Listen Up, London; Tune in to 104.4FM and You Might Hear British Folk, Indian Classical Music or Improv ? It's the Sound of the Capital's Newest Radio Station Experimenting

By Steward, Sue | The Evening Standard (London, England), May 16, 2002 | Go to article overview

Listen Up, London; Tune in to 104.4FM and You Might Hear British Folk, Indian Classical Music or Improv ? It's the Sound of the Capital's Newest Radio Station Experimenting


Steward, Sue, The Evening Standard (London, England)


Byline: SUE STEWARD

IS London ready for art radio? Does London know or even care about art radio? It is too late for conjecture: Britain's first art radio station, Resonance FM, has a 12-month licence and is already on air. If you live within a 5km radius of its Bankside transmitter and stray to the fringes of the FM waveband, you will enter a world unlike anything else on the dial; you could occasionally imagine you'd hit interference from your local minicab radio.

That's the idea, says project co-ordinator Ed Baxter, who describes the station as "a laboratory for experimentation", "an archive for the new, the undiscovered and the forgotten" and "an invisible gallery". Its menu offers "everything from British folk to Indian classical music to improv".

Trying to pin down "art radio" (a phrase of obscure origin that has only recently seeped into Britain) brings a vague response from Baxter. We are not talking about an attempt to emulate the worthiness of Radio 3. This is not a conventional station with arts content, but something of a new art form in itself.

The people involved want a station "devoid of boundaries" and with "space for experimentation".

Although there have been many precedents abroad (email congratulations have arrived from weblisteners in Chile), the conservatism surrounding radio in this country has discouraged such anarchic ventures until now. The usual view was: leave that sort of stuff to the pirates.

The starting point for Resonance FM was the experimental, 24-hour-a-day art radio station run (legally) during John Peel's 1998 Meltdown festival. The organisation behind it was a 25-year-old loose artistic assembly called the London Musicians' Collective.

When, in May 2001, the Radio Authority invited applications from community groups for 15 broadcasting licences, the LMC was in the queue with 170 other hopefuls. Eleven of these are now broadcasting, including a children's station in Leicester and a Punjabi community service in Southall. Resonance FM's "community" is the substantial audience for crossover bonanzas such as the South Bank's Meltdown and the Barbican's Only Connect festivals. …

The rest of this article is only available to active members of Questia

Sign up now for a free, 1-day trial and receive full access to:

  • Questia's entire collection
  • Automatic bibliography creation
  • More helpful research tools like notes, citations, and highlights
  • Ad-free environment

Already a member? Log in now.

Notes for this article

Add a new note
If you are trying to select text to create highlights or citations, remember that you must now click or tap on the first word, and then click or tap on the last word.
One moment ...
Default project is now your active project.
Project items

Items saved from this article

This article has been saved
Highlights (0)
Some of your highlights are legacy items.

Highlights saved before July 30, 2012 will not be displayed on their respective source pages.

You can easily re-create the highlights by opening the book page or article, selecting the text, and clicking “Highlight.”

Citations (0)
Some of your citations are legacy items.

Any citation created before July 30, 2012 will labeled as a “Cited page.” New citations will be saved as cited passages, pages or articles.

We also added the ability to view new citations from your projects or the book or article where you created them.

Notes (0)
Bookmarks (0)

You have no saved items from this article

Project items include:
  • Saved book/article
  • Highlights
  • Quotes/citations
  • Notes
  • Bookmarks
Notes
Cite this article

Cited article

Style
Citations are available only to our active members.
Sign up now to cite pages or passages in MLA, APA and Chicago citation styles.

(Einhorn, 1992, p. 25)

(Einhorn 25)

1

1. Lois J. Einhorn, Abraham Lincoln, the Orator: Penetrating the Lincoln Legend (Westport, CT: Greenwood Press, 1992), 25, http://www.questia.com/read/27419298.

Cited article

Listen Up, London; Tune in to 104.4FM and You Might Hear British Folk, Indian Classical Music or Improv ? It's the Sound of the Capital's Newest Radio Station Experimenting
Settings

Settings

Typeface
Text size Smaller Larger Reset View mode
Search within

Search within this article

Look up

Look up a word

  • Dictionary
  • Thesaurus
Please submit a word or phrase above.
Print this page

Print this page

Why can't I print more than one page at a time?

Full screen

matching results for page

Cited passage

Style
Citations are available only to our active members.
Sign up now to cite pages or passages in MLA, APA and Chicago citation styles.

"Portraying himself as an honest, ordinary person helped Lincoln identify with his audiences." (Einhorn, 1992, p. 25).

"Portraying himself as an honest, ordinary person helped Lincoln identify with his audiences." (Einhorn 25)

"Portraying himself as an honest, ordinary person helped Lincoln identify with his audiences."1

1. Lois J. Einhorn, Abraham Lincoln, the Orator: Penetrating the Lincoln Legend (Westport, CT: Greenwood Press, 1992), 25, http://www.questia.com/read/27419298.

Cited passage

Thanks for trying Questia!

Please continue trying out our research tools, but please note, full functionality is available only to our active members.

Your work will be lost once you leave this Web page.

For full access in an ad-free environment, sign up now for a FREE, 1-day trial.

Already a member? Log in now.