This book, first published in 2000, examines the BBC's attempts to manipulate critical and public responses to contemporary music between 1922 and 1936.

Funktechnik, Radiotechnik ; Fernsehtechnik, Bildübertragungstechnik ; Grossbritannien und Nordirland ; Geschichte ; Radiobetrieb, Radiorundspruch ; Fernsehbetrieb, Eurovision.

Part of a five-volume history of the rise and development of broadcasting in the United Kingdom.

This book provides a narrative history of the BBC Radio Variety Department exploring, along chronological lines, the workings of, tensions within and the impact of BBC policies on the programme-making department which generated the organisation’s largest audiences. It provides an insight into key events, personalities, programmes, internal politics and trends in popular entertainment, censorship and anti-American policy as they individually or collectively affected the Department. Martin Dibbs examines how the Department's programmes became markers in the daily and weekly lives of millions of listeners, and helped shape the nation's listening habits when radio was the dominant source of domestic entertainment. The book explores events and topics which, while not directly forming part of the Variety Department’s history, nevertheless intersected with or had an impact on it. Such topics include the BBC’s attitude to jazz and rock and roll, the arrival of television with its impact on radio, the pirate radio stations, and the Popular Music and Gramophone Departments, both of whom worked closely with the Variety Department.

First published 1975. Covers the period, 1927-1939, from the BBC's establishment as a public corporation, to the outbreak of war

Part of a five-volume history of the rise and development of broadcasting in the United Kingdom.

Behind the Wireless tells the story of women at the BBC in the 1920s and 30s. Broadcasting was brand new in Britain and the BBC developed without many of the overt discriminatory practices commonplace at the time. Women were employed at all levels, except the very top, for instance as secretaries, documentary makers, advertising representatives, and librarians. Three women held Director level posts, Hilda Matheson (Director of Talks), Mary Somerville (Director of School Broadcasting), and Isa Benzie (Foreign Director). Women also produced the programmes aimed at female listeners and brought women broadcasters to the microphone. There was an ethos of equality and the chance to rise through the ranks from accounts clerk to accompanist. But lurking behind the façade of modernity were hidden inequalities in recruitment, pay, and promotion and in 1932 a marriage bar was introduced. Kate Murphy examines how and why the interwar BBC created new opportunities for women.