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LocoScript

LocoScript is a word processing software package created by Locomotive Software and first released with the Amstrad PCW, a personal computer launched in 1985. Early versions of LocoScript were noted for combining a wide range of facilities with outstanding ease of use. This and the low price of the hardware made it one of the best-selling word processors of the late 1980s. Four major versions of LocoScript were published for the PCW, and two for IBM-compatible PCs running MS-DOS. LocoScript's market share didn't expand with the PC versions, which were not released until after Windows had become the dominant PC operating system.

Background and reception
LocoScript's developers, Locomotive Software, had produced Locomotive BASIC for Amstrad's CPC 464 home computer, introduced in 1984. For the Amstrad PCW, introduced in 1985, Locomotive produced the LocoScript word processor and Mallard BASIC, and also wrote the PCW's User Guide. These programs and a dot matrix printer were included in the price of the PCW, which was £399 plus VAT for the base model. The PCW, regarded as extremely good value for money, gained 60% of the UK home computer market, and 20% of the European personal computer market. According to Personal Computer World, the PCW "got the technophobes using computers".

LocoScript was regarded as easier to use than Wordstar and WordPerfect, which in the mid-1980s were the dominant word processors on IBM-compatible PCs, and many users needed no additional information beyond what the manual's "first 20 minutes" introductory chapter provided. The PCW's keyboard offered clearly labelled, one-press special keys for many common LocoScript functions, including cut, copy, and paste, while LocoScript's competitors required a wide range of key combinations that the user had to remember. Most of the program's other features were presented via a pull-down menu bar in which the top-level options were activated by function keys. The menu system had two structures, one for beginners and the other for experienced users. Locomotive Software's slogan for the product was "Everything you need, nothing you don't." However, LocoScript version 1 was regarded as relatively slow.

When the PCW product line was discontinued in 1998, The Daily Telegraph said that the range of independently produced add-on software for LocoScript had contributed to the series' longevity.

LocoScript faded into obscurity because its developers were slow to produce a version for IBM-compatible PCs. By the time they released a version that ran under MS-DOS, Windows was becoming the dominant operating system. The developers of WordPerfect made a similar mistake, releasing their first Windows version in 1991, shortly after the second Windows version of Microsoft Word.

As late as 1993, a journalist found "special characters" much easier to produce on LocoScript than on PC word processing software.

LocoScript
LocoScript was the principal software included with Amstrad's PCW 8256 and PCW 8512, both of which launched in 1985. LocoScript did not run under the control of an operating system; instead, the computer was booted from the LocoScript floppy disk, and LocoScript ran exclusively on the system. The user had to reboot in order to run any other program (a variety of CP/M applications were supplied on a separate disk). In later years a third-party utility called "Flipper" eventually became available, restricted to those PCWs with the greatest RAM memory, which could divide the bigger memory between LocoScript and CP/M, allowing both to run without the need to reboot.

On start-up LocoScript displayed a file management menu, like WordStar but unlike WordPerfect, Microsoft Word and other modern word processors, which start with an empty document. LocoScript enabled users to divide documents into groups, display all the groups on a disk and then the documents in the selected group, and set up a template for each group. File names were restricted to the "8.3" format, but the edit facilities enabled users to add summaries up to 90 characters long, which they could display from the file menu. The "limbo file" facility enabled users to recover accidentally deleted documents until the disk ran out of space (there was no hard disk, all files were stored on floppy disks), when the software would permanently delete files from "limbo" to make room for new ones. Journalist Dave Langford published a collection of his articles about the PCW, and titled it "The Limbo Files". LocoScript was designed to accommodate add-on programs, which could be selected via the file manager.

LocoScript supported 150 characters. For each language supported by the PCW, the keyboard and LocoScript were configured so that users could easily type all of the normal character set. Various other languages' characters could be typed by holding down the ALT or EXTRA key, along with the SHIFT key if capitals were required. LocoScript could also display mathematical and technical symbols. All these characters and symbols could be printed, unless the printer was a daisy wheel unit.

LocoScript's menu system enabled users to add, singly or in combination, a range of sophisticated typographical effects: monospaced or proportional character spacing; normal or double width characters and spacing; various font sizes; bold, underline, italics, subscript or superscript, and reverse video. All of these except those that affected font size and spacing were displayed on the screen. Reverse video was an on-screen reminder to the user and was never printed, while the other effects were printed, except on daisy wheel printers.

Users could optionally set up to two page headers and footers, and could tell LocoScript whether to use one header or footer on odd pages and the other on even pages, one header or footer for the first or last page and another for all the rest, or to omit a header or footer on the first or last page. The program provided codes for the current page number and total number of pages, and aligning them to the left, centre, or right, and for decorations such as leading and trailing hyphens (e.g. "-9-"). LocoScript automatically avoided widows and orphans, ensuring that, if a paragraph of four or more lines split across pages, at least two lines appeared on each page. Users could also tell LocoScript to keep a group of lines or paragraphs together on the same page, or to avoid splitting paragraphs throughout a document, and could force page breaks.

Users could control placement of text by means of: margins; indentation; normal tab stops; decimal tab stops, which set the position of the decimal point rather than the start of a number; and left, right or full justification. Different combinations of these settings, called "layouts", were automatically numbered, which made it possible to re-use layouts and to make changes that applied to all parts of a document where a specified layout was used. These facilities could be used for presenting tables.

LocoScript's cut, copy and paste facility provided 10 paste buffers ("blocks"), each of which was designated by a number and could be saved for re-use in a different document. Users could also save up to 26 short phrases, identified by letters, although the size of individual phrases and of the whole collection of phrases was limited. Both phrases and paste blocks could be inspected via a menu option. In addition, users could insert whole files, which could be either LocoScript documents or ASCII text files. The "find" and "find and replace" facilities could operate on a whole document, or small sections of one, and "find and replace" ("exchange" in the manual's terminology) had an option to confirm each change or just go ahead.

The program did not immediately reflow text after major insertions or deletions, but did this when the user pressed the RELAY key, or automatically if the user moved the cursor through the changed passage.

LocoScript allowed the user to edit one document while printing another, so that the relative slowness of the bundled dot matrix printer seldom caused difficulties. Users could ask for all of a document to be printed or a range of pages, set the print quality to "high quality" or "draft", and set the paper used to single-sheet or continuous stationery. LocoScript automatically adjusted the size of margins so that the same number of lines per page appeared on both single-sheet and continuous stationery. Since the printer only accepted one sheet of single-sheet paper at a time, LocoScript displayed a prompt at the end of each page when in single-sheet mode. The program also had the ability to resume at a specified page after a paper jam. In addition to printing LocoScript documents, the program had a "direct printing" mode which operated like a typewriter, printing each piece of text after the user pressed RETURN. This could be used for completing forms.

The original LocoScript version 1 had no spell checker or mail merge facilities. Both were available by December 1986.

Despite the sophistication of the software, the great drawback of the PCWs was the exclusive reliance of the early models (the PCW 8256 and 8512) on a poor quality dot matrix printer, coupled with the eventual introduction (with the 9512) of a high quality daisy wheel printer that could not print any of the wide range of non-alphanumeric symbols which the LocoScript software was capable of producing. The software was seriously hamstrung by the poor quality of the hardware: but this was due in large part to a commercial decision not to provide any support for third-party printers so long as the software remained exclusive to the PCW format.

LocoScript 2
LocoScript 2 was bundled with the Amstrad PCW 9512, introduced in 1987. This version was significantly faster, included the LocoSpell spell checker, and came bundled with a high-quality daisy wheel printer in addition to supporting the original dot matrix printer. The software increased its character set to 400 and allowed users to define up to 16 of their own characters.

It could also format, copy and verify disks by itself, instead of requiring the user to switch to CP/M and use the Disc Kit utility. Copying via LocoScript, however, could be much slower. Due to the word processor occupying more RAM than the CP/M system, and so leaving less usable space on the RAM disk, copying had to be done in smaller, more numerous stages.

Besides the addition of LocoSpell, LocoScript 2 was also the earliest version to support the optional LocoFile add-on, providing database functionality.

LocoScript PC
LocoScript PC, later known as LocoScript PC Easy, was the first version of LocoScript to be incompatible with the Amstrad PCW, instead targeting IBM-compatible PCs running MS-DOS 3.0 and above. Released in 1990, the program's feature set was largely inline with LocoScript 2, supporting LocoSpell, LocoMail, and LocoFile, while also adding a few new features, such as support for mixing text with different fonts and new text styling options, as well as a substantially increased range of compatible third-party printers.

LocoScript Professional
Released in May 1992, LocoScript Professional, or simply Script, was the second major release of LocoScript to run on MS-DOS and included a number of new features and improvements over LocoScript PC.

It supported printers that connected using the then-standard parallel port, such as most HP DeskJets and some Brother HL-series Laser printers (which could be run under DOS using the generic LaserJet4 driver). It did not support printers which required a USB connection or which were labelled "Windows only".

Some issues exist as to its compatibility with Windows XP, Vista, 7, 8, and 10 (when run on those systems' DOS mode or using the DOSBox emulator). For example, it loses WYSIWYG functionality. However, version 2.51 can be tweaked to work in Windows 10 under DOSbox MB6 {Set in LocoScript by selecting F9-Settings-F5-ScreenMode-Text Screen Direct-OK F10} (DOSBox MB6 maintains printing via the parallel printer port, running in text screen mode).

LocoScript 3
LocoScript 3 included the ability to print text at any size using scalable "LX" fonts, and to use multiple fonts in a document. According to the vendor, LocoScript 3 also had the ability to include pictures and draw boxes within documents, a facility to print odd-numbered and even-numbered pages separately, and a word counter. The vendor recommended LocoScript 3 only for use with PCW models that had 512 KB of RAM.

Four add-on utilities were included: LocoSpell (a spell checker), LocoMail (a mail merge program), LocoFile (a database program), and a Printer Support Pack, but (unlike in the earlier LocoScript versions) these utilities were no longer sold separately.

LocoScript 4
The last major version of LocoScript for the PCW, LocoScript 4, was released in 1996 by LocoScript Software, a new company created by former Locomotive Software employees after the sale of Locomotive to Demon Internet. It added a wider range of fonts, support for colour printing, a label-printing facility, and optional support for hundreds of printers. Version 4 also supported the mail merge program, LocoMail, and the LocoFile database program.

title: LocoScript


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Bes (coin)

The bes (: besses) was an Ancient Roman bronze coin produced during the Roman Republic. Valued at two thirds of an as (eight unciae), it was only produced in 126 BC by C. Cassius in combination with the dodrans, another very rare denomination which was valued at three quarters of an as (nine unciae). The obverse head displayed the god Liber facing to the right.

license: Creative Commons - Attribution Share-Alike - https://creativecommons.org/licenses/by-sa/4.0/

title: Bes (coin)


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Diplomatics

Diplomatics (in American English, and in most anglophone countries), or diplomatic (in British English), is a scholarly discipline centred on the critical analysis of documents: especially, historical documents. It focuses on the conventions, protocols and formulae that have been used by document creators, and uses these to increase understanding of the processes of document creation, of information transmission, and of the relationships between the facts which the documents purport to record and reality.

The discipline originally evolved as a tool for studying and determining the authenticity of the official charters and diplomas issued by royal and papal chanceries. It was subsequently appreciated that many of the same underlying principles could be applied to other types of official document and legal instrument, to non-official documents such as private letters, and, most recently, to the metadata of electronic records.

Diplomatics is one of the auxiliary sciences of history. It should not be confused with its sister-discipline of palaeography. In fact, its techniques have more in common with those of the literary disciplines of textual criticism and historical criticism.

Etymology

Despite the verbal similarity, the discipline has nothing to do with diplomacy. Both terms are derived, by separate linguistic development, from the word diploma, which originally referred to a folded piece of writing material—and thus both to the materials which are the focus of study in diplomatics, and to accreditation papers carried by diplomats.

The word diplomatics was effectively coined by the Benedictine monk Jean Mabillon, who in 1681 published his treatise, De re diplomatica (Latin: roughly, "The Study of Documents"). From there, the word entered the French language as diplomatique, and then English as diplomatic or diplomatics.

Definitions
Webster's Dictionary (1828) defines diplomatics as the "science of diplomas, or of ancient writings, literary and public documents, letters, decrees, charters, codicils, etc., which has for its object to decipher old writings, to ascertain their authenticity, their date, signatures, etc."

Giorgio Cencetti (1908–1970) defined the discipline as "the study of the Wesen [being] and Werden [becoming] of documentation, the analysis of genesis, inner constitution and transmission of documents, and of their relationship with the facts represented in them and with their creators".

The Commission International de Diplomatique has defined diplomatics as "the science which studies the tradition, the form and the issuing of written documents".

More pragmatically, Peter Beal defines diplomatics as "the science or study of documents and records, including their forms, language, script and meaning. It involves knowledge of such matters as the established wording and procedures of particular kinds of document, the deciphering of writing, and document analysis and authentication".

Theo Kölzer defines diplomatics as "the teaching and the study of charters". He treats the terms "charter", "diploma", and "document" as broadly synonymous, and refers to the German scholar Harry Bresslau's definition of "documents" as "written declarations recorded in compliance with certain forms alternating according to the difference in person, place, time, and matter, which are meant to serve as a testimony of proceedings of a legal nature".

Properly speaking, and as usually understood by present-day scholars, diplomatics is concerned essentially with the analysis and interpretation of the linguistic and textual elements of a document. It is, however, closely associated with several parallel disciplines, including palaeography, sigillography, codicology, and provenance studies, all of which are concerned with a document's physical characteristics and history, and which will often be carried out in conjunction with a diplomatic analysis. The term diplomatics is therefore sometimes used in a slightly wider sense, to encompass some of these other areas (as it was in Mabillon's original work, and as is implied in the definitions of both Webster and Beal quoted above). The recent development of the science in non-English Europe is expanding its scope to a cultural history of documentation including aspects of pragmatic literacy or symbolic communication.

Christopher Brooke, a distinguished teacher of diplomatics, referred to the discipline's reputation in 1970 as that of "a formidable and dismal science ... a kind of game played by a few scholars, most of them medievalists, harmless so long as it does not dominate or obscure historical enquiry; or, perhaps, most commonly of all, an aid to understanding of considerable use to scholars and research students if only they had time to spare from more serious pursuits".

History
In the ancient and medieval periods, the authenticity of a document was considered to derive from the document's place of preservation and storage, in, for example, temples, public offices, and archives. As a result, those with nefarious motives were able to give forged documents a spurious authenticity by depositing them in places of authority. Diplomatics grew from a need to establish new standards of authenticity through the critical analysis of the textual and physical forms of documents.

The first notable application of diplomatics was by Nicolas of Cusa, in 1433, and Lorenzo Valla, in 1440, who determined, independently, that the Donation of Constantine, which had been used for centuries to legitimize papal temporal authority, was a forgery. Diplomatic techniques were further developed as part of a wider battery of antiquarian skills during the Reformation and Counter-Reformation eras. The emergence of diplomatics as a recognisably distinct sub-discipline, however, is generally dated to the publication of Mabillon's De re diplomatica in 1681. Mabillon had begun studying old documents with a view towards establishing their authenticity as a result of the doubts raised by the Jesuit Daniel van Papenbroek over supposed Merovingian documents from the Abbey of Saint-Denis. During the Middle Ages, the production of spurious charters and other documents had been common, either to provide written documentation of existing rights or to bolster the plausibility of claimed rights. Mabillon's work engendered a far livelier awareness of the potential presence of forged or spurious documents, in the fields of both history and law.

Although Mabillon is still widely seen as the "father" of diplomatics, a more important milestone in the formation of the battery of practical techniques which make up the modern discipline was the publication of René-Prosper Tassin and Charles-François Toustain's Nouveau traité de diplomatique, which appeared in six volumes in 1750–65.

The most significant work in English was Thomas Madox's Formulare Anglicanum, published in 1702. In general, however, the discipline was always studied more intensively by continental scholars than by those in Britain.

Diplomatics is often associated with the study of documents of the medieval period. However, scholars such as Luciana Duranti have argued that many of its theories and principles can be adapted and applied to contemporary archival science.

Uses
The study of diplomatics is a valuable tool for historians, enabling them to determine whether alleged historical documents and archives are in fact genuine or forgeries. Its techniques may also be used to help date undated documents.

Diplomatics has many similar applications in the field of law.

Some famous cases in which the principles of diplomatics have been employed have included:
 * Lorenzo Valla's proof of the forgery of the Donation of Constantine. Valla's work preceded Mabillon by roughly two centuries, and was the first application of the principles of modern, scientific diplomatics.
 * The Hitler diaries hoax (1983).
 * The National Archives forgeries (the Martin Allen forgeries, or Himmler forged documents) (2005).

Diplomatic editions and transcription
A diplomatic edition is an edition (in print or online) of an historic manuscript text that seeks to reproduce as accurately as possible in typography all significant features of the manuscript original, including spelling and punctuation, abbreviations, deletions, insertions, and other alterations. Similarly, diplomatic transcription attempts to represent by means of a system of editorial signs all features of a manuscript original. The term semi-diplomatic is used for an edition or transcription that seeks to reproduce only some of these features of the original. A diplomatic edition is thus distinguished from a normalized edition, in which the editor, while not altering the original wording of the text, renders it using normal (modern) orthography.

A diplomatic edition is also to be distinguished both from a facsimile edition, which, in the modern era, normally employs photographic or digital images; and from a type facsimile (such as Abraham Farley's edition of Domesday Book), which seeks to reproduce the appearance of the original through the use of a special typeface or digital font.

title: Diplomatics


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Alcea

Alcea is a genus of over 80 species of flowering plants in the mallow family Malvaceae, commonly known as the hollyhocks. They are native to Asia and Europe. The single species of hollyhock from the Americas, the streambank wild hollyhock, belongs to a different genus.

Description
Hollyhocks are annual, biennial, or perennial plants usually taking an erect, unbranched form. The herbage usually has a coating of star-shaped hairs. The leaf blades are often lobed or toothed, and are borne on long petioles. The flowers may be solitary or arranged in fascicles or racemes. The notched petals are usually over three centimeters wide and may be pink, white, purple, or yellow. The fruit is a schizocarp, a dry disc divided into over 15 sections that contain seeds.

Species
The following species are accepted:

 * Alcea abchazica Iljin
 * Alcea acaulis (Cav.) Alef.
 * Alcea afghanica I.Riedl
 * Alcea antoninae Iljin
 * Alcea apterocarpa (Fenzl) Boiss.
 * Alcea arbelensis Boiss. & Hausskn.
 * Alcea assadii Pakravan
 * Alcea aucheri (Boiss.) Alef.
 * Alcea baldshuanica (Bornm.) Iljin
 * Alcea biennis Winterl
 * Alcea calvertii (Boiss.) Boiss.
 * Alcea chrysantha (Sam.) Zohary
 * Alcea damascena (Mouterde) Mouterde
 * Alcea denudata Boiss.
 * Alcea digitata (Boiss.) Alef.
 * Alcea dissecta (Baker f.) Zohary
 * Alcea djahromi Parsa
 * Alcea excubita Iljin
 * Alcea fasciculiflora Zohary
 * Alcea ficifolia L. – Antwerp hollyhock
 * Alcea flavovirens (Boiss. & Buhse) Iljin
 * Alcea freyniana Iljin
 * Alcea froloviana (Litv.) Iljin
 * Alcea galilaea Zohary
 * Alcea ghahremanii Pakravan & Assadi
 * Alcea gorganica (Rech.f., Aellen & Esfand.) Zohary
 * Alcea heldreichii (Boiss.) Boiss.
 * Alcea hohenackeri Boiss.
 * Alcea hyrcana Grossh.
 * Alcea ilamica Pakravan
 * Alcea iranshahrii Pakravan, Ghahr. & Assadi
 * Alcea karakalensis Freyn
 * Alcea karsiana (Bordz.) Litv.
 * Alcea koelzii I.Riedl
 * Alcea kopetdaghensis Iljin
 * Alcea kuhsanguia Parsa
 * Alcea kurdica (Schltdl.) Alef.
 * Alcea kusjariensis (Iljin ex Grossh.) Iljin
 * Alcea lasiocalycina Boiss.
 * Alcea lavateriflora (DC.) Boiss.
 * Alcea lenkoranica Iljin
 * Alcea litvinovii (Iljin) Iljin
 * Alcea loftusii (Baker f.) Zohary
 * Alcea longipedicellata I.Riedl
 * Alcea mazandaranica Pakravan & Ghahr.
 * Alcea mosulensis I.Riedl
 * Alcea mozaffarianii Ghahr. & Pakravan & Assadi
 * Alcea nikitinii Iljin
 * Alcea nudiflora (Lindl.) Boiss.
 * Alcea peduncularis Boiss. & Hausskn.
 * Alcea pisidica Hub.-Mor.
 * Alcea popovii Iljin
 * Alcea rechingeri (Zohary) I.Riedl
 * Alcea remotiflora (Boiss. & Heldr.) Alef.
 * Alcea rhyticarpa (Trautv.) Iljin
 * Alcea rosea L. – common hollyhock
 * Alcea rosulata I.Riedl
 * Alcea rufescens (Boiss.) Boiss.
 * Alcea rugosa Alef.
 * Alcea scabridula I.Riedl
 * Alcea schirazana Alef.
 * Alcea semnanica Pakravan
 * Alcea setosa (Boiss.) Alef. – bristly hollyhock
 * Alcea sophiae Iljin
 * Alcea sosnovskyi Iljin
 * Alcea sotudehi Parsa
 * Alcea striata (DC.) Alef.
 * Alcea sulphurea (Boiss. & Hohen.) Alef.
 * Alcea sycophylla Iljin & V.V.Nikitin
 * Alcea tabrisiana (Boiss. & Buhse) Iljin
 * Alcea talassica Iljin
 * Alcea tarica Pakravan & Ghahr.
 * Alcea teheranica Parsa
 * Alcea tholozanii Stapf
 * Alcea transcaucasica (Iljin) Iljin
 * Alcea turcomanica Iljin
 * Alcea turkeviczii Iljin
 * Alcea vameghii Parsa
 * Alcea wilhelminae I.Riedl
 * Alcea woronowii (Iljin ex Grossh.) Iljin
 * Alcea xanthochlora I.Riedl

Uses
Hollyhocks are popular garden ornamental plants. They are easily grown from seed. Breeds with red flowers attract hummingbirds and butterflies. Cultivars have been bred, especially from A. rosea. They include the double-flowered 'Chater's Double', the raspberry-colored 'Creme de Cassis', and 'The Watchman', which has dark, nearly black, maroon flowers.

The stems of hollyhocks can be used as firewood, and the roots have been used medicinally.

Pests and diseases

Alcea species are used as food plants by the larvae of some Lepidoptera species including Bucculatrix quadrigemina and Vanessa cardui, the painted lady.

The mallow flea beetle (Podagrica fuscicornis) is a pest that makes tiny holes in the leaves. Cutworms, aphids, and capsid bugs use the plant as a food source in hotter and drier conditions. A number of weevils use A. rosea as their host plant, including Rhopalapion longirostre, Alocentron curvirostre, and Aspidapion validum.

The plants are also susceptible to the pathogenic fungus Puccinia malvacearum, the hollyhock rust.

Culture
The Aoi Matsuri (Hollyhock Festival) is one of the three main festivals of the city of Kyoto. During the Victorian era, the hollyhock symbolized both ambition and fecundity in the language of flowers.

The UK National Collection of hollyhocks is held by Jonathan Sheppard in Lincolnshire.

title: Alcea


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Talk:Salaryman

General
As mentioned by many this article is clearly not rigorous and needs a lot of work--especially with contradictory information as stated by some. In particular highly contradictory information about the conditions under which a salaryman would or would not be fired and also throughout the whole article in regard to societal expectations regarding who should become a salaryman. It reads like word of mouth rather than an academic study. — Preceding unsigned comment added by 50.84.40.3 (talk) 04:17, 30 October 2016 (UTC)

Main photo
"Salarymen take their train daily to work in the Tokyo metropolitan area (Tokyo Station, 2005)"

 * I see women on there too and I doubt all the people are working for big companies. Some look like students. The caption should be rephrased. — Preceding unsigned comment added by 46.253.186.82 (talk) 17:26, 27 August 2022 (UTC)
 * I agree. The article also describes salarymen as "expected to work long hours, to put in additional overtime, to participate in after-work leisure activities such as drinking, singing karaoke and visiting hostess bars with colleagues, and to value work over all else", but there's no way to tell if the people in the photo actually fit this description. They just look like they're commuting to work. (kriskhaira (talk) 02:12, 17 October 2023 (UTC))

Is the random sleeping guy really necessary?

 * I'm not sure what the image contributes to the article either. Apparently this picture is the source for the image. Perhaps someone could find a more fitting picture? --V2Blast (talk) 20:21, 16 March 2009 (UTC)

 * Actually, I thought it conveyed a lot of the meaning of "salaryman", especially as perceived by the public and mass media. So I'll be putting it back.  --C S (talk) 20:01, 24 April 2009 (UTC)
 * Do you really mean it? How do you see a lot of the meanamig of "salaryman" by the photograph of a careless sleeping man? It's very interesting to me. Would you explain your opinion to me more specific.--ShoestringCatch (talk) 10:56, 1 May 2009 (UTC)
 * Have you read the article? "...the term carries associations of long working hours, low prestige in the corporate hierarchy...the term may also be used to give a highly negative connotation...the word "businessman" is often used to avoid the negative image...The following are stereotypical images of the salaryman: Lifestyle revolves entirely around work at the office.  Works over-time on a daily basis..."  Picture of a suited up salaryman comatose on the train...yep.  I think that says more than all these words could ever do.  --C S (talk) 11:09, 1 May 2009 (UTC)
 * I must remove your misunderstanding on "Salaryman". "Salaryman" is the middle class(or middle-lower class)of Japanese society. "Slaryman" is not the lower class. The lower class is "Freeter". "Salaryman" is the absolete majorty of Japanese worker. Negative image of the "Salaryman" is broken out in comparison with very rich people(or talented person). Say, surgeons, presidents, famaous artists. In Japan, the term"Salaryman" is hardly different from the term"Businessman". We call ourselves "Salaryman" in modestway. We call others "Businessman" in respect. Some people call themselves "Buisnessman". They are "Salaryman" who earn a lot of money. Average income of "Salaryman" is about fourty three thousands US dollars. Average Hours of work of "Salaryman" is more than the Germans, less than the Americans. --ShoestringCatch (talk) 13:17, 1 May 2009 (UTC)

 * I think you probably know those average work hours are wrong, since they only count official hours while in reality, Japanese work a lot of unpaid "unofficial" overtime and Americans don't generally. I know groups like freeters are lower, but you can hardly deny (and you don't) that salaryman has a negative image, and that is what that photo demonstrates.  --C S (talk) 01:13, 15 June 2009 (UTC)

 * There is a problem on this photo. I will explain why it is.
 * Maybe you take photos of Japanese people on the streets of Japan.Although many Japanese people dislike taken by photos by others, you can take pictures of them probably.They will allow foreign photographer probably.(I never guarantee your safety. Indivisuals hava its own customs.)
 * But You must not take photos of others in train.Train is one of the most sensitive room for manners in Japan.Using cellphone as voice call is not permited too.(E-mail is OK except near by seets for senior citizen.)If you take photos of others in tarain in Japan without permission, you are risking your safety. It's a dangerous.
 * The photographer who takes this image could be regarded criminal in Japan.
 * It is a criminal in Japan, indeed. He(She) could be under arrest as a criminal of attempted CHIKAN(ちかん). (see Frotteurism)
 * I am going to replace this dangerous photo with a less dangerous one.--ShoestringCatch (talk) 18:00, 1 May 2009 (UTC)

 * Japanese privacy laws really have no place here on English Wikipedia, and making legal threats (as you appear to be making against the photographer) is a blockable offense. In any case, this is not an important issue for me, while strangely, it seems to be for you, so I'll drop it.  --C S (talk) 01:13, 15 June 2009 (UTC)
 * The picture was taken in Japan by a person who was in Japan at that time. The man could file a lawsuit against the photographer. Also, it's a shame you defend privacy invasion and threat to block the user. — Preceding unsigned comment added by 46.253.186.82 (talk) 17:22, 27 August 2022 (UTC)

Contradictory statements
In the "history" section in the ultimate and penultimate paragraphs, contradictory statements are made as to the probability of salarymen being fired. This should be fixed but I am lacking the knowledge of Japanese culture to do so. 83.50.152.44 (talk) 14:30, 6 December 2015 (UTC)

Also, the intro section and the "History" section outright contradict in saying both that salarymen are typically hired upon college graduation and typically hired immediately after high school. Which is it? 2601:407:4180:40E9:F495:FFD5:CB1:EF23 (talk) 12:35, 7 May 2021 (UTC) 2warped@gmail.com

"Social image"
The references in the "Social image" section all refer to a book written about business in China, with no page numbers. Can someone check to see that it is in fact relevant to this article? 8bitW (talk) 16:08, 16 January 2016 (UTC)

No, it is not relevant. Removing. If somebody wants to try to write something on this topic, they might refer to Allison, Anne. 1994. Nightwork: Sexuality, Pleasure, and Corporate Masculinity in a Tokyo Hostess Club. Chicago: University of Chicago Press. (A source that Osburg uses when making some comparisons with Japan). 169.229.120.39 (talk) 23:26, 19 April 2016 (UTC)

External links modified
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Grooupzak?
A recent edit added that a salaryman is "sometimes called a Grooupzak". A Google search for that word returns only this page. Is there any way to substantiate this? Modus Ponens (talk) 18:13, 4 February 2023 (UTC)

 * I've already reverted that edit as vandalism and warned the IP user earlier. For future reference, if you have a strong reason to believe an edit is an error or vandalism (especially unexplained edits by random IPs with no citations), you're encouraged to be bold and go ahead with editing it. PritongKandule -✉📝 06:41, 5 February 2023 (UTC)

This article is a joke
Seriously, anyone who reads this has to know this is a farce. It is based off of biases, manga tropes, foreigners who don't understand Japanese culture and stereotypes.

Doctors are not salarymen Nor are judges Nor are athletes, actors, or teachers. 126.114.193.12 (talk) 12:38, 14 March 2024 (UTC)

title: Talk:Salaryman


text:
TV-am

TV-am was a TV company that broadcast the ITV franchise for breakfast television in the United Kingdom from 1 February 1983 until 31 December 1992. The station was the UK's first national operator of a commercial breakfast television franchise. Its daily broadcasts were between 6 a.m. and 9:25 a.m.

Throughout its nine years and 10 months of broadcast, the station regularly had problems, resulting in numerous management changes, especially in its early years. It also suffered from major financial cutbacks hampering its operations. Though on a stable footing by 1986 and winning its ratings battle with the BBC's Breakfast Time, within a year turmoil had ensued when industrial action hit the company.

Despite these setbacks, by the 1990s, TV-am's flagship programme Good Morning Britain had become the most popular breakfast show on UK television. Following a change in the law regarding television franchising, the company lost its licence and was replaced by GMTV in 1993.

Foundation
The Independent Broadcasting Authority (IBA) announced on 24 January 1980 that in the next ITV franchising round it would offer a national licence for breakfast television. Eight applications were received and on 28 December that year, the IBA announced that it had awarded the breakfast franchise to TV-am.

Although the initial launch date was set for June 1983, to avoid clashing with the 1982 launch of Channel 4, the IBA allowed the station to bring forward its start date to 1 February 1983 in response to the launch of the BBC service Breakfast Time two weeks earlier.

This hurried start affected the company in two ways. Firstly, ITV had failed in its negotiations for royalties and rates for advertising on the new Channel 4 and the breakfast service with the actors' trade union, Equity. The union instructed its members to boycott the new station, which meant there was little or no revenue from advertising in the early days.

Secondly, it was believed that the BBC's breakfast service would be highbrow, focusing on news and analysis, so TV-am had developed its new service to match that. However, the BBC launched a lightweight, magazine-style programme that mimicked the style of United States breakfast television. With the launch of the BBC's Breakfast Time brought forward at short notice, this gave little time for TV-am to redevelop its plans.

TV-am was spearheaded by the so-called Famous Five who were not only lined up as presenters on the station, but were also shareholders: Michael Parkinson, David Frost (1983–92), Angela Rippon (1983), Anna Ford (1983) and Robert Kee. Esther Rantzen had originally been one of the station's 'star' line-up of presenter/shareholders, but pulled out in 1981 after the birth of her third child; she and the company agreed that the early morning starts would present a problem in her raising her child. She had also been persuaded by the BBC to continue producing and presenting That's Life! and conceded she did not want to give up the show, or worse, see it continue with another anchor.

There had been many difficulties for the other presenters in the run-up to launch. When the franchise was announced in December 1980, Rippon's contract with the BBC was about to expire, and was not renewed as a result of her new employment. This left her seeking freelance work before TV-am went on air. Ford was dismissed by ITN, which had been part of another consortium bidding for the breakfast contract. ITN had presented Ford as their female programme presenter as part of their bid, unaware that she was planning to defect to TV-am. ITN heavily criticised her disloyalty and said that her dishonesty had made its bid seem "ridiculous" to the IBA. ITN replaced Ford with Selina Scott, who herself landed a double blow to ITN when she defected to the BBC to present Breakfast Time towards the end of 1982. Michael Parkinson did remain with the BBC, who hoped to persuade him to stay as they had with Rantzen, but he finally left the corporation in 1982. A challenge for all the Famous Five came before the station launch when in an administration error, the contracts for the five presenters were sent to the wrong individuals, which led Rippon to discover she was being paid £60,000 per year, considerably less than Anna Ford who was being paid £145,000. The women also learnt that their male counterparts Frost and Parkinson were each being paid almost £250,000.

TV-am's headquarters and studios were at Breakfast Television Centre, Hawley Crescent, Camden Town, London. Designed by Terry Farrell and converted from a former car showroom, Henlys Rover, the building included a number of large plastic egg cups along its roofline facing Regent's Canal; these egg cups also served as the programme's closing credits copyright year identifier, with all previous years also kept on-screen behind the current year.

TV-am had two television studios. Studio A, 3000 square feet, was home to the Good Morning Britain set. Studio B had a smaller version of the GMB set and was also used as the news studio.

Programmes originally ran from 6 am to 9:15 am, with Daybreak, then Good Morning Britain filling weekday mornings. This was followed by a 10-minute interval before the start of the regional ITV franchises at 9:25 am. This interval was needed because the process of the switching the broadcast signals from TV-am to each regional company was still manual and this gap gave British Telecom the required time to complete this task. Shortly after TV-am's launch, the process was converted to allow automatic switching, which was introduced gradually throughout the network, and from the end of May 1983 the IBA extended TV-am's hours to 9:25 am to allow for continuous programming. At this point, Good Morning Britain was reduced to a two-hour slot from 7 am to 9 am. The 9 am to 9:25 am section was relaunched as a female-orientated lifestyle magazine segment titled After Nine. Although TV-am was a separate broadcaster occupying the ITV network channel during the morning, from the late 1980s the ITV stations extended their hours to 6 am to provide 24-hour television, handing over to TV-am at 6 am.

Difficult beginnings
While the BBC's Breakfast Time was successful, TV-am's early ratings were disappointing. Its high-minded and somewhat starchy approach, summed up in the phrase "mission to explain" (coined by chief executive Peter Jay) sat uneasily at that time of day, compared to the accessible magazine style of Breakfast Time, which mixed heavy news and light-hearted features, famously moving cabinet ministers, after a serious interview, to help with a cookery demonstration.

The first day of broadcasting from TV-am included an hour of news in Daybreak, a short film and an interview with Norman Tebbit about the current level of unemployment, a live comic strip called The World of Melanie Parker, and Through the Keyhole. Within two weeks of the launch; the ratings dropped sharply, within a month, the ratings fell again to just under 300,000. The company's weekend slot, presented by Michael Parkinson, initially became the only success for the station, largely because the BBC did not broadcast on weekend mornings. The Saturday editions drew 1.5 million viewers.

A number of changes were made on 28 February: Daybreak was reduced by 30 minutes and presented by Gavin Scott, while Good Morning Britain was moved 30 minutes earlier to start at 6:30 am, with Angela Rippon being moved from Daybreak to present alongside Anna Ford. The original Good Morning Britain team of Frost and Ford was intended to last 12 weeks, but in an attempt to reinvigorate the show, Frost voluntarily agreed to step down so that the female team of Ford and Rippon could spearhead the slot. After just one edition on air, Ford was struck with flu, with her returning the following week on 7 March. During the first week of the revised format, the viewer figures increased by 200,000, with Frost and Parkinson stepping in to cover for her. During the second week of both Rippon and Ford, figures continued to remain at a peak of 500,000. On 26 March, new figures were published, highlighting that TV-am had once again lost 100,000 up to the week before; however, ratings were still higher overall, compared to the end of February's figures.

A boardroom coup ensued on 18 March, when Peter Jay stepped aside allowing Jonathan Aitken, a sitting Conservative MP, to become chief executive of the station, after mounting pressure from investors who had demanded changes. On the same day, Angela Rippon and Anna Ford came out publicly to support Jay, calling the goings-on "treachery", unaware Jay had already left. Over the course of the next few days Aitken made it clear a number of changes were being looked at to improve the ratings including cutting the number of ad breaks, while also denying he wanted anyone to resign. Many officials, like those at the IBA, opposition parties, and even Aitken's own governing party were not happy at his appointment, as it may have interfered with TV-am's political freedom, with many demanding he give up the role or stop being a Member of Parliament. The IBA finally approved Aitken a few days later, but made its intention clear: his tenure was for a limited period only, and they would keep an extra close eye on all the programmes during this period.

On 1 April (Good Friday), puppet Roland Rat made his first appearance; he was created by David Claridge and launched by TV-am Children's editor Anne Wood to entertain younger viewers during the Easter holidays,  which boosted the station's audience. Roland Rat is generally regarded as its saviour, being described as "the only rat to join a sinking ship". During the summer, when Breakfast Time hosts Frank Bough and Selina Scott were off, he helped take the audience from 100,000 to over a million and a half.

On 4 April, Greg Dyke became director of programmes to help overhaul the station's output. A day later sports presenter Nick Owen become one of the main presenters working one week each with Ford and Rippon initially only for the month of April   The latter was castigated by viewers and the media for her blatant hostility to Owen on air. When he made an error in a link, Rippon stated "You see, it's not as easy as you think." During April, the live comic strip The World of Melanie Parker was axed.

On 14 April, Aitken's cousin Timothy became chief executive of the station due to the IBA rules regarding MPs operating a television station. This resulted in Rippon and Ford being sacked on 19 April, with no official reason given at that time; unofficially it was made clear both breached their contracts for their public support for Jay, while at some time by sacking both helped cut costs. Parkinson ended up in lengthy talks with Aitken over the issues and the sacking of his two former colleagues, which resulted in him becoming a director of the company and joining the board of management. As part of these talks, further members of staff who clashed with Parkinson would be removed. Ford encountered Jonathan Aitken at a party in Chelsea; in a parting shot over the terms of her dismissal, she threw her glass of wine in his face, saying of her action: "It was the only form of self-defence left to a woman when she has been so monstrously treated." A couple of days later both Rippon and Ford started procedures to sue TV-am; by October, the case was dropped after reaching an out of court settlement.

Lynda Berry was brought in as stop-gap measurement for six weeks, before Anne Diamond joined from the BBC to become Owen's new co-presenter from 6 June.

On 23 May, TV-am's new look started. Daybreak was axed, with Good Morning Britain extended to start at 6:25 am. Commander David Philpott was moved to present the weather at the weekends only, with Wincey Willis becoming the new weekday weather presenter, and a host of new features were introduced:
 * Today's The Day with Jeremy Beadle
 * An exercise spot with Lizzie Webb
 * Cooking with John Eley, the Cooking Canon (Rustie Lee would later take over)
 * Fishing correspondent, "Codfather" George Vella
 * Nick Owen with Lynda Berry (later succeeded by Diamond), reading out the newspaper bingo numbers.

By the end of its first week, TV-am's ratings had doubled to 200,000.

Continuing low audiences brought further financial difficulties: the company was close to having its power supply disconnected; a London Electricity official arrived during a press conference with a warrant to cut off power for non-payment; and on numerous occasions, the presenters failed to receive their monthly wages, while the local newsagent stopped supplying the station with newspapers due to lack of payment. TV-am spent the summer on the road, using the outside broadcast truck from various seaside resorts around the UK, and was presented by Chris Tarrant.

Michael Parkinson went to Australia in early June 1983 for the summer, with Henry Kelly taking over his weekend duties. David Frost was given the Sunday slot from 28 August, initially for eight weeks with the belief that Parkinson would return to his full duties in October. By November, Parkinson had returned; however, he was only given the Saturday slot after Frost had increased the number of viewers on Sundays. Parkinson finally left the station in early February 1984, while the company announced plans to cut over 40 jobs.

In September, TV-am finally joined the television contractors’ associations, which gave the addition benefit of providing cross-promotional content between the 15 regional ITV companies and TV-am. The continuing increase in viewership had still not resulted in an increase in advertising revenue, and throughout October, speculation arose the company would collapse at any second. The situation was resolved in November when a new refinance package come into effect with new shareholders including Ladbrokes and the owners of the Daily Express which injected new capital worth over £4.5 million into the company.

Bruce Gyngell
Australian business tycoon Kerry Packer took a substantial minority interest in the company in early 1984, and in early May appointed his own chief executive, Bruce Gyngell, who was brought in to help make the company financially viable. Greg Dyke left within a few weeks of the appointment to take a new position with TVS. Ten days later, general manager Michael Moor also left the station. In July 1984, Michael Hollingsworth became the new Programme Controller, having previously worked for the BBC's Breakfast Time.

Gyngell pursued the same lightweight, populist approach that Dyke had forged to establish the station's viability, a model parodied later in a Guardian newspaper headline as "Snap, Crackle and Pap". The station overhauled its children's Saturday morning programme with Wide Awake Club, replacing Data Run and SPLAT as part of the cost-cutting by management.

The cost-cutting was brought sharply into focus in the Brighton hotel bombing on the Conservative cabinet in October 1984. The night before the terrorist attack, TV-am only had one crew covering the conference and that had been called back to London the previous night to cover a train crash in Wembley. When the blast occurred in the early hours, the BBC and ITN provided immediate coverage. TV-am's response was limited to a caption of reporter John Stapleton reporting over the phone, while the BBC were showing graphic coverage of the attack. Trade union agreements at the time meant that technical staff at the local ITV station TVS could not provide cover for another commercial television company, and TV-am's previous conflicts with ITN meant that the latter would not share its footage. The whole affair earned the company a severe rebuke from the IBA, which told the company to invest and improve its news coverage or it would lose its licence.

In an echo of the changes which had occurred in newspapers, Gyngell was determined to make use of technical developments in television in order to reduce staff and save money. He believed that the ease of use of modern broadcasting equipment meant that staffing levels could be reduced: ENG crews would no longer require a separate lighting technician (following a pattern familiar in Gyngell's native Australia), and technical personnel could be virtually eliminated. This brought him into conflict with the broadcasting trade unions, but gained him support from Prime Minister Margaret Thatcher and her government. During 1986, TV-am became the most popular breakfast television service in the UK, as the BBC's Breakfast Time lost viewers. In November of that year, the magazine-style Breakfast Time took on a more heavyweight approach; and in 1989 the BBC replaced Breakfast Time entirely with a more in-depth and analytical news format called Breakfast News, reminiscent of the original format used by TV-am.

In the hurricane-force storms that hit England in October 1987, electrical power to the studios was lost and an emergency programme had to be transmitted from facilities at Thames Television's Euston Road centre, using reports from the crews of TV-am and those of ITN, TSW and TVS. All this notwithstanding, the programme continued to thrive. Eventually, Gyngell fired all of the locked-out technicians, replacing them with non-unionised labour from around the world.

Intra-industrial dispute
On 23 November 1987, technicians at the station went on a 24-hour strike. Management locked out the strikers, but stayed on air using non-technical staff to broadcast a skeleton service including, among other things, episodes of American series including Flipper, Batman and Happy Days.

Gyngell himself took to directing the show personally, and various secretaries (including Gyngell's own) manned cameras, when a reduced normal service resumed on 7 December. Although shambolic at times, this schedule turned out on occasions to be more popular than former programming, although not what would have been allowed to be broadcast under normal circumstances. Further discussions continued with the unions; however, on 16 February 1988, all the technicians were made redundant,  with many of the technicians being informed by an announcement made on News at Ten.

In the years that followed, the station gradually found its feet again. By the early 1990s, operating with a significantly reduced staff, it was the world's most profitable TV station in terms of turnover.

Law change and demise
In 1990, changes in broadcasting law meant that commercial television franchises were no longer allocated on merit or potential, but rather through a blind auction. Following these changes, the Independent Broadcasting Authority was replaced by a light touch regulator, the Independent Television Commission (ITC). TV-am was required to re-apply for its licence in May 1991. The ITV franchise results were announced on 16 October and the bid for £14.3m that TV-am had made was beaten by another consortium, Sunrise Television (renamed GMTV when it launched) which offered £36.4m. Ironically, in the years following its launch, GMTV approached the ITC to retrospectively obtain a reduction in this fee, taking it to a level below what TV-am had originally bid.

By February 1992 the first on-screen effects of the licence loss became obvious, with TV-am closing its in-house news service and contracting it out to Sky News for a one-off payment. Children's programming also suffered, with fewer appearances of Timmy Mallett, though Wacaday would continue during major school holidays until TV-am's close. Another impact was the abrupt cancellation after just six weeks of the Chris Evans-hosted Saturday morning strand TV-Mayhem, which had initially been commissioned for a 40-week run, and its replacement with presented-out-of-vision back-to-back cartoons strand Cartoon World on Saturdays from 8 am (extended to 7:30 am later in the year).

Margaret Thatcher, whose government had introduced the change to the allocation of commercial television franchises (but who had by then been replaced as Prime Minister by John Major), famously wrote to Bruce Gyngell, apologising for being partly responsible for TV-am losing its licence. Her letter read, in part: "I am ... heartbroken. I am only too painfully aware that I was responsible for the legislation." The letter was private but Gyngell made it public, which drew criticism from friends of the former Prime Minister.

Closure
The station's final broadcast ended on 31 December 1992 at 9:21 am. Credits over a black-and-white still of the station's cast and crew in the studio showed snapshot of their portraits as the screen faded ending with the caption: TV-am: 1 February 1983 – 31 December 1992.

This was then followed by the last commercial break after which there was no final appearance by the famous eggcups; they had been seen for the last time the day before. Instead, the final promotion was for GMTV which began broadcasting at 6am the following day.

While TV-am was an independent station and had used an expensive, purpose-owned custom-built studio complex at Camden Lock, GMTV used studio space at The London Studios owned by one of GMTV's shareholders, LWT.

The studios
Breakfast Television Centre in Camden Town was sold to MTV Networks in 1993, with the famous eggcups still standing on the roof of the building beside the Regent's Canal. As well as being used by MTV for the production of its programmes, MTV Studios, as they were known, were available for commercial hire within the TV industry. The TV-am lettering built into the fascia of the building was obscured – by being covered with discs – but were still partially visible until they were completely removed during further renovations in spring 2012.

In 1999, a fire broke out in a video suite, causing extensive damage to the first floor and roof of the building. Production studios and offices were undamaged, as were the eggcups.

In 2011, MTV Networks applied for permission to make changes to the building, primarily to remove some of the studios – which were in decreasing demand following changes in MTV's scheduling and commissioning practices – and replace these with modern office space. The rear of the building, facing Regent's Canal, was repainted grey rather than blue, but the structure – and the iconic eggcups – remained in place. The front of the building was more extensively redeveloped during 2012–13: the studio block, which had been the site of the original TV-am studios, was demolished and replaced with a new glazed-fronted office complex. The front 'courtyard' between the prior studio and office sections was renovated and reorganised, including the installation of a green wall. The office suite on the other side of the courtyard remained in place but was renovated, including the removal of the obscured-since-1993 'TVAM' lettering from the building fascia. MTV Networks continued to operate from the building during the rebuilding and renovation works, and following the construction of the expanded office space, it was able to move Comedy Central UK and Nickelodeon UK from their prior central London office complexes to Hawley Crescent.

Brand and programming
In August 1993, TV-am plc became Crockfords plc, since 1995 known as Capital Corporation Ltd, a gambling company which is currently non-trading.

The TV-am name and logo, and 15 registered trade marks, are now owned by journalist Ian White.

The archive of TV-am programmes made between 1983 and 1992 was taken over by Moving Image Communications Ltd, which recruited AP Archive as exclusive licensor of the TV-am footage library. The AP Archive claims to have over 10,000 hours of available TV-am material.

Presenters

 * Lisa Aziz, 1989–1992, newsreader, later joined Sky News.
 * Jeni Barnett, host of Pick Of The Week, Postbag.
 * Adrian Brown, reporter, newsreader, presenter of Good Morning Britain.
 * Gyles Brandreth, host of Postbag.
 * Tania Bryer, 1992, weather presenter.
 * Kay Burley, 1985–1988, reporter, newsreader, presenter.
 * Anne Diamond, 1983–90, presenter of Good Morning Britain and Anne Diamond on Sunday.
 * Moya Doherty, reporter, presenter of After Nine.
 * Diana Dors, 1983–1984, diet and later agony aunt.
 * Maya Even 1989–1992, began her television career at TV-am in 1987, first as a researcher in the political unit and then as a producer and reporter from 1989.
 * David Frost, Good Morning Britain (1983–84), The Sunday Programme (1985–86), Frost on Sunday (1986–92).
 * Paul Gambaccini, 1983–1992, film critic.
 * Jimmy Greaves, TV reviewer, presenter.
 * Michael Hastings, 1988–1992, Good Morning Britain presenter.
 * Gordon Honeycombe, 1984–1989, newsreader.
 * Jayne Irving, 1983–1989, newsreader, presenter of Good Morning Britain and After Nine.
 * Ulrika Jonsson, weather presenter.
 * Derek Jameson, newspaper reviewer.
 * Hillary Jones, resident doctor, host of After Nine.
 * Richard Keys, 1983–1990, presenter of Good Morning Britain, The Morning Programme, sport presenter.
 * Robert Kee, early presenter, Daybreak
 * Henry Kelly, 1983–1987, weekend Good Morning Britain presenter.
 * Lorraine Kelly, October 1984 – 1992, reporter, presenter of Good Morning Britain.
 * Rustie Lee, consistently appeared on the show in the cooking segment.
 * Mike Morris, 1983–1992, Sport presenter, presenter of Good Morning Britain.
 * Nick Owen, 1983–1986, Sport presenter, presented Good Morning Britain alongside Anne Diamond.
 * Michael Parkinson and Mary Parkinson, 1983, weekend programmes.
 * Eve Pollard, showbusiness reporter.
 * Angela Rippon, 1983, presenter of Daybreak and Good Morning Britain.
 * Anneka Rice, 1985–1987, guest presenter, Good Morning Britain.
 * Caroline Righton, April–October 1987, presenter.
 * John Stapleton, 1983–1985, reporter and presenter.
 * Kathy Tayler, 1989–1992, presenter of Good Morning Britain and After Nine.
 * Chris Tarrant, roving reporter and host.
 * Gordon Thomson, guest presenter, celebrity reporter.
 * Lizzie Webb, aka 'Mad Lizzie', fitness guru.
 * Lynn Faulds Wood, consumer affairs 1983–1984

Children's programmes

 * Tommy Boyd – Wide Awake Club.
 * Dick King-Smith, presenter, Rub-a-Dub-Tub.
 * Timmy Mallett – Summer Run, Wide Awake Club, Hey, Hey It's Saturday and Wacaday.
 * Michaela Strachan – Wide Awake Club, Hey, Hey It's Saturday and Wacaday.

Series made by TVAM

 * Are You Awake Yet? (1982–1986)
 * Cartoon World (November 1991 – December 1992)
 * Dappledown Farm
 * Data Run/Summer run
 * Hey, Hey It's Saturday (1989–1991)
 * Jungle Fun (1991–1992)
 * Roland Rat
 * Rub-a-Dub-Tub (1983–1984)
 * SPLAT (1984)
 * Top Banana (1991–1992)
 * TV Mayhem (1991, was axed after six weeks)
 * Wacaday (1985–1992)
 * Wide Awake Club (1984–1989)

Acquired programming

 * The Transformers
 * Challenge of the GoBots
 * The Get Along Gang

title: TV-am


text:
User talk:Migueldelval

Soy User:Pfortuny de la Wikipedia. Es importante lo siguiente. Si bien vuestra ayuda es muy apreciada, hay varios detalles (como que el contenido de algunas páginas que habéis insertado puede ser violación de Copyright, etc...). Os agradeceríamos todos que fuerais a la página siguiente (para leerla): http://en.wikipedia.org/wiki/MediaWiki:VfD-Translation_articles porque vuestras colaboraciones pueden desaparecer. Si alguno de los profesores lee esto, por favor que se ponga en contacto conmigo y podemos procurar hacer algo que sea mejor para vosotros y para toda la wikipedia (en el sentido de que vuestras colaboraciones sean realmente nuevas y no sean borradas "por error").

De todas formas, gracias por colaborar, pero por favor, escribidme.

Si vais a mi página de usuario de la wikipedia

http://en.wikipedia.org/wiki/User:Pfortuny

en el enlace (a la izquierda) "E-mail this user" me escribís un mensaje y así puedo ponerme en contacto con alguno de los organizadores.

Gracias. Pedro Fortuny.

title: User talk:Migueldelval