Cool For Cats

1 9 5 6 – 1 9 6 1 (UK)
25 minute episodes

British television’s first pop music programme – Cool For Cats – made its debut on 31 December 1956. This pioneering show was the brainchild of Joan Kemp-Welch, a 50-year-old actress and theatre producer who had recently transitioned into television following the formation of Associated-Rediffusion, ITV’s London weekday franchise holder.

Under her direction, Cool For Cats brought something new to the screen: a visual interpretation of the pop charts, aimed at both the mainstream and the mildly ironic “squares,” as it was often described in its tagline – “a disc programme for Squares” or “a Square disc programme.”

Broadcast live from Television House (Associated-Rediffusion’s headquarters on Kingsway in London), the show operated on a modest budget of just £200 per episode. Rather than relying heavily on live performances, the format centred on dancers interpreting the biggest hits of the day.

While occasional guest artists were brought in to mime their latest hits, most musical numbers were presented through choreographed dance routines filmed in various locations around the building – including the studios, corridors, staircases, offices, and even the foyer.

The show’s resident dance troupe was led by a young Dougie Squires from Nottinghamshire.

His work on Cool For Cats marked the beginning of a distinguished television career, later earning fame as the choreographer behind The Young Generation in the 1960s and 70s, working with stars such as Lulu and Rolf Harris.

Among the aspiring dancers featured on the show were future television and stage stars Una Stubbs, Amanda Barrie, and Patsy Rowlands.

Initially, the programme was fronted by journalist Ker Robertson of the Daily Sketch – a balding, bespectacled, middle-aged figure who soon stepped aside from presenting duties and took on the role of record arranger.

He was replaced by Kent Walton, who would go on to become a well-known ITV wrestling commentator. Walton’s relaxed, cigarette-in-hand presenting style, coupled with a smooth transatlantic accent, brought an easy charm to the show that quickly won over viewers.

To complement the dance performances, the show often incorporated creative visual elements, including archival footage, hand-drawn illustrations, or other artistic sequences to match the tone of the featured songs.

Though it began as a five-episode run shown only in the London area, Cool For Cats quickly found an enthusiastic national audience.

It aired twice weekly in a 15-minute slot and grew so popular that a longer Friday night edition was introduced. Its success soon led to national exposure across other early ITV regions.

By 1958, the show’s influence on the music charts was undeniable. It celebrated its 100th episode in May of that year by featuring its 1,000th record.

Its impact was such that artists and record companies sought exposure on the show, recognising its power to drive sales and chart success.

However, not everyone embraced the new format. Kent Walton once received a card from a group identifying themselves as “serious music lovers” with the blunt message: “Drop dead, please.”

Cool For Cats remained on air until February 1961, by which time British television had begun producing more energetic and contemporary music shows to reflect the rapidly evolving pop culture landscape.

Nevertheless, Cool For Cats holds a special place in British TV history as a groundbreaking step into televised pop music.