Pitch perfect

Here’s a much more fact-packed account of the subject of my previous post, including Huw Edwards’s intro, which I had missed.

The thing that struck me was, well, it looks as if Huw knew that the shortages and deprivations inflicted on Gaza's civilians were due to internal political feuds and enmities, but he threw in “years of an Israeli blockade” for good measure. Why? Because he could. Lazy and biased.

Nearly all BBC broadcasting is fundamentally pitched from an identifiable position. Andrew Marr’s line of questioning is clearly constructed from the Remain perspective. All Middle East reporting is as seen from ‘one side of the fence’. All religion-related items are from an anti-Christian and pro-Islam base. (As illustrated in today’s The Big Questions) If not explicitly pro-Islam, the more contentious elements of the ideology are invariably ‘let off the hook’

Here’s one of my favourite people; I don’t know if it’s still legal to call yourself ‘Fats’ these days, but this particular 'Fats' shows you don’t have to be skinny or young to be beautiful. 

This should be the Brexit song. There are better sound recordings available, but the pure visual joy in this performance cheers me up. My quibble is with the subtitles. Why write “strolling” when the lyric is clearly ‘rolling’? The word is vital to understanding the strange title of the song.

I love the musicality of the first legato “cra-a-a-a-y” followed by the jaunty, almost triumphant staccato of the second “cra-ha-ha-ha-hy”. That’s our message the EU when and if we ever finally actually exit.

Oh, and I much prefer the new set of The Big Questions. No more green and orange quilting, which was obviously designed to make your eyes bleed, as Claudia Winkleman might say.