Latest Record Project

Tim Burgess’s Tim’s Twitter Listening Party has demonstrated during the pandemic that it is possible to generate community, human exchange and excitement about music by combining Music and Live. It is one of the best things to come out of the Plague. 

Last night Van Morrison played, or rather broadcast/premiered, a live gig from Real World Studios , set up by Peter Gabriel in 1987 in Box, just outside Bath. Van has connections with Bath, having lived there and bought his own studio there, Wool Hall in Beckington. Well, the performance was of the highest quality. Very professional, excellent sound, simply but beautifully presented, played with the greatest of skill, sung with a voice almost unchanged at 75. In short, despite being online, despite months of tedious zooming, a great energy was transmitted over the wires and through the screen.

Any shortcomings in the experience? You had to make your own social on the side – not difficult in the age of What’s App. The moment of transcendence (for both Van and his audience, a genuinely spiritual  moment) which marks every great Van concert was only just about achieved, in ‘St Dominic’s Preview’. Van stuck to his new LP, the amusingly named ‘Latest Record Project, Volume 1’, his 42nd album, for the bulk of the performance, only bringing in a few older tunes, with a bluesy bent (his deepest love), towards the end. There have been some really wide of the mark reviews of the record – here is one that gets this provocative record and how it links back right to the outset of Van’s career when he recorded an album’s worth of nonsense songs to fulfil an exploitative record contract without giving the exploiter anything he could use. The only better such record is Marvin Gaye’s searingly honest ‘Hear My Dear’ about the disintegration of his marriage to label owner Berry Gordy. 

To help mark last night’s show for posterity here are a few stills:

A rare moment when the dark glasses come off

Dana Masters is a great foil to Van’s voice

Van got stuck in on sax, blue’s harp (his top instrument), electric and acoustic guitar

A really talented band – he’s a great curator of talent

He’s a respecter of age and experience, as well as youth

Real World looking just right

Set List:

1. It’s Only a Song
2. Deadbeat Saturday Night
3. Love Should Come with a Warning
4. Do the Right Thing *
5. Up County Down
6. Latest Record Project
7. Blue Funk
8. My Time after a While
9. Diabolic Pressure
10. Why are you on Facebook?
11. Where have all the rebels gone?
12. Baby Please Don’t Go / Pachman Farm / Got my Mojo Working
13. Ain’t Gonna Moan No More
14. Days Like This
15. Broken Record
16. Cleaning Windows / Be Bop A Lula
17. St Dominic’s Preview *
18. Have I Told You Lately That I Love You? *
19. Help Me
20. Think twice before you go / Boom Boom

Have I Told You Lately..?

The band swinging

And a great band they are

A marvellous contraption

Van leading from the front

More Favourite Social Media Accounts

Toyah Willcox & Robert Fripp in their kitchen

(1) Toyah & Fripp’s Sunday Lunch Film (YouTube)

It being Sunday lunch time I have just watched Toyah & Fripp’s latest Sunday Lunch Film (their fun-filled take on Jimi Hendrix’s Purple Haze). As I look out my window at a farm in Barnet (it may be a sheep farm for all I know about things agricultural) I think back to the young punk of Derek Jarman’s Jubilee and that debut EP Sheep Farming in Barnet. 

The only Toyah record in my collection

What interest she had in Barnet (as a Brummie) or sheep I have no idea – she has had a very particular success as a singer and actress (my favourite of her performances is in Quadrophenia). Now, every Sunday at noon she and her husband, King Crimson guitarist Ropert Fripp, release a short video of them performing a song in their kitchen. She is 62 and he is 74. They are on a mission to have fun in Lockdown.

(2) Tim’s Twitter Listening Parties (Twitter)

Another of the great things to come out of Lockdown is Tim Burgess of The Charlatan’s group LP listening sessions connected via Twitter. Tim picks a record. We all hit Play at the same time. And chat. Simple as that. Among the best Tim’s Twitter Listening Parties I’ve joined were a series of Sunday night ones spotlighting Bowie’s LPs with input from Mike Garson (Bowie’s pianist) and others from his band; Dexy’s Midnight Runners’ neglected classic Don’t Stand Me Down; a couple of The Cure ones such as Pornography (which is one of the few of their albums I didn’t know that well so this was a great way to discover it communally) and a brilliant The The one (Infected) with Matt Johnson.

The format grew so popular that after a while musicians started to join in in this way and give anecdotes and explanations around their songs. This has meant I’ve had direct contacts with musicians from Dexy’s guitarist to Bowie’s to The Cure’s, for example. The communal music experience is the beating heart of the thing, but the closeness to the creators is cherry on the cake. Really one of the very best things to come out of Lockdown.

Dexy’s fiddle player and guitarist in dialogue with the fans (i.e. me)

[back L-R] Kevin Rowland, Nick Gatfield [front] Billy (Kev) Adams, Helen O’Hara

(3) Chop Daily (Instagram)

Chop Daily is an energetic minute of dance to your phone every day of life from the account’s followers. Simples.

Quote of the Day: Going Gaga

Today the Internet Association (UK), as led by my former Channel 4 colleague Daniel Dyball who spoke for them on BBC Radio news this morning, is presenting to the UK Parliament their suggestions for regulation of social media from the big tech firms including Facebook and Twitter.

On Sunday night Lady Gaga performed an intense version of what proved to be the Oscar-winning original song, Shallow from A Star is Born, with Bradley Cooper.

 

Lady Gaga said of online rumours of a love affair between herself and her co-star based on the performance:

social media, quite frankly, is the toilet of the Internet

Nice, concise turn of phrase.

In full: “…social media, quite frankly, is the toilet of the Internet. I mean, what it has done to pop culture is abysmal.”

 

Social Media Addicts Anonymous

The fourth of my documentaries commissioned for Real Stories (Little Dot Studios) went live last night. The full film is here for free [26 minute watch]. I collaborated with director/producer Simon Goodman of Showem Entertainment on this light, entertaining doc – we’ve been working on it since late 2016 so it emerges at an interesting moment in the evolution of Facebook and social media (Cambridge Analytica, betrayal of trust, abuse of personal data, #deletefacebook, etc.) It is our third collaboration after ‘Naked & Invisible’ and ‘Young Swingers’. All have a light surface but carry substance. This one plays out thus:

Six social media junkies put themselves in the hands of a psychologist specialising in digital addiction to try to break free of the clutches of social media platforms such as Facebook, Snapchat, Instagram and Twitter. As a first step, they agree to have their accounts frozen and go cold turkey for a week. How long can they survive without their fix? What difference does this forced abstinence make to their lives?

These self-confessed addicts agree to ditch their virtual lives for some real-world truths by participating in a course of ‘shock treatment’ under the guidance of Harley Street counselling psychologist and cognitive behavioural therapist Dr. Becky Spelman.

The addicts range from 39-year-old Jill who says her social media usage is a marriage wrecker (“I use Facebook to avoid having sex with my husband”) through 20-year-old Freddie whose addiction to Snapchat has landed him three written warnings from work and who admits his smartphone usage makes him “become a bit of a psycho” to 30-year-old fitness model Tracy Kiss (2.6M Facebook followers) who says that her online activities are affecting her relationship with her kids to the point where if she doesn’t change soon “things will probably implode”.

The initial week-long programme raises all sorts of questions: What will they discover about themselves by going offline? How will they fill the online void in their lives and will the process create rewarding experiences for them? Can they find ways to stay connected to their friends and the world at large?

Through this group’s stories the film explores the wider issues for the generation now living in a world where they gauge their self-worth by the number of likes, favorites, or retweets they receive.

The final film was influenced by a comment made publicly by Sean Parker, the first President of Facebook, late last year: [about Facebook]

“It’s a social-validation feedback loop… exactly the kind of thing that a hacker like myself would come up with, because you’re exploiting a vulnerability in human psychology.”

As the film entered the edit in February 2018, James Steyer, CEO & Founder of Common Sense, launched the Truth About Tech campaign, driven by the employees of social media platforms and other big players in Silicon Valley:

“We are into the appropriate and balanced use of technology. We are calling out the industry for their excesses and their intentional effects to manipulate and addict.”

‘Naked & Invisible’ – 120M views in 10 days on Facebook

 

Cannes Do attitude

A bulletin from the front-line of MIP TV in Cannes courtesy of C21 Media

C4 lines up ‘social media first’

 

MIPCUBE: UK broadcaster Channel 4′s first primetime show drawn entirely from digital airs this summer, allowing viewers to play along on social media and receive bonus content.

Was It Something I Said?, initially an eight-part Friday night panel show, will be presented by comedian David Mitchell and produced by Maverick TV and That Mitchell & Webb Co.

Adam Gee, Channel 4’s multi-platform commissioning editor, told C21 here in Cannes: “We’ve been trying to do this for a long time. For the last two years I’ve been looking for ‘the North West Passage’ from digital media to TV. This started life as an arts digital commission and now it’s yielded primetime television.”

Gee, responsible for commissioning campaigning multi-platform properties The Great British Property Scandal and Hugh’s Fish Fight, claimed the new show would be a social media first.

“What’s particularly interesting about it is that the playalong will be fully integrated into social media, so you won’t have to go somewhere else to join in,” he said.

The show pits two teams against each other in wordplay, based on things people have said, tweets, media, and TV and film dialogue. Viewers will be able to play along with the show on Twitter, and receive bonus content.

 

Julian Blake

09-04-2013

{reproduced courtesy of C21 Media}

Twitter storm at sea

This was an interesting experiment we tried recently on enlivening pre-recorded shows – in this case by calling out for a mass action over an ad break focused on three UK supermarkets which are unclear about the sourcing of some of their seafood (though no horse flesh involved …I think) and then presenting back the results straight after the break including an on-screen graphic featuring the number of tweets sent. In the words of the Twitter folk: “A great result around the show last night. We count circa 42K+ in the last 24 hours and a peak of 22K+ at the call to action – which is an equivalent hashtag spike to those Xfactor enjoys around its biggest moments! This kind of audience activation and live polling with Twitter is brilliant.”
The following extract is courtesy of Broadcast…

Big Fish Fight hooks 20,000 tweets

5 March, 2013 | By Alex Farber

Hugh’s Fish Fight saw a massive surge in Twitter activity – to over 2,200 messages per minute – after presenter Hugh Fearnley-Whittingstall urged viewers to message the UK’s biggest supermarkets.

Hugh’s Big Fish Fight (C4) 9pm-10pm
Total tweets: 22,151
Peak tweets per minute: 2,289

Fearnley-Whittingstall’s call to action over sustainable fishing saw over 10,000 viewers flock to Twitter over the course of the 60-minute show, according to data from SecondSync.

The show was watched by an audience of 1.1m (5.3%) according to overnight data supplied by Attentional – a conversion rate of around 1%.

The viewer engagement spiked at just after 9.30pm ahead of an ad break as Fearnley-Whittingstall encouraged viewers to tweet the supermarkets’ official accounts after they refused to be interviewed on the show.

The figures represented a massive uplift on the 312 tweets per minute the show averaged across the 60 minutes.

It also dwarfed the total tweet volume of 3,300 and 1,500 generated by the first two episodes in the series – when no call-to-action occurred.

C4’s multiplatform commissioning editor of factual Adam Gee said: “Fish Fight represents the sweet spot of multiplatform – the TV prompts understandable anger and the digital means now you can do something about it.”

The social media campaign was managed by digital agency Keo Digital and audience participation experts Telescope Inc.

Hotel GB opening its doors

Next up from these quarters is Hotel GB – kicks off on Monday night at 9pm on Channel 4. In terms of Multiplatform the emphasis is on lively chat and social media, which is why we’re working closely with Twitter. As my friend Judyth put it last weekend, “you’re a pill-sugarer” – I am indeed a pusherman (my theme tune is here), in the business of disguising public value and learning in colourful shells of celebrity and entertainment. The vibe on the location this morning was positively party-like – I chatted with Gordon Ramsay, Mary Portas, Kirstie Allsopp and Gok and all seemed really up for it, having fun for five days whilst highlighting some critical issues around young people and employment at this particular juncture. Meanwhile Tim Lovejoy and Sara Cox are psyched about diving in for some online banter. Here’s some stuff from Broadcast about it…

Twitter & C4 tie-up for Hotel GB

28 September, 2012 | By Alex Farber

Channel 4 has forged a direct partnership with Twitter to boost activity around its forthcoming reality show Hotel GB.

Twitter broadcast partnerships executive Dan Biddle has been working closely with C4 and production company Maverick Television to ensure the stripped show’s social media champions Sara Cox and Tim Lovejoy are as effective as possible.

@sarajcox and @timlovejoy, who have 496,000 and 477,000 followers respectively, have been appointed to act as online cheerleaders for each team throughout the show which airs on Monday.

The social networking site has provided behind-the-scenes technical input such as statistical analysis, best practice guidelines and extra code.

The @C4HotelGB profile, which currently has 3,500 followers, was also handed a verified account status immediately.

C4 has previously paid for promoted tweets on the site but is not thought to have worked so closely on a single show before.

Maverick’s production team, led by multiplatform executive producer Claire McArdle, will manage the celebrities updates throughout the series without input from Twitter.

C4 multiplatform commissioning editor of features and fact ent Adam Gee said the input from Twitter would significantly boost the profile of the Hotel GB.

“They have given us a lot of good tips as to how to squeeze the most out of the show via the site,” said Gee. “They have vast pools of knowledge which have provided us with ideas we wouldn’t have had ourselves.”

McCardle added the insights provided by Twitter had been as detailed as how to manage multiple hashtags within a single tweet.

“Their interest in how we are using the site to magnify the show gives us a sense we are trying something new around it,” she said. “It’s like we have been given a real-life verification tick.”

C4 recruits celebs to cheerlead Hotel GB

14 September, 2012 | By Alex Farber

Channel 4 is to recruit two celebrity social media cheerleaders to build engagement with its factual entertainment series Hotel GB.

The broadcaster will tap into the yet-to-be-confirmed male and female celebrities’ huge online followings to reach a significant audience quickly during October’s stripped five-part show.

Each will be allocated a team to support throughout the series, which will see Gordon Ramsay and Mary Portas turn a hotel into a fundraising training ground for unemployed people.

C4 multiplatform commissioning editor of features and fact ent Adam Gee said the ephemeral nature of the show meant making an instant impact was vital.

“It will be a huge multiplatform live event with the main focus on oiling the wheels of social media because the show has a strong entertainment focus,” he said. “The cheerleaders will wind each other up and get their followers behind their teams in a playful way.”

Maverick Television has been appointed to manage the digital activity surrounding the show, which is being produced by its All3Media sister indie Optomen.

Maverick multiplatform executive producer Claire McArdle said the stripped series had insufficient time to organically grow its own social media profile. “To ramp up quickly we must partner with people who are already out there,” she said.

McArdle, who will lead a team embedded round-the-clock in the undisclosed London hotel, said the main site would feature a blog style format, including a quiz, updates and behind-the-scenes footage and interviews.

It will also offer links to career resources.

A standalone casting tool, which will be rolled out to support other shows, will enable viewers to appear in Hotel GB.

{articles reproduced courtesy of Broadcast}

C4’s surreal Twitter experiments

Here’s a piece on integrating Twitter with TV courtesy of C21 Media, written by Jonathan Webdale:

SOCIAL MEDIA 2010: Channel 4 new media commissioner Adam Gee says Twitter saved the life of one of the channel’s documentary makers and is responsible for resocialising TV. Jonathan Webdale reports.

As a UK public service broadcaster, Channel 4 has a remit to innovate and over in its factual department that’s exactly what new media commissioner Adam Gee (left) has been doing with Twitter.

Gee, or @SurrealThing as he’s known to his followers (more on this later), cites four projects, each of which illustrates a different use of the micro-blogging service. The first came in July 2008 with Osama Loves, a multi-platform travelogue that sent two people off around the world to find 500 people named Osama in 50 days in a bid to counter Muslim stereotypes.

The journey included visits to places with limited internet and mobile network access, so the stripped down simplicity of Twitter 140-character updates offered a means for the protagonists to keep the narrative going.

“We knew we would have bandwidth issues when they were in the middle of Nigeria or some corner of Indonesia and we needed a different way of communicating, so we used Twitter to tell the story,” says Gee.

Similarly, Alone in the Wild, a series that last year followed documentary maker Ed Wardle’s attempts to survive in solitude when abandoned in the Yukon, also employed Twitter as part of its narrative.

While Wardle wasn’t allowed two-way communication with the outside world, he was permitted to tweet just once a day, partly as a way of adding further perspective to his experience, but also to allow the production team to keep tabs on his progress.

Wardle was trying to last three months in the wilderness but failed to find reliable sources of food and his physical and mental health deteriorated to the point where he had to be rescued after seven weeks.

In one of his Twitter posts he said he was losing weight so quickly that his muscles were disappearing. Another mentioned that his heart was at 32 beats per minute, when 60-100 is considered healthy.

“I can’t definitively prove it but it saved his life because when he started struggling psychologically it first became evident in his daily tweets,” says Gee.

Two other C4 shows drew on Twitter to shape their editorial direction in real-time. A year ago, Surgery Live was a series of four one-hour live operations that ran stripped across the week at 23.00. Viewers were able supply questions to the surgeon via Twitter while he was carrying out procedures such as removing a pituitary tumour or opening a heart.

“I’m pretty sure that this was the first time a UK broadcaster deliberately used Twitter and integrated it into a cross-platform project,” says Gee. It’s probably pretty safe to say as well that few broadcasters other than C4 would have chosen such as initiative to pop their Twitter cherry.

“The system was such that you could tweet a question and that question could get from your mobile or laptop to air in 90 seconds. We had to have a slight delay on the live feed in case something serious went wrong, but it was an absolute thrill to have such a direct impact on the programme.”

Gee himself tweeted in some questions from home on a couple of nights using his then anonymous handle. “Those were before the days when you had your actual name on the Twitter account,” he says. “The reason that my Twitter identity is SurrealThing is because when I first saw it about three years ago I thought it looked like the end of civilisation as we know it.”

But Gee decided that he needed to get to grips with Twitter if he was ever going to be able to commission anything that made use of it. “So I was a Surrealist for the first year, tweeting about melting watches and stuff like that. I couldn’t get what it was for. But over time what emerged was a tool waiting for a mission.”

Through the three experiments listed above he feels he’s now pretty clear about what that mission is, as far as broadcasters are concerned.

The fourth project he notes, Embarrassing Bodies: Live, took Surgery Live a step further, transforming what had been a two-screen experience for viewers into one. Ironically, however, it used a “Twitter-like” interface that ran on C4’s own website, rather than actually integrated filtered messages from the public Twitter feed.

“We didn’t want an un-moderated stream of stuff being published to the site and in that particular instance it was actually easier to build the functionality and integrate it into our moderation system than to use Twitter separately,” says Gee, though he doesn’t rule out direct tie-ups in the future.

Live broadcasts are definitely where he sees Twitter having its greatest applications but he notes that it’s not relevant to all programmes. “You’ve got to be careful what you build your Twitter cross-platform activity around because if it’s over-complex or requires too much concentration it’s not ideal. You actually want something you don’t have to concentrate on too hard,” he says, giving awards shows as a classic example.

As a general observation, Gee believes that C4’s Twitter experiments have helped crystallise exactly what the micro-blogging service’s mission is from a broadcaster’s perspective. “It’s resocialising TV,” he says. “Once, you might have chatted the next day over a shared big TV experience, but with the much more fragmented TV world we have now it replaces that – which I think is it’s greatest strength. That’s where the value for the channel is.”

Jonathan Webdale
27 Apr 2010
© C21 Media 2010

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Embarrassing Bodies: Live was nominated yesterday for a BAFTA TV Craft Award for interactive creativity

Embarrassing Bodies Live initial results

From Broadcast today

Embarrassing Bodies live web show draws 42,000

12 February, 2010 | By Robin Parker

Channel 4’s first live interactive web show drew 42,000 viewers this week – putting it almost on a par with UKTV’s Watch.

Embarrassing Bodies Live enjoyed a strong lead-in at 10pm on Wednesday night, with its established non-live counterpart watched by 3.5m viewers in its closing minutes.

At 10pm, 42,000 viewers logged on to the site and C4 new media commissioning editor Adam Gee said there was “very little tail-off”.

In the opening ten minutes, this figure was in line with Watch, which had 44,700 people watching Dalzeil and Pascoe.

Viewers were directed to the website to discuss issues raised with the show’s presenters and upload comments and images relating to their own medical conditions.

C4 and Maverick Television received hundreds of questions and more than 100 images over the course of the interactive show, which ran for 28 minutes.

Every individual question and image that made it onto the live show received hundreds of votes to get it on screen.

The Twitter hashtag #embarrassingbodies was the biggest trending topic in the UK on the nitght.

On the same night, Embarrassing Bodies’ established website received 30,000 visits and 420,000 page views between 9pm and midnight.

The interactive show will be available to view online retrospectively from today. C4 plans two further live spin-offs of the show, to air in April and May.

[Article reproduced courtesy of Broadcast]

It smells like …victory

I’m getting into the swing of the lovely Twitter-based word game Artwiculate – born in Belfast, thought of and designed by atto, improved and realised by Johnston North.

Diaphanous was one of my first gos at Artwiculate. I tried one a couple of nights earlier but it was only 5 minutes before the end of the 24 hours and it didn’t register – the word was Quagmire. “I admire a good quagmire, something you can really get stuck into”

The challenge of writing well in 140 characters is something else you can really get stuck into – it has something of the unities of classical drama about it. Some people really seem to shine at it like Russell no T Davies of Wired UK.

I came across Artwiculate because I’m always on the look-out for inspirational word stuff in my capacity as a non-exec (NED – another word game I indulge in is collecting TLAs) of Wordia, the video dictionary which is a quagmire in itself once you immerse yourself in all those lovely words and definitions like Vibrato, Neologism and Flannel.

Update 12.01.10

Some of my recent Artwiculate entries:

A John Osborne one…

The Avocado Bathroom Suite – a drama by Kitsch N. Sink. Jimmy looks back in anger on a miserable visit to Habitat with posh cow Alison.

A Steely Dan one…

Yesterday’s Ephemeral is today’s Ephem: no static at all

An Evelyn Waugh/Men at Arms one…

Lissome up, men, I want this march lithe, quick and graceful – by the left, lithe, quick and graceful march! left, right, left, right…