© Who's Listening

HOW TO USE THIS ONLINE GUIDE...

Visitors will discover that Who’s Listening – The Online Guide to Doctor Who Tapezines is divided into four distinct sections, which the authors have designated Side A, B, C and D in a little homage to the audio cassette:

Side A: Introduction comprises opening announcements, this Head Alignment page, along with a handy timeline of notable dates relating to the publication of Doctor Who tapezines.

Side B: Inspirations is the hors d’oeuvres, where we explore the two forerunner fan audio documentary projects that weren’t exactly tapezines but certainly proved influential.

Side C: Tapezines A-Z is the main course, where we focus on each individual tapezine, one at a time. These chapters are presented alphabetically for ease of access, though please be warned that this has a slight downside in that some tapezine producers were responsible over the years for more than one title, and in some cases their later titles appear before their first! Very Steven Moffat! Those visitors wishing to view the tapezine entries chronologically are able to do so from the Timeline page.

In the Side B and Side C sections, each entry is split up into as many as six sub-sections under the following tape-friendly headings:

• Playback – basic details and behind-the-scenes stories
• Rewind and Replay – notable content highlighted
• Feedback – contemporary reviews of the tapezines
• Fast Forward – what tapezine personnel went on to do
• Recording Report – the Who's Listening writers' opinions
• Tape Guide - an issue-by-issue, item-by-item contents guide

These sub-sections are each accessible via the Quick Bookmarks at the top of each page in the section. Or you can scroll down the page - whichever takes your fancy!

Please note that not all tapezine entries feature all six of these sub-sections, and this can be a result of a number of factors. It may be that, for instance, it has so far proved impossible to contact the people who produced specific tapezines, or that the tapezines themselves are lost or in some other way elusive, or perhaps that no contemporary reviews can be found. In some cases, the tapes are missing, the people behind them are untraceable, and there were no listener responses recorded at the time – a perfect storm – and in those instances the authors report to the best of their abilities.

Alan Hayes and Nick Goodman