Desert Island Discs: 66 years young

Simon Parkin looks back at 66 years of a British institution.

There exists, in some warm yet forsaken ocean, an archipelago that is home to seven decades’ worth of celebrities, overachievers and VIPs, one inhabitant per island. Deposited there by the BBC licence fee payer, these international luminaries have each provided a 30-minute public insight into their personal story in exchange for a lifetime of sun and solitude. As Desert Island Discs long-discarded introduction once explained: “In this programme, a well-known person is asked the question: if you were to be cast away alone on a desert island, which eight gramophone records would you choose to have with you – assuming, of course, that you also had a gramophone, and an inexhaustible supple of gramophone needles.”

The gramophone and its limitless needle stash is gone, and, if "rumours" are to be believed, the copy of the Bible given to every castaway along with a The Complete Works of Shakespeare, a literary work of their choice and a single luxury item may soon follow. But the programme itself has survived more or less intact since its January 1942 debut. In that time it has established the broadest and most enduring catalogue of spoken interviews in the world – especially since more than 1,500 episodes from its archives were made public over the past two years – drawing together the past century’s brightest, best or most notorious actors, novelists, politicians, journalists, comedians, musicians, artists and commentators. 

It is, ostensibly, a music programme and certainly, for the first few decades the interviewee’s musical choices provided the primary topic of conversation. There have been many different approaches to selecting the music, from the fickle (“I ran my fingers down the index very quickly and said: ‘give me 8 of those’” - Spike Milligan, 1978) to the scheming (“I’ve chosen nothing but women’s voices as I have a feeling that’s what I’d miss most” – Clive James, 1980) to the strenuous (“I have just hated it.” – Tim Minchin, 2012). But the shrewdness of the format – and rarely has a format proved so enduring – is that, more often than not, one’s most treasured pieces of music sit close in the heart or mind or gut alongside life’s formative moments and passions.

Music is magic, and in the most literal sense; submit to the spell being cast and it has the power to transform mood and temperature, to conjure not just the emotion of memory, but also its very flavour and experience. It can reorder the mind, raise or lower the blood, produce tears (and a great many of Desert Island Discs’ interviewees have wept at a choice composition, no doubt contrary to their intentions before entering the studio), set teeth on edge or, most impressively, to entirely transport a person to another place. In asking an interviewee to pre-select eight defining pieces, the ground is softened and prepared for the anecdotes that they soundtrack.

Not that the series has always provided the level of memoir-based insight that current audiences yearn for. In his later years, the show’s originator, Roy Plomley, assumed a less formal interviewing stance, but for a long time, in keeping with the broadcasting tone of the day, episodes were stiffly formal and the interviews are often prim and thin, offering little more than a superficial survey of the subject’s career or interests. The contemporary listener can't help but feel frustrated when, for example, Plomley fails to follow up on why Jacqueline du Pré (1977) never saw the "half of her family" who still live in her birthplace of Jersey or, when he neglects to ask why Roald Dahl fell out with Walt Disney (1979). 

The series has since been hosted by three subsequent interviewers, the warm but unchallenging Michael Parkinson (1985-88), the feisty and antagonistic Sue Lawley (1988-2006) and the current incumbent of the interviewer’s chair, genially astute Kirsty Young. More recently, interviewers have grown comfortable with digging more forcefully into their subject’s character. Today, almost every interview contains that most innocuous of requests: "Explain to me what was it like growing up", a simple trick that time and again proves its power to unlock a person. Then there’s its suckerpunch sequel about the parents (Were they cloying? Distant? Pushy? Indifferent?) to find out the myriad ways in which the family helped form the subject and/or, to borrow the poet Philip Larkin’s colloquial, fucked them up (Larkin himself escapes this line of questioning – he appeared on the programme in the easy-going 1970s).

The differences in each host’s approach, and the responses they elicit, make for captivating listening to anybody who works as a professional interviewer. Sometimes Parkinson’s soft approach works wonders with otherwise guarded men (Robert Maxwell, 1987; Kingsley Amis, 1986) while other subjects thrive when faced with Sue Lawley’s wounding vernacular (Armando Iannucci, 2006). At other times, the interviewers clash with their subject: it’s a painful moment when Martin Amis parrots the cliché "And that’s where it all began" back at Lawley or when she rudely asks whether Robbie Coltrane put the three stone he lost that year “back on again” or, most recently, when Kirsty Young counters the columnist Julie Burchill’s assumptions with the knock-out line “you don’t know me”.  

The power of the series is that it manages to make for compelling radio, regardless of the subject’s willingness to bare themselves (the author Bill Bryson, 1999, is unexpectedly guarded while Daily Mail’s editor Paul Dacre, 2004, is expectedly so). It’s always interesting to compare subjects who appear on the series twice, at different moments in their career. Contrast the somewhat dour and self-doubting 1996 version of Hugh Laurie with 2013’s confident, post-House iteration. And while the emphasis, at least on British subjects, remains on white, Oxbridge graduates, Plomley and his successors have managed to welcome a diverse church, from Nicolai Poliakoff (1963) to V S Naipaul (1980).

Nevertheless, the most enduring episodes are those that bring to light the extraordinary stories of less well-known subjects, such as journalist Robert Fisk (2006), who recounts his experiences interviewing Osama Bin Laden (a scenario that ends with a personal invitation for Fisk to join the Taliban), or former MI6 secretary Margaret Rhodes (2012), who recalls, at the age of fourteen, emptying her shotgun at a low-flying German aeroplane during World War II.

Desert Island Discs, as well as providing an extraordinary aural archive of many deceased luminaries, is also a trove of trivia. We learn the music that Arthur C Clark and Stanley Kubrick would listen to while co-writing the movie 2001: A Space Odyssey (Vaughan Williams’ Sinfonia Antartica) – minutiae that would likely stay buried were it not for the series’ unique angle. We discover that Salman Rushdie was the author of Lyon’s advertising slogan "Naughty But Nice" (1988, on the un-anticipated eve of the fatwa), that Roald Dahl invented the word "gremlin" (1979) or that David Attenborough first suggested that the BBC televise Wimbledon.

At the end of each episode the interviewee is asked which of the eight records they would save from the waves if forced to, as well as what purely luxury item they might take. These choices are often quietly informative (“My lucky sixpence” - Chris Tarrant, 2001; “potato chips” - Whoopi Goldberg, 2009; “A cyanide pill” - Stephen Fry, 1988; “Nelson’s Column”-  David Bailey, 1991) but by then, in most cases, we already have the measure of the human, and their selection merely confirms our hopes or misgivings. 

BBC Radio 4’s Desert Island Discs is on hiatus for the next five weeks, during which time a series of "best of" editions will broadcast. The archive can be accessed here.

A desert island. Photograph: Getty Images
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Air pollution: 5 steps to vanquishing an invisible killer

A new report looks at the economics of air pollution. 

110, 150, 520... These chilling statistics are the number of deaths attributable to particulate air pollution for the cities of Southampton, Nottingham and Birmingham in 2010 respectively. Or how about 40,000 - that is the total number of UK deaths per year that are attributable the combined effects of particulate matter (PM2.5) and Nitrogen Oxides (NOx).

This situation sucks, to say the very least. But while there are no dramatic images to stir up action, these deaths are preventable and we know their cause. Road traffic is the worst culprit. Traffic is responsible for 80 per cent of NOx on high pollution roads, with diesel engines contributing the bulk of the problem.

Now a new report by ResPublica has compiled a list of ways that city councils around the UK can help. The report argues that: “The onus is on cities to create plans that can meet the health and economic challenge within a short time-frame, and identify what they need from national government to do so.”

This is a diplomatic way of saying that current government action on the subject does not go far enough – and that cities must help prod them into gear. That includes poking holes in the government’s proposed plans for new “Clean Air Zones”.

Here are just five of the ways the report suggests letting the light in and the pollution out:

1. Clean up the draft Clean Air Zones framework

Last October, the government set out its draft plans for new Clean Air Zones in the UK’s five most polluted cities, Birmingham, Derby, Leeds, Nottingham and Southampton (excluding London - where other plans are afoot). These zones will charge “polluting” vehicles to enter and can be implemented with varying levels of intensity, with three options that include cars and one that does not.

But the report argues that there is still too much potential for polluters to play dirty with the rules. Car-charging zones must be mandatory for all cities that breach the current EU standards, the report argues (not just the suggested five). Otherwise national operators who own fleets of vehicles could simply relocate outdated buses or taxis to places where they don’t have to pay.  

Different vehicles should fall under the same rules, the report added. Otherwise, taking your car rather than the bus could suddenly seem like the cost-saving option.

2. Vouchers to vouch-safe the project’s success

The government is exploring a scrappage scheme for diesel cars, to help get the worst and oldest polluting vehicles off the road. But as the report points out, blanket scrappage could simply put a whole load of new fossil-fuel cars on the road.

Instead, ResPublica suggests using the revenue from the Clean Air Zone charges, plus hiked vehicle registration fees, to create “Pollution Reduction Vouchers”.

Low-income households with older cars, that would be liable to charging, could then use the vouchers to help secure alternative transport, buy a new and compliant car, or retrofit their existing vehicle with new technology.

3. Extend Vehicle Excise Duty

Vehicle Excise Duty is currently only tiered by how much CO2 pollution a car creates for the first year. After that it becomes a flat rate for all cars under £40,000. The report suggests changing this so that the most polluting vehicles for CO2, NOx and PM2.5 continue to pay higher rates throughout their life span.

For ClientEarth CEO James Thornton, changes to vehicle excise duty are key to moving people onto cleaner modes of transport: “We need a network of clean air zones to keep the most polluting diesel vehicles from the most polluted parts of our towns and cities and incentives such as a targeted scrappage scheme and changes to vehicle excise duty to move people onto cleaner modes of transport.”

4. Repurposed car parks

You would think city bosses would want less cars in the centre of town. But while less cars is good news for oxygen-breathers, it is bad news for city budgets reliant on parking charges. But using car parks to tap into new revenue from property development and joint ventures could help cities reverse this thinking.

5. Prioritise public awareness

Charge zones can be understandably unpopular. In 2008, a referendum in Manchester defeated the idea of congestion charging. So a big effort is needed to raise public awareness of the health crisis our roads have caused. Metro mayors should outline pollution plans in their manifestos, the report suggests. And cities can take advantage of their existing assets. For example in London there are plans to use electronics in the Underground to update travellers on the air pollution levels.

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Change is already in the air. Southampton has used money from the Local Sustainable Travel Fund to run a successful messaging campaign. And in 2011 Nottingham City Council became the first city to implement a Workplace Parking levy – a scheme which has raised £35.3m to help extend its tram system, upgrade the station and purchase electric buses.

But many more “air necessities” are needed before we can forget about pollution’s worry and its strife.  

 

India Bourke is an environment writer and editorial assistant at the New Statesman.