A teenager for the second time 27.01.2016

A 113-year-old woman became a hit on social media last week after opportunistic reporting by BBC Radio Solent colleagues. Ariel caught up with Dominic Blake after he helped Gladys Hooper (pictured above with son Derek) tell her fascinating story.

“I can see it now,” Gladys told me. “Everything was on fire up there.”

She was describing one of the most famous incidents of World War One – the night that German airship SL11 was shot down after a bombing raid on London.

A teenager at the time, Gladys Ada Elizabeth Hooper is the only surviving eye- witness to the spectacle on September the 3rd 1916, and is now the oldest person in Britain.

With the help of her 86-year-old son Derek, she recalled how the sky was filled with pieces of flaming rag as the huge machine fell from 11,000ft before crashing at Cuffley in Hertfordshire.

It was a remarkable account from the former concert pianist who was also one of the UK’s first lady drivers and a close friend of aviation pioneer Amy Johnson.

The story could easily have been missed if it hadn’t been for BBC Radio Solent’s Kane Reeves. The producer had taken a call from Derek the day before, asking the station to play a 113th birthday request.

He spotted its potential, and as the local reporter I was soon on my way to Gladys’ home at Ryde on the Isle of Wight.

During my visit I shot a video of the encounter for the BBC Radio Solent Facebook page, and the level of interest has been staggering.

It’s reached almost three million people, with just under a million views of the video itself. More than 15,000 people also ‘liked’ the post or used the site to wish Gladys happy birthday.

It’s fitting that, as she becomes a teenager for the second time, Gladys can add ‘social media celebrity’ to her long list of achievements.

The story of a remarkable man 27.01.2016

By Tony Lazzerini, Edit Producer on Children Saved from the Nazis: The Story of Sir Nicholas Winton

It is only rarely that you can say that something you did was truly important, but for me "Children Saved from the Nazis" is one of those moments.

The programme, directed by Matej Minac, pays tribute to an extraordinary man who saved the lives of 669 Czechoslovakian children from the clutches of the Nazis on the cusp of WWII. Sir Nicholas Winton, or Nicky as he preferred to be called, who died last year, never thought that what he had done was of much significance and told no-one about it. Indeed, we might never have known were it not for his wife Greta who found a scrapbook in the attic.

This remarkable book contained all the details of those he rescued, complete with photos, addresses and passports. This all came to the public’s attention when, on That's Life in 1988, he came face-to-face for the first time with an audience filled with his "Kinder".

Touching interview

Partnerships are very important to the BBC and for this documentary we have been working with the UK Holocaust Memorial Foundation. Formed only a year ago, they had been searching for other survivors. Just weeks before transmission, they heard from Susie Lind – who for the first time in over 70 years came forward to tell the story of how she had been rescued by Nicholas Winton. In a touching interview with Natasha Kaplinsky, she showed us the handkerchief that her mother gave her to wipe the tears away as she was put on one of Nicky's trains. She has kept it freshly laundered ever since.

With the Holocaust Memorial Foundation, we were lucky enough to arrange a screening event at Lancaster House. The Director-General Tony Hall was present to introduce the film. He said he had come across the story of Sir Nicholas in a very real way when he met one of Winton’s ‘Kindertransportees’ Lady Milena Grenfell Baines at the Gillard Local Radio Awards. She had won the Best Programme Award for her BBC Radio Berkshire documentary on hers and Sir Nicholas’ story.

Over 125 people attended the event and I can honestly say that, in my entire life, I have never seen a room of 125 adults cry all at the same time. Chatting to Eric Pickles, who closed the event, he revealed that his biggest worry was being unable to speak because he was too emotional.

Such is the power of Nicky's story.

Children Saved from the Nazis: The Story of Sir Nicholas Winton aired last night on BBC One 10:45pm. Find out more here.

Introducing... Racing Glaciers 26.01.2016

By Rob Adcock - Presenter, BBC Introducing from Stoke:

'The trumpet on this is amazing!' That was the text we got on BBC Introducing from Stoke from Mark in Newcastle-under-Lyme when we played Racing Glaciers for the first time on the radio on the 5th October 2012.

The first time that Tim & Matt came into the show they were both very nervous. It was the first time they'd ever been on the radio but it didn't show. They told us all about how it had been recorded and how they had to make sure the house was quiet between takes.

The band from South Cheshire had sent in a track they'd recorded in their living room via the BBC Introducing Uploader and, to be fair, Mark had a point. Since that day, things have gone pretty well for the lads. After releasing a debut EP, the band progressed from a week on the Radio 1 BBC Introducing playlist to performing on the BBC Introducing stage at Radio 1's Big Weekend in Glasgow. Their track, Moths, is a great song.

It’s amazing to think that they’ve also been on the soundtrack to two huge Hollywood films (Transformers: Age of Extinction and Aloha) plus the cult America TV show Suits - not bad for an unsigned band from South Cheshire! A particularly surreal moment was seeing their name in the credits to the Transformers film whilst on a flight last year. We're not afraid to say we welled up with pride.

It's fantastic to think that all these opportunities have come about through the initial help from BBC Introducing.

BBC Introducing is so important because it's something only the BBC can do. The opportunities it provides to people are so unique and, for us programme makers, it is so fulfilling to see people we've featured on the radio going from strength to strength.

Looking to the future, the boys moved in together and spent 10 weeks locked away in the remains of a Royalist stronghold in Lancashire recording their debut album. The tracks I’ve heard so far give you a lot to be excited about. Ahead of their UK tour, we brought them back on to BBC Introducing from Stoke to play a very special gig.

Ariel Big Interview: Kamal Ahmed 22.01.2016

When Robert Peston left the BBC in the autumn for pastures new, there was intense speculation as to who would fill his shoes.

After all, the job of Economics Editor is one of the highest profile broadcasting roles in the corporation.

Before Christmas it was announced that former business editor, Kamal Ahmed, had got the much-coveted job and there can be no doubt that, with his CV and expertise, his credentials were, and are, impeccable.

Describing his new role as ‘all-consuming,’ Kamal has taken to the new role with the enthusiasm and aplomb you would expect from someone with a passion for storytelling and distilling ‘difficult’ macro-themes into easily digestible packages.

Kamal joined the BBC as Business Editor in March 2014 and before that worked on several national broadsheet newspapers.

That experience taught Kamal what he describes as the most important journalistic lesson - never losing sight of your audience:

“Whatever form of journalism you do – and I do think the distinction between print and broadcast journalism is much more blurred than it used to be – it is, ultimately, all about your listeners, your readers or your viewers,” he says.

“I’ve been lucky enough to work for The Guardian, The Observer and The Telegraph and I think all those businesses are very conscious about who their readers - their customers – are. The BBC is trying to do the same thing with its viewers.

“You need to think about what your audience needs and how you can best explain the world to them in a straightforward way that allows them to understand the things that affect their lives.

“I believe one of the BBC’s key roles is to give context and explain why things are happening and why they might be important to our audience.”

One of the things that Kamal has had to adjust to is the difference between being an editor and a commentator. While he was frequently called on to comment and express opinions about important economic or business developments, his new role requires a different approach to reporting.

“Being a pundit, you basically go on and express an opinion,” he says. “But being an editor is vastly different. It is your role to provider analysis, context and insight but it is not your job to give opinions.”

The key themes for 2016

There will certainly be no shortage of critically important economic stories for Kamal to cover during 2016. There was a hint with the major news story which broke before Christmas when the Federal Reserve announced it was raising interest rates.

This was the lead story on the 10 O’Clock News during mid-December and saw Kamal explaining the ramifications of this significant decision to viewers:

“This was a big story because interest rate increases have a huge impact on our viewers whether they are mortgage holders, a saver or someone has taken out a personal loan,” he says. “This is going to be one of the big themes of 2016 and I strongly believe our role is to explain these themes to viewers.

“We have had many years of what has effectively been an economic experiment in terms of low interest rates and now it is a path back to that rather ugly word, normalisation, and what effects that will have in the UK but across the globe as well.

“I’ll also be keeping a very close eye on the US economy – which is still the world’s most important – but also emerging market economies like China, Brazil, Turkey, Nigeria and Angola.”

Having been BBC business editor prior to his role, Kamal acknowledges there are some broad similarities between the two disciplines but also many fundamental differences:

“Having covered business for over six years you do gain a natural knowledge of economics as business is one of its driving forces. Yet, while the business editor’s role is concerned with corporate news and what certain companies are doing, the economics editor’s role is more about monetary and fiscal policy. It also has a slightly more political edge and concerns itself with how policy can affect economic fortunes whether in the UK, the Eurozone, China or Brazil.”

Kamal will also lead the BBC’s reporting on the Treasury as well as having a broad remit on finance policy stories across the globe.

It is a challenge which the former pupil of Drayton Manor High School and student at the University of Leeds is relishing:

“I had a wonderful time as BBC Business Editor,” he says, “and was delighted and privileged to move to this new role, bringing home the importance of economics to our UK and global audiences.”

The father-of-two – Maud, 15 and Noah, 12 – Kamal describes his role as ‘all- consuming.’

He said: “I am not someone who climbs mountains or goes canoeing at weekends but my two kids certainly keep me busy.”

When Kamal does have a spare moment – and they are rare he says – he will be trying to desperately catch up with the latest episode of the The Bridge.

Your chance to join in a star-crossed celebration of Shakespeare 19.01.2016

This Year marks the 400th anniversary of the death of William Shakespeare, and across the BBC, teams are already putting together plans for a huge celebration of his life and works. Across Television, radio and online, we’ll be making Shakespeare and the stories he wrote irresistible to our audiences.

From world-class drama including The Hollow Crown: The Wars of the Roses and a primetime BBC One commission of A Midsummer night’s dream, from BBC Cymru Wales to Shakespeare on Tour produced by the BBC English regions, the season will not only be a huge collaboration over the next few months across our teams and departments, but involve a number of partners including the Royal Shakespeare Company (RSC), the British Library and the British Council.

This Thursday, we’ll be sharing a flavour of what’s to come with a special event in the Radio Theatre in New Broadcasting House to launch the BBC’s Shakespeare Festival.

Hosted by Tony Hall and Greg Doran, the Artistic Director of the Royal Shakespeare Company, the event will feature special guest David Tennant, who will host BBC Two's Shakespeare Live! From the RSC broadcast on 23rd April.

There’ll also be several live performances including a set from Horrible Histories as well as a special sneak preview of our new content, including snippets from the new drama Hollow Crown: War of the Roses which as been executive produced by Sam Mendes, with Benedict Cumberbatch, Dame Judi Dench, Keeley Hawes, Sophie Okonedo, Michael Gambon and Tom Sturridge.

The deadline for applying for an employee ticket for the Shakespeare launch event has now passed. However, if you still want to come along to the event there may be some spaces on the day. Wearing your BBC pass, please present yourself to the marked standby area outside the Radio theatre by 0845 and we’ll do our best to accommodate employees who would like to come to the launch.

The Shakespeare Launch event will finish around 1000 – and all guests will have to arrive by 0845 at the Radio Theatre in New Broadcasting House, London. Make sure you also have your manager’s permission to attend.

Find out more about our plans for the Shakespeare Anniversary here.

Thinking outside the box to inspire others 19.01.2016

Having just completed a project working with young adults, Gill Holmes, Head of TV & Media Operations, explains why she hopes others will want to push the boundaries to share stories from people we usually have difficulty reaching:

"TV and Media Ops (TMO) is an operational and creative team. It supports all the main network Channels, and helps make the most of the archive by producing compilation programmes and short form content for the BBC’s online outlets. When TMO became involved in helping with the launch of the new BBC Three, I wondered how we could reach out to young people whose voices we don’t always hear.

"TMO has 11 online edit suites, and I thought it might be a good idea to open up our editing facilities for a few days so young people from a wide variety of backgrounds could come in a make some short films for the new BBC Three. It would give them some exposure to the media business, and give us a chance to work with some different young people with a different perspective on life.

"My boss was very supportive and suggested we pilot the idea. I got advice from the Academy and talent management on how to approach the project. I decided not to make it formal with trainee or apprenticeships. Instead it would be more of an informal film making taster, and a chance to share and collaborate with young people from all walks of life.

"I am also a non-executive director with ‘Achieving for Children’ a community interest company which runs children's services for Richmond and Kingston, a not-for-profit spin out of the local authority. The Chief Executive, Nick Whitfield, was happy to help and put me in touch with some support workers as well as young people leaving care, special needs support groups and colleges in the local areas.

"I got together with one of our producers, Nick Watson, and we found around 10-12 young people who were keen to be involved. The brief was to tell us a bit about their lives in two minutes, or any important life event.

"Once Nick, and the Assistant Producer, Nick Shaw, began to work with them and got to know them better we realised this project was not just about the end film, but about giving these young people the time... going on a journey and listening to them.

"We spent several months on and off working closely with these young people, from talking about scripting, to filming and editing.

"I think they enjoyed being pushed them creatively too. We didn't just interview them. We wanted it to be their films, their experience and their voices.”

It was a very collaborative and emotional process for everyone involved. We wanted to do the very best and make an inspiring series of films that everyone could be proud of.

There are six films altogether, ranging from two to six minutes long, and all the participants were invited to a special screening at the BBC Radio Theatre in New Broadcasting House.

The producer Nick Watson,called the series ‘Inspiring Others’, and the Controller of BBC Three, Damian Kavanagh joined us for the official showing.The TMO team were there too, alongside side friends and family of all the young film makers. Many of those watching the films for the first time felt really moved by the bravery of the young people to share so honestly their life stories.

"I'd love to be able to do this again and help more young people get involved with the BBC. Senior managers don’t have to wait for the BBC Academy to be doing an apprentice scheme to give young people an opportunity. It’s possible to be flexible, responsive and design your own project. We found a tremendously talented bunch of young people, I’m sure there are many more that would like to have a glimpse inside the BBC, and help be an inspirational to us and others."

Nick Watson, freelance BBC producer and film-maker, worked with Gill and said although it sounds trite, it was most definitely "an emotional rollercoaster".

"We were dealing with kids from different backgrounds and social skills. We went in with expectations and came out with different views. The key thing I learnt was finding out their language.

"As a film maker it's easy to ask people to open up - but when these kids did I was taken aback by the rawness of it all. Their skill. Their courage.

"When we started chatting they all said they wanted their stories to be inspiring. They wanted to help others. The resilience in the stories, humility and maturity were so clear, so we called it the 'Inspiring Others' season.

"Everyone has a different set of what they deem to be achievements. For one participant it was just getting through the day. Then you understand getting through a day is an achievement, espeically on only £30 a week on your own. It's hard. It's really hard. And they're doing it. And for them to appear in a film and be so honest is very courageous."

Security personnel commended by Met Police for bravery 19.01.2016

Two security personnel from First Security Group’s New Broadcasting House close protection team received a Borough Commander’s Commendation today (19 January) in recognition of their involvement in preventing a serious incident outside New Broadcasting House in June last year.

[TPD] and [TPD] were invited to attend an awards ceremony at Scotland Yard, where they received the commendation from Chief Superintendent [TPD].

Back in June 2015 [TPD] and [TPD] were part of our security teams at New Broadcasting House, supported by the Met Police, when an individual doused in petrol, threatened to set fire to himself outside the BBC reception entrance.

[TPD]and [TPD]restrained the individual, keeping him from harming himself and others in what could have escalated into a very severe incident. The Met Police’s senior officer in attendance that day put [TPD]and [TPD]forward for the commendation.

Speaking about the incident, [TPD]said: “I don’t want to sound modest, but I was just doing my job; what the BBC pays me to do. It was nothing out of the ordinary.

It was all in a day’s work really; to protect the property and members of staff.” On the commendation from the Met Police, he added: “I’m being recognised for doing my job. It’s not the first time I’ve done anything like this and it won’t be the last!”

Carol Ann Kinley-Smith, Head of Corporate Security and Investigations, praised [TPD]and [TPD]for their quick thinking and calmness in what was an incredibly intense situation.

“[TPD]and [TPD]did an incredibly brave thing. We’re very proud that they’re being commended for their involvement in this incident. It’s fully deserved.

Their quick thinking, bravery and professionalism helped make sure that a serious situation didn’t escalate into something far worse. The whole security team on duty that day were brilliant and deserve praise for their contribution too, as do the police, who our teams supported expertly.”

The 'bonkers and brilliant' creativity of kids 18.01.2016

By Helen Thomas, Editor BBC Radio 2 & Radio 2 Digital

Today marked a day I never thought we'd see, as 500 Words launched on the Chris Evans Breakfast Show on Radio 2 for its sixth blockbusting year. Yes, that's six years, which have seen over 450,000 stories and over 170 million words pour into Radio 2 Towers, as well as the development of the world's first Children's Corpus by Oxford University Press, which studies the way language changes and develops as we age. This is all thanks to the seemingly inexhaustible well of bonkers and brilliant creativity that springs from the imaginations of children all over the UK.

I remember clearly the day Chris Evans came bounding into the Radio 2 offices with his customary zeal, fizzing with excitement about his latest scheme.

"I'd like to run a story competition on the radio show," he said. "For kids who think books, reading and writing are not for them. I want to show them that ideas and imagination are the only currency that matters."

"Well that's amazing..." said I, instantly loving the idea and his obvious enthusiasm for it, but already feeling the gears grind into action at the back of my mind. We broadcast to nearly 10 million people on the R2 Breakfast Show, but we'd never run a major on-air competition so far, let alone one aimed specifically at children. What kind of response would we get? How would we judge what came in? Who should judge it? What would the prize be? And most importantly of all... what would you hear on air?

"Great, I'll leave it with you then" said Mr E, and cheerfully bounced off to his next appointment.

Exciting children and their parents

What happened next is testament to the drive and resilience of those who have worked on what has become one of the BBC's most prestigious projects.

Back in 2010, the show’s assistant producer, Day Macaskill, was sent on a fact- finding mission about BBC competitions for children, and also to talk to experts in child literacy and child protection about what we should do to ensure the project would run with credibility and authenticity. We worked closely with the Hay Festival who provided us with impeccable guidance throughout. They hosted our final for the first four years of the competition.

We encouraged the nation's teachers and librarians to get involved by signing up to judge the first round – we simply could not run this competition without their support; we attracted expert assistance from the likes of The National Literacy Trust, The Scottish Book Trust and The Reading Agency to manage the intermediate adjudication stage. We then engaged the biggest children's authors working today to act as our final judging panel. We called on celebrities who would excite the children, their parents and the wider Radio 2 audience to come and read the winning stories at the final.

Chris was across every detail. It was important that what we developed reflected (and eventually transcended) anything he had originally envisaged.

Our friends at Blue Peter advised us that if they received 25,000 entries to a competition they knew they had a hit. Well, the first year of 500 Words saw 30,000 children enter. This swelled to 74,000 in year two, 92,000 in year three, 118,000 in year four and 120,421 in 2015.

Our judging panel has subtly altered throughout the course of the competition, and we are proud to count the likes of David Walliams, Dame Jacqueline Wilson, Anthony Horowitz and Lauren Child amongst our alumni. This year's returning panel of Charlie Higson, Malorie Blackman, Frank Cottrell Boyce and Francesca Simon are joined - in a very special turn of events for 2016 – by, a new judge, HRH The Duchess of Cornwall.

We were hugely honoured when The Duchess helped us launch last year's 500 Words with Chris Evans at a primary school and even more thrilled when she offered to host the 2015 final at St James' Palace and hold a reception for the children and their parents afterwards.

HRH and her team could not have been more helpful and supportive last year and, not unduly put off and keen to continue her interest with 500 Words for 2016, the Duchess has agreed to act as a judge. And, in another royal first, thanks to a fantastic idea from AP Vicki Perrin, HRH has agreed to appear in animated form for our launch film.

Also new for 2016, we are holding this year's final at Shakespeare's Globe Theatre in London, which not only ties in with the BBC's celebration of Shakespeare, but means we can offer every single child who enters the competition the chance to be at the event on Friday 27 May.

And, coming to Radio 2 next month, is 500 Words: The (Short) Story So Far – presented by Shelia Hancock which tells the story of the first five years of 500 Words (Thursday 18 Feb at 22:00).

So the stage is set. Chris Evans has announced 500 Words 2016 is now open for business. We have judges aching to read your tales, and actors limbering up ready to bring your words to life. The children of the UK are poised over their keyboards scratching their heads, desperately searching for that moment of inspiration. Which all begs the question... What story will your son/daughter/niece/nephew/neighbour write?

A guilty pleasure for millions 15.01.2016

There was much talk before Christmas when the BBC’s long-running Countryfile show regularly trounced The X-Factor in the ratings when the two went head-to-head.

Now the show is venturing into daytime TV with Countryfile Diaries.

We asked Executive Editor Bill Lyons about the show’s enduring success:

Q: What do you attribute Countryfile’s success to? A: The British public has a real love affair with the landscape which brings them naturally to Countryfile. Sitting down to watch is a ritual that marks the end of their weekend. For a long time, feedback from the audience was that watching Countryfile was “a guilty pleasure” but we are seeing this change. Since we set up our Twitter feed last year, we are seeing not just a bigger audience but, increasingly, a more broadly-based one too.

I think viewers also like that we have a great family of presenters who know what they are talking about and who share their enthusiasm with real flair. What they don’t see, however, is the real powerhouse of the programme which is the production team behind the scenes. There are just 40 of them but they punch way above their weight. Some of them have a strong farming background which can prove useful but what really makes the difference is the incredible energy and creativity of the whole team all year round.

Q: What challenges does the Countryfile team face? A: On the production management side, it’s finding endless ways to make the logistics work and to stretch the budget to match the onscreen ambition. On the editorial side, it’s being prepared to take risks and stretch film-making and story- telling skills. Despite its fast turnaround, Countryfile can be a great place to perfect the craft of short-form film-making. For new directors, Countryfile is a place where you have to come up to speed really quickly. For experienced film-makers, it’s somewhere to experiment and try out different kit or techniques.

Q: Has its success surprised you? A: No, because the ingredients have always been so strong. All we’ve done over the past couple of years is join the dots and add a splash of colour in terms of film- making ambition and story-telling. That’s why I’m delighted to see the show performing so strongly against other Sunday night shows particularly those with much bigger budgets. I think our current run demonstrates that our production values are as high as the very best, and we have the ambition to do even more.

Q: What does Countryfile set out to do? A: At its simplest, each week we visit a different part of the British countryside, highlighting the stories, people, wildlife and heritage that make the area distinctive but also the rural and environmental issues that affect all of us. I’m sure the audience comes to us primarily for enjoyment of the landscape but the show’s strength has always been its specialist journalism. We aim to give viewers a real insight into what lies beneath the surface of the rural idyll and remind them of the connection we all have with the land through the food we eat – from farm to fork.

Q: How do you tackle ‘tough’ issues? A: Very often we have a tough story to tell, especially with our investigations, which can range from Halal slaughter to affordable rural housing. These can be challenging subjects, but our audience really engage with them. We certainly have a family audience and a very compassionate one. Our Countryfile Calendar for Children in Need is on target to match or beat last year’s total of £1.5 million while our first ever Great British Ramble for CiN has raised more than £850,000.

Q: Why do you think British people are so attached to the countryside? A: A range of reasons. For some, their working life depends on it – the UK’s rural economy is worth around £350 billion – while others just love the British landscape. Our audience is split between rural and urban but they all have a passion for the countryside. Our challenge is to satisfy enough of the audience for enough of the time they want to stay with us. That’s not always easy, because the countryside can be a fractious place, but that’s our aim.

Q: How do you keep the show fresh and relevant? A: We’re on air 52 weeks a year, whatever the weather throws at us, so our main challenge is simply keeping the show on the road. We don’t want to be predictable so we work hard to establish some real set-piece moments throughout the year, like the call-out for the Countryfile Farming Hero. Other treats include a Shakespeare Special in April and this year will see the first Countryfile Live event from Blenheim Palace, a four day event enabling our audience to meet presenters and the production team. This is a commercial venture, in association with BBC Worldwide and the National Trust.

Q: What will Countryfile Diaries do? A: Venturing into Daytime is a really exciting and important move for us. Sunday night’s Countryfile currently celebrates the turn of the seasons across the year in four seasonal specials but, starting in spring, I hope the new daytime format will build on that, offering a real insight into what the onset of spring means for the whole of Britain. We’ll be showing how spring makes a difference to farming, wildlife and the working lives of all of us. The ambition is that what was Sunday night’s guilty pleasure will become a treat for the whole week.

'The BBC gave me a lifeline' 14.01.2016

It was in August 2012 that [TPD] was on a routine patrol in Afghanistan with the British Army when he was wounded by an improvised explosive device.

The force of the explosion fractured virtually every bone below [TPD]left knee. Though surgeons managed to save his leg, the extent of [TPD]injury was such that his career in the Army was over.

It was a devastating blow for the young man from Sheffield who had joined the Army after university.

He said: “When you are doing a job you love and it is suddenly – without warning – taken away when you suffer a life changing injury, life comes to a crushing halt and you age very quickly, almost overnight.”

[TPD]says that servicemen and women react in very different ways to life-changing injuries: “You can’t leave the Army until you have finished your treatment,” he explains, “once you are wounded you are assigned to a Personal Recovery Unit, which alongside the rehabilitation centre at Headley Court, is how the Army manages rehabilitation and recovery.”

Keen to enhance his skills and broaden his experience whilst waiting further surgery, [TPD]applied to the BBC for a short placement: “The BBC had always appealed to me because of its reputation and also the breadth of available roles. I’d travelled a lot and had always been impressed with the high regard in which the BBC was held across the globe.”

With the help of some former service personnel already in the corporation, [TPD]found a suitable placement which could make use of some of the skills he acquired in the Army.

“I’ve been working with the Business Continuity Unit, mainly focused around rehearsals for certain scenarios and testing resilience plans. It’s been a really good way of appeasing the inevitable frustration that comes after an injury like the one I suffered,” he says.

“It has been an ideal way to abate the frustration. Being wounded deprives you not just of a job you trained so hard for such a long time, but so many social and sporting activities that go with being fit and adventurous. Although time moves on around you, you’re stuck there and then while friends progress in their own careers.”

[TPD]feels he has benefited so much from the experience of working for the BBC that he would like to see a formal process in place so that other injured service personnel could benefit.

“I would like to see other people given the opportunity that I have been given to help with my rehabilitation. In the same way that the BBC employs a whole range of professionals aside from journalists, the Army is not just about fighting.

“Although working under pressure, leadership, and teamwork are essential qualities, soldiers are skilled professionals in anything from electrical engineering to communications.”

He feels that charity – though extremely welcome – can only do so much.

“Given that frequent operations, rehabilitation and appointments result in individuals not being able to leave the Armed Forces until sometimes several years after being wounded, it is vital to stay active during this time, and not stagnate.

“So we need to ensure that service personnel who are injured can access good quality work experience which can then help open new doors for them. Finding a fulfilling career after leaving the Armed Forces is tremendously important for the wellbeing of those that have lost so much in service, but also of mutual benefit to an employer who can hire a motivated, resilient and conscientious individual in return.

“There needs to be more emphasis on work and giving people a three month opportunity. With the benefit of this chance, they can go on to find a new future to replace the career that has been taken from them.”

[TPD]knows he will never be able to reclaim the highly active life he had before his injury. His injuries are lifelong and he will only ever be able to walk with a specially fitted leg brace but he is most definitely a member of the ‘glass half full’ club: “I try to be as active as I possibly can and spending this time with the BBC has been an amazing opportunity. I’m very grateful, it’s proved such an important part of my rehabilitation.

“I think the time for charity has passed. What servicemen and women in my position need is a chance at a career as a committed employee, not a role as a wounded veteran.”

Remembering Starman 12.01.2016

BBC 6 Music presenter Matt Everitt pays a personal tribute to David Bowie

On Monday morning, at 6am, we got into the studio to do the breakfast show and the news about Bowie’s death was breaking on social media . Official confirmation came in just after 7am and the response from listeners was unlike anything I’ve ever experienced. There is something peculiarly British about Bowie. He was always an essentially Brixton/Bromley boy and I think that resonated with people.

People use the word ‘chameleon’ a lot but that does not really sum up Bowie’s importance or his achievements, certainly between the years of 1970 and 1980. During that period he was releasing nearly an album a year and each one of them would either be an incredible left turn from what had gone previously in terms of style, image or musicianship or, if it wasn’t a left turn, it was an incredible leap forward in the same genre and that’s pretty much never been done before. It’s a staggering achievement. Each of those albums inspired people in different ways to go down different routes. Even after he had the great commercial pomp of Let’s Dance, when it appeared as though he was chasing after a slightly unobtainable next step, he was still producing songs that other artists would build an entire career on.

Blackstar, the new album, is a 69-year-old man making genuinely surprising, often challenging, still very beautiful, very unconventional, music and I don’t think there will be an artist that lived so much in the mainstream making such breathtakingly esoteric and experimental music for a mass audience. But that was Bowie.

He always appeared to be an outsider, as someone who didn’t fit in and we all sometimes feel like that, particularly in our teenage, formative years so he managed to gather us all together.

It’s not just the scale of his music but the scale of his cultural originality which was demonstrated at the V&A exhibition a couple of years ago which was incredible. It showed inspiration from music, art, theatre, mime, Japanese Kabuki, literature. The way he could reinterpret themes and ideas was just quite staggering.

I never interviewed him but I met him briefly when he signed a CD for me, so I got to say ‘hi.’

Then he walked past me and it was the coolest walk past anyone’s ever done.

Ten questions for... James Naughtie 11.01.2016

Just before Christmas, it was announced that James Naughtie was stepping down as a presenter of the Today programme after 21 years. We asked him ten questions about his role, what the future holds and some of his best memories, including that unforgettable slip of the tongue while interviewing Jeremy Hunt.

1 – What’s it like being a national treasure? (Laughs). I don’t recognise the term. I was touched by some lovely messages from listeners. You realise that, with the intimacy of a morning programme, you become a familiar voice in the listeners’ ear, hopefully a friend. I don’t know about national treasure but I was terribly touched by being reminded of what Today means to people.

2 – What story touched you most over your 21 years? I think being in the Kosovan hills in 1999, when the refugees were coming out of the dark, having walked for days through the mountains, is the kind of scene that is impossible to erase from your mind. I remember going into a mosque in a tiny village in the hills which was completely dark. When our eyes adjusted to the dark we realised that the whole space was covered in people, including families and babies, sleeping. These are the kind of images that stay with you.

I also remember doing a programme on the Easter weekend in 2003 from Iraq which was extraordinary as were the Paris shootings at the end of 2015. The reason Today was, and is, such an exhilarating programme to work on is that it throws up unexpected moments all the time. I was a newspaper man and working on Today was like writing the front page every day.

3 – In what ways, if any, do you think the Today programme has changed over the last 21 years? One of the slightly sad things to have happened is that people have got better – or at least they think they have – at dealing with interviews. Yet, what a lot of politicians forget is that listeners like spontaneity and an ability to admit they got something wrong. Too many people think they cannot admit something because it will make them look weak. I think the professionalisation of politics, with the exponential growth in the number of advisers, press officers, etc has reduced spontaneity. Yet the spontaneous utterance is so precious.

4 – What will you miss most about working on the Today programme? I know it sounds clichéd but I will miss the camaraderie. We were reminiscing on my last day about great days on the road and the fun we had and they are terribly precious memories for me. I will miss coming in and having a three hour programme where anything can happen. But I won’t miss the 02:59 alarm! There is really no way of trying to pretend that is a comfortable thing to do.

5 – And what won’t you miss? I won’t miss the 02:59 alarm! There is really no way of trying to pretend that is a comfortable thing to do.

6 – What is your new role and what does it entail? I’ll be a special correspondent and I’ll still be working with the Today team quite a lot. There will be some on-the-road reporting, including some for Today, but also for other programmes across radio. I’ll be in America for the first round of the US Presidential Elections in February and will still be presenting Election Programmes on Radio Four. I’ll also be doing a very regular book slot on Today and I’m looking forward to that immensely. I’ve been in journalism for the best part of 40 years and it’s wonderful to be asked to do something like this which is fresh but, at the same time, completely chimes with my history. It should be great fun.

7 –What was the funniest thing that happened during the 21 years? Two words. Jeremy Hunt. Clearly it was an appalling moment for a professional broadcaster but it taught me a very interesting lesson. Everybody, including Jeremy Hunt, understood it for what it was and it was a tremendous privilege to get the benefit of the doubt. People just found it very funny. I went to an event where a very prim, nice old lady stood up and said "Can I say I have never laughed so much in my entire life." I think we all have a duty to bring some happiness into the world and if that amused people, then so be it.

8 – What is your New Year’s resolution? To get fitter. I’ve had this strange regime for 21 years, getting up at 3am, and so I’m really hoping I will feel the benefit in terms of having more energy. I live half in Edinburgh and half in London and I think the extra hours will make a real difference.

9 – How do you unwind? I listen to music and I play the piano, although strictly in private. I listen to a lot of classical music and a lot of the rock music I grew up with the likes of Pink Floyd and Led Zeppelin. I did sing a Carole King song on the karaoke at the Today Christmas party. I sang ‘You’ve Got a Friend’ which was possibly my last gift to the programme. It was quite late in the evening… I like to read a lot and I love sport especially rugby union and football. I’m an Aberdeen supporter but in London we live not far from the Emirates and so I have ‘Goonerish’ (Arsenal) tendencies these days. But actually I love watching anything with a ball.

10 - In terms of the Today programme, what would you like your legacy to be? I think the term ‘legacy’ is a bit pompous but, I hope that, if I do have a legacy, it will be about telling stories well. It’s what I’ve always wanted to do and it’s what radio provides an opportunity to do. If there is a memory of the years I spent presenting Today, if somebody says that "He told a good story" then that would make me very happy.

'Revolutionary' news translation tool piloted 08.01.2016

Technology which uses automatic translation to produce voice-overs and subtitles in multiple languages for short video news packages is being piloted.

By Dmitry Shishkin, Digital Development Editor, BBC World Service

I’m the editorial lead for a joint project between BBC Digital’s NewsLabs and BBC News’ Digital Development teams which have recently launched an online pilot service offering continuous video play in different languages to our global audiences.

This joint project is revolutionary for the media sector. It uses the latest language technology, machine translation and computer-generated voices, to offer continuous video play in different languages to our global audiences.

Close cooperation between digital and editorial teams has been an essential element of bringing this pilot to realisation. While launching Japanese and Russian versions we have been constantly in close contact with the respective editorial teams – be it on forming the news agenda and selecting videos for re-versioning or vetting synthetic voices.

This is the first time that all of these different technologies have been brought together in a media environment.

Amalgamating existing technologies

The tool, built by BBC News Labs, amalgamates these existing technologies and allows a single editor to generate multi-lingual voiceovers on top of an existing video package and script. The script is translated automatically, edited by a journalist, and converted into a computer-generated voiceover. As the project develops automatic subtitles will be added.

The service allows News teams to free up people as they’ll no longer need to translate stories, find and book studios and equipment and track down distinctive voices. The whole service will save journalists a lot of time, freeing them up from administrative tasks to get on with journalism, which in turn allows us to offer audiences a wider variety of BBC content.

Internationally we are known as the most trusted news provider and this service should enhance that reputation by offering more BBC news videos globally. The BBC’s ambition is to reach 500 million people by 2022, the BBC’s centenary year; the current reach is 308 million. We hope that this project and its scalable nature will help us achieve that.

A measurable experiment

The pilot will also allow audiences for those services access to a wider editorial offer. Currently, the Japanese BBC News site is only able to run a handful of video pieces – with this new service we will be able to produce twice as much content.

This is an experiment but, at the same time, a very measurable experiment. We need to innovate – but we’ll need to get the audience to let us know if they like the project before we can move forward. We’ll have to see how it works and how the audience reacts to it – but there’s no reason why it can’t be developed and rolled out further.

One thing that I’d like to try in future is to create the reverse of this project – translating foreign language news editorial into English. That would be very exciting.

The pilot is already up and running onwww.bbc.com/japanese/video_and_audio/today_in_video, with plans to launch a Russian version in January, with two to three more languages scheduled in the second part of 2016. Watch this video to see how it all works.