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Finally I realise why women are so pissed off. It all goes back to the first codified laws — circa 2,400 bc — when rules like this were invented by men: ‘If a woman speaks out of turn then her teeth will be smashed by a brick.’ Before that, apparently, women lived on a pretty equal footing with their future male oppressors.
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With Alex Salmond currently engaged in a war of words with Nick Robinson over the BBC's 'disgraceful' coverage of the Scottish referendum, there is one former Beeb employee he can turn to in his time of need. Step forward Paul Mason. Mason -- who worked as Newsnight's economics editor before defecting to Channel 4 -- joined Salmond on stage at the Edinburgh book festival to plant a few blows in the direction of his ex-employer. Despite pleas from Nicola Sturgeon for the BBC to enhance its presence in Scotland with a BBC Scotland TV channel, the PostCapitalism: A Guide to Our Future author said the BBC's unionist values were part and parcel of the corporation: 'I'm absolutely sure that the BBC believes it is a unionist institution.
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To Radio 2 to meet Bob Shennan, controller of the BBC’s most popular radio station (the station attracts one third of all listening hours) and now also head of the newish monolith that is BBC Music. Why corral all of the Corporation’s music output on radio and TV into one enormous sub-division (on a par with BBC News, BBC Drama and BBC Sport)? Isn’t this just another cost-cutting compromise, a way of saving money by smoothing out the BBC’s output (its first production was that weird mish-mash of God Only Knows by a constellation of stars)? How will specialist stations like Radio 3 and BBC4 survive if swallowed up in what is essentially a bureaucratic creative exercise, victims of corporate branding?
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Just back from a few nights in Sweden to find the perfect programme on Radio 3. It was one of those interval shorts that are always such a nightly bonus during the Proms season. That 20-minute space between concert halves is the perfect length for listening. On Sunday night it was Kate Clanchy’s turn to fill in between Sibelius symphonies and what better topic than The Summer House (produced by Julian May), or rather the stuga, mokki, sommerhus or dacha beloved of Scandinavians and Russians, where Sibelius would retreat to write those symphonies redolent of dark woods and deep waters. Here the hassle and routine of city life are abandoned and days are spent chopping wood, gathering cloudberries or just soaking up the long-awaited sunlight.
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With MPs being awarded a 10 per cent pay rise this summer, politicians have been left having to defend their annual salary of £74,00o from sceptics who point out that the boost comes at a time when their constituents face tough cuts. Still, Mr S wonders whether that number is too small an estimate after one takes into account all the freebies they can receive. According to the latest register of interests, MPs have been managing to enjoy a summer of freebies in between their constituency work. After John Bercow boasted last year that he had watched 65 of Roger Federer's matches, he looks on course to achieve a similar number for 2015.
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When the link between tobacco and lung cancer was first established in the early 1950s, one obvious question arose: should doctors tell people not to smoke? These days, of course, the answer seems equally obvious — but at the time, medical opinion was divided. According to the highly distinguished Dr Erich Geiringer in a letter to the Lancet, ‘the best advice a doctor can give ...to many non-smokers’ was that ‘they should get a pipe and dissolve their ...body-destroying frustrations into blue smoke’.
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‘I already hate Sam. He’s too chavvy.’ Can you imagine the outrage that would kick off if someone said that about a contestant on a reality TV programme? But that’s essentially what happened to Flora Shedden, a 19-year-old candidate on this year’s Great British Bake Off who was accused of being ‘too posh’ on social media. So what triggered all of this? Simply forgetting to turn on her oven because ‘at home we’ve got an Aga, and I’m so used to having it on all the time.’ This one statement triggered a stream of abuse on social media, with many commenters hoping that she’d leave the competition first. For what crime? Being a bad cook? Having a soggy bottom? Nope; in fact, her Madeira cake turned out beautifully.
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The BBC’s Creative Director, Alan Yentob, seems to have spent the last week or so dashing from studio to studio in an attempt to influence the corporation’s broadcasters from saying nasty stuff about a charity of which he was, until it imploded, chairman. The incompetently-managed Kids Company is now mercifully defunct. Yentob has subsequently admitted to having contacted Newsnight before the programme broadcast an investigation into the charity. He also harangued BBC correspondent Lucy Manning and stood in the cubicle watching as Today attempted to cover the story. If anyone else in the BBC had demonstrated such a magnificently brazen conflict of interest, they’d be out. But as a former senior exec told me: 'Yentob is Teflon.
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The BBC was created out of the ether in 1922. Its first director general, Lord Reith, inhabited a cupboard some six feet in length and presided over a staff of four people, operating out of one long room. Reith confessed that he did not actually know what broadcasting was — an affliction which you might say, a little cruelly, has been shared by one or two of his successors over the years. The parsimonious approach was not to last, of course. Ten years on and the corporation was ensconced in the Stalinist art-deco edifice of Broadcasting House; today the BBC employs more than 20,000 people — some of them actually involved in making programmes — and struggles by on a budget of £5.1 billion.
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Climate change is the subject of a complex debate in which, increasingly, experts disagree with each other. Nearly all of them believe in man-made global warming, but they're not sure how bad the problem is or how to tackle it. Meanwhile, the 'sceptics' are no longer dominated by scientifically illiterate amateurs. Many of them believe in anthropogenic global warming, though they don't think it's happening today. So you'd expect the BBC's 'Environment and Energy Analyst', Roger Harrabin, to proceed with caution. Not so. Here are two tweets he sent out yesterday (links here and here): Quentin Letts is the Daily Mail's parliamentary sketchwriter and theatre critic, celebrated for his sometimes caustic but more often gentle wit.
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When I was growing up in the 1970s, my three main fears were: being blown up by the IRA; being eaten by a Jaws-like great white shark; being vaporised by a nuclear bomb. I expect it was the same for most kids of my generation. The first two, obviously, were a function of the Birmingham bombings (et al.) and the Peter Benchley/Steven Spielberg axis of shark terror. And the third was the product of the relentless propagandising of CND as rehearsed faithfully on pretty much every BBC programme going from John Craven’s Newsround to The Archers, Animal Magic and Roobarb and Custard.
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It’s 70 years since the bombs were dropped on Hiroshima and Nagasaki and yet there has been no rush to commemorate this anniversary. It’s perhaps not surprising. Who would choose to recall the events of 6 August 1945 when the world first witnessed the effects of nuclear warfare? Yet the absence of date-setting, the annual forgetting, makes it appear that we’re much less keen to remember something that might make us feel uncomfortable or discredit us. One exception was on Radio 4 on Monday morning, when, in Under the Mushroom Cloud, Shuntaro Hida, a 98-year-old survivor of Hiroshima, told us frankly and without sentiment his memories of that day in August 1945.
From our UK edition
The BBC was created out of the ether in 1922. Its first director general, Lord Reith, inhabited a cupboard some six feet in length and presided over a staff of four people, operating out of one long room. Reith confessed that he did not actually know what broadcasting was — an affliction which you might say, a little cruelly, has been shared by one or two of his successors over the years. The parsimonious approach was not to last, of course. Ten years on and the corporation was ensconced in the Stalinist art-deco edifice of Broadcasting House; today the BBC employs more than 20,000 people — some of them actually involved in making programmes — and struggles by on a budget of £5.1 billion.
From our UK edition
Like everyone performing at the Edinburgh Fringe I’m about to make a lot of mistakes. I’m about to lose a lot of money too. But after ten years covering the festival as a reviewer I’m at least able to predict which errors I can’t avoid blundering into. First, the campaign to attract a crowd will be pointless. This stands to reason. Five or six thousand hopefuls swarm up to Edinburgh each year and they all use the same marketing strategy. Attention-seeking stunts on the Royal Mile. Tiresome afternoons forcing leaflets on unimpressed Americans. Fly-posting after dark, on tiptoe, by torchlight. Desperate texts to friends of friends promising five-for-one discounts.
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What follows is a proposal for reducing the BBC licence fee and improving the corporation’s output while saving the British newspaper industry. All that’s involved is a basic understanding of pricing psychology combined with a digital currency for micropayments. Under my proposals, half the licence fee would fund the BBC’s Reithian purpose; the other £60 could be paid direct to the BBC as now or, if you chose, paid to you as a digital currency (6,000 Beebcoins). People could buy additional Beebcoins, which could be spent on BBC or competitor content — including content from newspapers. Notionally the BBC would lose out; in practice they would gain revenue, as they could now sell premium services.
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On all those comic lists of the world’s shortest books (Great Italian War Heroes, My Hunt for the Real Killers, by O.J. Simpson etc.), the best title I ever came across was Bloomsbury: the Untold Story. Now, though, BBC2’s new drama, Life in Squares, is giving us yet another chance to marvel at how many sexual permutations one small group of people can achieve. But before all that began, Monday’s first episode was at some pains to show us the forces of Victorian stuffiness against which the Bloomsbury group rebelled. In the first scene, a suitor tried to woo Vanessa Stephen with the chat-up line, ‘Only two more days, Miss Stephen, to the opening of the trout-fishing season.
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Watching the Berlin Philharmonic going into conclave to choose a successor to Simon Rattle — after countless hours of secret discussion they have chosen Kirill Petrenko — reminds one of little less than the election of a pope. In both cases the expectation is the same: the organisations are so iconic that they must continue into the future without a hitch and without question. Whatever sort of job they are doing, or have done, they have become too much a part of normal life to be abolished. Why is it that symphony orchestras of any standing are expected to survive indefinitely, where smaller musical organisations, though they may be just as established, are not? What are the long-term prospects for the Monteverdi Choir after John Eliot Gardiner retires?
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There’s nothing quite like a First Night — and last Friday we launched the Proms, the most celebrated classical music festival in the world, now in its 120th year. There’s the thrill of walking into the Royal Albert Hall for the first time; taking your seat with thousands of other music fans; the ‘heave ho’ chant from the Prommers; the quiet before the music begins. It’s a vast space, but it can also feel very intimate. So it was perfect for the opening concert with moments of quiet reflection in works by Mozart and Sibelius, as well as great walls of sound in Walton’s Belshazzar’s Feast.
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As staff at the BBC face cuts and budget tightening following the Government's plans to reform the Corporation, their director-general Tony Hall has offered his own defence of the licence fee. Writing the diary in this week's Spectator, he mentions that Tracey Ullman was recently transformed into Dame Judi Dench as 'M' in the James Bond films. Hall goes on to suggest that the BBC has some parallels to Bond with both in possession of a 'very special licence': 'When Tracey spent the day as Dame Judi Dench on location last week, so talented are the make-up and prosthetics team that passing members of the public were fooled into thinking she was miraculously back from the dead as ‘M’ in the new Bond film.
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Some revelations, it seems, are capable of being endlessly repeated while still remaining revelations. Think of all the books, articles and TV programmes over the years which have ‘revealed’ that the Victorians weren’t, after all, mad sexual repressives who had a fit of the vapours at the sight of an uncovered table-leg; or that the 1950s were a lot more fun than the drab conformist decade of popular imagination. Or that Rudyard Kipling was by no means a straightforward imperialist. (Feel free to add examples of your own.) And yet, no matter how many times these things are pointed out, it’s always with a proud flourish — as if what’s being said stands in fearless contradiction to everything we’ve previously heard.