Agnes Moorehead (1900-74) was unique among twentieth-century American actresses in making a major career for herself in all four entertainment media after the age of 40. As the title indicates, Agnes Moorehead on Radio, Stage and TV focuses on Moorehead's career in radio, on the stage, and in television. A representative selection of 25 of her most interesting and representative performances in these media are discussed in separate profiles ranging in length from 1,500 to 7,500 words, with the longest chapters devoted to Mayor of the Town, Suspense, Moorehead's one-woman show, Bewitched and Gigi. Naturally, the book also covers Moorehead's celebrated appearance on The Twilight Zone, both her productions of Don Juan in Hell, and her Emmy-winning appearance on The Wild Wild West. Many less well-known performances have never been analyzed in detail before. These include fascinating and entertaining portrayals on TV series such as Wagon Train, Adventures in Paradise, Rawhide and Burke's Law. The profiles are organized in chronological order. Thus, from The Shadow to Gigi, the book can be read as a continuous, chronological narrative of Moorehead's unfolding acting career through more than three decades; or the individual chapters may be read as self-contained accounts of individual shows and performances. Each profile concentrates on Moorehead's contribution to the show or episode. In addition to analyzing the nature and function of Moorehead's role and how she performs it, the author variously discusses the place of the performance in her career development as a whole; her relationship with directors, producers, and/or fellow actors: comparisons and contrasts with similar types of roles in the same or other media; and curious, little known facts about the production. Nissen also discusses salient events in Moorehead's personal life at the time.

Evangelicalism, a faith with which 1 in 4 American adults identifies, exerts an enormous impact on American society. Its story typically begins in the Seventies and is portrayed as a reaction to the social revolution of the Sixties. But the beginnings of evangelicalism as a distinctive American subculture date to the dawn of the Media Age. With the arrival of radio, evangelicals flocked to the airwaves. For the first time, they developed their own mass culture as evangelicals nationwide, across denominational lines, heard the same popular preachers and music. The Master's Radio captures the evangelical media and music culture of this pivotal midcentury era as evangelicals left behind the fundamentalism of the early twentieth century and prepared for the culturally engaged New Christian Right of the late twentieth century. To capture the spirit of these times, The Master's Radio avoids dry historical writing with a narratively driven "historical ethnography" that presents the era's major radio evangelists and songwriters in the own words-not only from their writings and recordings but from songbooks, record liner notes, and "song story" anthologies of the period. The Master's Radio is sure to become the standard work on the midcentury rise of evangelical mass culture.

Before stories of King Arthur and Robin Hood were adapted and readapted for film, television and theater, radio scriptwriters looking for material turned to Thomas Malory's Le Morte Darthur (1485) and Howard Pyle's The Merry Adventures of Robin Hood (1883). From the 1930s throughout the mid-1950s, their legends inspired storylines for Abbott and Costello, Popeye, Let's Pretend, Escape, Gunsmoke, The Adventures of Supermanand others. Many of these adaptations reflect the moral and ethical questions of the day, as characters' faced issues of gender relations, divorce, citizenship, fascism, crime and communism in a medieval setting.

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.

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?

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.

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.

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.

Andre Kostelanetz On Records and On the Air is a comprehensive discography of the commercial recordings of the Russian/American conductor and radio personality, Andre Kostelanetz. James H. North has collected all his recordings, spanning the range from popular to classical. Organized chronologically by album, North provides the complete details of each recording: composer, song title, timing, date and site of the recording session, producer of that session, and matrix numbers, as well as every American issue of each recording. Several appendixes organize the information alphabetically by composer, song title, and album title, giving references back to the discography by date of recording. Available downloads from the Internet are included in the song title appendix. Two further appendixes deal with Compact Disc issues and with V-Discs, the records created by the United States Army and Navy for worldwide distribution to members of the Armed Forces during World War II. Initially a request from the Andre Kostelanetz Estate, who has generously supported this work, the discography grew to include a complete coverage of Kostelanetz's appearances on the radio, from the 1920s through 1980 (plus a few on television), as North discovered that Kostelanetz's radio career was as important as his records to music in America. More than 1,000 broadcasts are covered, including both his radio shows and his concert broadcasts with symphony orchestras, and the contents of each program are listed where known. An important extra in the book is a survey of Kostelanetz's career and an evaluation of his achievements, contributed by noted radio historian Dick O'Connor. A foreword by the Archivist and Historian of the New York Philharmonic, Barbara Haws, completes this reference tool, which will be invaluable to the millions of fans who welcome the opportunity to peruse the details of one of the most beloved figures in music.

Angela Carter is best known for her novels, short fiction and journalism, but she also produced a substantial body of writing for media other than the printed page, including five radio plays, two film adaptions, an original television documentary and a number of unrealised scripts for stage and screen. Despite increasing academic interest in Carter's work, these dramatic writings have largely been ignored. In this book, Charlotte Crofts redresses this lack of critical attention by examining Carter's dramatic writings together for the first time (including two unpublished works), giving them a more central position in the Carter canon. Divided into three sections on radio, film and television, the book's interdisciplinary approach is underpinned by reference to exclusive interviews with the directors and producers with whom Carter collaborated, giving a unique insight into processes of adaptation and the technologies of media production. The author demonstrates how, far from being an aberration from her real vocation as a writer of fiction, Carter's writing for radio, film and television is an extension of her self-professed demythologising practice. Essential reading for those engaged in the research and teaching of Angela Carter, this book will also appeal to a wider academic and sixth-form audience and those with a general interest in literary, cultural, and media studies.

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.

Writing for radio brings together theoretical and practical aspects of radio writing. It deals with writing for all principal radio genres - short stories, plays, documentaries/drama documentaries, talks and features, adaptations/dramatisations, poems, and advertisements. It contains historical overviews of the genesis and development of each of these categories and attempts an analysis of the nature of radio itself. For the first time there is an attempt to isolate a 'radio language', a syntax and vocabulary guaranteed to produce pictures in the mind of the listener. This means radio can be taught as an academic subject as all writing - prose, drama and verse, can be tested as radio and examples for analysis are used from both broadcast and non-broadcast work. -- .

What became of radio after its Golden Age ended about 1960? Not long ago Arbitron found that almost 93 percent of Americans age 12 and older are regular radio listeners, a higher percentage than for those turning to television, magazines, newspapers, or the Internet. But the sounds they hear now don't resemble those of radio's heyday when it had little competition as a mass entertainment and information source. Much has transpired in the intervening epoch including a proliferation of disc jockeys, narrowcasting, the FM band, satellites, automation, talk, ethnicity, media empires, Internet streaming, and gadgets galore. Deregulation, payola, HD radio, pirate radio, the fall of transcontinental networks, the rise of local stations, conglomerate ownership, and radio's future landscape are examined in detail. Radio has lost some influence yet it continues to inspire new and stunning innovations.

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.

Network radio from 1932 to 1953 was commercial broadcasting at its highest level: a high-stakes competition embracing technology, industry, government and advertising, ruled by dollars and dictated by ratings. This comprehensive almanac provides a fascinating account of broadcasting's most colorful era, when four nationwide networks dominated American media as no concerted communications force ever had. Early chapters chronicle the development of the broadcasting, advertising and entertainment industries, with an explanation of the ratings system and its evolution. Each subsequent chapter focuses on a specific year of radio's golden age, with industry statistics, daily program ratings and a chart of the year's 50 top programs. A summary lists the era's most successful programs within the five major formats.

In the twenty-first century, community radio is fulfilling an increasingly important role in the world's mediascape. This book documents the ways in which community radio broadcasters and activists are using the medium in countries around the world to challenge political corruption, aid the transition to political democracy and broadcast voices that are otherwise unheard. The contributors to the volume are academics and practitioners from five continents, many with first-hand experience of community radio. Each chapter demonstrates the pivotal role that small radio stations can play in developing, sustaining and invigorating communities. The book charts campaigns for the legalisation of community radio and relates them to a theoretical context, while providing illustrations and examples from community radio stations around the world.

'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.

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.

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.