Thought for the Day

24 FEB 26

Good Morning,
Coming down from Yorkshire to London I usually walk through Marchmont Street. I often stop and look up at a Blue Plaque over a shop that was once a hairdressers. It’s where Kenneth Williams spent the first part of his life.
I worked with him in the late 1970’s when I was a young producer with a missionary society. We were looking at new ways of getting the Christian faith to resonate with young people.
I’d heard somewhere that the Ayatollah Khomeini, then exiled in Paris, was flooding Iran with messages on audio cassettes to topple the Shah. It may seem quite a leap but it prompted me to wonder if we too could use cassettes to reach out to the next generation.
So we hired four famous comedians to retell the life and parables of Jesus . Soon we were in the studio with Derek Nimmo, Dora Bryan, Thora Hird and - Kenneth Williams recording a sparkling script by Jenny Robertson.
Yesterday marked the Centenary of Kenneth Williams’ birth – one of Radio 4’s famous voices who knew the power of comedy to shock, to scandalise and to deflate the pompous. But he was also a sensitive man who prayed at the end of each day out of the depths of his own tortured soul.
He excelled in recording these cassettes and captured the way Jesus himself used stories to cut the powerful down to size, especially religious ones.
One of Jesus’ amusing stories was told against the hypocrisy of the judgmental - of two men, one with a plank shooting out of his eye trying to pick a spec out of the other’s – a comic sketch worthy of Basil Fawlty berating a hapless hotel guest!
The paradox of humour is that comedy can pack a serious punch which is why the powerful, especially dictators hate being made fun of. Nor can they tolerate the freedom the media give to voice such protest.
50 years on, Iran’s latest Ayatollah, while recognising the role media played in bringing them to power , now appears to be tightly controlling the internet, in what is widely seen as an attempt to stem the flow of information about a government crackdown on protesters.
Memories of Kenneth Williams today make me nostalgic for a more spacious world where the freedom to speak out and even to make fun of each other were the signs of safer times.
Kenneth Williams – rest in peace and in the memory of our laughter.

21 FEB 26

Good morning. There was a time in the early 2000’s when you could not open a paper without seeing a photo of Tracey Emin at a party, glass in hand, staring at the camera. A moving interview with her in The Guardian in connection with her major new show at Tate Modern which starts next week reveals a very different Tracey Emin. She talks about the terrible cancer she has suffered, with many of her body parts being removed, so that life now is lived with great difficulty. At the time she thought she was going to die and then ‘Whoever they are’, she said to Charlotte Higgins the interviewer, glancing heavenwards, ‘they said “I don’t think she is all bad. Let’s give her another go, see what she can do”’ So she gave up alcohol and her 50 cigarettes a day and has since then thrown herself into her art - not only her own art but helping young artists and others in her home town of Margate. As she said ‘I have spent a lot of my life being sad, nihilistic and punishing myself mentally-and drinking and smoking. And then I realised: I could have my time back again.’ No wonder her new exhibition is called ‘Tracey Emin: A Second Life.’
Lent, which began yesterday is a reminder that we do not have to wait until death stares us in the face to have a second life. Notwithstanding regrets and failures every day is a new gift, a new beginning, a time to focus on what really matters to us. Tracey Emin says about those earlier years in the 2000’s ‘God, was that the shallowest level of myself that I could ever be?’ There is a shallow side and a deeper side to all of us. That deeper side brings into focus what we really want to do with our life, what kind of person we really want to be.
If you visit Liverpool’s Anglican Cathedral, the largest religious building in the country, built between 1904 and 1978, it is difficult not to be overwhelmed by its immense space and monumentality. But as you enter, just above the West End Doors, there is a total contrast-a permanent pink neon installation with the words ‘I felt you and I knew you loved me’ written in Tracey Emin’s own hand.
Tracey Emin burst on the scene in 1988 with a work of art consisting of her unmade bed surrounded by condoms, blood and general detritus and people still associate her with this. But I like to think of her devoting herself to making new art and helping others in Margate, and that simple, pink neon installation in Liverpool Cathedral with its words ‘I felt you and I knew you loved me.’

19 FEB 26