I'm one of the producers on BBC Radio 4's soul music series,

a lovely programme that brings together people's personal stories connected to a piece of music.

Thank you for downloading it and enjoy the programme.

Perhaps she won't be there, said Michael.

Yes, she will, said Jane.

She's always there for ever and ever.

At last they came to St. Paul's Cathedral.

There she is, cried Michael suddenly, and she danced on his toes with excitement.

She's saying it, she's saying it, cried Jane, holding tight to herself

for fear she would break in two with delight. And she was saying it. The bird woman was there,

and she was saying it. Feed the birds, tuppence a bag, feed the birds, tuppence a bag, over and over again, the same thing in a high-chanting voice that made the words seem like a song.

All around her flew the birds, circling and leaping and swooping and rising.

I'm Catherine Hughes and I'm an historian and critic.

I went to see Mary Poppins around the time I was eight years old for the first time,

and it was just the most thrilling experience of my life. It was extraordinary. It was magical. That's the only

way I can describe it, and it still feels magical. I can sort of feel the excitement. The colour, the

music, but just this sense of an ordinary everyday world being turned upside down,

a world where your very untidy bedroom might suddenly kind of tidy itself up just with a click of the fingers.

And I do remember trying that at home, just thinking, you know, if I click my fingers hard enough,

if I believe enough, then, you know, it will happen. And I did in real life

have a very, very musical grandmother. She was a classically trained pianist. She had qualifications

to the Royal College of Music. I bought her the sheet music for Mary Poppins. And then I made her play

...