An assortment of video tapes

A videotape is a recording of images and sounds on to magnetic tape as opposed to film stock or random access digital media. Videotapes are also used for storing scientific or medical data, such as the data produced by an electrocardiogram. In most cases, a helical scan video head rotates against the moving tape to record the data in two dimensions, because video signals have a very high bandwidth, and static heads would require extremely high tape speeds. Videotape is used in both video tape recorders (VTRs) or, more commonly and more recently, videocassette recorder (VCR) and camcorders. Tape is a linear method of storing information and, since nearly all video recordings made nowadays are digital direct to disk recording, it is expected to gradually lose importance as non-linear/random-access methods of storing digital video data become more common.

Information stored can be in the form of either an analog signal or digital signal.

Early formats[link]

The electronics division of entertainer Bing Crosby's production company, Bing Crosby Enterprises (BCE), gave the world's first demonstration of a videotape recording in Los Angeles on November 11, 1951. Developed by John T. Mullin and Wayne R. Johnson since 1950, the device gave what were described as "blurred and indistinct" images, using a modified Ampex 200 tape recorder and standard quarter-inch (0.6 cm) audio tape moving at 360 inches (9.1 m) per second.^[1][2] A year later, an improved version, using one-inch (2.6 cm) magnetic tape, was shown to the press, who reportedly expressed amazement at the quality of the images, although they had a "persistent grainy quality that looked like a worn motion picture". Overall, the picture quality was still considered inferior to the best kinescope recordings on film.^[3] Bing Crosby Enterprises hoped to have a commercial version available in 1954, but none came forth.^[4] BCE demonstrated a color model in February 1955, using a longitudinal recording on half-inch (1.3 cm) tape, essentially similar to what RCA had demonstrated in 1953 (see below). CBS, RCA's competitor, was about to order BCE machines when Ampex introduced the superior Quadruplex system (see below).^[5]

RCA demonstrated the magnetic tape recording of both black-and-white and color television programs at its Princeton laboratories on December 1, 1953.^[6][7] The high-speed longitudinal tape system, called Simplex, in development since 1951, could record and play back only a few minutes of a television program. The color system used half-inch (1.3 cm) tape to record five tracks — one each for red, blue, green, synchronization, and audio. The black-and-white system used quarter-inch (0.6 cm) tape with two tracks, one for analog video and one for sound. Both systems ran at 360 inches (9.1 m) per second.^[8] RCA-owned NBC first used it on The Jonathan Winters Show on October 23, 1956, when a pre-recorded song sequence by Dorothy Collins in color was included in the otherwise live television program.^[9][10] The BBC experimented from 1952 to 1958 with a high-speed linear videotape system called VERA, but this was ultimately unfeasible. It used half-inch (1.27 cm) tape traveling at 200 inches (5.08 m) per second.

Broadcast video[link]

Quad[link]

A reel of 2-inch quad videotape compared with a modern-day miniDV videocassette

The first practical professional broadcast quality videotape machines capable of replacing kinescopes were the two-inch quadruplex videotape machines introduced by Ampex on April 14, 1956 at the National Association of Broadcasters convention in Chicago. Quad employed a transverse (scanning the tape across its width) four-head system on a two-inch (5.08 cm) tape, and linear heads for the sound track.

CBS Television first used the Ampex VRX-1000^[11] Mark IV at its Television City studios in Hollywood on November 30, 1956 to play a delayed broadcast of Douglas Edwards and the News from New York City to the Pacific Time Zone.^[11][12] On January 22, 1957, the NBC Television game show Truth or Consequences, produced in Hollywood, became the first program to be broadcast in all time zones from a prerecorded videotape.^[13] Ampex introduced a color videotape recorder in 1958 in a cross-licensing agreement with RCA, whose engineers had developed it from an Ampex black-and-white recorder.^[14] NBC's special, An Evening With Fred Astaire (1958), is the oldest surviving television network color videotape, and has been restored by the UCLA Film and Television Archive.

Although Quad became the industry standard for over 20 years, it had drawbacks such as an inability to freeze pictures, and no picture search. Also, in early machines, a tape could reliably be played back using only the same set of hand-made tape heads, which wore out very quickly. Later machines had longer life and used delay lines to compensate for the differences in the four heads. Despite these problems, Quad could produce excellent images. Subsequent videotape systems have used helical scan, where the video heads record diagonal tracks (of complete fields) on to the tape.

Very few early videotapes still exist.^[15] While much less expensive and more convenient than kinescope, the high cost of 3M Scotch 179^[11] and other early videotapes ($300 per one-hour reel)^[16] meant that most broadcasters erased and reused them, and (in the United States) regarded videotape as simply a better and more cost-effective means of time-delaying broadcasts than kinescopes. It was the four time zones of the continental United States which had made the system very desirable in the first place.

Type C and Type B[link]

The next format to gain widespread usage was the 1" (2.54 cm) Type C format from 1976 onward. It introduced features such as shuttling and still framing, but the sound and picture reproduction attainable on the format were of just slightly lower quality than Quad (although 1" Type C's quality was still quite high). However, unlike Quad, 1" Type C machines required much less maintenance, took up less space, and consumed much less electrical power.

In Europe a similar tape format was developed, called Type B. Type B machines (also known as BCN) used the same 1" tape as Type C but they lacked C's shuttle and slow-motion options. The picture quality was slightly better, though. Type B was the broadcast norm in continental Europe for most of the 1980s.

December 7, 1963 - Instant Replay is used for the first time during the live transmission of the Army Navy Game by its inventor, director, Tony Verna.

Cassette formats[link]

A U-matic tape

A videocassette is a cartridge containing videotape. In 1969, Sony introduced a prototype for the first widespread video cassette, the 3/4" (1.905 cm) composite U-matic system, which Sony introduced commercially in September 1971 after working out industry standards with other manufacturers. Sony later refined it to Broadcast Video U-matic or BVU. Sony continued its hold on the professional market with its ever-expanding 1/2" (1.27 cm) component video Betacam family (introduced in 1982), which, in its digital variants, is still among the professional market leaders. Panasonic had some limited success with its MII system, but never could compare to Betacam in terms of market share.

The next step was the digital revolution. Among the first digital video formats Sony's D-1, which featured uncompressed digital component recording. Because D-1 was extremely expensive, the composite D-2 and D-3 (by Sony and Panasonic, respectively) were introduced soon after. Ampex introduced the first compressed component recording with its DCT series in 1992. Panasonic trumped D-1 with its D-5 format, which was uncompressed as well, but much more affordable.

The DV standard, which debuted in 1996, has become widely used both in its native form and in more robust forms such as Sony's DVCAM and Panasonic's DVCPRO as an acquisition and editing format. However, due to concerns by the entertainment industry about the format's lack of copy protection, only the smaller MiniDV cassettes used with camcorders became commonplace, with the full-sized DV cassettes restricted entirely to professional applications.

For camcorders, Sony adapted the Betacam system with its Digital Betacam format, later following it up with the cheaper Betacam SX and MPEG IMX formats, and the semiprofessional DV-based DVCAM system. Panasonic used its DV variant DVCPRO for all professional cameras, with the higher-end format DVCPRO50 being a direct descendant. JVC developed the competing D9/Digital-S format, which compresses video data in a way similar to DVCPRO but uses a cassette similar to S-VHS media.

High definition[link]

The introduction of HDTV video production necessitated a medium for storing high-definition video information. In 1997, Sony bumped its Betacam series up to HD with the HDCAM standard and its higher-end cousin HDCAM SR. Panasonic's competing format for cameras was based on DVCPRO and called DVCPRO HD. For VTR and archive use, Panasonic expanded the D-5 specification to store compressed HD streams and called it D-5 HD.

Home video[link]

VCRs[link]

Bottom view of VHS videotape cassette with magnetic tape exposed

The first consumer videocassette recorders were launched in 1971 (based around U-matic technology). Philips entered the domestic market the following year with the N1500.^[17] Sony's Betamax (1975) and JVC's VHS (1976) created a mass-market for VCRs and the two competing systems battled the "videotape format war", which VHS ultimately won. At first VCRs were very expensive, but by the late 1980s the price had come down enough to make them affordable to a mainstream audience. Videocassettes finally made it possible for consumers to buy or rent a complete film and watch it at home whenever they wished, rather than simply catching it at a movie theatre or having to wait until it was telecast. It also made it possible for a VCR owner to begin time shifting the recording of films and other television programs "off the air". This caused an enormous change in viewing practices, as one no longer had to wait for a repeat of a program that had been missed. The shift to home viewing also changed the movie industry's revenue streams, because home renting created an additional "window" in which a film could make money. In some cases, films that did only modestly in their theater releases went on to have strong performance in the rental market (e.g., cult films).

VHS has become the leading consumer format for home movies after the "videotape format war", though its follow-ups S-VHS, W-VHS and D-VHS never caught up in popularity. In the late 1990s in the prerecorded video market, VHS began to be displaced by DVD. The DVD format had several advantages over VHS tape. A DVD is much better able to take repeated viewings than VHS tape, which can crack or break, which makes DVDs a better format from a rental store's perspective. As well, whereas a VHS tape can be erased if it is exposed to a magnetic field (such as by being left near a speaker), DVDs are not affected by magnetic fields. Even though DVDs do not have the problems of tapes, such as breakage of the tape or the cassette mechanism, DVDs can still be damaged by scratches. Another factor for movie rental stores is that DVDs are smaller and take less space to store. DVDs offer a number of advantages for the viewer: DVDs can support both standard 4x3 and widescreen 16x9 screen aspect ratios and DVDs can provide twice the video resolution than VHS. As well, a viewer who wants to skip ahead to the end of a movie can do so much faster with a DVD than with a VHS tape (that has to be rewound). DVDs can have interactive menus, multiple language tracks, audio commentaries, Closed Captioning and subtitling (with the option of turning the subtitles on or off, or selecting subtitles in several languages). Moreover, a DVD can be played on a computer.

Due to these advantages, by the mid-2000s, DVDs were the dominant form of prerecorded video movies in both the rental film and new movie markets. In the late 1990s and early 2000s, though, consumers continued to use VCRs to record over-the-air TV shows, because consumers could not make home recordings onto DVDs. This last barrier to DVD domination was broken in the late 2000s, with the advent of inexpensive DVD recorders and digital video recorders (DVR). DVR devices, which record shows onto a hard disk, can be purchased from electronics stores or rented from cable or satellite TV providers. Despite the mainstream dominance of DVD, VHS continues to have a role. The conversion to DVD has led to the marketplace being flooded with used VHS films, which are available at pawnshops and second-hand stores, typically for a cheaper price than the equivalent film on a used DVD. As well, due to the large number of VHS players in schools and libraries, VHS tapes are still produced for the educational market.

Camcorders[link]

DV cassettes
Left to right: DVCAM-L, DVCPRO-M, DVC/MiniDV

Early consumer camcorders used full-size VHS or Betamax cassettes. Later models switched to more compact formats, designed explicitly for camcorder use, like VHS-C and Video8. VHS-C was a downsized version of VHS, using the same recording method and the same tape, but in a smaller cassette. It was possible to play VHS-C tapes in a regular VHS tape recorder by using an adaptor. After Super VHS had appeared, a corresponding compact version, Super VHS-C, was released as well. Video8 was an indirect descendant of Betamax, using narrower tape and a smaller cassette. Because of its intricate U-shaped tape loading and narrower tape, it was not possible to develop an adapter from Video8 to Betamax. Video8 was later replaced with Hi8, which provided better resolution and high-quality sound recording, and was similar to Super VHS-C.

The first consumer-level digital video recording format, introduced in 1995, used a smaller Digital Video Cassette (DVC).^[18] The format was later renamed MiniDV to reflect the DV encoding scheme, but the tapes still carry "DVC" mark. Some later formats like DVC Pro from Panasonic reflect the original name. The DVC/MiniDV format provided near-broadcast quality video and sophisticated nonlinear editing capability on consumer equipment. In 1999 Sony backported the DV recording scheme to 8-mm systems, creating Digital8. By using the same cassettes as Hi8, many Digital8 camcorders were able to play analog Video8/Hi8 recordings, preserving compatibility with already recorded analog video tapes. As of 2008, Digital8 camcorders have been removed from the equipment offered by Sony.

Sony introduced another camcorder cassette format called MicroMV, but consumer interest was low due to the proprietary nature of the format and limited support for anything but low-end Windows video editors, and Sony shipped the last MicroMV unit in 2005. In the late 2000s, MiniDV and its high-definition cousin, HDV, are the two most popular consumer tape-based formats. The formats use different encoding methods, but the same cassette type. Since 2001, when MicroMV was presented, no new tape form factors have been introduced.

Future of tape[link]

The latest trend in consumer camcorders shows the switch from tape-based camcorders to tapeless camcorder solutions, like built-in hard disk drives, optical discs and solid-state memory. In particular, Canon have not introduced a completely new HDV consumer camcorder for a third year in a row, confining itself to minor modifications to the 2007 model. Sony and Panasonic have removed their consumer tape-based camcorders from the North American market completely. In professional video recording settings, such as broadcast television, videotape was still heavily used in the mid- to late 2000s, but tapeless formats like DVCPRO P2, XDCAM and AVCHD, are gaining broader acceptance.

References[link]

External links[link]

• The Loss of Early Video Recordings
• History of Recording Technology (WayBack Machine)
• History of Magnetic Tape (WayBack Machine)

Wikimedia Commons has media related to: Videotape

Kenny Everett (25 December 1944 – 4 April 1995) was an English comedian, radio DJ and television entertainer. Born Maurice James Christopher Cole^{[citation needed]}, Everett is best known for his career as a radio DJ and for the Kenny Everett television shows.

Early life[link]

Everett attended the local secondary modern school, St Bede's Secondary Modern, which is now part of Sacred Heart Catholic College.

He attended a junior seminary at Stillington near York with an Italian missionary order, the Verona Fathers, where he was a choirboy.^[2]

After schooling he worked in a bakery and in the advertising department of The Journal of Commerce and Shipping Telegraph.

Having revealed a natural comic and broadcasting talent, he began a career in entertainment. He adopted his stage name from film-star Edward Everett Horton, a childhood hero.

Broadcasting career[link]

Radio career[link]

Radio London, Radio Luxembourg and Radio One[link]

Everett's first break (as Maurice Cole) came when he sent a tape to the British Broadcasting Corporation (BBC) in 1962. He was interviewed at the BBC by Charles Fletcher and offered a job as a presenter on the Light Programme, the forerunner to BBC Radio 2.^[2] He declined, however, in favour of the less constrained world of pirate radio, where he began his career as a DJ for Radio London.

He teamed up with Dave Cash for the Kenny & Cash Show, one of the most popular pirate radio programmes. His offbeat style and likable personality quickly gained him attention, but in 1965 he was sacked after some outspoken remarks about religion on air. Like most of the pirate stations, Radio London carried sponsored American evangelical shows and Everett's disparaging remarks about The World Tomorrow caused its producers to threaten to withdraw their lucrative contract with the station.

Everett returned six months later, however, before being given his own show by Radio Luxembourg in 1966. Within a year, he had joined the BBC's new pop music station BBC Radio 1 after previewing the Beatles' new album Sgt. Pepper's Lonely Hearts Club Band and interviewing the group. Everett had struck up a friendship with the Beatles and accompanied them on their 1966 tour of the United States, sending back daily reports for Radio London. He also produced their 1968 and 1969 Christmas records.

At Radio 1 Everett continued to develop his own unique presentation style, encouraged by producer Johnny Beerling, featuring zany voices, surreal characters, multi-tracked jingles and trailers, all of his own creation and compilation. It was ground-breaking radio material that has since been much copied.

Everett had a great love of sound recording equipment, in particular using reel-to-reel tape recorders, often adding sound-on-sound to his recordings and stereo/multi-track recordings of his pseudo-singing voice. These were broadcast on air regularly and he often created his own radio jingles. This skill was also transferred in some part to TV in his later career.

Everett's shows on BBC Radio 1 included Midday Spin, and in 1968 he took over a Saturday show from 10.00am to 12.00 noon.

In 1970, Everett again found himself sacked, this time after suggesting on air that Mary Peyton, the British Transport Minister's wife, had bribed her driving test examiner. The remark was a spontaneous quip, following a news item describing how Peyton had finally passed after many attempts, although shortly before the incident Everett had given a controversial interview with Melody Maker contrary to a BBC embargo.^[2]

Following an interview on the BBC Radio Solent children's show Albert's Gang, Everett submitted weekly shows to the station that he had pre-recorded at home. This afforded the BBC the opportunity to vet the shows before broadcast. Everett was then heard on various BBC local radio stations before being reinstated at Radio 1 in 1972. Here he recorded a weekly show from his home in Wales and it went out on a Sunday afternoon.

During this time, legislation had been passed allowing the licensing of commercial radio stations in the UK. One of the first, Capital Radio, began broadcasting to London and the Home Counties in 1973. Everett joined the station and was given his own show, where he further developed his distinctive ideas. From 1973 to 1974 he presented the station's breakfast show, initially alongside Dave Cash, a friend and colleague from Radio London days, and later as the sole presenter.

Using reel-to-reel tape recorders and mixing equipment, Everett created many comedy characters on The Breakfast Show with Dave Cash on Capital, one of which was called 'Yasher the Smasher' referring to a character who smashed pianos. This was indicative of how many people went through a destructive period smashing traditional wooden pianos. The idea was first started with Pete Townshend from the Who encouraging the group to destroy their equipment on stage.

In 1974 he moved to a less high-pressure timeslot at Capital. Here he further developed his style and his cult following, and featured both what he thought the best in music (Queen, Chris Rainbow) and the worst, which led to the popular Kenny Everett's World's Worst Record Show programmes, later released as an album, with slightly different tracks. Several shows featured the "Bottom 30": compilations (from listeners' votes) of the world's worst records during this period, including some tracks by well-known personalities not known for their singing, notably William Shatner (Captain Kirk of Star Trek) with his version of "Lucy in the Sky with Diamonds" and "The Shifting Whispering Sands" by Eamonn Andrews.

In 1975 Everett played a pivotal role in getting Queen's "Bohemian Rhapsody" released as a single. He also presented a pre-recorded programme on Saturday lunch-time for Radio Victory in Portsmouth, later providing Captain Kremmen to the station for transmission in the Dave Christian's late show.

BBC Radio and back to Capital[link]

On 5 February 1980 Everett made his only appearance on the BBC Radio 4 show Just A Minute where he spoke on the subject of marbles for a whole 90 seconds (host Nicholas Parsons' idea of a practical joke).^[3]

In October 1981, Everett returned to BBC Radio, this time on Radio 2, on Saturday from 11.00am–1.00pm. During this time, the BBC received a large number of complaints after Everett told the following joke while live on air. 'When Britain was an Empire we were ruled by an emperor. When we became a kingdom we were ruled by a king. And now we're a country we're ruled by Margaret Thatcher.' ^[4] The show lasted until 1983.

In May 1985, he was called in to replace Graeme Garden (who was ill) for one episode of the Radio 4 game show, I'm Sorry I Haven't a Clue.

He returned to Capital Radio, presenting the same slot as he had on Radio 2. After Capital split its frequencies in 1988 he was heard on Capital Gold, with a line-up that included people like Tony Blackburn and David Hamilton. Everett presented the afternoon show and then moved to the mid-morning show. He left in 1994 when his health deteriorated to the point that he was unable to continue.

TV career[link]

Early television work[link]

Besides the radio programmes, his first screen appearance was in the 1965 film Dateline Diamonds which had a plot based around the pirate ship MV Galaxy. He also appeared in several television series, beginning in 1968 with a production for Granada Television called Nice Time which was co-presented by Germaine Greer and Jonathan Routh. In 1970 he made three series for London Weekend Television (LWT): The Kenny Everett Explosion, Making Whoopee and Ev; and he also took part (along with such talents as Willie Rushton and John Wells) in the 1972 BBC TV series Up Sunday.

In 1973, Everett provided the voice of the cat 'Charley' in the Charley Says animated series of public information films.

(It is not currently clear to which of these efforts Everett was referring when, years later, he spoke dismissively of some early TV work: "We just used to turn up at the studio and try to be wacky". In interviews, co-presenter Greer spoke of him as "a televisual genius".)^{[citation needed]}

Everett was the announcer on the original version of ATV's "big box game" Celebrity Squares which ran on ITV from 1975 to 1979. Also in 1975, Everett featured in an uncredited cameo in an episode of The Goodies, entitled The Goodies Rule – O.K.?, in which he appeared as a political candidate in a (fictional) General Election.

[edit] The Kenny Everett Video Show and The Kenny Everett Video Cassette

In 1978, London's Thames Television offered him a new venture, which became the very successful and ground-breaking Kenny Everett Video Show. This was a vehicle for Everett's characters and sketches (his fellow writers were Ray Cameron, Barry Cryer and Dick Vosburgh), interspersed with the latest pop hits, either performed by the artists themselves, or as backing tracks to dance routines by Arlene Phillips' contemporaneously risqué dance troupe Hot Gossip (which featured Sarah Brightman).

Various pop and TV stars made cameo appearances on the show, including Rod Stewart, Billy Connolly, Kate Bush, Cliff Richard, Freddie Mercury, Terry Wogan and Suzi Quatro (see also "Friends" section below) and classical musicians such as Julian Lloyd Webber.

Everett would often ad lib and deviate from the script; his bloopers were sometimes left in the final cut and on several occasions he pulled the camera around the studio revealing the crew not quite sure what was going to happen next. Quite often the crew were victims of his humour – on one occasion Everett encouraged the crew to sing "Happy Birthday" to a cameraman, presenting to him a cake which he duly pushed in the cameraman's face.^{[citation needed]}

There were also the stories of Captain Kremmen, a science fiction hero voiced by Everett and originally developed for his Capital Radio shows, who travelled the galaxy battling fictional alien menaces, along with his assistant Dr Gitfinger and his voluptuous sidekick Carla. In the first three series these segments were animations created by the Cosgrove-Hall partnership (responsible for the successful children's cartoon series Dangermouse, among many others). In the fourth series (Video Cassette) Kremmen was featured as live action, with Anna Dawson playing Carla; the segments were comedy shorts, rather than the earlier stories.

Other characters included: aging rock-and-roller Sid Snot, unsuccessfully flipping cigarettes into his mouth – at one point Everett managed to catch one in his mouth, to the amusement of the studio crew; Marcel Wave, a lecherous Frenchman played by Everett wearing an absurdly false latex chin; and "Angry of Mayfair", an upper middle class City gent complaining of the risqué content of the show, banging the camera's lens hood with his umbrella, and then storming off, turning his back to us, only then to be revealed as wearing women's underwear in lieu of the entire back half of his suit.

He also created the never-seen character of 'Lord Thames', supposedly the owner of Thames Television (the company was actually owned by two conglomerates). The character was often the butt of Everett's rants and was said to symbolise his contempt for senior management at the company, claiming they lived behind an ancient, cobweb-covered door marked as the "Office Of Saying 'No'". Thames never disciplined him for these comments, unlike prior employers such as the BBC.

Everett's interest in (then primitive) video processing technology and electronic effects showed itself in such features as the appearances of a bobbing 'alien' entirely composed of a distorted video image of his own head ("Hello. I'm Spod, from Planet Thfnnnn. And this is all I do... Pathetic, isn't it?").^{[citation needed]}

The series ran for four seasons on ITV, and was a big ratings hit. The last episode of Series 3 ended with Everett giving a farewell speech as the set and scenery was being stripped down by the crew. The final shot before the closing credits was Everett himself being picked up and placed inside an oversized dustbin.

The fourth Series was retitled "The Kenny Everett Video Cassette" and was more of a comedy program, than the previous 3 series, which relied more on music acts. This series sparked a few changes. Hot Gossip members changed, and there were only 3 columns of TV sets (instead of 4 in Series 1 & 2, and 5 in Series 3) which were cream colored, set in between see-through silvery walls. A faux VHS machine in an egg shape was on the left of the set.

In Australia, complaints resulted in ongoing censorship of the programme, especially the Hot Gossip segments due to the provocative, skimpy and highly revealing costumes and leotards worn by the dancers. These edited down copies are the ones in circulation, and finding an uncut episode is very rare.

[edit] The Kenny Everett Television Show (BBC 1981–1988)

Everett fell out with Thames regarding the management of his show, including the scheduling against the BBC's top-rated Top of the Pops on Thursday evenings. The BBC offered him a live-audience sketch-format comedy programme, starting with a Christmas special on BBC One in 1981, followed by five primetime series. The writing team was bolstered by the addition of Andrew Marshall, David Renwick and Neil Shand, and the production standards were raised by the heavier investment from the Corporation.

Thames Television claimed copyright on Everett's characters, and tried to prevent their use by the BBC. Whilst this action failed, it led to the creation of new characters such as Gizzard Puke (intended to replace Sid Snot), and the spooneristically named Cupid Stunt, an American B-movie actress with pneumatic breasts, and played with no attempt to disguise Everett's beard, who told a cardboard cutout of Michael Parkinson lurid tales of life on set with Burt Reynolds and other male stars of the era. Her original name, Mary Hinge, was vetoed by the Corporation as too obvious, and announcers were encouraged to refer to her as Cupid to prevent mispronunciation. Inept TV handyman Reg Prescott became another firm viewers' favourite, as each week he managed graphically and bloodily to injure himself with tools whilst attempting to demonstrate DIY tips.

Brazilian-born Cleo Rocos co-starred in the BBC series. She often appeared in nothing more than frilly underwear and high heels, and her figure was used to great comic effect as a focus for drooling, lascivious men.

Quiz shows[link]

Everett hosted two short-lived quiz shows late in his career, Brainstorm,^[5] and Gibberish.^[6][7] He was also a team captain on That's Showbusiness.

Friends and guests[link]

Everett was very popular with his peers, and many major stars of television, radio, and pop music counted him as a friend. This led to many celebrity guest appearances across all his television work. Cliff Richard was happy to have his clean image lampooned many times, as were Lionel Blair and Justin Hayward. Terry Wogan – a long-time colleague from the early days at Radio 1 – made numerous appearances on both Thames and the BBC shows, as did Billy Connolly and Lennie Bennett. Other stars who parodied themselves included Rod Stewart, Kate Bush, ABBA, The Police, David Bowie and Freddie Mercury.

[edit] Bloodbath at the House of Death

Everett made one foray into film with 1984's Bloodbath at the House of Death, a spoof of Hammer horror films, which was penned by Everett's usual writing partners Barry Cryer and Ray Cameron (who also directed the film). Vincent Price was featured as the villain, credited only as the "Sinister Man", and a number of other popular comedians and actors also appeared, most notably Pamela Stephenson, Gareth Hunt and Don Warrington. Several regulars from Everett's television series also appeared. The film was not a great success, despite winning "Best Science-Fiction Film" at the Brussels International Festival of Fantasy Film (tied with Videodrome).^{[citation needed]}

Political involvement[link]

During the 1983 general election campaign, the Young Conservatives invited Everett to their conference in an attempt to attract the youth vote. Egged on by film director Michael Winner, Everett bounded onto the stage, wearing the enormously oversized foam rubber hands familiar from his mock-evangelical character Brother Lee Love. He shouted slogans like "Let's bomb Russia!" and "Let's kick Michael Foot's stick away!" to loud applause (Michael Foot was the elderly leader of the Labour Party at the time).^[8][9] Everett later said he regretted the incident and that he had taken the foam hands to the rally because the Tories "asked me first".^[10] In an interview on The Late Late Show with Gay Byrne and Sinéad O'Connor in 1989, Everett was challenged by O'Connor about his support for the Tory Party in the light of his homosexuality and the Conservatives Section 28 addition to the Local Government Act. Everett clarified that he was not a "full Tory", but that he had been appalled by the actions of Arthur Scargill, who he saw as "inciting violence" and "rebel rousing" and whom he thought looked like "Hitler reborn". He had consequently supported the actions of Margaret Thatcher in opposing Scargill. He said he would stand up for gay rights if he were asked providing "it was a jolly occasion", but he also felt that being in a minority and in the public eye, he could do more for gay rights by showing that he was funny and human rather than by marching in the streets.^[11]

Personal life[link]

Everett married the singer Lee 'Lady Lee' Middleton (Billy Fury's former girlfriend) in 1966. By 1979 they had separated, and in the mid-1980s, he publicly acknowledged his homosexuality.

Everett was told in 1989 that he had HIV, and he went public with his illness in 1993.^[12] He died from an AIDS-related illness, in the Royal Borough of Kensington and Chelsea, London, on 4 April 1995, aged 50.^[13]

Shows presented[link]

The following is a list of the main shows Everett presented.

Radio[link]

• Kenny & Cash Show Radio London – 1964–1965
• Kenny Everett Show Radio Luxembourg – 1966
• Midday Spin BBC Radio 1 – 1967
• Everett is Here BBC Radio 1 Saturdays 10am–12midday – 1968–1970
• Kenny Everett Show BBC Local Radio – 1971
• Kenny Everett Show BBC Radio 1 Sundays 1–3pm – 1972
• Breakfast Show Capital Radio – 1973–1974
• Kenny Everett Show Capital Radio – 1974–1980
• Kenny Everett Show Radio Victory – 1975–1976
• Captain Kremmen Radio Victory – 1976
• Kenny Everett Show BBC Radio 2 Saturdays 11am–1pm – 1981–1983
• Kenny Everett Show Capital Radio Saturdays 11am–1pm – 1984–1988
• Weekday afternoons Capital Gold 1–4pm – 1988–1991
• Weekday mid-mornings Capital Gold 9am–12midday – 1991–1994

Television[link]

• Nice Time Granada Television – 1968
• The Kenny Everett Explosion LWT – 1970
• The Kenny Everett Video Show Thames Television – 1978–1980
• The Kenny Everett Video Cassette Thames Television – 1981
• The Kenny Everett Television Show BBC One – 1981–1988
• Brainstorm BBC – 1988
• Gibberish BBC – 1992

Tributes & portrayals[link]

On 18 November 2007, ITV1 broadcast a tribute show to Everett entitled Licence To Laugh. This celebrated the 30 years since he first appeared on ITV with the ground-breaking Kenny Everett Video Show (Thames Television, 1978 to 1980). Friends and colleagues revealed what it was like to know and work with the man they affectionately dubbed "Cuddly Ken". Additionally, contemporary celebrities such as Chris Moyles and Chris Tarrant talked about their love for the outrageous entertainer, and discussed the ways in which Everett had influenced them and their work. It also featured archive footage.

In March 2010 the BBC confirmed it was producing a 90-minute TV biopic called Number One in Heaven, to be written by Tim Whitnall and focusing on Everett's unhappiness at secondary school.^[14]

In April 2012 the BBC announced it was working on a 90-minute TV biopic called The Best Possible Taste which would focus on the performer's relationship with his wife, singer Lee Middleton.^[15]

References[link]

Further reading[link]

• "Everett, Kenny". Oxford Dictionary of National Biography, Anthony Hayward (registration required). http://www.oxforddnb.com/view/article/59136. 

External links[link]

General links

• Kenny Everett Show episode list break down to the sketches
• Kenny Everett at the Internet Movie Database
• TV.com
• Screenonline – Kenny Everett
• Extract from 'The Custard Stops at Hatfield'
• Kenny Everett's World's Worst Wireless Show

Radio

• Radio Rewind – Kenny Everett
• The Radio Academy Hall of Fame – Kenny Everett
• Pirate Radio Hall of Fame E to G
• Aircheck Legends – Kenny Everett
• kennyeverett.co.uk tribute site
• Radio London Kenny Everett Tribute Pages
• Kenny Everett's World's Worst Wireless Show, complete details of these shows
• Kenny Everett's Radio Days on BBC 7 Listen Again

Television

• Television Heaven – The Kenny Everett Video Show
• BBC Everett Cult TV site

Other languages

• Español in Minipedia