Hubbry Logo
Lew GradeLew GradeMain
Open search
Lew Grade
Community hub
Lew Grade
logo
7 pages, 0 posts
0 subscribers
Be the first to start a discussion here.
Be the first to start a discussion here.
Lew Grade
Lew Grade
Lew Grade
View on Wikipedia
from Wikipedia

Lew Grade, Baron Grade, OStJ (born Lev Isaakovich Winogradsky,[2] Russian: Лев Исаакович Виноградский, romanized: Lev Isaakovich Vinogradsky; 25 December 1906 [O.S. 7 January 1907] – 13 December 1998) was a British media proprietor and impresario. Born to Jewish parents in the Russian Empire, he emigrated to the United Kingdom as a child and was raised in London. Originally a dancer, and later a talent agent, Grade's interest in television production began in 1954 when he founded the Incorporated Television Company (ITC; commonly known as ITC Entertainment) to distribute programmes.

Key Information

Following the success of The Adventures of Robin Hood, Grade decided to focus on bringing ITC programmes to the American market. Grade had some success in this field with such series as Gerry Anderson's many Supermarionation series such as Thunderbirds, Patrick McGoohan's The Prisoner, and Jim Henson's The Muppet Show. Later, Grade invested in feature film production, but several expensive box-office failures caused him to lose control of ITC, and ultimately resulted in the disestablishment of ATV after it lost its ITV franchise.[3]

Early life

[edit]

Grade was born as Lev Winogradsky[2] in Tokmak, Berdyansky Uyezd, Taurida Governorate, Russian Empire (now Ukraine), to Isaak and Olga Winogradsky.[4] In 1912, when Grade was five years old, his Jewish family escaped the pogroms by emigrating from Odessa, via Berlin to London and resettled on Brick Lane near Shoreditch in the East End of London.[5][6]

Isaak worked as a trouser-presser while his three sons (Grade and his younger brothers, Bernard (later Bernard Delfont) and Leslie) attended the Rochelle Street Elementary School near Shoreditch, where Yiddish was spoken by 90% of the pupils. For two years the Winogradskys lived in rented rooms at the north end of Brick Lane, before moving to the nearby Boundary Estate.[7]

Early professional life

[edit]

At the age of 15, Grade became an agent for a clothing company, and shortly afterwards started his own business. In 1926, he was declared Charleston Champion of the World at a dancing competition at the Royal Albert Hall.[4] Fred Astaire was one of the judges.[3]

Grade subsequently became a professional dancer going by the stage name Louis Grad, "The Dancer with the Humorous Feet".[8] He later changed this name to Lew Grade, which came from a Paris reporter's typing error that Grade liked and decided to keep.[9] He was signed as a dancer by Joe Collins (father of Jackie and Joan Collins) in 1931.[10] Decades later, the octogenarian Lord Grade once danced the Charleston at a party Arthur Ochs Sulzberger gave in New York.[11]

Talent agent

[edit]

Around 1934, Grade went into partnership with Joe Collins and became a talent agent in their company Collins & Grade. Among their earliest clients were the harmonica player Larry Adler and the jazz group Quintette du Hot Club de France.[12]

Following the beginning of the Second World War in 1939, Grade became involved in arranging entertainment for soldiers in Harrogate,[9] and later joined the British Army. He was discharged after two years when an old problem with swelling of the knees, which had earlier ended his dancing career, recurred.[12] In 1945, the arrangement with Collins having been terminated, Grade formed a partnership with his brother Leslie (Lew and Leslie Grade Ltd., or the Grade Organisation). That year, the brothers travelled in the United States, where they developed their entertainment interests. His connections included, among others, Bob Hope and Judy Garland, who performed in Britain for the first time.[12] The brothers became the main bookers of artists for the London Palladium in 1948, then managed by Val Parnell for the Moss Empires Group owned by the family of Prince Littler.[13] The agency became the most successful in the UK and in 1967 it was acquired by EMI for $21 million with Grade and his two brothers joining the EMI board.[14]

Media career

[edit]

Television: 1954–1962

[edit]

In 1954, Grade was contacted by the manager of singer Jo Stafford, Mike Nidorf,[15] who notified him of an advertisement in The Times inviting franchise bids for the new, commercial ITV network.

Assembling a consortium that included impresarios Val Parnell and Prince Littler, the Incorporated Television Programme Company (ITP), which soon changed its name to Incorporated Television Company (ITC; also known as ITC Entertainment), was formed. ITC's bid to the Independent Television Authority (ITA) was rejected on the grounds of its conflict of interest from its prominence and involvement in artist management.[16]

The Associated Broadcasting Development Company (ABD) had gained ITA approval for both the London weekend and Midlands weekday contracts, but was undercapitalised; Grade's consortium joined with the ABD to form what became Associated Television (ATV). Reflecting his background in variety, Grade's favourite show[17] and a success for the new company was Sunday Night at the London Palladium (1955–1967, 1973–1974), one of the most popular programmes on British television in its day. Grade did not avoid the other end of the cultural spectrum and in 1958 Sir Kenneth Clark began to talk about the history of art on television.[18]

Meanwhile, Grade committed the funds for what would become the first trans-Atlantic success of the ITP subsidiary: The Adventures of Robin Hood (1955–1960), commissioned by UK-based American producer Hannah Weinstein. ITC became a wholly owned ATV subsidiary in 1957.[19] That same year ATV established a music publishing division with ATV Music and gained a half interest in Pye Records in 1959;[20] later Pye became a wholly owned subsidiary.

Television: 1962–1968

[edit]

Grade was deputy managing director of ATV under Val Parnell until 1962, when he became managing director having contrived to have the board oust Parnell.[13] Grade soon decided that the Midlands deserved its own regular soap opera as a rival to Coronation Street. Crossroads, much derided but ultimately a serious challenge to Granada's series in the ratings, began its initial quarter century run in November 1964.[21]

ITC's success continued and had many internationally successful TV series, leading Howard Thomas, managing director of ABC Weekend TV, to complain that Grade distributed programming for "Birmingham, Alabama, rather than Birmingham, England".[22] These series included The Saint (1962–1969), which was sold to over 80 countries,[23] and two featuring Patrick McGoohan: Danger Man (1960–1968) and The Prisoner (1967–1968). The series, exclusively thrillers, were normally used as summer replacements for American-made programmes until the mid-1960s.[24] While many of Grade's series used American actors in lead roles (The Baron and Man in a Suitcase, for example) it was those series which used an exclusively British cast, such as The Saint (and The Avengers, made by another ITV contractor), which were more successful in the United States.[25]

In 1962, AP Films became a subsidiary of ITC. Co-founded by Gerry Anderson, AP Films produced two marionette puppet ("Supermarionation") series for children during the 1960s: Thunderbirds (1965–1966) and (as Century 21) Captain Scarlet and the Mysterons (1967–1968). After a screening of the pilot for Thunderbirds ("Trapped in the Sky", 1964), Grade insisted that the episodes be lengthened to fill a one-hour slot.[26] Unusually for children's television series, these colour programmes were generously budgeted for the time (Grade paid £22,000 per episode) and were successfully repeated internationally.[27]

In 1966, Grade's companies were re-organised again to form the Associated Communications Corporation (ACC). That year, The Sunday Times investigated the interconnected nature of the companies controlled by Grade and his two brothers, Bernard Delfont and Leslie Grade. Their firms, effectively amounting to a "cartel", were agents for most of the major talents in acting as well as entertainment and controlled theatres in both London and the rest of the UK and ATV was a major provider of televised entertainment.[17]

Later television productions

[edit]

The following year, ATV lost its London franchise to what would become London Weekend Television (LWT);[28] at the same time, however, ATV's Midlands franchise was expanded to run throughout the week from July 1968. Through ATV Music, Grade acquired Northern Songs, gaining control of the Lennon–McCartney song catalogue.[29]

Foreign sales remained strong for a time (valued at $30 million in 1970)[30] and the ACC received the Queen's Awards for Export in both 1967 and 1969.

Some of the 1970s distributions performed poorly: these included The Julie Andrews Hour (1972–73), which aired for only one season on the ABC Television Network in the United States. This received positive reviews and seven Emmy Awards, including the title of 'Best Variety Series'. The action series The Protectors (1972–74) and The Persuaders! (1971–72),[19] were not especially successful. Gerry Anderson moved to live action science fiction shows UFO (1969–71) and Space: 1999 (1975–77). After Space: 1999, Anderson made no new series for ITC, but maintained a connection with Grade until Grade lost control of his companies in 1982.

In the mid-1970s, Grade approached American puppeteer Jim Henson, who was in need of assistance for his latest television project. Henson wanted to create a new variety show starring his Muppet characters, but had been dismissed by American networks on account of his contributions to children's programmes such as Sesame Street (1969–present).[citation needed] CBS came close to agreeing to broadcast The Muppet Show, but only if it was during a syndicated block of its programming.[clarification needed] After watching one of Henson's pilots and recalling a special made in one of his studios, Grade allowed Henson to realise his project in Britain (the series was recorded at the ATV Elstree Studios, later bought by the BBC, primarily used for EastEnders) and distributed internationally by ITC. Grade's action was instrumental in bringing The Muppet Show to the screen in 1976 and ensuring its success; it ran until 1981.[citation needed]

Grade's other accomplishments in television included the mini-series Jesus of Nazareth (1977), which was successfully sold to the American market and secured a record-breaking $12 million in revenue. Several years in preparation, the deal with the Italian broadcaster RAI and director Franco Zeffirelli had been announced three years previously.[31]

Film

[edit]

Grade approached Blake Edwards to revive the Pink Panther franchise as a TV series, an option Edwards was not keen on,[32] but he did work on developing scripts. Eventually, he persuaded Grade to finance the property as a feature film project with he and Peter Sellers waiving their fees in return for a profit-sharing arrangement.[33] Both men's careers had not been prospering for a few years.[34] Only Grade's second big budget feature,[13] ITC produced the eventual film The Return of the Pink Panther (1975), while United Artists (UA), who had earlier rejected the project themselves, gained distribution rights and a 5% share of the profits.[35] Distribution in other countries was undertaken by ITC. The Return of the Pink Panther was a commercially successful release.[13]

It also prompted Grade to move into the film industry, where he had success with Farewell My Lovely (1975).[36] Other films of the period made with Grade's involvement include the co-releases The Boys From Brazil (1978) with 20th Century Fox and Movie Movie (also 1978) with Warner Bros. He was a producer on the Ingmar Bergman films Autumn Sonata (1978) and From the Life of the Marionettes (1980). Grade was executive producer of The Muppet Movie (1979) and The Great Muppet Caper (1981); Orson Welles portrayed a studio executive named "Lew Lord" in the first film. One domestic British film made by the ITC subsidiary Black Lion Films, The Long Good Friday (1980) was purchased and released by HandMade Films after Grade and his company had effectively disowned it for, in Grade's reputed opinion, seeming to be sympathetic to the IRA.[37]

Grade's backing of an expensive "all-star" flop was to prove decisive. Of Raise the Titanic (1980), an adaptation of the novel by Clive Cussler, Grade himself observed that "It would have been cheaper to lower the Atlantic".[4][19] The film was panned by critics and, after costing $36 million, returned only $8 million in rentals.[6] This film along with other expensive box office failures – including Saturn 3 (1980) and The Legend of the Lone Ranger (1981) – marked the end of Grade's involvement in major film production.[citation needed] Despite this, several of the most critically acclaimed films produced by Grade were released after the failure of Raise the Titanic: these included On Golden Pond (1981) and Sophie's Choice (1982), both winners of Academy Awards, as well as the western Barbarosa and The Dark Crystal (1982), which was Jim Henson's final project created in association with ITC.[38]

Later years

[edit]

In 1980, Grade's standing in the mass media industry was damaged by two events: the poor reception for Raise the Titanic, and a decision that, effective from 1 January 1982 ATV Midlands would be permitted to keep its licence only on the condition that it terminate its association with Grade and ITC (ultimately leading to its re-branding as Central Television). Grade resigned his position in the company while it underwent a series of partnerships and mergers. In 1982, he lost control of ACC to Robert Holmes à Court, who dismissed him and all his staff.[3]

Grade was brought in by American producer Norman Lear in June 1982 to head the London division of Embassy Communications International, to be involved in the production and distribution of films and television programmes.[39] Subsequently, he became a producer of Andrew Lloyd Webber's musical Starlight Express.[40] After Coca-Cola had bought Embassy, he became the head of a new venture, the Grade Company, in 1985, and was elected a vice-president of the Loews Group chain of cinemas in the United States.[4][41] The Grade Company produced adaptations for television of works by novelist Dame Barbara Cartland; he owned the rights to 450 of her romances.[6]

By the early to mid-1990s, Grade had returned to ITC to head the company one final time until his death in 1998. Grade was a member of the Founding Council of the Rothermere American Institute at the University of Oxford.[citation needed]

Honours

[edit]

In 1969, Grade was knighted.[42] He was created a life peer (as Baron Grade of Elstree in the County of Hertfordshire) on 22 June 1976.[43][44] He reportedly chose Elstree as his territorial designation because ATV's main studios were based there.

Coat of arms of Lew Grade
Coronet
That of a Baron
Crest
A sinister cubit arm erect vested Vert cuffed Argent charged with a mask of comedy Or the hand Proper holding a balalaika Or sound box to the dexter.
Escutcheon
Per chevron grady Vert and Or in chief two pierced mullets Or and in base a bear's jamb erased Sable armed Gules.
Supporters
Dexter upon a lightning flash Or a lion Proper gorged with a cord pendent therefrom a representation of itself all Or, sinister upon a lightning flash Or a horse Sable gorged with a cord pendent therefrom a representation of itself all Or.
Motto
Quod Promitto Perficio (What I Promise I Carry Out)[45]

Death

[edit]

In 1978, Grade, then aged 71, told interviewer Mike Wallace on the CBS program 60 Minutes, "I don't intend to retire until the year 2000."[46] Grade died of heart failure aged 91 on 13 December 1998 in London.[47] He was buried at the Liberal Jewish Cemetery in London's Willesden neighbourhood.

BBC Radio 2 transmitted two one-hour tribute programmes on 24 and 25 December 2006 as a celebration of Grade's life and marking the centenary of his birth.[48]

References

[edit]

Further reading

[edit]
[edit]
Revisions and contributorsEdit on WikipediaRead on Wikipedia

Lew Grade

View on Grokipedia
from Grokipedia

Lew Grade, Baron Grade (born Lev Winogradsky; 25 December 1906 – 13 December 1998), was a Russian Empire-born British media proprietor, impresario, and television executive of Jewish descent who emigrated to the United Kingdom as a child.
Beginning his career as a teenage dancer specializing in the Charleston, Grade transitioned into talent management and show business promotion before entering television in the 1950s.
In 1954, he founded the Incorporated Television Company (ITC Entertainment), which became one of Britain's foremost independent producers and distributors of television content, exporting adventure series such as The Saint, The Avengers, and The Prisoner to international audiences and pioneering commercial television financing in the country.
Grade's ventures extended to film production and distribution, contributing to the global reach of British entertainment, and he was recognized with a knighthood in 1969 and a life peerage as Baron Grade of Elstree in 1976 for his services to the industry.

Early Life

Birth and Family Origins

Lew Grade was born Lev Winogradsky on , , in , a in the of what was then the (now ). His parents, Isaac Winogradsky (born circa 1879 in Odessa) and Olga (née Eisenstadt), were Jewish and part of a broader wave of Eastern European Jewish facing persecution under the Tsarist regime. Isaac Winogradsky worked in the garment , initially as a presser and later as a , reflecting the modest common among many Jewish immigrant from of Settlement. Olga Winogradsky exerted significant influence as the , a dynamic observed in numerous Jewish households of the era navigating instability and cultural transitions. The Winogradskys had at least three sons—Lew (the eldest), Boris, and Leslie (born 1916)—whose later anglicized surname "Grade" derived from a phonetic adaptation of their original patronymic. The family's Jewish heritage shaped their early experiences amid recurrent pogroms and anti-Semitic in the , prompting shortly after Lew's birth; these underscored the precarious causal between ethnic identity, imperial policies, and for such communities.

Immigration to Britain

Lew Grade, born Louis Winogradsky on , , in Tokmak, a in the (present-day ), immigrated to Britain at age six with his Jewish in 1912. His parents, Isaac and Olga (or Golda) Winogradsky, along with his brothers Leslie and Bernard (later Lord Delfont), fled the widespread anti-Semitic pogroms that ravaged Jewish communities under Tsarist rule, including violent riots and persecution in southern Russia and . The family settled in London's East End, a densely packed immigrant enclave where many Eastern European established tailoring and rag- businesses amid economic hardship and cultural adjustment. Isaac Winogradsky worked in the garment , reflecting the occupational patterns of Jewish refugees who arrived via similar routes from the Pale of Settlement. This migration wave, peaking around 1900–1914, saw over 120,000 enter Britain to evade pogroms and , though Grade's benefited from relatively open pre-World I policies before stricter Aliens Acts curtailed such inflows. The East End's Yiddish-speaking communities provided initial support networks, enabling survival in an environment of poverty and labor-intensive work.

Childhood and Formative Influences

Louis Winogradsky, later known as , was born on , , in , near the in the (present-day ), to Jewish parents and Olga Winogradsky. As the of three sons—his siblings being Leslie and (later )—he experienced early to anti-Semitic pogroms targeting Jewish communities in the . In , , his family emigrated to Britain to escape persecution, settling in a cramped two-room flat in London's East End, specifically the Bethnal Green area, where they faced poverty amid the immigrant Jewish enclave. His father worked in shoe repair and the garment trade, instilling in the family a work ethic rooted in manual labor and small-scale entrepreneurship. Upon arrival, young Louis quickly adapted, mastering English and enrolling at Rochelle Street School in Shoreditch, where he demonstrated exceptional aptitude, including a photographic memory and proficiency in mathematics that briefly earned him a place in grammar school. However, economic pressures forced him to leave formal education at age 14 to assist in the family garment business, an experience that honed his resilience and practical skills amid the harsh realities of East End life, including exposure to street culture and the vibrant, if gritty, Jewish immigrant community. These formative years in a deprived, multi-ethnic urban environment, marked by resource scarcity and familial solidarity, shaped his pragmatic outlook and aversion to idleness, while the pervasive influence of Yiddish theater and music halls in the area sparked an early interest in performance. A pivotal influence emerged through , as Grade, inspired by the era's craze, trained in styles like the Charleston under the guidance of his brother Leslie, a dancer. By his late teens, he competed successfully, culminating in a victory at the World Charleston Championships held at the Royal Albert Hall around 1926, and performed professionally in London, Paris, and Berlin before knee injuries curtailed his career. This immersion in the performing arts, combined with the brothers' collaborative dynamic—foreshadowing their joint ventures in entertainment—fostered Grade's entrepreneurial instincts and appreciation for talent scouting, traits that would define his later success. The immigrant struggle, familial bonds, and hands-on engagement with popular culture thus formed the bedrock of his worldview, emphasizing self-reliance over formal credentials.

Entry into Entertainment

Vaudeville and Dance Career

Grade, born Louis Winogradsky, developed an early interest in dance through his father's instruction in traditional Cossack styles, which he later adapted to the emerging Charleston craze of the 1920s. In his late teens, he participated in local dance events in London's East End, winning competitions that provided initial earnings of up to £20 per night. His breakthrough came on December 15, 1926, when, at age 20, he entered and won the Charleston solo event at the , securing the title of and adopting the stage name Lew Grade. This , amid the event's staging as the "Charleston ," propelled him into circuits across British theaters. Grade partnered initially with Al as the act "Grad and ," performing fast-paced routines that earned acclaim for innovative steps like his "crossover" move, later commanding £50 per week at venues such as the Piccadilly Hotel. Over the subsequent years, Grade toured , headlining in by for £30 weekly and appearing in , , , and . Billed variably as the "Charleston Champion of the " or " with the Musical Feet," he also collaborated with partners including Joe Collins, father of actresses Joan and , sustaining a presence on stages for approximately eight years. By the early , the waning of the Charleston, combined with physical injuries such as on the , prompted Grade to retire from performing around , shifting focus to talent representation. This period marked his foray into the industry's side, leveraging contacts from halls and theaters.

Establishing the Talent Agency

Following the decline of his dancing career in the early 1930s, Lew Grade transitioned into talent management by partnering with Joe Collins, a theatrical agent who had previously represented him as a performer. This collaboration formed the agency Collins & Grade around 1934, marking Grade's entry as a professional talent agent focused on booking variety acts for British theaters. Grade's firsthand experience from international dance tours enabled him to scout and recommend novelty performers from Europe, which the agency successfully booked, capitalizing on his network to secure engagements in variety shows and music halls. The agency's early operations emphasized representation of theatrical and novelty talent, including dancers, comedians, and continental acts, amid the competitive variety circuit dominated by Moss Empires and other promoters. Grade handled client negotiations and bookings personally, building a for aggressive deal-making and expanding the roster through acquisitions of smaller agencies' talents. By the mid-1930s, Collins & Grade had established a foothold in pre-war entertainment, though reliance on European performers later proved vulnerable to geopolitical disruptions. The partnership with Collins laid the groundwork for Grade's later dominance, but tensions arose over business direction, leading to its termination in 1945. Grade then formalized a new venture with his brother Leslie, creating Lew and Leslie Grade Ltd., which absorbed prior operations and positioned the firm for post-war growth as one of Britain's largest talent agencies. This shift integrated family management, with Leslie focusing on accounting and administration while Lew drove client acquisition and deals.

Building the Agency

Key Talent Acquisitions

In 1934, Lew Grade partnered with agent Joe Collins to form a talent agency focused on booking performers for variety theaters and music halls. Among the earliest and most notable signings was harmonica virtuoso Larry Adler, whose innovative performances helped elevate the agency's profile in the mid-1930s. The agency secured representation of the Quintette du Hot Club de France in the UK, including guitarist Django Reinhardt and violinist Stéphane Grappelli, whose 1934 formation and subsequent tours introduced gypsy jazz to British audiences; Grade organized their 1938 short film Jazz 'Hot' to promote the group. By absorbing smaller agencies, Grade's firm built a roster encompassing variety acts, musicians, and emerging theatrical stars, positioning it as a leading force in pre-war British entertainment booking despite competition from American agencies.

Pre-War Expansion and Challenges

In the early 1930s, following a that ended his dancing , Lew Grade transitioned into talent representation by acts for Joe Collins' agency. His knack for identifying promising performers led to successful bookings on major circuits, prompting Collins to offer him a partnership and forming the Collins and Grade Agency around 1934. This collaboration provided Grade access to theater managements previously uninterested in him, enabling the agency to expand by representing European variety acts and securing placements in British music halls and hotels. The agency's growth accelerated through steady bookings for live venues, capitalizing on the demand for vaudeville-style performers amid the era's variety theater scene. By the mid-1930s, operations had stabilized, with Grade handling client negotiations and circuit deals that built a reputation for reliability in an industry reliant on personal networks. However, expansion faced headwinds from the lingering effects of the , which reduced audiences and led to closures of smaller music halls, squeezing fees and opportunities for agents. Personal challenges compounded business pressures; after his father's death in 1935, Grade assumed greater financial responsibility for his family, relying on agency earnings to support siblings amid economic uncertainty. Partnership dynamics with Collins also strained over time, foreshadowing later splits, while the shift toward cinema competition eroded traditional music hall viability. Steady progress continued until September 1939, when the outbreak of World War II disrupted circuits and halted further pre-war development.

Transition to Broadcasting

Post-War Opportunities

Following the end of World War II in 1945, Lew Grade partnered with his brother Leslie to form the Lew and Leslie Grade Agency, rapidly expanding by acquiring smaller agencies and securing international bookings for major acts, such as sending George Formby to Australia and Tommy Trinder to New York. By 1951, the agency had established offices in London, New York, and California, facilitating the importation of American stars like Abbott and Costello and Judy Garland to Britain, which strengthened Grade's position as a dominant figure in global entertainment. Grade's post-war network-building included cultivating relationships with key American television executives, such as and of CBS, while his wife Kathie Moody's appearances on BBC radio and variety programs in June 1946 provided early exposure to the medium's potential. This groundwork positioned him to capitalize on emerging broadcasting trends, though his primary focus remained on variety and theatrical representation amid Britain's recovering entertainment industry. The pivotal post-war opportunity arose in 1954 with the British government's authorization of commercial television under the Independent Television Authority (ITA), prompting Grade—initially reluctant due to the £3 million capital requirement—to form the Incorporated Television Company (ITC) consortium with investors including Syd and Phil Hymans and Val Parnell, committing £15,000 personally from a total £3 million pool. ITC's bid for a London franchise, submitted after an advertisement in The Times highlighted by Jo Stafford's manager Mike Nidorf, was rejected on 26 October 1954 over concerns about Grade's agency monopoly, but this led to ITC's pivot as a program producer and subcontractor. On 11 March 1955, ITC partnered with Associated Broadcasting Development Company (ABDC) to create the Associated Broadcasting Company (ABC), soon renamed Associated Television (ATV), securing a weekday London franchise and launching broadcasts on 24 September 1955 with productions like The Adventures of Robin Hood. This transition transformed Grade's agency expertise into a broadcasting powerhouse, despite early financial strains resolved by late 1956 through additional investment.

Formation of ATV and ITC

In 1954, Lew Grade, alongside theatre owners Prince Littler and Val Parnell of Empires, formed the Incorporated Television (ITC) to bid for a commercial television franchise from the Television Authority (ITA), established under the Television Act 1954 to introduce advertising-funded broadcasting in Britain. ITC's application emphasized Grade's entertainment industry expertise but was rejected by the ITA, which favored other consortia amid concerns over potential monopolies in show business. Following the rebuff, ITC partnered with the Associated Broadcasting Development Company (ABDC), led by former BBC executive Norman Collins, to create Associated Television Ltd (ATV) in early 1955; this merger combined ABDC's broadcasting ambitions with ITC's talent resources and production capabilities. The ITA awarded ATV the weekday franchise for the London region (population over 12 million) and the weekend franchise for the Midlands region on 26 June 1955, recognizing the consortium's financial stability—backed by £750,000 in capital—and programming potential rooted in Grade's variety theatre background. ATV launched its London weekday service on 24 September 1955 from studios at 17 Great Cumberland Place, initially broadcasting 45 hours weekly with a focus on light entertainment, including imported American shows and live variety acts drawn from Grade's agency roster. Grade assumed the role of deputy managing director under Val Parnell, exerting significant influence over content strategy, while ITC functioned as ATV's dedicated production and international sales subsidiary, handling exports to markets like the United States. This structure enabled ATV to prioritize high-volume, exportable formats, establishing Grade's model of leveraging television for global syndication revenue.

Television Empire

Early ITV Productions (1955–1962)

Associated Television (ATV), co-founded by Lew Grade in 1954 as a weekend contractor for the Independent Television (ITV) network in London, commenced broadcasting on 24 September 1955 under the management of Val Parnell, with Grade serving as deputy managing director. Drawing on Grade's background in variety entertainment, ATV's initial output emphasized live variety spectacles to attract mass audiences and compete with the BBC, prioritizing accessible, high-energy programming over experimental content. A production, Sunday Night at , debuted in 1955 and ran until 1965, featuring top acts, comedians, and singers hosted by Parnell; it regularly drew audiences of 20–28 million viewers, equivalent to over half the UK population at the time, underscoring ATV's early dominance in ratings. This variety format exemplified Grade's of leveraging familiar theatrical talents to build viewer and advertising revenue, with episodes often broadcast live from the Palladium theatre to capture the immediacy of stage performance. ATV also pioneered filmed for potential through early collaborations with production entities like Sapphire Films. The Adventures of Robin Hood (–), comprising 143 episodes starring , marked the first major ITC-associated ; it depicted Robin Hood's resistance against Prince John and the , achieving domestic while generating substantial foreign , particularly to the , where it aired on networks like and helped establish British TV's international viability. Comedy series such as The Army Game (1957–1961) further solidified ATV's appeal, satirizing British National Service experiences with recurring characters like Sergeant-Major 'Bull' Baxter; the show spawned spin-offs including Don't Forget to Write! and contributed to ITV's growing reputation for light-hearted, relatable programming that resonated with post-war audiences. By 1962, these productions had positioned ATV as a commercial powerhouse, prompting Grade's ascension to managing director after internal maneuvers sidelined Parnell, enabling expanded ambitions in scripted content and global distribution.

Peak Exports and Shows (1962–1970)

During the period from 1962 to 1970, ITC Entertainment, led by Lew Grade, reached the zenith of its television export strategy, capitalizing on the demand for polished, adventure-oriented series tailored for international markets, especially the United States. Building on the precedent of earlier half-hour successes like The Adventures of Robin Hood, Grade pivoted to producing one-hour filmed dramas with high production values, exotic locations, and star appeal to meet American network preferences and overcome barriers to syndication. This approach reversed the prior dominance of U.S. imports in Britain, positioning ITC as a leading exporter of British content and generating substantial foreign revenue through sales to broadcasters worldwide. The Saint (1962–1969), featuring as the sophisticated thief-turned-detective Simon Templar, exemplified this era's , running for 118 episodes and achieving massive syndication in the U.S., where it aired extensively and bolstered ITC's for marketable action series. Other notable exports included Gideon's Way (1965–1966), a ; The Baron (1966), starring Forrest as an art dealer and spy; and Man in a Suitcase (1967–1968), following McGill's global investigations. These series emphasized self-contained stories and international settings to maximize overseas , with ITC prioritizing U.S. deals that often recouped production costs before UK transmission. Supermarionation productions under further highlighted ITC's innovative edge, including Thunderbirds (1965–1966), a puppet-based exported to approximately , though it secured U.S. syndication rather than a network slot to Grade's aggressive but ultimately unsuccessful against competitors. Successors like (1967–1968) continued this , blending with for audiences. Later entries such as (1968–1969), involving agents, and Department S (1969–1970), a stylish detective drama, sustained the momentum into the decade's end, with ITC amassing thousands of hours of programmable content primed for global distribution. Grade's export prowess earned formal accolades, including the Queen's Award to Industry in 1967—the first for the British entertainment sector—and a knighthood in 1969 explicitly for services to television exports, reflecting ITC's in elevating UK programming's economic impact abroad.

Regulatory Battles and Adaptations

In the mid-1970s, Lew Grade faced significant regulatory constraints from the Independent Broadcasting Authority (IBA), which mandated that chairmen of ITV companies retire at age 70 to prevent entrenched control. Born on 25 December 1906, Grade turned 70 in 1976, compelling his departure from the chairmanship of Associated Television (ATV), the ITV franchise he had led since 1955. This rule, intended to promote fresh leadership and public service obligations, effectively sidelined Grade from direct operational control of ATV's domestic broadcasting, though he retained influence through family ties and ITC Entertainment, ATV's production subsidiary. The most protracted regulatory conflict arose during the 1981 ITV franchise renewals under the IBA's , which scrutinized franchise holders for compliance with programming , regional representation, and amid economic pressures. ATV's bid, dominated by Grade's interests and emphasizing exports over content, was deemed insufficiently responsive to these criteria; the IBA awarded the and weekday contracts to a new , Central Independent Television, effective 1 1982. Grade contested the decision through legal challenges, arguing and procedural flaws, but the IBA upheld its ruling, citing ATV's over-reliance on imported formats and perceived of educational programming—issues exacerbated by Grade's export-focused that generated over 80% of ATV's revenue from international sales by the late 1970s. These battles highlighted tensions between Grade's commercial imperatives and the IBA's quasi-public service model, influenced by post-war broadcasting policies prioritizing cultural balance over profit maximization. To adapt, Grade pivoted ATV's production arm, ITC, toward unregulated international syndication, producing filmed series like The Muppet Show (–), which bypassed ITV quotas on foreign content by targeting global networks and achieving sales in over 100 countries. Post-franchise loss, he reoriented toward cinema via Associated Communications , securing deals for films such as The Eagle Has Landed () and leveraging ITC's back catalog for revenue, amassing personal assets exceeding £100 million by despite domestic setbacks. This shift underscored Grade's resilience, transforming regulatory curbs into opportunities for transnational media dominance unbound by UK oversight.

Film and Global Ventures

Cinema Production Strategies

Grade's entry into cinema production in the 1970s relied on independent financing models that capitalized on his established television infrastructure at ITC Entertainment. Rather than depending on traditional studio advances or theatrical pre-sales alone, he prioritized securing commitments for ancillary revenue streams, particularly international television broadcast rights, to underwrite production costs upfront. This method reduced exposure to box-office volatility by guaranteeing partial budget recovery before principal photography began. Central to this strategy was the formation of ITC Pictures in as a dedicated division, Grade to package projects with global market potential. Productions emphasized star-driven narratives in genres like action-adventure and , often utilizing British locations and crews for efficiencies while incorporating American or European talent to to U.S. . Budgets for these typically ranged from $5 million to $20 million, with pre-sales to broadcasters covering 30-50% of expenses in successful cases. For example, The Tamarind Seed (1974), directed by Blake Edwards and starring Julie Andrews and Omar Sharif, achieved moderate theatrical returns but was insulated by prior television rights deals arranged through ITC's distribution channels. Grade's deal-making extended to co-production arrangements and selective acquisitions, favoring properties adaptable across media platforms. This cross-pollination from television—evident in ITC's prior success with filmed series like The Saint and The Avengers—informed a focus on episodic-friendly storytelling elements, such as ensemble casts and self-contained action sequences, to enhance downstream syndication value. Risks were further managed through diversified rights bundles, including home video and pay-TV licensing, though over-reliance on U.S. pre-sales exposed vulnerabilities to network programming shifts.

Notable Film Deals and Outputs

In the 1970s, Lew Grade expanded ITC Entertainment into feature film production through Associated Communications Corporation (ACC), aiming to capitalize on international markets with high-budget adaptations and star-driven projects. This shift followed successes like The Return of the Pink Panther (1975), prompting investments in theatrical releases distributed via the newly formed (AFD), a 1978 joint venture with brother Bernard Delfont's EMI Films for U.S. and global rollout. However, AFD's operations faltered amid escalating costs and market challenges, contributing to ACC's financial strain by the early 1980s. One notable output was The Eagle Has Landed (1976), a thriller directed by and adapted from ' , starring as German Steiner, , and . Grade, who financed the production, expressed in its execution despite mixed critical reception, viewing it as a solid entry in his film portfolio. The film grossed moderately but exemplified Grade's strategy of leveraging British talent and historical narratives for crossover appeal. The Muppet Movie (1979), executive-produced by Grade and directed by , marked a commercial triumph, earning over $80 million worldwide on a modest and featuring Jim Henson's puppets alongside like and , who portrayed a studio mogul named "Lew " as a nod to Grade. This deal built on Grade's prior backing of The Muppet Show, securing Henson's first major cinematic venture through personal negotiations and ITC's distribution network. In contrast, (1980), directed by and based on Clive Cussler's novel, represented a high-risk gamble with a $36 million budget—unprecedented for a British-led production at the time—focusing on a fictional salvage operation starring Jason Robards and Richard Jordan. The film underperformed, grossing only $8 million at the box office, prompting Grade's wry remark that "it would have been cheaper to lower the Atlantic," and accelerating his ouster from ACC control in 1982 amid boardroom disputes. Later outputs included co-production of Ingmar Bergman's Autumn Sonata (1978) with Liv Ullmann and Ingrid Bergman, which garnered critical acclaim including an Oscar nomination for Best Actress, and distribution successes like On Golden Pond (1981) and Sophie's Choice (1982), both acquired and released via AFD to strong returns before its collapse. These ventures highlighted Grade's deal-making acumen in securing prestige projects through direct outreach to talent, though inconsistent oversight on costlier films underscored risks in his expansion.

James Bond Franchise Role

In the late 1950s, Lew Grade, through his company Incorporated Television Company (ITC), pursued the adaptation of Ian Fleming's character for a television series, involving discussions with Fleming and producer Smart to develop the project. However, Fleming had previously sold the film rights to Albert Broccoli and , who formed in 1961, preventing repurchase and dooming the TV initiative. Unable to proceed, Grade pivoted to original espionage programming, commissioning Danger Man (originally titled Secret Agent in some markets) in 1960, starring Patrick McGoohan as NATO agent John Drake—a character inspired by Bond's suave spy archetype but emphasizing moral complexity over gadgetry and glamour. The series, produced by ITC, ran for 47 episodes across two runs (1960–1962 and 1964–1968), achieving international syndication success and influencing the spy genre amid Bond's cinematic rise. Grade's ITC also produced The Saint (1962–1969), casting Roger Moore as the debonair thief-turned-vigilante Simon Templar, whose sophisticated persona mirrored Bond's appeal and helped establish Moore's on-screen elegance. When Moore was selected as the third actor to portray Bond in Eon's Live and Let Die (1973), Grade, as Moore's longtime television backer, opposed the move, warning it would "ruin your career" by shifting focus from lucrative TV commitments like the ongoing The Persuaders! (1971). Moore proceeded regardless, portraying 007 in seven Eon films through 1985, though the decision contributed to the abrupt end of The Persuaders! after one season due to scheduling conflicts. Grade's early Bond ambitions and talent cultivation thus indirectly shaped the franchise's television-adjacent legacy, even as his film efforts focused elsewhere.

Later Business Activities

1970s Diversifications

In the late 1960s and through the , Lew Grade's Associated Communications Corporation (ACC), the holding company overseeing ATV and ITC, maintained and expanded a portfolio of non-broadcast investments that included music production and . A pivotal acquisition occurred in when ATV secured a controlling stake in , the publisher of the Lennon-McCartney song catalogue encompassing nearly all compositions by John Lennon and Paul McCartney from their Beatles era. This move established ATV Music as a major player in music publishing, generating substantial royalty income during the from enduring hits like "Yesterday" and "Hey Jude," which offset risks in other sectors. ACC also held Pye Records, the United Kingdom's third-largest record label at the time, which produced and distributed pop and rock music, contributing to diversified revenue streams amid the decade's booming music industry. Complementary holdings encompassed Muzak, a piped-music service providing background audio for commercial spaces, and investments in bowling alleys as part of leisure entertainment ventures. Publishing interests further broadened the group's scope beyond media production. These assets, integrated under ACC since its 1966 formation, provided financial stability and growth opportunities, with pre-tax profits rising significantly by the late 1970s—reaching £20.5 million for the year ended March 1978—prompting a formal rebranding from Associated Television Corporation to Associated Communications Corporation in 1979 to emphasize the multifaceted operations. While core strengths remained in television and film exports, these diversifications mitigated regulatory pressures on UK broadcasting franchises and capitalized on global trends in entertainment consumption. However, the music publishing triumph contrasted with variable performance in leisure sectors, where bowling and Muzak faced competition from emerging consumer preferences. Grade's strategy prioritized high-yield intellectual property like song rights over physical assets, aligning with his emphasis on scalable, exportable content.

1980s Deals and Reversals

In the early 1980s, Lew Grade pursued ambitious film production deals through his companies, including ITC Entertainment, focusing on high-budget adaptations with international appeal. One prominent venture was the 1980 release of Raise the Titanic!, directed by Jerry Jameson and based on Clive Cussler's novel, which Grade financed at a cost of $36 million in an effort to capitalize on disaster-adventure genres. However, the film grossed only $8 million at the box office, marking a severe financial reversal that strained ITC's resources and prompted Grade's quip, "It would have been cheaper to lower the Atlantic." This flop exacerbated broader challenges for Grade's Associated Communications Corporation (ACC), which had diversified into feature films amid declining television dominance. Additional 1980s productions, such as The Legend of the Lone Ranger (1981), compounded losses through poor commercial performance, eroding investor confidence and leading to diminished control over ITC by mid-decade. In 1982, these cumulative film failures necessitated the sale of key production assets, transitioning Grade away from operational leadership in his longstanding enterprises. Concurrently, the Independent Broadcasting Authority's 1980 franchise review mandated restructuring of Associated Television (ATV), requiring separation of London and regional interests, which diluted ACC's majority stake and rebranded the entity as Central Independent Television in 1982, effectively curtailing Grade's influence over the ITV network he had built. By , Grade reorganized under the Grade Company, seeking new distribution and production partnerships, including international television syndication deals to leverage his of like . Yet these efforts faced headwinds from the era's shifting media , including rising from cable and video markets, which limited recovery from prior overextensions into costly cinema . Grade's in deal-making persisted into the late , as evidenced by his continued pursuit of script acquisitions and co-productions, though without recapturing earlier dominance.

Personal Beliefs and Philanthropy

Political Views and Zionism

Lew Grade, born Louis Winogradsky to Jewish parents in the , emigrated to the as a amid rising and pogroms, which informed his enduring connection to Jewish causes. While he rarely articulated explicit political affiliations or ideologies in , preferring to on commercial enterprises, his actions reflected pragmatic support for free-market principles that aligned with conservative economic policies, though he received honors from Labour governments, including a life peerage in 1976 from Prime Minister Harold Wilson. This elevation, part of Wilson's controversial resignation honours list, included other business figures but did not indicate partisan loyalty, as Grade navigated regulatory environments across administrations, including initial Labour opposition to commercial television. Grade's Zionism manifested primarily through philanthropy toward Israel rather than ideological advocacy. In June 1967, during the , he and his brother each donated £40,000 to support the Israeli war effort, a significant sum equivalent to over £900,000 in contemporary terms, underscoring personal commitment to the Jewish state's amid existential threats. Such contributions aligned with broader Anglo-Jewish communal for post-Holocaust and amid Arab-Israeli conflicts, though Grade avoided polemical statements on the movement's political dimensions, focusing instead on practical . No records indicate involvement in Zionist organizations or public endorsements of specific Israeli policies, distinguishing his support as charitable rather than activist.

Family Dynamics and Personal Traits

Lew Grade, born Louis Winogradsky on December 25, 1906, in Tokmak, Ukraine, was the eldest of three sons to Jewish parents Isaac and Olga Winogradsky, who emigrated to London's East End in 1912 to escape pogroms, settling in a two-room flat. His brothers, Leslie and Bernard (later Lord Delfont), also entered show business, forming a family dynasty that dominated British entertainment through complementary roles: Bernard as a theatrical impresario booking acts, Leslie as a talent agent representing stars, and Lew handling television broadcasting and production. In 1934, Lew and Leslie co-founded the Grade Organisation, and the brothers collectively controlled key productions like Sunday Night at the Palladium, with interconnected operations spanning theatre, agency, and TV, though investigations later scrutinized their empire's dominance. Grade was closer to Leslie than to Bernard, with whom he shared sibling rivalry, once learning of his name change through newspapers. Grade married Kathleen Sheila Moody, a rising teenage singer known as "the Singing Starlet," on , —her 21st birthday— in a union lasting 56 years until his death. Moody abandoned her West End and radio to support Grade's ambitions, driving him to work, managing their Knightsbridge home, and even endorsing asset sales for his 1955 ITV bid; she introduced him to large Havana cigars, enhancing his confidence. His mother Olga, a formidable matriarch, opposed the marriage due to Moody's Roman Catholic background and refused to attend the wedding. The couple had no biological children but adopted a son, Paul, who died in 2012; they hosted showbiz gatherings but eschewed traditional holidays, opting for Dorchester Hotel stays. Known for a flamboyant, buoyant personality, Grade was a habitual cigar smoker, consuming up to seven Montecristos daily as a "security blanket," often arriving at events in a 1971 Rolls-Royce Phantom VI. He maintained a rigorous work ethic, logging 12-hour days starting at 7 a.m. into his nineties, prioritizing personal relationships and handshakes over contracts, which he viewed as binding as any legal document. Resilient and humorous, he quipped after the flop of Raise the Titanic (1980), "It would have been cheaper to lower the Atlantic," reflecting his feisty, exuberant wit amid business setbacks.

Honours and Recognition

Titles Conferred

In 1969, Lew Grade was knighted in the for his contributions to the industry, particularly television, permitting him to style himself as Lew Grade. On 2 1976, Grade was elevated to the as Grade, of , in the of , a life peerage conferred under the Life Peerages Act 1958, enabling him to sit in the House of Lords as Lord Grade. He took his seat in the Lords later that year, participating occasionally in debates on media and broadcasting matters. No hereditary titles were conferred, reflecting the non-hereditary nature of the peerage granted during Harold Wilson's resignation honours list.

Industry Tributes

Film producer Lord David Puttnam described Grade as "an extraordinary man, ebullient, generous and unique," emphasizing his pivotal role alongside Sydney Bernstein of Granada in developing the Independent Television network, noting that "he always wanted to make a deal and you could never surprise him." Director Michael Winner praised Grade's boldness, stating he "plunged in and had a go" and was "the epitome of the word 'entrepreneur'," adding that "we'll never see anyone like that again" and he was "a wonderful man to do a deal with." Producer Bob Baker, known for Doctor Who and the Daleks, called Grade "the last of the great ones, an original" who "lived show-business" and made "no-one... a greater contribution to television in the sixties and seventies." Actress Barbara Windsor attributed his success to instinct: "What made him special was that he had a great feel for what would be popular and that's what made him loved by thousands in show business." These sentiments reflected widespread recognition of Grade's deal-making prowess and programming innovations during ATV's dominance from the 1950s to 1970s. Grade's funeral on 16 1998 drew hundreds of figures, underscoring his enduring influence. Albert Friedlander, delivering the , portrayed him as "irreplaceable, the greatest, warmest man of his time," likening his to a that had concluded. Earlier, on his 80th in 1986, Variety published a special tribute honoring his ascent from tailoring to leading British media exports.

Criticisms and Controversies

Aggressive Deal-Making

Lew Grade's tactics were characterized by a blend of theatrical flair, , and strategic bluffing, often employing dramatic gestures to unsettle counterparts. During boardroom discussions, he would feign or bang a to assert dominance, while deals, he simulated high-stakes phone calls—such as speaking to himself in a closet—to create urgency. These methods, rooted in his background as a talent agent, allowed him to secure favorable terms but drew accusations of manipulation from rivals who viewed them as grifter-like deceptions. A notable instance of aggressive maneuvering occurred in 1962 when Grade orchestrated the ousting of long-time partner Val Parnell from Associated Television (ATV), leveraging board support to consolidate control despite their prior collaboration on variety programming. Similarly, in 1969, ATV's acquisition of Northern Songs—the catalog holding The Beatles' publishing rights—was executed through rapid financial pressure on stakeholders, granting Grade leverage over the band's intellectual property. This enabled him to compel Paul McCartney to perform on an ATV special in 1973 and John Lennon to appear in a 1975 tribute gala, moves McCartney later decried as coercive exploitation of the deal's terms. Critics labeled Grade the "Show Business Octopus" amid his 1954 bid for stakes in the Independent Television Corporation (ITC), arguing his tactics fostered undue concentration of power in entertainment agencies and broadcasting. Howard Thomas, head of ABC Television, once called Grade's threats to withdraw Palladium shows from rival networks a bluff, highlighting how such brinkmanship strained industry relations without always yielding concessions. While biographers like Lewis Chester portrayed these as legitimate tools for a self-made impresario navigating competitive markets, detractors contended they prioritized personal empire-building over collaborative equity, contributing to perceptions of ruthlessness in British media.

Quality and Monopoly Charges

In the formation of Independent Television in the mid-1950s, the Independent Television Authority (ITA) rejected Lew Grade's Incorporated Television Company (ITC) bid for a broadcasting franchise, citing risks of monopolistic control over supply. Grade, alongside associates like Prince Littler and Val Parnell, dominated talent agencies and variety bookings, which the ITA viewed as potentially undue over programming across the nascent ITV network. This decision stemmed from fears that granting ITC a license would consolidate monopolies, as articulated by ITA officials who argued it could "dominate Independent Television from the outset." Subsequent concerns persisted regarding Grade's integrated operations between ATV (as broadcaster) and ITC (as producer-distributor), which supplied adventure series and filmed content to ITV stations. Critics, including rival executives, highlighted vertical integration allowing Grade to prioritize exportable formats over diverse domestic output, potentially squeezing independent producers and fostering network dependency on ATV/ITC packages. While no formal antitrust charges materialized under UK competition laws of the era, these dynamics fueled perceptions of dominance, particularly as ITC's international sales arm—handling shows like The Saint and The Avengers—generated revenues exceeding £100 million by the 1970s, bolstering ATV's financial leverage within ITV. Quality charges centered on accusations that Grade's productions favored commercial viability and formulaic spectacle over substantive content. Rival ABC Television head Howard Thomas lambasted ITC offerings as "cheap versions" of highbrow formats, designed to skirt ITA quotas for originated British programming since filmed series often evaded full counting toward live-content requirements. Shows like Thunderbirds (1965–1966) and The Protectors (1972–1974), while achieving global syndication, drew fire for glossy, action-oriented repetition lacking narrative depth or cultural nuance, prioritizing U.S. market appeal—evident in budgets exceeding £10,000 per episode for The Saint—over artistic innovation. Detractors, including ITA reviewers during ATV's 1970 franchise renewal, criticized the emphasis on entertainment-heavy schedules with minimal educational or regional focus, contrasting with BBC's public-service benchmarks, though Grade defended his approach as blending popularity with profitability.

Cultural Impact Debates

Grade's export-oriented productions via ITC Entertainment, including series like The Saint (1962–1969) and Thunderbirds (1965–1966), adapted British formats with glamorous visuals and action-driven narratives to penetrate the U.S. market, reversing the prior dominance of American imports in British schedules. This transatlantic hybridity—blending British settings with American stylistic preferences—prompted scholarly debate on whether it fostered cultural globalization or eroded national specificity, as shows prioritized broad appeal over regionally rooted storytelling. Proponents of Grade's model highlighted its economic and promotional benefits, arguing that successes like The Muppet Show (1976–1981), which aired in over 100 countries, amplified British creative output internationally and secured Queen's Awards for Export in 1967 and 1969 for ITC's contributions. These efforts generated revenues exceeding £100 million annually by the 1970s from U.S. syndication alone, enabling reinvestment in talent like Morecambe and Wise, whose ATV specials drew 20–30 million UK viewers per episode in the late 1960s and 1970s. Critics, however, contended that the commercial imperative subordinated artistic depth to formulaic , with some ATV content dismissed as mediocre due to scant regional focus despite the Midlands franchise mandate, potentially homogenizing British television toward profit-driven over public-service depth. This tension mirrored broader 1960s–1970s discussions on commercial broadcasters' , where Grade's ATV faced Independent Television Authority for prioritizing quotas over domestic , as evidenced by ITC's 51% foreign-sales for filmed series approval. In children's programming, Thunderbirds' global syndication exemplified the debate: its supermarionation format influenced international puppetry trends but was critiqued for importing American heroic individualism into British narratives, complicating assessments of cultural export as empowerment versus subtle Anglicization of global youth media. Grade's defenders countered that such innovations democratized access to high-production values, with ITC's output shaping 1960s American perceptions of British sophistication through spy thrillers like The Avengers (1961–1969), which topped U.S. Nielsen ratings in 1967. These polarized views persist in analyses of how Grade's legacy prioritized market realism over ideological purity, yielding enduring franchises amid charges of cultural commodification.

Death and Enduring Legacy

Final Years and Health

In his final years, Grade continued his long-standing involvement in the industry, having pledged never to retire and maintaining activities until shortly before his . He had been a pivotal figure in British for over seven decades, with his spanning from promotion in the 1920s to television production and film distribution. In late November 1998, at the age of 91, Grade was admitted to the London Clinic for unspecified surgery. Approximately two weeks later, he developed heart failure as a complication. He died there on December 13, 1998, at 12:45 a.m., surrounded by his wife Kathleen and close family members. No prior chronic health conditions were publicly detailed in the lead-up to this event, though his advanced age and history of knee issues from youth had previously impacted his early career as a dancer.

Economic and Cultural Assessments

Grade's stewardship of Associated Television (ATV), established in 1955 as one of Britain's inaugural commercial broadcasters, marked a pivotal shift toward profitability in the UK's nascent independent television sector, with ATV generating revenues through advertising and programme sales that sustained operations amid competition from the public-service BBC. Under his direction at ITC Entertainment, the company prioritized production of hour-long adventure series tailored for international syndication, particularly in the United States, where first-run sales covered costs and yielded surpluses—reversing the prior dominance of American imports in British schedules. This export strategy, exemplified by series such as The Saint (1962–1969) and The Persuaders! (1971), contributed to Britain's balance-of-payments improvements in media, earning Grade a knighthood in 1969 explicitly for services to exports. ITC's global distribution model under Grade amassed multiple Queen's Awards for Export, underscoring the economic multiplier effect of television production on ancillary industries like film and talent agencies, while fostering a self-sustaining for British content creators. By the 1970s, ITC's revenues from overseas markets had positioned it as a leader in the UK's programme export drive, with annual sales figures supporting reinvestment in high-profile projects like Jesus of Nazareth (1977), which alone recouped costs through international licensing. Economists assessing post-war media growth have credited such ventures with injecting foreign exchange into the economy, though reliant on volatile US network deals that exposed producers to market fluctuations. Culturally, Grade's emphasis on escapist, visually lavish formats—such as in Thunderbirds (1965–1966) and variety in (1976–1981)—propagated British ingenuity in popular worldwide, embedding archetypes of suave spies and whimsical in global audiences and influencing subsequent transatlantic co-productions. This output elevated the UK's through accessible narratives that prioritized over artistic depth, as evidenced by ITC's in syndicating content to over 100 and shaping perceptions of British media as commercially agile rather than insular. Legacy analyses highlight how Grade's model democratized exportation, talents like and to achieve international stardom, though it arguably prioritized formulaic repetition—favoring spectacle-driven series—that sidelined experimental or regionally focused British programming in favor of Hollywood-compatible molds. His approach thus enduringly framed UK television as a revenue-generating cultural commodity, with ITC's archived catalogue continuing to yield licensing income decades later.

References

  1. https://www.imdb.com/name/nm0333528/bio/
  2. https://www.jewage.org/wiki/ru/Article:Lew_Grade_-_Biography
  3. https://www.the-independent.com/arts-entertainment/obituary-lord-grade-1191347.html
  4. http://www.screenonline.org.uk/people/id/482705/index.html
  5. https://www.nytimes.com/1998/12/14/nyregion/lew-grade-91-flamboyant-shaper-of-british-tv-and-movies.html
  6. https://www.geni.com/people/Lew-Grade-Baron-Grade/6000000026649773806
  7. https://www.haaretz.com/jewish/2016-12-25/ty-article/.premium/1906-the-lord-grade-is-born/0000017f-f7e0-d2d5-a9ff-f7ec7aba0000
  8. https://www.ancestry.com/genealogy/records/isaac-winogradsky-24-2bbdx0
  9. https://transdiffusion.org/2004/09/01/index1/
  10. https://televisionheaven.co.uk/biographies/lord-lew-grade
  11. https://www.nytimes.com/1988/04/17/arts/lew-grade-at-81-retains-his-zest-for-a-deal.html
  12. https://www.britannica.com/biography/Lew-Grade-Baron-Grade-of-Elstree
  13. http://news.bbc.co.uk/2/hi/entertainment/234052.stm
  14. https://www.findagrave.com/memorial/48291019/lew-grade
  15. https://refugeeweek.org.uk/resources/facts-figures-and-contributions/famous-refugees/
  16. https://kids.britannica.com/students/article/Lew-Grade/311480
  17. https://www.flapperpress.com/post/making-the-grade-the-story-of-lew-grade-and-the-muppet-show
  18. https://www.comedy.co.uk/features/comedy_chronicles/lew-grade/
  19. https://www.npg.org.uk/collections/search/person/mp05346/lew-grade-baron-grade
  20. https://www.nostalgiacentral.com/pop-culture/people/lew-grade/
  21. https://teletronic.co.uk/television-history/the-history-of-itv-part-8
  22. https://transdiffusion.org/2004/10/01/index2/
  23. https://historyproject.org.uk/interview/lew-grade
  24. https://catalogue.royalalberthall.com/Record.aspx?src=CalmView.Performance&id=Csaduganipook&pos=1
  25. https://travsd.wordpress.com/2015/12/25/stars-of-vaudeville-932-lew-grade/
  26. https://transdiffusion.org/2004/11/01/index3/
  27. https://www.the-independent.com/news/business/making-of-the-grades-profile-the-grade-dynasty-1276495.html
  28. https://www.imdb.com/title/tt7060802/
  29. https://transdiffusion.org/2004/12/01/index4/
  30. http://www.screenonline.org.uk/tv/id/563524/index.html
  31. https://www.bvws.org.uk/405alive/info/itc.html
  32. http://www.users.zetnet.co.uk/itw/ATV/history.html
  33. https://televisionheaven.co.uk/tv-history/the-history-of-itv-company-profile-atv
  34. https://transdiffusion.org/2005/10/02/howard7/
  35. https://www.avid.wiki/ITC_Entertainment_Group
  36. http://www.screenonline.org.uk/tv/id/532815/index.html
  37. http://ctva.biz/UK/ITC/_ITC.htm
  38. https://archive.org/details/ThunderbirdsSeries
  39. https://catacombs.space1999.net/main/crguide/vcpitc.html
  40. https://forums.digitalspy.com/discussion/2475825/the-story-of-the-itc
  41. https://www.screenonline.org.uk/tv/id/459509/index.html
  42. https://www.radiotimes.com/tv/drama/lew-grade-itc-michael-grade/
  43. https://digitalcommons.lmu.edu/cgi/viewcontent.cgi?referer=&httpsredir=1&article=1228&context=elr
  44. https://movies.fandom.com/wiki/Associated_Film_Distribution
  45. http://danger-man.co.uk/birth.asp
  46. https://www.mi6-hq.com/sections/articles/biography-sir-roger-moore-obituary
  47. https://people.com/celebrity/daniel-craig-skyfall-best-bond-of-all-says-sir-roger-moore/
  48. http://thecinemacafe.com/the-cinema-treasure-hunter/2017/5/26/end-credits-68-cinemas-2017-lost-treasures-roger-moore
  49. https://www.the-paulmccartney-project.com/1969/09/atv-gains-majority-stake-in-northern-songs/
  50. https://associatedtelevision.network/company/atv-financial-results-1978/
  51. https://kids.kiddle.co/Lew_Grade
  52. https://blog.oup.com/2019/04/harold-wilsons-resignation-honours-controversial/
  53. https://www.encyclopedia.com/religion/encyclopedias-almanacs-transcripts-and-maps/grade-lew-baron
  54. https://www.telegraph.co.uk/obituaries/2022/01/05/lady-grade-teenage-star-gave-promising-career-become-busy-steady/
  55. http://news.bbc.co.uk/2/hi/entertainment/234005.stm
  56. https://www.imdb.com/name/nm0333528/trivia/
  57. https://www.parliament.uk/globalassets/documents/lords-library/hllpeeragecreation.pdf
  58. https://researchbriefings.files.parliament.uk/documents/LLN-2021-0002/LLN-2021-0002.pdf
  59. https://www.independent.co.uk/news/the-last-of-the-british-movie-moguls-1191321.html
  60. https://www.irishtimes.com/news/death-of-tv-film-tycoon-lord-grade-1.225325
  61. http://news.bbc.co.uk/2/hi/uk_news/236393.stm
  62. https://www.nytimes.com/1986/12/25/arts/lord-grade-still-a-whirlwind-at-80.html
  63. https://www.express.co.uk/entertainment/books/179470/All-My-Shows-Are-Great-The-Life-Of-Lew-Grade-Lewis-Chester
  64. https://televisionheaven.co.uk/tv-history/the-history-of-itv-the-independent-applicants
  65. https://www.euppublishing.com/doi/full/10.3366/jbctv.2019.0494
  66. https://teletronic.co.uk/television-history/the-history-of-itv-part-7
  67. https://centaur.reading.ac.uk/17666/1/Transatlantic_Spaces.pdf
  68. https://www.academia.edu/33833746/Television_for_children_problems_of_national_specificity_and_globalisation
  69. https://books.google.com/books/about/Something_Completely_Different.html?id=mkWkUof6RBcC
  70. https://www.researchgate.net/publication/232852203_Transatlantic_spaces
  71. https://centaur.reading.ac.uk/21378/1/TVforChildrenBignell.pdf
  72. https://www.latimes.com/archives/la-xpm-1998-dec-13-me-53632-story.html
  73. https://transdiffusion.org/2019/08/26/the-results-are-in/
  74. https://tvtropes.org/pmwiki/pmwiki.php/Creator/ITCEntertainment
  75. https://socialistregister.com/index.php/srv/article/download/5355/2256/7254
  76. https://www.tandfonline.com/doi/full/10.1080/03071022.2023.2246828
  77. https://www.telegraph.co.uk/tv/2020/07/30/muppet-man-lew-grade-invented-popular-tv/
  78. https://www.theringer.com/2022/10/17/tv/british-tv-shows-in-america-history-bbc-cross-the-pond
  79. https://www.cinema-crazed.com/blog/2020/06/26/the-bootleg-files-salute-to-sir-lew-the-master-showman/
Add your contribution
Related Hubs
User Avatar
No comments yet.