As the Second World War raged throughout Europe, modernist writers often became crucial voices in the propaganda efforts of both sides. Modernism at the Microphone: Radio, Propaganda, and Literary Aesthetics During World War II is a comprehensive study of the role modernist writers' radio works played in the propaganda war and the relationship between modernist literary aesthetics and propaganda. Drawing on new archival research, the book covers the broadcast work of such key figures as George Orwell, Orson Welles, Dorothy L. Sayers, Louis MacNeice, Mulk Raj Anand, T.S. Eliot, and P.G. Wodehouse. In addition to the work of Anglo-American modernists, Melissa Dinsman also explores the radio work of exiled German writers, such as Thomas Mann, as well as Ezra Pound's notorious pro-fascist broadcasts. In this way, the book reveals modernism's engagement with new technologies that opened up transnational boundaries under the pressures of war.

"This book engages with key theoretical and analytical issues in the field of media, communication and cultural studies. Using case studies of radio, internet, text messaging and photojournalism, it deploys Bourdieu's ideas to reveal how language in the media is implicated in broader social patterns of "symbolic violence." --

A fascinating collection of revealing and entertaining interviews by the award-winning host of National Public Radio's premier interview program Fresh Air.
Over the last twenty years, Terry Gross has interviewed many of our most celebrated writers, actors, musicians, comics, and visual artists. Her show, Fresh Air with Terry Gross, a weekday magazine of contemporary arts and issues produced by WHYY in Philadelphia, is one of National Public Radio's most popular programs. More than four million people tune in to the show, which is broadcast on over 400 NPR stations across the country.
Gross is known for her thoughtful, probing interviewing style. In her trusted company, even the most reticent guest relaxes and opens up. But Gross doesn't shy away from controversy, and her questions can be tough--too tough, apparently, for Bill O'Reilly, who abruptly terminated his conversation with her. Her interview with Gene Simmons of Kiss, which is included in the book, prompted Entertainment Weekly to name Simmons its male "Crackpot of the Year."
For All I Did Was Ask, Gross has selected more than three dozen of her best interviews--ones of lasting relevance that are as lively on the page as they were on the air. Each is preceded by a personal introduction in which she reveals why a particular guest was on the show and the thinking behind some of her questions. And in an introductory chapter, the normally self-effacing Gross does something you're unlikely ever to hear her do on Fresh Air--she discusses her approach to interviewing, revealing a thing or two about herself in the bargain.
The collection focuses on luminaries from the art and entertainment world, including actors, comedians, writers, visual artists, and musicians, such as:
Conan O'Brien Chris Rock Michael Caine Dennis Hopper Dustin Hoffman Jodie Foster John Updike Mary Karr Mario Puzo Nick Hornby Chuck Close Eric Clapton George Clinton Sonny Rollins Samuel L. Jackson Johnny Cash Isabella Rossellini Divine Uta Hagen Carol Shields

International in scope, this handbook provides an overview of the historical developments and current status of the terrestrial radio industry in some of the largest and most populated countries throughout the world, with insightful and global perspectives by prominent international media scholars and examinations of over 20 countries.

'London Calling Italy offers an expertly researched, thought-provoking analysis of BBC propaganda for Italy during the Second World War, exploring how programmes were put together and what listeners made of them. It will surely become the key work on this topic.' Simon Potter, Professor of Modern History at the University of Bristol London calling Italy is a book about Radio Londra, as the BBC Italian Service was known in Italy, and the company's development as a global leader in the broadcasting industry, starting from the Second World War. Drawing on unexplored archive material collected in Italy and the United Kingdom, it aims to understand how the BBC programmes engaged with ordinary Italians, while concurrently conducting political warfare against fascist Italy. The book also focuses on the relationship between the BBC Italian anti-fascist broadcasters, the British Foreign Office, and Labour Party. Key sources analysed in the book are, among others, the Foreign Office's records, the programmes broadcast by the BBC Italian Service during the Allied campaign, the memoirs of Italian anti-fascist broadcasters, the BBC surveys on the audience and the letters sent by listeners of the Italian Service. -- .

This book is the first full-length history of the BBC World Service: from its interwar launch as short-wave radio broadcasts for the British Empire, to its twenty-first-century incarnation as the multi-media global platform of the British Broadcasting Corporation. The book provides insights into the BBC's working relationship with the Foreign Office, the early years of the Empire Service, and the role of the BBC during the Second World War. In following the voice of the BBC through the Cold War and the contraction of the British empire, the book argues that debates about the work and purposes of the World Service have always involved deliberations about the future of the UK and its place in the world. In current times, these debates have been shaped by the British government's commitment to leave the European Union and the centrifugal currents in British politics which in the longer term threaten the integrity of the United Kingdom. Through a detailed exploration of its past, the book poses questions about the World Service's possible future and argues that, for the BBC, the question is not only what it means to be a global broadcaster as we enter the third decade of the twenty-first century, but what it means to be a national broadcaster in a divided kingdom.

This book examines the history of UK radio from its analogue beginnings to its digital future by highlighting the roles played by the BBC and commercial radio in ensuring the medium's long-term success. Beginning as a mere technological innovation, radio developed into a broadcasting model which has sustained for almost one hundred years. The UK model was defined by a public service broadcaster responsible for maintaining standards of broadcasting, as well as commercial operators-acting illegally and then legally-who have sought to exploit radio's economic potential. This book aims to show how both these entities have contributed to the success of radio in the UK, whether acting competitively or by cooperating in order to ensure radio's survival into the next century. This study will appeal to students of media or anyone with a general interest in the history of radio.

In Breaks in the Air John Klaess tells the story of rap's emergence on New York City's airwaves by examining how artists and broadcasters adapted hip hop's performance culture to radio. Initially, artists and DJs brought their live practice to radio by buying time on low-bandwidth community stations and building new communities around their shows. Later, stations owned by New York's African American elite, such as WBLS, reluctantly began airing rap even as they pursued a sound rooted in respectability, urban sophistication, and polish. At the same time, large commercial stations like WRKS programmed rap once it became clear that the music attracted a demographic that was valuable to advertisers. Moving between intimate portraits of single radio shows and broader examinations of the legal, financial, cultural, and political forces that indelibly shaped the sound of rap radio, Klaess shows how early rap radio provides a lens through which to better understand the development of rap music as well as the intertwined histories of sounds, institutions, communities, and legal formations that converged in the post-Civil Rights era.

Now long out of print, John Dunning's Tune in Yesterday was the definitive one-volume reference on old-time radio broadcasting. Now, in On the Air, Dunning has completely rethought this classic work, reorganizing the material and doubling its coverage, to provide a richer and more informative account of radio's golden age.

Here are some 1,500 radio shows presented in alphabetical order. The great programs of the '30s, '40s, and '50s are all here--Amos 'n' Andy, Fibber McGee and Molly, The Lone Ranger, Major Bowes' Original Amateur Hour, and The March of Time, to name only a few. For each, Dunning provides a complete broadcast history, with the timeslot, the network, and the name of the show's advertisers. He also lists major cast members, announcers, producers, directors, writers, and sound effects people--even the show's theme song. There are also umbrella entries, such as "News Broadcasts," which features an engaging essay on radio news, with capsule biographies of major broadcasters, such as Lowell Thomas and Edward R. Murrow. Equally important, Dunning provides a fascinating account of each program, taking us behind the scenes to capture the feel of the performance, such as the ghastly sounds of Lights Out (a horror drama where heads rolled and bones crunched), and providing engrossing biographies of the main people involved in the show.

A wonderful read for everyone who loves old-time radio, On the Air is a must purchase for all radio hobbyists and anyone interested in 20th-century American history. It is an essential reference work for libraries and radio stations.

This study provides an in-depth exploration of the dramaturgical practices of radio drama and their underlying philosophical assumptions. By presenting an analytical model drawn from phenomenology, it challenges the current understanding of the medium, instead focusing on the bodily and aural aspects of radio drama, while offering a critique of the conventions of dramaturgical practice for neglecting these affective sonic aspects. Tracing these conventions through the history of the development of radio drama, it proposes that a more bodily, resonant mode of radio dramaturgy is best placed to meet the demands of the current era of digital production and distribution. The book also examines a number of approaches to creating a more embodied experience for the listener. -- .

* Thoroughly revised fourth edition of the bible for anyone training to work in audio; * Deals with the rise of podcasts and the impact of digital technology; * Comprehensive and practical coverage of all aspects of audio work: announcing, presenting, producing, legal issues, marketing and the studio environment; * Author has extensive experience as an audio journalist in Australia and overseas, and is well-known as a consultant and educator.

The early years of television relied in part on already successful narratives of another medium, as studios adapted radio programs like Boston Blackie and Defense Attorney to the small screen. Many shows were adapted more than once, like the radio program Blondie, which inspired six television adaptations and 28 theatrical films. These are but a very few of the 1164 programs covered in this volume. Each program entry contains a detailed story line, years of broadcast, performer and character casts and principal production credits where possible. Two appendices ("Almost a Transition" and "Television to Radio") and a performer's index conclude the book. This first-of-its-kind encyclopedia covers many little-known programs that have rarely been discussed in print (e.g., Real George, based on Me and Janie; Volume One, based on Quiet, Please; and Galaxy, based on X Minus One). Covered programs include The Great Gildersleeve, Howdy Doody, My Friend Irma, My Little Margie, Space Patrol and Vic and Sade.

Born out of interviews with the producers of some of the most popular and culturally significant podcasts to date (Welcome to Night Vale, Radiolab, Serial, The Black Tapes, We're Alive, The Heart, The Truth, Lore, Love + Radio, My Dad Wrote a Porno, and others) as well as interviews with executives at some of the most important podcasting institutions and entities (the BBC, Radiotopia, Gimlet Media, Audible.com, Edison Research, Libsyn and others), Podcasting documents a moment of revolutionary change in audio media. The fall of 2014 saw a new iOS from Apple with the first built-in "Podcasts" app, the runaway success of Serial, and podcasting moving out of its geeky ghetto into the cultural mainstream. The creative and cultural dynamism of this moment, which reverberates to this day, is the focus of Podcasting. Using case studies, close analytical listening, quantitative and qualitative analysis, production analysis, as well as audience research, it suggests what podcasting has to contribute to a host of larger media-and-society debates in such fields as: fandom, social media and audience construction; new media and journalistic ethics; intimacy, empathy and media relationships; cultural commitments to narrative and storytelling; the future of new media drama; youth media and the charge of narcissism; and more. Beyond describing what is unique about podcasting among other audio media, this book offers an entry into the new and evolving field of podcasting studies.

Drawing on both academic research and real world practice, this book offers an in-depth investigation into the production of music documentaries broadcast on radio. Music Documentaries for Radio provides a thorough overview of how the genre has developed technically and editorially alongside a discussion of the practical production processes involved. Digital production equipment and online tools used in music documentary production are discussed in detail, outlining how the development of these technologies shapes the output of producers operating in both the public service and the commercial sectors of the industry. Drawing on his own experiences as an award-winning music documentary producer, the author also looks at how the industry views this form of radio documentary and considers how innovation and technical advances, as well as governmental regulation, have shaped the field. The book demonstrates how changing practices and technical innovations have led to the emergence of multi-skilled, freelance radio producers and how previously separate production roles have merged into one convergent, multifaceted position. Music Documentaries for Radio is an ideal resource for students and academics in the fields of radio studies, media production, documentary-making, and journalism studies.

This book examines how radio announcers construct, prepare, and perform their on-air personalities during a time when the radio industry is fighting to stay relevant amid expanding media options. Crider conducted interviews with key on-air personnel at eleven broadcast stations in order to analyze how each individual created a narrative on-air personality, conducted conversations outside of their performance, were affected by the setting and situation, embraced the role of the listening audience, and reduced the social distance between them and listener. Crider argues that the successful deployment of on-air identity across multiple channels (in-person, online, and through social media as well as broadcast) provides assurance that a space for radio will remain despite the expanding number of media options.

Communications between amateur radio (AKA ham radio) operators and citizen band stations have been crowding the world's electromagnetic spectrum since its invention in the early 20th century. Millions of operators formed what could be almost be described as an early internet - projecting their voices, ideas, and humanity around the earth's surface using various techniques and frequencies to bounce their waves around the earth's surface, off of the ionosphere, and even the moon. Any communication network needs a way of identifying individuals. A QSL card is a written confirmation of prior communication between two amateur radio or citizens band stations-postcard sized and mailed between users. Do You Confirm Receipt of My Transmission is derived from the Q code. A Q code message can stand for a statement or a question (when the code is followed by a question mark). In this case, 'QSL?' (note the question mark) means "Do you confirm receipt of my transmission?" while 'QSL' (without a question mark) means "I confirm receipt of your transmission." Just like today's internet avatars, operators had their own style and often projected their personality using their QSL cards. Collecting cards was popular, and a source of pride to operators. Published by Brooklyn-based design imprint, Standards Manual, Do You Confirm Receipt of My Transmission is a visual history of these cards, spanning from approximately 1960-1990. Over 190 cards are included, front and back, with high resolution details. The collection forms a visual history of early global communication - something we now take for granted but was once a marvel. Today, there are over 3 million licensed radio operators worldwide.

Drawing on both academic research and real world practice, this book offers an in-depth investigation into the production of music documentaries broadcast on radio. Music Documentaries for Radio provides a thorough overview of how the genre has developed technically and editorially alongside a discussion of the practical production processes involved. Digital production equipment and online tools used in music documentary production are discussed in detail, outlining how the development of these technologies shapes the output of producers operating in both the public service and the commercial sectors of the industry. Drawing on his own experiences as an award-winning music documentary producer, the author also looks at how the industry views this form of radio documentary and considers how innovation and technical advances, as well as governmental regulation, have shaped the field. The book demonstrates how changing practices and technical innovations have led to the emergence of multi-skilled, freelance radio producers and how previously separate production roles have merged into one convergent, multifaceted position. Music Documentaries for Radio is an ideal resource for students and academics in the fields of radio studies, media production, documentary-making, and journalism studies.

This book reveals the value and significance of pirate radio, with a special focus on local radio stations that broadcast illegally in Poland in the early 90s. It shows that many of them, like in other countries from the region, began as non-commercial, community-oriented initiatives. Several sources of information were used to maximize the potential of the study, especially documents gathered from public institutions, press articles, interviews with radio representatives, and decision-makers who influenced the shape of the broadcasting system. The analysis of these sources supports the conclusion that, although the pirates left a lasting legacy, they lost out in the licensed regime driven by market logic.

This book is a study of contemporary Radio 4 output, covering the entire broadcast day. Radio is largely neglected by media and cultural studies. The small body of existing work on Radio 4 is predominantly historical, focusing on institutional history, or sociological, focusing on contemporary BBC editorial and journalistic practices. Reading Radio 4, by contrast, analyses contemporary Radio 4 programmes entirely from the point of view of today's listener. Individual chapters correspond to all existing Radio 4 timeslots in the entire broadcast day of 19 hours 40 minutes, from 5.20am to 1.00am. The study, while academic in approach, aims to promote an informed and critical appreciation of Radio 4 for all listeners, as well as students of the media.

This book critically analyses the important role of radio in public life in post-apartheid South Africa. As the most widespread and popular form of communication in the country, radio occupies an essential space in the deliberation and the construction of public opinion in South Africa. From just a few state-controlled stations during the apartheid era, there are now more than 100 radio stations, reaching vast swathes of the population and providing an important space for citizens to air their views and take part in significant socio-economic and political issues of the country. The various contributors to this book demonstrate that whilst print and television media often serve elite interests and audiences, the low cost and flexibility of radio has helped it to create a 'common' space for national dialogue and deliberation. The book also investigates the ways in which digital technologies have enhanced the consumption of radio and produced a sense of imagined community for citizens, including those in marginalised communities and rural areas. This book will be of interest to researchers with an interest in media, politics and culture in South Africa specifically, as well as those with an interest in broadcast media more generally.

Called "The Poet Laureate of Radio" by critics, Norman Corwin was the top writer at CBS when CBS reigned supreme in radio, and when radio itself dominated public attention. This biography tells the story of Norman's unlikely rise from a triple-decker tenement on Bremen Street in East Boston to the top rung of radio writers during the Golden Age of Radio. A self-taught writer who never graduated from high school, he learned what audiences craved, and he gave it to them. His nuanced "theater of the mind" dramas, tender love stories, and witty comedies were hits talked about long after they were broadcast, and, when his scripts were published, became bestsellers. The week after Pearl Harbor, Norman's show "We Hold These Truths" was broadcast to the largest radio audience ever. His V-E Day broadcast on May 8, 1945, "On a Note of Triumph," made a similarly enduring mark and still constitutes the gold standard for wartime drama.

When radio broadcasting began in the early 1920s, the radio was a magic box aglow with the future, drawing humanity into a new age. Some thought it would dissolve the distance between time and place, others that human minds would become transparent, one tuned to another. Performers claiming psychic powers turned radio broadcasting into a fabulous money machine. These "mentalists," born from vaudeville, circuses, sideshows, and the Spiritualist and New Thought movements of the mid-late 19th century, used the language of wireless technology to explain their ability to see the past, present, and future. Casting their mystical knowledge as a scientifically honed craft, these mentalists persuaded millions to pay for dubious advice until governmental and public pressures forced them off the air. This book is a history of over 25 performers who practiced their art behind studio microphones during the early years of radio broadcasting, from about 1920 to 1940. Here, laid out for the first time, is the tale of how they made cash rain from the heavens and harnessed the sensation of the radio in search of wealth, health, love, and success.

This book explores the convergence of urban radio with digital media technologies in Africa, focusing on how youth are riding on the rapid (though uneven) internet rollout on the continent to participate and drive the production and consumption of urban radio. With thirteen original chapters, the book sheds new light on the changing landscape of radio in a diverse set of African countries, illustrated with rich case studies from Zimbabwe, South Africa, Eswatini, Nigeria and Kenya. This book covers the following themes: youth agency and cultural power; civic engagement and political participation; youth, identity and belonging; youth cultural expressions as well as the impact of capitalist imperatives on commercial radio programing in Africa. Vibrant and innovative, Converged Radio, Youth and Urbanity in Africa reveals the creation of a new public sphere, through which African youth project their voices and identities, participating in and shaping national discourse.