The early eras of radio storytelling have entered and continue to enter the public domain in large quantities, offering unprecedented access to the Golden Age of Radio. Author and Professor John Pavlik mines the best this age of radio has to offer in Masterful Stories, an examination of the masterpieces of audio storytelling. This book provides a chronological history of the best of the best from radio's Golden Age, outlining a core set of principles and techniques that made these radio plays enduring examples of storytelling. It suggests that, by using these techniques, stories can engage audiences emotionally and intellectually. Grounded in a historical and theoretical understanding of radio drama, this volume illuminates the foundational works that proceeded popular modern shows such as Radiolab, The Moth, and Serial. Masterful Stories will be a powerful resource in both media history courses and courses teaching audio storytelling for modern radio and other audio formats, such as podcasting. It will appeal to audio fans looking to learn about and understand the early days of radio drama.

Within seventeen years of the first public broadcast in Britain, the nation again found itself at war. As the Second World War progressed, the BBC eventually realised the potential benefits of public radio and the service became vital in keeping an anxious public informed, upbeat and entertained behind the curtains of millions of blacked-out homes. The Radio Front examines just how the BBC reinvented itself and delivered its carefully controlled propaganda to listeners in the UK and throughout Nazi-occupied Europe. It also reveals the BBC's often-strained relationships with the government, military and public as the organisation sought to influence opinion and safeguard public morale without damaging its growing reputation for objectivity and veracity. Using original source material, historian and author Ron Bateman tracks the BBC's growth during the Second World War from its unorganised and humble beginnings to the development of a huge overseas and European operation, and also evaluates the importance of iconic broadcasts from the likes of J.B. Priestley, Vera Lynn and Tommy Handley.

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.

First Published in 1969. Written in 1950, this book seeks to answer the three questions of how is it that broadcasting in Great Britain came to be organised on a monopolistic basis? What has been the effect of the monopoly on the development of, and policy towards, competitive services such as wire broadcasting and foreign commercial broadcasting intended for listeners in Great Britain ? Finally, what are the views which have been held on the monopoly of broadcasting in Great Britain?

This book explores how community radio contributes to social change. Community radio remains a unique communication platform under digital capitalism, arguably capable of expanding the project of media democratisation. Yet there is a lack of in-depth analysis of community radio experience, and a dearth of understanding of its functionality as an actively transformative tool for greater equity in society. This project combines the theoretical positions of the political economy of communication with a citizen's media perspective in order to interrogate community radio's democratic potential. By presenting case studies of two radio stations in Melbourne and Lospalos, and applying multiple research methods, the book reveals community radio's amplification of media participation, communication rights, counter-hegemony and media power - in effect, its distinct regenerative voice.

The story of British radio begins long before the birth of the British Broadcasting Company (BBC) in 1922. This book aims to tell this story through its component parts: the makers, the programs, and the policies that together shaped the development of a system of broadcasting, grounded initially in a public service ethic, and subsequently struggling toward an, at times, uneasy balance of public and commercial radio. The last ten years of UK radio history have contained more drama, change and development than in all its previous history. This second edition of Historical Dictionary of British Radio covers its history through a chronology, an introductory essay, and an extensive bibliography. The dictionary section has over 800 cross-referenced entries on issues, characters, movements and policies that have shaped radio in the United Kingdom. This book is an excellent access point for students, researchers, and anyone wanting to know more about British Radio.

In Writing Music for Commercials: Television, Radio, and New Media, professor, composer, arranger, and producer Michael Zager describes the process of composing and arranging music specifically for commercials across the growing variety of media formats. Writing music for commercials requires composers not only learn the craft of writing short-form compositions that can stand on their own, but also understand the advertising business. In this third edition of his original Writing Music for Television and Radio Commericals, Zager walks starting composers through the business and art of writing music that aims for a product's target audience and, when done well, hits its mark. Chapter by chapter, Zager covers a broad array of topics: how to approach and analyze commercials from a specifically musical perspective, the range of compositional techniques for underscoring and composing jingles, the standard expectations and techniques for arranging and orchestration, and finally the composing of music for radio commercials, corporate videos, infomercials, theatrical trailers, video games, Internet commercials, websites, and web series (webisodes). This third edition has been updated to include more in-depth analysis of the changing landscape of music writing for modern media, with critical information on composing not only for the Web but for mobile applications, from video-driven advertising in online newspapers to electronic greeting cards. Zager also includes new interviews with industry professionals, updated business information, the latest sound design concepts, and much more. Writing Music for Commercials: Television, Radio, and New Media features: *Easy-to-read chapters for beginning and intermediate music composition students *Over a hundred graphics and musical examples *Interviews with industry professionals *An assortment of assignments to train and test readers, preparing them for the world of writing music for various media *Online audio samples that illustrate the book's principles Writing Music for Commercials is designed not only for composers but for students and professionals at every level.

Invisible Stars was the first book to recognize that women have always played an important part in American electronic media. The emphasis is on social history, as the author skillfully explains how the changing role of women in different eras influenced their participation in broadcasting. This is not just the story of radio stars or broadcast journalists, but a social history of women both on and off the air. Beginning in the early 1920s with the emergence of radio, the book chronicles the ambivalence toward women in broadcasting during the 1930s and 1940s, the gradual change in status of women in the 1950s and 1960s, the increased presence of women in broadcasting in the 1970s, and the successes of women in broadcasting in the 1980s and 1990s. The second edition is expanded to include the social and political changes that occurred in the 2000s, such as the growing number of women talk show hosts; changing attitudes about women in leadership roles in business; more about minority women in media; and women in sports and women sports announcers. The author addresses the question of whether women are in fact no longer invisible in electronic media. She provides an assessment of where progress for women (in society as well as broadcasting) can be seen, and where progress appears totally stalled.

In July 1923, less than three years after Westinghouse station KDKA signed on, company engineer Frank Conrad began regular simulcasting of its programmes on a frequency in the newly-discovered shortwave range. It was an important event in a technological revolution that would make dependable worldwide radio communication possible for the first time. In subsequent years, countless stations in practically all countries followed suit, taking to shortwave to extend reception domestically or reach audiences thousands of miles away. Shortwave broadcasting would also have an important role in World War II and in the Cold War. In this, his fourth book on shortwave broadcast history, the author revisits the period of his earlier work, On the Short Waves, 1923-1945, and focuses on the stations that were on the air in those early days. The year-by-year account chronicles the birth and operation of the large international broadcasters, as well as the numerous smaller stations that were a great attraction to the DXers, or long-distance radio enthusiasts, of the time. With more than 100 illustrations and extensive notes, bibliography and index, the book is also a valuable starting point for further study and research.

The quintessentially English cricket commentator, writer, oenophile, bon viveur, collector and national treasure, fondly known as "Blowers", tells his riveting life story. Born in Norfolk and educated at Eton and Cambridge, Henry Calthorpe Blofeld OBE, nicknamed "Blowers" by the late Brian Johnston, is best known as a cricket commentator for Test Match Special on BBC Radio 4 and BBC Radio 5 Live Sports Extra. His distinctively rich, cut glass voice and his vividly eccentric observations of life on and off the pitch, have made him a household name, not only in Britain but around the world, wherever cricket is played. Blowers has been close the the heart of the game for over fifty years and his career has taken him to the far corners of the earth. This autobiography, stuffed to the gunwhales with delicious anecdotes, brings his astonishingly colourful story bang up to date.

Words at War describes how 17 radio dramatists and their actors fought a war of words against fascism abroad and injustice at home. Beginning in the late 1930s, the commercial networks, private agencies, and the government cooperated with radio dramatists to produce plays to alert Americans to the Nazi threat. They also used radio to stimulate morale. They showed how Americans could support the fight against fascism even if it meant just having a "victory garden." Simultaneously as they worked on the war effort, many radio writers and actors advanced a progressive agenda to fight the enemy within: racism, poverty, and other social ills. When the war ended, many of these people paid for their idealism by suffering blacklisting. Veterans' groups, the FBI, right-wing politicians, and other reactionaries mounted an assault on them to drive them out of their professions. This book discusses that partly successful effort and the response of the radio personalities involved. This book discusses commercial drama series such as The Man Behind the Gun, network sustained shows such as those of Norman Corwin, and government-produced programs such as the Uncle Sam series. The book is largely based on the author's interviews with Norman Corwin, Arthur Miller, Pete Seeger, Arthur Laurents, Art Carney and dozens of others associated with radio during its Golden Age. It also discusses public reaction to these broadcasts and the issue of blacklisting. Words at War weaves together materials from FBI files and materials from archives around the country, including the Academy of Motion Picture Arts and Sciences, the National Archives and a dozen university special collection libraries, to tell how the nation used a unique broadcast genre in a time of national crisis. Readers in the era of the current World Trade Center terrorism crisis will be particularly interested to read about censorship, scapegoating, and the government's role in disseminating propaganda and other issues that have once again

In her study of key radio dramas broadcast from 1930 to 1943, Lauren Rea analyses the work of leading exponents of the genre against the wider backdrop of nation-building, intellectual movements and popular culture in Argentina. During the period that has come to be known as the infamous decade, radio serials drew on the Argentine literary canon, with writers such as Hector Pedro Blomberg and Jose Andres Gonzalez Pulido contributing to the nation-building project as they reinterpreted nineteenth-century Argentina and repackaged it for a 1930s mass audience. Thus, a historical romance set in the tumultuous dictatorship of Juan Manuel de Rosas reveals the conflict between the message transmitted to a mass audience through popular radio drama and the work of historical revisionist intellectuals writing in the 1930s. Transmitted at the same time, Gonzalez Pulido's gauchesque series evokes powerful notions of Argentine national identity as it explores the relationship of the gaucho with Argentina's immigrant population and advocates for the ideal contribution of women and the immigrant population to Argentine nationhood. Rea grounds her study in archival work undertaken at the library of Argentores in Buenos Aires, which holds the only surviving collection of scripts of radio serials from the period. Rea's book recovers the contribution that these products of popular culture made to the nation-building project as they helped to shape and promote the understanding of Argentine history and cultural identity that is widely held today.

Radio's New Wave explores the evolution of audio media and sound scholarship in the digital age. Extending and updating the focus of their widely acclaimed 2001 book The Radio Reader, Hilmes and Loviglio gather together innovative work by both established and rising scholars to explore the ways that radio has transformed in the digital environment. Contributors explore what sound looks like on screens, how digital listening moves us, new forms of sonic expression, radio's convergence with mobile media, and the creative activities of old and new audiences. Even radio's history has been altered by research made possible by digital and global convergence. Together, these twelve concise chapters chart the dissolution of radio's boundaries and its expansion to include a wide-ranging universe of sound, visuals, tactile interfaces, and cultural roles, as radio rides the digital wave into its second century.

Before television, radio was the sole source of simultaneous mass entertainment in America. The medium served as launching pad for the careers of countless future stars of stage and screen. Singers and conductors became legends by offering musical entertainment directly to Americans in their homes, vehicles, and places of work and play. This volume presents biographies of 24 renowned performers who spent a significant portion of their careers in front of a radio microphone. Profiles of individuals like Steve Allen, Rosemary Clooney, Bob Crosby, Johnny Desmond, Jo Stafford, and Percy Faith, along with groups such as the Ink Spots and the King's Men, reveal the private lives behind the public personas and bring to life the icons and ambiance of a bygone era. Jim Cox, a leading historian of radio programming, is an award-winning author of numerous books about old time radio. A retired college professor, he lives in Louisville, Kentucky.

The macabre world of monsters, killers on the loose and revenge from beyond the grave existed not only in the movies, but also on the radio before television's dominance in American homes. One of many distinct genres born of early broadcasting, horror radio thrilled millions. Creeping out of the speaker night after night came stories that chilled the listening public--everything from creature features to sophisticated noir suspense. So eager were Americans to be scared that nearly 80 horror programs aired every week in the late 1940s. This first full-length study of golden age horror radio focuses on six representative programs, starting with The Witch's Tale in 1931 and ending with The Mysterious Traveler in 1952. Each chapter provides the reader with a critically and historically informed study of one series. The book ends with a look at the demise of horror radio and its influence. Photographs are a delightful revelation, revealing the previously unseen (but much heard) work of stars like Agnes Moorehead and Orson Welles as they broadcast famous tales of terror.

'Jim Beaman's Interviewing for Radio is a classic and seminal practice text, brilliantly written and masterful in its content. Nobody working in professional radio can do without it. It is a must for all radio courses and I could not recommend it more highly' - Tim Crook, Head of Radio, Goldsmiths College, University of London, UK

Interviewing for Radio is a thorough introduction to the techniques and skills of the radio interview. It offers advice on how to ask the right question and elicit a response, and guides the reader through the use of equipment, the mechanics of recording, the studio environment, live broadcasts, presentation and pronunciation, and editing material.

Written by an experienced producer and instructor, Interviewing for Radio includes:

• the history of the radio interview and the importance of its role today
• practical exercises which introduce successful interview and technical skills
• case studies and hypothetical scenarios to help you prepare for potential difficulties
• a discussion of ethics, risk assessment, codes of conduct and regulations

This second edition has been thoroughly updated and includes advice from a new range of practitioners, and examples of recent UK and international interviews. The author critically analyses these interviews and explains the preparation, organisation and expertise required in order to produce a successful radio broadcast. Interviewing for Radio references both new and existing regulations and guidelines for UK journalists, then offers a global perspective by drawing on the differences and similarities with those applicable to other countries.

This invaluable book is supported by a companion website that includes audio interviews with practitioners accompanied by a range of student exercises, a comprehensive glossary in the form of interactive flashcards, and suggested links for further listening.

'Jim Beaman's Interviewing for Radio is a classic and seminal practice text, brilliantly written and masterful in its content. Nobody working in professional radio can do without it. It is a must for all radio courses and I could not recommend it more highly' - Tim Crook, Head of Radio, Goldsmiths College, University of London, UK Interviewing for Radio is a thorough introduction to the techniques and skills of the radio interview. It offers advice on how to ask the right question and elicit a response, and guides the reader through the use of equipment, the mechanics of recording, the studio environment, live broadcasts, presentation and pronunciation, and editing material. Written by an experienced producer and instructor, Interviewing for Radio includes: the history of the radio interview and the importance of its role today practical exercises which introduce successful interview and technical skills case studies and hypothetical scenarios to help you prepare for potential difficulties a discussion of ethics, risk assessment, codes of conduct and regulations This second edition has been thoroughly updated and includes advice from a new range of practitioners, and examples of recent UK and international interviews. The author critically analyses these interviews and explains the preparation, organisation and expertise required in order to produce a successful radio broadcast. Interviewing for Radio references both new and existing regulations and guidelines for UK journalists, then offers a global perspective by drawing on the differences and similarities with those applicable to other countries. This invaluable book is supported by a companion website that includes audio interviews with practitioners accompanied by a range of student exercises, a comprehensive glossary in the form of interactive flashcards, and suggested links for further listening.

Born in 1916 in La Jolla, California, Gregory Peck took up acting in college on a lark that would lead to a career. In his early years, he appeared in a series of summer stock engagements and Broadway shows. He became a star within a year after arriving in Hollywood during World War II, and he won an Academy Award nomination for his second film. From the 1940s to the present, he has played some of film's most memorable and admired characters. This volume provides complete information about Gregory Peck's work in film, television, radio, and the stage. Entries are included for all of his performances, with each entry providing cast and credit information, a plot summary, excerpts from reviews, and critical commentary. A biography and chronology highlight significant events in his life, while a listing of his honors and awards summarizes the recognition he has received over the years. For researchers seeking additional information, the book includes descriptions of special collections holding material related to Peck's work, along with an extensive bibliography of books and articles.

From 1950 to 1960, millions of Americans throughout the United States willingly and enthusiastically participated in Radio Free Europe's ""Crusade for Freedom."" They signed ""Freedom Scrolls"" and ""Freedom Grams,"" participated in fund-raising dinners and lunches, attended Crusader meetings, marched in parades, launched leaflet-carrying balloons, among other activities. A compelling, decade-long propaganda campaign, the Crusade for Freedom proved to be a powerful tool of the state-private network's anti-communist agenda. This book takes an in-depth look at the Crusade for Freedom, revealing how its unmatched pageantry of patriotism led to the creation of a dynamic movement involving not only the government but also private industry, mass media, academia, religious leaders, and, lastly, ""the average Joe.

The Biographical Encyclopedia of American Radio presents the very best biographies of the internationally acclaimed three-volume Encyclopedia of Radio in a single volume. It includes more than 200 biographical entries on the most important and influential American radio personalities, writers, producers, directors, newscasters, and network executives. With 23 new biographies and updated entries throughout, this volume covers key figures from radioa (TM)s past and present including Glenn Beck, Jessie Blayton, Fred Friendly, Arthur Godfrey, Bob Hope, Don Imus, Rush Limbaugh, Ryan Seacrest, Laura Schlesinger, Red Skelton, Nina Totenberg, Walter Winchell, and many more.

Scholarly but accessible, this encyclopedia provides an unrivaled guide to the voices behind radio for students and general readers alike.

This volume gathers together, for the first time in English translation, Brecht's own writings on the new film and broadcast technologies that revolutionised arts and communication in the early part of the twentieth century This book includes all of Brecht's theoretical writing about film, radio, broadcasting and the new media written between 1919 and 1956 as well as all of his important screenplays produced during the 1920s and 1930s. Screenplays written during this time include an early sound-film adaptation of The Threepenny Opera, and a collaboration with Fritz Lang, Hangmen Also Die. Brecht's writings on the new media document his fascination with it from Weimar Germany to Hollywood and the movie industry.A must for students of Brecht and film studies alike.

The term Old Time Radio refers to the relatively brief period from 1926, when the National Broadcasting Company first began network broadcasting, until approximately 1960, when television became the dominant communication medium in the United States. During this time, radio was as popular and ubiquitous as television is today. It was amazingly varied in the types of programming it offered; many characters and programs were so popular that virtually everyone was familiar with them. Even today, recorded versions of these programs are still extremely popular and widely available, both from commercial outlets and from hobbyists. Behind the production of these programs was a complex technological and financial infrastructure that had to be developed virtually from scratch in a world unaccustomed to the rapid communication and technological marvels that we take for granted today. The A to Z of Old Time Radio provides essential facts and information on the Golden Age of Radio. This is accomplished through the use of a chronology, an introductory essay, a bibliography, and hundreds of cross-referenced dictionary entries on the radio networks, programs, directors, producers, writers, actors, radio series, and radio stations. Entries on your favorite shows The Lone Ranger, The Shadow, Dragnet, and Suspense and actors Bob Hope, George Burns, Gracie Allen, and Edgar Bergen will have you jumping from one entry to the next as you relive old favorites and discover hidden treasures from the Golden Age of Radio.

As the only independently Black-owned radio station in South Central Los Angeles, KJLH-FM was thrust into the national and international media spotlight in the aftermath of the Rodney King trial. During the ensuing riots, KJLH introduced the world to South Central Los Angeles as only those who lived and worked there could. Owned by musician Stevie Wonder since 1979, the station upheld his legacy of community commitment, becoming an essential hub for the African American community and earning a Peabody Award along the way. This book explores the social, political, and economic impact of KJLH, drawing heavily upon more than 200 pages of interview and program transcripts from the 1992 radio coverage.

This is the definitive work on Roy Rogers, the 'King of the Cowboys'. In it, the lives and careers of Rogers and his wife, Dale Evans, are thoroughly covered, particularly their work on radio and television. The merchandising history of Roy Rogers reveals that his marketing of character-related products was second only to that of Walt Disney; Roy Rogers memorabilia are still among the most popular items. This work includes a comprehensive discography, filmography and comicography, and is heavily illustrated.