Birmingham City: A Tribute To Trevor Francis

Image © of B.C.F.C.

There is only one team in Birmingham worth supporting with true passion and Birmingham City is it.  I have been supporting them since 1979 when Jim Smith was the manager.  I was 13 at the time.  He is my favourite manager to date.   I am a blue nose ’til I die.

You can read lots more about Blues by clicking here.

The 24th of July 2023 was a day of shock and sadness for those associated with Birmingham City Football Club, Trevor Francis had died. Trevor wore the number 10 shirt and was certainly the most well-known player for B.C.F.C. and adored by many.  You can read more about him here.

I never got to see him play in person.  I was only in my early teens when I started supporting Blues and could only dream of going to St. Andrews but I saw him on television work his magic on the pitch.  He was at the end of his Blues career when I first started following Jim Smith and the Lads.  I can’t exactly recall when it was but it was around the time he was sold to Nottingham Forest as the first million player in British history.  I continued to watch him for Forest cementing my love for them and their manager Brian Clough.  Forest automatically became my second team until Clough retired in 1993. 

R.I.P.

Tributes From The Club 

On the 24th of July 2023 there was an announcement by Birmingham City informing the passing of Trevor Francis.  The Blues badge was changed to black as a mark of respect to the great man.

Image © of B.C.F.C.
Image © of B.C.F.C.
Image © of B.C.F.C.
Image © of B.C.F.C.
Image © of B.C.F.C.
Image © of B.C.F.C.
Image © of B.C.F.C.
Image © Unknown
Image © Unknown

The above two photos were posted on Jude Bellingham’s Twitter account on 24/07/23.  This is what he  wrote:

“A very sad day for @BCFC and all of football. Beyond legendary, a trailblazer, a great and an icon of the game. The only thing that could exceed his quality and accolades on the pitch was his class off it. Thank you for all the guidance and the benchmarks you set. Rest in peace, King Trevor! “ 💙

Image © of B.C.F.C.

Players and staff from Blues Men’s and Women’s First Team paying their respects to Trevor Francis on 25/07/23.

On 27/07/23 there was an announcement from Blues that there would be a Trevor Francis Book of Condolence at the Library of Birmingham on the 28th and 29th of July.  This should have been longer than two days in my opinion.

Image © of B.C.F.C.
Image © of B.C.F.C.
Image © of B.C.F.C.

Garry Cook signs the Trevor Francis Book of Condolence at the Library of Birmingham on 29/07/23.

Image © of B.C.F.C.

Blues players paying their respects to Trevor Francis at Peterborough United on 29/07/23.

Image © of B.C.F.C.

Blues fans at Peterborough United on 29/07/23.

Birmingham City Fans Tribute Area 

Click here to watch John Eustace and Darren Carter lay a reef in respect of Trevor Francis. This was the start of many flowers, scarves etc. that were placed in the designated area towards the Ticket Office at St. Andrew’s for fans to pay tribute to a club legend from 24/07/23 – 07/08/23.  The tributes are now safely in storage.

Image © of B.C.F.C.
Image © of B.C.F.C.
Image © of B.C.F.C.
Image © of B.C.F.C.

Fan tributes left for Trevor Francis at St. Andrews.

Videos From The Club 

The following videos (not including shorts) are from Birmingham City’s YouTube page and appear in order they were first shown.  There are too many videos of such a legend elsewhere to show here but search in your favourite browser and see for yourself what a great man he was.

Club Celebration 

On the 11th of August, 2023, the club announced that they will be celebrating Trevor Francis’s life at the first home game of the 2023/24 season against Leeds United. 

Image © of B.C.F.C.
Image © of B.C.F.C.
Image © of B.C.F.C.
Image © of B.C.F.C.

Jasper Carrott pays tribute to his good friend Trevor Francis.

Image © of B.C.F.C.
Image © of B.C.F.C.

A celebration to Trevor Francis at Blues first home game of the 2023/24 season against Leeds United.  

Trevor Francis Statue Announcement  

Trevor Francis Statue Announcement
Image © of B.C.F.C.

Trevor Francis statue announcement.

On the 24th of July, 2024,  Birmingham City made an announcement about the commission of a Trevor Francis statue by  Douglas Jennings M.R.B.S., a globally acclaimed portrait sculptor.

Read more here.

Read more about Francis here.

Read more about Jennings here.

Trevor Francis Memorial Match 

On the 24th of July, 2024, one year after Trevor’s passing Birmingham City hosted Rangers in the Trevor Francis Memorial Match.

Birmingham City Legend Trevor Francis
Image © of B.C.F.C.

Birmingham City legend Trevor Francis.

Trevor Francis In His Birmingham City And Rangers Tops
Image © of B.C.F.C.

Trevor Francis in his Birmingham City and Rangers tops.

Garry Cook Pays Tribute To The Late, Great Trevor Francis

Click here for Chief Executive Officer Garry Cook’s tribute to the late, great Trevor Francis. 

Trevor Francis Memorial Match Interviews

For Chris Davies’s interview after the Trevor Francis Memorial Match click here.

For Ethan Laird’s interview click here.

Trevor Francis Memorial Match Highlights  

For match highlights of the Trevor Francis Memorial Match click here.

Rest In Peace Trevor and thanks for all the great memories and your service to Birmingham City.

KEEP RIGHT ON

Blog Posts

Notes And Links

The image shown at the top of this page is copyright of Birmingham City F.C.  

The images of Trevor Francis and Jude Bellingham with Trevor Francis are copyright unknown.

Birmingham City F.C. – Official website.  

Birmingham City on Facebook  – This is their official Facebook page.

Birmingham City on Twitter – This is their official Twitter page.

Birmingham City on YouTube – This is their official YouTube page.

Blues Store Online – Birmingham City’s official club store online.

Wikipedia – Official website.  Its purpose is to benefit readers by acting as a widely accessible and free encyclopedia that contains information on all branches of knowledge. Funded and hosted by the Wikimedia Foundation, Wikipedia consists of freely editable content whose articles also provide numerous links to guide readers to related pages with more information. 

Birmingham Mail – Official website.  The Birmingham Mail is a newspaper based in Birmingham, England but distributed around Birmingham, the Black Country, Solihull and parts of Warwickshire, Worcestershire and Staffordshire. 

Birmingham City: Trevor Francis

Image © of B.C.F.C.

There is only one team in Birmingham worth supporting with true passion and Birmingham City is it.  I have been supporting them since 1979 when Jim Smith was the manager.  I was 13 at the time.  He is my favourite manager to date.   I am a blue nose ’til I die.

You can read lots more about Blues by clicking here.

The 24th of July 2023 was a day of shock and sadness for those associated with Birmingham City Football Club, Trevor Francis had died. Trevor wore the number 8 shirt and was certainly the most well-known player for B.C.F.C., adored by many.  You can read my tribute page to him here.

I never got to see him play in person.  I was only in my early teens when I started supporting Blues and could only dream of going to St. Andrews but I saw him on television work his magic on the pitch.  He was at the end of his Blues career when I first started following Jim Smith and the Lads.  I can’t exactly recall when it was but it was around the time he was sold to Nottingham Forest as the first million player in British history.  I continued to watch him for Forest cementing my love for them and their manager Brian Clough.  Forest automatically became my second team until Clough retired in 1993. 

R.I.P. Trevor. 

Image © of B.C.F.C.

About Trevor Francis 

Trevor Francis was an English footballer who played as a forward for a number of clubs in England, the United States, Italy, Scotland and Australia.  In 1979 he became Britain’s first £1 million player following his transfer from Birmingham City to Nottingham Forest.  He scored the winning goal for Forest in the 1979 European Cup final against Malmö.  He won the European Cup again with the club the following year.  At international level, he played for England 52 times between 1976 and 1986, scoring 12 goals, and played at the 1982 FIFA World Cup.

Between 1988 and 2003, Francis was a football manager with Queens Park Rangers, Sheffield Wednesday, Birmingham City and Crystal Palace.

Image © of Hans van Dijk via Wikipedia

Trevor Francis in Amsterdam on the 22nd Of April 1980.  He was playing for Nottingham Forest at the time.

Early Life And Education

Trevor John Francis was born on the 19th of April 1954, in Plymouth, Devon, and educated at Plymouth’s Public Secondary School for Boys.  He was an agile and skilful forward and joined Birmingham City as a schoolboy.

Club Career

Birmingham City

Francis quickly rose in status, making his debut for Birmingham City’s first team in 1970, aged just 16.  His talent was noted when, before his 17th birthday, he scored four goals in a match against Bolton Wanderers.  He ended his first season with 15 goals from just 22 games.  Birmingham City manager at the time, Freddie Goodwin, compared Francis to both Jimmy Greaves and Denis Law.

On the 30th of October 1976, he scored one of Birmingham’s most famous goals, when he turned away from the touchline and cut inside two Queens Park Rangers defenders, constantly being forced backwards before suddenly unleashing a 25-yard (23 meters) shot. 

Detroit Express

Francis negotiated a loan from Birmingham in 1978 to play for the Detroit Express in the North American Soccer League where he scored 22 goals in 19 league matches and was named to the N.A.S.L. first XI alongside Franz Beckenbauer and Giorgio Chinaglia before returning home to the Midlands.

Nottingham Forest

Nottingham Forest, the reigning First Division champions and League Cup holders managed by Brian Clough, put in a bid for Francis which totalled just over £1 million.  No player had ever been sold between English clubs for a seven-figure fee before and the deal was sealed, with Francis famously being introduced to the media by a manager impatient to play squash.  Clough was in his red gym kit and carrying a racquet as he addressed the press conference.

While recognised as the first British million-pound player, the actual transfer fee for the player was £1,150,000, including a 15% commission to the Football League.  Clough wrote in his autobiography that the fee was £999,999, as he wanted to ensure the million-pound milestone did not go to the player’s head, although Francis says that was a tongue-in-cheek remark by Clough.

Nottingham Forest retained the League Cup shortly afterwards without the cup-tied Francis and made progress in the European Cup to the extent that they reached the semi-finals, although Francis was not eligible to play in the competition until the final.  They won their semi-final, and in May 1979 Forest took on Swedish club Malmö in the final in Munich, and a major instalment of the huge investment money was repaid just before half time.

The ball was spread to Forest’s winger John Robertson wide on the left and he took on two defenders at once to reach the byline and curl an awkward, outswinging cross towards the far post.  Francis had already begun to sprint into position, but even so, he had to increase his pace in order to reach the cross as it dropped and ended up throwing himself low at the ball.  He connected with his head and the ball diverted powerfully into the roof of the net.  Forest won the match 1–0 and footage of the goal was used in the opening titles to Match of the Day for some years afterwards.  A giant picture of Francis stooping to head the ball remains on display in the main entrance and reception area of Forest’s City Ground stadium.

Even though the season ended there, Francis duly headed back to Detroit for another summer playing in the N.A.S.L., where once again he was named to the first XI alongside Johan Cruyff (Los Angeles Aztecs) and Giorgio Chinaglia (New York Cosmos), despite playing only half the season.  In his brief career in America, Francis scored 36 goals in 33 regular season matches and had 18 assists.

At Nottingham Forest Clough frequently played Francis on the right wing, rather than in his preferred position as a central attacker.  Francis was in the side which lost the 1980 League Cup Final to Wolverhampton Wanderers but missed the European Cup Final against Hamburg due to an injury to his Achilles tendon.  Somehow the success of his Forest career never quite reflected his huge fee.  He scored only 14 league goals in the 1979 – 80 season and 6 in the next 18 games that he played for Forest.  Although still a regular for England, his Achilles injury prevented him from being in the squad for the 1980 European Championships.

Manchester City

The injury kept Francis out of the game for over six months.  He was sold to Manchester City in September 1981, this time for £1.2 million.  The deal caused behind-the-scenes friction at Manchester City.  During negotiations City chairman Peter Swales informed manager John Bond that the club could not afford the transfer fee.  Bond then issued an ultimatum which was if Francis did not sign, Bond would resign.  Francis made a promising start at the club, scoring two goals against Stoke City on his debut, but over the course of the season, he was frequently injured.  In total, he scored 12 goals in 26 games and made the England squad for the 1982 World Cup.

Back at his club, financial problems were again an issue.  Francis’ contract gave him a salary of £100,000 plus bonuses, which the club could no longer afford to pay to a player who regularly sustained injuries.

Sampdoria

Later that summer, Francis was approached by Italian club Sampdoria, who paid Manchester City £700,000 for his services.  He helped win the 1984–85 Coppa Italia, in the same team as Scotland midfielder Graeme Souness.  It was the first time that Sampdoria had won the competition.

Atalanta

Francis joined Atalanta in 1986.  He played 21 league games and scored once in his only season, but added two goals in nine games in the Coppa Italia. Atalanta lost the final to Napoli.  He was the second Englishman at the Bergamo-based club after Gerry Hitchens, and by the time of his death, their only other English-born player was Ademola Lookman.

Rangers

Francis returned to Britain in September 1987 to join Rangers under Graeme Souness.  Numerous English players were brought to the Scottish club by Souness as English clubs had been banned from European competition since the Heysel disaster.  Francis cost just £75,000, signed on a pay-as-you-play basis, and won the 1987 – 88 Scottish League Cup, scoring a penalty in the shootout.

Queens Park Rangers

Francis signed for Queens Park Rangers on a free transfer in March 1988 and helped the team finish fifth in the First Division.  He scored 10 goals from 26 appearances in the first half of the 1988 – 89 season and took over as player-manager in December 1988 when Jim Smith moved to Newcastle United, but a knee injury in January 1989 put an end to his playing season.  He marked his return to the field in September 1989 with a hat-trick against Aston Villa, but was replaced as manager by Don Howe in November 1989 and his playing contract was paid up a few days later.

During his time at Queens Park Rangers, Francis completed a brief loan in 1988 with an Australian National Soccer League team, Wollongong City, as part of businessman Harry Michaels’ attempt to market football in Australia.  Michaels had previously funded the loans of Alan Brazil and Paul Mariner, whom Francis was to replace, and had discussions with Norman Whiteside, Nigel Clough and Michel Platini about playing for the New South Wales-based team.

Sheffield Wednesday

Francis left Queens Park Rangers in February 1990 to play for Sheffield Wednesday.  Despite gaining a good reputation amongst supporters, he could not help the club avoid relegation to the second tier under manager Ron Atkinson for the 1990 – 91 season.  However, that season he helped Wednesday win the League Cup, although he was a non-playing substitute in the final, and also gained promotion back to the top flight.

International Career

Francis played for England 52 times between 1977 and 1986 and scored 12 goals.  In 1977, he was given his first England cap by Don Revie, in a 2 – 0 loss against the Netherlands.  After missing out on Euro 1980 due to an Achilles injury, Francis was named in the England squad for the 1982 World Cup in Spain.  In the first round of the tournament, he scored in the group games against Czechoslovakia and Kuwait.  England was eliminated after goalless draws against both the host nation and West GermanyIn the spring of 1986, he made his 52nd and final appearance for England in a victory over Scotland and was subsequently not selected for the 1986 World Cup in Mexico.

Managerial Career

Sheffield Wednesday

After the departure of Ron Atkinson, Francis took over as manager of Sheffield Wednesday with popular support from the club and supporters.  He guided Wednesday to a third-place finish in 1992.  The following year, Wednesday reached the F.A. Cup and League Cup finals, losing both to Arsenal, the former after a replay.  In 1994, Francis finally retired as a player, shortly before his 40th birthday.  He was dismissed as manager a year later after Wednesday finished 13th in the Premiership.

In February 1992, Francis brought former French international Eric Cantona back from a poor discipline-enforced hiatus in his career by inviting him for a trial at Sheffield Wednesday.  However, as the snowy conditions meant that he could only evaluate Cantona on AstroTurf, Francis requested an extension to the trial to see whether Cantona could play on grass.  An outraged Cantona walked out on The Owls and was signed (without a trial) by Leeds United, inspiring first them and then Manchester United to success.  In a 2012 interview, Francis said that he had agreed to take Cantona on as a favour to Francis’ former agent, Dennis Roach, and Michel Platini, who he knew from his time playing in Italy when they approached him about taking on Cantona, and that it was intended as an opportunity for Cantona to put himself in the shop window.  Wednesday had only recently been promoted back to the top flight, with most of the squad still being on Second Division-level wages, and the club could not afford to sign him.

Birmingham City

Francis was hired as Birmingham City as manager in 1996, with the club in the First Division.  He guided Birmingham to a 10th and 7th place finish in his first two seasons, missing out on the playoffs on goal difference in the latter.  Finishes of 4th, 4th and 5th in the next three seasons resulted in playoff entry, losing each time.

Francis led Blues to the 2001 League Cup Final, where they lost on penalties to Liverpool.  He was dismissed in October of that year.  BBC Sport wrote “Francis the player was legendary. Francis the manager is the nearly man.”

Crystal Palace

Francis was manager of Crystal Palace from November 2001 to April 2003.  He was appointed by Crystal Palace chairman, Simon Jordan to replace Steve Bruce who had resigned as Crystal Palace manager with the intention of taking the manager’s role at Birmingham City.  Litigation followed with Bruce being placed on gardening leave.  Of the appointment, Jordan said, “The last two or three weeks have not been easy.  I’m bored of Steve Bruce and Birmingham and what I’m interested in is Trevor Francis and Crystal Palace.”  At the time Francis said that he had turned down four jobs before accepting the role at Crystal Palace.  Under his managership, Palace defeated a Gerard Houllier-managed Liverpool in an FA Cup fourth-round replay at Anfield in February 2003 and beat Palace’s main rivals, Brighton & Hove Albion, 5 – 0 in October 2002.  However, after the team’s second failure to achieve promotion to the Premier League, Simon Jordan dismissed him, stating: “People know I am very unhappy with the selection of our players under Francis. We have a very strong squad and we should have done a lot better this season – a lot of lessons need to be learned from injury prevention and transfer policy.”

Personal Life

Francis married Helen in 1974.  The couple had two children together.  On the 5th of April 2017, it was reported that Helen Francis had died.

On the 13th of April 2012, Francis was reported to be recovering in hospital from a suspected heart attack.

Francis died of a heart attack at his home near Marbella, Spain, on July 24th, 2023.  He was 69.  

Image © Christophe95 via Wikipedia

Trevor Francis in 2009.

Career And Managerial Statistics

Click here to read about Francis’ club, international and managerial statistics.

Honours

Player

Birmingham City

Football League Second Division runner-up: 1971 – 72.

Detroit Express

American Conference Central Division: 1978.

Nottingham Forest

European Cup: 1978 – 79 and 1979 – 80.

European Super Cup: 1979.

Football League Cup: runner-up 1979 – 80.

Sampdoria

Coppa Italia: 1984 – 85.

Rangers

Scottish League Cup: 1987 – 88.

Sheffield Wednesday

Football League Cup: 1990 – 91.

Individual

P.F.A. First Division Team of the Year: 1976 – 77, 1977 – 78, and 1981 – 82.

Coppa Italia top scorer: 1984 – 85 (9 goals).

Manager

Sheffield Wednesday

F.A. Cup runner-up: 1992–93.

Football League Cup runner-up: 1992 – 93.

Birmingham City

Football League Cup runner-up: 2000 – 01.

Individual

Premier League Manager of the Month: December 1993.

Read more about Trevor Francis’ Wikipedia page here.

Blog Posts

Notes And Links

The image shown at the top of this page is copyright of Birmingham City F.C.  

The image above of Trevor Francis In Amsterdam In 1980 is the copyright of  Hans van Dijk via Wikipedia.  It comes with a Creative Commons licence (CC0 1.0and is in the Public Domain. 

The image above of Trevor Francis in 2009 is the copyright of Wikipedia user Christophe95.  It comes with a Creative Commons licence (CC BY-SA 3.0).  You can find more great work from him by clicking here.

The above links in the Before Knighthead section will take you to Wikipedia and its content is subject to change.

Birmingham City F.C. – Official website.  

Birmingham City on Facebook  – This is their official Facebook page.

Birmingham City on Twitter – This is their official Twitter page.

Birmingham City on YouTube – This is their official YouTube page.

Blues Store Online – Birmingham City’s official club store online.

Wikipedia – Official website.  Its purpose is to benefit readers by acting as a widely accessible and free encyclopedia that contains information on all branches of knowledge. Funded and hosted by the Wikimedia Foundation, Wikipedia consists of freely editable content whose articles also provide numerous links to guide readers to related pages with more information. 

Birmingham Mail – Official website.  The Birmingham Mail is a newspaper based in Birmingham, England but distributed around Birmingham, the Black Country, Solihull and parts of Warwickshire, Worcestershire and Staffordshire. 

Music: Christmas Music

Image © of Mick Haupt via Pexels

Who doesn’t love a good Christmas tune? I certainly do and it is part of my Christmas tradition to play the same ones every year.  They may be by someone who is not particularly one of my favourite music artists and bands but I still like them nevertheless. 

I have grown up listening to many festive tunes with my Mom and on my own, especially Mom’s LP’s by Nat King Cole, Elvis Presley, Jim Reeves, Mario Lanza,  Andy Williams, Perry Como and the Hawaiian Christmas and Christmas Party Sing-A-Long ones too.  We also listened to singles as well. I am pleased to say I still have them in my vinyl collection. 

There is an index at the bottom of the page containing many, but not all of the Christmas music I like to listen to.  There are obviously many artists who cover the same tunes but I will show my favourite versions.  Some songs are not necessarily Christmas songs per se but are from Christmas albums. 

It is hard to pick just a small selection when there are so many to choose from!

Image © of neelam279 via Pixabay

Christmas decorations on sheet music.

Christmas Music 

Christmas music comprises a variety of genres of music regularly performed or heard around the Christmas season.  Music associated with Christmas may be purely instrumental, or in the case of carols or songs may employ lyrics whose subject matter ranges from the nativity of Jesus Christ to gift-giving and merrymaking, to cultural figures such as Santa Claus, among other topics. Many songs simply have a winter or seasonal theme or have been adopted into the canon for other reasons.

While most Christmas songs prior to 1930 were of a traditional religious character, the Great Depression-era of the 1930s brought a stream of songs of American origin, most of which did not explicitly reference the Christian nature of the holiday, but rather the more secular traditional Western themes and customs associated with Christmas. These included songs aimed at children such as “Santa Claus Is Comin’ to Town” and “Rudolph the Red-Nosed Reindeer”, as well as sentimental ballad-type songs performed by famous crooners of the era, such as “Have Yourself a Merry Little Christmas” and “White Christmas”, the latter of which remains the best-selling single of all time as of 2018.

Elvis’ Christmas Album (1957) by Elvis Presley is the best-selling Christmas album of all time, selling more than 20 million copies worldwide.

Performances of Christmas music at public concerts, in churches, at shopping malls, on city streets, and in private gatherings is an integral staple of the Christmas holiday in many cultures across the world.  Radio stations often convert to a 24-7 Christmas music format leading up to the holiday, starting sometimes as early as the day after Halloween – as part of a phenomenon known as “Christmas creep”.

Christmas Music History

Early Music

Music associated with Christmas is thought to have its origins in 4th-century Rome, in Latin-language hymns such as Veni redemptor gentium.  By the 13th century, under the influence of Francis of Assisi, the tradition of popular Christmas songs in regional native languages developed.  In the 16th century, various Christmas carols still sung to this day include “The 12 Days of Christmas”, “God Rest You Merry, Gentlemen”, and “O Christmas Tree”, which first emerged.

Music was an early feature of the Christmas season and its celebrations. The earliest examples are hymnographic works (chants and litanies) intended for liturgical use in observance of both the Feast of the Nativity and Theophany, many of which are still in use by the Eastern Orthodox Church.  The 13th century saw the rise of the carol written in the vernacular, under the influence of Francis of Assisi.

In the Middle Ages, the English combined circle dances with singing and called them carols.  Later, the word carol came to mean a song in which a religious topic is treated in a style that is familiar or festive.  From Italy, it passed to France and Germany, and later to England.  Christmas carols in English first appear in a 1426 work of John Audelay, a Shropshire priest and poet, who lists 25 “caroles of Cristemas”, probably sung by groups of wassailers, who went from house to house.  Music in itself soon became one of the greatest tributes to Christmas, and Christmas music includes some of the noblest compositions of great musicians.

Puritan Prohibition

During the Commonwealth of England government under Cromwell, the Rump Parliament prohibited the practice of singing Christmas carols as Pagan and sinful.  Like other customs associated with popular Catholic Christianity, it earned the disapproval of Protestant Puritans. Famously, Cromwell’s interregnum prohibited all celebrations of the Christmas holiday.  This attempt to ban the public celebration of Christmas can also be seen in the early history of Father Christmas.

The Westminster Assembly of Divines established Sunday as the only holy day in the calendar in 1644.  The new liturgy produced for the English church recognized this in 1645, and so legally abolished Christmas. Its celebration was declared an offence by Parliament in 1647.  There is some debate as to the effectiveness of this ban, and whether or not it was enforced in the country.

Puritans generally disapproved of the celebration of Christmas—a trend that continually resurfaced in Europe and the USA through the eighteenth, nineteenth and twentieth centuries.

Read more about Christmas Music History here.

Classical Music

Many large-scale religious compositions are performed in a concert setting at Christmas.  Performances of George Frideric Handel’s oratorio Messiah are a fixture of Christmas celebrations in some countries, and although it was originally written for performance at Easter, it covers aspects of the Biblical Christmas narrative.  Informal Scratch Messiah performances involving public participation are very popular in the Christmas season.  Johann Sebastian Bach’s Christmas Oratorio (Weihnachts-Oratorium, BWV 248), written for Christmas 1734, describes the birth of Jesus, the annunciation to the shepherds, the adoration of the shepherds, the circumcision and naming of Jesus, the journey of the Magi, and the adoration of the Magi.  Antonio Vivaldi composed the Violin Concerto RV270 Il Riposo per il Santissimo Natale (For the Most Holy Christmas). Arcangelo Corelli composed the Christmas Concerto in 1690.  Peter Cornelius composed a cycle of six songs related to Christmas themes he called Weihnachtsliede.  Setting his own poems for solo voice and piano, he alluded to older Christmas carols in the accompaniment of two of the songs.

Other classical works associated with Christmas include:

Pastorale sur la naissance de N.S. Jésus-Christ (c. 1670) by Marc-Antoine Charpentier.

Christus (1847) an unfinished oratorio by Felix Mendelssohn.

L’enfance du Christ (1853–54) by Hector Berlioz.

Oratorio de Noël (1858) by Camille Saint-Saëns.

The Nutcracker (1892) by Pyotr Ilyich Tchaikovsky.

Fantasia on Christmas Carols (1912) and Hodie (1954), both by Ralph Vaughan Williams.

A Ceremony of Carols (1942) by Benjamin Britten.

Christmas Carols

Songs that are traditional, even some without a specific religious context, are often called Christmas carols.  Each of these has a rich history, some dating back many centuries.

Read more about Christmas Carols here.

Popular Christmas Songs

United States

According to the American Society of Composers, Authors and Publishers (ASCAP) in 2016, “Santa Claus Is Coming to Town”, written by Fred Coots and Haven Gillespie in 1934, is the most played holiday song of the last 50 years.  It was first performed live by Eddie Cantor on his radio show in November 1934.  Tommy Dorsey and his orchestra recorded their version in 1935, followed later by a range of artists including Frank Sinatra in 1948, the Supremes, the Jackson 5, the Beach Boys, and Glenn Campbell. Bruce Springsteen recorded a rock rendition in December 1975.

Long-time Christmas classics from prior to the “rock era” still dominate the holiday charts – such as “Let It Snow! Let It Snow! Let It Snow!”, “Winter Wonderland”, “Sleigh Ride” and “Have Yourself a Merry Little Christmas”.  Songs from the rock era to enter the top tier of the season’s canon include Wonderful Christmastime by Paul McCartney, All I Want for Christmas Is You by Mariah Carey and Last Christmas by Wham!

The most popular set of these titles—heard over airwaves, on the Internet, in shopping malls, in elevators and lobbies, even on the street during the Christmas season—have been composed and performed from the 1930s onward. (Songs published before 1925 are all out of copyright, are no longer subject to ASCAP royalties and thus do not appear on their list.)  In addition to Bing Crosby, major acts that have popularized and successfully covered a number of the titles in the top 30 most performed Christmas songs in 2015 include Frank Sinatra, Elvis Presley, Andy Williams, and the Jackson 5.

Since the mid-1950s, much of the Christmas music produced for popular audiences have explicitly romantic overtones, only using Christmas as a setting.  The 1950s also featured the introduction of novelty songs that used the holiday as a target for satire and a source for comedy.  Exceptions such as The Christmas Shoes (2000) have re-introduced Christian themes as complementary to the secular Western themes, and myriad traditional carol cover versions by various artists have explored virtually all music genres.

Read more about United States here.

United Kingdom And Ireland

Most Played Songs

A collection of chart hits recorded in a bid to be crowned the UK Christmas number one single during the 1970s and 1980s have become some of the most popular holiday tunes in the United Kingdom.  Band Aid’s 1984 song Do They Know It’s Christmas? is the second-best-selling single in UK chart history.  Fairytale of New York, released by The Pogues in 1987, is regularly voted the British public’s favourite-ever Christmas song.  It is also the most-played Christmas song of the 21st century in the UK.  British glam rock bands had major hit singles with Christmas songs in the 1970s.  Merry Xmas Everybody by Slade, I Wish It Could Be Christmas Everyday by Wizzard, and Lonely This Christmas by Mud all remain hugely popular.

The top ten most played Christmas songs in the UK based on a 2012 survey conducted by PRS for Music are as follows:

Ranked No. 1:
Fairytale of New York by The Pogues with Kirsty MacColl.

Ranked No. 2:
All I Want for Christmas Is You by Mariah Carey.

Ranked No, 3:
Do They Know It’s Christmas? by Band Aid.

Ranked No. 4:
Last Christmas by Wham!

Ranked No. 5:
Santa Claus Is Comin’ to Town by Harry Reser and his orchestra (sung by Tom Stacks).

Ranked No. 6:
Do You Hear What I Hear? by Bing Crosby.

Ranked No. 7:
Happy Xmas (War Is Over) John Lennon with Yoko/Plastic Ono Band and the Harlem Community Choir. 

Ranked No. 8:
Wonderful Christmastime by Paul McCartney.

Ranked No. 9:
I Wish It Could Be Christmas Everyday by Wizzard.

Ranked No. 10:
Merry Xmas Everybody by Slade.

Included in the 2009 and 2008 lists are such other titles as Jona Lewie’s Stop the Cavalry, Bruce Springsteen’s Santa Claus is Coming to Town, Elton John’s Step into Christmas, Mud’s Lonely This Christmas, Walking in the Air by Aled Jones, Shakin’ Stevens’ Merry Christmas Everyone, Chris Rea’s Driving Home for Christmas and Mistletoe and Wine and Saviour’s Day by Cliff Richard.

Christmas Number Ones

The “Christmas Number One” – songs reaching the top spot on either the UK Singles Chart, the Irish Singles Chart, or occasionally both, on the edition preceding Christmas – is considered a major achievement in the United Kingdom and Ireland.  The Christmas number one, and to a lesser extent, the runner-up at number two, benefit from broad publicity. Social media campaigns have been used to try to encourage sales of specific songs so that they could reach number one.

These songs develop an association with Christmas or the holiday season from their chart performance, but the association tends to be shorter-lived than for the more traditionally-themed Christmas songs.  Notable longer-lasting examples include Band Aid’s “Do They Know It’s Christmas?” (No. 1, 1984, the second-biggest selling single in UK Chart history; two re-recordings also hit No. 1 in 1989 and 2004), Slade’s “Merry Xmas Everybody” (No. 1, 1973), and Wham!’s “Last Christmas” (No. 2, 1984).  Last Christmas would go on to hold the UK record for highest-selling single not to reach No. 1, until it finally topped the chart on 1 January 2021, helped by extensive streaming in the final week of December 2020.

The Beatles, Spice Girls, and LadBaby are the only artists to have achieved consecutive Christmas number-one hits on the UK Singles Chart.  The Beatles annually between 1963 and 1965 (with a fourth in 1967), the Spice Girls between 1996 and 1998, and LadBaby in 2018, 2019 and 2020 (with the novelty songs We Built This City, I Love Sausage Rolls and Don’t Stop Me Eatin’).  Bohemian Rhapsody is the only recording to have ever been Christmas number one twice, in both 1975 and 1991.  Three of the four different Band Aid recordings of “Do They Know It’s Christmas?” have been number one in Christmas week.

At the turn of the 21st century, songs associated with reality shows became a frequent source of Christmas number ones in the UK.  In 2002, Popstars: The Rivals produced the top three singles on the British Christmas charts.  The “rival” groups produced by the series—the girl group Girls Aloud and the boy band One True Voice—finished first and second respectively on the charts.  Failed contestants The Cheeky Girls charted with a novelty hit, Cheeky Song (Touch My Bum), at third. Briton Will Young, the winner of the first Pop Idol, charted at the top of the Irish charts in 2003.

The X Factor also typically concluded in December during its run; the winner’s debut single earned the Christmas number one in at least one of the two countries every year from 2005 to 2014, and in both countries in five of those ten years.  Each year since 2008 has seen protest campaigns to outsell the X Factor single (which benefits from precisely-timed release and corresponding media buzz) and prevent it from reaching number one.  In 2009, as the result of a campaign intended to counter the phenomenon, Rage Against the Machine’s 1992 single “Killing in the Name” reached number one in the UK instead of that year’s X Factor winner, Joe McElderry.  In 2011, Wherever You Are, the single from a choir of military wives assembled by the TV series The Choir, earned the Christmas number-one single in Britain—upsetting X Factor winners Little Mix.  With the Military Wives Choir single not being released in Ireland, Little Mix won Christmas number one in Ireland that year.

Read lots more about Christmas Music here.

Favourite Christmas Music Index

A Cradle In Bethlehem – Nat King Cole.

All I Want For Christmas (Is My Two Front Teeth) – Spike Jones And His City Slickers.

A Marshmallow World – Dean Martin.

An Old Christmas Card – Jim Reeves.

Away In A Manger – Andy Williams.

Baby, It’s Cold Outside – Dean Martin.

Blue Christmas – Elvis Presley.

Carol Of The Bells – Pentatonix. 

C-H-R-I-S-T-M-A-S – Jim Reeves.

Christmas Time (Don’t Let The Bells End) – The Darkness.

Deck The Halls – Nat King Cole.

Do You Hear What I Hear? – Bing Crosby.

Frosty The Snowman – Gean Autry.

Gaudette – Erasure.

Guardian Angels – Mario Lanza.

Good King Wenceslas – Bing Crosby.

God Rest Ye Merry, Gentlemen – Mario Lanza.

Happy Holiday / The Holiday Season – Andy Williams.

Happy New Year – Abba.

Happy Xmas (War Is Over) – John Lennon With Yoko / Plastic Ono Band And The Harlem Community Choir.

Hark! The Herald Angles Sing – Mario Lanza.

Have Yourself A Merry Little Christmas – Frank Sinatra.

Here Comes Santa Claus (Right Down Santa Claus Lane) – Elvis Presley.

Here We Come A-Caroling / We Wish You A Merry Christmas – Perry Como.

Holly Jolly Christmas – Burl Ives.

If Every Day Was Like Christmas – Elvis Presley.

I’ll Be Home For Christmas – Elvis Presley.

I Saw Three Ships – Mario Lanza.

It’s Beginning To Look A Lot Like Christmas – Perry Como And The Fontane Sisters. 

It’s Christmas Time All Over The World – Sammy Davis Jr.

I Wish It Could Be Christmas Everyday – Wizzard.

Jingle Bells – Jim Reeves.

Joy To The World – Nat King Cole.

Last Christmas – Wham!

Let It Snow! Let It Snow! Let It Snow! – Dean Martin.

Lonely This Christmas – Mud.

Mama Liked The Roses – Elvis Presley.

Mary’s Boy Child / Oh My Lord – Boney M.

Mary, Did You Know? – Pentatonix.

Merry Christmas Everyone – Shakin’ Stevens.

Merry Xmas Everybody – Slade.

Mistletoe And HollyFrank Sinatra.

O Come All Ye Faithfull – Nat King Cole.

O Holy Night – Nat King Cole.

O Little Town Of Bethlehem – Nat King Cole.

O Tannenbaum – Nat King Cole.

Peace On Earth / Little Drummer Boy – David Bowie And Bing Crosby.

Rockin’ Around The Christmas Tree – Brenda Lee.

Rudolph The Red-Nosed Reindeer – The Temptations.

Santa, Bring My Baby Back (To Me) – Elvis Presley.

Santa Claus Is Back In Town – Elvis Presley.

Santa Claus Is Coming To Town – Frank Sinatra.

Silent Night – Elvis Presley.

Silver And Gold – Burl Ives.

Silver Bells – Jim Reeves.

Someday At ChristmasThe Temptations.

Sweet Little Jesus Boy – Andy Williams.

Thank You – Pentatonix.

Thank God It’s Christmas – Queen.

The Christmas Song (Merry Christmas To You) – Nat King Cole.

The First Noel – Mario Lanza.

The Little Boy That Santa Claus Forgot – Nat King Cole.

The Merry Christmas Polka – Jim Reeves.

Up On The Housetop – Pentatonix.

Walking In The Air – Aled Jones.

We Three Kings Of Orient Are – Mario Lanza.

What Christmas Means To Me – Pentatonix.

When A Child Is Born – Johnny Mathis.

White Christmas – Bing Crosby.

Winter Wonderland / Don’t Worry Be Happy – Pentatonix And Tori Kelly.

You’re A Mean One, Mr. Grinch – Pentatonix.

‘Zat You Santa Claus – Louis Armstrong And The Commanders. 

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Notes And Links

Mick Haupt on Pexels – The image shown at the top of this page is the copyright of Mick Haupt.  You can find more great work from the photographer Mick and lots more free stock photos at Pexels.

The image above of Christmas decorations on sheet music is the copyright of neelam279 at Pixabay.

Television: Blue Peter

Image © of Max Rahubovskiy via Pexels

Although started in 1958, I associate Blue Peter in my life mainly to the 1970’s and 1980’s for it is in these decades I watched it the most.  I wouldn’t say I was a fan of the show, I preferred Magpie more,  but I watched it sometimes as a school kid back in the day when the mood took me.

When Jnr and Deb were kids I may have watched a few then but it was more on in the background and I never paid much attention to it as the nostalgia for it had gone for me by then.

Image © of BBC via CBBC

Blue Peter Logo.

About Blue Peter

Blue Peter is a British children’s television magazine programme created by John Hunter Blair.  It is the longest-running children’s TV show in the world, having been broadcast since October 1958.  It was broadcast primarily from BBC Television Centre in London until September 2011, when the programme moved to dock10 studios at MediaCityUK in Salford, Greater Manchester.  It is currently shown live on the CBBC television channel on Thursdays at 5 pm.

Following its original creation, the programme was developed by a BBC team led by Biddy Baxter; she became the programme editor in 1965, relinquishing the role in 1988.  Throughout the show’s history, there have been 40 presenters; currently, it is hosted by Richie Driss, Mwaksy Mudenda, and Adam Beales.

The show used a nautical title and theme.  Its content, which follows a magazine/entertainment format, features viewer and presenter challenges, competitions, celebrity interviews, popular culture and sections on making arts and crafts items from household items.  The show has had a garden in both London and Salford, known as the Blue Peter Garden, which is used during the summer and for outdoor activities.  The programme has featured a number of pets that became household names, such as dogs Petra, Shep, and Goldie, as well as other animals such as tortoises, cats, and parrots.  The longevity of Blue Peter has established it as a significant part of British culture and British heritage.

Blue Peter Theme Music

Click here to hear every Blue Peter opening theme from 1958 to the present day.

Blue Peter Content

Blue Peter‘s content is wide-ranging.  Most programmes are broadcast live but usually include at least one filmed report.  There will also often be a demonstration of an activity in the studio, or a music or dance performance.  Between the 1960s and 2011 the programme was made at BBC Television Centre, and often came from Studio 1, the fourth-largest TV studio in Britain and one of the largest in Europe.  This enabled Blue Peter to include large-scale demonstrations and performances within the live programme.  From the September 2007 series, the programme was broadcast from a small fixed set in Studio 2.  However, from 2009 the series began to use the larger studios once more; also more programmes were broadcast in their entirety from the Blue Peter Garden.  The show is also famous for its “makes”, which are demonstrations of how to construct a useful object or prepare food.  These have given rise to the oft-used phrase “Here’s one I made earlier”, as presenters bring out a perfect and completed version of the object they are making – a phrase credited to Christopher Trace, though Marguerite Patten is another possibility.  Trace also used the line “And now for something completely different”, which was later taken up by Monty Python.  Time is also often given over to reading letters and showing pictures sent in by viewers.

Over 5,000 editions have been produced since 1958, and almost every episode from 1964 onwards still exists in the BBC archives.  This is unusual for programmes of that era.  Editor Biddy Baxter personally ensured that telerecordings and, from 1970, video recordings were kept of each episode.

Many items from Blue Peter‘s history have become embedded in British popular culture, especially moments when things have gone wrong, such as the much-repeated clip of Lulu the baby elephant (from a 1969 edition) who urinated and defecated on the studio floor, appeared to tread on the foot of presenter John Noakes and then proceeded to attempt an exit, dragging her keeper along behind her.  Although it is often assumed to have been broadcast live, the edition featuring Lulu was one of the rare occasions when the programme was pre-recorded, as the presenters were en route to Ceylon for the summer expedition at the time of transmission.  Other well-remembered and much-repeated items from this era include the Girl Guides’ campfire that got out of hand on the 1970 Christmas edition, John Noakes’s report on the cleaning of Nelson’s Column, and Simon Groom referring to a previous item on the production of a facsimile door knocker for Durham Cathedral which was displayed alongside the original, with the words ‘what a beautiful pair of knockers’.

Blue Peter History

Early Years

Blue Peter was first aired on 16 October 1958.  It had been commissioned to producer John Hunter Blair by Owen Reed, the head of children’s programmes at the BBC, as there were no programmes for children aged between five and eight.  Reed got his inspiration after watching Children’s Television Club, the brainchild of former radio producer, Trevor Hill, who created the latter show as a successor to his programme Out of School, broadcast on BBC Radio’s Children’s Hour; Hill networked the programme from BBC Manchester and launched it aboard the MV Royal Iris ferry on the River Mersey, Liverpool with presenter Judith Chalmers welcoming everyone aboard at the bottom of the gangplank.

It was subsequently televised about once a month.  Hill relates how Reed came to stay with him and his wife, Margaret Potter, in Cheshire and was so taken with the “Blue Peter” flag on the side of the ship and the programme in general, that he asked to rename it and take it to London to be broadcast on a weekly basis (see Reed’s obituary).  The “Blue Peter” is used as a maritime signal, indicating that the vessel flying it is about to leave, and Reed chose the name to represent ‘a voyage of adventure’ on which the programme would set out.  Hunter Blair also pointed out that blue was a popular colour with children, and Peter was a common name of a typical child’s friend.

The first two presenters were Christopher Trace, an actor, and Leila Williams, winner of Miss Great Britain in 1957.  The two presenters were responsible for activities that matched the traditional gender roles.  As broadcasting historian, Asa Briggs expressed it in 1995: “Leila played with dolls; Chris played with trains”.  They were supported on occasion by Tony Hart, an artist who later designed the ship logo, who told stories about an elephant called Packi (or Packie).  It was broadcast every Thursday for fifteen minutes (17.00–17.15) on BBC TV (which later became BBC One).  Over the first few months, more features were added, including competitions, documentaries, cartoons, and stories.  Early programmes were almost entirely studio-based, with very few filmed inserts being made.

1960 – 1969

From Monday 10 October 1960, Blue Peter was switched to every Monday and extended from 15 minutes to 20 minutes (17.00–17.20).  In 1961, Hunter Blair became ill and was often absent.  After he produced his last edition on 12 June 1961, a series of temporary producers took up the post.  Hunter Blair was replaced the following September by Clive Parkhurst.  He did not get along with Leila Williams, who recalled “he could not find anything for me to do”, and in October, Williams did not appear for six editions, and was eventually fired, leaving Christopher Trace on his own or with one-off presenters.  Parkhurst was replaced by John Furness, and Anita West joined Trace on 7 May 1962.  She featured in just 16 editions, making her the shortest-serving presenter, and was replaced by Valerie Singleton, who presented regularly until 1972 and on special assignments until 1981.  Following the departure of Furness, a new producer who was committed to Blue Peter was required, so Biddy Baxter was appointed.  At the time she was contracted to schools’ programmes on the radio, and therefore unable to take up her new post immediately.

It was suggested that Edward Barnes, a production assistant, would temporarily produce the show until Baxter arrived, at which point he would become her assistant.  This suggestion was turned down, and a more experienced producer, Leonard Chase, was appointed, with Barnes as his assistant.  Baxter eventually joined Blue Peter at the end of October 1962.

During this period, many iconic features of Blue Peter were introduced.  The first appeal took place in December 1962, replacing the practice of reviewing toys that children would ask for themselves.  Blue Peters first pet, a brown and white mongrel dog named Petra, was introduced on 17 December 1962.  The puppy soon died of distemper, and having decided against upsetting young viewers over the news, Barnes and Baxter had to search London pet shops for a convincing clandestine replacement.  Features such as “makes” (normally involving creating something such as an advent crown, out of household junk) and cooking became regular instalments on Blue Peter and continue to be used today.  The Blue Peter badge was introduced in 1963, along with the programme’s new logo designed by Tony Hart.  Baxter introduced a system that ensured replies sent to viewers’ letters were personal; as a girl, she had written to Enid Blyton and twice received a standard reply, which had upset her.

The next year, from 28 September 1964, Blue Peter began to be broadcast twice weekly, with Baxter becoming the editor in 1965, and Barnes and Rosemary Gill (an assistant producer who had joined as a temporary producer while Baxter was doing jury service) becoming the programme’s producers.  The first Blue Peter book, an annual in all but name, was published that year, and one was produced nearly every year after that, until 2010.  A third presenter, John Noakes, was introduced at the end of 1965 and became the longest-serving presenter.  A complete contrast to Trace, Noakes set the scene for “daredevil” presenters that have continued through the generations of presenters.  Trace left Blue Peter in July 1967, and was replaced by Peter Purves in November.  The trio of Valerie Singleton, John Noakes and Peter Purves lasted five years, and according to Richard Marson were ‘the most famous presenting team in the show’s history.  In 1965, the first Summer Expedition (a filming trip abroad) was held in Norway, and continued every year (except 1986 and 2011) until 2012, all over the world.

1970 – 1999

The first colour edition of Blue Peter aired on 14 September 1970, and the last black and white edition on 24 June 1974.  A regular feature of the 1970s was the Special Assignments, which were essentially reports on interesting topics, filmed on location.  Singleton took this role, and in effect became the programme’s “roving reporter”.   Blue Peter also offered breaking news on occasion, such as the 1971 eruption of Mount Etna, as well as unique items such as the first appearance of Uri Geller on British television.  In May 1976, presenter Lesley Judd interviewed Otto Frank, father of Anne Frank, after he had agreed to bring his daughter’s diaries to Britain.  From 1971 the summer expedition from the previous year was edited into special programmes broadcast under the title Blue Peter Flies The World, televised during the summer break when the team were recording the latest expedition.  The first was shown in July 1971 and featured the expedition to Jamaica.

In 1974, the Blue Peter Garden was officially opened in a green space outside the Television Centre restaurant block.  By this time, Blue Peter had become an established children’s programme, with regular features which have since become traditions.  In 1978, the show celebrated its twentieth anniversary with a nationwide balloon launch from five regional cities during a special edition of the programme when Christopher Trace, Leila Williams, Valerie Singleton and Peter Purves returned.  John Noakes contributed a message pre-recorded on film.  At this time, Trace introduced the Blue Peter Outstanding Endeavour Award.   Its theme music was updated by Mike Oldfield in 1979, and at the end of the decade a new presenting team was brought in, consisting of Simon Groom, Tina Heath and Christopher Wenner. They were overshadowed by the success of the previous two decades and failed to make as much of an impact.  Heath decided to leave after a year when she discovered she was pregnant but agreed to have a live scan of her baby, something which had never been done on television before.  Blue Peter was praised for this by the National Childbirth Trust who told the BBC that in ‘five minutes, Blue Peter had done more to educate children about birth than they’d achieved in ten years of sending out leaflets’.  Wenner decided to leave along with Heath on 23 June 1980.

Sarah Greene and Peter Duncan both joined in 1980, and a new producer, Lewis Bronze, joined in 1982.  The 1980s saw the Blue Peter studio become more colourful and bright, with the presenters gradually wearing more fashionable outfits, in contrast to the more formal appearance of previous decades.  Several videos of Blue Peter were made available from 1982, the first being Blue Peter Makes, and an omnibus comprising the two weekly editions appeared in 1986 on Sunday mornings.  Ahead of the show’s 25th anniversary in October 1983, BBC1 ran a series Blue Peter Goes Silver, revisiting previous summer expeditions.  The 25th anniversary itself was commemorated by a documentary presented by Valerie Singleton shown on BBC1 on Sunday, 16 October 1983.  This was followed the next day by a special edition of the programme when Christopher Trace presented the annual Outstanding Endeavour Award and Valerie Singleton, Peter Purves, Christopher Wenner, Tina Heath and Sarah Greene returned to celebrate the show’s birthday with the current presenting trio of Simon Groom, Peter Duncan and Janet Ellis who launched a national balloon treasure hunt.  On 27 June 1988, Baxter took part in her final show, after nearly 26 years of involvement, and Bronze took her place as editor.  Around this time, Blue Peter became distinctively environmentally aware and introduced a green badge in November 1988 for achievements related to the environment.  Shortly before, in October 1988, the show celebrated its thirtieth anniversary with a competition to design the cover of a commemorative issue of the ‘Radio Times’ and Valerie Singleton presented the Outstanding Endeavour Award on the birthday show itself.  The following year, the award was presented for the last time.

On 13 September 1984, Champion trampolinist and professional performer Michael Sundin presented for the first time, as a replacement for Peter Duncan.  He had been talent-spotted by the Blue Peter team when they filmed an item on the set of “Return to OZ” (Sundin was playing the part of Tik-Tok.)  After 77 appearances as a Blue Peter presenter, his contract was not renewed.  It has since been explained by Biddy Baxter, that he attracted complaints from viewers, stating in her Autobiography that homophobia was not the reason for his departure, “he came across as a whinger….and an effeminate whinger to boot”, “… it was nothing to do with his sexual proclivities”.  Sundin successfully continued his performing career but lost his life to an AIDS-related illness in 1989.

In 1989 (and again in 1992 and 1994), new arrangements of the theme tune were introduced.  Due to falling ratings in BBC children’s programming, BBC1 controller Alan Yentob suggested airing a third edition of Blue Peter each week from 1995.  This meant that it was sometimes pre-recorded; Joe Godwin, the director, suggested that the Friday edition should be a lighter version of Blue Peter, which would concentrate on music, celebrities and games.  Helen Lederer presented a documentary on BBC2 to celebrate the show’s 35th anniversary Here’s One I Made Earlier, with a special edition of the regular programme featuring the returns of Leila Williams, John Noakes and Lesley Judd amongst many other presenters. Neither Noakes nor Judd had appeared in the studio since leaving the programme and Williams was returning for the first time in 15 years.  A fourth presenter, Katy Hill, was introduced in 1995, but unlike earlier decades, there was little stability in the line-up, with resignations and new additions made almost every year of the decade.  The 1990s also saw many more live broadcasts on location, with many shot entirely away from the studio.  Blue Peter was also one of the first television series to launch a website.  Oliver Macfarlane replaced Bronze as editor in 1996.

1998 marked the 40th anniversary of the TV show.  Apart from two summer proms concerts, the most talked about event to celebrate the milestone was a trip behind LNER Peppercorn Class A2 60532 Blue Peter on an Edinburgh to London rail tour.  The special train in question was Days out Limited’s “Heart of Midlothian” from London Kings Cross to Edinburgh Waverley on Sun 19 April 1998, with 60532 working the train from Edinburgh.  Due to safety rules, none of the presenters was supposed to ride onboard the footplate during the trip.  Peter Kirk, who was in charge onboard the train and who was presenting from the footplate, however, allowed Stuart Miles to travel onboard the footplate between Newark-on-Trent and Peterborough.  This was the stretch of track which, on 3 July 1938, saw the world speed record for steam locomotives of 126 mph (203 km/h) set by LNER A4 Locomotive no. 4468 Mallard.

In October 1998, Richard Bacon was sacked, following reports in News of the World that he had taken cocaine.  This incident followed shortly after the show’s 40th anniversary when previous presenters returned for a special programme.  Those returning included Leila Williams, Valerie Singleton, John Noakes, Peter Purves, Diane Louise Jordan, Anthea Turner, John Leslie, Tim Vincent, Yvette Fielding, Caron Keating, Mark Curry, Janet Ellis, Peter Duncan, Sarah Greene, Tina Heath, Simon Groom and Christopher Wenner.  Steve Hocking then replaced Macfarlane as editor, at what was regarded as a difficult period for the programme.  He introduced a further re-arrangement of the theme tune and a new graphics package in September 1999.

2000 – 2010

The 2000s began with the opening of two previously buried time capsules.  Former presenters including Singleton, Purves and Noakes were invited back to assist, and the programme also looked at life in the 1970s when the first capsule was buried.  With Hill’s departure and replacement by Liz Barker in 2000, the new team of herself, Konnie Huq, Simon Thomas, and Matt Baker were consistent for the next few years.  The Friday edition, as in the previous decade, featured games, competitions and celebrities, but additionally, there was a drama series, The Quest, which featured cameos of many former presenters.

It was at this time that the new Head of the BBC Children’s Department, Nigel Pickard, asked for Blue Peter to be broadcast all year round.  This was achieved by having two editions per week instead of three during the summer months and using pre-recorded material.  The early 2000s also introduced Christmas productions, in which the presenters took part.  In 2003, Richard Marson became the new editor, and his first tasks included changing the output of Blue Peter on the digital CBBC.  The first year of the channel’s launch consisted of repeated editions, plus spin-off series Blue Peter Unleashed and Blue Peter Flies the World.  This new arrangement involved a complex schedule of live programmes and pre-recorded material, being broadcast on BBC One and CBBC. Marson also introduced a brand new set, graphics and music.

In September 2007, a new editor, Tim Levell, took over.  At the same time, budget cuts meant that the programme came from a smaller studio.  In February 2008 the BBC One programme was moved from 5 pm to 4.35 pm to accommodate The Weakest Link, and as a result, Blue Peters ratings initially dropped to as low as 100,000 viewers in the age 6–12 bracket, before steadily improving.

As with the previous decade, numerous presenters joined and left the programme.  This included the exits of Thomas, Baker and Barker and the additions of Zöe Salmon, Gethin Jones and Andy Akinwolere.  Early 2008 saw the departure of Huq, who had become the longest-serving female presenter with over ten years on the show.  Later that year, Salmon and Jones both left and the presenting team of Akinwolere with new additions Helen Skelton and Joel Defries was introduced.

On 16 October 2008, Blue Peter celebrated its 50th Anniversary with a reception at Buckingham Palace hosted by Queen Elizabeth II and featuring several former presenters.  There was a special live edition of the show broadcast to celebrate the anniversary with many returning presenters and a 60-minute documentary on BBC1 featuring interviews with many previous presenters and production staff, including Edward Barnes, Biddy Baxter and Rosemary Gill.

Writing in the BBC’s in-house magazine, Ariel, in 2009, BBC Children’s Controller Richard Deverell announced plans to re-invent the show to be more like the BBC’s motoring programme Top Gear.  Deverell hopes that by adding “danger and excitement”, Blue Peter will achieve the same “playground buzz” among children as Top Gear.

2011 – 2017

In January 2011 Barney Harwood was introduced to the programme as a replacement for Defries, who had departed in late 2010 after two years.  Unusually, Harwood was no stranger to Blue Peter viewers, having appeared as a presenter on CBBC for many years, on shows including Prank Patrol and Bear Behaving Badly.

On 29 March 2011 Blue Peter became the first programme in the UK to broadcast an entire show in 360 degrees on the web.  Viewers were able to watch the programme via their TVs and simultaneously interact with the television studio in front of and behind the cameras on the website.   Viewers were also challenged to play a game where they had to find particular crew members and staff dressed up in distinctive costumes.

The final edition of Blue Peter to broadcast from the BBC’s Television Centre in London was broadcast on 28 June 2011, before a move to the BBC’s new facilities at Dock10, MediaCityUK.  The set left behind at BBC Television Centre was subsequently purchased and installed at Sunderland University’s David Puttnam Media Centre in August 2013.

When the new series started on 26 September 2011, after the usual summer break, Harwood and Skelton revealed the new look Blue Peter studio along with the new music and title sequence.  Departed presenter Andy Akinwolere was not initially replaced, and for the first time in 50 years, only two presenters remained on the programme.  The new Blue Peter Garden, located outside the studios, was officially opened by Princess Anne in February 2012.

From 12 January 2012, Blue Peter has been broadcast all year round (with no break for summer) once a week, its original premiere being on CBBC on Thursdays at 5.45 pm, changed to 5.30 pm from April 2013 then 5:00 pm from March 2015.  It was usually repeated on Fridays on BBC One, although this ceased in December 2012.  A repeat airs at 9.00 am on Sundays. At this time, Levell left to work at BBC Radio 5 Live; he was replaced (initially in an acting capacity) as editor by Ewan Vinnicombe, who had worked on the programme as a producer since 2007.  The reformatted Blue Peter occasionally also included specials and spin-offs such as “Helen’s Polar Adventure” or the Stargazing Live special on other days of the week.

In 2013 Lindsey Russell was voted the 36th presenter via Blue Peter – You Decide!, a series of five programmes hosted by Dick and Dom, where ten aspiring presenters were set a number of challenges to prove that they were worthy of the position.  Judges Cel Spellman, Eamonn Holmes and Myleene Klass decided the final three before viewers were given the chance to vote online.  Russell joined Blue Peter in September of that year, shortly before Skelton’s departure and the introduction of her replacement Radzi Chinyanganya.

From October 2013, the team consisted of Harwood, Russell and Chinyanganya.  The format adapted with slightly different branding and a more classic take on the show, as well as beginning Blue Peter Bites, which are five-minute clips showing just one challenge or video from episodes broadcast on CBBC.  Blue Peter guide pup Iggy joined the team in 2014 and Shelley the Tortoise continues to make occasional appearances.  The Blue Peter Garden is currently maintained by child gardener George who appears throughout the year.  The team made more use of the website with more quizzes and videos such as ‘Blue Peter VS…’ and ‘Ultimate Challenges’ as well as holding a fan club hour after the show where fans could leave comments as to the answers of riddles or headline suggestions and ask guests questions.  A popular game on the programme, Spot Shelley was also introduced, where, in most episodes, an animated version of Shelley the tortoise is hiding somewhere/on something and viewers must leave a comment on the website during the show, the first person to spot her wins a shout-out (or some more expensive or weird prizes as Harwood would often joke, such as a house in Spain or a unicorn called Eric).  From April 2017, the show reverted to 5:30 pm.  In September 2017, Harwood left the show, again leaving just two presenters.

In the summerBlue Peter often challenges its viewers to earn all of their Blue Peter badges (with the exception of orange and gold) through five weeks, where the team look at each individual badge for a week, finishing with the limited time Sports badge which appears every summer with a different design.  In the show before these weeks, the team show viewers how to make something to keep their badges in/on and continue the theme through the weeks, these have included the Badge Baton Relay in 2016, where badges stored within a baton tube and the Big Badge Boat Bonanza in 2017, where badges displayed on the iconic BP ship, a 2D model that can be made from paper.

Ahead of their Jubilee celebrations, Blue Peter introduced its first-ever Guest Editor to the show on 19 October 2017 which was children’s author Dame Jacqueline Wilson.  Guest Editors have control for the day and plan what they what to show on their edition, as well as taking control behind the scenes.

2018 – Present

A special programme broadcast on 1 February 2018, marked Blue Peter’s 5000th edition.  A brand new Diamond badge was revealed for the first time, designed by Henry Holland.  This was only to be awarded within the special 60th year of 2018.

On 12 October 2017, it was revealed that outside of MediaCityUK, a Hollywood style walk of fame would be created with the names of famous people who have received a Gold Blue Peter badge.  The walkway would lead up to the front of the studios and would help to mark 60 years of Blue Peter.

There were various celebrations across the UK for “The Big Birthday Year”.  In January, a competition was launched to design Blue Peters second birthday balloon to be flown.  In May, the Millennium Time Capsule formally buried under the Millennium Dome, which was dug up accidentally in 2017 by builders went on tour with various past presenters around the country.  A play, “Once Seen On Blue Peter”, ran at the Edinburgh Festival Fringe in August, with six former presenters appearing in it.

On 16 October 2018, a special one-hour live edition of the programme, entitled Blue Peter: Big 60th Birthday, was broadcast on CBBC.  Guests included The Vamps, Sophie Ellis-Bextor and Ed Sheeran, who was presented with a gold Blue Peter badge.  Former presenters returned for the show and contributed to the broadcast, including Leila Williams, Anita West, Valerie Singleton, Peter Purves, Lesley Judd, Sarah Greene, Peter Duncan, Janet Ellis, Yvette Fielding, John Leslie, Diane-Louise Jordan, Anthea Turner, Tim Vincent, Stuart Miles, Katy Hill, Romana D’Annunzio, Richard Bacon, Konnie Huq, Simon Thomas, Liz Barker, Zöe Salmon, Andy Akinwolere, Helen Skelton, Joel Defries and Barney Harwood.  Matt Baker contributed a pre-recorded message and Mark Curry was represented by a lego model as he had to cancel his contribution due to ill health.  The programme was repeated on BBC Two on 20 October.  The celebration was also marked by other BBC programming, including The One Show hosted by Matt Baker and former Blue Peter contributor Gabby Logan, which featured Sarah Greene, Mark Curry, Simon Thomas and Konnie Huq; ITV’s Lorraine, where Greene appeared with Leila Williams and Anthea Turner; and BBC Breakfast which featured Lesley Judd.  A documentary entitled Happy Birthday Blue Peter was broadcast that evening on BBC Radio 2.  It was hosted by Barney Harwood and featured interviews with past and present presenters, as well as members of the production team.  As part of the birthday celebrations, a new plant species was named “Blue Peter”.  In February 2019 a gritter was named and decorated “Blue Peter”, unveiled by Russell.

On 3 June 2021, the show received a refresh with a new logo, title sequence, music and studio.  This was the first major refresh since the show’s move to Salford in 2011.  The studio is environmentally-friendly and is composed of upcycled materials from past studios.

On 24 June 2021, Russell announced that she would be leaving the show, after eight years.  Her final show aired on 15 July 2021.

Read more about Blue Peter here.

The above articles were sourced from Wikipedia and are subject to change.

Blog Posts

Notes And Links

Max Rahubovskiy on Pexels –  The image shown at the top of this page is the copyright of Max Rahubovskiy.  You can find more great work from the photographer Max by clicking the link above and you can get lots more free stock photos at Pexels.

Blue Peter – Official page on CBBC.  The image at top of this page is the copyright of BBC.

Universal Classic Monsters

Image © of Universal Pictures via Wikipedia

Ever since I was little I have loved Universal classic monsters, for it is they that started my love of Horror off, even if they scared the hell out of me at first and I hid under my Mom’s arm or behind the settee at first watching them, ha ha.  That changed the older I got. 

When Halloween comes around you can be sure someone is wearing an Halloween costume that relates to one of the classic monsters mentioned below.

There will be more references to Universal Classic Monsters in the appropriate Decades sections and articles via the Horror index below.

Universal Classic Monsters

Universal Classic Monsters (also known as Universal Monsters and Universal Studios Monsters) is a media franchise based on a series of horror films primarily produced by Universal Pictures from the 1930s to the 1950s.  Although not initially conceived as a franchise, the enduring popularity and legacy of the films and the characters featured in them have led the studio to market them under the collective brand name of Universal Studios Monsters.  Steve Jones of USA Today described Universal’s most famous monsters as pop culture icons, specifically Dracula, Frankenstein, The Mummy and The Wolf Man.

Universal Pictures image from the Internet Archive via Wikipedia and is in the public domain

Bela Lugosi as Dracula.

This is a screenshot from the Internet Archive of the classic 1931 film Dracula.  You can see the trailer it came from here

Universal Pictures image via Wikipedia and is the public domain

Boris Karloff as The Mummy.

This is a screenshot from the Internet Archive of the classic 1932 film The Mummy.  You can see the trailer it came from here

Universal Pictures image via IMDb

Boris Karloff as Frankenstein’s Monster.

Directed by James Whale.

You can see the trailer for the classic Frankenstein film from 1931 via The Internet Archive here.

Universal Pictures image via Wikipedia and is the public domain

Lon Chaney Jnr. as The Wolf Man.

This promotional photo is from the classic1941 film The Wolf Man.

You can see the trailer for The Wolf Man via The Internet Archive here.

See more photos and relevant information further down below.

Universal Monsters Films 

For an extensive list of Universal Monsters Films click here.

Universal Monsters Films Free To Watch

Below are just some of the great Universal Monsters films for you to enjoy.

They are not all classic films to me but if I have watched one and I think it is I will say so.

The Phantom Of The Opera 1925 Silent Film In Full

Watch the classic 1925 silent film The Phantom Of The Opera starring Lon Chaney via The Internet Archive here.

See information about this classic film further down at the top of the page.

Dracula 1931 In Full

Watch the classic 1931 film Dracula starring Bela Lugosi via The Internet Archive here.

See information about this classic film at the top of the page.

Frankenstein 1931 In Full

Watch the classic 1931 film Frankenstein starring Boris Karloff via The Internet Archive here.

See information about this classic film at the top of the page.

The Mummy 1932 In Full

Watch the classic 1932 film The Mummy starring Boris Karloff via The Internet Archive here.

See information about this classic film at the top of the page.

The Invisible Man 1933 In Full

Watch the classic 1933 film The Invisible Man starring Claude Rains via The Internet Archive here.

See information about this classic film further down at the bottom of the page.

The Bride Of Frankenstein 1935 In Full

Watch the 1935 film The Bride Of Frankenstein starring Boris Karloff via The Internet Archive here.

See information about this film further down at the bottom of the page.

Frankenstein Meets The Wolf Man 1942 In Full

Watch the 1942 film Frankenstein Meets The Wolf Man starring Boris Karloff and Lon Chaney Jnr via The Internet Archive here.

See information about this film further down at the bottom of the page.

Universal Classic Monsters Home Video 

Image © of Universal Pictures via Wikipedia

Universal Classic Monsters logo.

This is the official franchise logo as displayed on home video releases

Louis Feola was the head of Worldwide Home Video for Universal Studios and said in 1999 that “a couple of years ago” he decided to “reinvigorate and re-market” Universal’s Classic Monsters catalogue which included the series Dracula, Frankenstein, The Invisible Man, The Phantom of the Opera, The Wolf Man, and The Mummy.  In 1992, in an interview with Billboard, Feola stated that to market and sell home video, the most important thing was the packaging of their sales which was “probably our single biggest priority and has been for a number of years”, and that it was key to make the series of films “look like a line”.

In 1995, MCA/Universal released a collection of the film on home video under the title The Universal Studios Monsters Classic Collection.  This series included Frankenstein, Dracula, The Mummy, The Invisible Man, and The Creature From the Black Lagoon series.  A collection of stamps featuring Universal Classic Monsters was also released in September 1997 titled the Universal Classic Movie Monsters series.  Other characters included in the series included the Mummy and Frankenstein’s monster, both played by Boris Karloff), the Phantom of the Opera played by Lon Chaney and the Wolf Man played by Lon Chaney Jnr.

Universal Classic Monsters Merchandising

After the Universal horror films were syndicated to television, this led to a rise in the popularity of merchandise based on Frankenstein’s monster and Dracula.  Throughout the 1960s and into the 1970s, the Universal monsters were promoted via merchandising which included: Halloween costumes, Aurora model kits, paperback novelizations, makeup how-to manuals, T-shirt iron-ons, posters, trading cards, and more.  Since 1991, Halloween Horror Nights at Universal Parks & Resorts have featured characters from the Universal Classic Monsters franchise.  From 2006 to 2014, the characters also appeared in the year-round walk-through attraction, Universal’s House of Horrors, at Universal Studios Hollywood.  The franchise is also the central theme of Universal’s Horror Make-Up Show.  The live show opened in 1990 at Universal Studios Florida and is still in operation.  Merchandising of the characters in formats such as clothing and board games has continued into the 21st century.

Universal Monsters Comics

Dark Horse Comics

You can read more about Dark Horse Comics here

Dark Horse Comics released comic adaptions of several of the films, featuring four one-shots and one collected edition, in 1993 and 2006, respectively.  

You can see which comics Dark Horse Comics produced here.

Skybound Entertainment 

You can read more about Skybound Entertainment here.

Skybound Entertainment, an Image Comics company, will publish a new series of Universal Monsters comic books.

You can read more about Image Comics here.

You can see which comics Skybound Entertainment produced here.

Universal Monsters Photos

Below are just some of the great Universal Monsters films photos for you to enjoy.  They are not all classic films to me but if I have watched one and I  think it is I will say so.

Universal Pictures image via IMDb

Lon Chaney as The Phantom Of The Opera.

This photo is from the classic 1925 silent film The Phantom Of The Opera.  

You can see the trailer for The Phantom Of The Opera via the Internet Archive here.

Universal Pictures image by unknown via Wikipedia and is the public domain

The Phantom Of The Opera 1925 film poster.

Universal Pictures image by unknown via Wikipedia and is the public domain

Dracula 1931 film poster.

See information about this classic film at the top of the page.

Universal Pictures image by Karoly Grosz via Wikipedia and is the public domain

Frankenstein 1931 film poster.

See information about this classic film at the top of the page.

Image © Universal via Universal Studios and Trick Or Treat Studios
Image © Universal via Universal Studios and Trick Or Treat Studios
Image © Universal via Universal Studios and Trick Or Treat Studios

The EXCELLENT Frankenstein mask from Trick Or Treat Studios.

This is a very cool Universal Classic Monsters mask I purchased for Halloween 2023.  It is officially licenced by Universal Studios and made for Trick Or Treat StudiosIt is, to date, the favourite mask I have in my mask collection and what I have worn for Halloween parties.  To see me in this and many more masks click here.

Universal Pictures image by Karoly Grosz via Wikipedia and is the public domain

The Mummy 1932 film poster.

See information about this classic film at the top of the page.

Universal Pictures image via IMDb

Claude Rains as The Invisible Man.

This photo is from the classic 1933 film The Invisible Man

Directed by James Whale.

You can see the trailer for The Invisible Man via YouTube here.

Universal Pictures image by Karoly Grosz via Wikipedia and is the public domain

The Invisible Man 1933 film poster.

Universal Pictures image via Wikipedia and is the public domain

Boris Karloff as Frankenstein’s Monster.

This promotional photo is from the 1935 film The Bride of Frankenstein.

Directed by James Whale.

You can see the trailer for The Bride Of Frankenstein via the Internet Archive here.

Universal Pictures image via Wikipedia and is the public domain
Image © of Universal Pictures via Wikipedia

The Wolf Man 1942 film poster.

See information about this classic film at the top of the page.

Universal Pictures image via IMDb

Nelson Eddy as The Phantom Of The Opera.

This photo is from the 1943 film Phantom Of The Opera

You can see the trailer for Phantom Of The Opera via YouTube here.

Universal Pictures via Wikipedia and is the public domain

Phantom Of The Opera 1943 film poster.

Universal Pictures via Wikipedia and is the public domain

Creature From The Black Lagoon 1945 film poster.

Universal Pictures via IMDb

Ben Chapman as The Creature From The Black Lagoon. 

There were two men playing the creature in the film, Ricou Browning in the water and Ben Chapman out of the water (shown here).  None of them were credited which was unfair in my opinion considering they were both playing the actual monster in the film title and for that reason, I have rightly acknowledged them both here.

This photo is from the 1954 film Creature From The Black Lagoon

You can see the trailer for Creature From The Black Lagoon via the Internet Archive here.

You can see references and sources to the above articles here.  The above was sourced from a page on Wikipedia and is subject to change. 

Blog Posts

Links

Universal Pictures – Official website.  The image shown at the top of this page, and elsewhere, of the Universal Classic Monsters logo is the copyright of Universal Pictures and was taken from Wikipedia.

The image above of Bela Lugosi as Dracula is from the Internet Archive via Wikipedia and is in the public domain.

The image above of Boris Karloff as The Mummy is from the Internet Archive via Wikipedia and is in the public domain.

The image above of Boris Karloff as Frankenstein’s Monster is via Wikipedia and in the public domain.

The image above of Lon Chaney Jnr. as The Wolf Man is via Wikipedia.

The image above of Lon Chaney as The Phantom Of The Opera is via IMDb.

The image above of  The Phantom Of The Opera 1925 film poster by unknown is via Wikipedia and in the public domain.

The image above of the Dracula 1931 film poster by unknown is via Wikipedia and in the public domain.

The image above of the Frankenstein 1931 film poster by Karoly Grosz is via Wikipedia and in the public domain.

The Frankenstein mask photos above are copyright of Universal via Universal Studios and Trick Or Treat Studios.

The image above of The Mummy 1932 film poster by Karoly Grosz is via Wikipedia and in the public domain.

The image above of Claude Rains as The Invisible Man is from IMDb.

The image above of The Invisible Man 1933 film poster by Karoly Grosz is via Wikipedia and in the public domain.

The image above of Frankenstein’s monster is via Wikipedia and in the public domain.

The image above of The Bride Of Frankenstein 1935 film poster is via Wikipedia and in the public domain.

The image above of The Wolf Man 1942 film poster by unknown is via Wikipedia.

The image above of Nelson Eddy as The Phantom Of The Opera is via IMDb.

The image above of Phantom Of The Opera 1943 film poster by inknown is via Wikipedia and in the public domain.

IMDb on Facebook.

IMDb on Twitter.

IMDb on YouTube.

Universal Pictures – U.K. official website.

Universal Pictures on YouTube.

Universal Pictures on Facebook.

Universal Pictures on Twitter.

Universal Studios – Official website.

Universal Studios on YouTube.

Universal Studios on Facebook.

Universal Studios on Twitter.

Trick Or Treat Studios – Official website.

Trick Or Treat Studios on YouTube.

Trick Or Treat Studios on Facebook.

Trick Or Treat Studios on Twitter.

Trick Or Treat Studios on Instagram.

Trick Or Treat Studios on TikTok.

Wikipedia – Official website.  Wikipedia is a free online encyclopedia that anyone can edit in good faith. Its purpose is to benefit readers by containing information on all branches of knowledge.  Hosted by the Wikimedia Foundation, it consists of freely editable content, whose articles also have numerous links to guide readers to more information. 

Horror

Image © of Alexa_Fotos via Pixabay

What is there not to like about horror? It is an escapism from the real world and so damn cool.  I love so much about it.  This page concentrates on the Horror genre and anything I post about that can be seen in Blog Posts below.

I have been a fan of Horror, particularly Horror films since I was little.  I have loved Universal classic monsters, for it is they that started my love of Horror off, even if they scared the hell out of me at first and I hid under my Mom’s arm or behind the settee at first watching them., ha ha.  That changed the older I got. 

If you mention anything to do with horror then it is inevitable Halloween is mentioned. 

Growing up in England from a child to a teenager in the 1960’s, 1970’s and 1980’s, Halloween was an American thing you saw on the telly.  There was no dressing up and trick-or-treating, not in my family home anyway.  Even when my kids were younger I never really bothered much about Halloween.  It was just all too American for me and just liked the English traditions I was brought up with.  They had fun wearing masks, bobbing for apples etc. but we never went out dressed up knocking on people’s doors.  in fact, I don’t recall ever seeing anyone else do it either. 

Nowadays all of the above is a common sight.  I am no killjoy and I don’t knock anyone who really enjoys it.  I admit it’s a fun thing for kids to do and a good excuse for a party for the adults which I have enjoyed going to in the past few years.  When you have suffered from depression and anxiety for as long as I have, just to be included can be a lifesaver.

The main thing I like about Halloween is dressing up and the Horror theme to it.  I have never celebrated  Halloween in my life in the past because, since I was a kid, I have loved horror.  Every day is Halloween for me, ha ha. 

About Horror 

Horror is a genre of fiction that is intended to disturb, frighten or scare. Horror is often divided into the sub-genres of psychological horror and supernatural horror, which are in the realm of speculative fiction.  Literary historian J. A. Cuddon, in 1984, defined the horror story as “a piece of fiction in prose of variable length… which shocks, or even frightens the reader, or perhaps induces a feeling of repulsion or loathing”.  Horror intends to create an eerie and frightening atmosphere for the reader.  Often the central menace of a work of horror fiction can be interpreted as a metaphor for larger fears of a society.

Prevalent elements include ghosts, demons, vampires, monsters, zombies, werewolves, the Devil, serial killers, extraterrestrial life, killer toys, psychopaths, gore, torture, evil clowns, cults, cannibalism, vicious animals, the apocalypse, evil witches, dystopia and man-made or natural disasters. 

Image by Gustave Dore via wikipedia and is in the public domain

The Raven by Gustave Dore.

This is an illustration of the 1884 edition of Edgar Allan Poe’s The Raven.  It is referring to the illustration “Doubting, dreaming dreams no mortal ever dared to dream before.”

The History Of Horror 

Before 1000

The horror genre has ancient origins, with roots in folklore and religious traditions focusing on death, the afterlife, evil, the demonic and the principle of the thing embodied in the person.  These manifested in stories of beings such as demons, witches, vampires, werewolves and ghosts.  European horror fiction became established through the works of the Ancient Greeks and Ancient Romans.  Mary Shelley’s well-known 1818 novel about Frankenstein was greatly influenced by the story of Hippolytus, whom Asclepius revives from death.  Euripides wrote plays based on the story, Hippolytos Kalyptomenos and Hippolytus.  In Plutarch’s The Lives of the Noble Grecians and Romans in the account of Cimon, the author describes the spirit of a murderer, Damon, who himself was murdered in a bathhouse in Chaeronea.

Pliny the Younger (61 to circa 113) tells the tale of Athenodorus Cananites, who bought a haunted house in Athens.  Athenodorus was cautious since the house seemed inexpensive.  While writing a book on philosophy, he was visited by a ghostly figure bound in chains.  The figure disappeared in the courtyard and the following day, the magistrates dug in the courtyard and found an unmarked grave.

Elements of the horror genre also occur in Biblical texts, notably in the Book of Revelation.

After 1000

The Witch of Berkeley by William of Malmesbury has been viewed as an early horror story.  Werewolf stories were popular in medieval French literature. One of Marie de France’s twelve lais is a werewolf story titled Bisclavret.

The Countess Yolande commissioned a werewolf story titled Guillaume de Palerme.  Anonymous writers penned two werewolf stories, Biclarel and Melion.

Much horror fiction derives from the cruellest personages of the 15th century.  Dracula can be traced to the Prince of Wallachia Vlad III, whose alleged war crimes were published in German pamphlets.  A 1499 pamphlet was published by Markus Ayrer, which is most notable for its woodcut imagery.  The alleged serial killer sprees of Gilles de Rais have been seen as the inspiration for Bluebeard.  The motif of the vampiress is most notably derived from the real-life noblewoman and murderer, Elizabeth Bathory, and helped usher in the emergence of horror fiction in the 18th century, such as through Laszlo Turoczi’s 1729 book Tragica Historia.

Image by unknown via wikipedia and is in the public domain

Vlad The Impaler.

This is a portrait of Vlad Tzepesh (Vlad III).  He was the inspiration for Count Dracula.  Tzepesh ruled from 1455 – 1462 and 1483 – 1496.

18th Century

The 18th century saw the gradual development of Romanticism and the Gothic horror genre.  It drew on the written and material heritage of the Late Middle Ages, finding its form with Horace Walpole’s seminal and controversial 1764 novel, The Castle of Otranto.  In fact, the first edition was published disguised as an actual medieval romance from Italy, discovered and republished by a fictitious translator.  Once revealed as modern, many found it anachronistic, reactionary, or simply in poor taste but it proved immediately popular.  Otranto inspired Vathek (1786) by William Beckford, A Sicilian Romance (1790), The Mysteries of Udolpho (1794) and The Italian (1796) by Ann Radcliffe and The Monk (1797) by Matthew LewisA significant amount of horror fiction of this era was written by women and marketed towards a female audience, a typical scenario of the novels being a resourceful female menaced in a gloomy castle.

Image by Joshua Reynolds via wikipedia and is in the public domain

Horace Walpole by Joshua Reynolds.

Image by Henry Justice Ford via wikipedia and is in the public domain

Athenodorus by Henry Justice Ford.

Here Athenodorus confronts the Spectre.  It is from The Strange Story Book by Leonora Blanche Lang and Andrew Lang.

19th Century

The Gothic tradition blossomed into the genre that modern readers today call horror literature in the 19th century.  Influential works and characters that continue resonating in fiction and film today saw their genesis in the Brothers Grimm’s Hansel and Gretel (1812), Mary Shelley’s Frankenstein (1818), John Polidori’s The Vampyre (1819), Charles Maturin’s Melmoth the Wanderer (1820), Washington Irving’s The Legend of Sleepy Hollow (1820), Jane C. Loudon’s The Mummy!: Or a Tale of the Twenty-Second Century (1827), Victor Hugo’s The Hunchback of Notre Dame (1831), Thomas Peckett Prest’s Varney the Vampire (1847), the works of Edgar Allan Poe, the works of Sheridan Le Fanu, Robert Louis Stevenson’s Strange Case of Dr Jekyll and Mr Hyde (1886), Oscar Wilde’s The Picture of Dorian Gray (1890), H. G. Wells’ The Invisible Man (1897), and Bram Stoker’s Dracula (1897).  Each of these works created an enduring icon of horror seen in later re-imaginings on the page, stage and screen.

Image by Richard Rothwell via wikipedia and is in the public domain

Mary Shelley By Richard Rothwell.

20th Century

A proliferation of cheap periodicals around the turn of the century led to a boom in horror writing.  For example, Gaston Leroux serialised his Le Fantome de l’Opera (The Phantom Of The Opera) before it became a novel in 1910.   One writer who specialised in horror fiction for mainstream pulps, such as All-Story Magazine, was Tod Robbins, whose fiction deals with themes of madness and cruelty.  In Russia, the writer Alexander Belyaev popularised these themes in his story Professor Dowell’s Head (1925), in which a mad doctor performs experimental head transplants and reanimations on bodies stolen from the morgue, and which was first published as a magazine serial before being turned into a novel.  Later, specialist publications emerged to give horror writers an outlet, prominent among them were Weird Tales and Unknown Worlds.

Influential horror writers of the early 20th century made inroads into these mediums.  Particularly, the venerated horror author H. P. Lovecraft, and his enduring Cthulhu Mythos transformed and popularised the genre of cosmic horror, and M. R. James is credited with redefining the ghost story in that era.

The serial murderer became a recurring theme.  Yellow journalism and sensationalism of various murderers, such as Jack the Ripper, and lesser so, Carl Panzram, Fritz Haarman, and Albert Fish, all perpetuated this phenomenon.  The trend continued in the postwar era, partly renewed after the murders committed by Ed Gein.  In 1959, Robert Bloch, inspired by the murders, wrote Psycho.  The crimes committed in 1969 by the Manson Family influenced the slasher theme in horror fiction of the 1970’s.  In 1981, Thomas Harris wrote Red Dragon, introducing Dr. Hannibal Lecter.  In 1988, the sequel to that novel, The Silence of the Lambs, was published.

Early cinema was inspired by many aspects of horror literature and started a strong tradition of horror films and subgenres that continues to this day.  Up until the graphic depictions of violence and gore on the screen commonly associated with 1960’s and 1970’s slasher films and splatter films, comic books such as those published by EC Comics (most notably Tales From The Crypt) in the 1950’s satisfied readers’ quests for horror imagery that the silver screen could not provide.  This imagery made these comics controversial, and as a consequence, they were frequently censored.

The modern zombie tale dealing with the motif of the living dead harks back to works including H. P. Lovecraft’s stories Cool Air (1925), In The Vault (1926), and The Outsider (1926), and Dennis Wheatley’s Strange Conflict (1941).  Richard Matheson’s novel I Am Legend (1954) influenced an entire genre of apocalyptic zombie fiction emblematized by the films of George A. Romero.

In the late 1960’s and early 1970’s, the enormous commercial success of three books – Rosemary’s Baby (1967) by Ira Levin, The Exorcist by William Peter Blatty, and The Other by Thomas Tryon encouraged publishers to begin releasing numerous other horror novels, thus creating a horror boom.

One of the best-known late-20th-century horror writers is Stephen King, known for Carrie, The Shining, It, Misery and several dozen other novels and about 200 short stories.  Beginning in the 1970’s, King’s stories have attracted a large audience, for which he was awarded by the U.S. National Book Foundation in 2003.  Other popular horror authors of the period included Anne Rice, Brian Lumley, Graham Masterton, James Herbert, Dean Koontz, Richard Laymon, Clive Barker, Ramsey Campbell, and Peter Straub.

Image © Pinguino Kolb via Wikipedia

Stephen King.

This photo of King was taken at the 2007 New York Comicon in America.

21st Century

Best-selling book series of contemporary times exist in genres related to horror fiction, such as the werewolf fiction urban fantasy Kitty Norville books by Carrie Vaughn (2005 onward).  Horror elements continue to expand outside the genre.  The alternate history of more traditional historical horror in Dan Simmons’s 2007 novel The Terror sits on bookstore shelves next to genre mash-ups such as Pride and Prejudice and Zombies (2009), and historical fantasy and horror comics such as Hellblazer (1993 onward) and Mike Mignola’s Hellboy (1993 onward).  Horror also serves as one of the central genres in more complex modern works such as Mark Z. Danielewski’s House of Leaves (2000), a finalist for the National Book Award.  There are many horror novels for children and teens, such as R. L. Stine’s Goosebumps series or The Monstrumologist by Rick Yancey.  Additionally, many movies for young audiences, particularly animated ones, use horror aesthetics and conventions, for example, ParaNorman. These are what can be collectively referred to as children’s horror.  Although it is unknown for sure why children enjoy these movies (as it seems counter-intuitive), it is theorised that it is, in part, grotesque monsters that fascinate kids.  Tangential to this, the internalised impact of horror television programs and films on children is rather under-researched, especially when compared to the research done on the similar subject of violence in TV and film’s impact on the young mind.  What little research there is tends to be inconclusive on the impact that viewing such media has.

Related Genres

Horror Characteristics

One defining trait of the horror genre is that it provokes an emotional, psychological, or physical response within readers that causes them to react with fear.  One of H. P. Lovecraft’s most famous quotes about the genre is “The oldest and strongest emotion of mankind is fear, and the oldest and strongest kind of fear is fear of the unknown.”.  This is the first sentence from his seminal essay, Supernatural Horror in Literature.  Science fiction historian Darrell Schweitzer has stated, “In the simplest sense, a horror story is one that scares us” and “the true horror story requires a sense of evil, not in necessarily in a theological sense, but the menaces must be truly menacing, life-destroying, and antithetical to happiness.”

In her essay Elements of Aversion, Elizabeth Barrette articulates the need by some for horror tales in a modern world.  She says, “The old fight or flight reaction of our evolutionary heritage once played a major role in the life of every human.  Our ancestors lived and died by it.  Then someone invented the fascinating game of civilization, and things began to calm down. Development pushed wilderness back from settled lands.  War, crime, and other forms of social violence came with civilization and humans started preying on each other, but by and large daily life calmed down.  We began to feel restless, to feel something missing, the excitement of living on the edge, the tension between hunter and hunted.  So we told each other stories through the long, dark nights. when the fires burned low, we did our best to scare the daylights out of each other.  The rush of adrenaline feels good.  Our hearts pound, our breath quickens, and we can imagine ourselves on the edge.  Yet we also appreciate the insightful aspects of horror. Sometimes a story intends to shock and disgust, but the best horror intends to rattle our cages and shake us out of our complacency.  It makes us think, forces us to confront ideas we might rather ignore, and challenges preconceptions of all kinds.  Horror reminds us that the world is not always as safe as it seems, which exercises our mental muscles and reminds us to keep a little healthy caution close at hand.”

In a sense similar to the reason a person seeks out the controlled thrill of a roller coaster, readers in the modern era seek out feelings of horror and terror to feel a sense of excitement.  However, Barrette adds that horror fiction is one of the few mediums where readers seek out a form of art that forces themselves to confront ideas and images they “might rather ignore to challenge preconceptions of all kinds.”

One can see the confrontation of ideas that readers and characters would rather ignore throughout literature in famous moments such as Hamlet’s musings about the skull of Yorick, its implications of the mortality of humanity, and the gruesome end that bodies inevitably come to.  In horror fiction, the confrontation with the gruesome is often a metaphor for the problems facing the current generation of the author.

There are many theories as to why people enjoy being scared. For example, people who like horror films are more likely to score highly for openness to experience, a personality trait linked to intellect and imagination.

It is a now commonly accepted view that the horror elements of Dracula’s portrayal of vampirism are metaphors for sexuality in a repressed Victorian era.  But this is merely one of many interpretations of the metaphor of Dracula.  Jack Halberstam postulates many of these in his essay Technologies of Monstrosity: Bram Stoker’s Dracula.  He writes, “[The] image of dusty and unused gold, coins from many nations and old unworn jewels, immediately connects Dracula to the old money of a corrupt class, to a kind of piracy of nations and to the worst excesses of the aristocracy.”

Halberstram articulates a view of Dracula as manifesting the growing perception of the aristocracy as an evil and outdated notion to be defeated.  The depiction of a multinational band of protagonists using the latest technologies (such as a telegraph) to quickly share, collate, and act upon new information is what leads to the destruction of the vampire.  This is one of many interpretations of the metaphor of only one central figure of the canon of horror fiction, as over a dozen possible metaphors are referenced in the analysis, from the religious to the antisemitic.

Noel Carroll’s Philosophy of Horror postulates that a modern piece of horror fiction’s monster, villain, or a more inclusive menace must exhibit the following two traits which is a menace that is threatening (either physically, psychologically, socially, morally, spiritually, or some combination of the aforementioned) and a menace that is impure (that violates the generally accepted schemes of cultural categorisation.  

Image by John Tenniel via Wikipedia and is in the public domain

The Irish Frankenstein by John Tenniel.

This illustration is from an 1882 issue of Punch and is anti-Irish propaganda.  Tenniel conceives the Irish Fenian movement as akin to Frankenstein’s monster, in the wake of the Phoenix Park killings.  Menacing villains and monsters in horror literature can often be seen as metaphors for the fears incarnate of a society.

Scholarship And Criticism

In addition to those essays and articles shown above, scholarship on horror fiction is almost as old as horror fiction itself.  In 1826, the gothic novelist Ann Radcliffe published an essay distinguishing two elements of horror fiction, terror and horror.  Whereas terror is a feeling of dread that takes place before an event happens, horror is a feeling of revulsion or disgust after an event has happened.  Radcliffe describes terror as that which expands the soul and awakens the faculties to a high degree of life, whereas horror is described as that which freezes and nearly annihilates them.

Modern scholarship on horror fiction draws upon a range of sources.  In their historical studies of the gothic novel, both Devandra Varma and S.L. Varnado make reference to the theologian Rudolf Otto, whose concept of the numinous was originally used to describe religious experience.

Awards And Associations

Achievements in horror fiction are recognised by numerous awards.  The Horror Writers Association presents the Bram Stoker Awards for Superior Achievement, named in honour of Bram Stoker, author of the seminal horror novel Dracula.  The Australian Horror Writers Association presents the annual Australian Shadows Awards.  The International Horror Guild Award was presented annually to works of horror and dark fantasy from 1995 to 2008.  The Shirley Jackson Awards are literary awards for outstanding achievement in the literature of psychological suspense, horror, and dark fantastic works.  Other important awards for horror literature are included as subcategories within general awards for fantasy and science fiction in such awards as the Aurealis Award.

Alternative Terms

Some writers of fiction normally classified as horror tend to dislike the term, considering it too lurid.  They instead use the terms dark fantasy or Gothic fantasy for supernatural horror, or psychological thriller for non-supernatural horror.

Horror Films Since The 1890’s

For more Horror film lists click here.

Read more about Horror and notes etc. regarding the above post here.

The above articles and the rest of the images on this page were sourced from Wikipedia and are subject to change.

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