When it first began in its modern form in 2005, Radiolab wasn't quite like anything else in the radio landscape. 

Highly produced and full of intricate soundscapes, Radiolab was more like a series of films than a regular broadcast radio show - something hit home by the fact that the program only produced (and still only produces) about 10 or so full length episodes a year. 

But even though when it was first being distributed there weren't even programming slots on most stations that would lend themselves to such a periodically produced show, through its captivating explorations of science  and philosophy, Radiolab quickly managed to carve itself out a space on stations across the country and a sizeable legion of fans to go along with it. In fact within a couple of years, not only had Radiolab found a place for itself in the radio landscape, arguably it had helped to usher in a new golden age of the form. 

More than any other program in recent memory Radiolab showed what could be achieved with the medium of radio, and encouraged others to try to push the envelope of using sound in the service of storytelling. It inspired an entire generation of up-and-coming radio producers to take creative risks and experiment. 

As Ira Glass put it in a glowing letter of appreciation, Radiolab “invented a new aesthetic for the medium.” And the program has been hailed everywhere from The New York Times to The Guardian  for its thought-provoking pieces, unique sound, and overall approach to storytelling. 

Part of what makes Radiolab so unique is that it uses sound in a way that is oddly visually evocative.  Whether it's to give you a sense for how a homing pigeon navigates and 'sees' the world, or the interplay between firing neutrons, the program paints a picture in the mind of listeners in a way that no other show seems capable of. It stitches together voices, interviews, commentary, effects, and music in a way that seems effortless while at the same time highly refined. 

But what most sets Radiolab apart for me is not its innovative sound design, but rather its sense of imagination and ability to deal with big questions of philosophy, life and science in a manner that is relatable, and in a way almost visceral. It walks the line between being both serious and playful, incredulous and earnest. It merges multiple worlds, makes connections, and zooms in and out from the tiny to the universal. With Radiolab one moment you might be contemplating the life of an ant, and the next peering over the edge of space trying to conceive of the infinite. The result is that as the listener you're often left in a state of wonder, and contemplative ambiguity about the large mysterious world around you by the end of the program. 

Today, almost 10 years since it emerged on the scene, Radiolab is of the most downloaded podcasts in the world and is broadcast on more than 450 NPR member stations across the country.  

I had the chance to speak with Jad at WNYC about the birth of the show, his life growing up in relatively undiverse Tennessee as an Arab child, and the bumpy unpredictable ride  (with ample servings of self-doubt and failures along the way) he took to end up as one of the most inventive minds in modern radio. 

Listen to our interview with Jad Abumrad below, and To hear more of our conversations with the voices of radio, subscribe to the Radiowaves podcast in iTunes. 

This is our first episode of Radiowaves and since admittedly it is a meta concept to have a radio show based on interviewing the voices of radio, we thought what better way than to start off the podcast than by speaking to a  radio figure who themselves hosts a meta show? So for our very first episode we spoke to Brooke Gladstone, the co-host of WNYC’s On The Media - or in other words, the media show that examines the media.

In a media world that can often feel absurd, if not downright manipulative On The Media offers up a refreshingly clear-eyed perspective, unraveling the biases and oddities of the we news we consume from main stream outlets. It critiques the prevailing media narratives, analyzes trends in the wider landscape (say if a particular turn of phrase is cropping up with increasing frequency), and isn’t afraid to dig in and point out the  contradictions in how issues are framed from the treatment of the Edward Snowden leaks to the on-going tensions in Ferguson.

In a way I like to think of On The Media as The Daily Show meets NPR's Fresh Air because somehow it manages to be irreverent, insightful, serious and witty all at once.

So much of the show's characteristic wit and style owes itself to Brooke Gladstone who not only co-hosts OTM with Bob Garflied but serves as the programs managing director. And that style must be working, because since she and Bob came to the show in 2000 and helped to redesign and relaunch it, On The Media has grown to be carried on over 300 public radio stations across the country.  

As they say themselves, “In an age of information overload, On The Media helps you dig your way out." In our interview, we speak to Brooke about her unlikely path into journalism, the beginnings of her time with On The Media, and discuss her thoughts on some of the main problems and pitfalls with how the news is covered today.  

Listen to our interview with Brooke Gladstone below, and to hear more interviews with your favourite public radio personalities,  remember to subscribe to our podcast in iTunes.