Bbc

Thursday

Ismene Brown

Sacred Monsters, Sadler’s Wells: Sylvie Guillem and Akram Kham’s captivating final boogie

I’m dashing between dance theatres at the moment and there’s just so much to tell you about. I could linger on Sacred Monsters, the captivating conversation-piece at Sadler’s Wells for Sylvie Guillem and Akram Khan — conversational being the word, for these genius dancers also talk to us, which is rather like Garbo laughing. Guillem’s voice is a delightful discovery: it’s a soprano timbre, bubbling Frenchly with dropped aitches and baroque flexibility. She tells us cute stories about Charlie Brown’s sister ‘Sall-ee’ and her wish always to be ‘émerveillée’in life, while Khan confides his anxiety about balding. The 70 minutes go by like a jam session for two specialists of

James Walton

BBC1’s Remember Me: the curious case of the killer Yorkshire taps

BBC1’s authentically spooky three-part ghost story Remember Me hasn’t yet revealed what’s really going on in that gloomy Yorkshire town. Nonetheless, the second episode did clear up one mystery. We now know how Michael Palin managed to find room in his schedule for what the advance publicity described as his first leading dramatic TV role since 1991’s G.B.H. — by leaving most of the work to the other actors. His name may have appeared first in Sunday’s opening credits, but the man himself didn’t show up until the 54th minute of 58. When he is around, Palin plays Tom Parfitt, a slightly improbable eightysomething tormented by visions of a mysterious

Friday

Andrew Taylor

Forget genre: P.D. James wrote novels that are worth reading and re-reading

P.D. James was the Queen Mother of crime fiction. Her career as a writer stretched over half a century, and her death at the age of 94 deprives the country of an author who was cherished in person as well as for her books. She was probably best known for her crisply-written and elegantly plotted series about the poet-policeman Adam Dalgliesh. Among other things, however, she was also an occasional contributor to the Spectator, which sometimes showed an unexpected side to her. An early diary piece recalls her attempt to learn to drive in Dublin in the 1980s. The caretaker at her block of flats took one look at her

Thursday

Jeremy Paxman

Jeremy Paxman’s diary: Why must Songs of Praise chase advertiser-friendly viewers?

The most unfashionable show on television, Songs of Praise, has had a makeover. The BBC had apparently discovered that the average viewer of the show was in their mid-seventies. Quelle surprise: in the trade it is known as ‘The Resurrection Show’, because so many participants shuffle off their mortal coil before transmission. The new version was introduced by a bubbly presenter with hair dyed a fetching shade of cerise, slightly talking down to us. It ended with a cheery roomful of Salvationists and a brass band. I rather liked it, even if I had switched on wondering why publicly funded religious broadcasters were chasing the advertisers’ target demographic. Actually, I

Kate Chisholm

Was this Christian pioneer of radio evangelism a fraud?

She was the sequinned star of the airwaves back in the 1920s, the first preacher to realise the potential of the wireless, long before Billy Graham and co. But who now has heard of Aimee Semple McPherson, the radio evangelist? Born in 1890 and raised on a farm in Canada, she was converted as a teenager by a Pentecostal preacher whom she married and joined on his missionary travels. When he died she took up preaching herself, moving to Hollywood and becoming enormously popular as a great healer of the sick and saviour of souls, dressed up for the part in a long white figure-hugging gown adorned with a huge

Wednesday

Ed West

I have more respect for Labour politicians who defend their record on immigration than those who pander

Wonderful: Labour has a new slogan on immigration, which appears to be the Conservatives’ old slogan from 2005, the one that Labour said was racist. I have far more respect for any Labour politician who actually defends their record on mass immigration – only a fifth of which was from Europe, incidentally, although that gets at least four-fifths of the coverage – than those who goes along with the current fashion. Someone who said that diversity made us more tolerant and kinder and was culturally-enriching; and that the economic benefits, although they are more helpful to the rich than the poor, are worth the downsides. That mass immigration was a Left-wing thing

The Spectator

Yes, Bob Geldof, Africans know it’s Christmas. Do you know it’s time to pack Band Aid in?

In this week’s Spectator, out tomorrow, our leading article looks at the Band Aid 30 single and why it’s time for Bob Geldof to pack Band Aid in. Pickup a copy tomorrow or subscribe from just £1 here.  Anyone listening to the BBC this week could be forgiven for thinking that the musician Bob ­Geldof had just emerged from Africa, like a ­latter-day Dr Livingstone, the first westerner with news of a deadly new virus. He and his makeshift band of celebrities have adopted Ebola, their song blazing from the radio while Geldof himself has been in every studio exhorting people, with his usual stream of expletives, to buy it. Unless you have

Monday

Elle Jay Smith

Newsnight’s arts coverage has descended into a string of fawning advertorials

Newsnight‘s decision to interview misogynist comedian Daniel ‘Dapper Laughs’ O’Reilly has been slammed as a cynical ratings grab, a descent even from the depths plumbed by devoting 15 minutes to Russell Brand’s latest booky-wook. The criticism is misplaced, however. In both interviews, the respective hosts, Emily Maitlis and Evan Davis, dissected their subjects’ work and challenged their arguments. It’s in Newsnight‘s coverage of high culture, not popular culture, where the rot has set in, with a proliferation of glossy advertorials that have no journalistic purpose. In the past six weeks, Newsnight has presented us with the following: an interview with Howard Hodgkin to coincide with his exhibition at the Alan

Thursday

Harry Mount

The National Trust is spoiling beautiful places in the name of people who’ll never visit them

Broadhaven Beach in Pembrokeshire was once a sublime combination of the works of nature and man. The broad, deep, sandy bay is flanked by towering limestone cliffs. Two hundred years ago, a stream leading to the sea was dammed by Lord Cawdor, the then owner, to form the Bosherston Lily Ponds. Enter the National Trust, owners of the estate since 1976. Now the spot where the lakes meet the sea is marked with a bright purple National Trust sign, saying, Return to the start, a new path you’ll take Its rocky in places, don’t fall in the lake. Perhaps it’s better in the Welsh translation, also featured on the purple

Kate Chisholm

The voices of Indian PoWs captured in the first world war

At six o’clock on 31 May 1916, an Indian soldier who had been captured on the Western Front alongside British troops and held in a German PoW camp stepped up to the microphone and began to speak. Not in Hindi or Urdu, Telugu or Marathi but in perfectly clipped English. He tells his audience, a group of German ethnologists, the biblical story of the Prodigal Son. That his voice still survives for us to listen to, clear and crisp through the creak and crackle of time, is an extraordinarily emotive link not just back to the Great War but to the days of Empire. In The Ghostly Voices of World

James Delingpole James Delingpole

We know that war is hell. But it doesn’t ever make us stop doing it

There’s a plausible theory — recently rehearsed in the BBC’s excellent two-part documentary The Lion’s Last Roar? — that our war in Afghanistan was largely the creation of the Army, which sorely needed a renewed sense of military purpose after the debacle in Iraq. As a taxpayer, this appals me. As the parent of a boy approaching conscription age it horrifies me. But as an Englishman, it doesn’t half make me proud that we’ll still do anything — up to and including embroiling ourselves in a futile conflict — rather than admit we’re finished as a fighting nation. Though we joke about having beaten Germany twice at their national sport

Thursday

James Walton

James Walton uncovers the sound of Nashville – money

Twenty minutes into BBC4’s The Heart of Country (Friday), there was a clip of Chet Atkins, country music’s star producer of the 1960s, being asked to define ‘the Nashville sound’. Atkins reached into his pocket, pulled out some coins and rattled them in his hands. ‘That’s the Nashville sound,’ he said with a slightly rueful smile. ‘Money.’ By this stage, mind you, the revelation of Nashville’s commercialism didn’t come as an enormous surprise. After all, WSM, the radio station that started the whole thing with its live shows from the Grand Ole Opry, was the broadcasting arm of the National Life and Accident Insurance Company. It also took a stern

Kate Chisholm

Many more Germans were displaced in 1945 than Indians during partition

What Radio 3 needs is a musical version of Neil MacGregor. The director of the British Museum and now a stalwart of Radio 4 is an intellectual powerhouse but his talks on radio are so clear, so crisp, so deceptively easy to follow that he draws you in and makes you feel that you too can understand the world in the way he does, with his enormously broad vision and his deep understanding of the way things connect. His latest series, Germany: Memories of a Nation, has for five weeks now been giving us these wonderful bite-sized insights into the history of that still-young country, taking a particular object and

Saturday

Rod Liddle

Russell Brand: Newsnight’s tragic solution to its plummeting ratings

The issue is not that Russell Brand seems to believe that 9/11 was some sort of joint effort between George W Bush and the bin Laden family – that’s sort of a given, no? The man is a drug-addled idiot with the geopolitical knowledge and awareness of a tub of ‘I Can’t Believe It’s Not Butter’. The issue is, given these facts, what he’s doing on Newsnight, again. The BBC, defending the decision to interview the fool, said that he is representative of the ‘anti-politics’ movement with which Westminster is trying to engage. No. He’s. Not. But even so, what utter cant – he’s on there because he’s famous and

William Cook

First look at the new Dad’s Army

Back in the last century, when people still watched television rather than computers, I fulfilled the lifetime ambition of every comedy nerd when I finally got to meet David Croft and Jimmy Perry. Whoever said ‘don’t meet your heroes’ clearly never met any sitcom writers. I was working on a BBC series about the history of British sitcom – since eclipsed by countless cheap clip shows, but actually quite a novelty back then – and though the actors were interesting, it was the writers who really shone. Like Galton & Simpson (Hancock, Steptoe) and Clement & La Frenais (Porridge, The Likely Lads), Croft & Perry were enchanting. Clearly, there’s something

Friday

Lloyd Evans

Dylan Thomas: speeches for Hitler, balderdash for Walton and the true meaning of Under Milk Wood

My father came across Dylan Thomas in a Swansea pub in 1947. ‘Chap over there,’ said one of the regulars ‘is a poet.’ ‘What’s his name?’ asked my father. ‘No idea.’ That Thomas’s celebrity was rather patchy, even in his hometown just a few years before his death, illustrates how much his fame owes to the fans and memorialisers who have stoked the legend ever since. His centenary falls on 27th October. He was morose, shy, florid-faced and hyper-sensitive. He described himself as having ‘the countenance of an excommunicated cherub’. His first poems, published in the 1930s, were greeted with cautious interest. Edith Sitwell championed him. So did Cyril Connolly. Sceptics

Thursday

James Walton

Hooray for Homeland – Carrie’s back blasting America’s enemies to pieces with drones

One of the more welcome and surprising things about television at the moment is that Homeland (Channel 4, Sunday) is good again. As I’m not the only person to have pointed out, the first series was great. After that, though, the show suffered badly from the diminishing returns which so often afflict a deserved American hit that’s obliged for financial reasons to just keep on going — usually by serving up increasingly minor variations on a theme. (Exhibit A: Lost; exhibit B: most of mid-period 24.) Fortunately now that Damian Lewis’s Brody is dead, Homeland no longer has to think up any more ways to make us wonder which side

Martin Vander Weyer Martin Vander Weyer

The one economic indicator that never stops rising: meet the Negroni Index

This dispatch comes to you from Venice — where I arrived at sunset on the Orient Express. More of that journey on another occasion, I hope. Suffice to say that if you happen to have been wrestling with the moral choice of bequeathing what’s left of your tax-bitten wealth to ungrateful offspring or spending it on yourself, don’t hesitate to invest in a last fling on this time capsule of elegant extravagance. Made up of rolling stock built in the late 1920s, the train itself symbolises everything that 20th-century Europe was good at — engineering, craftsmanship, style, cross-border connections — when not distracted by political folly and war. Views from

Tuesday

Martin Vander Weyer

John Humphrys and the BBC’s disdain for market capitalism

Last week’s market tremor, provoked by renewed fears of eurozone stagnation and a slowdown in global growth, was serious enough for IMF chief Christine Lagarde to feel the need to pronounce, in her most soothing tone, that it was ‘maybe at this stage an over-reaction’. But if you were listening to the Today programme on Saturday morning, you might have thought it was all a bit of a joke — and one that served irresponsible investors right. In the absence of economics editor Robert Peston and his almost invisible successor as business editor, Kamal Ahmed, John Humphrys conducted a notably flippant interview with ‘one of the world’s most influential investors’,

Friday

James Smith

The Rwandan genocide story that the BBC didn’t tell

On Saturday 200 UK-based Rwandans, including many genocide survivors, protested outside the BBC offices in response to the documentary ‘Rwanda’s Untold Story’, which aired earlier in October. The demonstration followed a letter of complaint sent to the BBC’s director general, written by the survivors’ organisation Ibuka. They point out that despite the BBC’s commitment to upholding truth and objectivity, the programme contained factual inaccuracies and seemed intent on reopening wounds in Rwanda. They expressed disbelief and disappointment that: ‘[A] few people who have their differences with the current government or the country were given a platform to politicise the Genocide and deny the planned and systematic killing of over one