This is a very long article and if you are a in hurry I’d suggest skimming the introductory chapters - the real meat is in the second half

I’m just back from the National Student Television Association conference (including award ceremony) and despite it only being a weekend long event I feel totally exhausted and as if I’ve been there for a month. As with all these things on this blog my posting here should be NOT read as any kind of authoritative account of events but rather a brief and anecdotal personal account from an outsiders point of view.

For up until a few week ago I’d never heard of the Nastas and hadn’t really given the matter of student TV much thought at all. Let’s also not forget that I’m not even studying television at college. My lot - the film students on the whole hate television for the principle reason that they will probably end up working in it. Of course this is a generalisation, a few of my friends watch TV comedy - in some detail - and a few people even watch X Factor and Big Brother.

But of course I never consider myself one of those ‘them‘ lot anyway. (There are lots of reasons why - ranging from my own sense of ineptness when surround by so many very talented film makers to a sense that my own talent has not only been ignored but in fact discouraged in favour of what I call technology fetishism). So when I discovered that the university next door had it’s own student TV station I thought I’d go along and see how thing were done their way.

And it was after this (I think I wrote about it at the time) that I ended up being nominated for this award thingy. So this meant I got a free trip to Coventry where this years event was taking place. That’s all I knew.

I also knew that my good friends Matt and Ian from Buff TV would be there representing their own "station". I use inverted comma because Buff TV is of course a web streaming show - a bit like a podcasts really but live and very very long (30mins!).

And here the politics began.

For it turns out that Nerve TV - the Bournemouth student union run station (whom I was there to represent) weren’t willing to support Matt and Ian - despite their talent - hence them thinking "Bugger it! We’ll do it ourselves" (sound familiar?). The intention was clear. Two guys, operating from their student flat registered themselves at Nasta principally but not solely of course to win more awards than Nerve TV! Brilliant.

But what’s more brilliant is the extent that they worked. For the awards themselves of course had many categories, and Matt and Ian put themselves forward for them all. We’re talking details - eg. taking a digital photograph of a woman next door - broadcasting the still image and then submitting her for best female on screen award.

Naturally a good few were wise to the game but, all told, no one at Nerve battered an eye lid. I’ll explain why in a second.

So - I turn up in at Warwick University at the start of the conference and quickly take stock. The place is HUGE by the way, you almost need a bus just to get round it. It quickly become obvious that both the Nastas and student TV in general is big thing. Tons of stations, tons of students, all very impressive. So of course no one really know what’s going on. Someone forgets to book a room and there are 300 delegates waiting outside in the rain. There are talks going on apparently but no one knows in which building and it would take half an hour to walk there anyway.

I see a ton - 33 in fact, students all wearing the same T-shirt with whatever TV station they are from all over it - a single station and 33 delegates. Nerve TV has 3 - me and two other guys (of which only one of us actually gives a fuck). And this is from a station that is made by students who are actually studying television production.

I discover quickly that hardly any of these students even have a TV studio to work in. I spoke with one station manager (who incidentally happened to gorgeous) and discovered that of the more than 30 students involved they share 2 cameras, one tripod and a mic. Surely their work is shit then, right? Oh but hang on - that’s the same amount of gear that I’ve got for spainful. But of course I don’t have 30 people working for/with me.

And after a day of just tiresomely atrocious event management, the awards ceremony starts. And the event moves up a gear. Really classy stuff. All the guys in suits, the girls in ball gowns and dress and those big round tables with candles and big stage with a podium. Low lighting of course but with tv screens doted around the place in case you can’t see the stage too well. I wore my black pin striped suit and a blue shirt and scarf - which has found it’s way into being something a default look (skin?) for me.

After warm up man, a really appalling stand up comedian who fatally thought "they’re students - I’ll just use all my liberal material" - big mistake - the compare himself begin, as did all the clips of the nominations and we had begin.

First one up and Matt and Ian win highly commended (second prize) - fantastic. Same again a few later. No sign of Nerve TV though. Maybe I won’t get to go up and make a speech for someone else’s show. But as I watch the clips I realise how fucking great some many of these things are. I was expecting the sort of dross you see at film festivals. And whilst there was a few bits and pieces that was clearing executed by those with a retro sensitivity (the industrial revolution took a few years so it stands to reason the DV one will take a while too) they was clearly a lot of real talent in the room.

Remember I mentioned the 30 people with no technology for them to come all over - every clip I saw of their’s was brilliant. (But they ended winning shit all!)

And then comes my category. On come the clips - with one significant absence.

You guessed it - I’d been UNnominated. A bit of last minute pruning it seems - the winner was clearly far more talented than me anyway so I was glad about that - but what about my fucking CLIP! Let’s also not forget that when an award was won it usually meant a big cheer but at least one entire tables worth of delegates. On average I’d say each station was represented by 12 people - and there were three of us. Apart from being intimated I felt more like ‘the little guy’ than I had for ages.

For this was Spainful free zone - no one had even heard of podcasting here!

Where was I? Oh yes - what about my fucking clip!?

Fuck ‘em - as my good friend Craig would wisely advice me. "drink their beer - eat they’re food and go home - that’s all there is to it". So I went to the bar had a big sulk and a small cry.

So let’s fast forward to the next day and the Annual General Meeting. A huge lecture theatre and again all these young talented television people who no doubt will go some way towards shaping ‘proper’ television over the next few decades. And it here came my second big disappointment. For there was something very wrong at play here. Something very wrong indeed.

For example: any mention of ‘the internet’ was met with heavy resistance. Matt suggested recognition for website design in the awards section; at which a chorus rang out of ‘we make TELEVSION not websites’. It was like the internet didn’t exist to these people. Do a google search ot these TV stations and not only do you realise that none of the have updated their sites for years but it seem no one even thought to blog this event apart from me.

For you see it seem that these people in fact exist in a tiny bubble - the outside world doesn’t really matter that much to them. And here’s the frightening thing - in the case of Nerve TV - the AUDEINCE doesn’t matter that much. For it terms out that no one really ever saw the (un)nominated Top of the Pile.* If anyone did they were a student and certainly not someone from that internet thingy.

Not only is this very is very sad it’s really really fucking stupid. Not only are these people failing to promote themselves and their work to potential employers but they isolating themselves from new technology and they’re audeince. For IPTV and all the other variants of media-on-demand will change not only the form of delivery but how audiences consume media. The impact of which will utterly change how television is made and what the content is. Look to podcasting to see what the future holds and how that has already altered the radio industry.

And so the real winner of course were Matt ad Ian with buff TV; Whose audience online vastly outnumbers Nerve TV’s audience and whose content is more original, inivative and exciting then anything I saw at the Nastas. People, who despite their talent are clearly condemning themselves to antiquation - and entering an industry which despite being backward itself isn’t slow to see that if someone doesn’t know how to deal with the technology they will quickly be replaced by someone who does.

It was a delight to sit along side Matt and Ian and as they were constantly approached by genuine ‘fans’ of their show (a unique circumstance it seemed) I was proud to bare witness two guys who deserve to shape the future of television much more that the hoards (armies) there who believed that student TV is solely for students rather than actual people.

*Top of the Pile actually won Best Live Show - but that would ruin the dramatic impact of my story and I was in the bar anyway so it didn’t technoically happen in my universe.

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Today I shall be pretending to be some sort of academic scholar and endeavouring to write a comparative analysis of the two new books that have been released by Skull and Bones Publishing. These are "Therein Lies the Problem" by Steve Dupont and "Gospel of he Pantheon" by Eric Strauss. This article contain mild spoilers.

The purpose of this article is by no means to validate either author but rather to investigates the methods that they have used to in order to create two highly engaging and often entertaining pieces of media. And whilst this piece is unsolicited I believe that both authors, who are also form he management team of Skull and bones Publishing, would encourage this kind of behaviour on the grounds that it potentially could result in a growth of sales for either of both of these two books - (one of which free to view online anyway).

I am comparing these two books because they represent the core output for this fledging company and consequently set a benchmark for any subsequent releases. As debut novels for both author I was initially concerned about the usual traps and pitfalls that inexperienced writers often have to to go through, especially given the status of Skull and bones Publishing as an ‘on demand’ label. Thankfully this fear is completely demolished with the opening acts of both works as the authors successfully set their respective plots and settings. Likewise both books are free of errors or and other such flaws and in fact highly competent works. Authorial self indulgence is kept to an absolute minimum though those who read Strauss’ series of essays ‘A Description of Art as Manifestation of the Truths of the Articles of the Existence of Everything‘ will see how neatly he has transposed his theories into narrative.

In terms of relevance - which ultimately proves to be the bottom line in the cut throat business mainstream fiction publishing - Dupont goes straight for the throat. Set in a seemingly imminent future, he uses the scenario of Corporate Wars (a violent escalation of dirty tricks between Corporations) not only as a colourful dystopian backdrop but also as key catalyst for the main event, the creation of a closed community, within a giant pyramid, as an experimental pocket Utopia. In doing so Dupont is exploring a modern, and almost affectionate look at tyranny that blends both Marxist Communism with a distorted Capitalism; The pyramid community, Whilst technologically autonomous - powered by solar panels, PyroVegas’ economic power is entirely self contained but relies on gambling revenue generated by it’s many casinos.

The plausibility of such a scenario is underscored by the use of present tense. This isn’t some far flung speculative work but rather a statement of what just round the corner - a statement of ‘just you wait’ for the staff of the Pepsi corporation to take up arms against Coca-Cola.

Strauss on the other hands deals with relevancy in completely different way - by use of faux mythology, he essentially creates his world entirely from scratch. And through use of character dialogue and physical description of setting it is a familiar historical world, Strauss is in fact playing with what we think we know is familiar, i.e. our history, or rather history as seen on the Hallmark Channel rather than the History Channel. And by manipulating it for reasons both narrative and humour, the world that Strauss creates is silly world yet with relative ease the people that populate it look straight back at us and accuses us of being far sillier. In terms of relevance then, I’d argue that this book could be enjoyed for centuries to come, and hopefully misinterpreted at a distant point in the future as a genuine historical theological text.

Retuning to the issue of setting let us look at the scope of these worlds. For whilst the Gospel of the Pantheon deals with the symbiotic relationship between gods and mortals and the enormity of the results of these interactions (for example the invention/creation of music) it confines itself to a very small number of physical locations. The Villa of the Gods, which cleverly pops up all over the world seeming of its own volition is whilst being a magical place recognisable as stone villa. Likewise the mortals’ lands, of which only a hand full seem to exist are drawn almost from that of a RPG computer game. Yet this bare bones simplicity works in the favour of the work - adding an almost comedic theatricality. In one section we learn that all building are designed in one place, the land of the Accutronians, and the few blueprints they offer have been used repeatedly, so that the cathedrals in every land are the same but redressed.

This notion of replicating the scenery is used in ‘Therein..’ too. But it is the rooms of the Pyramid that serve to remind us of the protagonist’s intentions that the populace treat each other as equals. These identical habitation spaces, whilst being customisable are generic, not unlike the interface of a computer operating system; you can change the desktop but little else. In an interesting turn, Lester Ginn reconstructs the interior of his former home within his cubicle, in order to some how evoke the magic of better days. Yet the characters that populate PyroVegas and beyond are a lot more individual that than their identikit luxury prison cells. Dupont defines clear hierarchies and positions of power that often change. This is reenforced by the many backstory sections of the characters lives prior to their emigration into the pyramid. Yet these flashbacks seem ill placed - that is to say they serve to help define character rather than informing the main plot itself. In fact, the outside world seems to suffer most from this process. Whilst things like the Corporate Wars are often referred to they are rarely seen, and despite being taken to places such as Russia, where the protagonist Lester Ginn meets his eventual butler, we never really see beyond these relationships.

The main thrust of the plot of Dupont’s book is the power struggle between Ginn and casino boss Seth Jipt. Through use of trade unions strikes, blackmail and other dirty tricks the conflict between the two never lets up - but it is a personal struggle, based quite clearly on ego and machismo. The demonstrations of which are at times entertainingly painful. Ginn and his son at times seem to disappear into a world of pirates; a perpetually ongoing theatrical production that is so well rendered that it transcends plausibility into what resembles the holodeck from Star Trek. It one point a character even comments, almost as an aside to the reader his own confusion as to the significance of the pirate play. Yet it’s effect serves not only to clever unhinge the reader, at one point the pirate caption, played by Ginn is stabbed by his deputy, played by Ginn’s son Tim and you quickly wonder if Ginn himself has been stabbed. This and many other sections of the book imply something other than the main plot going on behind the scenes - not a subplot as such but rather, through use iconography and other semiotics, some other secret message or hidden agenda. I’ve accused Dupont of exactly the same thing in the past with his podcast the Obtuse Angle, as if his media works in a similar way to a family film with jokes that only adults will understand but can still be enjoyed by children. Yet in this situation I feel as if I am the child and I find that very unsettling - in short, and perhaps only to be isolated to me, it seems to solicit paranoia.

The role of the protagonist is very important to both works as neither of them, the aforementioned Lester Ginn, nor the Duchess of New Hamptingshire are by any means likeable. Ginn’s behaviour is consistently irritating and self absorbed yet he seems to be excused (if not by the reader than by himself) due a number of factors including the pressure of his work, failing mental health and even on the grounds that he is British and therefore a bit eccentric. Whilst this makes him at times amusing, for example by disguising himself through use of a top hat, tails and false moustache, it does not explain why he is liked by so many that surround him. The use of hypnotism and is implied for controlling the masses, which culminates in a grand finale speech that echoes Hitler’s rally cry at Nuremberg, He likewise is blessed with a Hollywood ending, rather than assassination - justified by his good intentions. Redeemed by his failure, or perhaps by selflessly delegating his achievements to his followers his failure becomes a personal success and we wins back his marriage and his son. I was surprised to find that the fate of the Duchess left unresolved.

But where the protagonists fail to provide a comfortable avenue into their respective stories it is the secondary characters who offer all the charm. The Immortals themselves depicted in Gospel of the Pantheon are all beautifully rendered as genuinely higher beings, despite their foibles and three generations of groundsman serve as different kinds of reluctant hero. It is these three men, who share the surname Religetti that see the absurd wolrd they are forced into through our eyes. Humble and naive yet honourable and humble they too each have their own foibles yet fit into the grand scheme of the gods as perfectly as their reactions to their successes and failures. In fact it this grand scheme of things that works so well in this book that it’s overall gravitas slips in so cleverly unannounced. Opting for an extended contemporary coda rather than a the brisk conclusive cleanup deployed by Dupont, Strauss grounds the book’s message by placing it up against a more modern threat - that of fascism (although this is only implied). This ultimately leaves the reader begging for more, and wondering if microcosm that we have seen can be inflated to stand up against a larger modern world.

To conclude I would suggest seeing for yourself the two seemingly small worlds created by messrs Strauss and Dupont and seeing that therein lies two very much larger worlds that merit close and vigilant attention.

Skull and Bones Publishing.

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I’m not podcasting news or anything but I thought I’d put my journalism hat on for a moment to discuss an issue that is close to my heart.

Frank Edward Nora from the Overnightscape Podcast has decided to make the push into pay per download podcasting. His new Anything But Monday Show which he will co-host with Mad Mike Masters previewed in his latest Overnightscape posting as a free sample/transitional episode to encourage people to support his existing listeners with the new venture. He insisted the Overnightscape would continue though and it would remain free but may be shortened.

Despite others (including Ricky Gervais) failing to make a success out of similar business models, Frank sounded highly confident that his new show is what people are willing to pay for. He argued that timing was integral to success and discussed the shows origins on independent radio. Claiming that the show too radical back then he confidently stated that the time (and presumably the medium of podcasting) was right and after a successful run of almost 600 episodes of Overnightscape that his push towards premium content was inevitable.

I spoke to Neil Dixon, podcasting expert and former “glorious leader” of Britcaster. He was keen to discuss the perils of monetisation at the listeners expense.

“In a sea of free content, listeners have to be educated to appreciate the actual value of the paid-for content. Incentivisation is the key - give them something much more than what they are paying for, or at the very least make them think they have much more.”

Neil went on to stress the importance of “making it very VERY easy for them to pay and get the content.”

The staff of Spainful Films and conradslater.com would like to wish Frank and Mike the greatest success with their new show.

but…

(and this is wear I take my journalist hat off and slowly and mournfully shake my head for I know good many of you have stopped by reading now assuming this is just a press release by proxy)

I am very sorry to say I will neither be subscribing to the free preview or indeed paying for any podcast - ever.

So why write about it at all?

Whilst the recent Overnightscape was by no means a good example of what the Anything but Monday show will be, in terms of either content of style, some tell tale signs were evident. Based on this shows origins and the investment of professional audio equipment plus of course all this talk of monetisation it all adds up to one thing - a professional sounding radio show. And that is of course the last thing I want on my ipod; for it is that reason why I listen to podcasts and for that reason principally that I listen to the Overnightscape.

As someone who has come to learn how to listen to the Overnightscape and has really come to love the show I found myself harboring a quite natural sense of ownership, and therefore fear that it is going to be taken away from me. I have to admit I came away from listening to Overnightscape 579 angry and a little hurt. The introduction of Mike seemed to personify this threat. Dismissive of Frank’s commentary and at times shocked at mundaneness of it all, I felt my fury build within - wanting to shout “that’s the fucking point you moron!”

I was instead denied that usual 3+ plus hours Unlimited format, denied the sheer majesty of Franks relentless style and even denied the all the usual broken rules that I have come to love. From the rather eerie and uncanny music to Frank punctuating points but speaking far too close to the microphone as if bypassing my ears and speaking straight into my brain.

And then came the fucking crime of the century. One of those awful cliche´d sound boxes. In short, I have no doubt that the Anything but Monday will be more professional than the Overnightscape. It will probably sound much more like a professional radio show. And that’s what Frank wants - after almost 600 episode of Overnightscape who can blame him - I certainly wouldn’t want to begrudge him anything that would help towards his quest to be famous enough to unquestionably be written about on wikipedia.

But I do feel offended. I feel as if that the genius of Overnightscape was all in my head. That maybe is was the way it was because Frank was somehow unable to make it sound ‘professional’ and that really all he wanted was to make a 80s style morning radio show. That the only reason he was so relentlessly funny was because it was all an accidental and he in fact needed to be censored.

I feel like I’ve lost so many of my favourite podcasts of over the last few months, they’ve all faded away and that there wasn’t many more left left to loose. But instead of podfading this time we get to see the Overnightscape die, blow by blow - as long as we pay.

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