Why Be A Journalist?

JOURNOPIX

I spent a curious, but lively morning at News International today. The organisation hosted a one day conference for many state school students on behalf of the Young Journalists’ Academy, encouraging them to consider entering the trade. I was asked to be on the opening panel discussion entitled “Why Be A Journalist?” So I started with some sarcastic suggestions from the wags I know on Twitter:

  • Because your parents couldn’t stomach the thought of you being a banker.(@doctorcdf)

Because there’s worse ways to earn no money. (@EleanorPe)

Esteem, respect and love from the public.(@tonyglover11)

For the money, the fame, the short working hours, the kind bosses, the bonuses and the unwavering respect of a nation. (@JW_Ten14)

So you can learn how to manipulate your love of playground gossip & be paid to publish it. (@AliciaHills)

Because if you join a corrupt empire you can dictate to politicians and be above the law. (@98Apples)

And this one from the editor of Spear’s Magazine: Because there’s the truth and because people want to hide it from you. (@joshspero)

The decision of News International to host is interesting. An organization, trying to rebuild its reputation after the industrial disaster of Hackgate. And it was a fun and lively discussion. I certainly didn’t hold  back from challenging the callous arrogance of some journalists towards the public, giving examples of bad journalism. Eg. The treatment of Rochelle Holness’s murder. But I cited plenty of examples of great work (eg. Liz McKean’s original investigation into Jimmy Savile for Newsnight) and  made my usual  defence of the civic value of honest investigation in the public interest, the importance of  holding the powerful to account, exposing wrong doing etc. And the great fun of being in the front row at the first draft of history and all that.

On the panel was The Sun‘s star TV critic Ally Ross and Guto Harri — who joined the BBC at the same time as me as a graduate News trainee and spent several years as a Westminster reporter before crossing the line to work for Mayor Boris Johnson and now Head of Communications for News International. Poacher turned game keeper turned gamekeeper for a very powerful poacher, I guess. Both had great stories of the fun, privileges and challenges of a career in journalism. (“You can be a complete tosser sometimes, but you are more interesting than an accountant or a banker,” said Harri.) Ross, revealed that he had written an angry letter to The Sun as a teenager about some example of their reprehensible misreporting. But later, as he started his career found The Sun treated him far better than The Guardian which had snubbed him very badly. And his loyalty to the tabloid had been established every since.

Ross was charming and made a lively defence of those Freddie Starr Ate My Hamster headlines. He cited with pride that he’d been stalked by a member of the EastEnders cast for saying he was short, and threatened by the head of BBC Drama. “I became a journalist to provoke, to write honest things, to be funny. But I have to work within libel law.” Ross also pointed out, as many journalists already have, that pretty much everything that outraged us about hackgate was already illegal; and that the important MPs’ expenses scandal was only broken because of the illegal acquisition of the stolen information by payment.

However he did give an example of his content being censored for libel that could reasonably be said to be in rather dubious taste.  It was a joke about sexual harrassment and whether the woman was good looking or not. He also cited Rod Liddle, who got The Spectator into trouble for breaching a court order not that long ago, as the best columnist there is (discuss), and most controversially Ross said the suicide of teacher Lucy Meadows was about her debts, and not linked, as a coroner had claimed, to the strongly worded columns of writers such as Richard Littlejohn about Meadows’ transgender status.

I am a bit perturbed about what the young would be journalists in the audience would take away from all that. Over the course of the day there seemed to be some agendas being pushed. It’s been suggested to me that a 100% pro-Leveson voice was lacking on my  panel lineup. I noticed in the official Twitter feed from the event at least one speaker was saying this: “The real monopoly in this country is not Murdoch, it’s the BBC”. A legitimate discussion point, but I don’t know if it was challenged. But as an insight into the range of opinions about recent scandals, and the political positions by different organisations, the event was illuminating.

Guto Harri made perhaps the most helpful comment of the morning panel discussion. Referring to the public school and Oxbridge background of many figures in public life he urged the audience in reporting on and interviewing the powerful, whether in politics or business, to develop their own confidence and stand their ground. “Don’t be intimidated by people who’ve been trained to be confident.” On that we can all agree.

 

 

 

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Plotting the arc of darkness with Joss Whedon

(via tfgeekgirl.com)

(via tfgeekgirl.com)

Here’s a link to my interview with Joss Whedon for Radio 3’s Night Waves on June 12th. We covered his writing for Roseanne, Shakespearean superheroes, his love of musicals — especially Brigadoon —  the way studios treat writers, (take Firefly and Futurama) even ones with proven track records, the development of series plot arcs and his fascination with darkness and mirrored relationships that applies from Buffy and Angel to the dynamics in Much Ado About Nothing. The portrayal of Claudio — the most sympathetic I’ve ever seen — is no surprise if you’ve seen how he handled the coming of age traumas in Angel and Buffy.

Fran Kranz as Whedon's fratboy Claudio

Fran Kranz as Whedon’s fratboy Claudio

Incidentally, though he says he hated being at the exclusive public school, Winchester, he says he loved it too, and was very aware of the quality of learning. An interesting observation in the current debate in Britain about aspiration and the importance of being stretched.  All that genre-bending, existential self awareness comes back to the teenage Whedon repeatedly watching Close Encounters of the Third Kind in halfterm and on telling a friend on his return to school, being immediately given some Sartre to read.

A couple of things that did get lost in the edit is examples of his father’s sitcoms: In the section where Whedon talks about his father’s script writing, you’ll hear him say that he felt what his father worked on was nowhere near as good or funny as the things his father said. But not  the examples we discussed. The Golden Girls he admitted was highly acclaimed, but Whedon mentioned shows such as Benson as examples of sitcoms that he felt didn’t really impress. Throughout I got a sense of his drive to fight dilution and blandness; to take the format somewhere more challenging. It’s an attitude which is at the heart of his work. And his withering feminst critique of Twilight and the post-Buffy Hollywood Vampire is  a particular highlight.  Listen here

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Lessons from Italy’s Mafia Republic

Every weekend when I was 10 years old, I had to write an English composition for homework. It was 1978 and drawing on the daily news on my TV screen for source material I wrote one  imagining I was the daughter of a wealthy Italian business family who got kidnapped in Rome and was held hostage for a large ransom.

It helps explain why I’ve been so unsettled over the past couple of weeks by reading John Dickie’s Mafia Republic: Italy’s Criminal Curse — his angry and moving new history of the power of the Italian criminal fraternities since the Second World War. The book made me realise how easily we accepted and normalized the terror of that bulletmarked decade from the mid 70s to 80s. Italians remember it as the Years of Lead – in which the Mafia launched a kidnapping and terrorist frenzy – an apparent all out war against the State which they had infiltrated and corrupted so successfully over the previous century.

An estimated 650 people were abducted in those years.  We remember only the most famous, such as 16 year old John Paul Getty III, whose ear was severed by his kidnappers. But many children were held and abused; sometimes for years. Some hostages were murdered and their bodies never recovered. It’s a brutality we’ve seen more recently in Iraq, Afghanistan and Syria — nations where the breakdown of the civil state has created the space for criminal gangs to flourish.

And Dickie reminds us of something darker. That many people jumped on the kidnapping band wagon in Italy. Not just Corsican bandits and callous young communist revolutionaries such as the Red Brigades, but also “many ordinary delinquents latched onto the idea that taking a hostage or two was a short cut to riches. Kidnapping became a criminal craze that was profoundly damaging to Italy’s weakened social fabric.” In one case an 11 year old girl, Marzia Savio, was taken in 1982 not by a gangster, but by the local butcher who, when his get-rich-quick plan went wrong, disposed of her body in pieces from a flyover.

For decades Northern Italian politicians promoted the myth that the mafia was really a regional attitude, almost a genetic problem in the “backward” South. But Dickie points out that it was the strength of criminal networks combined with a weak and nepotistic state that enabled them to embed themselves in civic life. The Cosa Nostra and the Ndrangheta of Calabria were closely modelled on the same Freemasonry that dominated the Italian political and business elites. When I asked him about wider lessons, Dickie suggested  the Italian Mafia Republic is the logical result of a state in which much of the economy is black, many “workers have no rights and the free market operates at its most savage. Where justice is slow to work, especially civil justice, the mafias were very good at coming in and imposing their own self-interested form of order.”

Dickie points to the hyperspeed mafia state created in Russia in the free for all after the fall of Communism in 1990. “There’s this myth that all you need to do is to take away the state and capitalism will blossom,” he says. It’s relevant to Britain too. British newspapers can be proud of exposing the noses in the troughs of the MPs expenses scandal and keeping up the pressure on the shamelessly aggressive tax avoidance of Google, Amazon and Starbucks.  But Dickie sees a relevant comparison to the huge cuts being made to the state funding of legal aid in civil law and the attempts to withdraw workers’ rights and health and safety under the guise of hacking away business-harming “red tape”.

Italy’s mafias like the worst aspects of our banking system embody the distillation of our most selfish instincts – for macho elites to hold onto power, for the powerful to grab the largest share for themselves, at whatever cost to others; to make the most ruthless short term profits; to fail to protect civic values that have no obvious financial profit. It’s surely no coincidence that Italy is also the land that the Financial Times once dubbed “The land that feminism forgot”. It took decades to get this way. But we can see the result in modern Italy’s hideous unplanned concrete urban sprawl and the landfill and toxic waste dumped around Naples in the late 2000s as criminal-run organisations made their profits.

We shouldn’t forget the role of irresponsible journalism,too,  in Italy’s curse. It indirectly helped the Mafias’ interests by feeding cynicism among the public that the authorities weren’t any better. That nothing could be done to break the power of the Mafias.
In 1986  a small dedicated team of police and law enforcers led by Magistrates Giovanni Falcone and Paulo Borsellino, broke the silence around the mafia by holding the first “Maxi” trial of key figures in the Sicilian Cosa Nostra. Both Falcone and Borsellino were murdered 6 years later and rightly hailed as martyrs. But at the time of the maxi trial  The Observer  sneeringly compared the authorities’ landmark court case  to a Fascist “show trial”. The Guardian said the whole operations had “overtones of a Barnum and Bailey production.” The Economist repeated the view that many right wing politicians had voiced for years – they dismissed the truth that the Cosa Nostra was a carefully structured organisation with a senior management as a fantasy, as “semi-mythical”.

In Britain cynicism about politics has led to record falls in voting, partly fuelled by sneering reporting that reports politics as a soap opera of battling personalities. There’s not a literal comparison with Italy, of course. But as maverick outsiders like UKIP rise on the tide of it all (check out what their website has to say about workers’ rights) Italy’s Mafia Republic warns us to value a state that is strong enough to protect the weak. And to be careful what we wish for.

This column first appeared in The Big Issue magazine.

Further listening:

Radio 3 Night Waves discussion with John Dickie on his book Mafia Republic (May 2013)

John Dickie Website

You can follow John Dickie on Twitter

 

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But it’s news… Some questions about Woolwich coverage

WOOLWICHINDY

 I’ll be discussing questions about BBC TV’s news coverage of the horrific Woolwich street murder of a young soldier on Newswatch with the head of the BBC Newsroom, Mary Hockaday on Friday May 24th. This blog post lays out some of the questions. At least 200 viewers have already complained about the coverage.
 
The brutality of the attack in broad daylight, with onlookers encouraged to film and photograph the cruel act, are key  aspects of why this is such an important news story.  The killers sought publicity at the scene. (Technically they’re “alleged”, as they’ve been arrested and criminal proceedings are underway).
 
So in a way broadcasting the footage is a natural default instinct of a journalist. Anything else is some form of censorship. The ITN footage is quite calm — only the bloody hands hint at the horror. It is the vocal efforts of the brave police officers  to cordon off the crime scene  so they can  protect the body of a murdered citizen that suddenly makes the viewer feel a voyeur.
 
Broadcasting the footage on bulletins was what the attackers wanted. Did the pressure of having “exclusive” footage rather than editorial justification tip ITN’s decision?  Could a series of stills have been shown instead? If that seems too cautious, what about running some footage with the reporter’s voice track over? This is what has happened with so-called martyrdom videos of 7/7 terrorist bombers. The question is about leaving the attackers to speak directly over the airwaves and whether the distress or upset caused is justified or could be seen to be inflammatory. The short version I saw on the ITV website seemed carefully edited, but after covering crime scenes as a reporter for 20 years is my view a reasonable one?
 
For other broadcasters “the footage was everywhere else” argument is not a justification. The main editorial bulletins and the front pages of newspapers still carry great significance and power. It’s interesting to compare Woolwich to the decision NOT to show topless photos of Kate Middleton, the Duchess of Cambridge. British news organisations united in refusing to publish them. You could find them easily on the internet and other international broadcasts.
 
Could/should broadcasters have put the footage online only with a health warning?
 
It’s worth asking if the situation is really any different to the US where concern about copycat gun attackers being inspired by (posthumous) fame has been debated for much longer. In April 2007 NBC News was widely criticised for running a video the Virginia Tech gunman had made and sent them in advance of his attacks. They claimed it was journalistically justified, but subsequently restricted what they broadcast. 
 
However in the case of Woolwich, the horrific murder is the first of its kind in the UK (though you should remember a thwarted plot to kidnap and kill a soldier in Birmingham in 2008). Perhaps that means running the footage is valid on this occasion. However if a similar copycat incident happened now, would broadcasters feel it was alright to run the killers’ “justification”? If not, why not?
 
Did broadcasters give due consideration to the possible impact of running such footage at length and repeatedly, given that stirring up racial unrest was a goal of the attackers and that the EDL obliged?
 
Newspaper front pages showed the same problem, running quotes with the message the attackers wanted to send out. Only the Independent (see photo above) gave a front page which reported  the atrocity  with a dignified sense of disgust. It featured not a threat from the killers but a quote from Mayor Boris Johnson about the attack being “sickening, deluded and unforgivable”. Although they ran the same picture of the man with bloodied hands as every other newspaper, The Independent also gave equal prominence to a photo of the brave cub scout leader, Ingrid Loyau Kennett, talking to the knife man to try and keep him from attacking others. In that they also succeeded in picking out the one positive story that has become one of the most central aspects of the subsequent day’s reporting.
 
What about the charge that broadcasters showed excessively graphic content? This is in a way more straightforward. A look back through the archives of European broadcasters to news footage of terrorist atrocities in the 70s and 80s will reveal changing standards about how much should be shown of the bloody reality of murder scenes. UK TV news editors probably have among the most cautious standards when it comes to showing violence on screen. So when a decision is made to show something that is more graphic than the norm, it is more likely to cause offence.
 
It’s hard to argue against showing any images of the suspect with bloodstained hands. But it’s easy, too, for news journalists, used to watching unedited footage, to underestimate the distress violent images in particular can cause viewers watching at home, even with a health warning. The duration of footage can make a big difference. Again, the use of stills can be an important compromise. 
 
 Looking back at a similar row about showing footage and stills of the lynching of Colonel Gadaffi it’s important to note how inconsistent news decisions can be. I was doing the Sky News paper review that night. The broadcaster made the decision (for a discussion broadcast at 1130pm)  NOT to show the Daily Mirror front page which had a photo of his clearly dead, but relatively blood free, body. But they did show other front pages which had photos with far more blood and great visible distress on his face, of him being assaulted and clearly close to death. I found them far more disturbing. Who was right?
 
After the Iranian fatwa was issued against Salman Rushdie in 1989 many news programmes regularly interviewed aggressive  and controversial Muslim figures about a newly discovered attitudes among some British Muslims. From Kalim Siddiqi then to Anjem Choudary today (on Newsnight most recently). Do they still need to be interviewed in the same way? News editors often feel it’s essential to have them on to tell the whole story. However many viewers and some politicians (eg Baroness Warsi) believe this airtime does nothing more than feed a febrile atmosphere, legitimising extremists’ claim to speak for large numbers of people, and allowing them to disseminate their views to a mass audience with all the possible repercussions. I remember watching one such figure explaining why 9/11 was a hoax on the ITV lunchtime news after the Danish Embassy protests  and feeling strongly this was not illuminating. Again, a possible solution is to think about whether to restrict such guests to pre-recorded packages or discussions. But perhaps more importantly editors need to put more effort into cultivating new voices to interview and even ask why they keep going back to the usual suspects.
 
 
My interview with Mary Hockaday about the Woolwich murder coverage will be on Newswatch on the BBC News Channel at 845pm on Friday and again on BBC1 during Breakfast at 745am on Saturday. You can also see it via i-player.
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Only connect: Charles Correa and the power of the empty centre

CORREAPUNE

(Jun 18th 2015) I was saddened to hear the news of Charles Correa’s death. An international name who declared he was proudly an Indian architect first, I was fortunate to  interview him for Radio 3’s Night Waves in May  2013. You can listen to the interview online here. This is the piece I wrote about meeting him:

I interviewed Charles Correa, India’s Greatest living architect  at RIBA yesterday, which is holding a retrospective of his remarkable career till September 4th. He’s just given them his archive of papers which you can explore online below. His story is a fascinating one and I urge you to go and have a look. It’s free.  He trained at the University of Michigan and MIT in the mid 50s as modernism was starting to bloom. And despite some landmark projects in Boston, Lisbon and Lima, he told journalists at the press preview that he regards himself as an Indian, not an international architect.

CORREAPORTRAIT

We discussed the challenge of slums, city corruption, India’s ambivalent attitude to its own architectural heritage, with its disrepair one of its great shames, and the aspirations and impact of the returning non-resident Indians from the West, as well as of the poor. Part of his legacy is his work in the early 1970s in planning the expansion of Bombay (Navi Mumbai) and building affordable low rise housing that incorporated traditional patterns of communal courtyard living.

The range of cultural reference in his thinking and his work is huge: Hindu, Islamic and ancient Greek philosophy in the “empty centre” concept are at the heart of many of his great designs such as the magnificent  Inter-University Centre for Astronomy and Astrophysics University in Pune (top), referencing black holes, and the Big Bang theory in patterns laid out in polished black granite and white marble. He smiled as he remembered shocking some Cambridge dons with his observation that the quadrangles of Oxbridge had been inspired by the Islamic courtyards of places like the Alhambra in southern Spain.

In our conversation he compared his architectural choices  to the literary ones of a favourite writer — EM Forster — as a professional pursuing excellence, rather than the equivalent of an airport blockbuster career.

CORREAtubehouse

His Tube House from Ahmedabad in 1961 (above) is breathtaking for its simplicity — using pure design not mechanical engineering as so many supposedly “green” buildings do today — to build a natural cooling airflow through the house. Sadly the original has been pulled down and it is sobering to see how many great ideas developed so long ago did not get taken up more widely.

Modest, charming and well worth a listen. We packed in as much as we could of our conversation into Night Waves last night:

Listen again here

The Charles Correa archive at RIBA

All photos courtesy of RIBA/BBC

Further reading

Seoul: India’s Dream City

 

 

 

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An ethically lighter way to enjoy chocolate

 

Celebrating the British made bar that never shrank. (photo: thedrum.com)

Celebrating the British made bar that never shrank. (photo: thedrum.com)

I am not keen on those books by apparently very affluent globetrotting authors with a nice life, that tell us to spend less, slow down and focus on the spiritual. In fact I speed-read Carl Honore’s “In Praise of Slow” over an extra shot large mocha in a book shop Starbucks just out of spite.

But..

Something is spiritually amiss in my consumption. I am carrying out an experiment on a Cadbury’s Twirl. Observation: Placed flat on the table the purple and yellow foil packaging with the sealed ends, it looks right. There are two sticks inside. Method: I pick it up and hold it in the palm of my hand. It feels wrong. Oddly unsettling. I put it down. It looks fine. I pick it up and there’s that odd feeling again.

Now you could say, of course, Samira, you KNOW it weighs less, because it’s been in the news over the last 2 years that big brands are cutting pack sizes because of rising costs. But what’s interesting is the psychological effect. We’re not used to feelingcheated. In most Western nations we’ve become surprisingly complacent about trusting the contents of food tins and packets.

In a way it’s remarkable how deep our faith has been in consumer brands, given that charlatans were lacing them with arsenic, chalk, carcinogenic colourings and even the odd human body until the last century. Upton Sinclair’s expose of the Midwestern meatpacking business in his 1906 novel The Jungle, featured a man falling into the meat grinder. However rather than leading to a reform of capitalism (his goal), it primarily led to the first modern food scandal, with a temporary huge fall in sales. But the USA’s love of meat didn’t suffer longterm damage.

And despite a salmonella scandal 7 years ago, that saw the firm fined £1 million pounds for several food safety violations, Cadbury’s has bounced back too.

But now here I am spiritually ill at ease, not over horse in family ready meals, but over the messing with the size of a snack. That’s because confectionery manufacturers now keep telling us they’re making a sincere decision for better customer satisfaction. There’s a whole Facebook campaign about how many segments have disappeared from a Yorkie. It’s happening to jars of peanut butter too – some brands have a cinched in bottom to save several spoonfuls a jar. Sweet firms, such as Cadbury Kraft and Nestle could, I suppose, claim to be contributing to healthy eating by reducing serving sizes, though they don’t quite dare do that. The consumer organisation Which? says companies should just be honest about putting prices up and allow customers to make the choice for themselves.

It was only down to the Office of National Statistics that we had it confirmed in November last year that these effective price rises, from cutting pack weight by up to 10 percent, had contributed to pushing up October inflation from 2.2 to 2.7%.

The comfort from comfort foods is gone, when big corporations play profit-maximising games with the brands we little people buy and the taxes we little people pay; but try to fob it off as their generosity.

Google executive Eric Schmidt recently told the BBC that it was reasonable, through legal tax avoidance schemes, to pay only £6 million of UK tax on UK generated revenues of £2.6 billion in 2011, because the government failed to acknowledge the “totality” of the company’s contribution: “We empower literally billions of pounds of start-ups through our advertising network and so forth. And we’re a key part of the electronic commerce expansion of Britain which is driving a lot of economic growth for the country.” In other words they’re so big that we should be grateful to have them at all.

So what can we do? Many were incensed after Starbuck’s tax-avoiding schemes were revealed, enough to buy their lattes at a different chain. Or even better, a local independent. Then Tesco started up that “local” independent chain Harris and Hoole that confused everybody. And what to do about organic Green and Black’s now they’re owned by Kraft?

When corporations claim to be a force for good, the battle about what’s in the packet really is about ethical weight. It’s not a matter of giving up consuming. It’s about consuming elsewhere. And while finding an alternative to Google and Amazon requires more effort, family-made Tunnock’s caramel wafers (which as celebrated in the above photo, has never reduced bar size) and Montezuma’s British chilli truffles can be a guilt free first step in the fight back against the behemoths.

This column first appeared in April 2013 in The Big Issue magazine

 

Posted in Business/Economics, Food/Drink | Tagged | 15 Comments

Billy Liar, Bradford and the birth of the dollybird

BILLYLIARBED “A lazy, irresponsible young clerk in provincial Northern England lives in his own fantasy world and makes emotionally immature decisions as he alienates friends and family.” Everyone loves Billy Liar. Apart from whoever wrote imdb’s current bizarrely censorious plot summary above. But when I was making a British social realism landmark programme for Radio 3’s Night Waves  back in January it became obvious that it marked a watershed; between the end of those darker dramas such as This Sporting Life, and the frivolous japes of swinging London 60s cinema. And how interesting it might be to explore a film all about Northern male fantasy and ambition from a female perspective.

Oldham-born Helen Fraser was at RADA with Tom Courtenay and starred as Barbara (the repressed one of his 3 girlfriends) in the film of Billy Liar. On the programme yesterday she revealed that Julie Christie joined the cast late; a second choice for the original actress selected (no, she wouldn’t  say who). But we had a great time discussing the legacy of the film with historian Melanie Williams. BJLoZb9CQAItyIS You can listen to it here. And this post covers the other ideas that got cut from the final edit because of time. BILLYLIARJulie What’s dated about the film is the sexual politics. The curse of the dollybird, swinging her handbag to a light jazz soundtrack became lazy shorthand for youthful innovation and freshness. Though there are issues with the portrayal of working class women and sex in kitchen sink dramas too. The current DVD cover features a graphic of  Helen Fraser’s lacy black basque, (specially made for her, she remembers) filled with the fantasies of Billy Fisher.  Fraser remembered feeling very self conscious and finding it very hard to play sexy, in the fantasy sequence where Billy imagines her as a nubile sex goddess, instead of a “not till we’re married” frump. “We had to shoot it three times,” she recalled.

What hasn’t dated is the charm of the documentary style realism of the location shooting. Fraser met her husband, the renowned sound recordist Peter Handford on the set. She told me how groundbreaking was the decision to record their dialogue on location, with the natural ambient sounds filling out a very real sense of place.  There are plenty of excellent train sounds,too, not least in the climax at the station  — Handford’s speciality. He had recorded the end of the steam age and was to go on to win an Oscar for his work on Out of Africa. Director Schlesinger used that location sound to remarkable effect with the naturalistic dialogue of minor characters in the background. Look out for the scene near the end where two ageing prostitutes try to chat up a young squaddie in the station buffet.

Rewatching the film since the recession sent youth unemployment rocketing and hopes spirally downwards, what’s most poignant is how booming Bradford was. Cranes everywhere on the skyline, a packed city centre with new supermarkets opening  — gently mocked in Schlesinger’s film. Billy’s boss Mr Shadrack (Leonard Rossiter) is keen to embrace the plastic coffins and new technology in the undertaking business. There’s real warmth to the portrayal of the old Bradford characters — Councillor Duxbury and Billy’s mother (the wonderful Mona Washbourne). Fraser in the programme discussed the strange circularity of  having played Mrs Fisher on stage recently.

Fraser also pointed out how local extras added such depth and charm to those scenes. The football stadium has terrific closeups of faces on the terraces. It looks so alive and vibrant. Supposedly a dull town our hero is desperate to escape, I notice mainly the full employment — school leavers with money in their pocket to go dancing at the Roxy every Saturday night and a direct regular midnight train service to London. It looks like a modern Billy Liar’s fantasy, not a nightmare.

References to the novelty of “blackie” doctors and postmen are markers of how fast the city’s ethnic profile has changed since 1963, with the impact of Pakistani mill workers and a very overt Islamisation in parts of the city.

Schlesinger’s subsequent Darling, which starred Julie Christie and won Oscars, is the film that really looks dated now. You recognise his trademark skill and wit with adverts, fake newsreel and deluded celebrities giving media interviews. But it’s a cold film about celebrity culture with little sympathy for the heartless wench at the centre of it all.  (Incidentally I remember watching it on a nightshift the night after Princess Diana died. BBC schedulers had clearly failed to notice, in their careful sifting of programme plans for sensitive content, that it saw Julie Christie’s swinging model turn into “our very own Princess Diana” trapped in a miserable marriage with an older prince. )

Billy Liar the character dated fast. There was the charm of TV’s The Likely Lads, which bridged the gap of northern boys turning into men (starring Billy Liar’s best friend, co-star Rodney Bewes, as well as Helen Fraser in a supporting role.) But Keith Waterhouse’s novel sequel Billy Liar On The Moon is, in my memory, pretty sorry — a 70s adulterer of the kind you saw in sitcoms and minor British sex comedies. BILLYLIARMILKBilly Liar’s whimsy did though feed back into the new post-social realism. Lindsay Anderson’s If… is most remembered for its machine gunning fantasies, first seen in Billy Liar.  And there is a moment right near the end which is a powerful throw back to British social realism: at the station milk machine.

But it’s not till Midnight Cowboy that you get Billy Liar’s real sequel and Schlesinger’s masterpiece: a poetic  film about a deluded small town boy with a fantasy of making it, not as a script writer, but in the new sexually “liberated” 70s as a stud. He does actually catch the train (or rather the Greyhound bus) to the big city, with heartbreaking consequences. Listen again to BBC Radio 3 Night Waves on Billy Liar. First broadcast May 1st.

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Malala, Muslim women and “misery” memoirs

MALALA

Oct 10th 2014 update: This was originally posted ahead of an Asia House panel discussion about women, freedom and the Islamic world, when the multimillion pound book deal of Malala Yousafzai was announced. It seems just as relevant since her Nobel Peace Prize win and with a second book imminent. What does the apparent popularity in the West of Muslim women’s misery memoirs and fiction reveal? Why is there such strong criticism of it too? And do such true “inspiring” stories enable governments to avoid responsibility for their wider failings?  Supplementary to my Guardian Books post, this is more about the political issues around the Malala story in particular.

The label –“misery memoir” emerged in response to the publishing phenomenon of such international bestsellers as Dave Pelzer’s A Child Called It and Frank McCourt’s Angela’s Ashes; harrowing true stories of abuse that proved wildly popular. But while we can disagree about the literary merits of the genre, I don’t recall all that much of a fuss about whether such books were a slur on all Irish or American nationhood or the Catholic faith.

When it comes to women, and women who happen to be Muslim, though is there a different attitude?  Ayaan Hirsi Ali’s 2006 memoir Infidel had important  insights from her work as a translator for Dutch social services in Leiden into how politically correct attitudes among the authorities were blighting the lives of Muslim refugee women experiencing domestic violence. Together with the Iranian born-literature professor Azar Nafisi, author of Reading Lolita In Tehran (2003), she suffered vitriolic attacks from some writers and political activists, Muslim and non-Muslim, that their books about their own experiences were somehow “Orientalist” artifacts, serving an American neo-Conservative political agenda in the aftermath of the Iraq War.

On the panel discussion I’m chairing this week about Women, Freedom and the Islamic World will be novelist Elif Shafak, whose novel Honour focuses on an honour killing in a British Kurdish family, and  Kamin Mohammadi, whose memoir The Cypress Tree recounts her childhood exile from revolutionary Iran and upbringing in London; similar terrain to Marjane Satrapi’s graphic novel, Persepolis. Alongside Shafak and Mohammadi will be Iraqi dissent, Haifa Zangana, who was tortured in Saddam’s prisons. Zangana’s memoir Dreaming of Baghdad (2009) features an astonishingly vicious forward by Hamid Dabashi, a professor at Columbia University (and well known critic of Reading Lolita in Tehran). In it he writes: “When I read Dreaming of Baghdad, I couldn’t help but wonder: why is it that Iran has not produced a Haifa Zangana in exile, but instead a platoon of self-sexualising memoirists infantilizing a nation, whitewashing the harsh struggles of a people?”

Even if we ignore such attitudes, the uncomfortable reality is that the Western publishing world is fascinating by such tales. It’s argued that they raise the profile of struggles against misogyny and maybe they help fundraise for charitable causes. Weidenfeld and Nicolson has said of its recent book deal with the Pakistani schoolgirl Malala (estimated to be worth about £2 million) that her book, I am Malala, to be published in the autumn, will celebrate the “inspiring story of her determination not be intimidated by extremists.” A few days later Angeline Jolie led the praise at a special New York tribute event, where it was announced that the first grants from the charity, the Malala Fund would be spent on girls’ schooling in her home region of Swat.

Only a few days before Malala’s book deal was announced the most popular feature on the BBC News website had been about another remarkably brave young Pakistani woman, Maria Toorpakai Wazir, headlined “The Pakistani squash star who had to pretend to be a boy.” After years of disguise to continue her training in Waziristan she’s now based in Canada, though still representing Pakistan.

The focus on these “exceptionalist” tales of individual bravery captures news headlines and, one could argue, enabled politicians to play down the more difficult question: What to do about the millions of women and girls who live in many Muslim countries under the same often worsening conditions, but don’t make headlines? The Pakistani government has mostly escaped direct censure for its failures to protect and promote womens’s rights, and continues to be a very large recipients of British and US aid.

It is reasonable to assume Malala can never return home. However her exceptional status (with a consulate job found for her father and her ongoing medical treatment here) means the Pakistani government avoids any embarrassment and the British government avoids the most undesirable immigration precedent that a Pakistani asylum claim based on gender would establish. In the meantime the Malala charity funds will be distributed discreetly, to avoid the recipients suffering the same Taliban attentions as the schoolgirl and her family.

Perhaps it would be better to compare Malala’s book to a memoir like Half the Sky (2009). Written by the Pulitzer Prize winning journalists Nicholas D Kristof and Sheryl Wudunn, its subtitle is How To Change the World – using inspirational stories of great personal suffering by women around the developing world to show models of improved life choices and outcomes.

But as we watch a growing backlash against women’s rights in many Muslim nations, including the new Egypt, Muslim women’s memoirs remain  individual stories that testify  to the ongoing failure of governments to tackle endemic abuse and discrimination.

Further reading

Why are we addicted to misery lit? (Guardian 2006)

 

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From The Mahabharata to The Matrix: Prophecy, Chosen Ones & lazy storytelling

Karna3

This is a version of a column that first appeared in The Big Issue. Journalism worth paying for. Every week from street vendors around the UK. Subscriptions are available if you can’t buy on the street. All funds go to the charity.

It was foretold that to base a story on prophecy is lazy. But I’m noticing it more and more in a lot of places it shouldn’t be –in science fiction and fantasy, where anything is possible and imagination should be able to do better than expect you to believe that someone is just special.

There’s the BBC’s Merlin which is rather like Harry Potter. We’re always being told Harry Potter/Merlin is special. He’s the chosen one. Yes he does brave things, but quite frankly, none of them seem as important as the constantly repeated message from everyone he meets that he is THE Harry Potter/Merlin, destined for success and greatness simply because of his birth.

Prophecy is what ruined the second Star Wars trilogy. Remember how well the original Star Wars film started? Luke Skywalker is a bored farm boy, who chooses adventure and finds he can be a great warrior. Then we start getting hints of how his sister might be a great hope, too, just because she’s his sister. By the second trilogy we’re all supposed to accept that it’s special Jedi particle levels in your DNA that get you chosen for training school, and his dad is “born” with great power. Anakin is even born of some implied Virgin birth.

And The Matrix – a wonderful premise just underminded enough to be really annoying, by the idea that the coming of Keanu Reeves “Neo”/The One (get it?) has somehow been prophesied. By who? And how would it be true in a machine world ruled by aliens?

That’s not to say prophecy can’t play an important part in great fantasy fiction, but only when it is treated with ambivalence; as something to be fought for or against. Shakespeare’s Macbeth is told by the witches that he will be king. But is it the hearing of the prophecy that awakens the desire in him?

Buffy the Vampire Slayer is, according to Andrew Copson of the British Humanist Association, a “fantastic satire on the idea of prophecy.” The high school girl born to fight the forces of Darkness, who dies early on as the prophecy foretells, but is revived by simple first aid resuscitation. “It’s clever because whatever happens you can always twist the facts to say the prophecy was true all along.” The animated film Kung Fu Panda is an even more recent and empowering play on the idea.

Copson thinks it’s no coincidence that Buffy’s creator, Joss Whedon, is a prominent Humanist, as was Star Trek’s Gene Rodenberry.

Captain Kirk was always encountering worlds where computers had gone mad and gained control and needed to be re-set to liberate a superstitious population. (Top tip: This can be reliably done by getting Mr Spock to ask the Master computer to calculate to the last possible digit the value of Pi.)

But look what happened to Star Trek. Fed, I think, by a post-colonial guilt for the treatment of Native Americans, in the 90s it fell increasingly in thrall to superstition. A Native American first officer in Star Trek Voyager has visions which get taken seriously. And let’s not mention the Bajorans of Deep Space Nine – a tribe ruled by “prophets” who live in a wormhole. For Copson it’s a strange development: “30 years ago we had science fiction that was rational and progressive. But more recently it’s irrational, mystical aliens with ancient wisdom.”

Perhaps the most annoying “prophecy” of recent fantasy fiction has been Sam Raimi’s original prequel The Great and Powerful Oz.  It starts promisingly – Oz is a carnival huckster on the run, but once he arrives in the magical land it turns out he is fulfilling a prophecy about a saviour from the air. It’s especially infuriating because Frank L  Baum’s  many Oz books are delightfully unreliant on lazy storytelling. A salesman in true life, his all-American fantasy is rooted in reality. Unlike Tolkein’s universe, Oz is a land of working farms and market towns. Everyone has a job – the scarecrow, the tin man, even witches are off selling spells. The Wizard is a fraud. And Dorothy Gale is an ordinary girl with no special powers, just her own courage. In contrast to the catfighting women of the new Disney film, his books actually turn into a feminist utopia, ruled over by Ozma.

In fact lazy prophecy based story telling seems quite a modern invention. The great myths of world cultures are full of prophecies and curses made by capricious gods, but how heroes react to them is what makes for compelling story, character and tragedy. Great heroes like Hector of Troy, sometimes find themselves on the losing side.

KARNA2

KARNA

 

 

 

 

My favourite prophecy-defying hero is Karna from the Sanskrit epic the Mahabharata; often compared to the Iliad. (These cartoons are from the Amar Chitra Katha comic book version.) He is the greatest and noblest warrior, but is cursed and rejected because he is illegitimate and was raised in a low caste. Karna fights on the losing side in the battle of Kurekshetra.  Lord Krishna exploits his generosity, getting the god Indra to ask Karna to give away the divine armour that protects him. Karna does so knowing it will doom him.  The story haunts me still because it’s about a great soul defying fate, prophecy and still choosing to do the right thing. In an India still cursed by caste discrimination Karna is widely regarded as a great role model. Perhaps modern science and fantasy fiction could do with taking more inspiration from the past.

Further reading

Religion in Star Trek

Andrew Copson on Star Trek and Humanism – New Statesman blogpost

 

Oz Revolts! – great blog post on feminism in The Marvellous Land of Oz

The Terminator timelines and why they suck

How the Bajorans turned Deep Space 9 into a neo-Tibetan retreat

Karna: India’s greatest warrior hero

Karna:The tragic hero of the Mahabharata

The 4 kinds of hero

 

 

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From avenger to screamer: How Dr Who assistants remain trapped in time

Carole Anne Ford (BBC copyright)

Carole Anne Ford (BBC copyright)

The Reunion programme for Radio 4, produced by Peter Curran, recently brought together some of the original cast and crew of the first episode of Doctor Who. The first Dr Who team was notable for its diversity — Waris Hussein was the first British Asian director at the BBC — and the late Verity Lambert its first female drama producer. But it always seemed strange to me that the women in the early episodes could sometimes look and seem very dated — almost 50s in the hairdos and the screaming,  considering it was late 1963.  When I commented on this on a recent Dr Who DVD extra Being a Girl, the Women of Dr Who, it got a sneery review only in Dr Who Magazine.

But I felt wholly vindicated when, Dr Who’s granddaughter Susan, (Carole Ann Ford), revealed how the plan for her character had changed and she had been made “ordinary”:

“I was told I was going to be rather like an Avengers character and have the physicality.. And I could have done it because I was a trained dancer and an acrobat… And also that my wardrobe was going to be extraordinary.. And none of that happened. It all went out of the window. I just became ordinary.”

After all, As Ford  pointed out, it wasn’t likely that a character who was part alien herself, as the Doctor’s grandaughter, and who had been travelling through space and time for so long, would still be screaming at things so much. Director Waris Hussein revealed the rigid male TV mindset of the time, claiming the female screamer was “a part of the suspense point”; an essential dramatic fixture, “going all the way back to King Kong.. It is a part of the ritual and unfortunately Carole Ann had to bear that burden.”

All geuninely admired Matt Smith, feeling he had the “oddness” that suggested his Doctor would grow old to be like William Hartnell. But it seems frustrating that the assistants now may get to deliver karate kicks, yet have to be tied to being sexy and in search of teen-style romance & snogs.

Waris Hussein commented with polite regret about the “sexuality that has crept in” with the Doctor’s will he/won’t he romances with assistants ,which he felt had diminished the “mystery and the unavailablity” that had been so central to Dr Who’s original appeal and now seemed to reside only in Sherlock.  “Why bring in this element when in fact you needn’t have it there? I raise it because I think it’s a loss.”

You  can listen again here. The insights about the assistants and the more recent snogging plots start from around 29 min in.

Further reading

Doctor Who? It destroyed my acting career. Interview with Carole Ann Ford (Telegraph)

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