It's finally acceptable to cast off the shackles of TV snobbery

Who knows, Bim Adewunmi might even give the next series Big Brother a go.

Oh, I don’t watch Big Brother.” A harmless admission, right? It looks like a simple statement of telly preference, a brief glimpse into the personal habits and quirks a person has formed over years of watching the box in the corner.
 
But lurking behind those words is an unasked question, hanging invisibly at the end of that sentence. It is laced with mild incredulity and it goes a little something like, “But you do?!” You know what that is? That’s basic telly snobbery and we all engage in it.
 
Before you begin to protest a little too strenuously, take a hard look at yourself. If you watch television, you will have a show that you love, a show that you hate and a show that you’re a snob about. Come on. I’ll start with one trio that fits: I love The Good Wife; I hate Britain’s Got Talent and I look down on Big Brother (and all those who watch it). There is always a programme on the air that we feel is the very nadir of human civilisation, an insult to the riches that technology has brought to our lives, a waste of time and effort and a stain on the televisual landscape. That’s TV snobbery at its finest and don’t you deny it.
 
Television is a tribal medium. Clear evidence springs up in our own lives: the adults who were not allowed to watch ITV as children, because it was “common”, what with its advertisements and sense of fun. Or those of us who will not watch Coronation Street until forced to by extended family consensus at Christmas. Or even those people who exclusively watch box sets of HBO dramas that feature lashings of sex and black comedy and death. You pick your tribe and stick with it, because it is deft shorthand for the person you are, or perhaps the person you want to be (or be seen as). If you watch the Elmore Leonard adaptation of Justified, what does that say about you? If you love a nerdcom such as The Big Bang Theory, what are you projecting to the world? If you enjoy Sex and the City so much that you unashamedly call yourself a “total Carrie” in real-life situations, what is the world supposed to think?
 
I once worked alongside a man who very proudly and somewhat sniffily told me that he didn’t watch television. He said it – just like that – in that practised way that suggested to me that he had come to expect an awed gasp and a request to elaborate on his charming quirk.
 
So I obliged him – why, I asked, do you hate fun? And he gave the usual spiel that people like him give: oh, there’s never anything good on, I’d rather read a book and let my imagination soar free, it rots your brain and stunts your mental growth . . . On he went, ad nauseum, emphasis on the “nauseam”.
 
I thought about arguing the point – there I sat, an avid viewer of television, having imbibed hours of it a day every day since I was a child, and I was no less engaged in the world, no more stunted than any child of the 1980s, holding down jobs and paying taxes – but then I saved my breath. If you don’t want television, I thought, then television doesn’t want you.
 
And that sentiment is largely true of the programmes I (and you) hate. They’re not specifically looking for you, hankering after you to love and adore them. Television as it was in the days of one channel, then two, then five channels is gone, replaced by hundreds of channels, DVR (digital video recorders) and PVR (personal video recorders) and the king of bingeing, the box set. Shows are finding their audiences and growing with them, content to have found one at all. Nobody is really pushing to the front, shouting “like me, like me!”
 
In turn, that frees us to watch more things and cast off the shackles of the TV snobbery. Every autumn for the last few years, I’ve found myself engaging in energetic bouts of tweeting about the singing competition, The X Factor. I used to get a few people expressing surprise, mild dismay and disappointment when they saw my tweets but that’s largely stopped now; I’m allowed to like Frasier and The X Factor. Earlier this week, I watched the former contestant Rylan Clark presenting Big Brother’s Bit On The Side. My snobbery was no contest for his charm – the guy was no singer, but as a presenter? Boy, can he work a room.
 
Who knows, next series maybe I’ll give Big Brother a go after all. Another one bites the dust.
The set for the finale of last year's Celebrity Big Brother. Photograph: Getty Images

Bim Adewunmi writes about race, feminism and popular culture. Her blog is  yorubagirldancing.com and you can find her on Twitter as @bimadew.

This article first appeared in the 24 June 2013 issue of the New Statesman, Mr Scotland

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In the age of podcasts, the era of communal listening is over

Where once the nation would listen to radio events together, now, it is the booming podcast market that commands our attention

It’s a moment so celebrated that no TV drama about the Second World War is complete without it. At 11.15am on 3 September 1939, Neville Chamberlain made a live radio broadcast from Downing Street announcing that “this country is now at war with Germany”. A silence fell over the nation as people rushed to the wireless to hear him. The whole country was listening, but crucially, it was listening together.

Nearly eight decades later, it is difficult to imagine a communal audio event like that ever happening again. The arrival of the Walkman in 1979, since superseded by the iPod and then the smartphone, turned listening into a personal, solitary pastime. It was no longer necessary for families to get a radio on a hire-purchase arrangement and gather round it in the sitting room. The technology that delivers audio to us is now small and cheap enough for each of us to have one in our pocket (with headphones tangled around it, of course).

At the same time, the method of delivery changed, too. “Radio” ceased to indicate simply “programming transmitted by electromagnetic waves” in the late 1990s, when conventional radio stations began to make their output available on the internet. Online-only radio stations sprang up, streaming their shows directly to computers. Free from any regulation and with the internet as a free distribution platform, these early stations echoed the tone of pirate radio stations in the 1960s.

The idea of “audioblogging” – making short voice recordings available for download online – has been around since the early 1980s, but it wasn’t until 2004 that the word “podcasting” was coined by the technology journalist Ben Hammersley in an article for the Guardian. He was looking for a name for the “new boom in amateur radio” that the internet had enabled.

Thanks to technological advances, by the early 2000s, a podcaster could record a sound clip and upload it to his or her feed, and it would arrive automatically on the computer of anyone who had subscribed. Apple began to include podcasts as a default option on iPods; in 2008 iPhones offered a podcast app as standard. The market boomed.

Apple is notoriously reluctant to provide data on its products, but in 2013 it announced that there had been more than a billion podcast subscriptions through its iTunes store, which carried over 250,000 podcasts in 100 languages. In 2016, Edison Research released a study suggesting that 21 per cent of all Americans over the age of 12 had listened to at least one podcast in the past month – roughly 57 million people. Audiobooks, too, are booming in this new age of listening; the New York Times reported that
although publishing revenue in the US was down overall in the first quarter of 2016, digital audio sales had risen by 35.3 per cent.

The vast share of this listening will be solitary. This is because audio is a secondary medium. For all the talk about the rise of “second screening”, it isn’t really possible to do much more than idly scroll through Twitter on your phone as you watch television, but you can easily get things done while you listen to a podcast. Put on a pair of headphones, and you can go for a run or clean out the oven in the company of your favourite show. In this sense, the medium has been a game-changer for commuters and those doing repetitive or manual work: there’s no longer any need to put up with sniffling on the train or your boss’s obsession with Magic FM.

Though podcasts are an internet phenomenon, they have managed to remain free from the culture of trolling and abuse found elsewhere. It is difficult to make audio go viral, because it’s tricky to isolate a single moment from it in a form that can be easily shared. That also deters casual haters. You can’t just copy and paste something a host said into an insulting tweet.

Our new and solitary way of listening is reflected in the subjects that most podcasts cover. While there is the occasional mega-hit – the American true crime podcast Serial attracted 3.4 million downloads per episode in 2014, the year it launched – most shows exist in a niche. A few hundred listeners who share the host’s passion for pens or for music from antique phonographs can be enough to sustain a series over hundreds of episodes (there are real podcasts on both of these topics).

This is also where the commercial opportunity lies. It costs relatively little to produce even high-quality podcasts, compared to TV or conventional radio, yet they can ­attract very high advertising rates (thanks to the dedication of regular listeners and the trust they have in the host). The US is far ahead of the UK in this regard, and podcast advertising revenue there is expected to grow 25 per cent year on year, reaching half a billion dollars in 2020. Where this was once a hobby for internet enthusiasts, it is now big business, with venture capitalists investing in new networks and production companies. The US network Gimlet attracted $6m in funding in 2015. However, in the UK, the BBC crowds out smaller, independent operations (the trade-off is that it makes undeniably outstanding programmes).

There is even a movement to make listening a communal activity again. The same hipsters responsible for the resurgence of vinyl sales are organising “listening parties” at trendy venues with high-quality sound systems. Live shows have become an important source of revenue for podcasters. Eleanor McDowall, a producer at the Falling Tree radio production company, organises subtitled “screenings” for podcasts in languages other than English. I even have a friend who is part of a “podcast club”, run on the same lines as a monthly book group, with a group of people coming together to discuss one show on a regular schedule.

The next big technological breakthrough for audio will be when cars can support internet-based shows as easily as conventional radio. We might never again gather around the wireless, but our family holidays could be much improved by a podcast.

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

This article first appeared in the 16 February 2017 issue of the New Statesman, The New Times