Chimes at Midnight

“By that extraordinary economy of association which only sound produces the boom of Big Ben strikes right into the heart of the exiled Englishman. “ So said a pre-war BBC Empire Service pamphlet explaining why its broadcasts were so evocative for many of its listeners, even those who had never set foot in Britain. Indeed, it was noted that for many years the sounds of Big Ben, evoking both the City of London and parliamentary democracy, as well as marking the passing of British time, was rated top amongst listener preferences for many years. (1)  

The chimes of Big Ben have been heard over the airwaves exactly 100 years ago when they were first broadcast to welcome in 1924.A century later folk will turn on their radios or switch on the telly for the midnight ‘bongs’ no doubt followed by a quick and not entirely tuneful drunken rendition of Auld Lang Syne.

Since that first broadcast the chimes of Big Ben have become part of the radio broadcasting furniture whether marking state or royal events, introducing the news, prefacing the silence on Remembrance Day or ushering in the New Year.

Back in 1923 it fell to BBC engineer A.G. Dryland to arrange for the first broadcast transmitted live from a rooftop opposite the Houses of Parliament, recording the chimes amongst the general noise of Westminster.

Edward Pawley’s definitive guide to BBC engineering in its first fifty years wrote:  

An important first was the inauguration of the long series of broadcasts by Big Ben. This took place at midnight on New Year’s Eve at the end of 1923 and was treated as an OB. It was followed by regular broadcasts twice a day from 9 March 1924. The microphone and amplifier were at first installed on the roof of Bridge Chambers, Bridge Steer, Westminster. The microphone (a Round Sykes) was enclosed in a biscuit tin filled with cotton wool, but was later transferred (still wrapped in cotton wool) to a football bladder sealed with a rubber solution to guard against the inclemency of the weather and suspended about 15 feet above the bells. 

By 1926 a permanent Marconi-Reisz microphone was installed in the Clock Tower and by the mid-50s they were using STC4035 mics.

Dryland spoke about that first broadcast in the 1936 programme Scrapbook for 1924. That and other audio clips featuring or about Big Ben are included in this short montage.

By the time the Empire Service launched in December 1932 the chimes were heard around the world for the first time and on Christmas Day that year they rang out at 3 pm just before the first live speech from King George V.  

When the first non-English language service, the Arabic service, started on 3 January 1938 the first news bulletin was read after the Big Ben chimes. The worldwide broadcasts of Big Ben became an important feature of the Empire Service (later the General Overseas Service, now the World Service). In the 1946 BBC Year Book a Colonial Governor wrote:

'It was in helping us to overcome this sense of isolation that the broadcasts from home became so valued. Perhaps the biggest thrill we got every day was hearing Big Ben strike. It carried us right back home, right into the centre of things; and yet at the same time brought an almost unbearable nostalgia’

The quarter hour and half hour chimes continued to be heard during the day on the World Service as part of the general continuity as different transmitters switched in and out of the English Service until about 20 years ago. (I’m guessing here, if you know when please contact me).  The BBC's Japanese Service also used to start its broadcasts with the chimes of Big Ben.

For many years the complete bongs preceded the Home Service 9pm news, in what was known as the ‘Big Ben Minute’. But when the main evening news at was moved to 10pm in September 1960 only the first stroke of the hour was heard before being faded out. This practice continues for Radio 4’s 6pm news and midnight news (they were re-introduced instead of the pips around June 1981).  The Big Ben chimes at 10 pm were dropped in April 1970, apart from weekends, when The World Tonight was launched.

In the 1970s you could also hear Big Ben at the start of the days broadcasting on Radios 1 and 2 at either 5.30 or 6.00. This practice ended when Radio 2 moved to 24 hours a day in January 1979. The bells were also heard on Sunday mornings on Radio 3, who obviously liked a lie-in at the weekend, when programmes started at 8 am.   

Until a couple of months ago for just over six years (from August 2017), apart from some special events and New Year’s Eve, the broadcasting of Big Ben was from recordings whilst the Elizabeth Tower and the clock mechanism was repaired and refurbished at a cost of £80 million. The chimes were back in action over a year ago (from November 2022), indeed I heard them in January when I was in London taking the photographs for this post. But it wasn’t until Radio 4’s Six O’Clock News on 6 November this year that live broadcasts returned. The delay was partially to allow the mechanism to ‘bed in’ and also to allow for the installation of four new microphones.

Evan Davis spoke to Parliamentary Clockmaker Ian Westworth about the restoration for Radio 4’s PM programme. 

In 2013 to mark the 90^th anniversary of that first broadcast, poet Ian McMillan wrote seven poems for the BBC Radio 4 Extra series Big Ben’s Chimes. The seven programmes, each running at 3 minutes, interspersed McMillan’s words with music and archive recordings. I’ve stitched them together for this omnibus version. The programme producer is Moy McGowan.

Tonight, at midnight, BBC Radio 3 will broadcast an edition of Slow Radio devoted to The Clock. It promises an “hypnotic audio journey, as we tumble inside the delicate mechanism of the clock”.  

 

Notes:

The seven episodes of Big Ben’s Chimes are titled: Maintaining Big Ben, Big Ben Seizes Up, Big Ben as an Icon of Britain, Big Ben as Beating Heart, Big Ben - Good News, New Year in War Time and First Broadcast. 

In this post I have referred to the ‘chimes of Big Ben’ but of course strictly speaking Big Ben is the name of the large 13.7 tonne bell that provides the ‘bongs’ in the note of E. There are the quarter bells varying in weight from 1.1 to 4 tonnes that provide G sharp, F sharp, E and B notes which are set are set to the following lines: “All through this hour, Lord be my Guide. And by thy power, no foot shall slide”

UK Parliamentary blog on Broadcasting Big Ben

BBC Archive page on Big Ben

Broadcasting the Barricades

A little over eighty five years ago, on 30 October 1938, America was in a state of panic. Folk were taking to the highways and driving off into the hills, there were frantic calls to the police and to friends and family, people were taking shelter in their nearest church or arming themselves with shotguns. The cause, a radio broadcast with the breaking news of a Martian invasion, or at least some kind of invasion. Maybe it was the Germans?

Of course we know that most of this did not actually happen. The panic following the broadcast of Orson Welles’s Mercury Theatre Production of The War of the Worlds was mainly stoked by the press, unimpressed and unamused by the hype generated by the radio opposition.     

War of the Worlds succeeded due its blurring of fact and fiction and by deploying the grammar of radio broadcasting of the time, ‘we interrupt this program’, portentous bulletins, on the spot reports and so on.

But what US radio listeners wouldn’t have known at the time was that such a spoof broadcast was not a new idea. It had been heard on the BBC some twelve years earlier in a ‘talk’ given by a Catholic priest, the Revered Ronald Knox (pictured above). This talk, titled Broadcasting the Barricades, caused a great deal of public consternation and stirred up a press frenzy though it didn’t quite lead to “panic on the streets of London, panic on the streets of Birmingham.”

There’s no suggestion that Knox’s talk directly inspired Welles and co. but in subsequent interviews he did acknowledge that he knew of its reputation. The BBC broadcast had been reported in the US newspapers at the time with one writing that “we are safe from such jesting”.   

Knox was something of a polymath; his sermons had been published, he wrote about Catholic doctrine, published verse and satirical volumes as well as both writing detective fiction – his first The Viaduct Murder came out in 1925 – and writing about detective fiction – he was a member of the Detection Club and devised his ‘Ten Commandments of Detective Fiction’.    

The idea for what became Broadcasting the Barricades apparently came to Knox during the last election (presumably the General Election of October 1924) as he tried to imagine the news bulletins that might be broadcast during a revolution. This was at a time when the threat of a ‘red revolution’ would have seemed real to many listeners. The Communist Party of Great Britain had not long been formed and with labour troubles already rumbling and the ill-advised 1925 Gold Standard Act the political situation seemed febrile.   

The broadcast, running for 17 minutes in total, was made live at 7.40 pm on Saturday 16 January 1926 from the George Street studios of the BBC’s Edinburgh relay station (call sign 2EH). 2EH broadcast locally produced programmes as well as carrying SBs (simultaneous broadcasts) from London. Knox’s talk was unusual in that it was an SB from Edinburgh heard on a number of other stations, most significantly 2LO in London. It wasn’t, though, broadcast nationwide as 2ZY Manchester, 5IT Birmingham, 2BD Aberdeen and 2LS Leeds did their own thing.  

David Pat Walker (in The BBC in Scotland) describes the programme:

The broadcast had been arranged by Edinburgh’s Station Director George L. Marshall, who had met Knox on more than one occasion and knew of his reputation as an author and humorist. Officially described as a ‘Talk’ it was in fact a lengthy spoof news bulletin, complete with effects, reporting an imaginary communist rising in London.   

At the beginning of the programme some sixth sense made George L. Marshall warn his audience that it wasn’t to be taken seriously but he under-estimated the listeners’ unshakable belief in everything they heard. As grave and utterly unexpected tidings flowed out of headphones and loudspeakers throughout Britain a state of alarm bearing on consternation swept across the country. The National Gallery was in flames. Big Ben had been demolished by trench mortars. A communist revolution was exploding in London and the mass forces of the unemployed had plundered the Savoy Hotel and set it on fire. Finally, as the programme ended, there was a report that ‘unruly members of the crowd are now approaching the British Broadcasting Company’s London station with a threatening demeanour.’

Listeners up and down the country sprang to their telephones, convinced that London had been laid waste. The Savoy Hotel was bombarded with calls from the excited relations of guests while the Irish Free State made enquiries through diplomatic channels to discover whether it was true that the House of Commons had been blown up. Later that evening the BBC issued an apology, ‘the BBC regrets that any listener should have been perturbed by this purely fantastic picture.’

Knox himself thought his broadcast so far-fetched that no one would believe it was real. Unlike War of the Worlds, Broadcasting the Barricades, was a one-man affair with only live effects punctuating the story. His characters added to the satirical nature of his theme: Sir Theophilus Gooch, a film actress Miss Joy Gush, Mr Wotherspoon the Minister of Traffic and a Mr Popplebury, the Secretary of the National Movement for Abolishing Theatre Queues.

Some passages were, however, quite dark: “the BBC regrets that one item in the news has been inaccurately given; the correction now follows. It was stated in our news bulletin that the Minister of Traffic had been hanged from a lamp post in the Vauxhall Bridge Road. Subsequent and more accurate reports show that it was not a lamp post, but a tramway post that was used for the purpose.”   

Meanwhile, down in London announcer Stuart Hibberd was working that evening:

I was on duty at Savoy Hill and, as Knox was speaking from Edinburgh, I did not listen at the beginning, but soon so many phone calls from apprehensive listeners were coming through that I had to listen. Obviously the whole thing was a spoof; you only had to listen to sentences like ‘the mob are now swarming into Hyde park and throwing ginger beer bottles at the ducks on the Serpentine’ to realise this; after all, it was night, and bitterly cold, with ice and snow everywhere in the London area. But still the telephone calls came in, and we had to put out a reassuring announcement at the end. Sometime later that evening a call was put through to me from a commercial traveller, who told me that he had only just got home after a very long day. He found the wireless switched on, both his wife and his sister-in-law, who was staying with them, drunk in the sitting room, and his best bottle of brandy empty under the table. ‘What are you going to do about it?’ he inquired.

Twenty minutes after the live broadcast Knox and Marshall were having supper at the Caledonian Hotel when a call was put through from BBC managing director John Reith saying that staff at Savoy Hill had been annoyed by anxious inquiries. On Monday Reith asked for a full transcript by telegram. Marshall despatched office boy Tony Cogle to the post office to telegraph the script to London. It was, he later recalled, the most expensive wire he could remember having sent. In the meantime Knox had by now travelled over to Dublin where he was due to speak and so missed most of the fallout that hit the press on the Monday.

Despite the initial furore there was no official rebuke for Knox; he continued to broadcast through to the 1950s. Indeed at a programme review board the following month the talk had been picked out as one of the ‘outstanding items’ broadcast in January and even Reith himself was pleased with it as it showed that people were listening. The press attention, he concluded, only served to increase the number of public appreciations. Anyway not too long after Broadcasting the Barricades the BBC had far more important issues on its plate with the General Strike.    

The influence of Broadcasting the Barricades didn’t just extend to War of the Worlds. The following year, on 30 June 1927, Australian station 5CL based in Adelaide broadcast what was billed as a Special Broadcast. It too used the device of interrupting a music programme for a news announcement and then special effects to dramatise a supposed invasion. Inevitably the station, the police and the local newspapers were inundated with calls despite the frequent on-air reminders that it was ‘merely a play’,  

In June 2005 Raymond Snoddy looked at Knox’s broadcast and the fallout from it in the BBC Radio 4 documentary The Riot that Never Was. Recreating parts of the original broadcast was Bob Sinfield as Ronald Knox. It was produced by Paul Slade and Nick Baker for Testbed Productions.  

The full text of Broadcasting the Barricades can be found in Essays in Satire by Ronald Knox available on the Internet Archive

You can read more about Father Ronald Knox and the 1926 broadcast on the Planetslade website.

Along the Petticoat Line

On a BBC Radio 4 Extra all request weekend in August they unearthed an edition of Petticoat Line, the first time one had been broadcast in nearly half a century. Now largely forgotten it was an all-woman panel programme at a time when most programmes were male-dominated and any panel show often included a ‘token’ woman.

 In style it sounded like a more light-hearted version of The Brains Trust or even Any Questions?  mixed with an agony column of the air. Remarkably it ran for 11 years – I know this because I see I edited its Wikipedia entry to that effect – but what I hadn’t appreciated is that it clocked up just over 250 editions. So what on earth was it all about?

The germ of the idea came from Anona Winn (pictured above) who wanted to call it The Ombudswomen. Listeners would write in with their problems and she, acting as the chairperson, would get advice from a panel of women.

At the time - this was the mid-sixties – Anona was best known to listeners as one of the panellists on the long-running Twenty Questions that had started on the Home Service in 1947. (1) Born in Sydney in 1904 – and the first of many Australian connections in this post - she had trained as a singer and actress and appeared in musicals, revues and panto as well as making early broadcasts on station 6WF. Anona left for London in 1926 and she made her first BBC radio broadcasts in 1928 and even appeared on some early Baird television transmissions in 1933 and 1934. By the time she joined Twenty Questions Anona had already made hundreds of broadcasts, written songs and plays, appeared on stage and in films, cut dozens of gramophone records (the discs described her as ‘The Celebrated Broadcasting Artiste’) and achieved that ultimate distinction of being featured on collectable cigarette cards. 

Helping Anona thrash out the format of the new show was ace quiz deviser Ian Messiter, now best known for coming up with the idea for Just a Minute. Ian had previously worked for the BBC before resigning and trying his luck out in South Africa at Springbok Radio. Returning to London he worked for the advertising agency Mather & Crowther before going back to the BBC. He was still making the occasional commercial when he met up with Anona Winn and it was an advert being filmed at the T.V.A. studios in Wardour Street that led to Renee Houston being drafted into the new show. Renee was filming an advert for Flash, a few years before fellow Scottish actress Molly Weir got the gig, when Ian bumped into her. According to Ian he thought that Renee “had few inhibitions” and that “being clever too, she was just the solid earth anchor woman needed to help tame the ingenious Anona Winn”. He also saw how Renee “not lady-like”, “talkative” but “had compassion” would be an ideal foil to Anona, “lady-like but talked too much” and convinced her to join the panel show. The other panellists would be changed weekly.

Renee Houston had been touring the music halls since the 1920s together with her sister Billie as the Houston Sisters, ‘The Irresistibles’. She’d gone solo in the mid-30s performing songs and comedy routines and appeared on BBC radio’s Music Hall billed as ‘Half-singer, half-wit’.  She continued to appear on radio variety shows and early television shows throughout the 1940s by which time she’d formed a new stage partnership with Donald Stewart – ‘variety’s sweethearts’ - who would become her third husband. She was in demand as a film and tv actress in the 1950s and 60s, including three Carry On films, before joining the Petticoat Line.   

Developing the programme format further it was agreed that the show should be slightly anti-men. This allowed them to drop the title The Ombudswomen and go for Petticoat Line. (2) The programme opened with a humorous question followed by a slightly more serious one. The middle question would “rouse passions” and be something like ‘should we bring back hanging?’ or ‘is fox hunting cruel?’. The next question would bring light-hearted advice from the team and then they’d end with a silly question such as ‘is it right that my husband likes to take a rubber duck into the bath with him?’

The pilot got the green light from Head of Light Entertainment Roy Rich and Bobby Jaye was assigned as the producer. At the recording for the pilot Rich advised the panel not to talk over each other, not to interrupt and, looking at Renee Houston, to “watch your language.”  During the recording Renee interrupted, talked over people and said bloody a few times. But Rich relented: “I gave you the wrong steer. You were right, you’re the joker, you’re the wild card. Keep it that way”. Even so Ian Messiter admits that eventually they had to ration Renee to three bloodies per show. Having said that based on the evidence of the recordings below she doesn’t swear once.      

Radio Times billing for the 1st show

The first edition of Petticoat Line went out on the Home Service on 6 January 1965. Alongside Renee Houston the panel consisted of agony aunt Marjorie Proops, actress Jill Adams and a young Jane Asher (just 18 at the time of the recording).

For an introductory Radio Times article producer Bobby Jaye asked Anona Winn to explain the programme’s format. And remember here that this was two years before the creation in the UK of the Parliamentary Ombudsman.

An Ombudsman is a Scandinavian chap who listens to citizens’ grievances and grumbles and tries to put things right. The Petticoat Line will be four women discussing the grievances women have against men and the complaints that men make about women – with me in the chair to see fair play for both sides, we hope! They may be satisfied or enraged, but at least these sex-war problems will get an airing. Some will end in a laugh, while others will remain as a big headache for ever. 

This first recording of Petticoat Line comes from the 6^th series broadcast on BBC Radio 4 on 11 November 1969. Joining Anona and Renee are Sheila van Damm, Margaret Powell and Judy Innes. Van Damm, daughter of Vivian van Damm owner of the infamous Windmill Theatre, came to acclaim due to her motor rallying exploits in the 1950s. Margaret Powell had come into the public eye following the publication of her memoir Below Stairs recounting her time in domestic service which supposedly inspired Upstairs, Downstairs. Judy Innes was a journalist for the Daily Mail.  

Anona Winn, ever the grand dame of panel shows, would insist on the stage lighting being just so, presumably for the benefit of the studio audience rather than those at home. “She need not have bothered,” exclaimed Terry Wogan who chaired the World Service version of Animal, Vegetable or Mineral?. “We recorded ...in the Playhouse Theatre on the river near Charing Cross, and the front two rows were usually made up of Lascars, brought in out of the cold by the Seaman’s Mission”.  

The second recording comes from the penultimate 11^th series broadcast on Radio 4 on 26 February 1975. On the panel are Marjorie Anderson, presenter of Woman’s Hour, comedienne and actress Beryl Reid and writer Janet Hitchman.

Petticoat Line did not shy away from difficult subjects, listen to the discussion on adoption in the second programme, but there’s a sense in which the often homespun philosophy often espoused by Renee Houston wins out. Note how, in the first programme, the team are quick to blame ‘the young’, an obvious and perennial group at which to point a wagging finger, as the lack of a Christmas Day broadcast from the Queen (we now know this was the Queen’s own decision). Judy Innes, the relative youngster on the panel, though she’d be 32 at the time of recording, is in the minority here.

The discussion on foreign aid is fascinating – and still pertinent today - with Margaret Powell arguing that payment was justified as Britain had milked many of the countries at their expense, Anona Winn’s reply as to the benefits of Britain’s colonial past is telling.

Over its run Petticoat Line featured 200 panellists many of whom were actresses and journalists. Occasionally a politician would be asked on, Margaret Thatcher and Barbara Castle for example. If the panel seemed be slanted towards middle-aged women of a ‘certain age’ they did try to tip the age balance with the likes of Jane Asher, Joan Bakewell, Erin Pizzey or Anthea Askey.   

Radio Times billing for 4 October 1972

The panel may have been all-female but the producers were always male. The first producer, Bobby Jaye, would go on to head up the radio Light Entertainment department. Next was John Cassels, at the time producing Roundabout for the Light Programme whose other credits would include Twenty Questions and the early series of I’m Sorry I Haven’t a Clue. Looking after production from 1969 to 1973 was Chris Serle, later better known as one of Esther’s boys on That’s Life! He was also producing Radio 2’s Late Night Extra and would also work again with Ian Messiter on the Radio 4 panel game Right or Wrong. In the last three years production duties fell to Alastair Scott Johnson, mostly associated with The Navy Lark, Trafford Whitelock and John Bridges.  

Despite the long runs of each series Petticoat Line was not universally praised. According to David Hendy in Life on Four it “sounded more like a showcase of arch 1950s-style femininity. Winn’s faithful following among older listeners protected the programme from the Controller’s axe since, as (Tony) Whitby put it, he would be hanged ‘from the lampposts of Bond Street’ if she was removed. That did not stop others in Broadcasting House from damning the programme as ‘unendurable’, and its contributors as ‘female dinosaurs’ who belonged not to the last generation, but to the generation before the last’.”

Radio producer David Hatch recalls a visit to the Playhouse Theatre: “It was an amazing sight – Renee Houston on the left, Anona in the chair, all of them in hats. And an audience in the Playhouse of probably 500! All in hats! You know it was a wonderful sight!”

Radio Times billing for the 1st edition 28 September 1968

In 1968 Radio 4 sought to give the men a chance to reply to Petticoat Line in a series called Be Reasonable! Yes, for some reason it was thought that the chaps hadn’t been offered much of a voice so they could get to discuss the same issues as the women. In effect it was an attempt to resurrect the We Beg to Differ format (see below).

Be Reasonable! would pick up on the exact same questions that had been posed to the women and would include a clip of at least one response from Petticoat Line before chairman Michael Smee would offer it over to the men to discuss. So on one edition we get the topics of women cleaning up after men, whether money is best spent on art rather than housing or charity and why are women coy about giving their age. The regular panellist was Humphrey Lyttelton, who on the first edition was joined by Radio 1 DJ David Symonds, Colonel Sammy Lohan (the former ‘bowler-hatted, moustachioed civil servant’ who in the sixties had headed the Government D notice committee) and John Taylor (not sure which John Taylor this is, perhaps the composer?).

Radio listeners in the sixties may have been thinking that they’d heard all this ‘Battle of the Sexes’ type stuff before, and they’d have been right. We Beg to Differ, which had aired during the 1950s (and was resurrected in 1966), was billed as “a lively discussion on subjects which the sexes may disagree with.” Devised by producer Pat Dixon from an idea by actress Charmian Innes it pitted the likes of Kay Hammond, Joyce Grenfell, Gladys Young and Innes herself against actor John Clements (married to Hammond) and Charles Hill ‘The Radio Doctor’ but who was soon replaced by the harrumphing Gilbert Harding. Keeping the peace was chairman Roy Plomley. (3)

We Beg to Differ itself was, according to Gale Pedrick writing for the Radio Times, a kind of Brains Trust with a difference. The format was not too dissimilar to that later adopted for the comedy panel show Does the Team Think?, indeed questions on We Beg to Differ were often posed as “does the team think that.....?” The revived 1966 series played down the men vs women aspect and was just a general talking shop.         

How to Manage Men 31 July 1958

How To Manage Men was a short-lived series broadcast in 1958/59 described by Denis Gifford as a “pioneering feminist series”. Yet again the initial premise came from an actress, or in this case two Australian actresses, Gwen Plumb and Thelma Scott. Both enjoyed acting success in later Aussie soaps, Gwen in Young Doctors and Thelma in Number 96. Producer C.F. ‘Mike’ Meehan, veteran of such programmes as In Town Tonight and Twenty Questions, described How To Manage Men for the Radio Times:  ‘It gives women who have a grievance against men – husband, fiancé or office boss – the opportunity to sit at home without fear of detection, and hear a panel of experienced women offer advice as to how to deal with the offending male’.

The chairperson was actress Jacqueline Mackenzie (4) who read out the problem letters and summed up the ensuing discussion. Each week a different male guest was in attendance ‘to defend his sex, support the male viewpoint and, if he possibly can, try to convince the panel how very wrong they are about the wickedness of men’.  

The panel consisted of three actress/singers Frances Day, Diana Decker and Vanessa Lee plus that panel show regular Charmian Innes. Other panellists were Diana Graves and Helen Bailey. Representing the men were the likes of Kenneth Horne, Bill Owen, Gerard Hoffnung and Peter Haigh.

(1) It finally ended on Radio 4 in 1976 with Anona still on the panel

(2) Ian Messiter doesn’t explain where the title comes from exactly but you suspect they were unaware of the Regency slang ‘in the petticoat line’ which referred to associating with women of easy virtue

(3) Playing ‘Comedy Connections’ for a moment Plomley would go onto work with Ian Messiter again as chair for One Minute Please, the forerunner to Just a Minute and the panel game Many a Slip. Charmian Innes would appear on about 30 editions of Petticoat Line and was a panellist on earlier editions of Just a Minute and on We Beg to Differ. 

(4) Jacqueline Mackenzie was later, under the name Jackie Forster, ‘a trailblazing gay rights activist’. See article by Marc Saul on the Television Heaven website. There’s also a further Australian connection which may explain Jacqueline’s involvement with the show. Earlier that year (1958) she co-starred in the BBC tv comedy Trouble for Two alongside Australian singer and actress Lorrae Desmond. She also shared the writing credits with Johnny Whyte who would later emigrate to Australia and was a scriptwriter on Number 96.  

Petticoat Line series details

The most frequently appearing panellists were:  Sheila Van Damm, Charmian Innes, Bettine le Beau, Juno Alexander and Isobel Barnett

Series 1 to 3 broadcast on Home Service, all others on Radio 4. Number of episodes in brackets.

Series 1: 6.1.65 to 31.3.65 (13)

Series 2: 7.10.65 to 31.12.65 (13)

Series 3: 6.10.66 to 29.12.66  (13)

Series 4: 2.10.67 to 25.36.68 (26)

Series 5: 24.9368 to 1.4.69 (28)

Series 6: 9.9.67 to 3.3.70 (26)

Series 7: 7.10.70 to 31.3.71 (26)

Series 8: 29.9.71 to 22.3.72 (26)

Series 9: 4.10.72 to 28.3.73 (26)

Series 10: 3.10.73 to 27.3.74 (26)

Series 11: 9.10.74 to 2.4.75 (26)

Series 12: 29.10.75 to 21.1.76 (13)

Theme music: Fluter’s Holiday by Bert Kaempfert and his Orchestra.

The full list of panellists in order of appearance are: Renee Houston, Marjorie Proops, Jill  Adams, Jane Asher, Dee Wells, Francesca Annis, Sheila Van Damm, Anneke  Wills, Maureen  Cleave, Molly  Weir, Melanie  Franklin, Serena  Sinclair, Lucy  Bartlett, Ethel  Revnell, Nan  Winton, Shirley  Summerskill, Beryl  Reid, Brenda  Bruce, Florence  Desmond, Carol  Binstead, Cathy McGowan, Joy Adamson, Heather  Jenner, Norma  Ronald, Louise  Dunn, Judy  Fallon, Virginia Lewis, Sheila Hancock, Jill Browne, Mary Stocks, Romany Bain, Charmian Innes, Susan Messier, Fanny Craddock, Debbie Bowen, Margaret  Powell, Joan Turner, Elisabeth Welch, Isobel Barnett, Libby Morris, Barbara Blake, Katie Boyle, Dilys Watling, Sheila Scott, Anne  Edwards, Unity Hall, Frankie McGowan, Janette Rowsell, Ann Meo, Anne  Summer, Mary Pemberton, Bettine Le Beau, Miriam Karlin, Pamela Townsend, Vivienne Nixon, Eleanor Summerfield, June  Murphy, Irene Thomas, Valerie Ann Fisher, Joan Bakewell, Rita Merkelis, Winnifred Ewing, Deirdre Costello, Danae Brook, Avril Angers, Dee Annan, Ann Nightingale, Beverley Philpotts, Teddie Beverley, Juno Alexander, Jill Fletcher, Barbara Kelly, Diana Dors, Judy Innes, Edwina Coven, Joy Nichols, Katherine Whitehorn, Beverley Walker, Rose Shaw, Mary Kenny, Irene Ward, Aida Young, Drusilla Beyfus, Kay Nash, Sarah Stocks, Jacqueline Mackenzie, Sally Beauman, Margaret Thatcher, Andree Melly, Anthea Askey, Jane Hascom, Anne Shelton, Julia Clements, Lady Dartmouth, Anne Corfield, Hy Hazell, Roberta Rex, Nina Francis, Jenny Russell, Hilary Bamford, Ginette Spanier, Mary Griffiths, Ailey Wands Worster, Molly Kenyon Jones, Olga Franklin, Anna Coote, Bunty James, Barbara Castle, Janet Hitchman, Baroness Masham, Patricia Laffan, Anne Suter, Eileen Fowler, Joyce Lyon, Doreen Stephens, Jean Rook, Nemone Lethbridge, Josephine Douglas, Rosemary Palmer, Evelyn Home, Denise Bryer, Elsie Waters, Doris Waters, Dame Marie Rambert, Beryl Te Wiata, Joan Hall, Jane Lehrer, Hephzibah Menuhin, Nancy Wise, Sylvia Anderson, Renny Lister, Barbara Cartland, Jill Knight, Alice Hemming, Ann Holloway, Yvonne Zackerwich, Maxine Audley, Gwen Grant, Val  Hudson, Caroline Coon, Mary Whitehouse, Molly Parkin, Pamela Manson, Hilda Angus-Whiting, Polly Elwes, Gwenda Goldman, Rachel Heyhoe, Esther Vilar, Jonquil Antony, Katherine Hadley, Linda Blanford, Barbara Mullen, Joan Vickers, Renee Short, Zena Skinner, Ninette Mongador, Adrienne Corri, Beryl Grey, Patricia Melly, Diana Cooper, Peggy Cochrane, June Whitfield, Trixie Gardner, Christian Howard, Dr Christine Pickard, Louisa Service, Elizabeth Taylor, Kathleen J. Smith, Nan Kenway, Shirley Becke, Ena Twigg, Peggy Mount, Jean Marsh, Anita Lonsbrough, Betty Knightly, Ann Burdess, Jeanne Heal, Betty Marsden, Marika Hanbury-Tenison, Freddie Bloom, Elaine Stritch, Dame Eva Turner, Anetta Hoffnung, Claudia Flanders, Gabrielle Sherston-Baker, Erin Pizzey, Aimi MacDonald, Jean Kent, Myrtle Simpson, Nikki Archer, Elspeth Rhys-Williams, Elizabeth Chater, Marjorie Anderson, Trudi van Doorn, Carrie Leonard, Pat Jacob, Susan Reynolds, Gretta Gouriet, Doris Hare and Anne  Valery

Be Reasonable! series details

Broadcast Saturdays (repeat on Tuesdays) for 28 weeks: 28 September 1968 to 29 March 1969 on Radio 4

Chaired by Michael Smee.

Panellists: Humphrey Lyttelton (appeared in 23 editions), David Symonds (11 editions), Peter Clayton, Col Sammy Lohan, Godfrey Winn, John Taylor, Tony Bilbow, Lord Arran, John Jensen, Barry Took, Tim Brinton, Stuart Henry, Terence Alexander, Cyril Fletcher, Bernard Braden, Alan Pegler, Leslie Crowther, Denny Piercy, David Franklin, Danny Blanchflower, Tony Brandon, Wolf Mankowitz, Donald Zec, Jonathan Lynn, Jon Petwee, Nick Clarke, Kingsley Amis, Brian Matthew, Ian Wallace, The Dean of St Paul’s, Ronnie Fletcher, John Ebdon, Bernard Spear, Val Guest and Milton Shulman.

Theme music: A jazzed up version of Ordinary Man from My Fair Lady by Helmut Zacharias and his Orchestra.    

We Beg to Differ series details

All programmes on the Home Service

Series 1: 23.9.49 to 10.3.50

Series 2: 20.10.50 to 6.2.51

Series 3: 3.4.51 to 31.7.51

Christmas Special: 25.12.51

Series 4: 21.1.52 to 14.4.52

New Year Special: 31.12.52

Christmas Special: 24.12.53

Series 5: 28.12.53 to 8.2.54

Series 6: 6.1.66 to 31.3.66 chaired by Kenneth Horne with Michael Denison & Dulcie Gray, John Boulting and Juliet Harmer

Series 7: 7.4.66 to 30.6.66 chaired by Michael Smee with Bernard Braden & Barbara Kelly, Charmian Innes, Steve Race and Bernard Levin.

How to Manage Men

Series 1 broadcast on the Light Programme, series 2 on the Home Service

Series 1: 31.7.58 to 25.9.58 (9)

The male guests were (in order): Kenneth Horne, Peter Haigh, Gerard Hoffnung, John Paddy Carstairs, Stephen Grenfell, Godfrey Harrison, Tony van der Burgh, John Ellison and Bill Owen.

Series 2: 23.12.58 and 8.1.59 (2)

Chaired by Eleanor Summerfield with the panel of Frances Day, Helen Bailey, Diana Graves and Charmian Innes with male guest Bill Owen

LBC – Where News Comes First

This Sunday commercial radio will mark its 50^th anniversary on the day that LBC launched in London, with Capital Radio coming along eight days later.

Courtesy of Joseph McTaggart here are some signed LBC presenter photo cards dating from the late 1980s (based on the logo) plus this mid-80s card featuring Brian Hayes. 

Brian moved from Capital, where he’d been producing Capital Open Line and their General election coverage, in 1976 to host LBC’s mid-morning phone-in. He left for BBC Radio 2 in 1990 but was back on London News Talk in 1994.  

In the 1970s Douglas Cameron’s voice was one of the most recognised and most frequently heard across the ILR stations reading the morning IRN bulletins. Cameron had moved to IRN from Radio 4’s Today programme in 1974. Mainly associated with breakfast shows, including the AM Programme with Bob Holness, but from 1996 on drive and then lunchtime before retiring in 2003.  

In 8 October 2013 Douglas Cameron made a one-off return to read the 8am news during Nick Ferrari’s show.

Clive Bull is the only broadcaster in this card collection still on LBC after over 30 years. Clive will be on air this anniversary weekend at 1am.

After previous radio work at Clyde and Radio 2 Steve Jones joined LBC in the late 80s.

Therese Birch was with LBC from the mid-70s initially presenting Jellybone for younger listeners. She was on London News Radio and the revived LBC in 1996.  

After a long radio career at Radio Luxembourg and BBC Radio 2 Pete Murray joined LBC in 1984, continuing to appear on the station until 2002.   

Henry Kelly had two stints at LBC either side of his time at Classic FM (1992-2003).

Mike Allen joined LBC from Capital in 1987. Left in 1994 and was later on Talk Radio and Talk Sport. Died in 2015.

Sue Jameson joined LBC from Radio City. She was LBC’s Arts Editor and heard on LBC Reports. Moscow correspondent for LBC 1989-96 before joining ITV at GMTV, later Daybreak and GMB.

Staying with ILR, from 1992 comes this interview with John Whitney about how he co-founded the Local Radio Association and became the first MD of Capital Radio. John is talking to Sunday Times radio critic Paul Donovan for the Radio 2 Arts Programme on 2 February 1992.

This Sunday Boom Radio will be celebrating the anniversary with some voices from the early days of ILR: Dave Jamieson, Phil Fothergill, Dave Marshall, Michael Aspel and Graham Dene, Les Ross, John Peters, Mike Read, Roger Day, Susie Mathis, Len Groat, John Rosborough, Keith Skues, Gillian Reynolds and Bill Bingham.    

100 Years of Radio Times (Part 2)

 

This week the UK’s oldest listings magazine celebrates its centenary. The Radio Times –‘the official organ of the BBC’ – hit the newsstands on 28 September 1923 listing the programmes for the radio stations in London, Birmingham, Manchester, Cardiff, Newcastle and Glasgow. 

The centenary issue – which now carries listings for 86 TV channels and 63 radio stations -  includes an article looking at significant events or personalities in the last century linked to some of the more memorable Radio Times covers. Here are Melvyn Bragg on the birth of television, Dan Snow on WWII, Jonathan Dimbleby on the Coronation, David Hepworth on The Beatles, Professor Brain Cox on moon landings, Angela Rippon on Eric & Ernie, Tony Jordan on the shared experience of watching TV, David Dimbleby on the 97 General Election, Mike Gunton on The Blue Planet, Seb Coe on the 2012 Olympics and Simon Schama on the Covid pandemic.   

Following the disagreement with the Newspaper Proprietors’ Association of the printing of radio schedules (see previous post) Reith and the BBC were determined to take matters into their own hands. In May 2023 the Board of the BBC minuted that “it was resolved that the General Manager make the appointment of an individual to deal with propaganda publicity and the production of a magazine. ”

John Reith sought a deal with a publisher on the basis of a share of profits and a minimum annual sum guaranteed to the BBC. That deal was with George Newnes Ltd who already published Tit-Bits and it was that magazine’s editor, Leonard Croscombe, who became the first editor of the Radio Times. More accurately he was the first joint editor as an article recently added to the Radio Times Archive website notes the BBC also made their own internal appointment for editor in the person of Herbert Parker.   

Croscombe’s grandson, journalist and broadcaster Justin Webb, writes about him There’s also a nod to the magazine’s colourful third editor, “songwriter, spy, Hollywood screenwriter and more” Eric Maschwitz in an article by Paul Hayes (aka Radio Norfolk’s Questmaster).

Finally Caroline Frost recounts how the Radio Times stills proves indispensible to the National Grid, the police and continuity announcers.   

100 Years of Radio Times (Part 1)

The Radio Times was “launched in a fit of pique”. So says Joe Moran writing for the listing magazine’s 90^th anniversary edition. This week the Radio Times celebrates a full century on the nation’s newsstands. In this post I am dipping into the magazine’s history to look how it marked its 90^th.

In his article Moran continues: “In January 1923, the Newspaper Proprietors’ Association announced that it would be charging the three-month old British Broadcasting Company the standard advertising rates for publishing its radio listings in newspapers. Although the newspapers capitulated the following month, realising that not including broadcasting schedules would affect their circulations, the BBC’s general manager, John Reith, was irritated by their attitude and it gave him an idea.  On 10 September he wrote in his diary: ‘Everything is now in shape for a BBC magazine, and from various alternatives I chose Radio Times for the title.’”

From the 28 September 2013 edition here’s a look at some classic Radio Times covers over the decades.

I’ve written about the Radio Times before back in 2013 considering my own archive of back issues and looking at the first issue in The Bradshaw of Broadcasting.

In the next post a look at some of the pages of the centenary edition.