ABSTRACT
This chapter examines the popular BBC radio programme Children’s Choice (1953–1983) and discusses how the paternalistic vision of Director General John Reith was disseminated by recordings of music for children. It looks at how title changes to Children’s Favourites and Junior Choice were matched by changes in the corporation’s ‘family values’ and how these were met by recorded music. By analysing the programme’s playlists and with reference to the BBC’s internal communications, the chapter assesses how Children’s Choice constructed the child as part of a wider age-inclusive demographic, one informed by normalised notions of class, race and educational background. It examines how the recordings broadcast on Children’s Choice were designed to appeal to older listeners and discusses how the substantial crossover between the playlists of Children’s Choice, Housewives’ Choice and Family Favourites reveals the sanguinuptial nature of Reith’s idealised family. A critique of conceptions of ‘the family’ and their centrality to the BBC’s public service ideology informs discussions about how the child’s understanding of profound and complex lyrical themes of death, suicide and sexuality can be mediated through the broadcasting of recordings of music. The chapter discusses how George Martin’s hyperbolic record productions perfectly delivered Reith’s family-focussed agenda while touching on issues of race, class and colonialism. I argue that many of the enduring musical and sonic characteristics of childhood were forged by radio and assert the idiosyncrasies of radio as an instructive and entertaining medium for children.
