Archive: russell-brand

About ten years ago I shunned music radio. It no longer reflected my musical tastes, so I turned to speech radio stations instead — all on the BBC.

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.

Compare My Radio - comparison of Absolute and 6 Music

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.

Years ago, this blog had a little button on it. Where today you see little logos for Amnesty International and No2ID, there used to be a button that said “I believe in the BBC”. It was to back this campaign, which was one of the things that got me hooked on blogging. I couldn’t believe how much of a stitch-up the Hutton Report seemed, and I wanted to stand up for what was the best broadcaster in the UK.

Some time during the intervening five years I removed the button from my blog. I had decided that I actually don’t really believe in the BBC. Of course, over time I have become more and more disillusioned with the mainstream media in general, and my opinion of the BBC has fallen south along with the rest of the mainstream media.

But I have found myself becoming particularly frustrated with the BBC’s apparent fear of its own shadow. It is pretty clear that this neurotic period of the BBC’s history began with the Hutton Report, and has been more recently exacerbated by a never-ending stream of overblown tabloid-generated nowtrage.

Of course, the lame tabloid stone-throwing is practically as old as the BBC itself. The difference is that after the Hutton Report, the BBC has appeared to actually believe that the tabloids have a point. What we needed after Hutton was a BBC that stood its ground and believed in its principles. Instead, it has become a blundering, self-loathing embarrassment; a stumbling colossus.

Nowadays, if a tabloid kicks up a bit of a fuss over, say, a bit of post-watershed swearing, the BBC doesn’t roll its eyes and ignore it like the majority of its viewers and listeners do. Instead, it trumps the tabloids, immediately making it the top story in all of its bulletins.

BBC News journalists then begin conducting fierce two-ways with BBC managers, and viewers are treated to a bizarre self-flagellation session lasting several days. The BBC sternly questions the BBC about its own outrageous conduct. After several days or even weeks have passed it quietly snaps out of it — only for another scandal to come along and the whole cycle begins again.

Take the television fakery scandals that engulfed the BBC a couple of years ago. Somehow, the fact that Blue Peter changed the name of a cat became the most shocking thing ever and threatened the very future of the BBC. I knew that because the BBC itself kept on saying so.

The fact that the commercial broadcasters had spent the previous few years building an entire genre of programming — the late night phone-in quiz programme — that was dedicated to deviously extracting cash from its viewers got swept under the carpet. Everybody was too busy watching the BBC break down in what you might call a Cookie crumble.

It was right that the BBC made changes following the scandals. But the difference in approach between the commercial broadcasters and the BBC was huge. Premium rate competitions were quick to make a return on commercial channels, with a bit more small print. But on the BBC, to this day the world “competition” is practically a swear word. Pre-recorded radio programmes are littered with apologies and warnings about the fact. The BBC’s paranoid fear of another scandal is getting in the way of its programming.

Then there is the Jonathan Ross and Russell Brandwagon, when the BBC inexplicably allowed a rather rude phone call dominate the news agenda for several days. While the economy was actually collapsing, the BBC almost willed itself on to implosion. When a bold BBC should have been responsibly reporting important news (which there was plenty of), instead the nervy BBC we’ve got occupied itself by poking its navel.

I found the BBC’s reaction quite seriously worrying. Even though the phone calls were a bit over the line, the reaction was completely out of proportion. And it has the potential to set a worrying trend, for the reasons Charlie Brooker pointed out.

The BBC is surely supposed to be there to do things that commercial broadcasters are either unable or unwilling to do. By definition, this means making challenging programming — programming that might not meet with popular approval. And in comedy in particular, that means pushing the boundaries.

The BBC’s decision to wave the white flag over the Russell Brand hoo-ha was basically a conscious decision to undermine the principles by which the BBC is supposed to exist. It follows that if the BBC believes it shouldn’t make distinctive comedy programming, why should it make distinctive programming at all?

The result is that we now have a BBC which is paralysed by a fear of criticism. It has become too self-conscious, and when the spotlight is on it nervously stumbles around. It’s not exactly the BBC we’re all supposed to be proud of.

The latest scandal to hit the BBC, over the DEC’s Gaza appeal broadcast, exhibits the BBC’s fear well. Knowing that the Israel–Palestine issue is so thorny, particularly given the right wing’s frequent criticism of the BBC’s coverage, it was caught like a rabbit in the headlights.

The first of the justifications given by Mark Thompson for choosing not to broadcast the appeal is that aid might not be delivered properly. That would be fair enough. It would be strange, though, if the BBC knew better about this than the DEC, a group comprising of thirteen charities dedicated to delivering aid properly.

The other (“more fundamental”) justification was the fear that the BBC might be seen to be impartial. It’s interesting to note that Mark Thompson never says that broadcasting the appeal actually would undermine the BBC’s impartiality. He is just concerned about the perception.

The BBC is perfectly entitled to decline to broadcast a DEC appeal. But the fact that it has allowed its fear of the public’s reaction to get in the way is worrying. It is yet another sign that the BBC is no longer prepared to be the bold public service broadcaster it’s supposed to be. And, of course, it brought a fresh round of awkward interviews between BBC journalists and BBC bosses.

It all makes for uncomfortable viewing and listening. It is clear that just now the BBC has very little belief in itself. So how should license fee payers be expected to believe in it?

The top story on the BBC News website is currently this on the furore surrounding Russell Brand and Jonathan Ross as Gordon Brown wades his sorry way in. I am sorry, but I really do struggle to believe that this is the most important story around at the moment.

In fact, once you put the pieces together, the whole thing looks as though the BBC has been completely stitched up. The phone calls may have been ill-advised, all the more so due to the fact that it was pre-recorded and yet was still broadcast.

But there are too many things about this that just don’t add up for me. I haven’t heard the clip, but having read the transcript it seems very much as though Jonathan Ross was easily the more offensive of the pair. So why is most of the criticism going the way of Russell Brand?

Then there is the time line of events. The story only entered the news agenda a full week and a half after the phone calls were made, and one whole week after they were broadcast. For something supposedly so shocking, people sure took a long time to realise it.

Alarm bells should automatically be ringing when you see that the paper that has stoked up this little fire is the contemptible Mail on Sunday. This has all the hallmarks of a despicable tabloid rag using any excuse to lay into the BBC.

Last Wednesday the Mail on Sunday phoned up Andrew Sachs’s agent, Meg Pool, for a comment. That was the first she — and, incidentally, Andrew Sachs himself — had ever heard of the phone calls. But, probably sniffing the opportunity to get lots of publicity, she began to kick up a fuss.

All the while, the amount of complaints the BBC had received by this time was a grand total of… two. And they were about Jonathan Ross’s swearing, not the nature of the phone calls. Post-Mail on Sunday foot-stomping, the figure stands at 10,000 and rising. It looks to me as though this story is all about the public’s love of a good old bandwagon.

And what does Andrew Sachs say? “[T]he producer called me on my mobile to ask whether they could play the recording in question out.” So the BBC sought permission before broadcasting it. And: “I think Jonathan [Ross] is in enough trouble as it is. I don’t want to add to that.”

That is how it should be. Of course Andrew Sachs should get an apology from both Russell Brand and Jonathan Ross. It looks like he has got it (or in the case of Brand, will get it). Beyond that, the rest of this story stinks of a tabloid rag spying the opportunity to criticise the BBC for the most tenuous reason.

Update: I see that Will Patterson agrees with me.

Well a happy new year to you, now that we are actually in it. I notice that a few bloggers (like Will) have been posting their top five posts. I can assure you that the five most-viewed posts of the year will not have been my five best posts of the year. They will just be the ones that have attracted Googlers the most.

But no surprises as to what was number 1:

  1. Big Brother’s Big Saviour. This post about Russell Brand stormed to the top of all sorts of mucky Google searches after some person in the comments mentioned Imogen’s sex tape. Disgusting. This page accounted for over 10% of all visits to this blog this year!
  2. Richard Hammond. Descended into a debate about whether it’s disrespectful to dislike somebody (Steve Irwin) even though they’re dead.
  3. Weekend mornings are meaningless once again. Simon Amstell left Popworld, but most people were only interested in searching for pictures of Miquita Oliver.
  4. Another new Freeview channel. This post lays into smileTV, Freeview’s mankiest channel. People arrive at this page looking for information on Freeview channels. I imagine this post is a good advert.
  5. Countdown to PS2’s Formula One 06. I’m still a little bit peeved that the actual review I wrote for this game is nowhere near as popular. Gah.

A few posts from 2005 were actually more popular than some of these, but they don’t count right because we’re talking about 2006.

The ‘popularity contest’ plugin, which also takes into account things like comments and whatever else, comes up with a slightly different result:

  1. Big Brother’s Big Saviour
  2. Another new Freeview channel
  3. Weekend mornings are meaningless once again
  4. Time Trumpet. I can’t even remember what I wrote in this post.
  5. MySpace UK seems to have launched. Check out the comments full of emos who are shocked at the way I diss their Space.

So there you have it. My five (or seven) best posts of the year. I wouldn’t recommend it. Although I can deduce that April was a stupidly popular year. Hmm. I will try and get some kind of Reddit- / Digg-style voting plugin for this blog. That would probably be much better.

Okay, how else can I look at last year? What music I’ve listened to. I know I still haven’t posted my top ten albums of 2006 yet. I promise that is coming. But Last.fm offers a handy way to track what you listen to, and a glance at the rolling year chart on this day allows me to have a look at what I listened to over the past year. This will change tomorrow, so it’s worth taking a note of, if you’re interested in that kind of useless information.

  1. Boards of Canada (851)
  2. Radiohead (674)
  3. Pulp (624)
  4. Broadcast (615) — I don’t remember listening to this much Broadcast?!
  5. Autechre (607)
  6. Squarepusher (588)
  7. The Fiery Furnaces (579)
  8. Tortoise (472)
  9. Aphex Twin (384)
  10. Prefuse 73 (366)

Perhaps the most surprising thing (apart from how high Broadcast are) is how low Autechre are. For the most part though, this isn’t too different to my all-time top ten on Last.fm.

As for the tracks chart, apart from two tracks that appeared on two different releases (thus probably getting twice as many listens as they otherwise would have), all of my top ten is made up of tracks from Florida by Diplo and Everything Ecstatic by Four Tet. I got both of those albums for last Christmas. So that is probably proof that I don’t spend nearly as much time on the computer as I used to. The chart will probably look completely different at the end of the month.

This year’s Big Brother has been a pile of old bum apparently. A bunch of the original housemates turned out to be possibly too ill. A series of stunts devised by the producers has backfired — the Golden Ticket housemate turning out to be an immense dullard, and the building of a “secret house next door” which wasn’t soundproof. In past years I actually watched a lot of Big Brother Live, but this year they all seem to go to bed early. Pah.

But I’m still kind of keeping in touch with what’s going on. Why? Because the spin-off discussion show, Big Brother’s Big Mouth, has become essential weeknightly viewing. They show it on E4 from Tuesday–Friday after the main Channel 4 show, but it actually feels better in its late-night repeat slot on Channel 4.

BBBM is not a must-watch because of any groundbreaking format or because of the wonderful insight that the participants have to offer. It is a must-watch because it is presented by Russell Brand.

The comedian polarises opinion. I wasn’t sure at first. But on one boring evening when I was flicking through the channels I caught him at full throttle, in the middle of an energetic tirade. I can’t remember what it was about — it might have been about one of the housemates, but it was more likely to be about his dinkle. I became a fan. Now that the programme is on at a more suitable late-night timeslot I try to catch it every time it’s on — and there certainly aren’t many programmes I can say that about.

Before he was resurrected in BBBM, Russell Brand got himself involved in all sorts of shameful debauchery. A heroin addict, he once infamously turned up to work at MTV on September 12th 2001 dressed as Osama bin Laden. It probably seemed like a good idea at the time… But he’s clean now! And he’s got loads of funnies about it all which he uses in his stand-up routines, such as: “The thing about heroin, it’s very more-ish.”

If I have a criticism of Brand on BBBM it is that a lot of the programme is actually the same every night — it has become very catchphrase-heavy over time. Regular viewers know that the script changes very little from day-to-day, as Brand tries to shoehorn new jokes into the same old punchlines.

For instance, before the end of part 1 every day, Brand will launch into a soliloquy about his ball bags. His speech will always end with the words, “the swines!” Sometimes audience members will attempt to join in with him at the end, as though it is some kind of greatest hits concert.

Although I like the regular bits, Brand is at his best when he is ad-libbing and interacting with the crowd. During the show he mingles amongst the crowd like Kilroy. He wields a Wogan-style stick microphone, thrusting it around like a rapier whilst firing off quick-witted funnies.

Once an audience member was in the middle of a banal speech about how lovely Pete is, and how he doesn’t have a bad word to say about anyone. Brand retorted, quick as a flash: “Yeah he does, he keeps on saying ‘wankers’.”

Brand doesn’t just tell rude jokes about Big Brother though. He is still on MTV (despite being sacked from it several times), and he now has a weekly radio programme on 6music. Justin at Chicken Yoghurt, though, likes him most for his World Cup column in The Guardian.

Unfortunately I’m not so much into football, so most of the jokes in that column would go straight over my head. I did read it once, but the bit I liked the best was the bit that wasn’t about football:

Shouting at a football match, like talking during sex, should only be undertaken with supreme confidence and commitment.

Yelping, “Blimey, you’ve done a goal” or “I’m gonna do a sex on you” can mar, irrevocably, the necessary tension.