I stumbled upon an interview on the ‘New Culture Forum’ YT channel the other day – a regular shop window for the kind of voices the MSM has silenced and always an interesting watch; this particular interview was with Nigel Rees, creator and host of Radio 4’s long-running (and now defunct) show, ‘Quote…Unquote’. He spoke at length of the way in which the BBC’s ‘diversity’ agenda had effectively made his position and that of the programme pretty untenable. Demands to have more female guests on the show were gradually adhered to, as were demands to have guests of a more ‘ethnic’ nature; but, of course, this wasn’t enough; there had to be some token disabled guests on – and this is radio, remember, so presumably these had to be disabilities that were discernible in the guest’s voices; that’d rule out someone in a wheelchair, then – unless they had a particularly ‘disabled’ speech pattern. Yes, that’s how bloody ridiculous it is.
In a nutshell, this enlightening interview summed-up the futility of attempting to appease the demands of the SJW crowd and why Woke Utopia can never be achieved. If ‘Quote…Unquote’ reappeared with a panel consisting entirely of disabled black trans-women, it still wouldn’t be enough because whatever compromises one makes can never be enough; someone would still complain to the BBC that there were no panellists in iron lungs, thus causing offence to the iron lung community. If the BBC had any balls remaining, it wouldn’t bow to such demands at all and it would leave producers and presenters to make their own decisions based on the respective merits of the people featuring in their programmes. The problem with the BBC is that, as with so many branches of this country’s institutions, it has been completely colonised by Identity Politics, and Identity Politics is a virus that kills all creativity and genuine diversity of thought and opinion.
The world its proponents inhabit it is a drab, grey, joyless place in need of constant, perpetual cleansing – a world it is their aim to impose upon the rest of us; and by handing the reins of power to such pious fanatics, whether in media, publishing, academia or cinema, all these mediums have been fatally infected and no longer communicate with the masses. Every successful movie franchise has been f***ed-up as a consequence – indeed, every escapist outlet has suffered from this virus, even sport with its knee-taking virtue-signallers whose fatuous concept of social justice doesn’t stretch to spurning the lucrative market of middle-eastern Absolute Monarchies built by slave labour. The BBC has been one of the most vocal supporters of this mindset, a virtual broadcasting branch of the Guardian over the past decade or so; and when a Tory Government seeks to shore up its dwindling popularity by attacking a soft target and hopefully deflecting further attention from its own failings, should the BBC really be surprised that the only folk rallying to its defence are those drawing huge salaries from it?
The likes of Gary Lineker or Nish Kumar speaking up for it as the licence fee’s days are numbered are not the kind of names guaranteed to reverse opinion on a once-beloved institution that has been treating its audience with contempt for years. The corporation’s impartiality on news and current affairs has been exposed as a fallacy during the pandemic, whilst its entertainment has degenerated into similarly biased propaganda for a particular point of view, visible in the risible Jodie Whitaker incarnation of ‘Doctor Who’ or the way in which a one-time staple diet of a dad’s Saturday lunchtime like ‘Football Focus’ will be routinely interrupted by trailers for ‘LGBTXYZ Month’, a subject most football fans probably don’t give a flying f*** about. But the BBC is determined to shoehorn Identity Politics into every platform it possesses, whether the audience wants it or not.
It is this arrogance that has turned the Great British public against the BBC in recent years, and the BBC only has itself to blame. On paper, the cost of the licence fee is good value compared to yer average utility bill, yet bringing up all the things the BBC used to excel at as examples of why it still matters and why its eccentric funding should continue only serves as a reminder of just how much it has declined during the period in which it has sought to broadcast its Woke agenda to a public that didn’t ask for it and doesn’t want it. With Culture Secretary Nadine Dorries announcing the licence fee will effectively be abolished come the next renewal of the BBC’s Royal Charter in 2027, the BBC has responded with threats of cuts, though chances are this means the few good things it still produces that no commercial competitor could do in quite the same way – such as Radio 3, the World Service or BBC4 – will suffer; what it doesn’t mean is that it will address the way in which its ludicrous diversity quota has made its dramas such a box-ticking laughing stock or every documentary an exercise in apology for historical racism/sexism, whether it was there or not.
Any exposure to commercial television or radio stations and their relentless interruptions by ads is enough to cause anyone to run back into the arms of the BBC, and the fact its airwaves remain unpolluted by crass advertising is one of its few saving graces after all the damage it has done to itself. The end of the licence fee and the prospect of alternative funding throws up all kinds of horrific futures, yet none of this would’ve been necessary had the BBC not allowed specific political agendas to infiltrate so much of its output. Yes, it was present – and was regularly cited by its opponents – way back in the days of ‘Play for Today’, but even the archetypal single play centred around left-wing viewpoints was only a small element of a series that had a far wider panorama of the human experience on offer; and the BBC produced ‘Play for Today’ at the same time as it was churning out variety showcases for the likes of those well-known Commie sympathisers Bruce Forsyth, Cilla Black and Noel Edmonds. Even the fact that the ‘Today’ programme could once be edited by someone like Rod Liddle now seems inconceivable, yet we’re going back barely 20 years. That in itself highlights what a broad church the Beeb used to be until relatively recently.
For the majority of its now-century of existence, the BBC was indeed an idiosyncratic and unique oddity in the world of broadcasting, beloved by the British people and celebrated as a force for cultural good. Even when BBC radio had a monopoly, it served listeners well with a staggeringly wide selection of audio delights; Beatles biographer Mark Lewisohn makes a valid point when he credits the vast range of sounds the young John, Paul, George and Ringo were exposed to via BBC radio as playing a pivotal part in their later development as artists who refused to be tied to a single genre of music. And if the 1950s was BBC radio’s ‘golden age’, the 60s and 70s showed how BBC television was able to successfully react to the arrival of ITV by delivering programmes that remain the corporation’s gold standard, a standard it has summarily failed to live up to over the past couple of decades.
Anyone whose formative years were illuminated and enlivened by the best of the BBC will naturally experience mixed emotions when it comes under attack from opportunistic philistines like this deplorable administration running the country; yet, at the same time, anyone who has despaired at the manner in which the Beeb has committed Hara-kiri over and over again in the last 10-20 years will understandably feel the corporation has got what it deserved. This was the sadly inevitable outcome of the way the BBC has alienated the core audience it arrogantly assumed it could always depend upon; and even if the concept of the BBC is still a noble ideal, the reality falls far short. That’s not the fault of yet another loathsome Tory Government with the BBC in its sights, but the BBC itself. Bloody fools.
© The Editor
6 thoughts on “CANCELLED CULTURE”
As you rightly observe, the wounds are entirely self-inflicted, seeking to impose the metropolitan mindset on a country where the majority inhabits somewhere else. Maybe it took Brexit to expose the imbalance, which may be another accidental benefit to accrue from that result.
Nigel Rees is to be congratulated for finally sticking to his guns and quitting: the later episodes of his quotations show must have stuck firmly in his craw, as they did for previously happy listeners, but the already obvious pressure to shoehorn in every possible minority, no matter how irrelevant their contribution to a show based on historic quotations, made it impossible to enjoy and similarly impossible for him to present willingly. He didn’t need to, so he walked – good man.
In Nadine Dorries they have certainly met a full-on attack-dog, one who (if she/Boris survive long enough) should take the fight to the established suits of the BBC and keep fighting until it is done. Not before time, it’s sad to say.
I regret the passing of the old BBC, I gained most of my post-school education through having a mobile job, a car radio and Radio 4, but now its content is so corrupted by the needlessly woke agenda that much of it renders the off-switch the only logical response.
My hope is that, however it is replaced, those charged with providing its successor realise that there is an audience with active brain-cells and IQs in at least double digits who just want intelligent, thoughtful, stimulating and balanced programming – is that too much to ask?
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I’d still defend the BBC as an idea, but so much of that is based on what it once was rather than what it is now. One would hope the threat of the licence fee going really would bring about the kick up the arse it needs, but I guess we all know what we’ll probably lose will be all the good stuff that’s left, and the prevailing culture that has put it in such a mess will remain.
Read somewhere that someone at the Beeb has foretold that the Beeb’s standards will spiral (why is it always a spiral. But they never say inwards or outwards, clockwise or counter. It’s the pedant in me) down if Nadine carries out her threat.I
I looked up and there on the telly was an advert trailer for The Wall. A programme where everyone invo!bed gets really really, screaming excited about a falling ball, which may well be a bit of CGI .
I think they just made Nadine’s case for her. It made me wonder if anyone would notice that the BBC’standards had fallen.
The most valuable thing about the BBC is its back catalogue. Worth a fortune.
When the Corporation is sold off to its management for a pittance, all the decent programmes of the past, bought and paid for by the British public should not be part of the deal.
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True re the back catalogue; when I say I barely watch any BBC output now, that doesn’t take into account the fact that a great deal of my viewing time actually IS spent watching BBC output, albeit BBC output produced 40-50 years ago. The variety of programming when there were just the two BBC TV channels -and both had vastly limited broadcasting hours compared to today – is astonishing when one catches some of the generic drivel dished up in the name of the BBC now.
While visiting my parents over Christmas, I happened to catch a festive episode of CountryFile, one of those series I can’t say I’ve ever really watched, but felt I had a general idea of the content thanks to spotting occasional snippets now and then over the years. This particular installment featured a lengthy piece on how brilliant refugees are, and why every village should have one, or two, or twelve dozen.
I’d say that programmes like CountryFile weren’t really the place for “right-on” messages like that, but then it seems pretty much the entire Beeb is fair game for such things nowadays. Says the lifelong Dr Who fan who never made it past episode one of the Whittaker/Chibnall era and hasn’t looked back since…
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You’ve obviously not watched Countryfile doing their weekly ‘climate change’ or anti-Brexit shoe-horn jobs. Not recommended for those with sensitive blood-pressure or the ability to think for themselves – the latter can invoke the former.
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