In Dunblane Cathedral this morning, the minister preached on the Beatitudes, taking a text from Matthew chapter 5. Jesus used the word “blessed” nine times. The litany of the blessed seems highly unlikely: the spiritually poverty-stricken, the mournful, the meek, those deprived of justice, the merciful, the pure in heart, the peacemakers, the persecuted, especially those reviled for Jesus’ sake. How can you possibly be blessed when you are down and out? What can it possibly mean?
It occurs to me that it might mean something similar to Kipling’s poem If, which challenges us to rise to the occasion if we are blamed, and hated by those bearing false witness against us; if we are patient in adversity; if we entertain hope without recourse to delusion; if we are resolute both in good times and bad; if we are misrepresented; if we see our life’s work destroyed; if we are undaunted by adversity; if we have nothing left but fortitude, yet we remain the same to all men, and despite everything we keep going…
Listening again to the Beatitudes, through the prism if you will of If, I thought of an incident that occurred in the Royal Opera House Covent Garden during the week, in a performance of Puccini’s Turandot. During the evening, the principal tenor took ill. There was a short intermission, while the performers decided what to do. In the end, a back stage staff member, not a professional singer, volunteered to sing the role from the wings, while a mute player acted out the character on stage. When it became evident that the substitute singer was not going to sing the very famous aria Nessun Dorma, no doubt made more famous by its performance by three certain tenors during a certain football world cup, the theatre audience showed extreme displeasure with a series of catcalls and boos. Well, not the whole audience. At least according to an account on Broadcasting House (BBC Radio 4, Sunday 9 am), the expressions of disgruntlement were coming mainly from the posh seats.
I must say when I heard this, and no doubt this expresses some of my own hard-wired prejudices, I thought, “That figures.” I’m not an opera buff. I don’t really get it. I like a lot of the music, and the arias, but I’m no longer prepared to sit in the stalls for four hours. Life’s too short. They played an extract on Broadcasting House of Luciano Pavarotti singing Nessun Dorma, and the audience went absolutely wild. It’s all completely over the top. There seems to me to be a deep core of unpleasantness about it, a touch of the Fascisti. That’s what I thought when I heard all these nobs, or snobs, booing and jeering. I just hope the stand-in singer said quietly to himself,
If you can keep your head when all about you
Are losing theirs and blaming it on you…
Talking of Auntie, the BBC are looking at the licence fee again. Apparently they are short of cash, and finding it increasingly difficult to rival the bigtime global competitors who gain huge revenue from multinational companies who advertise. One possible source of income that has been mooted is to charge us for listening to the radio. Currently we can listen to BBC radio programmes for free. If we want to watch the telly, it costs us £174.50 per annum. That allows us to watch live television, or programmes on BBC iPlayer.
I pay the licence fee, although I haven’t actually switched on the TV this year. It has crossed my mind to stop paying the licence and get rid of my TV set, but I’m not sure I want the hassle of getting letters, and perhaps even doorstep visits, from prying officialdom who frankly would not believe that my house is a television-free zone. So I cough up, and remind myself that I’m sponsoring the BBC Symphony Orchestra, the BBC Philharmonic, the BBC Scottish Symphony Orchestra, the BBC National Orchestra of Wales, and the BBC Concert Orchestra. So if radio listeners who didn’t own a TV were suddenly obliged to subscribe, it wouldn’t materially affect me as I already pay. But for some reason I’ve got a deep-seated aversion to the whole idea.
Still, Public Service Broadcasting has to garner revenue from somewhere, but if there are no adverts, from where, precisely? Actually it isn’t exactly true to say that there are no ads, even on the radio. There are lots of ads, but they are all inward looking, for the BBC itself, advertising forthcoming attractions. I find them increasingly irritating with each iteration, and reiteration. The trailers for radio drama are particularly tiresome. Everything is gritty. Even The Archers are gritty these days. I recently heard a trailer for something called The Night Manager which was such a litany of noir clichés that it could have been compiled by Artificial Intelligence; perhaps it was.
But how could you possibly enforce, and police a radio licence? Would we have to pay to listen in the car, on the phone, or in an earpiece while out for a jog? We might have to go under cover, like members of the Maquis, tuning into the BBC somewhere in Normandy, in 1944. “This is London calling. This is a message for Pierre in Caen. The foie gras is in the oven. The foie gras is in the oven…”
I have a notion that if the BBC Radio Licence goes live, I will do largely what I’ve done with the telly, and switch it off, not so much as a matter of principle, but because the content (with a few notable exceptions) is growing increasingly uncongenial. The preoccupation, nay obsession, with the multi-media landscape is oppressive. “And now, on line, on digital, on your smart speaker and on 88 to 91 FM, this is BBC Radio…” There is a constant reference to “content” that is “in your feed”. In the real world, the news is so bad that it has become common practice for people to switch off, or retreat into an echo chamber that has been designed, algorithmically, to broadcast that which they want to hear.
I suppose this is what it means to advance in years. Life qua relinquishment. Ich bin der Welt abhandengekommen. I’ve given up the telly, and the opera, and now it would seem, radio. Whatever next? Newspapers? There is a particularly irritating article in today’s Sunday Times by Jeremy Clarkson on the topic of net zero. Net zero is unhuman. Who wants to be cold and sad? The burden of the piece is that all human progress has been characterised by a move from discomfort towards comfort. But Ed Miliband (referred to sequentially as Sillyband, Stupidband, and Millipede – talk about an argument ad hominem) is taking us in the other direction. Chickpeas and bamboo cutlery are why Milliband’s crusade will fail. I suppose in a way it’s quite amusing, but the trouble is, it fails to address the central issue of climate change, just as the US National Security Strategy fails to address it with its simple assertion, “We reject the disastrous ‘climate change’ and ‘net zero’ ideologies that have so greatly harmed Europe, threaten the United States, and subsidise our adversaries.” That is an assertion without any backup. So it is with Jeremy Clarkson’s piece. You cannot write about this issue without answering the questions – (a) Is climate change real? (b) Is it man-made? (c) Is it potentially catastrophic? (d) Can the catastrophe be avoided or attenuated? If you’re not going to address these issues, there’s really no point in expressing contemptuous derision, and cracking a few jokes. I’m surprised the Sunday Times’ editor’s blue pencil wrote “stet”.
And as for the media frenzy over Mr Mountbatten-Windsor…
Go placidly amid the noise and haste.
