I have worked in the media for the past 35 years, the last 30 as a journalist. But the role I am most proud of, is my work from 2013 to 2019, as a background artist on the BBC’s Ten O’Clock News.
I didn’t start out at the BBC as a human prop in the background of the network news. From 2004, I worked there as a senior broadcast journalist too.
When the network news teams moved from Television Centre, into New Broadcasting House, in the spring of 2013, I got to make my on-air debut as a background artist. We don’t like to be called extras. Using that word only diminishes us.
There’s a good chance you might have spotted me during one of my many recurring appearances. I played “journalist rushing between desks”, a role I put my very heart and soul into, night after night.
I joined the BBC less than a year after I left Associated Press Television News. I worked at AP for around a decade, as a field producer, cameraman and news desk editor.
When I left AP, I had only one career goal, to work for BBC News. I eventually wangled an introduction via an old friend to the right person and started freelancing in the Spring of 2004. I got my first contract in the autumn of that year and was a member of staff until earlier this year, when I left their employ.
BBC News initially hired me as a World Duty Editor, working on the foreign desk, and I started out on the nightshift. Fifteen years later, I was still only working nights, and still working in effectively the same job. That’s half of my thirty year career as a journalist. Go me.
It wasn’t easy, joining the BBC later in life. There was so much jargon and BBC-speak, that I felt lost for the first 6 months I was there. And it is just so big. There was a lot to learn to do my new job. I was lucky that a couple of people, and one in particular, helped me get up to speed in those early days. Otherwise I would never have lasted long enough to become a background artist, when the time finally came to have that very small, yet vital on-air role.
If you’ve watched BBC News on TV in the last 7 years, you no doubt noticed that behind the main set where Fiona Bruce sits, is the actual BBC newsroom. That’s where I worked, that’s where I sat. If you think the CCTV surveillance is bad where you work, imagine having it broadcast to millions of people, night after night, in high definition.
When we first went live from NBH, everyone was extremely uptight about what those of us in the background might do. Journalists are notoriously unpredictable, just ask any politician.
We were discouraged from standing up and we were told not to wear bright colours. On one of the early broadcasts, someone had a hi-vis vest on, as they were preparing to depart and cycle home in the dark. It stood out, like hi-vis yellow is meant to do. But it was noticed by management, and hi-vis clothing was quickly banned from our shop floor. I think it still is to this very day. I hope that’s not a trade secret!
For the first couple of weeks, a squad of spotters patrolled the newsroom floor during BBC One network news broadcasts. They were in direct contact via radio headsets, with managers watching screens in the gallery. It was the spotter’s job was to quickly rush over on command from the gallery, to point out when people violated the rules of behaviour in the background. Mainly they just barked at us to “get down”. A lot. It was weird. I bet they had experience working as baby wranglers on a nappy advert before this gig.
As I mentioned, I only worked nights, and the Ten O’Clock news went out within the first 90 minutes of my arrival. In that time, I really would be rushing around, trying to speak to people who had been on all day, asking them questions, about what happened while I slept. Once they went home, that was it, I was on my own, so it was always good to get as much info as possible from them.
I had an actual, operational need to be in constant motion. So my character, “journalist rushing between desks” had motivation and a rich and complex backstory. I hope you agree it allowed my performance to be more multilayered, nuanced, and convincing.
The patrolling spotters didn’t like me, or care at all, why I had to move around during the news. I was yelled at more than once, to “get down”. It was about as much fun as it sounds.
When they told me to “get down” I had to constantly resist the huge urge to jump up on the desk and shout “gimme a beat!” and then do my best choreography. But then I would remember I was a short, fat, bald, middle-aged guy, with zero dancing skill. It was always a crushing blow.
What was worse, is for maybe the first 6 months of being in the new building, my colleagues were constantly telling me they spotted me on TV during the news.
It was always the same. My shift would finish around 7am, I would pass someone on the spiral stairs, or near the revolving doors, or outside on the piazza, and they would say, “I saw you on TV last night”. Or “you sure looked busy buzzing around behind Fiona”. Or my personal favourite, “you looked like you were in a hurry last night.” Of course I bloody was! I was “journalist rushing between desks”!
As nice as it was to be complimented by my peers for my convincing performance, in truth I would have preferred to have never been spotted. I never asked to be a background artist. I was happy enough, just doing my real job as an overnight, duty news editor.
My specialty at BBC News, if I can call it that, was breaking news. When something unexpected or unforeseen occurred in the middle of the night, that was when I got to shine. Earthquakes, plane crashes, any disaster really. And high profile deaths too. Good news never happens in the dead of night. Only bad.
In my job as a duty news editor, I was responsible for organising the BBC’s initial response to big, breaking news and I’ve dealt with a huge range of stories, from the 2004 Boxing Day tsunami in Asia, to the Grenfell Tower fire in 2017 and many, many more. If you watched any TV news in the last 30 years, there’s pretty good chance you saw something I had a hand in covering. That’s not a boast, it’s just a fact.
And even though I’ve lost track and count of the number of major and minor events I have covered in the last 30 years, they have had an accumulated effect on me. How could they not? Professional detachment can only get you so far.
I still find it hard to let go of the enormity and horror of Grenfell, and I still have the occasional nightmare about it. And it still hurts many years later, to think about friends I’ve lost in the line of duty. There is a personal cost to my former line of work, and everyone ends up paying for it, eventually.
After a period of ill health last year, and my subsequent recovery, I decided to leave the BBC. It wasn’t an easy decision, but I know it is time for me to move on. I’m a full-time hippy now, something I have secretly wanted to be for a very long time.
I will cherish my time at BBC News, and as a journalist. It was great place to work, full of smart, dedicated, hard-working people. And even though new challenges and adventures hopefully await me, I know I will miss that very special time when I was a background artist on the BBC Ten O’Clock News.
I understand they have had to recast my role. It wouldn’t be the BBC News without someone portraying “journalist rushing between desks”. I wish my replacements nothing but success and all the best, as I do to all my former colleagues. I will miss you all.
Doug – the northlondonhippy
4th March 2020
Author’s Note: Feb 2025 – Been meaning to update this for ages. I thought I had a breakdown, that’s why I left. I even told people that I had one, I was really transparent about it. The only issue is, I eventually learned that it wasn’t a breakdown. It was clusters of focal seizures, both simple, and complex. I suffered from focal seizures for a few years before my neurologist and I worked it out. They preceded a series of tonic clonic seizures that nearly killed me a few times. I gave up my job at BBC News before I had the full picture. and a proper diagnosis. I now have Right Temporal Lobe Epilepsy. I 100% don’t recommend it. I regret leaving when I did, as the BBC is one of the few employers I can think of that would have made reasonable adjustments to my job because of my epilepsy. I miss working more than this sentence can convey. Hey ho.
After a 30 year career as a journalist, working for some of the largest news organisations in the world, including Associated Press and Reuters, and 15 years as a duty news editor for BBC News, Doug – the northlondonhippy is now a full time hippy, whatever the hell that is.
Doug is also the author of “Personal Use by the northlondonhippy.” “Personal Use” chronicles Doug’s first 35 years of drug use, while calling for urgent drug law reform. It’s a cracking read, you will laugh, you will cry, and you can bet your ass that you will wish you were a hippy too!
“Personal Use” is available as a digital download on all platforms, including Amazon’s Kindle, Apple’s iBooks and Barnes & Noble’s Nook. The paperback is available from all online retailers and book shops everywhere.
You can also find Doug – the northlondonhippy on Twitter: @nthlondonhippy but only if you look really hard
Copyright: All words and photos are copyright the northlondonhippy…
…except the screen-grab of BBC News, which is used fairly without permission, but with affection.
