Radio

To have been a black lawyer in the deep south of America in the early 1960s would have taken a level of courage well beyond the ordinary. Chevene Bowers King was just such a man. He could have worked in the desegregated north, but instead chose to risk his life in Georgia, defending black people

Here’s a thought. Matthew Bannister, former Radio 1 controller turned presenter of programmes such as Outlook on the World Service and Radio 4’s The Last Word, has just announced that he’s leaving Outlook, which goes out several times a week, to ‘join the world of podcasting’. In fact, he’s already launched his own podcast, Folk

‘What can you tell me just now,’ asks Audrey Gillan. She’s talking to Tara, who’s been sleeping rough on Fournier Street in Spitalfields, close to Gillan’s home. Tara, aged 47, sounds like a man, so deep and growly is her voice, ruined by drink, cigarettes and the hardness of her life. Gillan wants to know

Much ado is being made of the latest listening figures, which have suggested that the percentage of those aged between 15 and 44 who turn on the radio at least once a week has fallen still further, down now to 13.8 million, or just 21 per cent of the population. Are we losing the listening

If proof were needed that radio will survive the onslaught of the new (or rather now not-so-new) digital technologies, albeit somewhat battered and slimmed down, then series like Radio 4’s Unforgettable (produced by Adam Fowler) should clinch it. Each episode is self-contained, and only 15 minutes long (the perfect length for podcasting). It’s cheap to

Raw, earthy, ear-piercing. It’s hard to decide which was more terrifying and unsettling: the roar of the elephants in Living with Nature on the World Service, or the screaming women and men who we heard letting rip in Garrett Carr’s Radio 4 documentary, The Silence and the Scream. The elephants were recorded by sound engineer

There’s been a lot of fuss and many column inches written about levels of pay at the BBC, as revealed in its latest Annual Report. Who gets too much? Why are women presenters still paid less than their male counterparts? What can be done to create more equality at the BBC? But all this controversy

When did you last take the bus? If you don’t live in London, probably not for ages. In her two-part series for Radio 4, Mind the Gap, Lynsey Hanley set out to demonstrate just how difficult it is to access public transport outside the capital. In Skelmersdale, billed in the 1960s as a place of

‘Can one person really grasp the significance of what another person has been through?’ asks Dr Rita Charon in this week’s essay on Radio 3. She’s a physician in New York (isn’t it somehow telling that in Britain we’ve long since forgotten what GP actually stands for?) and as a result of her experiences as

It’s been a heavyweight week on Radio 4 with the start of the annual series of Reith Lectures and a talk on empire by Jan Morris, and thank heavens for that. We need serious, we need facts, we need to think in these trying times, beset as they are by Love Island and persistent presidential

There was one of those moments late on Sunday night when a voice is so arresting (either through tone, timbre, or from what’s being said) that you just have to stop what you’re doing and listen, really concentrate, anxious not to miss a word. Floella Benjamin was on the Westminster Hour on Radio 4 talking

I don’t know which day Rod Liddle travelled down from the northeast and found nothing but women’s voices cluttering up Radio 4, as he wrote about in last week’s magazine. But his description is not one I recognise. If anything we still hear too much from male commentators, male presenters, male writers, male comedians. In

Headlines announcing that Radio 4’s flagship Today programme is losing its audience while Radio 3’s Breakfast has put on numbers got me up and listening extra early to find out which of all the presenters is most likely to keep me tuned in. Why have the efforts to brighten up Today, with longer interviews, more

One sphere that podcasts have so far not much penetrated is drama. Audible.co.uk is itching to develop its own brand but so far has limited itself to producing audiobooks read by a galaxy of stars. Recording plays is expensive, requires an understanding of studio techniques and a cast of actors who have learnt how to

‘Do you ever imagine your audience?’ was a question thrown at James Ward, creator and presenter of The Boring Talks podcast, at a recent seminar on podcasting organised by the BBC. ‘I try not to,’ Ward replied.‘I wouldn’t want to meet them.’ Such antipathy is all part of Ward’s alternative persona. The Boring Talks’s USP

The timing of the Today programme’s series about hospices could not have been more apt, coming as it did so soon after Tessa Jowell’s death was announced with its array of tributes and the poignant interview with her husband and one of her daughters. In themselves such personal testimonies are not always that helpful —

Now here’s a series that would make a brilliant podcast but is also classic Radio 4 — they don’t have to be mutually exclusive. In fact, why can’t podcasts be more like Radio 4? Programmes where the presenter’s role is to draw out the knowledge of experts, and the pace is measured, allowing the fascination

‘For me rhyming was normal,’ said Benjamin Zephaniah, reading from his autobiography on Radio 4. Back in the 1960s, on Saturday afternoons in their house in Hockley, Birmingham, where Zephaniah grew up with his seven siblings, the drinks trolley would come out and the record player be plugged in — Desmond Dekker, Millie Small and

How to stage Shakespeare on air and bring the text to life without the benefit of set, costumes, choreography and all the physical business of a theatrical performance? That’s the question faced by drama directors on radio, and Emma Harding in particular whose adaptation of The Merchant of Venice was broadcast last Sunday on Radio