A century of the BBC, a “quasimystical” part of England’s psyche

The British Broadcasting Corp., the BBC — the Beeb — turns 100 this year. “Hullo, hullo, 2LO calling, 2LO calling,” a few thousand listeners heard through the hissing ether at 6 p. m. on Nov. 14, 1922. “This is the British Broadcasting Company. 2LO. Stand by for one minute please!” What followed were short news and weather bulletins, read twice, the second time slowly so that listeners could take notes.

David Hendy, in his thorough and engaging new book, “The BBC: A Century on Air,” writes that you can’t understand England without understanding the BBC. It occupies, he says, “a quasi- mystical place in the national psyche.” It’s just there, like the white cliffs of Dover.

The BBC sparked to life in the wake of World War I. Its founders included wounded veterans, and they were idealists. Civilization was in tatters; they hoped, through a new medium, to forge a common culture by giving listeners not necessarily what they wanted, but what they needed, to hear.

The audience was fed a fibrous diet of plays and concerts and talks and lectures; sports included Derby Day and Wimbledon. Announcers wore dinner jackets as well as their plummy accents, “as a courtesy to the live performers with whom they would be consorting.” Catching the chimes of Big Ben before the evening news became a ritual for millions.

The BBC gained a reputation for being a bit snooty, and soporific. One complaint can stand for many: “People do not want three hours of [ expletive] ‘ King Lear’ in verse when they get out of a 10- hour day in the [ expletive] coal- pits, and [ expletive] anybody who tries to tell them that they do.”

The BBC took it from both sides. To mandarins like Virginia Woolf, it was irredeemably middlebrow; she referred to it as the “Betwixt and Between Company.” The BBC loosened up over time and took increasing account of workingclass and minority audiences, and of audiences who simply wanted to laugh.

The broadcaster was created by a Royal Charter; it has never been governmentrun, yet it must answer to government. Hendy recounts attempts to limit its editorial independence. Winston Churchill and Margaret Thatcher were especially vocal critics: They felt there was something a bit pinko about the whole enterprise.

The BBC’S scrupulous reporting during World War II gave it lasting prestige across the world. It largely lived up to the motto of R. T. Clark, its senior news editor: to tell “the truth and nothing but the truth, even if the truth is horrible.”

During wartime, the company occasionally broadcast from a safer perch. When announcers intoned “This is London,” with British phlegm, they were often in a countryside manor. The London headquarters took a direct hit from a bomb in October 1940; the reader of the evening news “paused for a split second to blow the plaster and soot off the script in front of him before carrying on with the rest of the bulletin.” Seven people were killed in the attack. After the war, the BBC’S foreign services became a prop to the Commonwealth, the new euphemism for “empire.”

One of this book’s best set pieces is of the BBC’S wall- to- wall televised coverage of Queen Elizabeth II’S coronation in 1953. One reporter referred to it as “C- Day.” This sort of thing had never been on TV before. The hard part, Hendy writes, was “persuading royal officials that mere subjects had a right to witness the ceremony in the first place.”

Over time the BBC’S tentacles grew longer and more varied: Clusters of radio and television stations catered to different demographics. Competitors crept in.

The satire boom of the postwar era arrived, led by “The Goon Show,” which ran from 1951 to 1960. There were TV dramas from iconic talents like Ken Loach and Dennis Potter. The BBC began to take critic Clive James’ advice: “Anemic high art is less worth having than low art with guts.”

Language battles fought at the company are never dull to read about. For decades, “bloody” could be used only rarely and “bugger” not at all. One internal stylebook, Hendy writes, “included a ban on jokes about lavatories or ‘ effeminacy in men’ as well as any ‘ suggestive references’ to subjects such as ‘ Honeymoon Couples, Chambermaids, Fig leaves, Prostitution, Ladies’ underwear, e. g. winter draws on, Animal habits, e. g. rabbits,

Lodgers, Commercial travelers.”

The eclectic and influential disc jockey John Peel was brought in; so, alas, was the cigar- chomping comic Jimmy Savile, the zany- uncle host of shows like “Top of the Pops,” who was found after his death in 2011 to have molested dozens if not hundreds of children across five decades. An inquiry found that the BBC did not do nearly enough to stop him.

The BBC’S nature documentaries were pathbreaking, and big hits. Hendy walks us through how, under David Attenborough, these things got made. They take years, enormous staffs and a global network of freelancers willing to sit out in the cold and rain to get the money shots.

The right has retained its distrust of the BBC, including up- to- date complaints about wokeness; it would like to see it become smaller and more “distinctive,” in the manner of PBS and NPR. These American stations have had nothing like the BBC’S cultural impact — though Greg Jackson, in his story collection “Prodigals,” was correct to refer to Terry

Gross as the “Catcher in the WHYY.”

Hendy can be critical of the company, but at heart he’s a fan. He reports that across any given week, more than 91% of British households use one BBC service or another. He cites academic surveys showing that the broadcaster’s news output is, if anything, tilted slightly to the right.

The BBC can still be snoozy. I’m not the only person I know who, at least before Vladimir Putin rattled the world’s cage, listened to the BBC World Service app because it’s an aural sleeping pill.