"BEDTIME MUSIC?"

Evening Post, Volume CXXX, Issue 129, 27 November 1940, Page 6

"BEDTIME MUSIC?"

do the Editor.)

Sir,—This is a cry of despair! Why must the last few hours of the day, when most people wish for quiet, be disturbed by harsh and horrible noises from our large, expensive network of radio transmitters. If we must have jazz, and one must assume that some must revel in its disharmony, might one venture to suggest that it be, at all .events, good jazz, and that it. be perpetrated at an hour when other stations are available —better still, have special stations (there appear to be several surplus ones without any particular reason for their existence). It might further be suggested that it be kept for times when listeners are not standing by for the news. It is remarkable that anything so new as radio bi'oadcasting should become the victim of tradition, but that is the only explanation of its acceptance of the idea that at 10 p.m. sharp the intelligent part of its audience (1) goes to bed, (2) becomes mentally mhinged, (3^ gets drunk, or (4) clears the room of furniture, rolls up the carpet, and abandons itself to a wild orgy of dancing In sober fact, the vast majority does none of these things—it just feels tired and would like a little melodious music before going to bed. On one occasion, at least, the authorities sent out a questionnaire. One doubts whether they learnt much from the answers and I venture to suggest that they should ask listeners: (1) The items they hate most, in order of aversion, and (2) the times when such items are most objectionable. I understand there is a large "fan mail" at studios and it is possible programmes are ixifluenced that way. One wonders if it is realised that the section of the public to which radio is a welcome relaxation for odd moments of leisure rather than an active hobby just does not write letters on the subject. With "jazz" I would like to bracket the vocal efforts of that pestilence the "crooner." and if there is anything worse than the sickly sentiment of his words, it is the dirge-like sound of his voice and the childish ci*udit« «f his rhymes. Ono does not need to be a highbrow to feel this way and I believe that public attention to the matter will be widely welcomed.—l am, etc.,

HOPEFUL STILL,