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BBC publishes new list of highest paid presenters

I have been reading about BBC salaries from the 1960s and 1970s and what astonishes me is how many well known celebrities were willing to continue to work at the BBC for really pathetic low amounts, all of which back then subjected to high taxes.

Yes, there was only one other alternative, ITV on offer for people to go to, but it still is surprising when John Cleese said that in 1975 for writing and acting in the first series of Fawlty Towers he was paid £6,000 in total, for both acting and writing. That amounts to near £70,000 in 2020 values.

Arthur Lowe for his starring role as Captain Mainwaring in the first series of Dad's Army only received £170 an episode, with John Le Mesurier getting more at £209 an episode - in 1968 values of course, but still a pittance to what Brendan O'Carroll receives for Mrs Brown's Boys nonsense now.

My bold. But that was good money for a few weeks work. In 1975 I was paid about £2500 - for an entire years work.

Being an ex-England captain does bring some additional insight into football that Mark Chapman cannot bring, but whether that’s worth Lineker’s payment is a moot point.

I think the particular problem with football programmes - on all channels - is that they involve ex-players who used to earn fabulous money when they actually played and expect to still earn fabulous money once their playing career is over. I feel the broadcasters need to dis-abuse them of that thinking. Other than punditry I think a lot of these ex-players would be simply sat at home doing nothing and I think that needs to be figured into the financial calculations.

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Sir Bruce Forsyth RIP

I was sat in telecine one day and was idly switching around on a monitor looking at what was coming into the building from far away and my eye was caught by a dimly lit studio. I wandered around to MCR and asked what it was and they told me that it was an incoming feed from LWT and that they were about to record a segment for Brucie's Big Night. The segment to be recorded was 'Beat the Goalie' which was taking place in one of our own studios with a local goalie and contestant. It was a Thursday night and as this was being recorded in London I don't quite know why we needed a return feed from LWT as it did not actually involve Bruce at all.

I wandered back round to telecine and looked at the picture on the monitor again. It was quite simply an unlit, unset studio with a single EMI2001 camera with LWT on it's side panel in the middle of the studio tilted down almost as though it was gracefully at sleep. Graceful would not be an understatement. My mind wandered back for a moment to the days when, as a boy, I would marvel at programmes made by that company as they all seemed so exciting, so 'showbiz'. I vowed there and then that someday I would work for that company. And I did, for very nearly 30 years and it was the time of my life. So perhaps In some strange way I owe a special 'thank you' to Sir Bruce for that initial spark.