7/7. Panel show that combines comedy and rock 'n' roll. This final edition enlists the talents of Midge Ure and Tony Hawks.
1.30 Lloyd Cole Knew My Father 5/5. Pop and rock aficionados
Andrew Collins , Stuart Maconie and David Ouantick present a cheeky take on the history of popular music and music journalism. Repeated from Thursday
Zoe Ball explores the craft of music sampling, in which hip-hop, pop and rock acts create new tracks using bits and pieces of existing recordings. Practitioners have included Norman Cook, Moby, Eminem and Beyonce, while James Brown, Chic, the Turtles and Dido figure among the sampled acts. The programme deconstructs several big-hit examples of the genre, including the Verve's Bitter Sweet Symphony (from a version of the Rolling Stones' The Last Time), the Sugababes' Freak Like Me (Gary Numan's Are "Friends" Electric?) and Robbie Williams's Millennium (John Barry 's You Only Live Twice). With input from Moby, Gary Numan, Lulu, Guy Chambers, Tom Robinson , Basement Jaxx, Anne Dudley, Andrew Loog Oldham and drummer Clyde Stubblefield.
You may not know the name Clyde Stubblefield but you'll certainly have heard his work, for he's the most sampled drummer in the world after years of recording with James Brown. Yet Clyde has never received a credit or a penny in royalties from this new use of his beats. In this engrossing and smartly edited documentary, Zoe Ball (above) asks if sampling (in which artists lift snatches of music or voice through to entire songs and mesh them into a new track) is creative borrowing or blatant theft. Moby believes music belongs to the people hence it's all up for grabs by anyone. Gary Numan says having your music sampled is complimentary but artists deserve to be paid. Music journalist Danny Ecclestone makes the best point of all though: rock 'n' roll stole everything from the blues and country and never paid a penny. Do rich white pop acts really have any right to complain if a hip-hop artist borrows a riff or two? (Jane Anderson, radio editor)
There are more than 5 million programme listings in Genome. This is a
historical record of the planned output and the BBC services of any
given time. It should be viewed in this context and with the
understanding that it reflects the attitudes and standards of its time
- not those of today.
To read scans of the Radio Times magazines from the 1920s, 30s, 40s and
50s, you can navigate by issue.
Genome is a digitised version of the Radio Times from 1923 to 2009 and
is made available for internal research purposes only. You will need to
obtain the relevant third party permissions for any use, including use in
programmes, online etc.
This internal version of Genome, which includes all the magazine covers,
images and articles as well as the programme listings from the Radio
Times, is different to the version of BBC Genome that is available
externally/to the public. It is only available inside the BBC network.