The BBC has been the market leader for building new relationships and services with creative’s from every sector. Be it the early ground breaking Backstage initiative for technology engineers.
Shes right and it does beg the question, why is there no more BBC Backstage?
I thought this was covered in the BBC Backstage ebook which was put together by the lovely Suw. But it looks like I may have been slightly mistaken. On top of this, I keep making reference to this blog post which I never seem to quite finish. So enough, its finished and out there for all to read…
First misconception: The BBC never shutdown BBC Backstage
Actually I did… When I first mentioned the possibility of closing down BBC Backstage to Adrian (my manager) he thought I had totally lost it. I remember a meeting with Adrian and Matthew (head of R&D) where I talked about shutting it down and I gave my reasoning which made soften the blow a little. I had thought long and hard about leaving BBC Backstage and passing it on to someone else younger and full of energy (I even had a number of names put forward to consider). But it didn’t make sense.
The problems with Backstage were not about who was running it but more about what was happening around it (as we will see in number 4)
Second misconception: The BBC sits on a ton of data.
The core of BBC Backstage was the backstage license which is founded on non-commercial reuse of data. This gave backstage the license to go around the BBC educating/persuading/convincing stakeholders about the benefits of open data at a time when data wasn’t a big thing. The problem is the data wasn’t ours. For example the Met Office would make the weather data available to the BBC under strict licensing. Deals were done for non-commercial use and it was always neigh impossible to reverse a deal without effecting the production side of the things.
Lots of people imagine most of Backstage was hacks. In actual fact lots of it was people experimenting.
Third misconception: Developers found new business models
This backs off the non-commercial problem. Because everything was under the non-commercial license, when things like the Apple App Store came along and offered developers clear ways to make money from their work. We had to shut down a lot of prototypes and tell people not to use BBC backstage data in there apps.
This was actually a issue from early on when Google Adsense, offered developers a nice way to make a small amount of money based on numbers of people who came to the site. It was argued that if developers made enough money to just cover the hosting of the prototype, we could turn a blind eye to. This wasn’t sustainable as it kept coming back to bite every once in a while. But it wasn’t till the App stores when the number of prototypes and services wanting to go commercial blew up.
Once developers learned it was actually against the terms and conditions, they naturally moved on to other platforms. We did talk to BBC Worldwide many times about working together but it just wasn’t to be.
Forth misconception: The Open Data Revolution passed it by
Backstage had a hand in getting this revolution going in the UK and beyond. 7 years later, we had influenced everyone from other companies to the government. We were there right at the start of this revolution and fundamentally changed the BBC’s thinking about data. However it was clear this was just the start and as a part of BBC R&D, it was right to move on and have the same impact in another emerging area. The developer network part of Backstage was tricky to balance with the push to drive forward.
We did think about splitting it off and working in partnership with others who were later to the scene but it just didn’t quite happen and in the era of cost cutting and doing the things which really have an impact for our audiences it was harder to justify.
Fifth misconception: It was all about DRM and the BBC wanted rid
Looking at the mailing list, its easy to imagine it being all about DRM and not a lot else. But in actual fact while the DRM debates rages on, there were lots of people creating and making lots of prototypes. Lots of them were documented on the website but there were some which were so illegal there was no way I could put them anywhere public. Those were more of a look what we could do…
Even though they were much more black/grey around the licensing terms, they drove the imagination and clearly got a number of us thinking what if…? One such example is the widely talked about blast from the past called Panadora PVR (now called Promise.TV) which lead to Tom Loosemore’s talk at Etech 2007, the Edinburgh TV unfestival and the building of the infamous BBC Redux.
The BBC gained a lot from having the debate and being rather open about it all.
Sixth misconception: There was no money or love for BBC Backstage
This is somewhat true and false. Yes it became more difficult to justify and we had gone through quite a difficult patch, while losing some key people to project. On top of that we had a new head of Future Media (Erik Huggers), moved into BBC R&D and was shifting the project up to the north of England to fit in with BBC’s increasing push to solve the London and South East bias.
Everything was changing and everytime we took BBC Backstage in a different direction, there was push back from the dedicated community. To me this is the way of the world (forever changing) but it certainly makes funding such projects difficult when you want a 3-5 year plan.
There was much love for BBC Backstage from Future Media and other departments in the BBC, there was lots of talk about setting up other Backstages in different areas as a outreach project alone it hit audiences the BBC was not so good at having conversations with. The formula was repeatable but should it be? We could have done Mashed all over the UK but was that a good idea? I certainly didn’t think so and ultimately my thoughts about driving forward were correct.
Seventh misconception: We ran out of steam
Ok this might be true to a certain extent. But not from the lack of trying… You only have to look at the new things I’ve been working on since, including Channelography, Perceptive Media, etc. There is still fire in myself and I still have a lot to give… During that time, I will admit I was well over worked and I was being contacted by many people on the off chance just because I was out in the open. This certainly slowed down daily looking through BBC emails. Hence why I now have a another BBC email.
Ultimately I want to thank everyone who has been involved in BBC Backstage in the past (too many to name). The decision was made under a ton of stress on my part but I felt I was making the correct decision for everyone including the founders, the BBC and the community. Then and even now. I mean can you imagine BBC Backstage in 2013!?
Things need to end (such as BBC Backstage, Innovation Labs, etc) for others to spark, grow and mature like BBC Connected Studio.