By Richard Porter
"I was once most sensible Gear's script editor for thirteen years and all 22 sequence. I primarily used to examine spelling and ponder silly gags in regards to the Stig. I additionally received to hang out with Jeremy Clarkson, Richard Hammond and James could. It didn't suppose like whatever you need to receives a commission for.
From the disastrous pilot convey of 2002 to the unexpected and unforeseen finishing in 2015, engaged on best apparatus was once particularly a rollercoaster experience. We crossed continents, we made house ships, we bobbed around the world's busiest transport lane in a pick-up truck. We additionally received chased via an indignant mob, many times sparked fury in newspapers, and virtually killed considered one of our presenters.
I realised that I had a number of tales to inform from behind the curtain at the exhibit. I remembered whose daft proposal it was once to get a puppy. I recalled the willfully silly method within which we adorned our terrible place of work. I had a surprising flashback to the time a Bolivian drug lord threatened to kill us.
I made up our minds I may still write down a few of these tales. So i've got. i'm hoping you're keen on them."
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Additional info for And On That Bombshell: Inside the Madness and Genius of Top Gear
Natalie Fenton: I can accept the idea of national identities being usurped or undermined by individuals being able to tune into other points of view as presented on other channels, but this is only a very small part of where national identity comes from. All the other discourses that are a huge part of what constructs a national identity are still there. So I don't think we should overestimate the importance of this aspect, or the extent to which this is new, or that this 'dislocation' and 'fragmentation' will alter our sense of belonging to a collectivity.
So, perhaps we need to separate out the technological from the political and ideological, because in technological terms, this is not really something new. Ulrike Meinhof: These new channels and this multi-channel environment are not at all like Radio Luxembourg or comparable radio stations. Of course all of these things such as channel-hopping, eavesdropping etc. are and have been possible with radiothere is no problem with radio. There are simply all these different channels broadcasting in these different languages and kinds of language and that is either irrelevant, because the listener simply wants to listen to the music, or s/he switches to the channel that speaks his/her language.
Pat Odber: I agree that people will learn very quickly how to negotiate this new multi-channel environment. I also think there is a tendency to overestimate the extent to which people will dip in, will participate in this. In this country, for instance, very few people have knowledge of another European language, so there is, automatically, a large range of channels that they will not look at, that they will 'whiz' past and that will be excluded from their programmed 'favourites'. What we haven't yet factored into the equation and what seems to me also to be an important dimension in terms of navigational and temporal issues is the use of the video recorder.
And On That Bombshell: Inside the Madness and Genius of Top Gear by Richard Porter