I've been watching and reading the numerous reports on the poverty-stricken abandoning their dogs with a mixture of distress and anger. It's costing too much to feed the dogs, they claim. Bollocks. Utter bollocks. Good, healthy dry dog food - complete, not mixer - can be bought loose in pet shops for about a pound a kilo. A kilo lasts for about a fortnight in the case of my own, admittedly small, canine associate, supplemented, of course, by whatever she can get off my plate. That's a pound for two weeks of uncritical adoration, and the distinct sense that not everything's completely buggered. Dogs are life-enhancers, but it's not one-way traffic. People who claim poverty need to look long and hard at their spending habits before abandoning the dog. How many of them spend a tenner a day on fags? How many complain about the price of their own food, but persist in buying pre-packaged crap and ready meals rather than buying ingredients and making it themselves?

Christmas is off to a flying start here, thanks to Gary Rodger, who alerted me to the following lines in Robin Askwith's Wikipedia entry:

"Recently several internet sites - including the IMDB - claimed Askwith had played the lead in Oh No, Its Derek Anus, a 1972 LWT sitcom. However it has since emerged that this was an internet prank/hoax and no such TV show exists, the IMDB no longer carries a listing for Derek Anus."

The trouble is that I now want this show to be real. It couldn't be worse than Bottle Boys.

And so we reach the final window of the Cheeseford Virtual TV Nostalgia Advent Calendar, prising the flap open gingerly and wondering what in the name of Jesus H Cribbins we can expect to see. Oh, it's a VT clock blackboard. How exciting. However, before you all demand refunds, let me tell you that this is the VT clock from studio A at Broadcasting House, Whiteladies Road, Bristol, now enjoying a very happy retirement. As a result, if any of you have timecoded Windmill Road windfalls of things like Vision On, Animal Magic, Jigsaw, Think of a Number, Leap in the Dark, Scoop, Take Hart, etc, this is the actual bit of blackboard that you see at the start. Not Rutland Weekend Television series 2, unfortunately, as though the shows were made in studio A at Whiteladies Road, they were given new, different clocks by the VT editors. Unfortunately, the accompanying Smiths clock became detached when studio A was taken out of commission, and is probably now in landfill somewhere under the M4.

As a special Christmas bonus, I have been alerted to the return of the ads for Mike's Carpets to Yorkshire Television. These cheaply-made efforts, featuring a man in a roomful of synthetic rugs with something similar perched on his bonce are the kind of commercials that come to the fore in times of recession. During boom times, ITV lives high off the hog, and has no need of Mike's advertising pound. However, when the chips are down and the Woolworths account has gone down the gurgler, the rate card goes out of the window and all money is good money, especially if it prevents ad breaks from consisting entirely of trailers for things starring Robson Green. Here's some vintage Mike. I'm just off to record a couple of hours of YTV in the hope of catching one of the new ads. Merry Christmas to one and all.

In the penultimate window of the CVTNAC, we have a spread from a 1957 book on TV (I have no idea what it's called, because it lost the covers and title page long before I got hold of it) about the building of the BBC Television Centre.

Having spent the majority of the weekend either recovering from a monumental hangover or trying not to emulate Rod Hull's dying moments while attempting to capture two different satellites on the same dish (I gave up on Hotbird 13E, as there's nothing of interest on it save for the odd Arabic test card and the surreal experience that is Tele Padre Pio - finally I managed to get the whole thing into a position where both Astra satellites came in loud and clear), we're now playing catch-up.

So, for what would have been Saturday's offering, have another end credit, this time from Morecambe & Wise's 1976 Christmas show. This is, apparently, the only picture in existence of the boys with producer Ernest Maxin (the frantic pace of rehearsal and production left nary enough time for even a snapshot), and even then, Maxin is obscured. Perhaps they thought he was too handsome to share the limelight with them. Bunging this fine picture on here gives me a chance to alert your attention to the latest issue of the very fine Kettering which contains a piece by me on how video tape rescued the Christmas TV schedules, and a splendid dissertation on Sunday night ITV comedies by that nice Mr Norman, among other treats.

In Sunday's window, we find one of the obscurer idents from the 2002-2006 BBC1 'Rhythm and Movement' package, while for Monday, we return to 1993 for an edition of The Late Show about the new ITV contractors. The production credit for the programme was in the style of the idents used at the time by Carlton in London.

For today's Advent calendar entry, we see what happens when you play the wrong take of a current affairs show.

The 18th window of the CVTNAC springs open to reveal this floor plan of studio G at Lime Grove, the compact complex occupied by BBC Television from 1950 to 1991. Over the years, G was home to shows like Dee Time and Top of the Pops, but its rectangular shape made it less ideal for situation comedies. The first Hancock's Half Hour TV series was made here, but the various sets had to be placed in a line along one wall, with the audience a few seats deep along the other, with a majority of audience members unable to see what was going on at any given time. It was never converted to colour and closed in the very early 1970s.

A Pye mark 4 advert for the 17th day of Advent.

Tuesday's Advent calendar window pops open to reveal a coaster advertising HTV's studio and post-production facilities. The north Wales facility was reputedly very little used as news editors hated stories that were covered in Mold. Ay theng yew.

A double bill for today, as I was unable to get to a computer on Sunday. First off, the electronic test card known to its friends and associates as PM5544. Check your gratings. Go on. Fiddle with your colour, brightness and contrast until everything looks just right. It's all good, and it's all for you.

Secondly, the final credit from the BBC's 1972 adaptation of Hedda Gabler, complete with copyright date added as an afterthought, as this was the transitional era between shows ending with a simple BBC tv (up to late 1971, if memory serves), BBC Colour (late 1971-early 1972) and displaying a date. Roman numerals were adopted from 1977 onwards, apparently to disguise the age of some of the repeats.

The LWT graphics department was always one of the best in the business, as day 13's offering goes some small way to prove. It's a still from the ident that heralded London Weekend's late night programming in the mid-1980s. The neon effect of the lettering is clearly being used to indicate glamour, glitz, excitement and possibly even naughtiness. The purpose of the graphic is to persuade insomniacs and sociopaths that sitting up into the dark watches of the night watching cheaply bought-in programmes was somehow comparable to hitting the town and having a good time. This comes from a tape of an edition of The Monte Carlo Show, featuring Anthony Newley. It was recorded (on Friday 21 June 1985, I am informed by the Times Digital Archive) for the benefit of my grandmother, who thought the sun shone out of Newley's backside, and for 'Strawberry Fair' alone, I'll concede that she may well have had a point. It was recorded on a timer as, on the night of transmission, my grandparents were actually out having a good time, probably at the bingo in Kingston. Unfortunately, an earlier programme had over-run (most likely the Athletics from Birmingham) and as this was very early in the Cheeseford family's adoption of wondrous VHS technology, padding the recording time was unheard of. So, we ended up with the last 10 minutes of a dubbed foreign film called There Once Was a Cop, and poor old Tony Newley being truncated in the middle of a disco version of 'Who Can I Turn To?'. The dubbed foreign film contains a child actor who would have been supremely slappable even if he hadn't robbed my dear old Nan of the finale of The Monte Carlo Show.

Talking of slappable, I was almost roused to violence at the cashpoint earlier. Now, I try wherever possible to avoid the Daily Mail 'hell in a handcart/isn't everything ghastly?' view of modern life. This isn't because I think everything's just dandy. It's because I believe fervently that man's default position is rudeness and self-interest, and that we've always been closer to hell than we care to acknowledge. However, the arsehole who pushed in front of me as I tried to pay a cheque in must be closer than most. There I was, standing well back from the person ahead of me in the queue, doing that ostentatious 'I can't see your PIN. Ooooh look at the watch straps in Timpsons' window' thing. I turned back to notice a chap had taken up a position at my side, a little in front of me. It came to what I knew to be my turn, and this bloke stepped forward with me, and stood at my side, looking at the keypad. Momentarily discombobulated by the brass neck of the man, I turned to him and said "If you're that desperate, you'd better go in front", rather than telling him to get behind me and wait his fucking turn. He said "Thanks", barged in and inserted his card. To the back of his head, I said "Actually, I was being a little sarcastic back then. I've got better things to do than stand around by cashpoints on freezing cold nights, giving way to pisstakers". He got his money out. He went back to his car, where his fugly wife/sister/both was waiting. I put my card in, and the screen changed to read 'Temporarily out of service'. At this point, had I been in need of cash rather than depositing, I wouldn't have liked to be this twunt. I would have thrown my bike squarely at his windscreen and taken the consequences fully. How do people like that go through life without ending up perpetually in traction?

Today's Advent calendar window pops open to reveal a set of colour bars displayed before the launch of BBC Arabic earlier this year, on its allocated channel on the Astra 19.2E satellite cluster. It's 720x576, so can be re-used to add jollity to your home movies and DVD compilations.

STOP PRESS: I have had an offer of a diary.

For day 11, here's something I found in the bottom of a drawer in my desk.

The 10th window on the CVTNAC takes us back to the mid-1980s and the Jazz 625 reruns on BBC2. Meanwhile, as a bonus, I thought I'd share some goodness that's been filling my ears of late. It's Stan Kenton's version of Hank Levy's 'Chiapas', recorded for BBC TV in 1972, and a finer bit of big band 5/4 you're unlikely to hear in a month of Sundays. Gary Husband's Force Majeure did a pretty super version of this tune a few years back too.

Day 9 of the advent calendar shenanigans, and it's back to the mid-1980s for a graphic used by Thames when announcing a choice of viewing on ITV and Channel 4. Imagine Philip Elsmore or Peter Marshall doing the announcement, and you're there.

Day 8. Even I, a hater of Big Brother and all it represents, can't help but hear those 2 words in a Marcus Bentley voice. To mark this milestone, we head back to the National Museum of Film, Photography and Television (as it was in 2004) and the hands-on studio exhibit. Like the tube simulators at the London Transport Museum, this was always crawling with children until slightly menacing-looking 30-something men in corduroy jackets suggested that they might like to go and amuse themselves in the museum shop for a bit. With the anklebiters despatched, the adults could give it some crab, had not the dolly been fixed to the floor. The camera casing is that of an ex-YTV Link 130, the development of which was so problematic and expensive that it brought TV camera production in the UK to an inglorious end. More sweepings from the studio linoleum tomorrow.

And now an appeal on behalf of Cheeseford. The other day, I found myself in a well-known chain of stationers, perusing the pocket diaries. Then I thought that there must still be companies or organisations out there flush enough to have their own diaries made for their staff and to give away to valued clients, etc. So, before I shell out for a standard Letts job with integral pencil, is there anyone reading this with access to complimentary diaries, and, if so, can I please have one? The more outlandish or notorious the firm, the better. If South African Nazi Tobacco are kind enough to give me the means to organise my 2009, then I owe it to them to carry their week-to-view masterpiece with pride. And if I get more than one offer, I will find homes for the surplus in a spirit of mutual goodwill, back-slapping and cross-fertilisation.

I note with sadness the recent announcement that all future ITV1 regional programming for the east of England will be presented from a shed at Postwick Park & Ride by BC, the Birthday Club tigerbear thing. Clare Weller's out of a job and John Francis is jiggered, while Stephen Lee's already made arrangements for himself and his increasingly surreal hair to emigrate to Australia. I shouldn't sound so flippant. The erosion of the ITV network and the role played by the regional companies angers me hugely. Anglia, while no longer a producer of network drama or entertainment, is still a good outfit.

So, for day 7 of the CVTNAC, I present a 2005 leaflet sent to satellite-equipped houses in the east of the Anglia region, announcing that they no longer had to watch the Cambridgeshire and Bedfordshire variant of Anglia Tonight, as ITV had shelled out to send both Anglia sub-regions into outer space. Comely weather person Wendy Hurrell must have sensed the way things were going, as she's now with BBC London. Incidentally, if the winner of the "meal at one of East Anglia's most prestigious restaurants" is reading this, please get in touch. It was saveloy and chips from the stall in Norwich market, wasn't it?

Having posted a vintage bulletin on aerial placement, I have my own reception quandary. When I moved into my current house, it had 2 satellite dishes. One on the front, aimed at Astra 19.2E - home of the old Sky analogue transmissions and numerous continental stations, and one at the back, for receiving Sky Digital. I've kept the front dish aimed at 19.2E, because stations like BR-Alpha and 3Sat show more live jazz in a week than the BBC deigns to shove out in a year. Those who are thinking 'Yeah right, I bet that's not the sort of jazz he's interested in' will be disappointed to hear that the free-to-air porn is very tame and mostly obscured by ads for on-screen phone lines, and does not justify the presence of a large, ugly piece of metalwork on the facade of my abode. The prospect of an hour of archive John Coltrane every now and again, however, does.

As for the digital minidish on the back of the house, I've kept it for ready access to the BBC and ITV regional opt-outs. There's very little difference between them these days, but it was always nice to be able to dial into Puffin's Pla(i)ce if the mood took me. Also when a programme started later in Northern Ireland, it acted as a +1 option. However, the installation came into its own on New Year's Eve, allowing the Swiss Family Cheeseford to tap into BBC1 Scotland for the Still Game Hogmanay special and a rather jolly celebration of the New Year with Caledonian current affairs' top Marti Caine lookalike, Jackie Bird. The other satellite box also gets a bit of a pasting on NYE, what with Dinner for One and all that.

However, in recent months, the signal quality on the 28.2E installation has dropped, making reception very intermittent. Reading around on the Internet, I worked out that the old LNB (the bit on the front of the dish) had started to fail. I had a spare LNB, bought in Lidl many moons ago, and today I finally summoned up the enthusiasm to replace the old device. The problem is that the dish is on a part of the roof that can't be accessed readily without duckboards and considerable risk to life. As dishes require very fine adjustment to give of their best, staying at a safe distance and prodding it round with a broom handle doesn't really work. I spent most of this morning up a ladder, cutting cables to length and titting around with the brackets, but to no avail. The new LNB's on there, it's picking up something, but it's off-kilter. I had to give up as the light was failing, and I'm going to have another prod with the broom tomorrow, but I can't help but think that with minidishes going for £20-odd on eBay, I should just buy a new one and put it somewhere that I can get at it. Fair enough, but then comes the question 'Can I justify £20 plus P&P, then an afternoon up a ladder making everyone anxious, simply for one night's television a year and the occasional glimpse at Gordon Burns on North West Tonight?'. These are straitened times, and with perfectly adequate Freeview, plus whatever I can swipe from the Germans, and numerous other repair jobs ahead of this in the financial queue, I'm inclining towards 'No'.

STOP PRESS: No joy with day 2 of Operation Broomprod. I think I can, however, run to an auxiliary bracket costing less than a tenner that allows me to receive 19.2E and 28.2E on the same dish. Sorted.

Some moving pictures for day 6 of advent, in the form of expert advice from the gentlemen and lady (whodathunkit?) of Crawley Court on how to get the most from your aerial installation.

Oh dear. Oh dearie me. Graham Norton's taking over from Wogan as the Eurovision commentator. Now, I'm sure I've read an interview with Norton where he admits to not being wildly enthusiastic about the whole contest, despite being in the caricature fan demographic. I had allowed myself to become convinced that Paddy O'Connell was being lined up for the job when Sir Tel decided to cry 'basta', and, on the basis of Paddy's performance in last year's semis, I'd have had no problem with that at all. In a way it's liberating. I've always wanted to watch the German coverage, but haven't been able to drag myself away from Sir Tel and the Bailey's, but it'll be ARD all the way for 2009.