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Organiser Margeretta D’Arcy explains: Surveys had shown that most daytime radio listeners are women. If we women listen so much why can we not own and run our own station? It is not as though women do not know how to use complicated technology, being perfectly capable of controlling washing-machines, cookers, micro-ovens, electric irons. What was the taboo against women operating a transmitter? [We] obtained a small transmitter, I put an aerial on my roof, a couple of microphones and a mixer were donated, and I already had a music centre.

For example, North London pirate Lush FM operates as a community-run station and is involved in local anti-gun and violence prevention programmes. Only now there exists licensed alternatives for nonprofessional broadcasters and a sector of broadcasting devoted to ensuring a space for community voices on air. At the same time, internet radio continues to evolve and independent producers are finding more outlets through online distributed networks such as The Public Radio Exchange, Radio 4 All, The Program Exchange, and Pacifica Audio Port.

There was also the appointment of Postmaster General Tony Benn, who opposed commercial radio in any form, be it pirate or licensed (Lewis and Booth 1989). Largely in response to the pirates’ popularity, the BBC underwent major restructuring. Radio 1 was created as a popular music station in 1967 (legendary DJ John Peel, among its first hires, remained with the station until his death in Mysteries of the black box unbound 19 2004) as well as BBC local radio stations. And in 1973, the BBC’s hold on the licensed radio airwaves ended with the creation of Independent Local Radio (ILR), the first commercial radio stations in Britain.

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BC-224A Radio Receiver - Operators Manual (Mil TM)

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