Histories of British broadcasting suggest that the BBC monopoly was never seriously challenged until the coming of ITV in 1955. Crossing the Ether counters this view, telling the story of commercial radio's first challenge to the Public Service monopoly between 1930 and 1939. In the telling, this account provides substantial primary evidence that radio in Britain during the 1930s was a battleground between continental-based stations, run by British and American commercial interests, and the BBC, beset by paternalistic and sabbatarian principles.

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

A "hidden" instrument in the classical music world, the mandolin's repertoire of original music remains largely unknown. This book examines the lives and works of the mandolin's great composers and, together with Sparks's earlier The Early Mandolin (Oxford 1989), provides the firstcomprehensive survey of the instrument's history. The book also explores aspects of technique and looks at present-day orchestras and soloists.

Founded in 1922, the British Broadcasting Corporation is probably the most well-known national radio corporation in the world, but the BBC is just part of the British radio picture. There are 'pirate' radio stations, community radio, commercial radio, and more recently, experimentation and development in the digital arena. All aspects of the 85 years of UK radio, from issues of regulation to the role played by commercial operators prior to World War II, are covered in this new book by SeOn Street. The A to Z of British Radio relates the history of this medium through a chronology, an introductory essay, a bibliography, and several hundred cross-referenced dictionary entries on the BBC and other companies, many of the specific stations, the more memorable programs and those who wrote for or appeared on them, and the administrative and technical aspects. This quick reference tool's structure and ease of navigation will have scholars, students, radio industry professionals, journalists, and critics turning to it again and again.

The story of British radio begins long before the birth of the British Broadcasting Company (BBC) in 1922. This book aims to tell this story through its component parts: the makers, the programs, and the policies that together shaped the development of a system of broadcasting, grounded initially in a public service ethic, and subsequently struggling toward an, at times, uneasy balance of public and commercial radio. The last ten years of UK radio history have contained more drama, change and development than in all its previous history. This second edition of Historical Dictionary of British Radio covers its history through a chronology, an introductory essay, and an extensive bibliography. The dictionary section has over 800 cross-referenced entries on issues, characters, movements and policies that have shaped radio in the United Kingdom. This book is an excellent access point for students, researchers, and anyone wanting to know more about British Radio.

A Best Book of the Year at The New Yorker and The Telegraph “Amusing and assertive . . . [Christiansen’s] delight is infectious.” —Alexandra Jacobs, The New York Times Book Review Rupert Christiansen, a renowned dance critic and arts correspondent, presents a sweeping history of the Ballets Russes and of Serge Diaghilev’s dream of bringing Russian art and culture to the West. Serge Diaghilev, the Russian impresario and founder of the Ballets Russes, is often said to have invented modern ballet. An art critic and connoisseur, Diaghilev had no training in dance or choreography, but he had a dream of bringing Russian art, music, design, and expression to the West and a mission to drive a cultural and artistic revolution. Bringing together such legendary talents as Vaslav Nijinsky, Anna Pavlova, Igor Stravinsky, Pablo Picasso, and Henri Matisse, this complex and visionary genius created a new form of ballet defined by artistic integrity, creative freedom, and an all-encompassing experience of art, movement, and music. The explosive color combinations, sensual and androgynous choreography, and experimental sounds of the Ballets Russes were called “barbaric” by the Parisian press, but its radical style usurped the entrenched mores of traditional ballet and transformed the European cultural sphere at large. Diaghilev’s Empire, the publication of which marks the one hundred fiftieth anniversary of Diaghilev’s birth, is a daring, impeccably researched reassessment of the phenomenon of the Ballets Russes and the Russian Revolution in twentieth-century art and culture. Rupert Christiansen, a leading dance critic, explores the fiery conflicts, outsize personalities, and extraordinary artistic innovations that make up this enduring story of triumph and disaster.