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Copenhagen: better than here

There have been a few airport trips this week, relating to the kids and their near-future plans. Most of my long-distance driving over the past few years has taken place (a) in the middle of the night; and (b) in France, but this week I’ve seen Britain’s drivers raw in tooth and claw. French drivers have their own issues, but British drivers are awful in unique ways. I blame the class system.

I’m old enough to remember the days before the M25 was a thing, when the North Circular was London’s main péripherique, and when we still called Heathrow London Airport and nobody was used to the idea that Gatwick was also a London Airport. The M25 was an orbital designed by vested interests, and was built with a rat in its foundations. To be effective, this round-London route should only have junctions with other major motorways: nine of them, plus the two ends that meet at the Dartford crossing. But because it was built with 31 junctions, it has always been used by local traffic. Furthermore, because there were so many fucking junctions, as with any ring-road, a process of in-filling took place, with warehouses and shopping centres, and other businesses locating themselves conveniently close and adding to the traffic.

The perceived wisdom is that it has never had enough capacity. Built with 3 lanes per carriageway, it now has 4 for most of its length, and in places there are 5 and even six. Of course, every time the 4 drops down to 3, there’s a pinch point, a bottleneck, and the traffic grinds to a halt. The Highways Agency spent billions installing so-called “smart motorway” technology, and introduced variable speed limits, which are of course largely ignored and stop-start concertina traffic is the norm.

It’s grim down South.

Much of this travesty was carved into areas of outstanding natural beauty, but how people endure living down there, I don’t know. It’s a choking Ballardian dystopia of stress, aggression, and recklessness. It’s no better in the towns just off the motorway than it is on the actual road. And of course, it’s much worse in the summer because there is always more traffic on the road in summer, and more roadworks, and more accidents, and more bombed-out drivers with matchsticks holding their eyes open. Even the road surface of the Southern M25 is a nightmare: slabs of concrete with expansion joints, and a flubber of rubber on the corrugated road that continually feels as if you’ve got a flat tyre.

When the going is clear, Gatwick is just 1 hour and 45 minutes from where I live. On Monday I managed the total journey in about 4 hours, which was not too bad*, adding just half an hour of sitting in slow-moving traffic. On the Thursday leg, however, there were accidents everywhere and the there-and-back journey took 5 hours and 30 minutes. This adds up two two extra hours sitting in a low gear, breathing diesel particulates and observing the terrible behaviour of other road users.

At one point, the driver of a red van got road rage as I pulled into his lane (because the lane I’d been in was becoming an exit); he angrily pursued me, moved into the lane outside me and then drove parallel to me, hoping I suppose to scream through two layers of glass into my face. All the while, he’s more focused on the perceived slight of someone getting in front of him than he was on his own safety and that of others around him. Me? I just pulled in front of him again: he was so intent on intimidating me that he left another gap in front.

Another driver, a woman in a red BMW, got bent out of shape at one point when two lanes were filtering into one. There’s a clear protocol here: merge in turn. Only she didn’t want to, and further down the road, almost pulled recklessly into oncoming traffic because she wanted to take a short cut (?) to the roundabout ahead. Steam, presumably, coming out of her ears. Male, female, van, car, motorbike: people are driving around like maniacs and it’s not safe out there. I mean, do motorcyclists think we see them in our mirrors as they flash between lanes of traffic? You can’t be looking in your side mirror all the time, for fucksake. 

Saw a woman just tonight, driving a car coming towards me and tapping away at the screen of her phone whilst also barely controlling her steering wheel. Hope the kids in the nearby school feel safe.

But in all of this, quite the most bizarre and irrational habit is what happens when there isn’t standing traffic. When the traffic flows, or starts to, some people still just sit in the same lane. Traditionally, this is the middle lane. When the lane count rises to five, however, the lane they’re hogging is the fourth one, and there are often three more or less empty lanes on their inside. So of course then people start overtaking on these inside lanes, which is dangerous but understandable. A moment’s inattention, and everybody is sitting in a jam again.

My oldest daughter was in Copenhagen: a capital city where you see children, where there are ramps for bikes in the underground stations, where there is as much space given to pedestrians and cyclists as there is to cars: sounds like paradise.

*It was still horrible, but everything is relative

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BBC Sounds: Error 404

Now, I know I’m not the target market so my opinions are irrelevant, but christ: have you heard the state of Forest 404 on the iPlayer? (Yes, you can get it on the BBC Radio iPlayer, so you don’t need to suffer the Sounds interface. Yet. But they’re coming for you.)

The BBC. Who the fuck is in charge these days? Clearly there’s a little bit of existential panic going on. The core audience is dying off and the replenishers aren’t arriving in sufficient numbers. There’s a proper demographic dip in the numbers of 18-24 year olds at the moment, I’m given to understand. Because if these people don’t start making use of the BBC, they’ll shrug their shoulders when the Murdochs and the Mails come for it. And how do you persuade a generation who have easy access to digitised versions of almost everything all of the time to listen to the radio?

Forest 404 is somebody’s idea of how to do that. And it’s worth unpacking to understand what a complete shitshow it is. But again: I’m not the target market, so emoji shrug or something.

Let’s start with the killer irony of how I heard about it. The only two BBC podcasts I listen to are In Our Time, hosted by the 108-year-old Melvyn Bragg; and Fortunately, co-hosted by Jane Garvey and Fi Glover, who are 108 years old collectively. So the BBC is promoting this patronising radio dreck at 108 year old listeners like myself. Which raises the question: are they really trying to attract a younger audience, or do they just want to be seen to be trying to do so? Is it, in other words, a box-ticking exercise? The answer to that question, reader, will probably not surprise you.

So what is Forest 404? Welp. It’s a “soundscape”, it’s a “drama”, it’s a “documentary”. It caters for the short attention span by having short episodes (the first is 25 minutes, the second 22, the third 19, so it goes); and it caters to the assumed/perceived ignorance of its listeners by interspersing episodes with exposition (designated with a T, which presumably stands for Thickoes), which patronisingly explain the background/premise and with “uninterrupted” sounds from the episodes (designated S for Seriously?). These mini-documentaries and soundscape excerpts are short (5-10 minutes) and remind me of the bits of filler at the end of David Attenborough documentaries, where they explain how they faked captured footage of snakes giving birth to polar bears or whatever.

I put scare quotes around “uninterrupted” above because, seriously? Because of course each chunk of audio gives the BBC a chance to put in some branding, “BBC Sounds…” and a patronising voice over explaining what it is you’re about to hear. 

Even more hilariously, the voice for “BBC Sounds” is different to the one you hear at the beginning of everything else from BBC Radio these days. It’s hard to explain how fucking stupid this is, but here goes. When you start an episode of, say, In Our Time, you hear an obviously young, female voice, which says, “BBC Sounds. Music, radio, podcasts.” Clearly the voice of a Bright Young Thing, probably someone younger than me would know who it is. Anyway, this is BBC Marketing at its best worst, because of course it’s just sonic wallpaper, and I literally just now had to start an episode of Fortunately so I could hear the exact words she says. Because although I’ve already heard it and been irritated by it 150 times, I couldn’t have told you the actual content of the message. Noise.

So that’s stupid level number one, the typical kind of thing you’d expect from the marketing monkeys. But. Forest 404 is meant to be “dark” and “edgy”, and so they use a different, young, female voice to say those exact same words. If the first voice sounds like a nice girl from the Home Counties who went to Oxford and that, the Forest voice sounds, ahem, more “urban”, and most definitely sounds actually fucking bored with the words she’s saying. So, um, like, yah, we know this is shit, yah, and completely cheese on toast, but, like, hey, we’ve got to do it, right, so we do it, but we’re really, like, yah, subversive about it, and make it obvious, yah, that we know it’s, like, complete shit.

Fuck.

So then you get into the actual, you know, content, and what is it? It’s another one of those, excuse me, *emoji yawn*, dark dystopian visions of, ya know, how horrible the world might be if the horrible world we live in got a little bit worse than it is now, as if that were even possible. So it’s an all-urban, high-rise, “fast times” future in which knowledge of the world as it used to be (“Slow times”) has been deliberately forgotten in order to keep the population anaesthetised and compliant.

Honestly, the doublethink going on here. (Talking of dystopias.) Because the marketing monkeys are all about “fast times” aren’t they? With their unironic rebranding of the slow times “Radio” as “Sounds”, and the insistence of repeating the anodyne, meaningless, marketing message at the beginning and end of every fucking programme. And then you’re trying to sell me on a terrifying future vision of dystopian Britain where people have their minds wiped if they display curiosity? All the while ignoring the real threat we face, which is that if there are no rain forests left, there are no people to left to live in an urban dystopia.

And behind all this, behind all this wank, is the true commitment of the BBC to this kind of youth marketing. It’s a box-ticker, sure enough. Because the edgy dystopian drama has a cast of precisely two. And all the other characters are merely referred to using reported speech. So you’ve got a little bit of sound mixing going on, and two voices telling a story. And then the whole lot gets padded out with explainers because – and you may have to back up here, possibly go up into orbit so you can see the size of it from space – the contempt for the target audience is so huge that they feel the need to offer a commentary after every episode because they don’t think we have the intelligence to understand what’s going on.

An absolute triumph. You can hear them, in the future, when the licence fee is being abolished: “Well, we tried.”