On this date in 1967 BBC Radio 1 came on the air at 6:50 am with Tony Blackburn presenting its first show. I was listening on my faithful trannie. Before then the BBC consisted of three services: the Light Programme (broadcasting light – but not pop – music on both long and medium waves), the Third Programme (really imaginative name for a service that came after the Home and Light Programmes, broadcasting classical music), and the Home Service (heir to the original BBC radio programming of news, commentary, sports, quiz shows, etc.). Those 3 became Radio 2, Radio 3, and Radio 4 respectively, with Radio 2 broadcasting only on long wave, giving up the medium wave space to Radio 1.
Radio 1 was the BBC’s response to pirate radio stations which blossomed in the mid-1960s. The original “pirate” station was Radio Luxembourg It was an important forerunner of pirate radio and modern commercial radio in the United Kingdom. It was an effective way to advertise products by circumventing British legislation which until 1973 gave the BBC a monopoly of radio broadcasting on UK territory and prohibited all forms of advertising over the domestic radio spectrum. It boasted the most powerful privately-owned transmitter in the world (1,300 kW broadcasting on medium wave). In the late 1930s, and again in the 1950s and 1960s, it captured very large audiences in Britain and Ireland with its program of popular entertainment, especially music. I used to listen to Radio Luxembourg most evenings, when the signal was clearest, but they had the annoying habit of cutting off the end of records, presumably for copyright reasons. Alan Freeman was one of the most famous DJs.
During the day I listened to Radio Caroline or Radio London, whichever signal was clearer. I lived to the west of London though, where signals broadcast from offshore were not stellar. I don’t know, and haven’t taken the time to research, why the BBC did not broadcast pop music in the 1960s until they came up with Radio 1. I imagine expense was a significant factor – with stuffiness not far behind. The BBC relied on radio and television licenses plus government funding for its operating budget, and I would think that fees for playing pop music were prohibitive. The pirate stations got round this by being – er – pirates. But there was no getting around the fact that the pirates were immensely popular, and a complete nuisance. The Beeb sucked it up, hired the most popular DJs from the pirates, and went on the air with an all-music format.
The first disc jockey to broadcast on the new station was Tony Blackburn, whose cheery style, first heard on Radio Caroline and Radio London, won him the prime slot on what became known as the “Radio 1 Breakfast Show.” The first words on Radio 1 – after a countdown by the Controller of Radios 1 and 2, Robin Scott, and a jingle, recorded at PAMS in Dallas, Texas, beginning “The voice of Radio 1” – were “… And, good morning everyone. Welcome to the exciting new sound of Radio 1”. This was the first use of US-style jingles on BBC radio, but the style was familiar to listeners who were acquainted with Blackburn and other DJs from their days on pirate radio. The first complete record played on Radio 1 was “Flowers in the Rain” by The Move. The second single was “Massachusetts” by The Bee Gees. The initial rota of staff included John Peel and a gaggle of others, hired from pirates, such as Keith Skues, Ed Stewart, Mike Raven, David Ryder, Jim Fisher, Jimmy Young, Dave Cash, Kenny Everett, Simon Dee, Terry Wogan, Duncan Johnson, Doug Crawford, Tommy Vance, Chris Denning, Emperor Rosko, Pete Murray, and Bob Holness. Many of the most popular pirate radio voices, such as Simon Dee, had only a one-hour slot per week, (“Midday Spin.”)
I confess I listened to Tony Blackburn every morning even though he was thoroughly mainstream and a bit of a twerp. My mum would bring me a cup of tea in my bedroom at half past seven before she headed off to work in London and would turn on my much-prized (gigantic) stereo to Tony Blackburn and I would snooze and listen until I had to get ready for school. That stereo was the talk of my entire school, and I was the only student (or teacher for that matter) who had one. I had worked at a factory during my Easter and summer holidays to buy it. It was an utter scandal. My mates liked it and came around sometimes to listen, but teachers and parents were horrified. “How could that boy throw all that money away on a stereo when he should have put it in the bank?????” Stereos were very rare in those days. Most records were issued in mono (though you could get stereo), and most people had cheap mono record players. I wanted REAL SOUND. Stereo players were very expensive. I’d guess the modern equivalent would be around $10,000 (maybe a bit less). I didn’t care. That stereo brought me years and years of enjoyment, and my mum was still using it until she died (in 2000). I’d say that’s fair bang for your buck. I had no interest in money then, and still don’t. I work to earn what I want (or need), then quit.
John Peel was more a favorite of mine than Tony Blackburn. He played weird stuff that no one else played and his DJ style was legendarily laconic. He had relatively unpopular time slots, such as Sunday afternoons, and I would put him on sometimes when I was doing my homework – not often, because I like to work undisturbed. But sometimes the homework bordered on the mindless and so a distraction was welcome. It was on one such program that I first heard Young Tradition, and a capella group specializing in traditional music. Henceforth, I bought all their records and eventually became close friends with the bass singer Royston Wood (RIP), and later with Heather Wood, and on nodding terms with Pete Bellamy (RIP).
Sadly, or not, I completely lost interest in pop music when I went to Oxford in 1970. The stereo came with me, but I listened only to traditional music on it (except for parties when I dragged out “oldies” (even by then) from Hendrix, Who, et al). Radio 1 was gone and forgotten.
Given the Move were first on Radio 1 it’s easy for me to use one of their songs as inspiration for a recipe. The Move were one of a select group of bands that came along too late to be part of the US’s pop scene “British Invasion” and so they are mostly known only to old gits like me who lived in England in the late 1960s. Blackberry Way was one of their hits – an incredibly forgettable song – so let’s go with blackberries.
I grew blackberries in my garden for many years. They were incredibly prolific and hardy, with massive thorny branches, but luscious fat fruit if you were willing to brave the pricks. Before that I went blackberrying along the hedgerows. They’ve always been a fav. I’m quite happy with a fresh bowl topped with whipped cream, but this gallery will give you some ideas. Blackberry sorbet (or ice cream) is great; blackberries make a nice addition to apple crumble; blackberry and apple Charlotte, blackberry cobbler . . . you’ll figure it out.