TV Times: 1982 World Cup preview

What possesses a top magazine to feature a bunch of grotesques on its cover in the hope that it will sell by the million? Ask the editor of Hello magazine... or better still, stop for a moment and delight at the colourful composition that graced the front of the TV Times for the opening week of the 1982 World Cup.

Inside, there was a six-page special feature on the big event, part of which contained the writing of Martin Tyler. First up, Tyler explained (not entirely convincingly) that the hundred or more members of ITV Sport bringing the World Cup to our screens were of the highest order. I say ‘unconvincingly’ on account of the paragraph that begins: “Ron Atkinson, one of our panel of experts in Spain, is always a stickler for the correct pronunciation; he’s sure to be overheard practising the names of foreign players...” Pity he kept saying ‘tourneyment’ instead of ‘tournament’ as that was one of the many English words he was supposed to have mastered.

Tyler went on to describe the other key personnel in the ITV Sport team. There were the pundits - Brian Clough, Mick Channon, Denis Law, Jack Charlton - not to mention Ian St.John, Jimmy Greaves and Brian Moore. There were a raft of top reporters doing the rounds in Spain, namely Jim Rosenthal, Elton Welsby, Gary Newbon and Nick Owen, plus any number of familiar commentators such as Gerald Sinstadt, Hugh Johns, Gerry Harrison and John Helm. Tyler was even keen to point out the highly-talented squad of secretaries as well as all the production crew. Quite right too, I say.

Martin Tyler wasn't the only writer brought in to put TV Times readers in the mood for Spain ‘82. Tottenham’s Osvaldo Ardiles explained how Argentina could no longer rely on the ageing Leopoldo Luque and would now look to Diego Maradona - still only 21 at the time - for any success. Though the Argentinean was correct to point out that Brazil were “better than ever before”, he was a little way off the mark in predicting that they, along with Argentina or West Germany would win the World Cup.

Francois Van Der Elst, West Ham’s Belgian striker, focused on the European team’s chances of glory. West German coach Jupp Derwall, said Van Der Elst, “has a brilliant squad, so strong that he could pick two separate world-class teams,” picking out Paul Breitner and Karl-Heinz Rummenigge for special attention. “Italy I’m not so sure about” continued the Belgian. “Their side has stayed the same for perhaps too long and their tactics are too defensive. Away from home they are less potent.” So much for unerring insight there, then.

Maybe that was provided by Bobby Moore who was asked to discuss England’s chances. Though the former World Cup winner felt England could progress to the second round and beyond, he was at pains to point out the areas for concern. “My chief worry is that they will play well but, as we’ve seen often before, not score enough goals” said Moore. A look back at England’s results in Spain show the number of goals scored per match went as follows: 3, 2, 1, 0, 0.

With Denis Law wondering whether the pressure of being at a World Cup would be too much for Scotland’s younger players and Billy Bingham fancying his Northern Ireland team to “reach the quarter-finals” that year (there weren't any quarter-finals, Billy), it was certainly shaping up to be an exciting competition.

Just as well, then, that the TV Times was on hand to provide more cut-out-and-stick pieces for their World of Sport World Cup Wallchart that was given away with the magazine some weeks previously. I actually owned that wallchart back in the day, and my one abiding memory of it was the small, fiddly name tags that had to be glued on where the second round matches were displayed. Even now I've probably got traces of UHU under my fingernails somewhere.

Elsewhere in this issue, there were features on Elizabeth Taylor and Julie Goodyear (Bet Lynch in Coronation Street) plus adverts for Boots (‘Ferguson 3V29 VHS Video Recorder - £465’) and Ex-Lax Chocolate Laxative ("What a nice way to take a laxative"), but during a World Cup it was the non-football programmes on TV that would prove most important to some.

If the sporting action from Spain wasn't for you, there was always The Cannon and Ball Show, Sale of the Century, On The Buses and Give Us A Clue to entertain you, if indeed 'entertain' is the word we're looking for there. As we've said before, when there's a World Cup happening, TV companies are hardly going to put their best programmes out, and this just about proves it.

All in all, then, a curious 'special edition' of the TV Times. Though this issue commemorated a World Cup featuring not just one but three British sides, the magazine makers couldn't even find the budget to print their six-page guide to the tournament in full colour.

Putting that to one side, however, ITV were clearly looking forward to the start of the competition, and as history proved, their coverage was every bit as good as that of the BBC's, if not better at times.

I just wish I could find that old wallchart...

The Scoreboard: A display of practicality

I’m embarrassed to say it, but I used to have a bit of a thing about scoreboards when I was younger. Stadium scoreboards, game show scoreboards, cricket scoreboards… you name it, I loved it.

There was something about those static signs  with changeable numbers that had me transfixed as a kid. If someone scored a point in a football match or on a TV quiz show, I’d wait with eager anticipation to see the scoreboard update the total, be it manually or digitally. It’s ridiculous, I know, but I loved the magisterial sense of purpose that a scoreboard possessed.

This blog doesn’t take TV nostalgia as its subject, else you’d be spending the next 15 minutes reading about It’s a Knockout or Family Fortunes. Instead I shall turn my attention towards the humble football scoreboard, and they don’t come much humbler than the one installed at Wembley Stadium around the time of the 1966 World Cup.

Essentially this was a single-line display showing the two competing teams and the score. Being very much old-tech, the scoreboard was literally just a printed  or painted sign with white characters on a black background along with those all important changeable numbers. And those numbers needed some effort to change as the full set were available as individual tiles that had to be lugged around and slotted into place by a couple of men in white coats whenever anyone scored. It was simple, but it worked.

After a while, Wembley put in place an electronic scoreboard which, compared to its predecessor must have seemed like it had arrived from another planet. Using a vast array of light bulbs switched on and off in distinct configurations, rudimentary characters could shine out from the inky black background to tell the crowd what the score was and also who had scored. Such electrical wizardry can't have been lost on a generation eager to see technological advancements improving their game-viewing experience.

Around the UK, scoreboards of all kinds had appeared at football grounds right from the very early days but they never really had the 'wow' factor, nor did they become a universal feature. Scoreboards (old-fashioned or new) were high-maintenance and often expensive so only the most committed clubs went out of their way to get one.

Sheffield Wednesday’s Hillsborough ground got an electronic one around the time of the 1966 World Cup, but like so many of their day, it had its faults. Blown bulbs and faulty mechanisms meant text was displayed with letters missing or even shown on a different area of the scoreboard. After a while, fans got used to the garbled messages and even grew to like them as a distraction from the action taking place on the pitch.

Fully digital scoreboards like Wednesday's were slow to make an impact and venues hesitantly looked for a compromise. Despite the 1970's beginning on the crest of a scientific NASA wave, the greatest tournament on the planet was still relying on name cards and a handful of bulbs to tell people what they needed to know. If it wasn't for the opportunity to raise some money from the advertising space it provided, many scoreboards probably wouldn't have even seen the light of day.

In the end, our first sight of a new-age scoreboard didn't arrive in England or South America, but from the one place most people least expected it. Over in the United States, the occasional blown bulb wasn't going to stop NASL clubs making a song and dance about the new-found sport they were purveying.

With players like Franz Beckenbauer, George Best and Pele in town, fans needed to be reminded about the razzmatazz they were witnessing, or at least reminded who it was they were watching.

In addition to the basic electronic scoreboards already resident at some NFL and baseball stadia, bigger, more advanced displays cropped up at a small selection clubs across the country. Many of them not only displayed the score and scorers but also entertained the fans with animated imagery and messages.

With such extravagance creeping into the world game, it was hardly surprising that Subbuteo updated their own scoreboard accessory to a more modern version in 1978. The World Cup that year reinforced the notion (at Buenos Aires at least) that a new technological age had dawned, yet actually the rate of progress was still painfully slow. Even in Spain four years later, the old hand-painted name plates and tiles were still being used.

It would ultimately be up to the major stadia of the world to lead the way where modern scoreboards were concerned. At seemingly every major Cup Final on every continent of the world, scores and scorers were illuminated for ticket-paying supporters with great efficiency and clarity. Huge matrices arrived to give displays better clarity and definition, to say nothing of bigger text. Yet just as soon as they'd reached the peak they were always destined for, traditional scoreboards were starting to see the writing on the wall. (Or should that be 'board'?)

By the mid-1990's, Sony's Jumbrotron system was appearing at some of the world's major musical and sporting events, affording spectators the chance to see real-time video on enormous screens. The ability to provide people not just with text-based information but moving pictures and action replays left the traditional scoreboard looking rather old-fashioned and redundant all of a sudden. Even down-at-heel football clubs across the UK saw the potential to attract fans, even if it meant snapping up cruder, cheaper versions of Sony's big screen.

And so we find ourselves in 2012, an age where virtually every Premier League ground seems to have a big video screen tucked away in at least one corner of the ground. For all that, however, some clubs have remained true to the old virtues, believing that a simple scoreboard should not be a big distraction to the things happening on the pitch. Therein lies hope for the future - a reminder that sometimes we can learn a lot from the things we learned in the past. Video screens are all well and good, but the scoreboards of days gone by told us exactly what we needed to know in a beautifully simple way.

Panini: Espana 82

Of all the Panini World Cup albums, this one will always have a special place in my heart because it was the first one I ever collected as a child. Chances are I got my album as a free giveaway with Shoot! magazine (so many Panini albums were back then), after which the lure of the accompanying green sticker packets became too much for me to bear. So what was Panini’s Espana 82 sticker album like?

Front cover

It was often thought that nothing could beat the image of a football player on the front of a book or magazine to truly encapsulate the exciting nature of the thing. That was certainly the case here and an artist was commissioned to paint just such a player, but to ensure neutrality the he was shown wearing a kit of yellow and red because, let’s face it, no-one in their right mind plays in yellow and red.

Dribbling across the mainland of host nation Spain like a giant, it’s pleasing to observe the English flag featuring among those of all the participating nations rather than the flag of Great Britain which was so often used in lazy fashion by graphic designers for years and years. Aside from the multitude of national identities, the logo and mascot of the 1982 World Cup flanked the left margin below the album’s title, proudly displayed in white on that vivid pine green background.


Page 2 and 3

Turn the front cover and the first thing you see is not the list of world nations translated into six languages or even the page of foils showing the trophy, mascot, logo and poster. Instead, you’re immediately distracted by an insert promoting a competition where you could win a wide range of sporting equipment from Lillywhites. All you had to do was predict the best four teams in the tournament, and a quick glance at my album shows I actually filled in my application form without entering it. Sadly my guesses of Argentina, Brazil, England and West Germany wasn’t ever going to win me anything, so it’s just as well I didn’t waste money on a stamp with that one.

Stadia and Posters

Previous Panini sticker books for major competitions often featured stickers showing the cities where games were being played, but Espana 82 focused squarely on the stadia and provided artistic relief by showcasing the posters commissioned to represent each location. In many ways, these posters were the high point of the album and it’s only a shame we couldn’t get a better view of them on the rather small stickers.

As it is, the posters were beautifully designed by a wide range of artists and each one had a distinctive look that undoubtedly added something to the album if not the competition as a whole. One of the posters has since taken on a special significance for me as in 2007 I visited the museum in Bilbao dedicated to the work of Eduardo Chillida, the Basque sculptor and artist. Having spent the day wandering around the beautiful gardens where much of of his work was on show, I visited the gift shop on my way out and there hanging on the wall was the poster I remembered from my Panini Espana 82 album - Chillida’s design representing Bilbao in the World Cup that year.

Team pages

In common with many of Panini’s early albums (domestic and international), Espana 82 used a two-tier system which seemed a little prejudiced towards those teams seen to be making up the numbers. For the footballing heavyweights of World Cup '82, a two-page spread was provided across which 13 player stickers could be seen accompanying a team picture and silver foil badge. Sadly Panini felt at the time that some teams, such as Cameroon and Kuwait, were only worthy of a single page onto which were crammed 16 players on eight half-and-half stickers (plus badge and team pic). All a little unsatisfactory, but it does at least provide a different page layout for those wanting more variety.

As ever, a welter of useful and occasionally superfluous data was provided on each of the teams including recent match results, player birthdates and places, but if anything it was the player stickers that themselves blurred the distinction between good and not-so-good. Having gone into production well before the tournament started, it must have been the devils own job to include players that would eventually take part in Spain that summer and predictably some failed to materialise (Alvin Martin, I’m looking at you).

For those that were correctly included in the album, much confusion was caused in many a juvenile mind by the number of unfamiliar team shirts displayed on stickers (let alone tracksuits) because kit manufacturers, of course, used the World Cup to launch new kits. This, though, was the price we were willing to pay back then as, if nothing else, we got to see what sort of shirts a team was wearing before the World Cup began.

Back cover

To round off this decent, if unspectacular sticker collection, we were treated to an advert giving Panini collectors the chance to snap up a surely irresistible bit of footy kit. Yes, by sending off a cheque or postal order for £5.99, you too could own a Subbuteo holdall and a Kikari Soccer Trainer!

(What’s that? You don’t know what a Kikari Soccer Trainer is? Oh alright, if you must know, it’s a net that fits round a football on the end of a long piece of elastic so you don’t have to keep chasing after it all day every time you re-enact Terry McDermott hitting a 30-yard-volley. Satisfied now?)

Rich J's Top 5...World Cup Posters

Following on from Chris' Favourite 5 Tournament Logos article, I was going to do my usual thing and follow it up with my own top five, but then I decided to go off at a slight tangent and instead go for my Top 5 Official World Cup Posters.

I've often found with World Cups that the official posters tend to disappear into the background and usually ones featuring the mascot or variations on the logo tend to take prominence. An example of this would be Italia 90. We all remember the blocky stick man logo and he was all over the posters, but does anyone remember this?

Well I didn't...

If you want to see the full range of posters, you can view them here where you can marvel at just how crappy they've become in recent years. Seriously, anything since 1990 is watered down, focus grouped, corporate bilge.

So, for the first time in any article I've written about the World Cup, I'll not be including anything from any tournaments I actually watched at the time... yep, not even Mexico 86 gets a look in.


1.  Mexico 70

We really hit the ground running here! Minimal design but oozing cool, the sheer confidence and arrogance of this poster just smacks you upside the head and makes you its bitch.

Following the timeline of WC posters, there's a clear shift in direction with this one as all previous posters had been very business like and conveyed the seriousness of the occasion. Mexico 70 kicks down the door, traces of white powder gracing its upper lip, gun hanging loosely by its side, flanked by groupies and just dares you to question its pink attire.

I'm Mexico 70, I'm wearing pink. Now you're all gonna wear pink. And we do...

Oh yeah... and that font. That font is the Mac Daddy!


2. Argentina 78

If Mexico 70 was the dealer, Argentina 78 has clearly been enjoying the fruits of its produce.

Here we meet Argentina 78 at a club in New York just approaching closing time. The DJ has just started spinning Gloria Gaynor and it's happy hour all over again!

Following the new arty direction provided by Mexico 70 and West Germany 74 (despite its sombre appearance, there's definite free-form art at play), Argentina 78 perfectly captures the explosion and batshit insane atmosphere of that tournament. The sensible font stands aside to let the joyous, moustachioed protagonists take centre stage. Even the logo appears to be a wallflower at this dance, confined like a shy teen to the dark corners of the dance floor.

It'd be nice to think this level of joy was real and not in any way Junta induced, but one can't help think the smile of no.8 disappeared once his back was to camera.


3. Uruguay 1930 

From the ridiculous to the... slightly less trippy. The first World Cup was held in 1930 and this fantastic Art Deco number couldn't capture that era more perfectly if it tried.

One can't look at this poster without hearing the Charleston, a dance which even the arrow on the left appears to be getting down to. In fact, what is that arrow even doing there? Who cares? The Great Depression has just started and we just wanna dance our worries away!

From the elongated, hex-headed keeper, caught here mid-save (ah, but is that Uruguay's or Argentina's ball?) to the dynamic font, this is a classy piece of work and provides a bucket load of excitement for a brand new football tournament! Perfecto!



4. France 1938

This is the most serious looking of my top five, but also the most elegant.

What looks like a munitions factory worker from a WWII poster (foreshadowing?) standing atop the world, foot resting on the ball, confident in the bagginess of his shorts (foreshadowing Euro 2012 this time!) this poster is all about serenity and occasion.

This is the 1938 World Cup and this is big. And that's all you need to know. Whereas the first two posters felt inclined to impart secondary information (start date, final host city etc), this one just tells you what you need to know. Time and Place. Be there, or be... well, England?

One interesting point to note... despite the tournament being held in France, the globe doesn't seem to want to show you where that is. One could imagine this point being raised at some point followed by the inevitable Gallic shrug before the proof went off to the printers.

Ah, you know what, I've just looked again and of course, the ball is sitting in France...
Poster Designers 1 - 0 Idiot Blogger.


5. Spain 1982

ESPANAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAARGH!!!!


This is like one of those psychiatric ink blot tests. What can you see? I can see what seems to be a snail, balanced on the head of an unhappy dog, who appears to be sniffing the behind of a Toucan being attacked by a fish. Am I sane doc? Am I SANE???? I don't think I can make sense of anything anymore.

The best part of this poster is the designer appears to have been given the brief, "Drop acid and just paint whatever you see... oh and I think it's about a World Cup or something... probably mention it somewhere on there, but mostly just get ripped to the tits!'

SPAIN 82! F*** YEAH!!!!