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  • Tweeting History

    Bringing four stories from history to life, real time

Posts by: "Tom"

This autumn, Telegraph Hill were asked by BBC Radio 1Xtra to build a social campaign for a centre piece of its year, the 1Xtra Live events in four cities; Bournemouth, London, Liverpool and Leeds.

The station wanted to find new ways to publicise and build buzz around the events so, amongst other things, we asked some of the finest street artists in the UK to create pieces around the hashtags, designed to get a conversation going to celebrate local pride in the cities: #BigUpBournemouth (and of course #BigUpLondon, #BigUpLiverpool, #BigUp Leeds).

Included in the art were the handles of key local influencers, to whom we sent video and stills of their names sprayed on the walls. Many of them posted about the walls – completing the circle of our Wall to Wall strategy.

Check out the four fifteen second videos we produced for the channel’s Instagram – which is your favourite?

Liverpool: Betarok

London: 2Rise

Leeds: Replete

Bournemouth: Slam

For a digital producer working recently primarily in television, it was great to get out on the streets, taking me back to my event promoting in Brighton and making music around the country. Even a month before, I hadn’t foreseen I would be producing walls.

Hat tips to Matt Pitts for fab camera and editing, being great on the road; Global Street Art for finding the artists and much, much more.

Some of my favourite moments producing Downton Abbey’s social media were the live Q&As we did with the cast. I particularly enjoyed interviewing Allen Leech (aka Tom Branson), the results of which are below.

What would you most like to ask a cast member?

This autumn I put together the content for four ‘Tweeting History’ stories, for Sky’s programme The British. It was my first work with The Project Factory who produced the multiplatform elements for the programme, in conjunction with Nutopia who put together a lovely web interface. I sourced all the photos and wrote copy, to bring to life the four stories in ‘real time’ on Twitter.

The Project Factory’s latest project is now live, The British on Sky. Produced with Nutopia for Sky Atlantic, the project has multiple features to engage the audience of the 7-part TV series including: Additional interviews with celebrities about Britishness such as Frank Lampard, Jessie J, Helen Mirren and Russell Brand.

Quiz on British History with 4,000 questions over 3,000 years of events. Players can share their results on Facebook and post their best scores to the leader board. A timeline with hot6spots and short form video from 54 BC to 1943. There is extra historian commentary on selected stories.

Then there was Tweeting History – where you can follow history in real time and then watch archive on the Sky website hour by hour. Events covered include the Great Fire of London, the Battle of Trafalgar, Amy Johnson’s First Flight to Australia and the Worst Night of the London Blitz.

To experience the Tweeting Histories .

Tweeting History website

Tweeting History website

Minko is an amazing songwriter and musician who totally knocks my socks off.

We went to France this August and recorded some of her songs in the local church where we were met with a lot of friendliness (see the video description for that story).

Here is one of the first fruits of the session – stay tuned for more…


Minko’s debut EP, featuring ‘I Am The Bridge’ (the studio version), is available here.

Over the summer I was asked by Channel 4 to cover some live Q&As with on and off screen ‘talent’ for their website. One of my favourites was this chat with the creator and producer of E4’s BAFTA winning series Misfits, Howard Overman and Matt Strevens. They were exceptionally good value…

OK, not so much a new track as a new old track, Poison Wards by one of my favourite old projects, Charleyville.

Charleyville is the (almost eponymous) project of ace songwriter Charles Villiers. I contributed the bass lines to this track, and even though I’d moved to London and pretty much stopped playing with them by the time they recorded the song, the lines have made it through (on Su and Rosie’s clarinets).

I love this song.

[custom_field field=”image” this_post=”1″ limit=”0″ between=”, ” /][custom_field field=”image” this_post=”1″ limit=”0″ between=”, ” /]One of my favourite albums of 2010 was Owen Pallett‘s Heartland and I have loved his music since I first heard it (as the geekily but poorly named Final Fantasy). So I always try to see him when he comes to London and this year, it just so happened he was playing at the Barbican – on my birthday!

So I got a few mates together to go down and witness the premiere of his Violin Concerto, and in the second half a group of his contemporaries played together as ‘An 802 Moment’. They included Nico Muhly, Sam Amidon and other luminaries of the alt-folk scene.

I sang behind Sam Amidon at an Arctic Circle gig a couple of years ago, and since then have listened regularly to his deadpan experimental American folk. In the set, streamed below, Sam takes the vocal reins much of the time, although Owen sings the Neil Young classic ‘Only Love Can Break Your Heart’ at about 41’40”. My highlight though was the epic murder ballad closer, ‘The Only Tune‘, here heard at around the 46’ mark.

The tune concerns two sisters:

In most versions of the tale, one sister kills the other over a boy. One is dark, and one is fair; one receives a token of the boy’s love, while the other seethes with envy. When the song is sung in Ireland, for example, her hair is used to string a harp played on the murderess’s wedding day, whereas in this rendition it strings a fiddle-bow.

During the reprise of this song, the violinists came out along the aisles to accompany those on stage. It was a simply staged, spine-chilling moment.

I went to the inaugural Development Producers Meetup the other day where Nicola Lees spoke on “10 Reasons Your Idea Isn’t Being Commissioned”. I thought it was a good list and worth sharing, which Nicola has kindly okayed – here are my notes:

According to Nicola, you might not be getting that commission because:

1 The idea is cr*p

You must think about what your buyer – channel, commissioning executive wants. You might have the right idea for the wrong channel – watch the channel! And don’t pitch a game show if the channel doesn’t do game shows. Likewise, you may have the right channel but the wrong commissioner. Make sure they have the authority to commission too – always aim for the decision makers, generally the people at the top of the hierarchy

2 It’s misdirected

Know the right people, get facetime (meet them in person) It’s often the offhand comment at the end of the meeting that gets the commission – if you’re not meeting them, you don’t benefit from this. It takes a long time to build up your contacts so be patient and persistent.

3 Bad timing.

Don’t pitch too early, don’t pitch too late. This means don’t pitch what’s on at the moment – lead in times in television are eg 6-12 months

4 It’s Unformed

Don’t pitch research, pitch a story. Also don’t just cut and paste from wikipedia You need to let them know who the characters are, what the strapline is, how’re you going to film it Glossy presentation of ideas isn’t better, in fact it can alienate your buyer

5 False Promises

Pitching exclusive access – make sure it’s exclusive! Nicola related a story of a commissioner who, unbeknown to the producer, was pitched exclusive access to the same police force by three different companies. Not good.

6 No Reel

You haven’t made a pitch tape/ ‘sizzle reel’ Commissioners want to be hit between the eyes with a dramatic moment. Increasingly, they expect a reel.

7 Talent

You haven’t attached the right talent Have them attached to begin with – momentum is key with TV ideas and you lose momentum if you have to take a few weeks to get talent on board.

8 The Pitch

You might not be the right person to pitch the idea. You don’t have to be good at everything – it might be your idea or you might have written the proposal, but it doesn’t mean you have to pitch it. It’s hard to pitch and know what’s going on in the room at the same time, and Nicola suggested that working as a pair to cover these roles can be very helpful.

9 Unhelpful Colleagues

Your colleagues are undermining you in the pitch Nicola related a story about a junior producer pitching to Stuart Murphy while her senior colleagues rolled their eyes and told him he wouldn’t like the idea. Stuart behaved admirably apparently, hearing and liking the idea, though it didn’t lead to a greenlight on that occasion.

10 Great Idea, Wrong Production Company

If you want to make The Only Way Is Essex, but you work for a science documentary company…

Bonus reason!

11 Contact Details

…You didn’t put contact details on the proposal/ taster DVD/ Or you left the name of the commissioner at a different channel on the proposal…


In the Q & A, on the subject of formats, Nicola made the good point that there is a balance. You should be as specific as possible with a format proposal (this takes priority, as every detail in the format defines the format), whilst allowing the commissioner to have input. But know your boundaries, don’t compromise on elements which are integral to the idea, know when to say no (even if it means no commission).


I thoroughly recommend Nicola’s book, Greenlit which is packed with great tips and stories for anyone interested in developing television ideas. And of course, please feel free to get in touch with me if you’d like to discuss your idea for the tellybox.

Posted via email from TdG

When I heard that these two very talented musicians from somewhat different worlds would meet at the Queen Elizabeth Hall as part of London Jazz Festival, many months ago, I was excited to see how they would collaborate: I had known Murcof‘s dark, experimental electronica for quite a while, but Francesco Tristano was a new find, a pianist with the rhythmic sensibilities of a latin or jazz player, but with the harmonic sensitivity of a Max Richter or a Phillip Glass.

I got tickets for three friends and when we met, the debate was over how cheesy the music would be. I said it wouldn’t, DC said it would. Needless to say, I won the bet 😉

This isn’t going to be a long blog post. I think both are fantastic musicians and the potential for their work together goes deep. But the dynamics of the set they built was flawed and I feel the need to set down the experience as an excited audience member.

Sadly, the interplay of the pairs’ consummate rhythmic abilities only really started to play a part after two very lengthy (we’re talking 10-15 minutes each), suspenseful and atmospheric ‘build up’ pieces, spread chords voiced like Rachmaninov and the (now ubiquitous) zither like, plucked notes inside the piano over long, breathy synth pedals. One overture would have been fine – two was indulgent.

But after a piece that featured Murcof’s filter sweep flourishes in witty conversation with Tristano’s arpeggios started to hint at what was possible, in the finale, a quarter of an hour long, they at last stepped up to the mark. Tristano finally took a role structuring the rhythm, albeit around a simple two note bass line which didn’t allow for much harmonic extemporisation. And gradually, the music started to free up, Murcof’s piano samples from earlier in the piece taking up the reins, allowing space for more spontaneous play from the keyboard, whilst the electronics could also relax and contrast with themselves. The rhythmic counterpoint between the two was finally tense, exciting and satisfying as gradually the filters closed, only eventually giving way to intense applause and (unrequited) calls for an encore.

This collaboration, at its height actually one of the finest I’ve yet heard between an acoustic and an electronic musician, showed so much potential and finally, after much too long a wait, lived up to it. But I desperately want to hear more of these two fine talents taking risks and playing together boldly, and much, much less caution.

Queen Elizabeth Hall

Thanks to Olex.org for the photo of QEH

Posted via email from TdG

BBC Backstage have made a prototype of an automatic hypertext overlay for their news live feed. As a prototype of course it’s rather dry at the moment and obviously the user interface hasn’t been developed, but the mashup of subtitle data with relevant concepts and DBpedia structured Wikipedia data is a great idea. Take a look at the video:


Google TV and Project Canvas both launching soon, and Yahoo Connected TV. The big question is cultural; how will our viewing and surfing habits evolve. Will our lean-back way of viewing TV mesh with the more proactive use of eg the web?

Posted via email from TdG