An open letter to Bradley Wiggins

Dear Bradley

Like many MAMILS (middle aged men in Lycra) you are the reason I got back into cycling forty something years after hopping off my Raleigh Chopper when I gave up my paper round as a 16 year old. I loved your lamb chop sideburns. I loved your Northern deadpan. I loved your taste in music. But most of all I loved the fact that a seemingly ordinary bloke could be extraordinary. It gave this not-terribly-sporty ordinary bloke, who got picked last and then reluctantly by the captains in a game of playground footy, something to believe in. You could call it a bromance. My wife did. There are three of us in this marriage she said, only half jokingly before buying me some eye-wateringly expensive Team Sky kit and a Wiggins Number 1 tee shirt for Christmas. That’s true love for you.

So I’ve had your name bobbing up and down on my buttocks for the last four years. As mobile billboards go I’m the first to admit it’s not been the most striking advertisement but all the same I want my money back plus interest (or rather Mrs Uridge does). Seriously. They were sold to us under false pretences. Plus the logo wasn’t terribly durable.

But there’s another altogether more valuable contract that you’ve broken if the DCMS select committe report is accurate: the notion that just about anything’s achievable with the application of hard work, dedication and attention to detail. You encouraged me (and countless thousands others) to believe in that approach. I applied it when I cycled 3,000 miles across America in three weeks. I applied it when I cycled in your Tour de France tyre tracks over the Alps from Paris to Nice. I’ve applied it for the last three years trying (in vain) to get an age group podium in the Storm the Castle duathlon in my home town of Ludlow. Fifth, I think, is the best I’ve done. And do you know what? I’d rather come fifth for the rest of my life and know that I’ve done my best than come first and know that I’ve done my worst. Because that’s ultimately what crossing an ethical line is: doing your worst not doing your best.

So slink off into the shadows Bradley. I’m sure you won’t miss me. I sure as hell won’t miss you. If you find yourself short of friends I’m sure Lance Armstrong will take your calls.

For what it’s worth I had my suspicions. Bromance, romance. They’re not so different. You get the feeling you’re being cheated on long before the confirmation. But when it comes the evidence you “crossed an ethical line” – or rather the highly suspicious lack of evidence that you didn’t – still sickens you to the core even though you’ve moved on and re-partnered (in my case to that nice Mr Froome).

I’ve just listened to what you’ve said in your defence. I’m not convinced. There’s lipstick on your collar so to speak and you can’t or won’t explain how it got there.

Yours unfaithfully

Richard Uridge

PS If you’re wondering why I’ve sent this letter in a Jiffy bag…

PPS One or two pedants have pointed out that the select committee report doesn’t accuse you directly of cheating – only that your team “crossed an ethical line.” And nor do I. Like I said, part of your appeal is your plain-speaking. I’m sure you’ll understand the difference.

When madmen sailed the world

How accurately will The Mercy portray Donald Crowhurst, the British yachtsman who disappeared while taking part in the Sunday Times Golden Globe race? By all accounts Colin Firth plays the leading role with his usual understated flair and captures the descent into madness that we can only really extrapolate from Crowhurst’s log entries and radio broadcasts.

I didn’t have any more than Firth to work on when I made this radio documentary about Crowhurst and his fellow competitors Robin Knox-Johnson (the eventual winner), John Ridgway and Chay Blyth. So mine is necessarily an interpretation of limited facts mixed with dramatic licence, just like the Hollywood film version.

The lines between fact and fiction have always been blurred. Be fascinating nonetheless  to compare and contrast the two. Do bear in mind I had a fraction of the budget (under £3k as I recall)!


Please note that this programmes was produced for and first broadcast on BBC Radio 4. As a result it may contain copyright material so it is strictly for personal listening and must not be used for commercial gain without permission in writing. Please contact me if you’d like to obtain a licence.

Granite City

He didn’t have anywhere in particular to go. No time to be anywhere in particular. So he walked. Walked past the chain stores in the centre of town. Past the charity shops in the gaps. Past the empty shops on the outskirts. For rent. For sale. For nothing. And on. And on. On into the suburbs. Past neat gardens. Past overgrown gardens. Out. On. Past open curtains. Past windows framing flicker blue screens. Daytime television. The curl of a cat on a sofa. A dog by slippered feet. Outwards. Onwards. To where the city hadn’t yet ended but where the countryside hadn’t yet begun. Field. House. House field. Cows and cars. Not just cows. His pace slowed. His heart stilled. Granite gave way to green. He glanced back. And shivered.

SODA FOR MILK

Where were you when the child was crying, mourning a loss not yet hers, but near, an inevitability?
Were you safely tucked away in a cocoon of comfort, one where ignorance could be a justifiable excuse for your indifference?

Etchings of fear lashed across her face, as though a mad man had taken a machete and crisscrossed it with an instrument designed purely for her pain.
Pain so emotional it rendered itself physical upon her body.
That tiny body is a vessel upon which the detritus of an entire region is transported.

Salty tears slid down a well-worn track.
They seemed to know their path, their destination, a knowledge instilled through repetition of this same activity, day after day, till they reached a well unable to be filled.

Relentless pain of the emotional kind is a special sort of beast.
It weakens the mind but not always the body, and the body is our instrument with which we broadcast our state of being to others.
If the emotional is invisible to those observing us, then our pain, fear and desperation all goes unknown, and the suffering, it continues, shrouded by the okay-ness of our physical bodies.

Why are some chosen for a blessed life, and others born in the gutter and forgotten?
By just the luck of a nation, a parent, a situation, we thrive, drown or die.
That soda for milk, that fear for joy, what life is this to live?

Those children of the mountains, they form part of the landscape.
But it’s funny because eventually, the mountain relinquishes that inky chunky matter that is the lifeblood of Appalachia, hungrily clawed from the belly of that land.
But the mountain will never release these children, they are stuck, their permanence in this land ensured forever.


My daughter, Rose Keating, wrote this after watching a Diane Sawyer documentary called A Hidden America: Children of the Mountains. You can watch it here.

A telephone pole(mic)

There’s a crow sitting on the telephone wire that arcs from pole to pole from where I’m writing this at Crosshands, loops up the road to Hints and beyond to Clee Hill. The two are connected: as the crow flies our village is only 19 miles from Coalbrookdale, the settlement on the banks of the River Severn near Telford where the Industrial Revolution took one of it’s first significant turns. And while this part of the county with it’s coal and dhustone quarries was on one of the spokes of that revolution, it’s been rather left behind in the telecommunications revolution that, in its own way, is every bit as important.

Crows are clever corvids but I doubt mine is bright enough to know the wire beneath his feet is copper. By now, of course, it should be a fibre optic cable. But the high speed service only goes as far as the green cabinet next to the world’s ugliest bus stop (with, admittedly, the world’s prettiest view). So down in Coreley we’re in the slow lane of the information superhighway – and at times on the hard shoulder – with connection speeds barely high enough to enjoy a Netflix night in. And with the village pub now all but closed a night out isn’t an option!

But superfast broadband brings business as well as entertainment down its optical cables so we’re being left behind a bit like an area without those former superhighways, the railways and roads. Our business ACM Training, for example, could employ more people in the parish with a faster Internet connection. But BT and it’s infrastrucure arm Openreach refuse to even put a date on when the final leg from that cabinet to our village will be upgraded. I pointed out to them that they missed a golden opportunity to lay the cable in the same trench as the new water pipe that was laid last year. Is it too much to ask the utility companies to combine forces where it would save them and us double disruption as well as money? Clearly it is.

So if like me you believe super fast broadband is a necessity not a luxury write to BT. Better still send them an email. But just remember for now it won’t be much quicker than the post.

They don’t make factories like they used to

Manchester skyline. A reminder of the city’s rich, industrial past.

I’ve been working in Liverpool and Manchester the last few days and it’s painful to see how two, once mighty and proud industrial cities have been brought to their knees. I’m not deceived by blue skies, Instagram filters or rose-tinted spectacles. I realise life in the mills and foundries and dockyards was hard and that by most empirical measures we’re better off now. But that doesn’t make it any less urgent for these places to rediscover meaning in a post industrial world. We can’t all work in the service sector. As the community historian, Professor Carl Chinn, once put it to me in relation to Birmingham: “The problem is we’re not mekin’ things anymore.”

So what can Britain’s former industrial heartlands do to reinvent themselves? A lot, of course, has been done already. Running along the Mersey from Pier Head via a statue of the Beatles to the Albert Dock and beyond, that much is clear. But most of what has been done is refurbishment – looking back to a real or imagined past rather than forward to a brighter future. It’s the same in Manchester. And beyond those narrow strips of hope , further along the towpaths and riverbanks, the other side of the crunch of broken glass underfoot, lies despair and decay. The tide went out in the 70s and 80s and it’s been out ever since.

A sign of the times in Manchester. Did we turn our back on industry?

That’s not to say there aren’t modernist beacons shining out like the lighthouses that guided ships through the shifting mudbanks a generation before. The Echo Arena, for example.  I can’t help thinking, however, that the lack of ambition in much modern industrial and commercial architecture is unwittingly contributing to the malaise. No need to look after it. It’s temporary. Unlike the handsome red brick structure at the top of this post which at least has the feeling of permanence. Or the Radio City Tower pictured below that dominates the Liverpool skyline. Daring. Bold. A statement to the rest of the world. But built in 1969.

Radio City, Liverpool.

Clever Trees – Westonbirt

In the last of his current series celebrating Clever Trees Richard Uridge visits the National Arboretum at Westonbirt in Gloucestershire, England.


Please note that this and other programmes in the Clever Trees series were first broadcast on BBC Radio 4. As a result they contain copyright material so they are strictly for personal use and must not be used for commercial gain withour our express permission in writing. Please contact me if you’d like to obtain a licence.

Nature’s Alarm Clock

I’m woken by the Dawn Chorus. Not yet the full orchestra. A solitary blackbird playing oboe (chirping is too unrefined a word for it) from the uppermost branch of the wind-stooped apple tree and the dot-dot-dot-dash-dash refrain of a wood pigeon playing Morse code in the rhythm section where the telephone wire arcs up to meet the pole: that tar-barked tree which a bar later reverberates to the staccato beat of a woodpecker tapping up breakfast or test drilling for a new housing development.

I’m up now. Watching as well as listening. A cock pheasant is picking his way across the silvery field like a cross-dressing party goer in high heels. Not wanting to get his feet wet and weaving a snail trail across the dew. All burgundy and wine bottle green with neck curved up and tail curved down. A tipsy tightrope walker turned through 90 degrees.

The hen bird is dowdy by comparison. Brown but not mousey. Making her way up the hedgeline from the stream with an arthiritic strut. More Max Wall than Max Factor.

They’re on a collision course these birds of a feather. Choreographed perhaps? (It’s not just the sap that’s rising). A dance set to music. But if it is, he doesn’t know the moves and she rises entrechat* in a crescendo of ruffled pride. Her alarm muffled like an overwound clockwork toy heard through a blanket. And for a moment the chorus is quietened.


*Entrechat (pronounced: ahn-truh-shah’) is a ballet term which means to jump in the air from two feet – beat the legs together in the air, land either on one or two feet.

Clever Trees – Heligan

In the penultimate programme of his five part series on Clever Trees, Richard Uridge finds a headache-inducing specimen in the Lost Gardens of Heligan.


Please note that this and other programmes in the Clever Trees series were first broadcast on BBC Radio 4. As a result they contain copyright material so they are strictly for personal use and must not be used for commercial gain withour our express permission in writing. Please contact me if you’d like to obtain a licence.

Sound affects

I’m sitting face to the sun like a Spring flower listening to the sounds of south Shropshire. A wedge of cold air – a thin blue arrow at the horizon and as tall as the stratosphere itself above my head –  has lifted the rain clouds that earlier varnished the already sodden ground with wet snow: tears for the end of winter. Each thread unpicked from the aural rope that anchors me to this spot…

The bleat of sheep.
The breeze stirring the sky-scratching twigs of the black-tipped ash.
The clap of the pigeon’s wings.
The laughter of the raven.

I lose count with the premature hoot of an owl woken from its roost perhaps by the gust of wind that’s dizzied the weathervane and spun the blue sky black.

Winter, for now, has returned. And the sound-deadening snow – more flakes than tears this time round – has ravelled the notes back into one soft symphony.