Hazel Baker hosts journalist and author Rachel Hartigan on the London History Podcast to explore Amelia Earhart’s lesser-known relationship with London in 1928 and 1932, from Toynbee Hall’s settlement-house ideals to Selfridges displaying her plane and outfitting her after transatlantic flights with no spare clothes. Hartigan recounts how Earhart, then a Boston social worker, was recruited to join the 1928 Friendship crossing backed by Amy Phipps Guest, landing in Wales before reaching Southampton, and how London’s receptions—Ascot, Wimbledon, and events with figures like Winston Churchill and Lady Astor—revealed the scale of her sudden celebrity.

The episode discusses media portrayals, her evolving public persona, sources including Earhart’s own dispatches and archives, and what her London visits show about gender, modern fame, and optimism around aviation.

Hazel Baker traces the story of White Conduit House in Barnsbury, Islington, from its origins as a 1431 Henry VI–licensed water conduit supplying Charterhouse to its later life as an affordable, working-class pleasure garden. She explains how Robert Bartholomew’s 1750s improvements and famed hot rolls and butter made it a London destination, noted by Oliver Goldsmith, and how resident organist James Hook began his career there.

In the 1780s the adjacent White Conduit Fields hosted the aristocratic White Conduit Club; disruptions from a public right of way helped prompt Thomas Lord to secure a private ground in Marylebone, leading to the MCC and cricket’s codified laws.

The venue later rebranded with spectacles but declined as urban building and nearby gasworks spoiled the air, and it was demolished in 1849, with fragments remembered in names, gardens, plaques, and a surviving façade.

Hazel Baker hosts a London History Podcast episode with author and Lambeth tour guide David Turnbull exploring the musical legacy of the 1951 Festival of Britain and how, 75 years on, music again anchors South Bank celebrations with Danny Boyle’s “You Are Here.” They discuss the Royal Festival Hall’s symbolic opening night and its British-focused programme, the festival’s nationwide reach through choral competitions, mass singalongs and the HMS Campania tour, and the Arts Council’s opera commissions and controversies, including Alan Bush’s Wat Tyler.

The conversation traces how the festival’s optimism and internationalism helped shape later British sounds, spotlighting calypso’s unofficial anthem by Lord Kitchener, the arrival of the Trinidad All Steel Percussion Orchestra, and popular dance culture at Battersea Pleasure Gardens, alongside details of Turnbull’s limited-time walking tour.