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This article is an interview between RadioDoc Review Editor Neil Verma and Bill Siemering, founding Director of Programming at National Public Radio and lifelong proponent of public radio. Siemering and Verma discuss Siemering's role at the founding of NPR, his earlymcareer in Wisconsin, WHYY Philadelphia, WBFO and KCCM, as well as his enduring work in community radio development in Africa.

This essay is a study of The Shadows (2018), a series produced by Kaitlin Prest and Phoebe Wang for CBC Podcasts. I situate the work in the framework of Prest’s career after her podcast The Heart, and argue that The Shadows crystallises a set of conventions about “audio fiction” that set it apart from “audio drama,” “radio features” and other similar forms, at least at this particular historical moment. These conventions include: the embrace of naive themes; a preference for retroversion or 'queer temporality'; a focus on body sound; multiplication in mixing and editing that comes across as a multiplication of voice and consciousness; the prominence of inanimate objects as orienters; and an aesthetic of suspended poignance.

This article examines what the relationship between audio drama and radio drama might illuminate about both forms. Drawing on some 40 podcasts and other audio forms that take a serial structure, I explore the rise of audio drama podcasts since 2015 and situate them in both a more recent historical context since the late 1990s and in a broader history stretching back to the first Golden Age of radio. By listening closely to key works on Serendipity, Homecoming and other podcasts, I argue that contemporary audio has profound potential to change both how we listen and how we relate to the sound media of the past. This is Part One of a two-part series.

This article examines what the relationship between audio drama and radio drama might illuminate about both forms. Drawing on some 40 podcasts and other audio forms that take a serial structure, I explore the rise of audio drama podcasts since 2015 and situate them in both a more recent historical context since the late 1990s and in a broader history stretching back to the first Golden Age of radio. By listening closely to key works on Serendipity, Homecoming and other podcasts, I argue that contemporary audio has profound potential to change both how we listen and how we relate to the sound media of the past.