It’s such a relief to turn on the radio and hear the voice of Neil MacGregor. That reasoned authority, his deep knowledge of history and how things have come to be as they are, his measured common sense and ability to see round an argument or story. He’s like the voice of how things used
I first heard Lemn Sissay talking about his childhood experiences on Radio 4 in 2009. At that time he was still fighting Wigan social services for sight of the official dossier on his years as a child in care, fostered at first and then dumped back in the system and institutionalised in care homes and
The madeleine upon which Proust’s seven-volume epic In Search of Lost Time pivots makes its significant appearance after just 18 minutes in the new Radio 4 adaptation — with which, if you’re not obsessed with the Ashes or holed up with the family in some dank seaside cottage, you can while away this bank holiday
Maybe the equality inspectors at the corporation didn’t get the chance to vet Richard Littlejohn’s series for Radio 2, The Years that Changed Britain Forever, before it was broadcast on Sunday. Maybe the first programme (produced by Jodie Keane) was an accurate reflection of the year it focused on, 1972. But the most striking thing
By the age of eight Vaira Vike-Freiberga had learnt that life was both ‘very strange and very unfair’. Her baby sister had died from pneumonia the previous year because of the harsh conditions of life in a refugee camp in Germany (this was late 1944 and her family had fled their native Latvia for fear
Every so often an idea for a show will come along that is perfect, and therefore should never be made. A sitcom based on Julian Assange’s time in the Ecuadorian embassy. Or a gender-flipped version of What Women Want. These are concepts to treasure, to return to, to discuss with friends. Once made flesh though,
Television has the pictures but the most spine-tingling moments in the recordings from the Apollo space missions are the bursts of crackling conversation between the spacecraft and mission control. Never a word wasted, absolute precision and the most surprising clarity even when there are only seconds to spare before total disaster is averted. The wonderful
One of the advantages that podcasts have over the scheduled array of programmes is the space that can be given to a subject, turning what would have been a one-off into a whole series sometimes three or four hours long. This can be offputting. Who has the time to give so much to one programme?
There’s been a Dimbleby on air since before I was born but last Friday saw the end of that era when Jonathan retired as chairman of Radio 4’s Any Questions after 32 years. It’s a bit like imagining life in Britain once the Queen dies. The Dimbleby family has been intertwined with the history of
It can’t be easy to find yourself on the other end of the microphone when you’re a journalist of the calibre of Emily Maitlis. You know all the pitfalls, how easy it is to be teased out of your bunker, to say more than you ever intended under the scrutiny of an ambitious, driven interviewer
Walking into Fingal’s Cave, after scrambling across the rocks to reach it from the landing stage where the boat from Mull arrives, is a strangely emotional experience. It’s not just the extraordinary landscape, the precise, almost unnatural shaping of the hexagonal basalt columns that rise up high above you, the screeching of gulls and roaring
Nine on a Thursday morning is University Hour for those of us who don’t commute to an office every day. We time the clearing away of breakfast to coincide with Radio 4’s In Our Time. Melvyn Bragg, with his deadpan questioning, is our Thursday educator. Last week’s programme was a classic of the genre: about
It’s not often you hear the voice of a 104-year-old on the radio. You’re even less likely to hear one so clear in thought, so spirited and full of enthusiasm for life. Eileen Kramer’s voice crackles with age, with the years she has lived, but from what she says, and the energetic way she says
‘Put yourself in their shoes,’ says Zahra Mackaoui, a British-Lebanese journalist who has been following the stories of refugees from Syria for five years, catching up with them as they move on restlessly, searching for a place to settle. ‘Ask yourself, what would I have done?’ That question echoed through her series of documentaries for
At last a podcast that takes the medium to its limit, created by someone who loves listening, understands how it can take the imagination to places visual images alone cannot, and wants to make use of this, not just for fun but with real intent. Have You Heard George’s Podcast? was last week awarded UK
On returning from a brief trip to Istanbul, where inside the mosques women are still very much kept to one side, only allowed to look on from an angle, unable to contemplate the full mystery of the space created within those extraordinary domes, I was intrigued on Sunday to happen upon Heart and Soul (produced
The cheering fans, the dramatic Hollywood-style drum rolls, the excitable host all sound just like The X Factor or The Voice. It’s hard to believe that beyond the lights and cameras there’s a huge security operation keeping the singers, TV staff and audience safe. But the Afghan version of the talent show is still under
‘Can you fly down this evening?’ she was asked by her boss in the Delhi office of the BBC. ‘Yes, of course. I have to,’ replied Ayeshea Perera, a Sri Lankan journalist. She was talking from Colombo to David Amanor of the World Service’s The Fifth Floor, which looks at current news stories from the
It was never given the choicest slot in the schedule, airing first thing on Sunday morning with a repeat at the end of the day. But in its 24 years Something Understood, guided and often presented by the esteemed foreign correspondent Mark Tully, has gathered an impressive audience. Its blend of poetry, prose and music
As if in defiance of the BBC’s current obsession with programming designed to entice in that elusive young and modish audience, Radio 4 has set us an Easter challenge. Each afternoon over the weekend Jeremy Irons is reading a chunk from The Psalms for half an hour, without illustration (except a bit of music), explication
