A man listens to radio in Nigeria's Borno state, as the region recovers from clashes with Islamist groups. Photo: Pius Utomi Ekpei/AFP/Getty Images
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As governments shut down radio, the BBC world service is a lifeline

“The exercise of making radio matters,” said a caller. “It’s a symbol of resistance.”

Over to You
BBC World Service

In the week when Apple’s Beats 1 radio station was launched – “Worldwide. Always on . . . It broadcasts 24/7 to over 100 countries from our studios in Los Angeles, New York and London” – there was also discussion of the BBC’s latest global audience measurement figures. The most striking thing in the report, which tracked listening habits and how they had changed over the past year, was how short-wave radio – in rural and poorer areas where there is no FM, no cable and no electricity, it’s still the only way of tuning in – is under increasing threat from something as basic as jamming.

Apple’s idea of radio as digital and impermeable never felt more breezily First World. Listeners to the English-language programmes on the BBC World Service, for example – in India, Nepal and Bangladesh, in particular – have almost halved in number because of deliberate disruption on the short-wave signal, apparently from China, forcing stations to rotate frequencies on the same band to at least attempt a slot.

“Tune around . . . You’ll find us. We will be there,” advised a technician on Over to You (4 July, 5.50pm). It conjured that most antiquated and urgent of images: a person clutching their temples, coaxing a dial, trying and trying to find a signal.

“I grew up with short-wave radio,” insisted a caller to the show, “and I got to understand the world, got to understand life. If you don’t know short-wave radio, you don’t know life.” Only moments later, there was talk of the closure of all the non-state-run radio stations in Burundi (one of the poorest and least connected countries in the world). Before the recent coup attempt, independent radio stations played a huge role in holding the government to account but many radio journalists are now forced to report using what social media is available.

“The exercise of making radio matters,” said a caller. “It’s a symbol of resistance.” And another, with some disdain, said: “Doing it on the internet is just a way of keeping it on record.” The more than century-long act of turning a dial and finding a signal, with a human voice hitching a ride on electromagnetic energy through space, is something it seems our species now feels in the bones. But worldwide? Always on? Only for some. 

Antonia Quirke is an author and journalist. She is a presenter on The Film Programme and Pick of the Week (Radio 4) and Film 2015 and The One Show (BBC 1). She writes a column on radio for the New Statesman.

This article first appeared in the 09 July 2015 issue of the New Statesman, The austerity war

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Don’t worry, Old Etonian Damian Lewis calls claims of privilege in acting “nonsense!”

The actor says over-representation of the privately educated at the top of acting is nothing to worry about – and his many, many privately educated peers agree.

In the last few years, fears have grown over the lack of working class British actors. “People like me wouldn’t have been able to go to college today,” said Dame Julie Walters. “I could because I got a full grant. I don’t know how you get into it now.”

Last year, a report revealed that half of Britain’s most successful actors were privately educated. The Sutton Trust found that 42 per cent of Bafta winners over all time were educated independently. 67 per cent of British winners in the best leading actor, actress and director categories at the Oscars attended fee-paying schools – and just seven per cent of British Oscar winners were state educated.

“That’s a frightening world to live in,” said James McAvoy, “because as soon as you get one tiny pocket of society creating all the arts, or culture starts to become representative not of everybody but of one tiny part. That’s not fair to begin with, but it’s also damaging for society.”

But have no fear! Old Etonian Damian Lewis is here to reassure us. Comfortingly, the privately-educated successful actor sees no problem with the proliferation of privately-educated successful actors. Speaking to the Evening Standard in February, he said that one thing that really makes him angry is “the flaring up recently of this idea that it was unfair that people from private schools were getting acting jobs.” Such concerns are, simply, “a nonsense!”

He elaborated in April, during a Guardian web chat. "As an actor educated at Eton, I'm still always in a minority," he wrote. "What is true and always rewarding about the acting profession is that everyone has a similar story about them being in a minority."

Lewis’s fellow alumni actors include Hugh Laurie, Tom Hiddleston, Eddie Redmayne – a happy coincidence, then, and nothing to do with the fact that Etonians have drama facilities including a designer, carpenter, manager, and wardrobe mistress. It is equally serendipitous that Laurie, Hiddleston and Tom Hollander – all stars of last year’s The Night Manager – attended the same posh prep school, The Dragon School in Oxford, alongside Emma Watson, Jack Davenport, Hugh Dancy, Dom Joly and Jack Whitehall. “Old Dragons (ODs) are absolutely everywhere,” said one former pupil, “and there’s a great sense of ‘looking after our own’." Tom Hollander said the Dragon School, which has a focus on creativity, is the reason for his love of acting, but that’s neither here nor there.

Damian Lewis’s wife, fellow actor Helen McCrory, first studied at her local state school before switching to the independent boarding school Queenswood Girls’ School in Hertfordshire (“I’m just as happy to eat foie gras as a baked potato,” the Telegraph quote her as saying on the subject). But she says she didn’t develop an interest in acting until she moved schools, thanks to her drama teacher, former actor Thane Bettany (father of Paul). Of course, private school has had literally no impact on her career either.

In fact, it could have had an adverse affect – as Benedict Cumberbatch’s old drama teacher at Harrow, Martin Tyrell, has explained: “I feel that [Cumberbatch and co] are being limited [from playing certain parts] by critics and audiences as a result of what their parents did for them at the age of 13. And that seems to me very unfair.”

He added: “I don’t think anyone ever bought an education at Harrow in order for their son to become an actor. Going to a major independent school is of no importance or value or help at all.” That clears that up.

The words of Michael Gambon should also put fears to rest. “The more Old Etonians the better, I think!” he said. “The two or three who are playing at the moment are geniuses, aren’t they? The more geniuses you get, the better. It’s to do with being actors and wanting to do it; it’s nothing to do with where they come from.”

So we should rejoice, and not feel worried when we read a list of privately educated Bafta and Oscar winners as long as this: Chiwetel Ejiofor (Dulwich College), Emilia Clarke (St Edward’s), Carey Mulligan (Woldingham School), Kate Winslet (Redroofs Theatre School), Daniel Day-Lewis (Sevenoaks School, Bedales), Jeremy Irons (Sherborne School), Rosamund Pike (Badminton), Tom Hardy (Reed), Kate Beckinsale (Godolphin and Latymer), Matthew Goode (Exeter), Rebecca Hall (Roedean), Emily Blunt (Hurtwood House) and Dan Stevens (Tonbridge).

Life is a meritocracy, and these guys were simply always the best. I guess the working classes just aren’t as talented.

Anna Leszkiewicz is a pop culture writer at the New Statesman.

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