who exactly, a show that I've never

492
00:26:52,920 --> 00:26:55,360
Speaker 1: watched me, but I know people love it.

493
00:26:55,760 --> 00:26:58,040
Speaker 2: Oh yeah, I mean it's been a cult classic for

494
00:27:00,160 --> 00:27:04,359
Speaker 2: seventy five years. Yeah, seventy years sixty something. That's a

495
00:27:04,400 --> 00:27:07,920
Speaker 2: long time for a cult classic to be around, you know. Yeah,

496
00:27:08,080 --> 00:27:10,200
Speaker 2: think about it. Freaks and Geeks was one season.

497
00:27:11,359 --> 00:27:12,400
Speaker 1: Yeah, good point.

498
00:27:12,600 --> 00:27:14,199
Speaker 2: There was also one that I'd like to see. I

499
00:27:14,240 --> 00:27:17,080
Speaker 2: hadn't heard of it yet, but apparently it was enormous

500
00:27:17,080 --> 00:27:20,080
Speaker 2: and I can understand why. It's Kenneth Clark's Civilization For

501
00:27:20,240 --> 00:27:25,240
Speaker 2: me nine, this apparently was like the first Prestige series

502
00:27:25,359 --> 00:27:28,280
Speaker 2: that they ever came out with, and it was basically

503
00:27:28,280 --> 00:27:31,760
Speaker 2: like Kenneth Clark going over the Dark Ages up to

504
00:27:31,880 --> 00:27:34,760
Speaker 2: the twentieth century and talking about the philosophy of different

505
00:27:34,760 --> 00:27:38,440
Speaker 2: eras and what was going on and how things developed

506
00:27:38,480 --> 00:27:41,880
Speaker 2: and how people got along and interacted. It sounds really amazing.

507
00:27:42,520 --> 00:27:45,040
Speaker 1: Yeah, for sure, I want to see that too. Maybe

508
00:27:45,080 --> 00:27:47,000
Speaker 1: we should get an Eyeplayer. We'll get to what that

509
00:27:47,119 --> 00:27:50,880
Speaker 1: is later, okay, or sign up for Eyeplayer. I don't

510
00:27:50,920 --> 00:27:56,080
Speaker 1: think it's an object right, No, it's not. Satire came

511
00:27:56,119 --> 00:27:59,080
Speaker 1: along in nineteen sixty two with David Frost. That was

512
00:27:59,119 --> 00:28:01,960
Speaker 1: the week that was. I can only think that John

513
00:28:02,040 --> 00:28:05,959
Speaker 1: Oliver's Last Week Tonight with John Oliver is just the

514
00:28:06,000 --> 00:28:09,000
Speaker 1: title itself might be a slight nod. Yeah, that was

515
00:28:09,040 --> 00:28:09,720
Speaker 1: the week that was.

516
00:28:10,040 --> 00:28:12,000
Speaker 2: I mean, he's always struck me as pretty British, so

517
00:28:12,000 --> 00:28:13,639
Speaker 2: I'm sure he's aware of that show.

518
00:28:14,080 --> 00:28:15,679
Speaker 1: And that was, of course the great David Frost.

519
00:28:16,800 --> 00:28:19,960
Speaker 2: Yeah, yeah, the one who got Nixon to basically admit

520
00:28:20,040 --> 00:28:20,879
Speaker 2: that he was a crook.

521
00:28:21,880 --> 00:28:23,000
Speaker 1: Yeah, that's the dude.

522
00:28:23,560 --> 00:28:26,880
Speaker 2: There's another that was in nineteen seventy seven on CBS.

523
00:28:27,040 --> 00:28:30,200
Speaker 1: I'm sure BBC was quite jealous Frost Nixon.

524
00:28:30,000 --> 00:28:32,199
Speaker 2: Yeah or else they didn't care because it was Nixon

525
00:28:32,400 --> 00:28:33,280
Speaker 2: and he's American.

526
00:28:33,880 --> 00:28:36,679
Speaker 1: That's right. But we also got Monty Path's Flying Circus

527
00:28:36,680 --> 00:28:38,440
Speaker 1: in Benny Hill in the late sixties.

528
00:28:38,240 --> 00:28:41,080
Speaker 2: That's right. And then also the Foresight Saga, which I

529
00:28:41,080 --> 00:28:43,440
Speaker 2: hadn't heard of, but apparently it has quite a bit

530
00:28:43,480 --> 00:28:46,720
Speaker 2: of similarity to Dalton Abbey and they're about to reboot

531
00:28:46,760 --> 00:28:49,680
Speaker 2: it for the third time. So I guess Dalton Abbey

532
00:28:49,760 --> 00:28:51,880
Speaker 2: fans can move over to the Foresight Saga.

533
00:28:52,440 --> 00:28:55,720
Speaker 1: I think that's already out. Actually, oh my god, the

534
00:28:55,800 --> 00:28:56,280
Speaker 1: new one?

535
00:28:56,480 --> 00:28:56,960
Speaker 2: Is it really?

536
00:28:57,720 --> 00:28:59,800
Speaker 1: Yeah? I mean it's been around since sixty seven. I

537
00:28:59,800 --> 00:29:04,240
Speaker 1: think there's a new six part series that's also that's

538
00:29:04,280 --> 00:29:07,480
Speaker 1: also out. If not now, then maybe coming into the holidays,

539
00:29:07,480 --> 00:29:08,640
Speaker 1: because it's definitely this year.

540
00:29:08,880 --> 00:29:09,560
Speaker 2: Okay, cool?

541
00:29:10,040 --> 00:29:10,360
Speaker 1: Yeah?

542
00:29:10,560 --> 00:29:12,240
Speaker 2: Are you into Downton Abby? I don't remember.

543
00:29:13,080 --> 00:29:17,280
Speaker 1: I love Dunton, Abby. I'll watch it all good. Yeah,

544
00:29:17,320 --> 00:29:20,000
Speaker 1: it's not taxing on the brain or anything. It's just

545
00:29:20,120 --> 00:29:22,720
Speaker 1: it's exactly what it should be, which is that just

546
00:29:22,880 --> 00:29:26,560
Speaker 1: real easy to watch upstairs downstairs? Soapi drama?

547
00:29:26,920 --> 00:29:27,360
Speaker 2: Nice?

548
00:29:27,600 --> 00:29:27,840
Speaker 1: Yeah?

549
00:29:27,840 --> 00:29:30,960
Speaker 2: I like it okay. And then also what came along

550
00:29:30,960 --> 00:29:33,280
Speaker 2: in the sixties in nineteen sixty four was the music

551
00:29:33,360 --> 00:29:35,960
Speaker 2: show Top of the Pops. We've talked about that a

552
00:29:35,960 --> 00:29:41,520
Speaker 2: few times. You know, remember Queen made their Bohemian Rhapsody

553
00:29:41,600 --> 00:29:43,440
Speaker 2: video to get out of having the lip sync on

554
00:29:43,440 --> 00:29:44,440
Speaker 2: Top of the Pops.

555
00:29:44,720 --> 00:29:49,760
Speaker 1: Yeah, I mean legendary show hosted by noted awful person

556
00:29:49,840 --> 00:29:51,800
Speaker 1: Jimmy Sabil, who we're going to talk about later.

557
00:29:52,000 --> 00:29:54,800
Speaker 2: Yeah, for sure. Imagine if we just didn't mention him. Right,

558
00:29:56,520 --> 00:29:59,880
Speaker 2: So we you said we were blazing through the de

559
00:30:00,360 --> 00:30:02,240
Speaker 2: We're about to blaze so fast. We're going to combine

560
00:30:02,240 --> 00:30:05,440
Speaker 2: the seventies and eighties together because a couple of really

561
00:30:05,440 --> 00:30:08,720
Speaker 2: big things happened in well, starting in the late seventies

562
00:30:08,720 --> 00:30:12,360
Speaker 2: and early eighties. The first thing was nineteen seventy nine

563
00:30:12,760 --> 00:30:16,400
Speaker 2: when Life on Earth premiered, and that is David Attenborough's

564
00:30:16,600 --> 00:30:23,080
Speaker 2: first really big, massive wildlife documentary series. It took three

565
00:30:23,160 --> 00:30:27,720
Speaker 2: years to make. They went to over one hundred locations,

566
00:30:28,160 --> 00:30:31,760
Speaker 2: had a one million pound price tag and I was like, wow,

567
00:30:31,800 --> 00:30:34,080
Speaker 2: that's got to be a lot. That's only five million

568
00:30:34,080 --> 00:30:38,920
Speaker 2: pounds today. So imagine getting this groundbreaking series for a

569
00:30:39,040 --> 00:30:43,120
Speaker 2: mere five million pounds. That's quite a deal. But this

570
00:30:43,120 --> 00:30:48,000
Speaker 2: this thing just completely changed wildlife documentaries. Every wildlife documentary

571
00:30:48,000 --> 00:30:51,600
Speaker 2: you see traces itself in its style back to life

572
00:30:51,640 --> 00:30:52,080
Speaker 2: on Earth.

573
00:30:52,440 --> 00:30:56,840
Speaker 1: Yeah, you know, we can't go over all these shows,

574
00:30:56,880 --> 00:30:58,520
Speaker 1: and I know people are going to be like, what

575
00:30:58,600 --> 00:31:02,280
Speaker 1: about One Foot in the Grave and my favorite show?

576
00:31:03,040 --> 00:31:05,640
Speaker 1: But we should mention my favorites, one of which was

577
00:31:05,680 --> 00:31:09,000
Speaker 1: Faulty Towers. That was another that post college, when I

578
00:31:09,080 --> 00:31:12,480
Speaker 1: was living in New Jersey with my British friend from college.

579
00:31:12,520 --> 00:31:16,080
Speaker 1: He introduced me to Faulty Towers and The black Adder

580
00:31:16,640 --> 00:31:19,480
Speaker 1: and they were just a couple of the best shows ever.

581
00:31:19,520 --> 00:31:21,080
Speaker 1: I mean it was a comedy that I hadn't seen

582
00:31:21,120 --> 00:31:23,560
Speaker 1: before and just really really great stuff.

583
00:31:24,640 --> 00:31:27,760
Speaker 2: Yeah. For some reason, I got introduced to Faulty Towers

584
00:31:27,760 --> 00:31:31,400
Speaker 2: before I ever watched Flying Circus too, so I was like, Oh,

585
00:31:31,400 --> 00:31:32,880
Speaker 2: that's the guy from Faulty Towers.

586
00:31:33,400 --> 00:31:35,479
Speaker 1: Oh really, m hm, Oh that's funny.

587
00:31:36,520 --> 00:31:39,440
Speaker 2: And you mentioned the Goon Squad. I remember we talked

588
00:31:39,440 --> 00:31:42,680
Speaker 2: about them when we did an episode on I guess

589
00:31:42,760 --> 00:31:45,520
Speaker 2: Monty Python. Did we ever do an episode of My Python?

590
00:31:45,560 --> 00:31:47,200
Speaker 2: Because they came up we did?

591
00:31:47,480 --> 00:31:51,120
Speaker 1: Okay, I think that was one of our La podfasts.

592
00:31:51,160 --> 00:31:55,160
Speaker 2: It was totally yeah. Yeah, so they were deeply influenced

593
00:31:55,160 --> 00:31:58,840
Speaker 2: by The The Goon Show. Yeah I say Goon Squad,

594
00:31:58,880 --> 00:31:59,360
Speaker 2: didn't I.

595
00:31:59,800 --> 00:32:01,640
Speaker 1: Yeah, yeah, I think I said Goon Squad earlier, so

596
00:32:01,760 --> 00:32:03,320
Speaker 1: I think I probably influenced that.

597
00:32:03,640 --> 00:32:05,880
Speaker 2: Thank you, thanks for my fault jumping on that grenade

598
00:32:05,920 --> 00:32:08,560
Speaker 2: for me. But it's The Goon Show and it was

599
00:32:08,560 --> 00:32:13,320
Speaker 2: one of the first absurdist comedies that really influenced shows

600
00:32:13,360 --> 00:32:15,640
Speaker 2: to come, like Monty Python, but it was just on

601
00:32:15,680 --> 00:32:18,240
Speaker 2: the radio, which makes it even more creative if you

602
00:32:18,280 --> 00:32:18,680
Speaker 2: ask me.

603
00:32:19,160 --> 00:32:23,560
Speaker 1: Yeah, amazing. Spike Milligan created it and it's probably most

604
00:32:23,600 --> 00:32:26,560
Speaker 1: notable these days for where Peter Seller's got his start.

605
00:32:27,440 --> 00:32:29,680
Speaker 1: He was in the first couple of series what we

606
00:32:29,720 --> 00:32:33,120
Speaker 1: call Seasons, along with Harry Seacombe, and I believe Michael

607
00:32:33,160 --> 00:32:37,760
Speaker 1: Benteen took over Peter Sellers. And like I said, there's

608
00:32:37,800 --> 00:32:40,240
Speaker 1: so many shows to mention, but we can't not mention

609
00:32:40,360 --> 00:32:44,880
Speaker 1: east Enders because my former roommate Justin talked about it

610
00:32:44,920 --> 00:32:48,200
Speaker 1: a lot. He was from East London and it was

611
00:32:48,960 --> 00:32:51,520
Speaker 1: It's one of the biggest shows in the history of

612
00:32:51,520 --> 00:32:52,080
Speaker 1: the BBC.

613
00:32:52,520 --> 00:32:55,040
Speaker 2: It's basically like the British version of friends.

614
00:32:55,560 --> 00:32:59,640
Speaker 1: Yeah, I don't know. I'm not going to comment on.

615
00:32:59,600 --> 00:33:01,880
Speaker 2: That, but that was the TV show and still is.

616
00:33:02,000 --> 00:33:05,280
Speaker 2: East Enders is still on correct, I don't.

617
00:33:05,080 --> 00:33:05,520
Speaker 1: Know, is it.

618
00:33:05,600 --> 00:33:06,680
Speaker 2: I'm pretty sure it is.

619
00:33:07,640 --> 00:33:10,000
Speaker 1: That would be surprise me. It started in nineteen eighty

620
00:33:10,000 --> 00:33:13,360
Speaker 1: five and was a really big hit out of the gate,

621
00:33:13,560 --> 00:33:16,760
Speaker 1: and it's you know, it's melodrama. Kyle points out that

622
00:33:16,800 --> 00:33:21,080
Speaker 1: it hits all the sort of stereotypical like soap opera archetypes,

623
00:33:21,840 --> 00:33:23,960
Speaker 1: but they've also through the years, like I think most

624
00:33:23,960 --> 00:33:28,720
Speaker 1: good shows, I've gotten some applause for tackling things like

625
00:33:29,480 --> 00:33:31,960
Speaker 1: some of the realities of the East End of London

626
00:33:32,400 --> 00:33:33,040
Speaker 1: through history.

627
00:33:33,480 --> 00:33:37,080
Speaker 2: Yeah, like HIV, unemployment, just stuff that you don't always

628
00:33:37,120 --> 00:33:39,680
Speaker 2: see on the TV. It was kind of groundbreaking in

629
00:33:39,680 --> 00:33:44,000
Speaker 2: that sense for sure. Don't call it a soap opera though, Chuck.

630
00:33:45,320 --> 00:33:46,840
Speaker 2: If you want to go soap opera is you got

631
00:33:46,840 --> 00:33:49,920
Speaker 2: to get back to the radio and just find the Archers,

632
00:33:49,960 --> 00:33:52,800
Speaker 2: which is the world's longest running soap opera. They have

633
00:33:52,880 --> 00:33:55,640
Speaker 2: over twenty thousand episodes, so almost as many as we

634
00:33:55,680 --> 00:34:00,480
Speaker 2: can now, and it's set out in rural England. Apparently

635
00:34:00,520 --> 00:34:03,400
Speaker 2: it's great, or it has been from time to time,

636
00:34:03,520 --> 00:34:06,440
Speaker 2: so I've never heard of it and never heard it,

637
00:34:06,480 --> 00:34:09,200
Speaker 2: but I may pick up an Archer's habit. I'm not

638
00:34:09,239 --> 00:34:11,279
Speaker 2: sure then, yeah, or you.

639
00:34:11,239 --> 00:34:13,880
Speaker 1: Could just watch Archer instead on FX.

640
00:34:14,120 --> 00:34:16,799
Speaker 2: It's great. It's basically the same thing.

641
00:34:18,560 --> 00:34:20,000
Speaker 1: The radio was still going on. You know, I know

642
00:34:20,040 --> 00:34:22,280
Speaker 1: we're talking a lot about TV, but you mentioned the Archers.

643
00:34:23,239 --> 00:34:25,640
Speaker 1: The quality of radios. You know, if you listen to

644
00:34:25,680 --> 00:34:28,920
Speaker 1: our AM Radio episode, everything just on. It kind of

645
00:34:28,960 --> 00:34:32,920
Speaker 1: started getting better technologically in the sixties and seventies. They

646
00:34:32,920 --> 00:34:37,160
Speaker 1: were more ubiquitous, so it reached more ears. But you know,

647
00:34:37,200 --> 00:34:39,480
Speaker 1: this touches on a lot of our episodes because if

648
00:34:39,480 --> 00:34:42,920
Speaker 1: you listen to our Pirate Radio episode, you'll know that

649
00:34:43,160 --> 00:34:47,600
Speaker 1: pirate radio was a legitimate threat to the BBC Radio

650
00:34:48,239 --> 00:34:51,239
Speaker 1: Radio Caroline and Radio London. It wasn't just you know,

651
00:34:51,400 --> 00:34:53,680
Speaker 1: like a few hundred people listening like they were playing

652
00:34:54,040 --> 00:34:57,440
Speaker 1: popular music and sort of dominating that scene in the

653
00:34:57,440 --> 00:34:59,400
Speaker 1: mid to late sixties, and the BBC is like, we

654
00:34:59,440 --> 00:35:01,080
Speaker 1: got a better Yeah.

655
00:35:01,200 --> 00:35:03,520
Speaker 2: The reason why there were pirate radio stations is again

656
00:35:03,640 --> 00:35:06,400
Speaker 2: because it was illegal to run a radio station because

657
00:35:06,480 --> 00:35:10,279
Speaker 2: BBC had the monopoly on it. So they were like, well,

658
00:35:10,400 --> 00:35:12,000
Speaker 2: like like you said, we need to keep up, so

659
00:35:12,000 --> 00:35:16,200
Speaker 2: they launched Radio one in nineteen sixty seven. Apparently it's

660
00:35:16,239 --> 00:35:19,200
Speaker 2: the most listened to radio station in the entire world

661
00:35:20,640 --> 00:35:22,920
Speaker 2: for no small reason, in part to Pete Tong and

662
00:35:23,000 --> 00:35:26,520
Speaker 2: his Essential Selection show that ran in the nineties. Did

663
00:35:26,560 --> 00:35:27,359
Speaker 2: you ever listen to that?

664
00:35:28,280 --> 00:35:29,880
Speaker 1: I know the name, but I don't know if I

665
00:35:29,880 --> 00:35:30,440
Speaker 1: ever listened to that.

666
00:35:30,520 --> 00:35:32,920
Speaker 2: It was like DJ sets that he hosted. They were

667
00:35:33,080 --> 00:35:34,399
Speaker 2: really good. It was a good show.

668
00:35:35,120 --> 00:35:38,359
Speaker 1: Yeah. Well, they eventually would end that monopoly five years

669
00:35:38,440 --> 00:35:41,520
Speaker 1: later in nineteen seventy two on the radio when they

670
00:35:42,040 --> 00:35:45,080
Speaker 1: passed legislation that commercial radio could be a thing. And

671
00:35:45,120 --> 00:35:49,080
Speaker 1: that's when the LBC, the London Broadcasting Company, was the

672
00:35:49,080 --> 00:35:52,520
Speaker 1: first one to hit the legitimate airwaves. Is not pirate radio,

673
00:35:53,080 --> 00:35:56,800
Speaker 1: And apparently it was. You know, things moved along okay

674
00:35:56,840 --> 00:35:58,640
Speaker 1: through the seventies and eighties, but it was really a

675
00:35:58,719 --> 00:36:02,399
Speaker 1: nineteen nineties where local independent radio like super took off

676
00:36:02,480 --> 00:36:03,000
Speaker 1: over there.

677
00:36:03,200 --> 00:36:05,440
Speaker 2: Yeah. I think by that time. By nineteen ninety five,

678
00:36:05,480 --> 00:36:09,399
Speaker 2: the BBC had a smaller audience than some of its

679
00:36:09,400 --> 00:36:13,080
Speaker 2: competitors for the very first time. Yeah, but the BBC

680
00:36:13,200 --> 00:36:15,560
Speaker 2: plotted along. Don't feel bad for them, as we'll see

681
00:36:15,880 --> 00:36:18,360
Speaker 2: they know how to pick themselves up and dust themselves

682
00:36:18,400 --> 00:36:22,239
Speaker 2: off and say what's next for the BBC? I say,

683
00:36:22,239 --> 00:36:23,920
Speaker 2: we take a break and we come back and find

684
00:36:23,920 --> 00:36:24,720
Speaker 2: out what's next.

685
00:36:24,800 --> 00:36:39,279
Speaker 1: Chuck, let's do it all right, We're back and we

686
00:36:39,360 --> 00:36:42,000
Speaker 1: promised what's next for the BBC? And what was next?

687
00:36:42,200 --> 00:36:47,680
Speaker 1: Was Margaret Thatcher saying I hate you BBC. Yeah, she

688
00:36:47,719 --> 00:36:52,640
Speaker 1: was elected in nineteen seventy nine, had a strong I guess,

689
00:36:52,760 --> 00:36:55,799
Speaker 1: aversion to the BBC and their privileged status right out

690
00:36:55,800 --> 00:36:58,120
Speaker 1: of the gate. She wanted she was all about the

691
00:36:58,120 --> 00:36:59,719
Speaker 1: free market. She was like, nap, this should be in

692
00:36:59,760 --> 00:37:05,840
Speaker 1: the free market with everyone else. The editorial editorializing should

693
00:37:05,840 --> 00:37:08,719
Speaker 1: align with the national interest of basically what I think

694
00:37:08,800 --> 00:37:09,640
Speaker 1: is a national interest.

695
00:37:09,800 --> 00:37:10,239
Speaker 2: That's right.

696
00:37:10,520 --> 00:37:12,279
Speaker 1: And there were a number of things that happened in

697
00:37:12,280 --> 00:37:16,200
Speaker 1: the nineteen eighties that I guess you could call them

698
00:37:16,239 --> 00:37:19,319
Speaker 1: either missteps or just honest broadcasting that Thatcher did not like.

699
00:37:19,680 --> 00:37:24,000
Speaker 2: No, especially covering the Falklands War or the troubles in

700
00:37:24,040 --> 00:37:28,360
Speaker 2: Northern Ireland. They weren't just like screw Northern Ireland, screw

701
00:37:28,440 --> 00:37:34,040
Speaker 2: the IRA or screw the Argentinians like they like you said,

702
00:37:34,080 --> 00:37:37,520
Speaker 2: reported fairly and in some cases we're accused of treachery.

703
00:37:37,800 --> 00:37:42,200
Speaker 2: Apparently Peter Snow on Newsnight called the troops the British

704
00:37:42,520 --> 00:37:45,160
Speaker 2: when they were invading the Falklands rather than our troops,

705
00:37:45,160 --> 00:37:49,680
Speaker 2: and he was accused of treachery. And they once interviewed

706
00:37:50,120 --> 00:37:55,759
Speaker 2: IRA member for a I think a Panorama episode. Yeah.

707
00:37:55,840 --> 00:37:58,600
Speaker 2: Panorama's kind of like Frontline from what I can tell,

708
00:37:58,640 --> 00:38:03,719
Speaker 2: It's like a hard hit investigative documentary show. And you

709
00:38:03,840 --> 00:38:05,759
Speaker 2: just couldn't do that. You couldn't talk to the IRA,

710
00:38:05,920 --> 00:38:08,480
Speaker 2: you couldn't give them any kind of airtime, you couldn't

711
00:38:08,520 --> 00:38:11,319
Speaker 2: air their viewpoints, and they tried to in the mid

712
00:38:11,400 --> 00:38:15,359
Speaker 2: eighties with that Panorama episode, but I guess I never

713
00:38:15,360 --> 00:38:17,040
Speaker 2: saw the light a day because of the government.

714
00:38:17,760 --> 00:38:20,359
Speaker 1: Yeah, and that the whole situation would eventually lead to

715
00:38:20,400 --> 00:38:25,800
Speaker 1: the oulster of the Director General at the time, Alistair Milne.

716
00:38:26,000 --> 00:38:29,200
Speaker 1: And you know, he was everything I read about him

717
00:38:29,280 --> 00:38:31,080
Speaker 1: said that he was doing a pretty good job. But

718
00:38:31,160 --> 00:38:34,800
Speaker 1: it was you know, Thatcher was in power. She wanted

719
00:38:34,880 --> 00:38:38,120
Speaker 1: him out and in nineteen eighty seven he was basically

720
00:38:39,000 --> 00:38:43,440
Speaker 1: kind of strong earned doubt and Thatcher's you know, choice person,

721
00:38:43,840 --> 00:38:48,040
Speaker 1: Marmaduke Hussey was installed and you know, just to be

722
00:38:48,200 --> 00:38:49,360
Speaker 1: more government friendly.

723
00:38:49,719 --> 00:38:52,239
Speaker 2: Yeah, apparently, I was reading about Marmaduke Hussey. He was

724
00:38:52,280 --> 00:38:56,360
Speaker 2: described in his obituary as cleverer than he looked, but

725
00:38:56,440 --> 00:39:00,879
Speaker 2: almost certainly not as clever as he thought. He said

726
00:39:00,920 --> 00:39:02,719
Speaker 2: that when he was appointed to the BBC, he was

727
00:39:02,760 --> 00:39:04,719
Speaker 2: so unfamiliar with it that he and his wife had

728
00:39:04,719 --> 00:39:06,600
Speaker 2: to look up the address and the phone book to

729
00:39:06,640 --> 00:39:09,319
Speaker 2: see where he should be going. So he was not

730
00:39:09,520 --> 00:39:12,720
Speaker 2: like an obvious choice, and he was clearly the choice

731
00:39:12,760 --> 00:39:15,960
Speaker 2: that was like, this guy's going to listen to everything

732
00:39:16,000 --> 00:39:17,240
Speaker 2: I want, thought Thatcher.

733
00:39:18,040 --> 00:39:21,160
Speaker 1: Yeah. Well, and I read some about what Melne thought

734
00:39:21,200 --> 00:39:24,200
Speaker 1: of like kind of the board after that and the

735
00:39:24,760 --> 00:39:27,520
Speaker 1: management after that, and he was like, it's just it's

736
00:39:27,520 --> 00:39:29,520
Speaker 1: a bunch of amateurs, people that don't know what they're doing,

737
00:39:29,600 --> 00:39:33,200
Speaker 1: like beyond the fact that they're just cronies for Thatcher,

738
00:39:33,680 --> 00:39:35,680
Speaker 1: like they're not good at this job.

739
00:39:36,360 --> 00:39:39,920
Speaker 2: Yeah, yeah, apparently he Hussey was known to this point

740
00:39:39,960 --> 00:39:42,480
Speaker 2: for having almost run the Daily Mail into the ground

741
00:39:42,480 --> 00:39:45,520
Speaker 2: and then almost run the Telegraph into the ground too,

742
00:39:46,120 --> 00:39:48,520
Speaker 2: so he was definitely not an obvious choice.

743
00:39:48,560 --> 00:39:53,600
Speaker 1: Like I said, yeah, fast forward a lot, actually, if

744
00:39:53,640 --> 00:39:55,120
Speaker 1: you want to go all the way up to Tony

745
00:39:55,120 --> 00:39:59,120
Speaker 1: Blair in the twenty first century. One of their big

746
00:39:59,160 --> 00:40:04,080
Speaker 1: first sort of controversies of that era was the Iraq Dossier.

747
00:40:04,800 --> 00:40:06,920
Speaker 1: And May two thousand and three there was a defense

748
00:40:06,960 --> 00:40:10,480
Speaker 1: correspondent named Andrew Gilligan who got on Radio four and

749
00:40:10,520 --> 00:40:15,520
Speaker 1: alleged that the Iraq WMD dossier had been quote sexed up,

750
00:40:16,360 --> 00:40:20,560
Speaker 1: something that everyone understands as being the truth now, and

751
00:40:21,239 --> 00:40:25,160
Speaker 1: Blair's press chief, Alistair Campbell, went on the counter and

752
00:40:25,800 --> 00:40:28,799
Speaker 1: a big feud sort of erupted between the BBC and

753
00:40:28,840 --> 00:40:34,200
Speaker 1: the government and director general there, Greg Dyke was well,

754
00:40:34,239 --> 00:40:36,320
Speaker 1: I guess he was sacked as well while he resigned

755
00:40:36,360 --> 00:40:37,719
Speaker 1: but kind of another strong arm.

756
00:40:37,840 --> 00:40:40,319
Speaker 2: Yeah, that was a huge, huge deal. And one of

757
00:40:40,320 --> 00:40:43,040
Speaker 2: the most shocking things that came out of all of

758
00:40:43,080 --> 00:40:46,719
Speaker 2: this is that Andrew Gilligan's source on this matter was

759
00:40:46,840 --> 00:40:49,680
Speaker 2: a guy named David Kelly, who was a UN weapons expert,

760
00:40:50,120 --> 00:40:52,440
Speaker 2: so he really knew what he was talking about, but

761
00:40:52,520 --> 00:40:54,880
Speaker 2: he had been an anonymous whistleblower up to this point.

762
00:40:55,200 --> 00:40:58,640
Speaker 2: It leaked out somehow that he was the source. Yeah,

763
00:40:58,680 --> 00:41:03,680
Speaker 2: this huge government contray that basically said the UK faked

764
00:41:04,280 --> 00:41:07,960
Speaker 2: all of the stuff that helped America invade Iraq, and

765
00:41:08,200 --> 00:41:12,520
Speaker 2: David Kelly was found dead, apparently by suicide in the

766
00:41:12,560 --> 00:41:16,120
Speaker 2: woods by his house. Yeah, it's very sad too. Apparently

767
00:41:16,120 --> 00:41:18,840
Speaker 2: there's a certain amount of people who are like, I

768
00:41:18,840 --> 00:41:19,960
Speaker 2: don't think he took his life.

769
00:41:21,320 --> 00:41:23,160
Speaker 1: Yeah. As soon as I read that, I was like,

770
00:41:23,360 --> 00:41:27,200
Speaker 1: I mean there was an investigation apparently, and the government

771
00:41:27,239 --> 00:41:28,160
Speaker 1: was cleared of wrongdoing.

772
00:41:28,200 --> 00:41:31,440
Speaker 2: But you know, yeah, but I mean that'd be pretty

773
00:41:31,520 --> 00:41:34,840
Speaker 2: vindictive if you think about it, Like, I can really

774
00:41:34,880 --> 00:41:37,920
Speaker 2: buy the government killing this guy to silence and before

775
00:41:37,960 --> 00:41:40,600
Speaker 2: he can share this information, but to do it in

776
00:41:40,680 --> 00:41:42,840
Speaker 2: retribution seems even Wow.

777
00:41:43,520 --> 00:41:47,680
Speaker 1: Yeah, for sure. The late nineties come along and the

778
00:41:47,719 --> 00:41:50,879
Speaker 1: digital revolution is upon us, and Director of General at

779
00:41:50,880 --> 00:41:55,240
Speaker 1: that time John Burt, started BBC Online. He had visited

780
00:41:55,239 --> 00:41:57,800
Speaker 1: the States and kind of realized that that was the future,

781
00:41:58,560 --> 00:42:01,719
Speaker 1: and it really took off. They had at the time

782
00:42:01,760 --> 00:42:05,680
Speaker 1: just sort of a piecemeal network of web pages, and

783
00:42:05,760 --> 00:42:07,600
Speaker 1: in nineteen ninety seven they really kicked it off in

784
00:42:07,719 --> 00:42:10,920
Speaker 1: ernest with BBC Online with a general election and a

785
00:42:11,040 --> 00:42:15,000
Speaker 1: rolling news website for the first time was established after

786
00:42:15,120 --> 00:42:18,480
Speaker 1: the death of Princess Diana, so it was hotly trafficked obviously.

787
00:42:18,680 --> 00:42:22,600
Speaker 2: Yeah, apparently nineteen million people watched her funeral, the largest

788
00:42:22,600 --> 00:42:27,319
Speaker 2: ever broadcast for them. And one of the things that

789
00:42:27,360 --> 00:42:31,120
Speaker 2: came out of this, and again this was really forward thinking.

790
00:42:31,280 --> 00:42:33,440
Speaker 2: We're talking nineteen ninety seven and they're like, we're going

791
00:42:33,520 --> 00:42:35,680
Speaker 2: to put a substantial amount of money in creating our

792
00:42:35,719 --> 00:42:37,880
Speaker 2: web presence. One of the things that came out of

793
00:42:37,880 --> 00:42:41,200
Speaker 2: it was that iPlayer you were mentioning, yeah, Yeah, which

794
00:42:41,280 --> 00:42:44,440
Speaker 2: was launched in two thousand and seven and initially it

795
00:42:44,520 --> 00:42:48,640
Speaker 2: was like did you miss EastEnders this week, Well, come

796
00:42:48,680 --> 00:42:51,680
Speaker 2: watch it on iPlayer, And this was not a thing

797
00:42:52,000 --> 00:42:54,799
Speaker 2: at the time, like this was a really groundbreaking thing

798
00:42:55,160 --> 00:42:56,640
Speaker 2: for the BBC to come up with.

799
00:42:57,680 --> 00:43:00,680
Speaker 1: Yeah, there was a lot of lobbying by rivals, like

800
00:43:00,719 --> 00:43:03,600
Speaker 1: commercial rivals, so they had a lot of constraints at

801
00:43:03,640 --> 00:43:06,880
Speaker 1: first that you know, hey you can watch the Senators.

802
00:43:06,920 --> 00:43:10,120
Speaker 1: It was just for seven days at first, but it

803
00:43:10,160 --> 00:43:12,799
Speaker 1: was free. Kyle said it was very easy to use.

804
00:43:13,920 --> 00:43:15,719
Speaker 1: I cannot attest to that, but Kyle said it was.

805
00:43:16,320 --> 00:43:19,320
Speaker 1: And by twenty twelve, eye Player was voted the UK's

806
00:43:19,320 --> 00:43:22,360
Speaker 1: best brand and that was when they had the London

807
00:43:22,400 --> 00:43:24,680
Speaker 1: Olympics going on, and that's a great time to have

808
00:43:24,719 --> 00:43:27,480
Speaker 1: something like Eyeplayer so you can catch the Olympics if

809
00:43:27,480 --> 00:43:31,480
Speaker 1: you're not watching it live. But then Netflix would come

810
00:43:31,520 --> 00:43:36,080
Speaker 1: along in twenty twelve overseas and they were free from

811
00:43:36,160 --> 00:43:38,880
Speaker 1: those regulations and they could mine all the top shows

812
00:43:38,920 --> 00:43:41,120
Speaker 1: they wanted that they could, you know, cut deals with

813
00:43:41,800 --> 00:43:44,200
Speaker 1: and all of a sudden, I think the BBC had

814
00:43:44,239 --> 00:43:46,480
Speaker 1: a restriction on their best shows for like seven years.

815
00:43:47,000 --> 00:43:51,240
Speaker 1: So Netflix really put a herding on Eyeplayer for a while.

816
00:43:51,760 --> 00:43:54,040
Speaker 2: Yeah. I guess their audience share in the UK went

817
00:43:54,080 --> 00:43:58,239
Speaker 2: from forty percent to fifteen percent once Netflix showed up

818
00:43:58,920 --> 00:44:01,280
Speaker 2: and I saw the adolescent. This is the most watched

819
00:44:01,320 --> 00:44:05,080
Speaker 2: show in the UK, I believe in history. It's pretty good.

820
00:44:07,320 --> 00:44:09,879
Speaker 2: And I guess the BBC's like, we can't, we can't

821
00:44:09,880 --> 00:44:13,840
Speaker 2: compete with this, like our Eeplayer. Even the Netflix chief

822
00:44:13,840 --> 00:44:17,880
Speaker 2: executive said the Eyeplayer really blazed the trail for video

823
00:44:17,960 --> 00:44:20,640
Speaker 2: on demand. Yeah, but they're like we can't, we can't

824
00:44:20,760 --> 00:44:23,640
Speaker 2: keep up with this. And it doesn't really matter because

825
00:44:23,680 --> 00:44:28,080
Speaker 2: everybody loves Eyeplayer, and I guess you would not necessarily

826
00:44:28,400 --> 00:44:32,600
Speaker 2: choose between Netflix and Eyeplayer. Maybe some do. I'm not

827
00:44:32,680 --> 00:44:34,680
Speaker 2: quite sure what the competition problem is.

828
00:44:35,560 --> 00:44:37,640
Speaker 1: Yeah, I'm with you, because it's.

829
00:44:37,440 --> 00:44:40,280
Speaker 2: Not like BBC's like, give me some money for Eyeplayer,

830
00:44:40,320 --> 00:44:43,279
Speaker 2: like that's included in your license that you pay every year.

831
00:44:43,640 --> 00:44:45,640
Speaker 2: Maybe they just don't like to look bad.

832
00:44:45,880 --> 00:44:48,279
Speaker 1: Well, I mean, you don't want a dying product on

833
00:44:48,320 --> 00:44:49,239
Speaker 1: your company, you know.

834
00:44:49,440 --> 00:44:51,720
Speaker 2: Yeah, I don't think it is dying. But yeah, Netflix

835
00:44:51,719 --> 00:44:53,520
Speaker 2: took a huge bite out of it.

836
00:44:53,960 --> 00:44:57,239
Speaker 1: Yeah, for sure. But BBC is still around. BBC one

837
00:44:57,280 --> 00:44:59,880
Speaker 1: still reaches millions of people on just on the t

838
00:45:01,480 --> 00:45:06,000
Speaker 1: Radio four reaches about ten million people weekly. The sort

839
00:45:06,040 --> 00:45:08,760
Speaker 1: of knock against or the crack against BBC, I guess

840
00:45:09,640 --> 00:45:13,759
Speaker 1: crack in the American sense, not the Irish sense. I

841
00:45:13,760 --> 00:45:16,160
Speaker 1: guess you would say the knock over there is that

842
00:45:16,480 --> 00:45:19,560
Speaker 1: it's like for you know, for the senior set, like

843
00:45:19,600 --> 00:45:21,319
Speaker 1: you know, there are people that watch the BBC or

844
00:45:21,320 --> 00:45:25,160
Speaker 1: in their sixties and you know it's sort of not

845
00:45:25,160 --> 00:45:31,520
Speaker 1: not the way forward it was our past. Yeah that's right, Chuck,

846
00:45:32,360 --> 00:45:34,279
Speaker 1: you play funeral music.

847
00:45:34,080 --> 00:45:37,440
Speaker 2: Or something so well, I don't know yet that actually

848
00:45:37,480 --> 00:45:40,080
Speaker 2: remains to be seen. I don't. I can't imagine that

849
00:45:40,120 --> 00:45:42,000
Speaker 2: the BBC is going to just be done away with,

850
00:45:42,120 --> 00:45:44,760
Speaker 2: but it is quite possible that they're going to face

851
00:45:44,800 --> 00:45:49,560
Speaker 2: some some real change changes because in the twenty tens,

852
00:45:49,640 --> 00:45:53,239
Speaker 2: the BBC it was just missed up and scandal and

853
00:45:53,320 --> 00:45:57,920
Speaker 2: problem after problem. Apparently they worked on one hundred million

854
00:45:58,280 --> 00:46:01,200
Speaker 2: pound digital media initiative where they were going to come

855
00:46:01,280 --> 00:46:03,719
Speaker 2: up with a great archive that's going to be super searchable,

856
00:46:03,880 --> 00:46:08,520
Speaker 2: and it just went nowhere. So they just wasted you know,

857
00:46:08,719 --> 00:46:11,640
Speaker 2: I think ninety seven million pounds on it, and Brits

858
00:46:11,640 --> 00:46:15,120
Speaker 2: were outraged, which shows you, you know, that sense of

859
00:46:15,160 --> 00:46:18,400
Speaker 2: ownership that the average British person has for the BBC,

860
00:46:19,200 --> 00:46:22,480
Speaker 2: whereas like, if you found out, you know, Nickelodeon spent

861
00:46:22,560 --> 00:46:25,200
Speaker 2: one hundred million dollars in a failed initiative, even though

862
00:46:25,200 --> 00:46:28,799
Speaker 2: you're paying through your cable subscription in part for Nickelodeon,

863
00:46:29,040 --> 00:46:31,759
Speaker 2: you wouldn't it would It would matter not. It's like Nickelodeon,

864
00:46:31,800 --> 00:46:34,200
Speaker 2: do whatever you want with the money. But Brits feel

865
00:46:34,239 --> 00:46:36,560
Speaker 2: like that about the BBC. That's the impression I have

866
00:46:36,680 --> 00:46:37,560
Speaker 2: from that response.

867
00:46:38,160 --> 00:46:41,400
Speaker 1: Yeah, well, yeah, it's tied. Nickelodeon's not tied to the government.

868
00:46:41,920 --> 00:46:44,080
Speaker 1: I think that's one of the big differences.

869
00:46:44,440 --> 00:46:45,360
Speaker 2: Okay. Sure.

870
00:46:47,760 --> 00:46:51,160
Speaker 1: In twenty seventeen, the Conservative government said hey, we need

871
00:46:51,200 --> 00:46:55,520
Speaker 1: to start publishing these salaries and they revealed a gender

872
00:46:55,600 --> 00:46:59,120
Speaker 1: a pretty substantial gender pay gap, and people were also

873
00:46:59,200 --> 00:47:02,600
Speaker 1: not happy that dear arding executives got big payoffs and

874
00:47:02,640 --> 00:47:06,000
Speaker 1: I was like, ooh, what's big. Yeah. Deputy Deputy Director

875
00:47:06,000 --> 00:47:09,359
Speaker 1: General Mark Bifer got a nine hundred and forty nine

876
00:47:09,360 --> 00:47:14,359
Speaker 1: thousand pound payment in twenty eleven, and David Zaslov said,

877
00:47:14,440 --> 00:47:18,480
Speaker 1: hold my pint, guys, right, he made fifty two million

878
00:47:18,520 --> 00:47:21,880
Speaker 1: bucks last year. Yeah, And they said, oh no, no, no,

879
00:47:22,000 --> 00:47:24,320
Speaker 1: you can't make that much money, and so they're cutting

880
00:47:24,320 --> 00:47:26,160
Speaker 1: it back to like thirty something million this year.

881
00:47:26,480 --> 00:47:30,000
Speaker 2: That's funny. There's like that's too much money. Sorry, you

882
00:47:30,000 --> 00:47:32,080
Speaker 2: don't get that much. And he's like, okay, how much

883
00:47:32,120 --> 00:47:32,600
Speaker 2: do I get?

884
00:47:33,080 --> 00:47:33,720
Speaker 1: Thirty something?

885
00:47:33,920 --> 00:47:37,359
Speaker 2: Yeah, I guess I can make do. There was then

886
00:47:37,560 --> 00:47:41,240
Speaker 2: like all sorts of terrible sex scandals too. Jimmy Seville

887
00:47:41,320 --> 00:47:43,720
Speaker 2: kicked it all off when he died in twenty eleven,

888
00:47:44,360 --> 00:47:48,439
Speaker 2: and the a floodgate opened where people just started coming

889
00:47:48,520 --> 00:47:50,880
Speaker 2: forward being like, he sexually abused me in the sixties,

890
00:47:50,880 --> 00:47:53,880
Speaker 2: he sexually abused me in the seventies, eighties, nineties, two thousands.

891
00:47:54,680 --> 00:47:59,400
Speaker 2: He apparently had possibly hundreds of victims, a lot of

892
00:47:59,440 --> 00:48:03,719
Speaker 2: them chilled, some of them under like age sixteen, a

893
00:48:03,760 --> 00:48:07,680
Speaker 2: pretty substantial number. And it turned out that a lot

894
00:48:07,719 --> 00:48:10,759
Speaker 2: of people in the BBC were well aware of this

895
00:48:10,880 --> 00:48:15,600
Speaker 2: and essentially spent their time covering this up because Jimmy

896
00:48:15,600 --> 00:48:18,640
Speaker 2: Seville was just so revered in such a VIP that

897
00:48:18,680 --> 00:48:21,839
Speaker 2: he was treated with that much deference and like your

898
00:48:21,880 --> 00:48:23,880
Speaker 2: career would end if you went had to head with

899
00:48:23,960 --> 00:48:26,360
Speaker 2: him or even thought about it out loud.

900
00:48:26,960 --> 00:48:29,479
Speaker 1: Yeah, that's how much power he had as the host

901
00:48:29,520 --> 00:48:31,799
Speaker 1: of Top of the Pops. Very sad.

902
00:48:31,840 --> 00:48:35,759
Speaker 2: Yeah, imagine like Dick Clark doing that. You can't you

903
00:48:35,800 --> 00:48:36,400
Speaker 2: can't do it.

904
00:48:37,800 --> 00:48:39,920
Speaker 1: In twenty twenty three, just a couple of years ago,

905
00:48:40,000 --> 00:48:42,359
Speaker 1: Hugh Edwards, who was the lead presenter BBC News at

906
00:48:42,360 --> 00:48:46,040
Speaker 1: ten for twenty years since two thousand and three, played

907
00:48:46,560 --> 00:48:50,240
Speaker 1: guilty to sex offenses as well, and a Master Chef

908
00:48:50,239 --> 00:48:55,360
Speaker 1: host Greg Wallace this year was sacked after dozens of

909
00:48:55,640 --> 00:48:59,440
Speaker 1: sexual misconduct allegations were upheld. So yeah, they had a

910
00:48:59,520 --> 00:49:04,000
Speaker 1: long run of bad headlines leading all the way up

911
00:49:04,040 --> 00:49:06,799
Speaker 1: into like very very recently with the Trump administration.

912
00:49:06,920 --> 00:49:12,759
Speaker 2: Right, Yeah, there's a current scandal going on where Panorama again,

913
00:49:12,840 --> 00:49:16,680
Speaker 2: their investigative documentary series. They just released an episode, I

914
00:49:16,680 --> 00:49:20,160
Speaker 2: think it's the most recent one as of today, on

915
00:49:21,040 --> 00:49:25,320
Speaker 2: Trump and the technocrats and in it, they spliced together

916
00:49:25,640 --> 00:49:28,560
Speaker 2: his speech that he gave on January sixth, which makes

917
00:49:28,560 --> 00:49:32,360
Speaker 2: it look like he directly called for violence, and the

918
00:49:32,520 --> 00:49:35,160
Speaker 2: I guess BBC was like, we regret this error. And

919
00:49:35,280 --> 00:49:37,400
Speaker 2: Trump's response was that he was going to sue for

920
00:49:37,480 --> 00:49:41,439
Speaker 2: no less than one billion dollars. Yeah, that's the first

921
00:49:41,520 --> 00:49:43,719
Speaker 2: part of it. The second part is that at the

922
00:49:43,760 --> 00:49:46,920
Speaker 2: same time this is like, these are just body blows

923
00:49:46,960 --> 00:49:48,120
Speaker 2: coming one after the other.

924
00:49:48,680 --> 00:49:48,960
Speaker 1: Yeah.

925
00:49:49,000 --> 00:49:53,400
Speaker 2: An internal memo is leak that was basically said, I

926
00:49:53,440 --> 00:49:57,000
Speaker 2: think outright that the BBC is two left wing biased

927
00:49:57,400 --> 00:50:01,240
Speaker 2: and gave examples of it. That memo got and it's like, okay,

928
00:50:01,600 --> 00:50:04,319
Speaker 2: not only do the conservatives think that the it's left

929
00:50:04,320 --> 00:50:08,120
Speaker 2: wing biased, you think that it's left wing bias BBC,

930
00:50:08,280 --> 00:50:10,600
Speaker 2: or that you're left wing biased. So this is what's

931
00:50:10,640 --> 00:50:13,759
Speaker 2: going on as they're negotiating the charter that renews in

932
00:50:13,760 --> 00:50:14,720
Speaker 2: twenty twenty seven.

933
00:50:15,480 --> 00:50:18,480
Speaker 1: Yeah, so the stage is set for, you know, a

934
00:50:18,560 --> 00:50:20,840
Speaker 1: pretty big battle is brewing on what that charter is

935
00:50:20,840 --> 00:50:22,719
Speaker 1: going to or what that yeah license fee is going

936
00:50:22,760 --> 00:50:25,040
Speaker 1: to look like and if it's even you know, like

937
00:50:25,080 --> 00:50:28,279
Speaker 1: we mentioned, people are calling it a regressive tax. I

938
00:50:28,320 --> 00:50:31,040
Speaker 1: believe that the BBC used to cover or the government

939
00:50:31,120 --> 00:50:32,920
Speaker 1: used to cover it for people over seventy. Now the

940
00:50:32,920 --> 00:50:37,160
Speaker 1: BBC is responsible for that. But yeah, I mean it's

941
00:50:37,160 --> 00:50:39,120
Speaker 1: gonna be really interesting to see how it all plays out.

942
00:50:39,719 --> 00:50:42,080
Speaker 2: Yeah. I fear for the BBC a little bit.

943
00:50:42,760 --> 00:50:45,880
Speaker 1: I love you BBC. Get your act together, is what

944
00:50:45,920 --> 00:50:46,319
Speaker 1: I say.

945
00:50:46,360 --> 00:50:50,640
Speaker 2: Sure, why not you got anything else about the BBC

946
00:50:50,760 --> 00:50:52,640
Speaker 2: or the biblic or the BEB.

947
00:50:53,280 --> 00:50:54,400
Speaker 1: I got nothing else.

948
00:50:55,120 --> 00:50:59,320
Speaker 2: Okay I don't either, which means everybody, it's time for

949
00:50:59,400 --> 00:51:00,000
Speaker 2: listener mail.

950
00:51:03,400 --> 00:51:06,480
Speaker 1: We got lots of good pop chart response one of

951
00:51:06,520 --> 00:51:09,440
Speaker 1: our more beloved episodes of Late and a lot of

952
00:51:09,440 --> 00:51:11,840
Speaker 1: people said eat them frozen, and here's one. Hey guys,

953
00:51:11,880 --> 00:51:15,160
Speaker 1: longtime listener from Santa Rosa, California. You guys have been

954
00:51:15,239 --> 00:51:16,920
Speaker 1: the soundtrack to so many moments of my life and

955
00:51:16,920 --> 00:51:19,360
Speaker 1: it brought so much joy and moments and times to

956
00:51:19,400 --> 00:51:22,000
Speaker 1: tell fun facts. So thank you. The recent pop tart episode,

957
00:51:22,000 --> 00:51:23,400
Speaker 1: I was waiting to see if you had mentioned the

958
00:51:23,520 --> 00:51:26,759
Speaker 1: ultimate all caps way to enjoy pop tarts, and that

959
00:51:26,840 --> 00:51:30,640
Speaker 1: is frozen. However you did mention it, and Chuck shuddered

960
00:51:30,960 --> 00:51:32,840
Speaker 1: with what seemed to be terror at the thought. I

961
00:51:32,840 --> 00:51:34,840
Speaker 1: don't remember doing that, but I guess I did. Okay,

962
00:51:35,520 --> 00:51:37,960
Speaker 1: strongly urge you to both try it. It's the pop chart,

963
00:51:38,000 --> 00:51:40,120
Speaker 1: you know, in love, but in frozen treat form. Do

964
00:51:40,200 --> 00:51:42,000
Speaker 1: your taste buds of favor and go pop a couple

965
00:51:42,000 --> 00:51:44,960
Speaker 1: in the freezer, then pop them in your mouths. And

966
00:51:45,000 --> 00:51:48,040
Speaker 1: that is from Matt f and Matt you'll be glad

967
00:51:48,040 --> 00:51:50,719
Speaker 1: to know, because they're urging of another listener who said

968
00:51:50,760 --> 00:51:53,080
Speaker 1: cut those crust off first. I went and got a

969
00:51:53,080 --> 00:51:55,960
Speaker 1: couple of those brown sugar simons. I cut the crust off,

970
00:51:56,080 --> 00:51:57,680
Speaker 1: put them back in the package, and I threw him

971
00:51:57,680 --> 00:51:59,640
Speaker 1: in the freezer, and I'll enjoy them at some point

972
00:51:59,680 --> 00:52:00,000
Speaker 1: this week.

973
00:52:00,400 --> 00:52:01,919
Speaker 2: Oh you haven't enjoyed them yet.

974
00:52:02,360 --> 00:52:04,000
Speaker 1: No, no, no, I just put him in this afternoon,

975
00:52:04,040 --> 00:52:06,879
Speaker 1: and so I'm gonna before we record it. And I'm

976
00:52:06,880 --> 00:52:08,080
Speaker 1: not an afternoon pop charter.

977
00:52:08,560 --> 00:52:10,680
Speaker 2: Okay, you're a morning guy or evening.

978
00:52:11,000 --> 00:52:12,120
Speaker 1: Oh late night, my friend.

979
00:52:12,280 --> 00:52:14,439
Speaker 2: Okay, so you need to report back.

980
00:52:14,560 --> 00:52:17,200
Speaker 1: Okay, Yeah, this means I can't butter them, but I'm

981
00:52:17,200 --> 00:52:18,480
Speaker 1: willing to forgo that.

982
00:52:20,000 --> 00:52:22,080
Speaker 2: Yeah, you could use cold pats of butter, that would

983
00:52:22,080 --> 00:52:22,560
Speaker 2: be good.

984
00:52:23,640 --> 00:52:25,120
Speaker 1: Or ooh, do you know I could do is melt

985
00:52:25,160 --> 00:52:27,440
Speaker 1: some butter and just dip that frozen in there bite

986
00:52:27,440 --> 00:52:28,000
Speaker 1: by bite.

987
00:52:28,120 --> 00:52:33,520
Speaker 2: Oh yeah, it's kind of like a reverse fried Snickers.

988
00:52:33,760 --> 00:52:35,200
Speaker 1: Yeah, I'll report back.

989
00:52:35,640 --> 00:52:38,760
Speaker 2: Okay, we'll see Okay, And who is that from?

990
00:52:38,920 --> 00:52:39,719
Speaker 1: That was from Matt F.

991
00:52:40,200 --> 00:52:42,280
Speaker 2: Thanks a lot, Matt F. That was a great email

992
00:52:42,400 --> 00:52:44,920
Speaker 2: and we'll let you know what Chuck thinks. And in

993
00:52:44,960 --> 00:52:46,640
Speaker 2: the meantime, if you want to be like Matt F

994
00:52:46,719 --> 00:52:49,120
Speaker 2: and send us a great email, you can send it

995
00:52:49,160 --> 00:52:54,799
Speaker 2: off to stuff podcast at iHeartRadio dot com.

996
00:52:54,920 --> 00:52:57,799
Speaker 1: Stuff you Should Know is a production of iHeartRadio. For

997
00:52:57,920 --> 00:53:00,919
Speaker 1: more podcasts my heart Radio, visit the heart Radio app,

998
00:53:01,120 --> 00:53:04,000
Speaker 1: Apple Podcasts, or wherever you listen to your favorite shows.