Radio

‘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 how and why she ended up living on the street. But beyond explaining that she was slung out by her mum when she was 14 there’s little that Tara can or is prepared to tell Gillan. In Tara and George on Radio 4 (produced by Gillan and Johnny Miller) we are taken on to the

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 make, requiring just a single guest, and inspired by a really simple idea — to create a conversation between a guest in the studio and someone they once knew who has died. You could make it at home, except that you probably couldn’t because an advanced editing machine is required, and an incredibly skilled operator.

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 about money and gender is a red herring, diverting attention away from what we should be far more concerned about. Quietly, without fanfare, the BBC has been changing the way it makes and delivers its programmes. As the report also reveals, BBC Worldwide, set up in the 1990s as the ‘commercial’ wing of the BBC,

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 tweeting. As it happens, both talks were given by women, and I can’t help wondering whether their gender has something to do with the way neither of them plugged a definite line but instead suggested there are more ways than one of looking at things. On Wednesday morning Morris looked back at Britain’s imperial past

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 arts coverage, puzzles and news items from the web, not gone down well? What’s been happening on 3 to encourage more people to tune in first thing? And, further afield, how’s Classic FM doing, or those other breakfast stalwarts, Nick Grimshaw and Chris Evans? Evans was off-duty when I tuned in to Radio 2 one

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 play to the microphone, not an auditorium. Only the BBC has as yet the necessary experience and resources, with its own repertory company and team of spot-effects experts and sound designers. We can only hope that stunts like The Biggest Weekend — the BBC’s attempt to put on a Glastonbury experience for the masses, with

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 — everyone’s situation is individual and the actual outcomes necessarily different. But what Jowell’s family said about her last hours and their evident acknowledgment and acceptance of their situation gave a real sense of purpose on Monday to Zoe Conway’s report from the North London Hospice. This was part of the Dying Matters campaign, urging us

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 of what’s being revealed to make an impact before leaping on, and where there’s no background music except when it adds to the timbre, the meaning, the purpose. Each episode of Classified Britain (produced by John Forsyth) is only 15 minutes long, so not too demanding of one’s time, and yet a lot of information

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 the speech in front of an audience. Why give further publicity to a speech that gave such offence at the time, and so dangerously expressed such inflammatory opinions? But the explosive reaction to the Radio 4 programme on social media, even before it went out on air, explains and justifies their decision. The speech, given

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, less rushed, more ambulant. The tone on the World At One was always much more reflective than reactive, Kearney pondering events rather than racing through to the next interview, butting in, hustling, flustering her guests. On Monday morning’s Today, she interviewed the author of a book on ‘elastic thinking’. Leonard Mlodinow, a theoretical physicist who

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 were invited into a suite of rooms furnished with flock wallpaper, floral sofas and armchairs to take us back to the great age of radio listening in the 1950s. A kettle boils in the background; buttered scones on a tiered rack are sitting ready for us to pounce on at the next pause between plays.

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 else, ears half-cocked to gather the general meaning. But, if you stay with it, the majesty of the subject, that galactic struggle between good and evil, and the mighty flow of words will ensure that all foolish thought is thenceforth banished (at least until the next Trumpian tweet or fallacious Facebook rumour). The poet Michael

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 they never feel the need to cross over into Auntie’s sphere of influence. The BBC’s response, says Shennan, must be to produce ‘a revitalised audio product’ to meet the needs, or rather demands, of these new audiences. ‘Audio product’ seems a long way from Music While You Work or Down Your Way. Soon, Shennan envisages,

‘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 front of a packed, expectant audience, with full surround sound, every raindrop magnified (and there was a lot of it). It was odd to realise quite how far podcasting has already transformed radio. Along with the usual Radio 4 crowd (who were surprisingly enthusiastic about the chance to hear this latest podcast), there were hosts

It feels like a long time since the launch of Home Front on Radio 4 back in June 2014, retracing day-by-day events of 100 years ago as Britain went to war. It is a long time. Yet still the violence in Europe rages on while back home the families of the men and boys in trenches carry on as normal, putting on plays at the local theatre, selling toys, running art classes, working the trams. A new season (number 13, with two more to go before the series ends on 9 November) starts up again on Monday. It may be an everyday story, says its editor, Jessica Dromgoole, but it’s

This week’s edition of Ramblings with Clare Balding did all the usual things: a walk in the country (cue breathy conversation as we followed her up hill and down dale), braving the elements (there’s always rain at some point) with a dog in tow, and in the company of someone for whom the walk has some meaning. But then the programme took off into something quite unexpected as her walking companion, Christina Edwards, began to explain why this particular ramble, in the heart of Northamptonshire, was so familiar to her, and why they were retracing her steps not in daylight, when the rolling hills and gentle fields could best be

Some of us grew up worrying about reds under the bed, which was perhaps not as foolish as all that if a report on Saturday morning’s Today programme on Radio 4 is to be believed. Amid a cacophony of weird-sounding bleeps and disembodied voices, Gordon Corera, the BBC’s security correspondent (always clear, calm and collected, no matter the brief), told us about the ‘number stations’ that proliferated in the Cold War and are now being brought back to life. Anyone can tune in to them, but only those in the know can understand what they mean, and although the source of the transmissions can be traced it’s impossible to pick

When the BBC’s Arabic-language network went out on air for the first time 80 years ago, on 3 January 1938, its mission was to provide ‘reliable news’ to a region that was being fed German and Italian ‘propaganda’ via short-wave transmissions from those countries. News is still its main focus, says Bassam Andari, news-gathering editor for the Arabic service, who has been with the corporation since 1994, arriving in London from Lebanon. He grew up listening to the station during the civil war in that country in the 1970s. ‘My mother would switch the radio on to the BBC every morning to find out what was happening in the world,

It’s a pity Will Self didn’t embark on his bus tour round Britain before the Brexit vote. If he had, we might have all had a better understanding of what’s going on in the shires. In his series of ten short programmes on Radio 4, Great British Bus Journey (produced by Laurence Grissell), Self sets out to emulate Daniel Defoe, William Cobbett and J.B. Priestley by taking the bus not to the big centres of life in the UK but those smaller towns and cities we often rush past on the motorway or have no reason to add to our bucket list. Places like Plymouth, Preston, East Kilbride, Wolverhampton and