Hull has been an unsung lynchpin in the historical makeup of our nation, a role it continued to fill effortlessly, even during Britain's darkest days during World War Two. Just as we have done throughout recorded history, Hull played an indispensible role in the allied defence of home soil, and indeed in the eventual allied victory, with the inhabitants of the city paying a massive price.
When news of Tony Hall's vision for the BBC started to spread across the various digital channels on Monday, I couldn't help but feel there was one specific platform that needed mentioning: Periscope.
Boy Meets Girl felt very much as though the episode had been built (very hurriedly) around a ten-minute play.
This one-off drama saw national treasure Sir Lenny Henry turn his hand to scriptwriting for a fictionalised account of his rise to fame, that saw him go from from working-class teen in 1970s Dudley to national TV star.
There's another side to the great gogglebox in the corner of our living rooms. TV - in fact British TV specifically - has been the driving force behind humanitarian work that has helped millions of the world's most desperate people. I'm the chair of trustees of the Disasters Emergency Committee, which represents the UK's leading international aid agencies when fundraising for humanitarian emergencies. The DEC has been phenomenally successful, in 67 appeals it has raised more than £1.5billion, including £352million for the Tsunami, £97million for the Philippines Typhoon and, more recently £83 million for the Nepal Earthquake appeal.
Two beloved UK institutions have, it appears, fallen out. I am sure there are lots of reasons behind the BBC's decision but what I am not convinced of is that any of them are good enough to justify our national broadcaster ending a near century old relationship with our national Met Office.
Anybody who thinks this is about sex, keep reading. It's not, but keep reading anyway - it might just make you happy. We're right in the middle of Happiness Week on BBC Radio 5 live...
Many lazy news teams this fortnight have stuck to their agenda that NWA are the anti-Christ because they called women bitches and hoes. I'm not a huge fan of men demeaning women, but now even women are taking possession of this slanguage and it's taking on a life of its own...
It's been a weird and wonderful experience having my book, Lady Worsley's Whim, now known by the name of the BBC drama, The Scandalous Lady W become television. What's stranger still is that our lust for a tale about the extreme sexual antics of an heiress, a Tory MP and an officer is just as unquenchable now as it was in 1780s.
It started a conversation with the Songs of Praise team about the faith of the people who built and use the Church in the camp, what is the Christian response to the migrant issue in Calais and would it be of interest to our audience. Songs of Praise is not only about Christian music, it also explores contemporary issues and modern themes from a Christian perspective. In churches up and down the country the subject is an important one. For centuries Christians have related to the vivid image of the Holy family becoming refugees themselves when Joseph, Mary and their baby son had to flee persecution from King Herod and escape to Egypt.
My brother got the talent. The only thing I was ever really good at was the high jump. But I truly, madly, deeply want to learn to dance. Desperately! Because I feel that would be a way of getting profoundly into the music, of letting it hold me. And also because every time I move my body, people start calling ambulances.
There is a deeper and more troubling context here. By sending the message to law-abiding Muslims that they are excluded from the simple privileges enjoyed by all other British people, we risk encouraging rather than suppressing extremism.
But vandalising the very concept of a public service broadcasting - with its mission to be creative, inclusive, intellectually curious and journalistically challenging - doesn't get you a smaller, leaner BBC. It gets you Rai - a still expensive, monolithic structure that is very much less than the sum of its parts.
It really is up to you. We know what the government wants. We know what the BBC's rivals want. The only people who can stop them are the people who use the BBC, and value it, day in and day out. That means you.
The BBC has many fans and many adversaries. Those who'd like to see it change include other media outlets, led by Sky and the Mail, and right-wing politicians who believe that Auntie is stuffed with Guardian-reading granola eaters (although it is always worth noting that some on the left see her as fundamentally reactionary).
The key argument seems to be that it these stations lack 'distinctiveness'. The shorthand we often hear - Radios 3 and 4 embody public service broadcasting whilst Radios 1 and 2 are easily replaced by commercial counterparts - is wrong. Take Radio 1. It informs, educates and entertains 10million young listeners a week. It offers daily news (up to six times more news per week than its commercial competitors), regular documentaries (rarely heard on commercial networks) and social action campaigns, highlighting issues like online bullying and teenage suicide. In fact, we estimate around 40% of Radio 1's daytime output is speech - twice as much as comparable commercial outlets.