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
It was a provocative decision by the producers of Archive on 4, 50 Years On: Rivers of Blood (Nathan Gower and David Prest) to base their programme around a full exposition of Enoch Powell’s infamous 1968 speech on immigration, all 3,183 words of it, spoken by an actor (Ian McDiarmid) as if he were giving
Like a breath of fresh air Martha Kearney has arrived on Radio 4’s Today programme, taking over from Sarah Montague (who will now host the lunchtime news programme formerly presided over by Kearney). Her presenting style is just so different, less confrontational, more investigative, perhaps developed by her because at lunchtime the mood is different,
To Herne Bay in Kent for the UK International Radio Drama Festival: 50 plays from 17 countries in 15 languages broadcast over five days to the festival audience. It’s an opportunity to find out what radio plays sound like in other countries, but also to experience a different kind of listening. About 25 of us
It’s a tough listen, Paradise Lost on Radio 4 at the weekend. In bold defiance of the demands of a broad audience, Milton’s 10,000 lines of high-flown, complex verse runs for two-and-a-half hours (broadcast in two parts on Saturday and Sunday). You need to concentrate and take in every word, not be busy with something
As Bob Shennan, the BBC’s director of radio and music admitted this week, there are almost two million podcast-only listeners in the UK who never tune into BBC Radio. They’re captivated by specialist music (Heart, Absolute, etc), specialist talks (mostly religious such as Premier Christian) or specialist news and current affairs (the Economist, Monocle). And
‘Close your eyes and be absorbed by the storytelling,’ urged Jon Manel (the new head of podcasting at BBC World Service) as we settled into our chairs. We were just about to hear the ‘world première’ of the latest podcast from the BBC World Service, launched dramatically in the Radio Theatre at Broadcasting House in
