This example demonstrates the sort of thing BBC Select did. This is a programme about the Disability Working Allowance.

BBC Select was notable for using scrambled broadcasts. Anyone who wanted to receive BBC Select broadcasts had to buy a set-top box that would decode the signal and set your video cassette recorder to record it.

This video shows the scrambling in action. You need to fast forward to around 5:25 in this video. Alternatively, you can wait patiently through the four minute long ident — typically over-the-top for the 1990s!

I bet many don’t know about the guitar break in the middle!

I reckon you could probably tell how old someone is by what pictures they associate the boing with. For me, it is a snooker ball going down a pocket — or that goalkeeper’s handstand save. Sadly I haven’t been able to find either of these on YouTube.

Here are a few of the title sequences from over the years.

Grandstand really ought to still be on TV for the theme tune alone. If you ever wondered why it is no longer on TV, here is the answer. It was killed forever by a weedy remix. They even removed the boing!

The terrible music is bad enough. But what is incredible is that almost everyone in the video is doing anything apart from watching Grandstand. They are in the gym, drinking coffee, playing pool, and even doing the shopping. But they are not on the couch watching five hours of sport (apart from the young family at the end, but that is totally implausible).

Needless to say, the remix didn’t last.

It was a rocky path to recovery. This one from 2004 is bad in the opposite way. There is too much happening, but the classic montage style is gone. Worst of all, the theme tune is being spoken over!

Here is the beginning of the final episode of Grandstand, from 2007.

• Patrick Head
• Sam Michael
• Adam Parr
• Frank Williams
• Toto Wolff

This has been a turbulent week for Williams. Sam Michael has resigned as the team’s technical director. Along with him, chief aerodynamicist Jon Tomlinson will also go. The team’s Chairman Adam Parr also offered his resignation. It is a sign of just how desperate things have become after Williams have hit yet another new low at the start of this season.

But the recent moves just the latest in a Williams team that seems to endlessly change its shape. I am far from a business expert. Far be it from me to tell Williams that they are doing it wrong. But from the outside, it does sometimes seem like a case of too many cooks spoiling the broth.

Who calls the shots at Williams? It’s hard to say. There are the five names I listed above. To that list, you can now add the public shareholders, whose views also surely have some sway.

This too many cooks phenomenon appeared to be underlined by the apparent confusion over whether or not it has been announced that Patrick Head is planning on retiring within the next year. Adam Parr had announced it, but it appears as though he jumped the gun.

The Guardian went as far as to describe it as “open conflict”.

In a conference call Parr told reporters: “Patrick has made it clear that he will be retiring this year. That’s nothing to do with the restructuring, it’s just the fact that he’s turning 65 and had already signalled that it’s time for him to move on to his next set of interests in life.”

But Head has since denied Parr’s claims, saying: “What you are telling me is news to me. I wasn’t aware that Adam had said that.

“He wasn’t in a position to make that statement. My plans are not in the public domain and they will only be when I make my own statement later in the year.”

Ouch.

Adam Parr is obviously good at his job. That is clear from the fact that Williams did not accept his resignation offer. But does he overstep his remit?

People who read F1 news websites will be highly familiar with Adam Parr. He is chairman now, but even as CEO he was a very prominent figure in Williams. He is constantly in the news, providing everyone with information about what’s going on at Williams.

But how many could name Mr Parr’s predecessor as CEO? It is Chris Chapple. He wasn’t in the job long, but nevertheless the point remains that I had never heard of him. I have not even been able to find out who was the head of finance at Williams before then. How many could tell you who the current CEO is? (It’s Alex Burns.)

As part of this picture, what is the role of Frank Williams? Of Patrick Head? How about Toto Wolff, who bought a share of Williams last year? He appears to exert a fair bit of influence too — he was making rumblings in the press last week just before the turmoil truly began.

I think with most other teams you could name one or two people that are so prominent within a team. From the outside, it is not a clear structure. At McLaren, for instance, you can say the buck stops with Martin Whitmarsh. But where does it stop at Williams?

This is probably as a result of an attempted handover. It is about preparing for — or reacting to — a time when Frank Williams and Patrick Head have less energy and motivation than they had in the 1980s and 1990s when Williams could be world-beaters.

But the handover seems to have been botched — and the picture only gets more complicated as time goes on. Have the money men taken over from those that love racing and want to win? I was interested in a point made by Todd over at Formula1Blog.com. They seem to be settling for sixth in order to meet their business obligations and no more.

Clearly this is a difficult time for Williams. Yet more change is in the works. I hope they can get it right soon, because no-one wants to see Williams doing so badly.

Here is another piece of television presentation that has brought the memories flooding back. An early morning (4am) Channel 4 Schools broadcast.

I remember the blue slide with the Channel 4 logo on it. It actually looks very classy. Channel 4 had quite a slick presentational style at this point. They used Gill Sans a lot, before it became the BBC’s corporate font a few years later.

Like all of the best television presentation, this is ever so slightly scary. These Channel 4 Schools idents and countdowns used to scare me witless as a child.

Imagine waking up in the middle of the night, and switching on the telly just to check that the world hasn’t gone mad overnight. Then you tune into Channel 4 and are presented with that freakish, ghostly Channel 4 Schools ident. These figures from the past are rigid and look as though they have been stuffed, yet they are staring right at you, beady-eyed. It certainly sent the willies right up me as a nine-year-old!

The music is quite freaky too. It sounds like it is being transmitted from a shipwreck.

Considering the target audience — primary school children — it is all very arty and avant-garde. As a piece of television presentation, I love it — but it doesn’t quite seem right for schools programmes, does it?

And now, with my web hat on, check out the amazingly 1990s URL advertised at the end:

http://www.schools.channel4.co.uk/c4schools

I certainly remember seeing web addresses that were a lot more unweildy than this being broadcast on the television in the 1990s. (An early Blue Peter URL that was so long it had to scroll across the screen sticks in my mind — but more on that in a future television presentation gem of the week.) But the needless complexity of this URL still amuses me.

Last week when I saw that a German website had written about this, I prepared a simple but telling graph looking at the form of Williams over the years. But I refrained from publishing it in case my conclusions were overly harsh.

But today the team’s technical director Sam Michael has come out and said for himself that the recent performance of Williams is not good enough.

What I would not be happy with doing would be not changing anything – even myself. Even if everyone said everything is perfect, I know it is not. So, I am not happy with the job that we have done as a group. I would review that anyway – including myself. I don’t exclude myself from any of that.

I, as technical director, have chosen the technical team that works for me… They are all people that I have chosen to put in those positions, so if it doesn’t work then it is my responsibility.

This is refreshing honesty. It is no secret that Williams’s form has been disappointing in the last few years. But it has never been properly confronted.

In the light of Sam Michael’s comments, here is the graph. It tracks the Constructors’ Championship positions of Williams throughout its 32 years in Formula 1. Alongside the annual positions, I have added a five-year rolling average to allow us to see the longer term trends.

It is well-known that Williams has always been a highly successful grand prix team. The 1980s were a bit of a rollercoaster. The team mixed hugely successful years with a few more disappointing years. Overall, the trend has been for the team to hover around 3rd place on average.

Then came the mid-1990s, when Williams were truly dominant. This was the period where Adrian Newey was on board. It is almost impossible for the five-year trend to get any higher, as the team strung together an incredible seven consecutive top-two finishes.

It is no secret that Williams have never dominated in this way ever since Adrian Newey left in 1997. But looking at the trend, Williams continued to average around 3rd place in the Constructors’ Championship — if anything, still slightly better than the pre-Adrian Newey years. But in the middle of the 2000s, it begins to change for the worse — dramatically.

In fact, if you look at the trendline, with no other knowledge I think you could actually guess when Sam Michael became technical director. In case you haven’t spotted it, I have added a subtle hint that pinpoints the year.

This could well be a harsh assessment. Sam Michael seems to be well respected among his colleagues at Williams. But from the outside, it has long perplexed me why there hasn’t been more of a question mark over Sam Michael’s role.

The team has made many changes in recent years. They have switched engine manufacturers from BMW to Cosworth via Toyota. They have brought on board hugely experienced drivers (Alexander Wurz, Rubens Barrichello) along with promising rookies (Nico Rosberg, Nico Hülkenberg). And there have been lots of changes behind the scenes with the operation of the business. None of these changes have done the trick.

Now, with Williams enduring their worst start to an F1 season since their very first one in 1978, it is crunch time. They need to face up to their issues properly.

We know the problem is not money. After all, the team keeps telling us they have no money worries whatsoever!

Currently the team languishes in 10th place in the Constructors’ Championship, behind Lotus, a team that is not yet two years old. Indeed, in China, Pastor Maldonado was beaten fair and square by Heikki Kovalainen in the Lotus.

Amazingly, this position is up from the situation after Malaysia, when the team was also behind Virgin in the Constructors’ Championship. Virgin is another team looking carefully at its technical set-up, as Nick Wirth’s CFD-only approach fails to prove its worth.

Here, just for fun, is the graph of Williams’s Constructors’ Championship positions with their current 10th place for 2011 added.

Welcome to the first ever television presentation gem of the week. Each week, on a Friday afternoon, I plan to indulge in one of my geekiest and most shameful traits — an unhealthy interest in television presentation. If you read the post below, you will get the gist…

This is a brilliant example of television presentation gold from Christmas 1996. There are several notable aspects to this clip.

Firstly, it is a closedown — always a favourite among television presentation geeks. Also, it contains a Christmas ident. These are sought-after for their short-lived nature. Moreover, this clip is from Channel 4′s ‘circles’ era, which was quickly replaced due to its unpopularity. (It is a reasonably amusing ident too.)

But the reason I have chosen this clip to be the first ever television presentation gem of the week is that it exhibits 4-Tel On View. Moreover, as 4-Tel On View stopped broadcasting at the beginning of 1997, this must be one of the very last broadcasts.

4-Tel On View was Channel 4′s equivalent of the more famous Pages from Ceefax, which can still sometimes be seen on the BBC. This was designed as a low-budget filler programme, broadcasting selected pages from Channel 4′s teletext service, normally very late at night or very late in the morning. Presumably the logic is that it is better than a testcard.

As you can see, it has a quirkiness and a sense of humour that is somewhat lacking from Pages from Ceefax. It’s also a world away from the po-faced and corporate ITV Nightscreen, which 4-Tel On View producers Intelfax went on to make.

I can remember watching 4-Tel on View as a child, and I could never work out why or how it contained animations, which were lacking on both Pages from Ceefax and actual teletext. According to Wikipedia, it was all down to a “Magic RITE box” — so now you know.

Another highlight that dates this clip is the trumpeting of some very 1990s technology in the television listings. You can watch Bill and Ted’s Excellent Adventure in PALplus, with Nicam stereo, and subtitles on 888!

Another odd thing about this clip is that some of the pages and animations seem to scroll through far too quickly. If this clip is playing at the right speed (and the ident at the start seems perfectly normal to me), then this is a usability flaw of 4-Tel on View that made it almost useless!

Can anyone explain the ‘Beware of imitations’ animation? Was there some sort of rogue 4-Tel On View in operation?

Many times my friends and I have discussed going to see one of Jarvis Cocker’s solo shows. But somehow it has never quite come together.

I’m keeping my fingers crossed that they will play in Scotland. Only three dates have been announced so far, all at pretty far-flung festivals.

Mind you, I’m not too sure about the way it is being marketed as being “all the original members of the band”. It might be the “classic” line-up that propelled the band to the height of its mid-1990s fame. But it is by no means the “original” line-up.

The band had several incarnations throughout the 1980s until success was reached. Jarvis Cocker is the only common element of them all, although the majority of the band was in place by the mid-1980s.

I was listening to some Pulp from this period the other day. It reminded me of this footage from a 1980s documentary about the Sheffield music scene. The footage is pretty grotty-looking, but it’s great to have this rather rare peek into the band’s early days. This is available on the ‘Hits’ DVD.

Clearly, they weren’t quite the finished product. Masses of loo roll is an interesting choice of stage decoration, and Jarvis Cocker himself does not yet have the commanding stage presence that made him famous.

The band themselves always warn against listening to their earlier material, preferring to think of the 1992 release of ‘OU’ as their year zero. However, I like all of their earlier albums.

Even though their earlier material rough around the edges, there is still a lot of great songwriting and the potential can be heard. Fascinating to listen to with the knowledge of how they turned out to become one of the biggest groups of the 1990s.

After a while, I began to get into BBC 6 Music. I was still interested in the speech elements of the station more than the music. Adam and Joe became a regular listen, but I also began to appreciate the music output more. Programmes like the Freak Zone and Jarvis Cocker’s Sunday Service simply would not exist on another station — which is why there was so much outrage when it was suggested that the station would be closed down.

But when considering alternative options in the event that 6 Music closed, I realised that the outlook was perhaps not as bad is it might seem. As a commercial alternative, Absolute Radio wouldn’t be a bad option.

Shedding Virgin Radio’s dad rock image

In the space of just two years, the new owners of what used to be Virgin Radio have given the station a completely new lease of life.

I would never have considered listening to Virgin Radio. Its playlist was limited, repetitive and fusty. It was wall-to-wall dad rock.

Looking back, the transition to the new-style Absolute was quite steady. But the day it ditched the Virgin brand was the day it could move on from that albatross and the Smashie and Nicey image. Today, I think it is easily the most interesting commercial radio station around.

More than music

The key selling point of Absolute Radio, as opposed to Virgin, is that it is now not just about music. Now it’s an “entertainment” station. When you tune in, you are more likely to hear a comedian than a dusty old Status Quo song. Its current presenters include people like Dave Gorman, Iain Lee, Frank Skinner and Richard Herring — all much better known for being funny than being fanatical about what Virgin always called “real music”.

It’s a template that has been successful at BBC 6 Music ever since it started. Its original breakfast presenter was Phill Jupitus, while other high-profile presenters have included Russell Brand, Craig Charles, Jon Holmes and… Richard Herring. And it’s difficult to escape the feeling that Absolute’s weekend morning programming has been heavily influenced by the success of Adam and Joe on 6 Music.

The really impressive thing about how Absolute have gone about it is the fact that Dave Gorman appears to have more influence over the music that is played on his programme than Adam and Joe ever did. As a whole, Absolute is more accessible than 6 Music, but it is a station that is unafraid to step out of the mainstream on occasion.

Determined to try different things

But gradually, Absolute is becoming something more than a commercial 6 Music-lite. Its deal to broadcast English Premier League football matches is a bold move to for a music station to make, particularly since Radio 5 Live and TalkSport are so well established in this area. Apparently it is the first time a music station has broadcast top flight football since Capital Gold brought Jonathan Pearce to the world 20 years ago.

Absolute have launched some interesting spin-off stations as well. In addition to Absolute Classic Rock, there is Absolute 80s and Absolute Radio 90s (that is a way to make me feel old — my decade is now for proper nostalgia!). There is also Absolute Radio Extra. The best thing is that the latter three are all available on DAB.

There was also Dabbl, an experimental station where users chose the content. It has closed down now, but it is nonetheless a sign that Absolute is determined to experiment with radio.

Doing new things with radio

The people behind Absolute Radio have a great website, One Golden Square, which takes you behind the scenes of Absolute Radio. The openness of the website is wonderful. It is a great insight into what makes them tick, and it’s all very encouraging.

Absolute are always at the cutting-edge, thinking about the future of radio and different ways to listen to it. That is no wonder — the traditional 1215 medium wave frequency is very poor quality for a music station, so it helps them to investigate alternative ways of broadcasting.

One Golden Square Labs outlines some of the really interesting things they are up to. There is some nifty iPod Nano integration. They are also pushing ahead with HTML5 delivery.

One Golden Square are also behind the wonderful Compare My Radio. This website is a heaven for radio and stats geeks — perfect for me.

It is a treasure trove of stats about radio output in the UK. You can see what tracks and artists are popular, search for artists to find out what stations play them, and even compare the output of two radio stations — with Venn diagrams and everything.

A lot of people turned to this website to learn about 6 Music. Many defended the station on the basis of statistics collected by Compare My Radio. You can see how 6 Music compares to Absolute Radio.

The website is a fascinating service that must take a bit of work to maintain. It’s great that a radio station can take a step back and fairly allow others to compare it with other radio stations.

All-in-all, you get the impression that the people behind Absolute Radio are seriously passionate about radio. As a bit of a radio fan myself, that is a big winner for me.

But I can easily see the appeal. Even the biggest pile of crap can take on greater significance when viewed through those special rose-tinted nostalgia-spectacles. Anything that reminds us of our youth is a good thing.

But the strangest things can attach themselves to these youthful nostalgic feelings. Recently I was listening to the radio when ‘If it Makes You Happy’ by Sheryl Crow came on.

(Unfortunately, the video is still pretty bad — I guess her image hadn’t settled down yet — so I have removed the video bit from the YouTube embed code.)

It’s not a song I ever particularly enjoyed before. But for some reason, it brought me warm memories of the mid-1990s. All of a sudden I liked the vibe of the song — rather carefree-sounding. Somehow I visualised talking a car journey late on a sunny summer’s evening.

How can a song I never liked before suddenly create strong feelings? I guess this is the first hint of what is to come. As I become older, everything from my youth will start to seem better.

For me, it was a racing incident, in which both drivers could share a portion of the blame. Heikki Kovalainen probably tried to defend more than was really justified against a hugely superior car. Meanwhile, Mark Webber tried to catch a bit more slipstream than was necessary. Both made a mistake, and the result was that both were punished. That’s racing.

But BBC pundit and Red Bull Racing “Ambassador” David Coulthard was among the first to start pointing fingers, during his post-race analysis on the BBC. The comments about “A-class” and “B-class” teams that were being bandied about on the BBC were rather crass in my view.

Given that he is paid by Red Bull, David Coulthard’s comments perhaps shouldn’t have been surprising. For him, Heikki Kovalainen should have stepped aside, rolled out the red carpet, and allowed the Red Bull car to pass without a fight.

In fairness, it is not just his link to Red Bull that might have made him say this. David Coulthard has a history of suggesting that the “slower” car, should move over for the “faster” car. I have never forgotten his whining following the 2001 Monaco Grand Prix, when he was unable to overtake Enrique Bernoldi whom he was racing for position. You still hear him moan about it from time to time.

The idea that, when cars are racing for position, the car behind needs to overtake the car in front, has always appeared to evade Coulthard’s grasp. Formula 1 should award the drivers with the most skill, not just the engineers who can design and build the fastest cars. Overtaking is exciting because it is a skill, and if drivers of “slower” cars were to just stand aside, viewers would soon flock to another sport.

Yesterday David Coulthard went further still, blaming the crash on the slower speed of Heikki Kovalainen’s Lotus car. As Keith Collantine points out, the difference in speed is hardly alarming. Certainly, by historical standards, the pace of the new teams is actually very quick.

There has been a lot of talk about the reintroduction of the 107% rule, coming next season. Had the rule been in place for this season, the new teams would only have been caught out a handful of times. But in the mid 1990s it was a fairly regular occurrence for a Forti, Minardi or a Tyrrell to fail to qualify. Before then, to have cars that were several seconds off the pace was frankly the norm.

The only reason a car 2.5 seconds off the pace is considered “too slow” these days is because the standards in F1 have greatly increased over the past five or ten years. Of course there is a reason why chronically slow cars should not be allowed to race. But when we are talking about teams that are on the margin of 107%, the issue seems overblown. It’s not as if the Hispania cars are performing like the Mastercard Lola.

I get the feeling that David Coulthard thinks only “fast” cars and “fast” drivers should be allowed in F1. Of course, Formula 1 is an elite sport. But every single one of the cars on the grid this year is an elite car. The new teams (the first real new teams since 2002) have done an incredible job to be so close to the pace so quickly. Hispania is an elite team, as are Virgin and Lotus.

Of course, David Coulthard had the advantage of always racing for “fast” teams in F1. His F1 career began at Williams when the team was reaching the height of its mid-1990s dominance. When he moved to McLaren, they were never terribly far off the pace. Even when he raced for Red Bull, they weren’t exactly backmarkers.

Maybe if he had done a stint with a smaller, less well-resourced team, he would have a bit more sympathy for the tailenders that are every bit as important to F1 as the front runners.