Archive for the ‘twitter’ Tag

Cannes Do attitude

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

David-Mitchell

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.

 

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
hughs fish fight save our seas channel 4

Big Fish Fight hooks 20,000 tweets

5 March, 2013 | By 

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

fishfight_3

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 

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 

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

Please note: C21 Media provides free daily email bulletins and their site is a mix of free and paid for content. This article is reproduced courtesy of C21 Media – click here to register (top right) for their free daily email

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

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.

Artwiculate Twitter word game
Artwiculate Twitter word game winner

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…

The skinny on Skinny-dipping

Rupert Brooke in Granchester (with soft collar)

Rupert Brooke in Granchester (with soft collar)

On Thursday evening I joined Channel 4 colleagues at The Courthouse Hotel [formerly the Marylebone Magistrates Court, was glad to see cells have been imaginatively retained] opposite Carnaby Street (a resonant area for me as just round the corner from my very first workplace, Solus in Marshall Street, Soho, whose attic contained hidden gems like footage of Jimi Hendrix at the Isle of Wight and James Baldwin in Paris) to view as it was broadcast a programme I had (deliberately) only seen as raw footage – Alone in the Wild. Since the beginning of July we have been publishing online the rushes of the show as they came out of the wilderness of the Yukon, where cameraman/film-maker Ed Wardle was living and recording his experiences himself, completely alone in the wild. My part of the cross-platform commission also involved publishing daily out-going only short messages from the wild via Twitter, which were subsequently used to punctuate the three films in the series. [Next one is this Thursday at 9pm on C4]

One scene in Episode 1 saw Ed delighting in a skinny-dip in the lake where he had made camp, frolicking like a child, immersing himself with joy in the place he shared with a stately moose and grayling destined for his frying pan.

I’ve been equally struck recently by accounts of poet Rupert Brooke’s skinny-dipping activities in Granchester, a place made magical for me after a lone moonlit cycle-ride to there in the middle of one Romantic night. In particular, accounts of ‘The Midnight Swim’ when this proto-hippy young poet shared the waters of Byron’s Pool with the unstable, radical woman of letters Virginia Stephens, later Woolf, who finished her life alone in the underwater wild of a Sussex river.

It was 1911. They were both single. Rupert was 24, Virginia was 29. It was the year Poems 1911 was published (clue in the title), Brooke’s one and only volume of poems to appear during his actual lifetime. (Woolf’s first novel appeared four years later.)

Christopher Hassall describes the incident in his biography of Brooke (Rupert Brooke: a Biography 1964):

“It was the end of August. Virginia Stephen arrived at the Old Vicarage and occupied Ka’s bed on the other side of the house. The garden room was strewn with scraps of Strindberg, pages of Bland Vassen and fragments of verse. Probably the guest had brought with her an early chapter of The Voyage Out to revise while Brooke was reading or writing stretched out on the grass. One warm night there was a clear sky and a moon and they walked out to the shadowy waters of Byron’s Pool. “Let’s go swimming, quite naked,” Brooke said, and they did.”

Brooke mentions in his well known poem The Old Vicarage, Granchester this pool where his poetic forebear Byron swam when no-one was about:

Still in the dawn waters cool
His ghostly Lordship swims his pool

The painter Augustus John, who lived nearby with a caravan load of hot women and brown children, was also a naked frequenter of the pool, as was the philosopher Wittgenstein.

The Midnight Swim is also fictionalised and extrapolated upon in Jill Dawson’s recent novel The Great Lover which I read on holiday this August (exactly 98 years after the skinny-dip in question), kindly given to me by Aysha Rafaele (a fellow C4 Commissioning Editor from Documentaries) who spotted it in the Richard & Judy Book Club pile.

So any action between the two of them, both swingers-both-ways? Rupert, I get the impression, was more inclined to the hetero. Virginia must be well documented but I’m not sure exactly how her bi was balanced. Lytton Strachey had proposed to her two years earlier but they both realised, in the cool light of day the next morning, it wouldn’t work out. I don’t think any one knows or ever said quite what occurred, which leaves it as a lovely little mystery…

The Midnight Swim wasn’t their first watery encounter. In April 1899 (Rupert was 11, Virginia was 17) the Brookes went to St. Ives on holiday, where Leslie Stephen was also vacationing with his family. The two of them played together by the sea.

Yeats called Brooke “the handsomest young man in England”. By the year of The Midnight Swim, Brooke was secretly engaged or attached in some fashion to Noel Olivier, a fascinating character in her own right (Rupert was 24, Noel was 19) here’s her Wikipedia entry.

I had a go recently at drafting a Wikipedia entry for her sister Brynhild who seemed a promising character, the most beautiful of the Olivier sisters, but there’s very little to go on. This is what I have so far:

”’Brynhild Olivier”’ (1886 – 13th January 1935) was a member of [[Rupert Brooke]]’s circle before the First World War and associated with the [[Bloomsbury Group]]. She was the fourth daughter of [[Sydney Haldane Olivier]], 1st Baron Olivier, and Margaret Cox; she was sister of Margery, Daphne and [[Noel Olivier|Noel]].

She married art historian [[A. E. Popham]] (Arthur Ewart Hugh Popham, known as Hugh) in 1912 (becoming Brynhild Popham). Hugh Popham was a friend of Rupert Brooke. They were divorced in 1924. She married [[F. R. N. Sherrard]] in 1924 (becoming Brynhild Sherrard).

She was the mother of [[Anne Olivier Popham]], who became the wife of art historian and writer [[Quentin Bell]]. She was also the mother of the poet, translator and theologian [[Philip Sherrard|Philip Owen Arnould Sherrard]] (born 23 September 1922, Oxford).

Brynhild was the first of the four Olivier sisters the poet Rupert Brooke met. Although she was reputedly the most beautiful, it was her sister Noel Olivier for whom Brooke fell.

She was first cousin of the actor [[Laurence Olivier]].

If there’s anyone out there in internetland who knows anything more about Brynhild (Bryn) Olivier, please do let me know via comments or however so I can get enough substance in the article to make it acceptable for Wikipedia – i.e. more information on what she achieved in her adult life.

Rupert and Noel met in 1908 when he was 20 and she a 15-year-old schoolgirl at the then fashionable, progressive Bedales in Petersfield. Noel’s father was Lord Sydney Olivier (uncle of dear, dear Larry), a prominent Fabian and high-ranking civil servant, serving in his time as Governor of Jamaica and Secretary of State for India.

Bedales was something of a centre for getting your kit off. Various members of Brooke’s circle had been there, the first co-ed public school, which encouraged a passion for the open air and healthy outdoor games. Nude swimming and sunbathing (segregated) made it on to the curriculum (hoorah!). The Sun Bathing Society’s Annual Summer Conference was held there in 1931 and naturists used the Bedales grounds out of term in the wake of their starting to organise in Britain during the previous decade.

Noel went on to have a long and interesting career as a doctor, politically active in a way reflecting her Fabian roots. Rupert had a short one as an early crash-and-burn teen hero, paving the way for everyone from James Dean to (fellow Cantabrian) Nick Drake to River (appropriately enough) Phoenix. He didn’t quite make 28. He cast himself as a Neo-Pagan (becoming a central figure of an eponymous group of writers and artists) and Virginia confirmed this: “He was consciously and definitely pagan.” They were the original Teddy Boys, the reckless youth of the Edwardian era, rebelling against the constraints of stiff-collared Victorian ways.

Embodying the Neo-Pagan ideals of youth, comradeship and the Simple Life, Brooke revelled in going barefoot and skinny-dipping: “Two miles from Cambridge up the river I wander about barefoot and almost naked. I live on honey, eggs and milk.” (letter to Noel Olivier, summer 1909). A bit of Romantic exaggeration of course, but Rupert certainly enjoyed casting off a few layers.

This summer I had the Simple Pleasure of bathing in Lough Hyne, just outside of Baltimore (the one in West Cork as opposed to The Wire one). It is pretty much unique as a salt-water lake, quite the place to go if you want to hang with a goby, shanny, blenny, three-spined stickleback or clingfish. Its salty water reminded me of another top bathing experience – the Blue Hole, East of Port Antonio, Jamaica (aka the Blue Lagoon since Brooke Shields skinny-dipped there in 1980, directed by Randal Kleiser, who I had a ridiculous phonecall with when I was working at Solus – for some unaccountable reason I turned momentarily into The Player, luckily old Randy couldn’t see the tenderfoot at the other end of the transatlantic line). The Blue Hole is a mixed salt and fresh water lagoon, fed by cold underground springs. When you swim you have the unique experience of one stroke warm, next stroke cool, warm, cool, warm, cool, warm, cool. Divers and scientists say it has a depth of about 180 feet. Local islanders say it is bottomless and a monsterous creature lives down below. The mixture of intense physical pleasure and underlying anxiety of the sheer extent and unknowableness of Nature is an experience common to skinny-dippers the world wide.

The-Blue-Lagoon

Channel 4 and Digital Participation

One of my current projects is Alone in the Wild. Cameraman Ed Wardle has gone into the wilderness of the Yukon to film himself and how he copes with 12 weeks of total isolation. Each morning, as part of the safety protocol, he has to send an “I’m OK” message. He does this by sending, from a semi-disabled sat phone (can do outgoing SMSs only), a short message which is posted on Twitter www.twitter.com/aloneinthewild . He’s just started his third week out there – you can see some of the early rushes here and here, more to follow tomorrow [he leaves off his tapes in a dead letter box-type drop-off from where they are later collected by helicopter or float-plane once Ed has moved on, so no human contact] – and already after this opening period, it is clear that Alone in the Wild is bringing new people to Twitter/microblogging as these screenshots illustrate:

Alone in the Wild Twitter screenshot 1Alone in the Wild Twitter screenshot 2Alone in the Wild Twitter screenshot 3Alone in the Wild Twitter screenshot 4Aitw TwitterAlone in the Wild twitterAlone in the Wild Twitter screenshot 5This is a good, clear illustration of how Channel 4 inspires Digital Participation aka Digital Media Literacy aka Being Digital [Digital Britain report] by providing a purpose or mission or story. “Inspires” is the key word – it is what is sometimes lacking from social networks and platforms, and it is what Channel 4 consistently offers – Inspiration is a rare commodity. Even Twitter is basically a tool in need of a task or purpose, it is only as good as the things people find to do with it. Alone in the Wild provides clear guidance on how to join in the conversation on Twitter, part of Channel 4′s commitment to helping drive Digital Participation. But Ed’s “awesome adventure”, his inspiring story of courage and endurance and an unquenchable desire to do the extraordinary (he has been up Everest twice, been to the North Pole, every year he tries to do a new extraordinary thing, but never has he done one in isolation like this, a whole new challenge, as much psychological as physical) his inspiring story is the real energy which is motivating people to have a first go at digital social media.

Multiplatform Swop Shop

Neil ArmstrongA convo with Tim Wright and others inspired two new hashtags today:

#bestswop What was the best swop you ever did in your life?

#worstswop What was the worst swop you ever did in your life?

I was reflecting on my photo of Neil Armstrong yesterday, it being the 40th anniversary of the launch of Apollo 11:

“Looking at my signed photo of Neil Armstrong on this resonant day – got it by swopping for a signed Damned single with editor Mark Reynolds” about 22 hours ago from web (Mark and I were making a film about Helen Sharman, the first British astronaut)

richpayne88 mentioned “he also very rarely signs autographs – sounds like an amazing swap. I’ll trade you for these five magic beans” The irony is Mark’s aunt didn’t believe the autograph was real when it arrived at her young nephew’s home in Leeds. She explained to him ‘they just print them’, licked her finger, wiped it across the signature – and the smudge is still there.

So here’s the best best and best worst swops to have emerged today…

Best:

I swapped houses! Only for three weeks mind you. I got their fabulous home in Melbourne complete with pool and tennis courts etc and they got my terraced house in Hackney. Happy days…

finance for technology

St.Albans for London

[ A signed Damned single (late one, not great) for a signed photo of Neil Armstrong (he stood on the frigging moon! - first) ]

Worst:

My ZX Spectrum for an Amstrad. Doh.

[ childhood for adulthood ]

manhood 4 parenthood

I swapped my last Rolo for a kiss, the Rolo would have been more satisfying and tastier.

a pride of lions for a hope of rain.

i swapped an inflatable hammer for a bean encrusted pan at leeds fest

I swapped £4000 for new posh carpet in my flat…and I’ll be reminded of it until I move…i hate myself…”shoes off!”

Feel free to add more using #bestswop #worstswop on Twitter or using the Comments below

You should follow me on Twitter here

(Why?)

Shame this will never trend – our American cousins, I believe, spell ‘swop’ S W A P

Can’t kid a kidmapper

cover by NC Wyeth (1913)

cover by NC Wyeth (1913)

Follow the Kidmapper: a literary blogumentary from Tim Wright

From 30th June to 25th August, Tim (who wrote MindGym with Ben Miller and me) is following a route across Scotland from the south-western tip of Mull to the outskirts of Edinburgh, as charted in Chapters 14–27 of Robert Louis Stevenson’s ‘Kidnapped’.

You can follow his travels & travails at Kidmapper.

Tim considers ‘Kidnapped’ a fantastically exciting book – “the story of David Balfour running for his life across the Highlands, sometimes accompanied by tough and rebellious Alan, sometimes pursued by the English army, seemed so visceral and exciting to me that I wanted to try it for myself. So that is exactly what I am doing.”

From the blog you can read and discuss the book itself, listen to extracts being read out in the places the book describes and keep in touch with where Tim has got to each day.

“Perhaps there’s something you’d like me to do or think about whilst I’m walking. Perhaps you’d like me to visit specific sites and film them for you. Or better still, perhaps you’d like to come out here and join me for a walk, add your own responses to being on the Kidnapped Trail and have an adventure of your very own.”

If you want to start from the beginning, the first episode is on Tim’s YouTube channel and you can find him as ‘kidmapper’ on most popular web services.

So this is the latest chapter in Tim’s on-going exploration of web narrative, which incudes the outstanding In Search of Oldton whose launch I had the honour to host at Channel 4 way back when.

I’m feeling inspired now to handcuff myself to a blonde and run across the heather-strewn glens of ‘The 39 Steps’.

We seem to have a bit of a Hitch here, darling

We seem to have a bit of a Hitch here, darling

And on the subject of following…

You should follow me on Twitter here

Pamela (Madeleine Carroll) should follow Richard Hannay (Robert Donat) there

The English army should follow David Balfour there

Why all the following?

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