I had lunch last week with the highly entertaining Derek Hobson, host of ITV’s seminal talent show New Faces, which was responsible for the ‘discovery’ of Michael Barrymore, the wonderful Marti Caine, Jim Davidson, Les Dennis, Lenny Henry, Victoria Wood etc in the pre-Thatcher 1970s. He reminded me about the old union-dominated days at ATV (where I worked a various times). Lenny Henry was chosen by the producers to be on New Faces and it made him a star, but it took a whole year before he was seen on screen because the unions only allowed card-carrying Equity or Musicians’ Union members to appear on the show.
Derek told me that, when Yorkshire TV recorded its classic sitcom Rising Damp, which was screened on ITV as six-part series, the company used to schedule recordings for seven episodes per series on the basis that one entire episode would always be lost due to Luddite practices during the recordings by the all-powerful ACTT union. I well remember their pre-Thatcher power. The ACTT was less a union protecting its members, more a protection racket threatening employers and running a heavily enforced closed shop.
As a member of the National Union of Journalists at ATV, I suggested a documentary to be transmitted on the 40th anniversary of the 1940 Wartime bombing of Coventry (and provided research and sources) but I was not allowed to be employed nor credited as a researcher on the show because I was not an ACTT member and researchers could only be ACTT members.
Derek also told me the story of a singer who triumphantly performed on one edition of New Faces, wowing the judges, the studio audience and the viewers at home. The response was immense. On the Monday after the show was transmitted, the singer received a phone call from the manager of two of the biggest music acts of the time – acts with a similar style. The manager wanted to sign the singer to an exclusive management contract. The singer was overwhelmed and flattered to be approached by the high-profile and highly successful manager; he thought his career was made and his life would be transformed. But, in fact, the manager wanted to sign the singer because he saw a potential threat to his two existing acts. The singer was too similar; he was given ten duff songs in a row to record, his potential career was destroyed and the manager’s two existing acts continued to prosper with no threat of competition.
So it goes.
SO IT GOES - John Fleming's blog 