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“... It is not by chance that the history of the Situationist International reads like an account of a military campaign. During their first, ‘artistic’ phase, which ran roughly from the group’s foundation in 1957 through to the early Sixties, the Situationists were at war with what they contemptuously termed ‘the civilisation of the image’. Their enemies, in ascending order of importance, were work, leisure, boredom, advertising, modern art and, above all, the tendency of cultures of mass production to turn real life into an endless series of frozen gestures or ‘spectacles ...”

“... insouciant flair for self-promotion he displayed as a member of the Parisian avant-garde, but as Andrew Hussey makes clear in his critical biography, this is to overlook the extent to which lettrisme was driven by the experience of trauma. The fact that Isou rarely mentioned the Romanian Holocaust is only a measure of the impact it had. After the ...”

“... of the programme were back in fashion. According to Birt, the BBC’s Chairman, Marmaduke Hussey, regarded Panorama as a microcosm of a BBC that was ‘out of control’, that had ‘poor processes for handling legally sensitive programmes’ and ‘no one who told its journalists that they were not doing well’. Birt agreed, with consequences for ...”

“... competition. In 1992, the governors (then under the chairmanship of the Thatcher appointee Duke Hussey) made the former LWT director of programmes John Birt – the inventor of Weekend World and Blind Date – director-general. Faced with a reduction in the real value of the licence fee, Birt proceeded to change what he described as the ‘sprawling command ...”