Community Radio

Key commitments annual report form RESONANCE104.4FM

Publication date:

March 2011 Issue 5

Contents
Section Page

Section 1

1 Community Radio Annual Report Form

.1 Community Radio Annual Report Form: Year Ending 31 March 2010 Station details

Licence Number
CR060

Station Name Resonance FM

Launch Date 1 May 2002 (community radio licence awarded 1 January 2006)

Web address where you will publish this report

http://resonancefm.com/faq/research to be published 1 July 2011

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The year in numbers

Please specify the stations achievements in the 10/11 year in numbers as follows: Average number of live hours per week 93 Average number of original programming hours per week (this may include pre-recorded as well as live material but should not include repeats). The percentage of your live daytime output that is speech Number of people trained over the course of the year Number of volunteers involved over the course of the year If appropriate, a list of languages you have broadcast in 140

35.00% 32 300 (plus)

English Hindi Somalian Lingala Taiwanese misc other languages in one-off shows (Please also include this information in the following sections where relevant)

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Key commitments: Programming

Output will typically comprise 65% music and 35% speech (speech excludes advertising, programme/promotional trails and sponsor credits). Music-based output will place an emphasis on alternative and experimental music. It will include programmes with a specific bias towards a range of musical styles such as free jazz and improvised, electronic, sonic and radio art, reggae, independent rock, dance and club, avant-garde and contemporary classical, roots and world, musique concrete, noise, field recordings and found sounds, plus programming dedicated to specific displaced or underrepresented communities such as Brazilian, Congolese, Serbian, Albanian and Portuguese. Speech-based output will include discussion, alternative news programmes and interviews, documentary, literary spoken word, and occasional phone-ins, comedy, drama and poetry. Subjects may include cultural theory, political issues, environmental concerns, civic responsibility, pensioners rights, mental health, and visual and plastic arts. Output will be broadcast primarily in English with some output in other community languages such as Farsi, Serbian and Albanian. Community language programmes will change from time to time. Live programming (with pre-recorded inserts as applicable) will typically comprise around 72 hours per week. [Report back on your key commitments in relation to programming achievements over the past year here.]

We have met and extended our commitments in this area as outlined above. .1 Key commitments: Social gain objectives

Community Radio Order 2004: It is a characteristic of community radio services that they are local services provided primarily (a) for the good of members of the public, or of particular communities, and (b) in order to deliver social gain, rather than primarily for commercial reasons or for the financial or other material gain of the individuals involved in providing the service. (a) the provision of sound broadcasting services to individuals who are otherwise underserved Resonance FM will provide a service for practising artists and engaged consumers whose interests fall outside the mainstream media and for those whose access to media is restricted or limited due to language, ethnicity, lack of formal training opportunities and cultural bias. The service will be multicultural, transcending age barriers, and will typically develop programmes for marginalised, disadvantaged persons and groups within the community. The station intends where possible to expand and diversify to respond to the necessities of the often rapidly shifting urban audience.

(b) the facilitation of discussion and the expression of opinion The station will invite guests to take part in discussion programmes on topics such as culture, health, education, crime and other civic and community related matters. Community groups will be encouraged to initiate and realise their own programming. Some output will promote cultural identity as well as encouraging debate and discussion from a variety of cultural perspectives.

(c) the provision (whether by means of programmes included in the service or otherwise) or education or training to individuals not employed by the person providing the service Education of listeners is part and parcel of many programmes, with educational content on a variety of topics such as conservation, natural history, alternative health, local history. The formal institution of training opportunities will include work with educational, artistic, creative and community groups and institutions active within the broadcast area. Weekly Cool Edit Pro (audio editing) training sessions will be offered to programme makers and engineers Training in programme production, editing and engineering will be offered at the studios as appropriate. All new programme makers will receive basic broadcast and production training. Community groups that wish to broadcast will be offered training in programme production. Ten new engineers will be offered training per year; two work placements will be organised per year.

(d) the better understanding of the particular community and the strengthening of the links within it Resonance FM broadcasts arts, music, cultural and community material not available elsewhere. Feedback is encouraged both by individual programme makers through phone-ins, email, individual programmes websites, and by the service as a whole. Collaborations are encouraged between programme makers and engineers. Discussion

will be facilitated through a dedicated on-line forum, accessible by programme makers and engineers. Additional social gain objectives: Resonance will forge promotional links for the mutual benefit of the service and contributors e.g. through print media, CD releases, opportunities to perform live at fundand consciousness-raising events.

[report back against your key commitments here] Resonance ably fulfilled its key commitments in these areas. Its youngest regular broadcasters this year were aged 15, its oldest 79. Resonance provided broadcasting opportunities to over 500 different groups and individuals. Regular broadcasts were realised in four different languages. New programming was instituted on a rolling basis, with one-off shows often being scheduled at short notice, typically a month but in some cases a mere day or two. Demand continued to far outstrip our available resources. Debate was encouraged through a variety of speech programmes which addressed such matters as urban cycling, climate change, the political landscape, displaced youth, refugee and diaspora issues, global conflict, pensioners rights and the place of art and music in the life of the community. We maintained a strong commitment to education and maintained more formal bonds with educational institutions in our area. We abandoned the idea of providing audio editing training sessions on a weekly basis in favour of a more practical approach. Ad hoc training, typically on a one-to-one basis, daily, continued to be an integral feature of our activities throughout the year. This year the staff mentored eighteen work placements, comprising over 1200 man hours of training. Nine under-18s spent time at the studio, for periods of one week to three week each. Two school parties visited the studio, as did three groups of students. Our on-line Forum subscribers went up slightly 2900 (compared to 3500 in 2007/8). Our MySpace page attracted over 7400 regular users this year, an increase from 6500 in 2009/10 and we gained 1570 Facebook friends and 3200 Facebook fans. The number of subscribers to the Resonance email list was over 8,200. The number of Resonance podcasts downloaded this year was over 211,000. The on-line shop attracted a small amount of traffic: sales were relatively modest.. Our promotional activities included significant media partnerships with The Vortex, Cafe Oto, LIFM festival, In the Dark and other concert producers.

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Key commitments: Access and participation

Community Radio Order 2004: It is a characteristic of every community radio service that members of the community it is intended to serve are given opportunities to participate in the operation and management of the service. Volunteers are encouraged and workshop days will be held at the studio each quarter. Engineers are encouraged to develop technical skills and to assist in training programme makers and to encourage them to develop basic broadcasting skills. A membership scheme (Friends of Resonance) will be set up.

Twenty new volunteers joined the team of regular engineering and administrative workers. Over thirty new regular programme makers joined the regular content-providing team. Over three hundred people made one-off contributions, mostly in the form of Clear Spot programmes. There was daily on-going skills transfer between engineers and programme makers. We did not hold quarterly workshops. The Friends of Scheme remained static at 40 people at the end of the year, when plans were made to relaunch it. Many dozens of individual donations were received this year.

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Key commitments: Accountability to the target community

Community Radio Order 2004: It is a characteristic of every community radio service that, in respect of the provision of that service, the person providing the service makes himself accountable to the community that the service is intended to serve. An Advisory Panel will be set up, and a formal mechanism within the group will be created to develop good lines of communication between management, the Advisory Panel, the Board of Directors and volunteers. Contact between listeners and broadcasters will be encouraged on-air, by email and live forum discussion (i.e. a dedicated website comprising self-explanatory sections accessible to the listeners and general public). There will be a dedicated programme makers section of the website to allow for individual volunteers to correspond and express their views to the management. Transparency will be a key element of the service. Information relating to all aspects of the service (such as reports to funders, confidentiality agreements permitting) will be made available on request wherever possible.

The Advisory Panel made advances in forward planning for the organisation, including a revised business plan in December 2010, as well as attending many Board and staff meetings. Monthly Board meeting were undertaken. The dedicated section of the Forum set aside for programme makers has been abandoned: all discussion took place either via email, on the phone, or in the studio between volunteers and staff rather than on line. Over a dozen students and researchers contacted the station asking for information, which was supplied in some quantity. Staff members made presentations at a handful of conferences, discussing all aspects of the stations service and maintenance, including Liverpool Biennial and Norwich Sound and Vision Festival. Resonance offered in-depth practical advice to several parties wishing to establish community radio stations or RSLs. Our on-line Research section included documents of interest available for public scrutiny. .1

Volunteer inputs (see the separate guidance notes)

Number of volunteers: over 300 people made voluntary contributions to the station this year, roughly half in terms of providing one-off programme content, the other half through regular weekly contributions. This document focuses on the latter contributors.

30 engineers and support workers, whose contribution ranges from technical set up for live bands, manning the broadcast desk for programme makers, maintaining the database and listings, cutting audio for repeats, and general office administrative support work. This pool of volunteers works in four hour shifts each weekday, with weekends comprising four shifts of six and a half hours each. This gave a total this year of 146 man-hours per week. In addition, there is typically two extra persons contributing each week-day for seven hours, i.e. 70 manhours per week. The total for these pool of volunteers is therefore 216 per week - allowing for holidays and studio closure about 9720 man-hours per annum. Secondly, there is an average of over 150 people making content each week, some in groups. These programme makers produce around 80 hours of broadcast material each week. Note that programme makers typically spend many extra hours on preparing their programme than is indicated by the actual broadcast time (typically between 15 and 90 minutes per week). A conservative estimate of the preparation time for each hour of material would be six man-hours, which gives us the following total figure: 150 x 6 x 52 = 46,800 hours per annum. Other volunteer work, which includes website maintenance, trouble-shooting and advice cannot readily be estimated but accounts for in excess of 500 man-hours per annum. Given the skill involved in this area, in the open market the value of this input would be several times this very modest estimate. The institution of a second studio at the station mean that further training and programme making could be realised this year. This is reflected in the final figure given in the Financial Report under In Kind contributions of volunteers. Broadcasting; editing; production; post-production; miscellaneous administration; on-air announcements; scripting; website maintenance; building work; cleaning. Approximate number of hours worked on average per volunteer per week: six.

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Significant achievements

This year Resonance won the prestigious Radio Academy Nations and Regions Award for London for the second year running. It made a second studio operational, allowing for increased use of our broadcast facilities. Here follow some representative reports from our pool of programme makers and volunteers. African Essence African Essence is jointly produced and presented by Debbie Golt and Anne Wanjie to profile and celebrate African arts and culture of all genres across the diaspora with a special emphasis on UK based artists and those who might not otherwise enjoy radio exposure. It is a music led programme featuring both recorded and live music from studio guests drawn from Debbie and Annes extensive contacts and networks. As a rare commodity of an open door programme for African arts of all kinds, well beyond music, there is a great willingness from high profile as well as emerging artists to be contributors to the show and we are often approached directly by record labels, publicists and artists wanting to take part. Record labels and independent artists are very happy to provide promos for first UK airplay. A Whats On including harder to find community events is a regular feature of African Essence. African Essence has a dedicate website at www.african-essence.com where playlists, selected interviews and an extensive audio archive can be accessed easily. We also publicise our shows through various online means to build awareness of the programmes and of Resonance. African Essence presented two shows for 2010 Refugee Week simulcast with Refugee Week Radio and linked broadcasts in association with festivals including the Happy Soul Festival (an expression of culture and diversity around mental health) and WOMAD. African Essence interviews, both live in the studio and prerecorded, covered a vast range. Interviewees included motivators Atiti Sosimi, who invented a new family life coaching game, Miss K, a philanthropic self-styled celebrity, and Steven Bonner of FIFA and London promotions Afri-Kokoa; visual artists Larry Achiampong (Black Phoenix) and Jean Joseph; theatre directors Oliver Jones, Femi Elifowuju Jr and Ossie Riley; writers Beverley Naidoo and South Bank artist in residence Lemn Sissay; musicians Ty Chijoke, Sona Jobartheh, Musa MBoob, Nsimba Foggis and M3nsa; and film directors including Imruh Bakari. Anne Wanjie

Bermuda Triangle Test Transmission Broadcasts My involvement in Resonance is broader than the BtTtB programme though it is is underpinned by that project. As you probably know the BtTtB is rather oblique in its content and manifestations, so perhaps not as suitable as most other Resonance radio programmes when it comes to filling out Ofcom reports. The creative experiments undertaken within that show do inform possibilities of broadcasting that can be achieved when a radio station is used proactively to manipulate the content of the material. This often is in collaboration with a number of different sound artists and musicians from London and beyond. So for this report I am rather giving one example of a live event that took place that came out of that process and connected to a broader outside community within the time period in question. This was a collaboration with the artists' collective, InCounter, where a live send/receive link was connected to the Resonance studio to a live event. InCounter was a live art event in the Bussey Building in Peckham which was connected an hour long Resonance programme via telephone/telco into the Resonance signal. It took place on 04/03/11 and featured various London based and visiting European artists. Two specific performances took place that night via the Resonance link. First, Melanie Clifford used radios on stage in Peckham to receive pre-recorded material sent out from Resonance which was then relayed back through the telephone link - providing a interactive delay/feedback loop with the radio station and gig. This was further enhanced by Howard Jacques feeding the stream of the stations signal back into the broadcast desk so both Clifford and Jacques could effect the audio stream simultaneously in duet while in their respective locations. This performance was followed by a BtTtB send by Jacques to the Bussey Building which was received on multiple transistor radios in the Bussey Building to diffuse the audio around the space. Documentation of the event exists here: http://www.incounter.eu/ Howard Jacques The Bike Show In 2010-11 The Bike Show entered its sixth year of broadcasting and continued to represent the diverse communities associated with cycling. A range of subject matter was covered, including the continuing concerns about road danger, particularly the spate of crashes involving lorries and cyclists on the streets of London. The Mayor of London's various cycling initiatives have been discussed and debated on a number of occasions. The show has subtly focussed attention on the health benefits of cycling, for instance through features on amateur cycle sport and cycle touring. The show offered a platform for community arts projects from a promenade performance of The Bicycle Thieves involving a cast of young BMX riders to Gavin Turk's Les Bikes de Bois Rond and The Organ of Corti by Liminal, which went on to win the prestigious 2010 PRS for Music Foundation's New Music Award. Several original documentary features have aired on the show, focussing on the social history of the bicycle, drawing on original oral history recordings. In 2011 the show gave a platform to the growing community of bicycle bloggers. By drawing the connections between past, present and future, and between young and old, The Bike Show aims to reinforce the sense of community and fellowship among cyclists in London and further afield. In terms of production, the show has aired contributions from a handful of new programme-makers, several of whom had no prior experience of radio. Basic training and advice on equipment was provided. Several pieces were produced using an iPhone as a recording device. One programme-maker, who made his first ever pieces of radio for the show in 2006, graduated from the Masters course in Radio Production at Goldsmiths College in the summer of 2010. He is now a freelance radio producer based in Paris. As well as being broadcast on Resonance, the show is podcast and a website contains programme notes and a complete audio archive going back to 2004. Jack Thurston Calling All Pensioners Deptford Action Group for the Elderlys show, Calling All Pensioners, has continued to complement Resonances social gain objectives by giving older people a voice so that they can air their aspirations, achievements and news of their activities with an average of four contributors per programme, inputting their ideas on a range of topics from delivery of local services to wider campaigns. Resonance affords older people a voice not often heard on mainstream media to air their concerns and news of the challenges they face. DAGE highlights on Resonance largely events and campaigns local to where this active pensioners charity is based in SE London but also reminds listeners wider afield to seek out similar or be proactive in setting up much of what older people have at their disposal in Lewisham, such as a pensioners forum, action group and Positive Ageing Council, the latter of which is set up by the local authority so as to better understand older peoples needs in relation to the delivery of local services. Calling All Pensioners over 2010-2011 highlighted with a full interview with the local authoritys cabinet for older people, one of the largest single events for older

people in the borough, with council and local voluntary sector organisations converging to inform and involve local older people in the take-up of activities and advice and information to promote health and well-being. DAGEs own activities such as outings have been featured on Resonances Calling All Pensioners, with beneficiaries of these outlining the health benefits and also explaining how DAGEs daily pop-in centre can reverse social isolation and aid older peoples continued independence. One of Londons largest music festivals was also featured and previewed on Calling All Pensioners with an interview with the events organiser, and where in July 2010, a special section of Lewisham Peoples Day was given over to older peoples groups to come together to share in all that they are doing. This was promoted via on-location radio interviews carried out at the event for Resonances Calling All Pensioners. Feedback from older listeners has been positive where added interest has been created in Resonance from, for example, carrying out interviews with members of Lewisham Pensioners Forum about their campaigns, and younger listeners have also contacted DAGE, inspired by the Calling All Pensioners programme, and typically from local colleges, to carry out photography and media projects, and local history projects, for example, from the London Bubble Theatre Company which visited DAGEs centre on a number of occasions and had their own interviews with DAGEs pensioner members shared on Calling All Pensioners. Tim Hamilton The deXter Bentley Hello GoodBye Show During the period dating from 1st April 2010 until 31stMarch 2011, The deXter Bentley Hello GoodBye Show gave70 different bands/artists (approximately 200 individuals) the opportunity to perform their music in a live setting on the radio. A great deal of these artists had never performed live on the radio prior to this and get very little such like exposure elsewhere. Over 20 different nationalities were represented among these artists (including New Zealand, USA, Sweden, Scotland, Greece, France, Finland, Russia, Germany, Ireland, Estonia, Wales, Portugal, Japan, Spain, Australia, India, Norway, Israel, Austria and of course the UK). Dexter Bentley was also responsible for organising 13 live concerts throughout this 12 month period, with over 40 acts being given the opportunity to hone their talents and perform their music live in front of a audience. All these gigs occurred within the near proximity of the radio station in the London Borough of Southwark. It is also worth noting that a number of these events received exposure in the local press. We offered a platform for two different groups of artists to write, record and air bespoke Sound-Art miniseries ('Get Big' by Boyle & Shaw plus 'Your Voice Travels' by Duncan McAfee). Our radio programme also gave five different people the opportunity to interview, record and edit together various features with new authors regarding their current publications (though some of these individuals did have some journalistic experience, none of them had ever worked with the discipline of radio journalism). During the recent fundraising drive for Resonance Hello GoodBye succeeded in selling off an entire episode (90 minutes worth of airtime) to our regular listeners, thereby enabling many bands etc the chance to hear their work broadcast on FM in Central London and in the process helping to raise the sum of 920 for the station. We also gave two listeners the opportunity to perform live on the show as part of another fundraising incentive. Richard Bentley Free Lab Radio Free Lab Radio gave a platform to new producers as varied as a teenager in Phoenix, Arizona who had never had any public exposure before to new bands who are as a direct result are now performing in the Mayor's Arab Festival. We linked up with FreeMuse, a human rights and anticensorship website and magazine, to promote a day celebrating freedom of speech in music. The entire hour was given to music that was produced in countries with heavy censorship: one track was even by a song-writer currently imprisoned for his work. We also linked up with Exit festival (an NGO) in Serbia to bring more European music to the airwaves and promote the work that Exit is doing for Serbian communities. We also broadcast an Index on Censorship special promoting music about anticensorship and freedom of expression and connecting with Index writers to create a playlist suggested by them. As a result of the show we performed at events across the world from Venice Biennial to a south London event covered by the Culture Show. Prior to both these events we broadcast mixes that were put together with the events in mind (e.g. Arabic hybrid genres and Man and His Machines). What this did for listeners was bring back the influences of these exposures and link them to events they would not otherwise have heard from in such an intimate way. Fari Bradley Henry Scott-Irvine Presents... This regular (Sunday, 3pm to 4pm) show has allowed me to produce detailed music and arts based programmes on film makers, musicians and songwriters who would not normally get such a platform on mainstream radio. Many of my programmes are either about 'Unsung Heroes' or 'Overlooked Cult

Heroes' e.g. Maurice Sellar (an 80 year old Music Hall comedian), Jack Hazan (rock documentary director/cameraman), Pete Brown (lyric writer/songwriter of Cream) and Roy Loney (of the cult rock band The Flamin Groovies). My show has also been a campaigning programme, and has been cited by the 100 Club (Oxford Street) owner Jeff Horton as being integral in saving London's oldest Rock Music venue from closure and demolition. Henry Scott-Irvine Interesting Conversations Interesting Conversations is a 30 minute interview programme in which I interview writers about their books and work. There is a very high level of discussion with writers discussing their work and expressing their opinion. For example, Karen Armstrong talked about compassion, Tahmima Anan talked about what it is like to be a young Bangladeshi woman. Marilynne Robinson discussed theology. Andrea Eames talked about being white South African in apartheid. The programme is open to anyone who has written a book and I am always open to suggestion. The programme has strong links with the literary community - writers, publishers, publicists, book illustrators, educators, and is now respected in the community. it is the only literary radio programme in mainland Britain, as far as I am aware, that allows a writer to discuss their own work for 30 minutes and is open to all writers. Wendy Jones Is Black Music Is Black Music is the first show of its kind to be dedicated to wide range of artist of African lineage whose work is not recognised by the mainstream media. We specialise it unusual music that defies the stereotypical Black Music category. We broadcast a lot of black folk music, country music and avant-garde classical music. Is Black Music is also dedicated to the cultures that lie at the foundation of Black artistic expression. We often broadcast commentary on social issues, intellectual traditions and spiritual expressions that surround the different debates that are the building blocks of the African diaspora and their diverse communities. For the past year the show has been programmed and produced by numerous members of the African-Caribbean London community. Three of the contributors (David Ncube, Jean Graham, and Yinka Oyewole) have been able to develop employable technical skills and gained experience in media presentation that they can and have used. Dozens of other underserved members of the African-Caribbean community have participated as guest, and many more have had their works broadcast on Is Black Music. So called black music and black culture is often portrayed in the media in a sensationalised format. At the neglect of some of the subtler more consistence elements of the culture, sex and violence is often distorted in order to posses an audiences attention. The radio show Is Black Music is able to re-address this imbalance by exploring and exposing many of the great works that lie under much of the surface of the aesthetic which is black culture. This is possible because of the particular expectation that Resonance credos has cultivated in its listeners. Art Terry Little Atoms During the year April 2010 to March 2011, Little Atoms has continued in its mission to bring intelligent and stimulating discussion of science and rationalism, broadcasting interviews with leading writers from the worlds of science and the arts to an ever widening audience. Over the course of the last year our audience via the podcast has tripled from around 3000 to 9000 regular subscribers. Meanwhile our website received around 144,000 unique visitors, generating 1.2 million hits, and around 650,000 interview mp3s were downloaded from our site. We have also begun to hold regular live recording events in front of a theatre audience, with the specific aim of widening our listener base. As well as doing this at a regular venue in central London, we have started to do recordings at science and literary festivals around the UK. We also continued to record backstage interviews at such wide publicised science events as Nine Lessons and Carols for Godless People and TAM London. These have so far been a success, often selling out. We have continued to interview a wide and varied range of new guests and old favourites, including Marcus du Sautoy, Lynn Barber, Richard Wiseman, Cordelia Fine, Timothy Garton Ash, Iain Sinclair, Rebecca Skloot and Jonathan Ross. Neil Denny Lost Steps During the last year I have continued to develop my own career and broadcast experience by using the facilities offered to me by Resonance. I produced a weekly talk show concerned with aspects of London's history and cultural heritage which gave me access to a number of creative and academic professionals. This proved to be an invaluable experience as I have been able to forge contacts, gain advice and valuable insight into their working methods whilst sharpening my own broadcast, communication, and production skills. I felt that the show should also be represented online so I

taught myself some basic web design skills and built a site to house supplementary information and podcasts (www.loststeps.org). This has resulted in increased confidence, a wider network of friends and associates, and improved career opportunities as I am currently delivering accredited radio training to hard-to-reach young people at secondary schools in Southwark. When I began volunteering at Resonance in 2007 I was unemployed and had no relevant work experience. Nick Hamilton Lucky Cat Presented by Zo Baxter, this series focuses on East Asian culture. The British Chinese community and global Chinese diaspora are of particular interest. Programmes have included a variety of guests discussing cultural and community events and have looked into historical aspects of Chinese and East Asian culture. For example in March 2010 two programmes documented the music of the Seven Singing Stars of Shanghai, prominent Chinese female singers from the early 20th century. Awareness of modern Chinese music culture was promoted throughout the series and included music compiled by Steve Barker who works for the British Council in Beijing and has strong ties with the avant garde musicians working in China today. Taiwanese cuisine and culture was discussed with Taiwanese caterer Daney Hsu and Chinese Jamaican Reggae producer Clive Chin told the story of his grandfathers journey from China to Jamaica. The history of the Chinese community in Jamaica is relatively unheard of and also links in with the story of Chinese immigration to the UK. Chinese immigration to the UK was discussed with artist Isaac Julien whose film installation Ten Thousand Waves the Hayward Gallery in London was based on the tragic Morecambe Bay incident when 18 Chinese immigrants were killed at sea in 2004. Chinese New Year community events and Chinese astrology were covered on the programme with predictions for the Year of the Rabbit given by Feng Shui expert Peter Tran. After the earthquake and tsunami in Japan, Lucky Cat gave advice on how to help and donate through various cultural events. Japanese cinema was reviewed and discussed throughout the series and in March we reported on UK Manga artists who were awarded at the Japanese Embassys Manga Jiman competition. Zo Baxter Luscombe's Choice Luscombe's Choice is a weekly half hour show which focuses on albums which have been notably influential. The idea is to give the listener a brief digest of an album, highlights from an interview with the artist or someone involved with the recording process and selections from the album. The remit of my show is broad. Since 2010 my shows have included Ashkenazy's recording of Schumann's Complete Piano Works for Decca, academic and pianist John Field's Art of the Nocturne, re-mastered albums from Lee Perry and King Tubby, an interpretation of Vivaldi's Four Seasons using spliced and untreated field recordings by Brighton based sound artist Nikky French, and a short series on techno music. I feel my show represents music which is perhaps currently not played or given critical appreciation by other broadcasters. I also hope to introduce my listener base to a broad spectrum of music and, in instances where I'm fortunate enough to interview the artist, let them hear what he or she intended to achieve with the recording in question. In the past year Ive interviewed Vladimir Ashkenazy, Tricky, noted techno producers John Acquaviva, Colin Dale and Aubrey, several and world renowned classical pianists and violinists. In conclusion I feel the show introduces the listener to a diverse range of music and provides a well considered synopsis of an album, combined with insight into the influences and motivations of the artist. I also hope to encourage debate about the significance of the recording and hopefully, by hearing the artist speak sincerely, negate some of the pomp often perpetuated by record labels and the music press. Will Luscombe Make Your Own Damn Music Make Your Own Damn Music is a show hosted by Bob and Roberta Smith and up and coming gallerist and musician George Lionel Barker. The show aims to discuss ideas and show ground new talents in the world of visual art who also make music and sound art. In the period 2010 to 2011 we featured artists Jemma Freeman, Tim Siddal, Leigh Clarke and Jessica Voorsanger among others and talked to a number of younger artists who discussed the troubles and rewards of trying to engage in visual and artistic culture in London. MYODM also aims to review exhibitions with Bob and George often broadcasting just after seeing the exhibition they talk about. The show is a magazine show format and is put together with the theme of improvisation at the fore but hopefully does not become self indulgent. The main social gain of the programme comes from the idea that everyone can get involved in making music, art, writing and culture. We aim to showcase new talent and talk about it. Jessica Lack of The Guardian perhaps indulged in hyperbole when she described Bob and Roberta Smith as the 'John Peel of Visual Culture' during last year's Freeze Art Fair in relation to Resonance. Bob and Roberta Smith

Mining For Gold Throughout 2010 and 2011 the Mining For Gold team, operating as outreach volunteers, worked with two mental health groups, IMF in Islington and Core in Hackney. Both projects involved supporting a group of service users to compose their own music and poetry, which we then broadcast live on the weekly Mining For Gold show. In September 2011 the team will collaborate with The Elfrida Society of Islington to create a radio orchestra for people with learning disabilities. Johnny Brown Music of lndia Over the past year the Music of India has broadened its scope and is now exploring the historical developments of migratory musicians from India to the UK from the 1950s to the present day. The series also explores the Brit-Asian music scene that has its roots in the early days of immigration. The series observed how the early social and cultural developments of Indian communities in the UK corresponded with their rise in economic growth, and how these have provided concrete bases from which to both preserve and develop the indigenous art forms. The series charted the growth of Southall in West London from a small railway depot to the home of early Indian immigrants and their struggles for social, cultural and religious recognition, through to the intensity of the clashes of the early 1980s riots, the effects the riots had on the political climate of Britain and how Southall went on to become the thriving multi-cultural community of today. The series also de-constructs the phenomena of the Bangra explosion onto the British music scene and the impact this had on both UK and global cross-cultural productions. The series included shows illustrating projects combining leading percussionists from the sub-continent with local UK amateur musicians, along with initiatives promoting 'Disabled People in the Arts' and the 'Arts in Disabled People',also the ground breaking commissioned report 'Blind to the Facts - An Exploration of the Needs of Blind and Visually Impaired Musicians'. The series featured the Baluji Music Foundation that provides workshops and residencies specializing in reaching young children, those with disabilities and people of all ages new to Indian music. The series illustrated the results of Big Bang Labs, a cultural-social enterprise that creates and delivers learning programs, outreach projects and cutting edge productions combining original music with archive and silent films. it also explored the development of Cultural Social Responsibility (CSR) and the engagement of participants and audience with cultural heritage, social, environmental and contemporary issues. The series also included book reviews, an example being: 'Outsider: Films on India 1959-1990,' and investigated what films made by non-Indians reveal about India; the effects of the foreign gaze; how films made by outsiders can reveal much about the history of Indians interrelations with the West and through the critical lens, the offering of fresh perspectives on India. The series has has also began to embrace the political developments in India, investigating the ongoing human rights violations carried out by the Indian government in collusion with multi-national companies on the tribal/adivasi people of central Indian states, and explaining the situations of both 'genocide' and 'ecocide' that are currently taking place and the need for global awareness and support for the adivasi people and the wrongfully imprisoned. Diana Mavroleon One Life Left One Life Left, still the world's only specialist video game radio show, enjoyed another year of weekly broadcasting courtesy of Resonance. Nominated for a Games Media Award for Best Broadcast for the fourth year running (and once more the only piece of independent media on the shortlist), One Life Left's sixth season built on the pattern of the previous five with its unmistakable mix of features, guests, inclusive discussion and game-centric music. This season's narrative arc across the 24 episodes took the show cross-media, the team producing the world's first videogame stand-up routines for live performance at the Nottingham Game City festival. Guests during the season included established comedians and comperes offering helpful (and often worrying) advice, building up to the performance at Just The Tonic in Nottingham. Sets from each of the three team members were interspersed with pieces from established (and award-winning) comedy performers, with highlights edited for broadcast. One Life Left were also invited to The Big Chill festival in 2010, broadcasting the radio show from a Tent in the Swap Meet area and collaborating with other sound artists on some videogame-inspired music. The three days culminated in a magical, impromptu, late-nigh OLL sponsored gig from acclaimed chiptune artist Sabrepulse. Season six finished in February 2011 and was followed by a short run of a spin-off show: One Life Left: No Continues, an innovative attempt to create the videogame equivalent of a book club. Each week, three games on a particular theme were discussed by a six-strong panel that included people from within the game industry, semi-regular players and some people who were entirely new to the medium. The week's theme and games

available to play along at home, and vociferous listeners were encouraged to email and tweet with their views. The six-episode series was a phenomenal success. Ste Curran Out In South London Out In South London (Tuesday, 6.30pm to 7pm) is an LGBT magazine show presented by Rosie Wilby, addressing issues around sexuality through discussion and humour and celebrating local lesbian, gay, bisexual and transsexual arts and culture. Our objectives are to break down prejudices and barriers around sexuality and promote diversity within the South London community by making a programme that appeals to, informs and unites heterosexual and LGBT listeners. We are loosely modelled on programmes like Out This Week which used to be broadcast on Radio 5 yet there is now no specialist programming around sexuality provided by the BBC or any major broadcasters. Community groups who have appeared on the show included 4 in 10, Southwarks group for LGBT people living with mental health issues making their first ever radio appearance. They had several enquiries as a result. Lou Hart, the director of Camden LGBT Forum, received requests from schools for her DVD for young LGBT people after her appearance on Out in South London. Mark Healey, the organiser of the annual Vigil Against Hate Crime in Trafalgar Square, was on the show two weeks before this years event and noted a huge boost in turnout. We had a special live outside broadcast on 21 February 2011 during LGBT history month, organised with the support of Southwark council. A panel including Suran Dickson discussed homophobia and transphobia in sport in front of a 70-strong theatre audience at Southwark Playhouse. We have a Facebook page and twitter account where listeners can interact with the programme and have forged strong links with local gay journalists including Time Outs Paul Burston. We also inspired two black teenage lesbians to create their own show on a youth station in Peckham after they came and sat in on our broadcast. Rosie Wilby Pull The Plug Having been an avid listener of Resonance for several years I was excited but anxious when my request to join the team as a volunteer was accepted. Excited because I was to be involved with a station that appeared to be unique and more adventurous than is the norm for radio, and because since being made redundant from my previous job I hadn't worked for two years. Anxious because I have very low self-confidence at the best of times, compounded by the fact that I knew absolutely nothing about the industry or of the technical knowledge required. Straight away I was made to feel at ease and I quickly picked up the basics of engineering live shows and the editing of programmes, and very soon I was even passing this experience onto new volunteers. I was struck by the friendliness and generosity of the team running the station, and was always encouraged to contribute and stretch my abilities. Eventually this resulted in Pull the Plug, the weekly music show which I produce and present. Pull the Plug was initially established to air a selection of the CDs and records which arrive at Resonance on a speculative basis; promos from small record companies, or recordings from the many unsigned bands and artists who perceive their musical endeavours to be uniquely suited to Resonance where other radio stations would have ignored them. Over the seventeen months I have been presenting Pull the Plug I have featured much material which would never have been broadcast on conventional radio, sometimes not even by other music-based shows on Resonance. Not all artists are hungry for fame and fortune; some are happy to create strange and individual sonic experiments at home in their bedrooms and whose only wish is for it to be played once on the radio. It is not always about the promotion of some record label's hot new signing: there are many musicians who want their music to be heard but don't want the baggage that inevitably accompanies it. The feedback I have received from listeners and contributors to the show has confirmed for me that in many instances this is the case. In this respect I think the show is fulfilling one of Resonance's objectives: the provision of sound broadcasting services to individuals who are otherwise underserved. And there is an audience out there that is willing to give these individuals a listen. John Dignan Radia The Radia network ties together an international group of radio art stations and practitioners. Resonance, as one of its co-founders, is one of the leading members of the 20-strong group of radio stations and contributes on a regular basis to the production of the syndicated weekly half-hour long Radia show. In the period from April 2010 to March 2011 three Radia shows were produced and broadcast on all network stations under the guidance of Resonance. As an example one could pick out a production by Tom Wallace: Youre on Next. This piece explores the experiences of six DJs who have all been involved in the vibrant free party scene in London the1990s. The interviews explore how they got involved in the scene, how they view their craft and recall the magic moments and mishaps along the way. These are set against the warped sonics of the sound systems they played

on. This part of the cultural heritage of electronic music production in London is largely undocumented in general and non-existent on the airwaves. The broadcast of the show elicited a number of listener responses from as far as Belgium who had witnessed the free party scene as visitors. In January 2011 the Radia network learned of the grave situation of one of its co-founding stations Radio Tilos in Budapest who were facing severe punishment through restrictive new media legislation by the new Hungarian government. Thanks to their strong international press coverage and build up of political pressure, Radio Tilos was not fined and the restrictive national legislation was criticised on a European level and eventually modified. The Radia blog was one of the first online resources where one could find first-hand information in English on the dispute. As a show of solidarity Resonance decided to rebroadcast an older episode of the Radia show produced by Radio Tilos that deals with the idiosyncrasies of the Hungarian language. The Radia network has become a driving force in the international world of radio art and has been profiled last year in public radio broadcasts in Germany, Austria and Italy. The Austrian public radio broadcaster Kunstradio commissioned artists of the network to produce a series of five feature length shows. It was also mentioned in the cover article on radio art of The Wire magazine (October 2010). Knut Aufermann The Rob Simone Talk Show The Rob Simone Talk Show is an in-depth interview show that over the last year has featured more than 42 guests. The interviews have included inventors who have innovative ideas that are designed to improve health and increase awareness of wellness issues. They have had an opportunity to express their opinions about the advancement of their ideas on the show which also featured working and aspiring musicians who work in the community in which Resonance FM services; authors who have books that are not generally featured in mainstream media; and filmmakers who are part of London's growing independent genre and who lack the support of large studios and are perusing their vision through alternative media. Rob Simone Rough Trade Shops' Counter Culture Radio Rough Trade Shops has been trading in London since 1976 and has a deserved reputation as one of the most influential independent music stores in the world. Since the first day of trading, unknown and unsigned artists have come to us in the hope that we will spread their work throughout the community around the shop. Times have changed, but to this day we still work by the same maxim, and part of our process of dissemination is the presence of our radio show on Resonance. Broadcasting weekly since 2003, the format of the show is simple - members of staff come into the studio and play a selection of newly released music and sonic art that will not be receiving much or any exposure on commercial radio. We also give details on the work and artist involved, as well as give information on related publications and events happening that week. The reason for the simple format of the show is to give maximum exposure to new sonic work within the 60 minute time slot while we hope our our presence, at the shop and on the airwaves, provides encouragement to listeners by creating a link between their practice and the wider artistic community. Simon Russell Sean Gittins Is Puzzled By During my programme Sean Gittins Is Puzzled By..., which has broadcast 15 episodes since the beginning of March 2011, I have varied the content of the show to cover politics, literature, internet technology, policy and sport. Groups and individuals involved in the show have included the New Left Project and Red Pepper, growing online and published political magazines that represent marginal political issues and minority politics; Dan Hind, a published author who is attempting to grow an alternative media campaign through various organisations to help better represent the public and create a democratic media which will enhance public choice and information; and Chris Coltrane, a freelance internet expert who seeks to help people lean about internet security. My show is one hour long and frequently takes the form of interviews in which various opinions are expressed in an open forum. For example, a recent three part programme I did aimed to show how banking and finance works for a non-expert audience, a topic often neglected in the mainstream press and media, and did so by talking to various authors, think tank economists, and economists of differing political bases about their view of the economy. Through such finance programmes, as well as specials on housing policy and urban regeneration that have focused not only on neglected people in the UK but also Europe, and shows on such topics as supporter groups who aim to democratize football wealth, I have sought to give a voice to people who often do not get their story heard as well as build up a network of supporters at a grassroots and higher level (I have, for example, made programmes with journalists from the Guardian and Independent) to improve on Resonance media community. Sean Gittins

Six Pillars to Persia Six Pillars covered a variety of topics for an English-speaking audience that would not have been made available otherwise. We promoted new experiments in traditional-electronic fusion in Iranian music and gave voice to the Iranian Gay and Lesbian minorities in the UK, as well as promoting and interviewing directors about new films that were not receiving attention elsewhere. Via extensive research we uncovered events happening in the UK that were not receiving any coverage or promotion as they were being promoted by the musicians themselves and without budgets. This way we made some vital connections for artists and their potential public. On March 21st it was Persian New Year and many listeners referred to the information the show was giving out regrading cultural events that were not profiled on any other cohesive platform. We understood this through listener feedback. Six Pillars organised a talk about and screening of a film about female Iranian artists at SOAS and advertised it through the show: over 100 people showed up and joined in the discussion. The Resonance podcast interview with the director by Six Pillars was integral to this discussion. We gave away tickets to debates (e.g. Intelligence Squared) and concerts (Royal Festival Hall) in which there was much interest. We connected with the Fitzwilliam Museum in Cambridge and visited to get an better insight and help get listeners up to the culturally significant Shahnameh exhibition. This collaboration gave us an amazing insight into this nationally important text, not only historically as it save the Persian language at a time when it was in danger of being subsumed by Arabic (as are all countries surrounding Iran) but also today people quote from and constantly reenact in theatre and on television this national epic. The radio show and trip to Cambridge resulted in an art exhibition in London of four Iranian female artists celebrating their interpretation of the Shahnameh in which we collaborated. The podcast of the curator's interview on Six Pillars was also integral to this. At the Frieze Art Fair we linked up with a Frieze Project for an interview on Resovision television channel, also broadcast on the radio. To the Iranian community this famous artist is little known: Shahryar Neshat does not promote himself as an Iranian artist. We had an exclusive interview with a resident artist at Saatchi gallery, visiting from Iran, and promoted a Kurdish-Iranian singer who had never been on radio before. He performed live on Resonance and this has significantly helped his career. It is not just the broadcasts but the Facebook pages etc. that have built up around the show that are providing a vital outlet and meeting space for creatives and those who want to enjoy Iranian arts and culture but find that BBC Persian and other media outlets will only do this in Persian. Fari Bradley Sound Out I am an older programme maker, so maybe my show appeals to the older generation although I do not aim specifically at any one age group. I would like to think that when I present programmes about my travels (of which there were four this year), talking about and playing recordings from where I have been, that older folk will be inspired to travel too. During the year I devoted a show to playing 78rpm records from the 30's to the 50's that would be of interest to the older generation. I have had, over the year in question, five guests who were over 60, three over 70 and two over 80. I made 14 programmes devoted to Old-Time American Music Enthusiasts. Five of these were live performances by guests to the programme. Three shows featured storytellers; 15 shows dealt with Contemporary Music , nine of which were live piano recitals by contemporary composer/performers. Carole Finer The Sound Projector Radio Show Last year I stated my listening community comprises two distinct groups: music lovers and contemporary music creators. Outside of Resonance, both groups are under-served because there are few places who will play the music heard on my show, or do it at such length and in such quantity. My perception last year was that the music fans were the more responsive group, but for this period it's been the music creators who have responded warmly and generously to having their music played on air, if comments on my site and personal emails are anything to go by. Here's one recent message: "Many thanks for featuring the track from Cannibal Work Ethic on your radio programme. It's very hard without any backing to get a good degree of exposure so we're very appreciative." Further I find that label owners, particularly the small ones, now tend to "collect" any instance of airplay they can find and add these to their publicity pages. See for example http://northernspy.com/category/press/airplay/page/2/ This year I have sent in my programme schedules ahead of time, for publication on the Resonance schedule page; and recently I have added my RSS feed of podcasts to the general Resonance feed. This process results in a little extra exposure for the musicians and sound artists, since their name appears on the internet three times: on the schedule, on the TSP page, and in the feed. Bands with distinctive names such as Collection Of The Late Howell Band are bound to stand out, but I suppose it all means something in the grand accumulation of Google search algorithms. In terms of serving music creators, two high spots for me personally.

One was meeting and interviewing Simeon Coxe in person, who visited the studio and recorded four songs for the show. The second was a tribute show to the music of Captain Beefheart and The Magic Band, broadcast on 28 January 2011. Ambrosia Rasputin said: "Just a wee word to say how much I enjoyed your show tonight. Didn't catch it all (will it be podcasted?). Like you, I found myself welling up, just hearing all this stuff that's been so important to me for over 3 decades. Thanks for a very moving tribute." Ed Pinsent Speakers' Corner The Speakers' Corner show broadcasts a range of views from otherwise under represented communities, this year this included, school students, trade unionists, Pakistani campaigners for social justice, Arabic and North African communities in London and disabled people, as well as the wide spectrum of regular contributors from Speakers' Corner itself. Our show is normally geared around democratic and participatory debates held in the open air at Speakers' Corner. We have also been training refugees to engage in radio production. We have sought to involve other communities who seek an outlet for their problems and creative ideas, by engaging them in these debates, both on the radio and at Speakers' Corner. We ran a joint project with King's College to provide advanced research in dentistry, the role of psychology in the NHS and nutritional sciences to the general public, in question and answer sessions with expert postgraduate researchers from King's. Overall we have acted as an avenue for minority communities, who feel somehow bound to global issues, to have an outlet for their thoughts, fears, hopes and dreams. We broadcast the views of religious and philosophical minorities and try to discover their motivations and beliefs. In addition we pay special attention to find a means for the generally isolated and ignored views of the oldest generations, to find an outlet to express their ideas and observations on world affairs. Hieko Khoo Technical Difficulties During this year, our election coverage and that of the March 26th march widened the discussion of important public matters to include under represented views. This was confirmed to me by a phone call I received at the end of the latter event telling me we were the 'only people reporting this.' I continue to share my professional skills as a journalist with people who don't have that base and I still benefit from gaining skills that I don't yet have. I am proudest about my continuing series Technical Difficulties which is the only regular weekly programme I am aware of on UK radio driven by disabled people, for disabled people and covering the entire gamut of long term health conditions. This year alone, I have discussed the provision of benefits to disabled people at a time when the presentation of mainstream media is not well researched or particularly accurate. I have explained Aspergers Syndrome, Lupus, Multiple Sclerosis, mental illness, deafness and chronic pain without a specific diagnosis as conditions with people who have those conditions, and I have explored the artistic expressions of these. I enjoy a vibrant exchange of views with listeners online and am convinced that this series aids the understanding of disabilities to non disabled people and helps people with disabilities to share good information. If disabled people were already well represented in the UK, this show would not be necessary. Tim Abbott The Thread The Thread is a free conversational space that goes beyond the university, a place where complex ideas can flourish in public dialogue. Created and produced by PhD students from the London Consortium, it brings artists, academics, amateurs and professionals together in wide-ranging discussions. During the period that this report covers, The Thread ran one full series of shows, and broadcast the first of its next series eight shows in total. We facilitated discussion and expression across a wide range of topics, from computer coding to MRI scanning, from the ethics of intervention to perceptions of the rural. We engaged 19 outside speakers, for seven of whom this was their first experience of radio. The majority of the guests on our programmes were unknown to each other before the shows; The Thread therefore created new links and relationships within and between academic and artistic communities. We also implemented a training programme for our team to allow them to share hosting duties. This involved workshops in presenting and hosting shows, and an introduction to the studio by Resonance staff. We have thus increased the media training of all involved in the programme, and from April 2011 The Thread will be hosted by a rolling team of student presenters. Seph Rodney The Traditional Music Hour This year I have continued as one of the presenters of The Traditional Music Hour on Resonance, a role I've had since October 2003. The show continues to be one of the few shows which concentrates

on the archive recordings of performers of traditional music and song of mainly Britain and Ireland but which also extends beyond those bounds. In fact it is probably the only show which concentrates so much of its output on this important music. This year I continued with themed shows of mostly the home countries but expanded a couple of shows to feature historic recordings from France and Italy. I also brought my first live guest into the studio and will be expanding on this aspect in the future. With the growth of social networks I have started a Facebook page for the show which has a small but growing and enthusiastic following. Kevin Sheils Unspoken Words Mac Dunlops Unspoken Words has aired on Resonance for three separate series broadcast during 2010/2011. The fifteen minute slot has been part of the emergent The Poetry Point Project set up in 2008. The Poetry Point aims include promoting a combination of the written word and the visual arts as inspirational hybrid forms that merge traditional and new media. Workshops and courses led by the producers of Unspoken Words have offered participants which have included people from many differing backgrounds, pupils in schools, and young people excluded from schools - the opportunity to explore their personal inspirations and creative expression, and to decide on flexible outcomes. A total of forty different episodes of Unspoken Words have been produced over the past three years. This has provided those involved with writing and producing the series an invaluable amount of experience in talk radio production, and has led to the development of partnerships in the region where the show is produced (Cornwall). Established partners include the Caravanserai Project (www.caravanserai.info), Telltales (www.wordslikepictures.com/telltales) and we produced many live radio performances which have been collated in a recently released five episode CD format. Other emergent partnerships with established organisations in the region include the Carn to Cove Network, Spoken Word Bulletin SW, and performances with Apples and Snakes South West. The support of Resonance in airing and continuing to broadcast multiple series of Unspoken Words has helped encourage development and confidence amongst those involved, and inspired the continued development of ideas and writing and performing talent. Our relationship with the station has also helped The Poetry Point to develop networking and potential future funding strategies with a focus that extends and promotes regional talent to a much wider community, and exchange ideas with London, national and even international literary and artistic networks. Mac Dunlop The Voice of Americans with Lewis Schaffer of Nunhead The Voice of Americans with Lewis Schaffer of Nunhead is the only radio programme broadcasting to and for the 11,500 residents of Nunhead, Borough of Southwark. Hosted by Nunhead resident Lewis Schaffer, and East Dulwich resident Lisa Moyle, both immigrants from the United States, the radio show is unique as it joins the micro of Nunhead with the macro of Britain and the United States. Nunhead is a mixed area, with a large working class and a higher than average percentage of people on low incomes, only five miles from Central London and had, until the autumn of 2010, been almost completely ignored. Nunhead is primarily known for its Cemetery and has historically been lumped with Peckham or overlooked in favour of richer areas such as East Dulwich. Half of all Nunheaders are members of a minority group. The programme strives to make Nunhead better known in the world and to give Nunheaders voice to the great pride they have in their unique community. Under the guise of broadcasting for the American community in Nunhead (numbering at present at around 10), we bring together divergent groups from Nunhead and the surrounding under-represented areas. We have an open access policy for Nunheaders, whether it's reaching out to local politicians, the local Afro-Caribbean restaurateur, the proprietor of the local pub,the promoter of renowned cabaret/variety shows at Nunheads The Ivy House pub, local artists of a variety of genres (musicians,comedians, painters, actors, playwrights) and even the manager of the local under-8 football club. During every show we present the News of Nunhead, which has reported on the building of a new school, water main breaks, crime, car boot sales and even the missing cats, with illustrative focus on one councilowned block of flats, Priory Court. We let the Nunheader see that what he is doing is important, and allowing the audience-listener a glimpse into what inner-city suburban life is like. Every show is open discussion of what is important in the News and how it affects Nunhead. The show is unique in that it looks at Nunhead, the local arts community, the role of the immigrant communities in Nunhead through the eyes of Americans who live in and around Nunhead. The show promotes the artistic expression of Nunheaders and Nunhead Americans. Almost every show we have a guest connected with arts: Local artists, musicians, and promoters, such as Boycott Coca-Cola Experience, the Dulwich Ukulele Club and artist Randy Klein have all been frequent and valued guests on the show. The style of the show is a casual talk-show format, with a goal of getting into animated and informative discussions about life in Nunhead versus life in the rest of England, and in America. It has been an

achievement to bring radio to Nunhead and a significant achievement when two relatively novice volunteer engineers orchestrated our huge Americans in Nunhead Christmas show, broadcast live from the local pub, with four musical acts, including two bands. Lewis Schaffer Wavelength Presented by William English, Wavelength (a 30 minute programme on Friday afternoons, repeated on Tuesday evenings) is now in its sixth year, having evolved out of a series of Clear Spot programmes with multiple agendas. The main achievement of 2010 was a fourteen episode series (ongoing) devoted to Destruction in Art which included notable interviews with artists and curators involved with Auto-Destructive Art and destruction in Art: Gustav Metzger, Michael Landy, David Toop, Mathieu Copeland, Stewart Home, Nicky Hamlyn, Ed Baxter on Art in Ruins, and Steve Pratt, an ex-SAS soldier and artist. Mail artist Ray Johnson was discussed with Clive Phillpot, friend of Johnsons, ex librarian of MoMA New York and leading authority on Artists Books. Once again, Captain Maurice Seddon (Royal Signals retired) featured throughout the year, mostly interviewed on the telephone. Now aged 85 and presently in hospital, Maurice described his prostate problems, blended food, days spent in bed, pullover sleeves torn off and placed over shoes to prevent slippage on ice, with updates on the ongoing conflict with neighbours regarding his pack of dogs. Summoned to appear at the High Court on the Strand, due to ill health Maurice was unable to attend and I spoke on his behalf, obtaining an adjournment. Cassette recordings made in the 1980s were played back to Maurice in which his voice is noticeably brisker. One of these recordings includes Maurice talking to Fritz Fend, designer of the Messerschmitt bubble car. 2010 saw the demise of Malcolm McLaren who I knew in the 1970s through his shop on the Kings Road and two programmes were devoted to him and his music. I conducted interviews with artists George Barber, Andrew Greaves, Denise Hawrysio, poet Lawrence Upton and Felicity Sparrow (talking about Ian Breakwell); eminent avant-garde filmmaker Peter Gidal; Dave Critchley and Peter Todd on artist-run gallery Butlers Wharf; filmmaker John Smith in the studio with student curators of his show at the Royal College of Art; iPhone Apps Ensemble with founder Tania Chen; Clive Graham on Max Eastley; experimental Chinese Music, Rodney Graham and Klaus Beyer singing The Beatles out of tune and in German. William English

.2

Significant difficulties

Do you wish this section to be kept confidential? No There were two notable difficulties this year. The first concerned the departure from the station of regular broadcaster Max Tundra following a rude and misguided comment on Twitter by content manager Richard Thomas. An apology on the part of the CEO and Board did nothing to defuse the outcome of this regrettable action, which compounded a series of otherwise minor and easily rectified administrative blunders. This state of affairs led to some public discussion, the bulk of it damaging to the station. A decision was taken at Board level to monitor and control on-line commentary in order to protect the reputation of both the station and its many valued volunteers. The second was the cut in our Arts Council England grant. In common with every other regularly funded organisation, Resonance had an 8 per cent cut to its grant, which created financial problems for us. The necessity to spend a considerable amount of time on an entirely new grant application to ACE in December 2010 meant that other pressing fundraising initiatives had to take a back seat. This resulted in awkward cashflow problems in early 2011 and beyond.

.3

Audience research

Please provide a summary of any audience research/ data you have collected during the year. We were unable to undertake any meaningful or useful audience research this year. Anecdotally, a continued increase in audience numbers was suggested by much on-line activity in the form of downloads of programmes and numberless email enquiries.

Note: for financial information, please consult our annual Audit available via Companies House, Company number 1557490 (London Musicians' Collective Limited).