The work / blog balance
January 24, 2008
Nice Pen. The Pig’s Lipstick and Faces in Places work stuff out
OK slightly weird one this… I’ve just checked all my fellow ‘Channel 4 employees who blog’ websites, and none of them have yet written about the session we had this morning about how channel 4 staff handle their blogs. Maybe I’ve too much free time tonight?
Anyway, first a bit of history. Channel 4 has come a little late to the staff-who-blog policy thing. When I was at the BBC two years ago Nick Reynolds ran, in my estimation, a perfect example of how to come up with a staff blogging policy. He started a wiki, threw up some thoughts with a nod to HR and stuff, and asked us, the bloggers, to edit and tweak the guidelines. After a short debate consensus was reached and the whole lot put on a public facing page for the world to see. Nick was it that easy?
So this morning I attended a session about staff blogging for channel 4. There was a previous session which addressed the idea of an official channel 4 blogger attended by Press and Publicity, Marketing, Legal and Compliance and other interested parties. Of Channel 4’s traditional approach to media communications I will say this, and it’s an observation not a critism. Our set up, our DNA, is programmed to deal with the likes of the Liverpool Echo, not Cory Doctrow. There was talk about the channel 4 ‘line’, but the day a company of 900+ souls speak as one voice on a subject is the day we become bees. If my time at channel 4 has taught me anything, it’s that the staff actually care and have a huge range of opinions on our output, it’s just that in the past you had to go to the Barley Mow or the Greencoat Boy to (over)hear those views and that those views were drowned out by ‘the line’. This isn’t the case anymore and there are parts of the organisation that have no frame of reference for this; It could be described as the introduction of rats to a previously perfectly balanced eco-system of flightless tropical birds. Just how does the channel respond to people who blog about our content, and staff who blog about… well as it turns out, all sorts of things.
Some topics that came up from the session, and maybe my fellow workers can fill in the blanks.
Public vs Anonymity: anonymous blogging is ok, it’s often how many of us start. But hiding behind anonymity for the sake of being controversial is not very good. Many of us, myself included, hid behind a nickname or moniker. Which makes us all sound like American truckers “Cowbite this is eyedropper you got your ears on good buddy 10-4?” Let’s face it, we’re not whistleblowers, using annonymity just to be bitchy is.. well it’s a faux pas.
Say it loud: I think there’s loads of brilliant people at channel 4, with knowledge and skills and tips and experience. Everyone should feel they can talk about what they do, not matter what their dept or job title.
Staff safety: Channel 4 has a duty of care to its employees. Jon Gisby talked in he opening gambit that the ‘do right by the company and the company will do right by you’ culture is a good thing. Some of our staff are at the front line of user interaction or work in some very sensitive or controversial areas. They must be careful how they conduct themselves in the digital world because of the implications.
Other things: Channel 4, indeed broadcasting itself, has gone through a crisis in the past year. Our users - not viewers - are having the debate on our output and services. To remain silent is dumb, literally. We should engage with the debate, not in an attempt to win over anybody or fight fires, but to put our point across. People might not agree with what we say, but at least we’ve said it.
Here are some of the points we came up with.
- Rule 1. Help us write the other rules.
- It’s the internet, try not to make a tit of yourself.
- Don’t smoke cigs in your school uniform.
- Don’t ask managers, ask peers.
It was a really enjoyable session.
McDonald’s sees fit for a refit
December 14, 2007
Everyone’s favourite high street public toilet chain has refitted its Victoria Street branch. In a record 72 hours they’ve turned it into something more akin to Pizza Express, right down to those single funny red plastic looking flowers with the yellow stamen. It’s all dark woods, fake leather and bar stools, contrasted with clean cream lines and colours. All of which highlights even more the fact that you are eating out of a sheet of greasy paper with your fingers. That’s right, the only thing that looks out of place now is the food.
There’s a large homeless community in and around Westminster Cathedral, many of whom could be seen nursing a cup of lukewarm coffee in this branch of Maccy D’s. I wonder what they make of it?
my ‘on the way to work’ free stuff haul
October 25, 2007
my ‘on the way to work’ free stuff haul
Originally uploaded by eyedropper.co.uk.
Exiting Victoria Station and walking along Victoria Street in the morning is beginning to resemble the bit in Airplane when Kramer (wrong week to quite smoking) enters the terminal to be accosted by various religious groups and people trying to give him stuff which he beats out of the way.
For example, today I got a fortune cookie in which I could win a flight to Hong Kong, a flyer for the new Michael Moore film by a girl dressed as a nurse who said ‘call in sick’ when she gave it too me. And a new men’s mag thing by, erm, a guy in a cap, that I only took because it’s got heroes on the cover.
There was also a giant Miami Dolphins NFL player in the station itself, but I wasn’t entirely sure what they were marketing… trips to Florida maybe?
The History of the Channel 4 logo and idents
October 19, 2007
On the 5th of November this year Channel 4 will be 25 years old, as part of the celebrations, C4 is screening some of the classic programmes that made the channel famous - and infamous - on C4, More4 and they’re also all available for free for a month on 4oD. We’ve also constructed a special 50ft 4 outside Horseferry Road, but more on that later. First, let’s have a look at how that 4 has changed throughout the years.
First up, the classic multicoloured 4 that the channel launched with and kept for over 13 years. It worth noting the choice of colours, which as the widget on this page demonstrates make up the light that comes from your TV. Red, blue and green, and then purple from red and blue and yellow from red and green. Of course if you add all three together you get white… but more on that later. If you look at late 70s and early 80s TV sets from makers such as PYE you see their logo often features the primary colours, the take up for colour sets back then, indeed technology in general, wasn’t as fast as it is today, and the bright new channel no doubt wanted to show if its full glorious colour credentials.

The original exploding then reassembling motion was called ’round and back’, (see it in motion here) accompanied for most of those 13 years by David Dundas’ (now Lord Dundas) iconic Fourscore theme tune, which was actually four minutes long - though only the final few note made up the piece that went over the ident. Dundas retained the copyright to the ‘parps’, and at £3.50 for each use, the Channel was reputedly paying him over £1000 a week for ten or so years, nice work if you can get it Dave. There’s a nice non-youtube history of the logo’s here at TV Twirl as well as loads on youtube.
The Channel 4 logo’s always been up for customisation and alteration, or what nowadays would be described as a mash-up. Here’s a Hamlet cigar parody of it which appears genuine, but I can’t find any credible info in it. In the early days the logo was adapted for special programmes, especially the alternative sports brought to the UK in the late 80s and early 90s. Below are the idents that preceeded coverage of Sumo, NFL football and Football Italia.
There was also a Horse racing one, that turned the logo on it’s side to look like a horses head complete with bridal, but I couldn’t find that one. It’s strange that nearly all the sports got custom logos, with the exception of that Mongolian horseback game which used to use a goats head, and of course Kabaddi - the Indian breath-holding game of tig/British Bulldog. An episode of Kabaddi is available on 4oD. I remember watching the sumo coverage and loving the ceremony behind it all. Of course channel 4 doesn’t really cover minority sports anymore which is perhaps a shame as it introduced teh UK to some really interesting alternatives.

There was a move in the early 90s to what was called the ‘Tapping’ campaign, which saw different people tap the screen, the multicoloured block logo is still present in the corner however. This ran for 15 months and from ‘93 onward featured our on screen talent… and zig and zag.


As well as sports, the logo has been transformed for one off special weekends and seasons. Here’s one from the mid 90s for Sci-Fi weekend.

It’s interesting in that it features the exterior of the Horseferry Road headquaters, completed in 1994, which the channel probably wanted to show off. Even our own website describes it as being in one of the more charmless parts of Westminster. One of the urban myths around Channel 4 is that the Richard Rogers ‘owns’ the copyright to images of the building, much like the city of Paris ‘owns’ the copyright to shots of the Eiffel tower at night.I wonder if this is true?
Eventually in 1996 after paying Dundas a ton of cash rather than perhaps buying the score outright in the first place, the channel evolved the logo and score away from the iconic 3D blocks and into what was called ‘Connections’. This was produced by the design agency Tomato, and met with general apathy. It is perhaps the design equivalent of a second album.

It’s main contribution however was knocking the colours from the logo, as perhaps now colour didn’t need trumpeting quite so much as it did in the early 80s. The circles were displayed in various combinations, sometimes forming a four, sometimes not. It also introduced the idea of a back ground scene of modern Britain, though a guy washing his car was a bit dull.
But who’s this future teen popstar and time traveller? Why it’s a very young Billy Piper in a ident for 4Schools from the mid 90s.

It was soon replaced in 1999 by ‘Bars’ which has tonal bars shifting around over a white inverted four tile.

By 2002 the bars had evolved to be things like areoplane trails and such. Also the web address appears directly under the tile.
Here’s an interesting one from TV Twirl that preceeded childrens cartoons in the morning. And here’s a Christmas one that went in front of Children’s drama - Dinotopia. Also at Chirstmas channel 4 asked B3TA do design/mash up/fuck with it’s logo, and here’s the results.
It’s worth noting that ‘Bars’ started the whole thing of placing the 4 tile on the left in the middle, and in the middle is where the logo appears to this day, on stationary, staff passes as well as on air.
On December 31st 2005 the Channel launched it’s current set of ‘drive by’ idents.
Diner
Tokyo
New York?
Dubai?
As well as a bowling one, hay bales, flats, market. etc (all on Flickr and youtube) In a way I feel these are a combination of a return to the exploded 4 mixed with the scene from somewhere background that was first put forward in Connections in ‘96. The drive by implies that there’s many view points on a subject, but at one point and one point only there’s the Channel 4 one. And that’s our remit really, to approach subjects in a Channel 4 way, and offer a different viewpoint. Channel 4’s 25 now, it was once fresh, young and crazy, it’s grown up now, it’s part of the broadcasting establishment. What’s more it’s had kids, tearaway E4 and clever clogs More4, as well as its online and +1 services. I think they’re all on their way to standing on their own two feet. So where next for 4? Well, Kevin Lygo’s outlined what he sees as the future at Edinburgh, and it’s downsizing, back to smaller more interesting things perhaps?
What’s certainly not small, but is interesting is the 50ft high exploded 4 now standing outside Horseferry Road. It was unvailed last week by Culture Minister Margaret Hodge and will feature the work of three artist, Nick Knight, who work adorns it now, El Anatsui and Mark Titchner. I’ve been working with marketing on putting a webcam in the Greycoat hospital school opposite. You can watch a timelapse construction of it here and see the live webcam here . Anyway here’s some images of the launch.

And if you want to experience it in full high res 3D VR stylee check this, it’s ace!
http://sphericalimages.com/channel4/
Like all good logos, the 4 has stood for what the channel is all about. It changed over the years as we’ve seen, but it’s also grown, it’s not taken itself to seriously, and it’s tried to work new and interesting talent. And for the real design fans out there… here’s the C4 on air style guide. And if and GCSE design student cribs all this for your final thesis, you’ll have me to answer to!
Happy Birthday Channel 4.
(Did I mention I’m sooo glad I’m not at the BBC right now, or do you sort of get that…)
AOP awards and RTS Futures talks
October 9, 2007
I’ve not posted for a while as my personal life’s in a bit of a tailspin…
…consequently I’ve been seeking solace at various champagne fuelled receptions, talks and awards do’s. First up 4oD was nominated for a Association of Online Publishers awards last Wednesday evening, for best Launch campaign (The big talent-filled vending machine one) After a comedy of errors mix up with the tickets that saw no one wanting to go, then everyone wanting to go once the rumour came round that we’d won, our table was eventually sorted, and I, as feeder of images into the beast duly rented the cheapest tux the Moss Brothers had to offer.
I’ve been to the AOP awards before, it’s a right boozy affair, that normally sees News International lot boo the Guardian, and everyone boo the BBC perhaps rather unfairly. My ex-colleagues at BBC food were robbed by the current bun for best use of video. Anyway, Paul and I went up to collect the trophy which have to be the cheapest in awardland, consisting of a sheet of paper in a plastic clip frame. There’s also a sit down dinner, and the food was just as bad as last year. The starter was salmon and avocado, it was that sort of bright matt pink cold smoked salmon that makes you do the gag reflex, dressing was ok though. Next up the mains, a slow-cooked fall apart when touched with a folk piece of beef in sauce which was actually rather nice, run-of-the-mill dauphinoise and the obligatory squeaky green beans. Dessert was a pongy eggy apple soufflé. I then proceeded to get smashed, talk shit and tumble into a cab home.
A couple of weeks before this I went to the RTS Futures panel talk at Madam Tussauds. The panel was chaired by Hardeep Singh Kohli and consisted of the Ash Attila, Charlie Brooker, Victoria Coren, and Alex Zane. Much telly was discussed, and the points raised ranged from ‘hard work will get you there’ from Ash, to ‘Be nice to people’ from Victoria and Charlie. Alex Zane made a good point about the return to live TV. How with shows like The Word you never quite knew what you were gonna get, they had an edginess to them. There was some rather dull Q&A, with most young people saying things like ‘I’m being made to ask people trick questions so they’ll look stupid in the edit’ ‘my producer’s a bully and I’m doing this because if I don’t someone else will’ and ‘I’m not getting any training on anything’.
The panel very kindly stuck around for a drink and I cornered Alex Zane by the Hitler and Churchill figures. He talked about how shows like Friday Night Project and Charlotte Church should be live, how hosts now are too beholden to agents, PR people and marketeers, about how it’s ok to piss talent off once in a while (as his spat with the Enemy testifies). We talked about The Big Breakfast, Shaun Rider on TFI Friday, and about The Word some more. Alex Zane is probably too young to remember this, but there was a US glam rock band called Warrant in the early 90s who went on The Word to sing their hit ‘Cherry Pie’ as the credits rolled. Little did they know that the audience were planning to pelt them with real cherry pies. The singer stopped mid way through due to taking one right in the face and the whole thing ended in a farce. Live, naughty, edgy, it was obviously the talk of the 6th form common room the next day. It’s this that Alex, coming from radio, is on about. Not juswhat! And give up show business!t a tit flash or swearing, but the potential for things to go wrong, for celebs and guests to actually have to know what they’re talking about and be put on the spot rather than have their handlers shout ‘cut’.
But on the way home I started to think about why any 20 year old nowadays would want to work in TV, especially at the moment. Most of the established names in TV got their in a different age. Working with most exec producers these days is like being in a band and thinking it’s ok to let your dad decided the musical direction. There’s talk in TV about ‘getting to the top’, about standing on the corpses of all the other media graduates to make it.. Well perhaps that was fine when broadcasting was based on a scarcity of spectrum and prohibitive costs, nowadays bandwidth, distribution, cameras and mates are cheap. To sum up, if you’re in your 20s nowadays and want to make programmes, get a camera and follow your mate’s band, or interview your family, go on nights out and film that, make the films and programmes no one else is making because they can’t. Sure you might fail, but you’ll have done something genuine and it’s sure better than fetching coffee for Loraine Kelly guests. There’s the old joke about the guy who cleans up the elephant shit at the circus, and when someone asks him why he doesn’t get a different job, he says ‘what! And give up show business!’
Victoria Coren made a good point. ‘Anyone who’s done anything ground breaking or revolutionary in TV has done it because they’ve managed to get it done under the radar with out anybody knowing or finding out’, or they’ve just found away to do it and got on with it I reckon. It’s not so much standing on the dead of your generation as fighting the saloon driving, villa owning generation in front of you. You’ve got to have a blinder of an idea mind. Coren went on to talk about Oz Clark and James May’s Big Wine Adventure - the premise of which is the expert with the sceptic - and how she fielded a phone call from someone at the BBC that went ‘Is there anything you really know a lot about and would like to share with someone, or conversely, is there a subject you don’t know much about but would like to know more?’ And you can bet it was some poor nervous untrained AP who they got to do it.
Sushi Masterclass at Billingsgate Fish Market
September 16, 2007
beep beep beep…it’s 4:45am and my alarm’s chirping loudly, am I up this early because I’m going on holiday? Nope, I’m going to Billingsgate Fish Market for their Sushi and Sashimi masterclass with Emi Kazuko. I’m in my battered Toyota and driving through the streets of London by 5am and it’s like a scene out of 28 days later, with nothing but me and the odd mini cab taking home all nighters. The sun comes up as I cross Tower Bridge. After a few wrong turns and three circuits of the roundabout underneath Canary Wharf, I eventually find the entrance to the Market. The car park’s packed and hordes of people are coming out carrying large bin liners full of fish. There’s a lot of Oriental restauranteurs who I presume like to see their fish banging fresh and from the wholesaler before buying rather than rely on a third party supplier. I ask two City of London Market Constables the way to the Fish School, and they direct me upstairs to the first floor where I’m greeted by one of the representatives of the Market who along with his two colleagues are also the on site Environmental Health officers. Due to the hideous time of the morning I forget to remember his name. Other delegates arrive and we all shuffle about yawning and watching the market in full swing below, it’s amazing to watch.
About 6:15 we kick off with a short talk and introduction to the market, before heading downstairs. We’re warned about the choice language of the porters, who have a reputation for swearing like…. fish porters. In olden times Billingsgate became a byword for crude or vulgar language. However I’m with Billy Connolly who said there are no bad words, only words used badly. Then we’re down the stairs and exploring the market. The market’s also open to the public, though you probably have to buy a decent amount, it’s not like Borough put it that way. Personally I thought the porters and sellers were a great bunch of guys, laughing and joking with each other, shouting ‘mind your legs’ and half haggling half flirting with the Chinese Ladies buying fish for their restaurants. One even whistled a sort of ‘beep-boop’ as he moves, sounding like the noise large vehicles like buses make when reversing. All of them knew about their products, their sources, their cost, and how to use them. I got the sense that everyone there was a professional, it’s hard work and unsocial hours, and that must keep out a lot of chancers more than other industries. Our guide (what’s his name?! …Let’s call him Dave as it was something English and Biblical), Dave explained how the porter system worked. It’s heavily unionised, and only porters or the managing directors of the Companies can move fish. Porters get paid 14p and pound (I think) for moving fish, which doesn’t sound much, but Billingsgate, unlike any other fish market in Western Europe is a sample market, where fish isn’t bought by auction. And everything displayed is a sample or representation of what the wholesaler has in bulk in the back. And the porters are dealing in bulk orders and so moving large amounts of fish. Dave said that a porter can earn over £500 a week for 4 hours work a day. All porters working in the Market are licensed by the City of London, and it’s a long standing and noble trade. Michael Cain’s dad was a Porter in Billingsgate when Cain was born and there’s some nice recollections from Ted Lewis who was a porter for 50 years here. Everyone we spoke to seemed interested in talking to us and didn’t mind us being there, I guess because the more we see of this fascinating world, the more we get to understand it and protect it. Billingsgate is right next to Canary Wharf, on land that developers must get wet dreams over. Remember Covent Garden used to be a working vegetable market, now it’s out at Vauxhall and hardly a top tourist destination. Since 2005 there’s been a review of all London’s markets, and talk about moving or consolidating them and rehousing them, probably further out of Central London. I think we need these markets accessible to remind us where food comes from and what it actual is. Other things I noticed about the market was how 80s it was. built in 1982 when it moved from the historical ward of Billingsgate, it had that hexagonal red brick 80s feel. Also all the phones the dealers still used were bright yellow industrial BT models straight from the Maureen Lipman ‘ology’ era that still rang with a bell sound, worked fine though. One stall holder summed up the changing times, sporting a straw boater, a fine moustache and a bluetooth phone ear piece. Dave talked us through some examples, first up Lobster. On the left is a young Canadian male, on the right an older native Scottish female. Lobsters take 7 or 8 years to reach catching age, the female one on the right could have been nearly 30 years old. They’re hard to farm because of their aggressive territorial nature. You can tell the difference as North American ones have a small horn on their noses, where as natives slope down to nothing.
We move round some other parts of the market, but by 7ish the main business of the day is done and dusted and everyone’s finalising and clearing up. At 7:30am (a time I’m normally just opening one sleepy bloodshot eye) we head upstairs back to the class room for a traditional Japanese breakfast cooked by Emi and her faithful assistant Kiko. After breakfast and a coffee we settle down to a lecture on the fish we’d be using during the day from the other expert there, Esme, in the cold room. She talks us through what to look for in a fish, freshness, usage, where it comes from etc. If you see a Mackerel with a damaged jaw, that’s a good sign, as it means it was line caught rather than net caught. Then we suit up with aprons on top of our white overalls and select a mackerel to fillet. This is great fun, then we move through filleting squid, Dover sole and opening oysters. We’re up against the clock now and sadly don’t get time to take apart the sea bass, as we have to move on to Emi’s Japanese cooking section.
I had a great time at the market, it was fascinating to see a side of London life few people ever see. On the one hand you want people to eat more fish as it’s healthy and good for you. On the other there’s the whole question of sustainability, as today’s Times points out, one expert thinks Fish will vanish from British waters in 20 years. At Billingsgate there’s fish from all over the world, and a lot of it is flown in. Dave told us that they can get fish from Florida as quickly as from Scotland these days, but at what cost? It looks like we’re going to have to face some tough decisions about where and how we source our food in the years to come, but it sure is tasty. PS. Hello all the people I met on the course! Please leave a comment underneath on what you thought of the day too. Here’s a link to the best pictures that I took on the day on Flickr. If they’re just for your personal use feel free to download them. If any of you or Emi or anyone from the school want to use them in a commercial way, please ask first, you can email me at eyedropper -at- mac -dot- com Thanks. |
Athena Classics: Tennis Girl
August 30, 2007
My first job after leaving the bosom of my Alma Mater was in the Strand branch of Athena around the mid 90s. We stocked such ‘classics’ as Spencer Rowell’s ‘L’ Enfant’, along with stoner favourites such as ‘I like the Pope the Pope smokes dope‘, ‘Bank of Ganga‘ and ‘Take me to your dealer‘. The obligatory Kurt Cobain and Jim Morrison shots and very zeitgeisty at the time was the ‘Choose Life‘ Trainspotting piece. All of which are still available it seems, and all of which were much loved at the time by the hordes of shop lifting teenagers from all over the world who’d ransack the store after their obligatory pigeon feed in the square.
The one poster we didn’t stock however, was Tennis Girl. We’d often get older city folks come in and nostalgically ask for it, only to have to send them away empty handed. Well you can own it again, but instead of £2 it’s now a £300 limited edition signed by the Photographer and printed on canvas, courtesy of Pyramid Posters. (Must need the money, I hate photos on canvas, they looks really cheap) And for the completest, you could try getting your hands on the original dress and racket as worn by Fiona Butler which didn’t meet it’s reserve price in a charity auction last year. There’s an interview with her here.
It’s an odd image in a way. Now derided by critics, yet emulated by comedians and popstars, it’s now firmly part of the national consciousness. It was at the time however, the rudest thing you could get away with on a teenage bedroom wall. Mr Elliot admits his poster is “not a picture I would buy”, but puts its appeal down to the seaside postcard spirit of the image, coupled with “one of the world’s fantasies that you are going to see up a woman’s skirt”. (source BBC). Diane Smythe makes a good point in her leader for this weeks ‘the naked issue’ British Journal of Photography about the impact of Levy’s ‘Raunch Culture’, is Tennis Girl the start of that? Or was that Babs Windsor in Carry on Camping? Or Abi Titmus? Or Manet? - discuss.
Man on the line at Clapham Junction
August 21, 2007
After taking this picture I was told ‘not to look this way’ buy a member of Southern rail staff. ‘Why’ I said. ‘It’s the rules’. ‘Who’s rules?’ I asked ‘You can’t stop us from looking’. I slowly began to move away. Moments later the female British Transport Police office third from the left in the photo felt the need to cross over the tracks from the other platform to challenge me. ‘Do you think it’s right to take pictures of a dying man, who’s probably not going to make it?’ ‘Well I am a photographer and work for the media’ I replied. At that her much bigger colleague moved in as well as the two Southern rail staff and I was ‘encouraged’ to move away. Just look at those firemen, what are they doing if not ‘rubbernecking’?
Was I right to take it? I think so. If only to highlight the exemplary work of the emergency services in trying to save the mans life. I was speaking to another passenger who said that he’d been told that the guy had been drunk, stumbling around on the platform, and then fallen on to the live rail. So be careful after you’ve had a few. I honestly hope he pulls through.
Fresh in my mind was the recent story of photographer Alan Lodge who came a cropper with the law while photographing an armed robbery. The irony of the case was that Lodge helped draft the guidelines used by the Police for dealing with the press. There’s more on Alan’s blog here The whole public/private debate is at a critical stage right now. See my notes on a talk given by media lawyer Rupert Grey at the BAPLA picture buyers fair for more on the subject.
It seems we live in an age when Pete Doherty can get away with possessing class A drugs for the umpteenth time but people can’t take photographs.
BBCs Barbet joins Five News
August 20, 2007
BBCs Barbet joins Five News | Broadcast | MediaGuardian.co.uk
Barbet’s off too! after a trial on BBC Breakfast saw him loose his national coverage cherry. You can’t keep a young gun like that down… What prompted it? What was the BBC pay review amount this year?







































