As editor and producer of Blue Peter between 1962 and 1988, Biddy Baxter helped shape the imagination, creative talents and resourcefulness of generations of children. Blue Peter remains one of the most iconic children\u2019s programmes ever produced in the UK and was awarded two BAFTAs under Baxter’s stewardship.<\/p>\n
”\u00a0This year, BAFTA recognised Baxter in her own right, honouring her outstanding contribution to children\u2019s media and the entertainment industry with the prestigious Special Award.<\/em><\/p>\n The presentation was be made by Biddy\u2019s long-term friend, Sir David Attenborough at the\u00a0<\/span>British Academy Children’s Awards<\/a> <\/span>ceremony on 24 November.”<\/em><\/p>\n +++++++++++++++++++++++<\/p>\n Working on \u201cBlue Peter\u201d with Valerie Singleton and Christoher Trace: Chris\u2019 face lighting up with glee as he said \u201cIt\u2019s train set day today!\u201d<\/p>\n +++++++++++++++++++++++<\/p>\n I still remember the clickety click of Biddy’s high heels approaching on \u201cBlue Peter\u201d. Scarier then the Daleks – at least you knew to go and hide when you heard that noise… And, of course, Biddy was the one person who got away with wearing stilettos in studios.<\/p>\n +++++++++++++++++++++++<\/p>\n Not to mention the stockings! And not to mention a low cut blouse on studio days. She would always get her way somehow.<\/p>\n +++++++++++++++++++++++<\/p>\n When I was on Colin Reid’s crew, Mike Rix had the theory that if you let Biddy touch you on the arm in the morning of a \u201cBlue Peter\u201d day, then you generally escaped any major fall-outs and avoid the dreaded \u201cBlue Peter\u201d blacklist for another week!<\/p>\n +++++++++++++++++++++++<\/p>\n Talking of Biddy reminds me of the paper aeroplane incident. John Noakes was doing an item about making a paper aeroplane the design of which was in a newly published\u00a0book but the plane didn’t fly too well and rehearsal stopped. I was on the boom and remembered a paper aeroplane design that a colleague (I can’t remember who)\u00a0had shown me and using a sheet of script made one. I didn’t notice Biddy had come down to the studio floor to talk to John (complete with stiletto heels etc) and duly launched my plane from the boom, it flew past Biddy and almost to the other side of Studio 4. I was expecting a\u00a0typical Biddy comment but to my surprise she looked up at me and said that it flew well and could I show John how to make it. So on that edition “The Sound Breaker” as it came to be known was demonstrated and credited to Dick Blencowe. My fame did not last very long, and I cannot claim to have invented the design!<\/p>\n +++++++++++++++++++++++<\/p>\n My favourite memory of Biddy. After a bitterly cold morning in the Garden, we were lugging the equipment back into the studio, and re-rigging – except that my fingers were now so cold and numb that I could hardly grip anything. Then came the clatter of heels behind me. “Oh, You poor thing,” gushes Biddy, and taking my hands between her own, she rubs them warm for me. That woman certainly knew how to get the best out of her Camera Crew.<\/p>\n +++++++++++++++++++++++<\/p>\n I seem to remember a theory someone came up with – If you were allocated to sound mix the Christmas Blue Peter, with the band marching along the ring-road and into the studio, plus carol singing, it was probably your last Christmas at TVC and even the BBC. I was highly amused when, in the November of the year 20(frozen-to-death) I heard that I was one of a group of Sound Supervisors given ‘early retirement’, effective March the following year. Guess what? I mixed the intervening Christmas Blue Peter!<\/p>\n Oh, and it is true that, upon Biddy’s speedy arrival in the Sound gallery to make some comment (!) about availability of extra radio mics for a pre-recording, I did stand up, face to face with said lady and said, “It’s no good coming in here shouting at me, Biddy. It won’t make any difference!” Biddy slunk away and no more was heard until after the TX. She came in and with her usual, “That was lovely darling”, she planted an enormous smacker on my lips and I was for ever allocated to more than my fair share of BPs.<\/p>\n Whatever else is said about BB, she cared about her shows and appreciated the effort of others who shared her enthusiasm.<\/p>\n +++++++++++++++++++++++<\/p>\n As soon as I read “marching band” Alan I recalled a \u201cBlue Peter\u201d in TC8 where I was having a terrible time covering a marching band of Norwegian school children. I eventually got some sort of mix together but it had gone quiet in the Production Gallery and I heard those<\/span> footsteps approaching the door of the Sound Control Room (the corridor not carpeted at that time) and in came Biddy. She paused briefly to listen and I thought my time had come. “Dreadful aren’t they” she said and marched out towards the studio floor. Phew!<\/p>\n +++++++++++++++++++++++<\/p>\n <\/p>\n","protected":false},"excerpt":{"rendered":" Albert Barber forwarded this: As editor and producer of Blue Peter between 1962 and 1988, Biddy Baxter helped shape the imagination, creative talents and resourcefulness of generations of children. Blue Peter remains one of the most iconic children\u2019s programmes ever … Continue reading Alec Bray<\/h3>\n
Martin Kisner, Ian Hillson and Peter Neill<\/h3>\n
John Vincent and Trevor Webster<\/h3>\n
Dave Beer<\/h3>\n
Dick Blencowe<\/h3>\n
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John Howell<\/h3>\n