Alarm disrupts Sky News broadcast during live report
00:19
Camille Chorley
A live broadcast by Sky News correspondent Sadiya Chowdhury was briefly interrupted by an unexpected alarm while she was reporting from the newsroom.
The broadcaster had been discussing major reforms to Royal Mail deliveries when the alarm sounded. She paused momentarily but continued her report without addressing the interruption.
No evacuation was observed, and Sky News has not released an official statement regarding the incident.
The cause of the alarm remains unknown, and no further details have been confirmed.
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26 minutes ago
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Ukrainian photos featured in North Yorkshire libraries tour
Ukrainians who sought refuge in the UK following the invasion of their country have used a photo exhibition to show how they have adapted to their new exhibition is touring libraries across North Yorkshire and features families who have found sanctuary in the was the idea of Roman Pronyszyn, the Ukrainian community co-ordinator in Richmondshire, who had seen a similar project at the University of York."We believe the more people know, the better they understand and the more welcoming they become," Mr Pronyszyn said. The display, funded by North Yorkshire Council, has been produced in partnership with Helping Hearts North Yorkshire and the Richmondshire Refugee Support Pronyszyn said: "This project explains to people what has happened and why these people are here."Since arriving, many have now got jobs and some have started their own businesses – we have a café owner and a consultant at the Friarage Hospital, for example – and all are settling in and making their mark." Featured in the exhibition is former solicitor Iryna Oliinyk who now works as a customer response assistant with the council's health and adult services team."I had a nice life in Ukraine with my husband and daughter," Ms Oliinyk recalled."Everything has changed. We had to move abroad to keep my daughter safe."Ms Oliinyk said she was really grateful to her sponsor, Angela, who met her online before allowing her family to stay at her home as part of the UK-wide Homes for Ukraine said she would like to return to Ukraine at some point but knows life would not be the same."I understand I cannot have the same life as I had before."I will need to start from the beginning. I lost my job, I lost my friends who are all abroad. Except for my husband, I have nothing, so it will be another challenge, but it is how it is." Yana Drapak, from Donetsk, left Ukraine in 2023 and is now an English teacher for the family lived under Russian occupation before moving to Kyiv but left the country for North Yorkshire when the "constant bombardment" became too much."It was a really hard decision to leave, especially when you did not know what your life was going to be like," she said."It was great to discover there was a range of possibilities here, not only for me but also for my husband who is a photographer."We have made friends and live in a lovely community, so it has been great." The council's executive member for arts and culture Simon Myers said it was important for libraries to host exhibitions such as this one."We see the war in Ukraine on our televisions, but this exhibition, through its powerful words and photographs, gives us a chance to stand and think about the impact it has on the population."It is only right that we play our part in helping the victims of conflict, so it was a privilege to meet those who are now calling North Yorkshire their home and to hear how they have been welcomed by our residents."Fellow councillor Caroline Dickinson visited the exhibition when it was in Northallerton and said it was "wonderful" to see how refugees had been welcomed into towns and villages across the county. Listen to highlights from North Yorkshire on BBC Sounds, catch up with the latest episode of Look North
BBC News
26 minutes ago
- BBC News
South Yorkshire fire service praised after making improvements
A fire service has been praised for making improvements following its latest Yorkshire Fire & Rescue Service (SYFRS) was rated good in five areas and adequate in a further six after an inspection by His Majesty's Inspectorate of Constabulary and Fire & Rescue was previously given a rating of 'requires improvement' for its effectiveness and efficiency in 2022, but did win praise for how well it looked after its Kirby, chief fire officer at SYFRS, said he was pleased with the findings but admitted: "We also have more work to get to where we want to be as a service". Michelle Skeer, HM Inspector of Fire & Rescue Services, said she was "pleased" with the progress the service had made since 2022."It needs to improve in some areas to provide a consistently good service," she latest inspection, carried out in 2024 and earlier this year, rated the service good at preventing fires and other risks, promoting the right values and culture and ensuring fairness and promoting also said the service was good at making best use of its resources and future affordability. 'Not quite there' SYFRS was rated adequate for understanding the risk of fire and other emergencies, protecting the public through fire regulation, responding to fires and other emergencies, responding to major and multi-agency incidents, getting the right people with the right skills and managing performance and developing Kirby said: "Clearly, there is still room for improvement. "We aspire to be one of the country's leading fire and rescue services. Based on these results, we are not quite there yet."But overall, it's clear that the hard work people across the service have put in to improve our performance since our last inspection has paid off."We will now look to address the remaining areas for improvement which inspectors identified, as we strive towards a better service for all those we serve and employ." Listen to highlights from South Yorkshire on BBC Sounds, catch up with the latest episode of Look North
Telegraph
26 minutes ago
- Telegraph
I pity people who have no interest in culture
The first edition of the Oxford English Dictionary, published almost a century ago, defines 'hinterland' only in a literal sense. It is from the German hinter, meaning 'behind', and Land, meaning, unsurprisingly, 'land'. Thus, the dictionary says it is 'the district behind that lying along the coast (or along the shore of the river); the 'back country'.' It found no use earlier than 1890; but new scholarship has turned up a usage from 1879. Lexicographers have also found that a book on psychoanalysis from 1919 used the word in a figurative sense, in the excellent quotation 'unexplored territories full of mystery and danger in the hinterland of their own minds'. D H Lawrence, shortly before his death in 1930, wrote that 'we are mostly unexplored hinterland'. Almost exactly 10 years ago, I started writing the weekly 'Hinterland' column for the Telegraph's Saturday Review in which, throughout the decade since, I have sought to 'explore' aspects of culture that enrich one's existence. It has often entailed re-reading books, or re-watching films, or returning to look at buildings, or listening again to music that I first encountered 30, 40 or 50 years ago, and evaluating them afresh before sharing my findings with readers. Few things have benefited me more in life than being told by a teacher or friend that I should read, see or hear something that will enlighten me or make me think; I hope my column has provided a comparable service. The feedback from readers has been highly intelligent, and I am sincerely grateful for it. We do not always agree but, if the columns have stimulated thought and triggered curiosity, they have achieved their purpose. I think of 'hinterland', for the purposes of the column at least, as the region of my mental life that contains those enlightening and engaging aspects of culture that have pleased or, sometimes, provoked me. Occasionally one meets people, even highly educated ones, with no interest in culture. That may be because they are workaholics, or they lack intellectual curiosity or artistic sensibility. I feel intensely sorry for such people, but would reassure them that it is never too late to begin the expedition. We are all victims of our upbringing. My parents loved music, and my father was a competent pianist. He read extensively, inspiring the habit in me to such an extent that I now have about 11,000 books. Now, I mostly read non-fiction; earlier, I ran through the poets, the 18th-, 19th- and early-20th-century novelists, and some dramatists. We all have weaknesses, and theatre I find difficult, and idolatry of Shakespeare much overdone. Enoch Powell, a great textual critic, once told me 'he' had to have been written by a committee as no one man could possess the range of styles in which he wrote. I simply don't know, but I felt Powell had a point. I was lucky to grow up in the middle of nowhere on the Essex marshes, one of the oldest settled parts of this old country. Medieval churches, many with Saxon foundations, were all around me. The second oldest church in England, St Peter-on-the-Wall, at Bradwell on the Blackwater estuary, was a few miles away. It was the chapel of a long-vanished monastery, all built by St Cedd within the walls of the Roman fort of Othona in 653. I recall staring at this strange, barn-like building about 60 years ago, as a little boy, and my father saying that the sight before us, of the chapel in front of the sea, hadn't changed for about a thousand years. Now, the panorama includes a distant wind farm. Like many children of the 1960s, an early acquaintance with beautiful music was the Berceuse, or lullaby, from Fauré's Dolly Suite, It was the theme music of Listen with Mother, broadcast daily on the radio by the BBC and designed to soothe toddlers for their afternoon nap. It gave me, as doubtless many others, the awareness that music could summon up specific associations. If I hear the Berceuse now, I am again three or four years old, and sitting comfortably waiting for the story to begin. But my real obsession with music – which, of all the arts, is to me the most indispensable – came at school. In those enlightened times, my state primary made every child learn the recorder. My father quickly taught me to read music, and the recorder is the only instrument in which I achieved any competence. We learnt to play tunes, mainly English folk songs such as were the staple of the BBC schools' programme Singing Together, which ran from 1939 until 2001, though predictably ruined from the 1980s by relentless dumbing-down. By the time I was 11, I had soaked up the English folk-song tradition; and not long afterwards, at my grammar school, I heard Vaughan Williams 's Sixth Symphony for the first time, and my life changed for ever. It became, and still is, the piece of music I would take to the proverbial desert island; and as I explored that composer's music in my teens, I went on to explore his contemporaries (notably Holst), his teachers and predecessors (including Parry and Elgar) and his pupils (Butterworth, Bliss, Moeran and, eventually, Ruth Gipps and Stanley Bate). No avenue of British music remained unexplored, with my discovering Walton, Britten, Arnold, Finzi and John Foulds, the last of whom has a claim to be the only musical genius this country has produced apart from Britten. There are some who still think of us as a land without music: they are wrong. I love European music – especially Ravel, Beethoven, Wagner, Respighi, Tchaikovsky and Janáček – but there is something in British music that speaks directly to me, doubtless because of all those folk songs as a child, but also because of associations with landscapes and society. I am a professor of British history, and my devotion to my academic discipline is shaped by my cultural interests. My father told me that if you wanted to understand the history of a locality, you started with its church: and although the difference between Saxon, Norman, Early English, Decorated, Perpendicular, Tudor, Baroque, Georgian and Victorian had been instilled in me by the age of 10, the exploration of a church or any old building is always a revelation. My mother loved what even then were old films, and I caught that bug. I think most of us are particularly fascinated by the period before we were born. My own interest in the 1930s, 1940s and 1950s was fuelled by films, including those made in France and America. I am not a brilliant judge of acting or cinematography, but I know a good story and I understand the context: and the films of those decades now seem to me first and foremost historical documents more than entertainments. All culture, whatever its other intentions, gives us a clearer idea of where our country and indeed Europe and the world have come from, and why we are where we are. Having a hinterland means having a permanent opportunity for enlightenment. That, as well as the joy of the cultural experience, is why it is so important.
