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!

This ident, on the other hand, tells you what country you are in — just in case you found yourself sitting in your front room and suddenly wondering where you are.

This isn’t even from all that long ago — 1 January 1998 in fact. But you wouldn’t see a closedown like this on BBC Two nowadays. I love that classy clock. Clocks would disappear from BBC Two later that year.

It is topped off with an appropriate sting, even if it is a little bit spooky for 3am!

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.

This is the classic, eye-straining original ident for Harlech.

You would never — never — see an ident like this these days. In fact, you probably wouldn’t have seen any other idents like this in those days either.

At the very least, this ought to carry a “flashing lights” warning if it were broadcast today!

And what a strange name for a television station. A bit egotistical for it to be named after the station’s founder. Harlech shook off the weird name when it began broadcasting in colour and became HTV.

Is this the greatest news title sequence of all time? It was controversial at the time, but I love it.

The strikingly bold transmitter logo was designed by Martin Lambie-Nairn, who is arguably the most important person in television idents history. He is the person behind some of the most popular idents of all time, including the original Channel 4 blocks and the ’2′ figures for BBC Two.

But this BBC News logo appeared to be a misfire. It was unpopular with viewers, some of whom even likened the logo to Nazi imagery.

But I think the logo looks fantastic and ahead of its time. The music is brilliant too.

This title sequence was introduced in 1988, although the clip is from 1991.

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?

This the accompanying article to my contribution to this week’s edition of The Pod Delusion. Parts of it are based on a previous article, What is STV playing at?

You can listen to the full podcast below.

In a recent episode of The Pod Delusion, Mark Thompson spoke about the good old days when ITV was still a federation of regional television stations. He outlined how, in England and Wales over the past ten or fifteen years, ITV’s regional diversity has given way to a bland umbrella brand.

But not all of the nooks on the ITV network have succumbed to the juggernaut. Four of the ITV regions are still independently owned, and three avoid using the ITV brand. In the Channel Islands, Channel Television still owns the franchise, even though it uses ITV1 branding. But in Northern Ireland, viewers are greeted by idents for UTV. And where I live, in Scotland, the two ITV regions operate as STV.

I can say with authority, given that I live here, that the reality of regional broadcasting on Channel 3 is not quite as rosy as Mark Thompson would like to remember. It certainly is not as quaint and charming as the ITV we remember from our youth — and, incidentally, it was delightful to hear the idents and jingles during Mark’s report.

Sadly, STV is a bit of a basket case. Apparently strapped for cash, for the past year or two it has been embroiled in a dispute with ITV plc that has only served to disadvantage viewers. ITV is trying to gain money that has been allegedly been owed by STV for over ten years. Meanwhile, STV is dropping as many ITV programmes as it can get away with in an apparent attempt to stop owing any more money.

This means that many of the ITV network’s most popular drama programmes have been dropped by STV. This has left Scottish viewers with no options if they want to watch some of the best British commercial television programmes.

Publicly, STV say this is all a brave stance for regional broadcasting in Scotland. That does not really explain why most of the replacements have been cheap imports, films and repeats. As amusing as South Park may be, it is not exactly an adequate replacement for the likes of Kingdom. Incidentally, South Park is seemingly supposed to count as Scottish programming because, in the words of STV director of broadcast services Bobby Hain, it is “mischievous and cheeky… just like the Scottish people.”

Bobby Hain often singles out Al Murray for particular criticism. He reckons that Scots cannot relate to a comedy cockney landlord, forgetting that there is in fact nothing Scots enjoy more than laughing at English stereotypes.

This strategy certainly is not being done for the benefit of the Scottish people. We can tell this because the ratings have largely fallen through the floor. Infamously, STV once ditched Agatha Christie’s Marple in favour of the film Blue Crush — because crap surfing movies set in Hawaii are really Scottish, right? It was a disaster for STV. You could almost have squeezed the viewers into a large football stadium. With just 6% of Scottish television viewers watching it, this made it the least watched of the five main channels in Scotland.

STV have recently broadcast Fitz, the woeful 1990s American remake of Cracker. Presumably they have done this because it is supposed to count as Scottish, despite the fact that it is American. In fact, Fitz more accurately describes what STV viewers go through when they realise that their favourite programme has been replaced by a low budget michty-me, jings, crivvens and help ma boab bag of shite.

Because when STV are showing “regional” programming, it is a parochial embarrassment. One of the programmes it’s pushing most is The Hour. Imagine a cross between The One Show and Live From Studio Five, with a twentieth of the budget and presented from a shed. That barely describes the horror.

In the evenings, STV broadcasts STV Casino. This is the sort of gambling programme I railed against in a previous edition of The Pod Delusion.

More ambitiously, STV sought to find out the Greatest Scot. Among the nominees for the title was John Logie Baird, the inventor of the television. What Logie Baird can’t have foreseen was that his compatriots would be unable to watch anything decent on it.

Soon enough, STV will run out of “Scottish” topics to make programmes about. What next? The History of the Word ‘Outwith‘? Barry Ferguson’s Greatest V-Signs? Susan Boyle’s Ten Favourite Ditches?

Maybe there will be a celebration of the Scots language and / or dialect, with a version of Countdown played in the Scots tongue. Sadly, the only exciting action would be a Buckfast-fuelled brawl surrounding the precise spelling of words like ‘airse’ (‘erse’?) and ‘bawbag’ (‘ba’bag’?).

This new found love for “local” programming really is rich coming from STV. This is a station that, just a few years ago, would do anything to avoid showing locally produced programmes. It transparently sought to meet its quota of regional programmes with cynical late-night repeats of Weir’s Way and extra editions of Scotland Today Interpreted For The Deaf.

This all makes me wonder just what the ‘S’ in STV stands for. Is it ‘Scottish’? Or is it ‘stultifying’? ‘Stupid’? ‘Sellotape’? In fact, I think it’s probably ‘shite’.

Mark Thompson’s idea is a nice one, but is based on a rose-tinted view rather than the reality we Scots have to live with just now. It is true that something needs to change in order for ITV to survive. But the solution to that is surely obvious when you think about it — they should bring back Blockbusters.

But the important thing is that its idents are still awesome, as they always have been. It’s great to see that Channel 4′s continuity is all in the style of the original iconic designs, with a range of classic idents being shown (some of which I’ve never seen before).

The original idents lasted an astonishing 14 years. That’s an age — you’d never see an ident package lasting that long nowadays. Even more amazingly, the original ’4′ logo has never changed, merely being adapted for each new era.

The coloured blocks were well loved and recognisable enough for Hamlet to create this spoof version for an advert. For me, it’s surprising in two ways. For one, I’m surprised Channel 4 and the regulators allowed them to do it, given that it could have easily been confused for an actual ident.

Then there is the fact that it is tobacco being advertised — something from a different era. It goes to show just how far Hamlet were determined to advertise despite all the regulations. Sometimes a restrictive environment can make you come up with the best ideas.

It was always going to be a tough act to follow the coloured blocks. I seem to remember the circles era was quite unpopular, but I thought they were quite good.

I also liked the ‘squares and stripes’ era, although it dated really quickly.

So it was a bit of a shock to see just how excellent the following ident package was!

Genius.

Channel 4 have a couple of special websites up and running for the occasion as well.

• Channel 4 at 25
• Channel 4 News at 25

More classic Channel 4 idents can be found at The TV Room. BBC News Online has 25 facts about 25 years of Channel 4.