Nottingham Calling

Bridlesmith Gate lies at the heart of Nottingham's fashionable quarter.  

Jack Wills nestles near to Diesel; Flannels close to Ted Baker; and Paul Smith's quaint original shop lives on just a stone's throw away.

Number 4 Bridlesmith Gate stands towards the St. Peters' Gate end of this now pedestrianised street, squeezed between a tea shop and the Body Shop.  The attractive stone 1876 premises were once a pub, with the original landlord's initials carved into the stone; the Dog & Bear was later to attract a rowdy reputation.  

Part of this Grade II listed building also came to house Nottingham's first ever radio station, 5NG, provided by the new British Broadcasting Company. 

Its studio stretched out about 18' x 35', equipped with a large, lonely microphone. A second microphone was reserved for outside broadcasts; and a gramophone was on-hand for the playing of records.

The B.B.C.'s hasty initial strategy comprised the assembly of a network of local stations, with Nottingham being added to the map as the sixteenth outfit on a damp Tuesday September 16th, 1924. The 5NG signal was transmitted from an aerial dangling from a chimney on Noel Street.

Nottingham Evening Post 1924

20.00 The Band.

21.20:Opening Speeches.

Mr. J. C. W. Reith (Managing Director B.B.C.).

21.30:Speeches by:

The MAYOR. 

The SHERIFF.
The PRINCIPAL of UNIVERSITY COLLEGE. „
9.50. The Bend. S.B. to ""
Folk Song Suite Stations.
. Vaughan- Williams (1) (1) March, " Seventeen
- Comp Sunday"; (2) "My
Bonny Boy" ; (3) Folk Song from Somerset.

22.00:WEATHER FORECAST and NEWS.

Simultaneous broadcast from London.
Local News.

22.15:Organ Solo.

22.20:The Band.

22.30:Close down.

The launch was an ambitious affair, heralded by a live outside broadcast from the Albert Hall with the RAF band providing an opening segue.  Accordingly, for the record, Wagner's 'Flying Dutchman' Overture was the first tune to be played on radio in Nottingham.  Such was local enthusiasm, attendance exceeded the 1600 capacity and some unfortunate souls were left out in the rain enjoying a relay from loudspeakers at the Arboretum, kindly sponsored by Pearsons of Long Row.  

As the applause subsided, the B.B.C.'s inexperienced MD, John Reith, uttered a few encouraging words; followed by the Mayor and the Sheriff doing much the same thing.  After another burst of music, the switches were flicked and the citizens of Sneinton, Sherwood and Southwell witnessed their first late news from London crackling down the line. Those network bulletins were a relatively new affair: until the year before, content had been dictated by telephone from the London station to its patient little sisters across the country.

The station had been established as the fifth in a series of low-power relays around the UK, with 5NG supporting the larger 2ZY in Manchester from which it was fed via a telephone circuit.  The relays operated at 200 W,  compared to 1.5 kW for the main stations, together claiming to reach 75% coverage of the UK population; more than the first tranche of commercial radio (ILR) in the 70s; and about the same as the proposed second national DAB multiplex from Sound Digital.

5NG transmitted variously on wavelengths of 322m, 326m or 275.2m medium wave, as the Post Office mandarins pulled out their hair trying to make sense of the growing enthusiasm for broadcast spectrum here and overseas.

There was a proportion of evening local programming too, amounting to 2,782 hours in the first year. The jaunty 'Children's Corner', was a popular element, affording a stage for a host of local 'aunties' and 'uncles'. Auntie Ruby was in charge, who, by day, was Ruby Barlow, a solicitor's wife with theatrical leanings. Laurie Bagshaw was also much-loved by the 5NG team and  listeners alike.  Known for having 'racy friends', few knew how he actually earned a living, but he appeared to have sufficient free time to help manage the whole affair.

"The cumulative effect of this work has been to identify very closely the Nottingham Station with the life of the people. Nowhere has this been more apparent than with the work carried on in the Children's Hour. Nottingham has been singularly fortunate in those whose lot it has been to bring joy and happiness into so many homes. Day after day, year in, year out, the younger generation have been able to listen to songs, tales and jokes, a form of entertainment to which many of them had been strangers hitherto."  (BBC Yearbook 1928)

Lest older brethren felt excluded, the schedule also dutifully featured 'corners' for others, including "Scouts' Corner" and "Teens' Corner".

Local press engaged fully, with no hint of paranoia about the fledgling medium. In a regular '5NG attractions' column, one sub-heading read 'Some Good Programmes Next Week', beneath which the Nottingham Evening Post trumpeted a special local concert on-air featuring 'entertainer Stainless Steven'.
Outside broadcasts included the first ever radio coverage of the opening of Goose Fair on 1st October 1925; and the King opening the new University buildings on July 10th 1928, after which the City's Mayor became a Lord Mayor for the first time. Much excitement ensued when annual gatherings of 5NG's 'Radio Circle' were beamed from the old Exchange Hall.

A Mapperley lad made his debut on 5NG at the age of 12: Cyril Stapleton, who became a well-known violinist and bandleader, eventually playing with Henry Hall, the LSO and even on some Frank Sinatra tracks. As a schoolboy on 5NG, he broadcast in scholars' concerts "Master Cyril Stapleton (solo violin)".

Home made crystal sets were painstakingly assembled with long makeshift aerials to receive the signals from near and afar. The Nottingham Evening Post kept listeners abreast; and a radio column called "Wireless Whispers" was duly introduced. 5NG reception reports came in not just from Nottingham but also Loughborough, Lincoln, Leicester and Derby. Listeners were even tempted to invest in an expensive valve set, costing as much as 7 pounds.

  

The B.B.C. 1928 yearbook  proudly reports:

"It is three years since the Nottingham Relay Station was first opened, and from that date began a revolution in the artistic life of the city. So much a part of the life of the community has Broadcasting 'now become that it is difficult to imagine its absence.  In these three years more than 40,000 licences have been taken out in the Nottingham area, which has as many and perhaps more listeners per thousand of the population than any other centre of the B.B.C. activities. How has this been achieved?" 

Mr C Wheeler at the 5NG control desk in 1928

"Nottingham is not renowned as a musical town, and yet musical artists of all kinds have offered their services for Broadcasting. The encouragement given to promising artists has been no small factor in building up the popularity of the Station. In addition to routine concert work, a number of popular community singing concerts have also been given from which local charities have benefited. Outside Broadcasts of events of civic importance have been a regular feature of the programmes." 

"Broadcasting has come to stay. The B.B.C. has set up a standard in Nottingham which must never be lowered in any way. Radio is quite as much a part of the daily life of the people as the newspapers, a position which must be kept and consolidated".

Life was not to be so simple. As technology advanced, 5XX on Long Wave, eventually from Daventry, took over; and 5GB supplied a Medium Wave service to the Midlands. National and regional radio had begun. 5NG was no longer needed.  The function of a relay station had become defunct; and its serendipitous emergence as a commmunity service was disregarded.

In the words of the understandably grumpy new Lord Mayor (Alderman Huntsman): "With all due respect to the authorities in this matter, I think they have overlooked the regional importance of a great centre like Nottingham. The connection between Nottingham and Birmingham is very weak.There is little association or mutual interest between the two great cities". (Nottingham Evening Post)

The pleas went unheeded. It was decreed that networked programmes should replace local ones.  Nottingham listeners were placated by assurances that their local talent would enjoy a bigger audience from  the regional transmitters; and that programme quality would be higher.  

Plus ça change, plus c'est la même chose. 

Uncle Laurie and Auntie Ruby promptly defected to Birmingham; and 5NG turned off its valves on 31st October 1928 – after just four years. It was to be four decades before local broadcasting returned to Nottingham.


More radio nostalgia - and a very personal take - in my book Radio Moments - Fifty years of radio, life on the inside 

Radio Secrets - An insider's guide to presenting and producing powerful content for broadcast and podcast

Muttering darkly over muffins

O

Sheila Borrett was said to be the first women  'announcer' on UK radio.  Despite the BBC's enthusiasm, the Radio Times was cautious when announcing her arrival in 1933.  It suggested that retired colonels might "mutter darkly over their muffins".

The predictions of unrest were correct and thousands of letters were received criticising poor Sheila.  Mainly from women.  After three months, she was moved on from the role; and one can but imagine the probation conversation with HR in those distant non-PC days.

80 years on, it's high time the topic was indeed back on the agenda; and Tony Hall is to be congratulated on doing rather more than floating an encouraging remark.

Thankfully, men and women are different.  As the best-selling book suggests, 'Men are from Mars and Women are from Venus'. They each have, in general terms, a different way of looking at the World around them; and they communicate in different ways. 

In the magnificent 'Watching the English' book by anthropologist, Kate Fox, she observes that women communicate in a group as one melee. When they assemble socially, they may all readily speak at once and enjoy a simultaneous conversation.  Men tend to shout through the gaps.  Kate's female focus groups lamented too that men are not good at gossip. It was suggested the guys miss out the crucial 'he said/she said' attribution; and use a 'flat unemotional manner'.

I muse that when son or daughter calls home, they chat to dad about 'what they're doing' and to mum about 'how they're feeling'.  Research suggests that male-to-male phone conversations last 4.6 minutes, versus a 7.1 minute average for a women to women call*.  Women can talk incessantly about a range of topics.  Men often resort to sport, jokes, work; or the pub argument.  The latter is safe territory and it frequently bores me stupid.

Over time, might it be that men on-air have learnt to compensate for the inadequacies of their gender?  They have adopted coping techniques from each other over the generations; and just maybe there are too few female role models for women to adapt similarly with ease.  I can point to a handful of stunning male broadcasters I emulated in my early days; and I borrowed  a skill from each one.  Given the paucity of women on-air, can a fresh women broadcaster draw from the same range of excellent performers with ease?

I have a hunch that on-air, men become the people they'd like to be.  They draw out the most favourable characteristics and amplify them, turning up the sympathy and emotions, and turning down the rough edges.  And succintness, well, that's blokes all over.  Women, being more social animals, are probably themselves on-air, and behave 'normally'.  Whilst 'be yourself' is a useful adage, every broadcaster knows that 'being yourself is not enough; and sounding 'normal' is an art.

Men are often less expressive than women in how they dress and how they animate conversations;  so little is absent when the voice is their only tool.  Women make much use of those additional dimensions, which are stripped away when only the voice remains as the sole communication conduit.

Women have shorter vocal chords and thus, generally, higher voices.  I'm sure you've heard about that mysterious bit of research which suggested that both women and men prefer listening to men on the radio.  I'm equally sure you've never seen a copy.  There is lots of research into recall of, and passion for, various tones of voices, although most data appears to lack the context of radio.  

Some of the earliest 'pop radio women', for example Annie Nightingale, did draw upon deeper tones; and we know that Margaret Thatcher was trainedto lower her voice by a coach from the National Theatre.  We also know that blokes on-air have a hissy fit if someone tampers with the butch settings on their EQ.  

'Deeper voices' may well be found more attractive but many great women on air have rounded, beautifully rich voices; and many successful men on-air have not.  Neither Jonathan Ross nor Chris Evans have perfect radio voices, but they've enjoyed a modicum of success.  

It is true, however, that radio listeners like the familiar more than the unfamiliar, and male voices on air have come to be expected.

There are some pretty awful women on the radio; and there are some pretty awful men. Statistically, there are many more awful men than awful women.

Radio 4's 'Today Programme' gender dilemma has been played out publicly. John Humphrys has suggested that when he eventually ceases his dawn harrumphing, his stints will likely be assumed by a woman.  Already, with Mishal Hussain's arrival, the jostling has begun.  

We recall the redoubtable Sue MacGregor and lament the fact that we have yet to hear any other woman on that programme recently with quite her conviction and ability.  Mind you, I could similarly, frankly, draw my own league table of the blokes on the programme too. The weaker links in the male chain, and they surely do exist on that programme, will wrongly attract less scrutiny than the women.

Witness too the wonderful  Anne-Marie Minhall on Classic FM; and, I have to say, there was something endearing about Sarah Kennedy's ramblings.  Jane Garvey has talents to die for.  Gloria Hunniford is sadly lost to radio, but I would cite Vanessa Feltz as being one of the more  interesting characters on-air.  Whilst I would not say I am a huge fan of everything she does, the challenges of her own life have enriched her act.  Her openness and thus seeming vulnerability help a listener feel that they know her.  Caroline Martin at BBC WM also shares that 'flawed' charm; and it's a huge asset for both sexes.  Too rarely do you hear women really being women on the air.  Too many pretend to be men; and that's a shame.

As I write the above paragraph, I smile and think of women I know who despise some of the above-named with surprising venom.  Are women more critical of each other than any man would wish to be?

In commercial radio, there are few  lead women presenters on breakfast shows.  Jo & Twiggy, however, was one such act on Nottingham's Trent (now Capital), which enjoyed huge success and a mantelpiece of awards.   UK radio has shifted from 'performance' to 'real'; and the women on-air now are rightly picked for their story telling and humour rather than just as a giggling sidekick.  Might it be that women have better abilities at bantering  with real people (as a co-host) than as a sad solo presenter just pretending to talk to someone?  If that plays to a strength, then let's not ignore it.

What of the early days?  Lots of male presenters begin their radio lives as anoraks, sitting alone with  their acne in their bedrooms, listening to radio and growing to love it.  They then pursue that hobby with unhealthy energy.  Women strike me as generally less obsessive and altogether more balanced and sensible.  I know few female radio anoraks as sad as I was; although Beccy Adlington would hit me with her rubber swimming hat and remind me that there are successful female obsessives in other fields.

Skillset suggests some women make a "conscious decision to care for their children full-time or enter a different and less demanding industry". I have to say I am utterly in awe of  women I have known in senior positions who have balanced their families with huge responsibilities and jobs which are rarely 9 to 5.  I don't know quite how they do it, but they have proven they do.  In sales and often in newsrooms, there is a decent gender balance; although there is often a paucity round the Board table (17%, suggests Skillset**).  As a bloke unable to talk about football, I can quite see why women might not feel at home.

I don't count the number of audition MP3s and Soundcloud files I get sent each week, but I would hazard a guess that  well over 90% of unsolicited auditions come from lads.  When more high quality auditions are submitted by women, more will be recruited.  And we programmers must not nurture that irrational fear of two successive women on a programme schedule. 

Is it appropriate to engineer a 50% ratio of women on BBC Local Radio breakfast programmes by the end of 2014?  I would question that tactic; although I welcome a strategy. 

Is it correct to aim for a better gender balance and benchmark how the situation evolves over time? Absolutely. 

Mind you, let's remember that this self-op, multi-source, single-header breakfast show is possibly one of the most complex gigs in UK radio, and a challenge for anyone new, regardless of sex.

Listeners want their programmes to be the best they can, whomsoever presents those shows.  I wonder whether target listeners might prefer  BBC local radio to focus its efforts on how old the on-air staff are and how abreast they are of their 50+ audience rather than whether they wear a frock or not.  The BBC's first obligation is to its licence payers.

I would commend the efforts being made by the BBC to identify more female presenters; and to offer training and support to encourage those women to hone their talents.  I only hope the BBC finds within its ranks those with the skill and instinct to help coach in the above areas.  Just maybe that's a time to look outside BBC News, to which Local Radio is strangely assigned,  for those with a real insight into how radio engages if the gender imbalance is to remedy itself genuinely.

*Smoreda & Licoppe (2000) 
** Women in the UK Radio Industry, Skillset 2011