Why digging up Richard III tells us more about the present than the past

The body of the last Plantagenet king has been exhumed – but what have we learned?

“Burying people in multi-storey car parks,” the recently exhumed Richard III quipped on Twitter this morning, “that’s wrong on so many levels.” Today’s sensational post-mortem had everything: a press conference, a Guardian live blog, nerdy Twitter storms aplenty and a juicy royal connection. But does it add anything to our knowledge of the man, his times, and the circumstances of his death?

Richard Buckley’s team at the University of Leicester have confirmed “beyond reasonable doubt” that the skeletal remains found underneath a council-owned car park in Leicester do indeed belong to the last Plantagenet king, Richard III. The positive identification was based on DNA evidence, matching genetic materials taken from the bones with that of Michael Ibsen, a Canadian believed to be descended from Richard’s sister, Anne of York, along with one other who has chosen to remain anonymous. The team also took note of contemporary accounts and battle scars. The death-blow appears to have been dealt by a blade along the base of the skull, though the remains (complete with iconic spinal curvature) bear evidence of further damage, possibly inflicted posthumously.

But is the discovery of Britain’s most grotesquely caricatured king likely to shift attention back from the canonical high Tudors to the late-medieval world of Richard of York? Does such a discovery, for all its apparent gravitas, really tell us anything we didn’t already know, or does it simply tread upon the quiet, curiosity-led research being driven from our universities by marketisation and the need to provide students with "value for money". Are these celebrated findings the kind of astonishing but contextually thin results funding bodies like to herald as a legitimate use of taxpayers' money? The Guardian's chief arts writer Charlotte Higgins has voiced her concern that the triumph of "impact" may be overshadowing the diminishment of real learning:

I'm just suggesting that it's rather a limited avenue of historical research that seems to have much to do with the dread word "impact" – in which academics are supposed to show that their work has "real-world" effects, whatever that might mean, though often interpreted to include public recognition and media coverage.

Cambridge classicist and broadcaster Mary Beard had this to say:

It’s probably too soon to tell. No doubt the real insights this discovery will yield, are likely to trickle out without fanfare over the next few years. And yet one can hardly blame the University of Leicester and its School of Archeology and Ancient History for making a little noise. They, like so many other departments in the humanities, are faced with a financial situation that makes them far more vulnerable than Professor Beard's employers in Cambridge. Perhaps today's news is less a boon for the university than for the city; less a triumph for the study of history, than for the Goveite vision of the kings and queens of England. Really, today's discussion says a great deal more about our own times than Richard's.

Canon David Monteith has announced that the king's bones will be interred in Leicester Cathedral in a solemn multi-faith ceremony (to which live television coverage and royal attention will no doubt be devoted). As if wished into reality by the assumptions forming in the back of my head, the Telegraph’s Ed West posted this little beauty earlier today: “Richard III’s burial could be as poignant and beautiful as the royal wedding.” The victory, so far as I can tell, lies with the House of Windsor.

West has argued that Richard should be buried in either London or York, but the announcement made by Canon Monteith makes this accident of history seem much less accidental. Over the last few years, Leicester Cathedral has held ecumenical commemorations of 9/11 and the 7/7 bombings, as well as lead vigils against racial hatred. West writes, "Identity is hard to articulate and attempts to do so always lead people to effectively confuse their own beliefs with the values of the country." I couldn't agree more. And while my own vision, unlike his, looks nothing like last summer's royal nuptials, a morally bankrupt king (name me one who wasn't), buried with a thorough understanding of his life and times by local community members from all faiths and none, certainly does.

Richard III perished in 1485, as was implied by the Welsh soldier bard Guto'r Glyn, from a blow to the head on Bosworth field. Many will have first encountered the story when reading Shakespeare at school, turning from the literary text to their history teachers, bursting with questions. Riding beside the loyal John Howard, Duke of Norfolk, Richard arrives as Bosworth and raises his arm:

“Up with my tent there! here I will lie tonight; / But where to-morrow?”

A television screen displays the skull that is believed to be that of King Richard III. Photograph: Getty Images.

Philip Maughan is a freelance writer in Berlin and a former Assistant Editor at the New Statesman.

Scott Cresswell on Flickr via Creative Commons
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Podcasting Down Under: Tom Wright on how Australia is innovating with audio

The ABC producer, formerly of the Times and The Bugle, makes the case for Australian podcasting.

In September last year, Ken Doctor wrote that “We can mark 2016 as the year the podcast business came of age.” Statements like this have been coming thick and fast since the first series of Serial dropped in October 2014. We’re either living through a golden age of podcasting, or the great podcast advertising boom, or the point when podcasting comes of age, or some combination thereof. For the first time, everyone seems to agree, podcasts are finally having their moment.

Except this isn’t the first podcasting gold rush. Tom Wright, now a producer for the Australian Broadcasting Corporation (ABC), was there the first time media organisations rushed to build podcasting teams and advertisers were keen to part with their cash. Speaking to me over Skype from Australia, he said that seeing podcasts attain “hot” status again is “very strange”. “The first iteration had similar levels of excitement and stupidity,” he added.

In 2006, Wright left BBC Radio 1 to join the Times newspaper in London as a multimedia producer. The paper was “very gung ho” about using podcasts, he explained, particularly comedy and sport shows, as a way of reaching new audiences. There, he launched The Bugle with comedians Andy Zaltzman and John Oliver, The Game with football writer Gabriele Marcotti, and a number of different business shows. “This was ahead of the crash of 2008,” Wright noted.

The shows found large audiences almost immediately – “in my time, The Bugle had 100,000 weekly listeners,” Wright said – and The Game (plus periodic special podcasts pegged to the football, rugby and cricket world cups) brought in good sponsorships. Both podcasts and the videos that Wright also worked on were seen by the Times as “an add-on to the main deal” – ie, the paper’s news stories and features.

“Podcasts, especially in comedy, are still kind of seen as a marketing exercise for something else. . . My feeling is that a lot of comics – let's just pick on one country – in America, say, do a podcast and it's not particularly funny or good, but they flog their tickets for their tour relentlessly so you come and see the really good stuff.” Wright, however, saw the podcast form as something more than a marketing exercise. “My feeling was that we had this opportunity to do comedy, and maybe make it a bit more ambitious, you know?”

It all changed after the financial crisis of 2008, when the advertising money dried up. A new boss came in at the Times and Wright said the focus shifted to online videos and a greater emphasis on hard news. “Amazingly, they let The Bugle continue, which is fantastic,” he said.

(For long-term listeners of The Bugleof which I am one – Wright is a much loved presence from the first 100 episodes. He is referred to solely as “Tom the Producer” and used to chip in regularly to try and keep Zaltzman and Oliver to time, and to express his disgust for the former’s love of puns. Listeners used to write emails for the show straight to “Tom”, and he has his own section on the slightly bonkers Bugle wiki.)

Wright left the Times and moved to Australia in 2010. That year, the paper had introduced a hard paywall, and Wright said that he and other colleagues felt strongly that this wasn’t a good idea. “Who wants to be writing or making stuff for 5,000 subscribers?” he said. “It was also a cost of living decision for me,” he added. “I'd been living in London for ten years with my wife, and we did the sums and just realised we couldn't afford to live in London if we wanted to have kids.”

Wright tried to keep producing The Bugle from Melbourne, a decision which he now describes as “insane”. “It was around 2am [Australian time] when they started recording,” he explained. “I was using my in laws’ Australian-speed wifi, and because I was uploading huge reams of data to the Times, they got stung with an enormous bill. I thought maybe this is a message that I should seek some local employment.”

Wright joined the ABC and went back to live radio, producing for a call-in programme on a local Melbourne station, before moving over to triple j – a station he describes as a bit like BBC Radio 1 in the UK. It was hard work, but a great introduction to life in his new country. “The best way to learn about Australian culture and the way of life was being at the ABC,” he said. “It's the most trusted organisation the country has, even more so I think than the BBC in relation to Britain, given all the scandals recently.”

After the success of Serial, he said he remembers thinking “are podcasts back now?”. “The Nieman Lab in America came out with a journalism survey about reader engagement, and it said the average interaction with a video is one minute, the interaction with a page is almost ten seconds, and with podcasts it's 20 minutes. That was just this eureka moment – all these people thought wow, that's an aeon in online time, let's try doing this.”

In Australia, Wright explained, as in the UK and elsewhere podcasts had been “just the best radio shows cut up to a vast extent”. But in 2014 publications and broadcasters quickly moved to take advantage of the renewed interesting in podcasting. He is now part of a department at the ABC developing online-only podcasts “that will hopefully feed into the radio schedule later on”. It’s a moment of unprecedented creative freedom, Wright said. “That sense of risk has been missing from radio, well media, for a long time. . . Like at the Times, we’re told ‘just go do it and come back with some good ideas’, and it's fantastic.”

Wright is focusing on developing comedy podcasts – as “Australian comedy is great and criminally underrepresented,” he said. One show that has come out of his department already is The Tokyo Hotel, an eight-part series following the inhabitants of an eccentric hotel in Los Angeles. It’s a great listen: there’s a lot of original music, and the fast-paced, surreal script feels at times reminiscent of Welcome to Night Vale. “It was hugely gratifying but immensely hard work,” Wright said. “It had its own score, numerous actors, a narrator who was Madge from Neighbours. It was quite literally a big production.”

The plan for 2017 is to bring out another, similarly ambitious production, as well as “a couple more standard ‘comedians chatting’ things”. Australians are already big podcast fans, and Wright reckons that enthusiasm for the form is only growing. “I think that Australia is a place that's not afraid to embrace the new in any way,” he said. “Podcasts are a new thing for a lot of people and they're really lapping it up. . . It's very curious because I think in Britain anything old is seen as valued, and the new is sometimes seen with suspicion. It's almost the exact opposite here.”

Five Australian podcasts to try

Little Dum Dum Club

Comedians Tommy Dassalo and Karl Chandler run a charming weekly interview show.

Free to a Good Home

Michael Hing and Ben Jenkins, plus guests, chat through the weird and wonderful world of Australian classified ads.

Let’s Make Billions

Simon Cumming and his guests aim to launch a new billion-dollar startup every week.

Meshal Laurie’s Nitty Gritty Committee

The commercial radio host shares the stories she’s been most surprised and moved by.

Bowraville

Dan Box, the crime reporter at the Australian newspaper, investigates the unsolved serial killings of three Aboriginal children.

Do you have ideas for podcasts I should listen to or people I should interview? Email me or talk to me on Twitter. For the next instalment of the New Statesman’s podcast column, visit newstatesman.com/podcasts next Thursday. You can read the introduction to the column here.

Caroline Crampton is assistant editor of the New Statesman. She writes a weekly podcast column.