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.

Founded in 1922, the British Broadcasting Corporation is probably the most well-known national radio corporation in the world, but the BBC is just part of the British radio picture. There are "pirate" radio stations, community radio, commercial radio, and more recently, experimentation and development in the digital arena. All aspects of the 85 years of UK radio, from issues of regulation to the role played by commercial operators prior to World War II, are covered in this new book by Sean Street. The A to Z of British Radio relates the history of this medium through a chronology, an introductory essay, a bibliography, and several hundred cross-referenced dictionary entries on the BBC and other companies, many of the specific stations, the more memorable programs and those who wrote for or appeared on them, and the administrative and technical aspects. This quick reference tool's structure and ease of navigation will have scholars, students, radio industry professionals, journalists, and critics turning to it again and again.

Australians have become increasingly visible outside of the country as speakers and actors in radio and television, their media moguls have frequently bought up foreign companies, and people around the world have been able to enjoy such Australian productions as The Flying Doctors, Neighbours, and Kath and Kim. The origins, early development, and later adaptations of radio and television show how Australia has gone from being a minor and rather parochial player to being a significant part of the international scene. The A to Z of Australian Radio and Television provides essential facts and information concerning the Australian radio and television industry. This is accomplished through the use of a chronology, an introductory essay, a bibliography, and hundreds of cross-referenced dictionary entries on directors, producers, writers, actors, television and radio series, and television and radio stations.

The period from 1925 to 1960 was the heyday of the American Radio Soap Opera. In addition to being part of popular culture, the soap opera had important commercial aspects as well that were not only related to their production, but also to the desperate need to sell products or perish. Both sides of this story are traced in this comprehensive compendium. The dictionary section, made up of more than 500 cross-referenced entries, provides brief vignettes of the more popular and also less well-known "soaps," among them Back Stage Wife, Our Gal Sunday, Pepper Young's Family and The Guiding Light. Other entries evoke those who brought these programs to life: the actors, announcers, scriptwriters, networks, and even the sponsors. Nor are the basic themes, the stock characters and the gimmick, forgotten. The book's introduction defines the soap opera, examines the span of the radio serial, reviews its origins and its demise, and focuses on the character types that made up its denizens. The chronology outlines the period and the bibliography offers further reading. Together, these elements make a comprehensive reference work that researchers will find invaluable long into the future.

British Radio Drama, 1945-1963 reveals the quality and range of the avant-garde radio broadcasts from the 'golden age' of British radio drama. Turning away from the cautious and conservative programming that emerged in the UK immediately after World War II, young generations of radio producers looked to French theatre, introducing writers such as Samuel Beckett and Eugene Ionesco to British radio audiences. This 'theatre of the absurd' triggered a renaissance of writing and production featuring the work of Giles Cooper, Rhys Adrian and Harold Pinter, as well as the launch of the BBC Radiophonic Workshop. Based on primary archival research and interviews with former BBC staff, Hugh Chignell places this high-point in the BBC's history in the broader context of British post-war culture, as norms of morality and behavior were re-negotiated in the shadow of the Cold War, while at once establishing the internationalism of post-war radio and theatre.

The overlooked African American religious history of the phonograph industry Winner of the 2015 Frank S. and Elizabeth D. Brewer Prize for outstanding scholarship in church history by a first-time author presented by the American Society of Church History Certificate of Merit, 2015 Award for Excellence in Historical Recorded Sound Research presented by the Association for Recorded Sound Collections From 1925 to 1941, approximately one hundred African American clergymen teamed up with leading record labels such as Columbia, Paramount, Victor-RCA to record and sell their sermons on wax. While white clerics of the era, such as Aimee Semple McPherson and Charles Fuller, became religious entrepreneurs and celebrities through their pioneering use of radio, black clergy were largely marginalized from radio. Instead, they relied on other means to get their message out, teaming up with corporate titans of the phonograph industry to package and distribute their old-time gospel messages across the country. Their nationally marketed folk sermons received an enthusiastic welcome by consumers, at times even outselling top billing jazz and blues artists such as Bessie Smith and Ma Rainey. These phonograph preachers significantly shaped the development of black religion during the interwar period, playing a crucial role in establishing the contemporary religious practices of commodification, broadcasting, and celebrity. Yet, the fame and reach of these nationwide media ministries came at a price, as phonograph preachers became subject to the principles of corporate America. In Preaching on Wax, Lerone A. Martin offers the first full-length account of the oft-overlooked religious history of the phonograph industry. He explains why a critical mass of African American ministers teamed up with the major phonograph labels of the day, how and why black consumers eagerly purchased their religious records, and how this phonograph religion significantly contributed to the shaping of modern African American Christianity. Instructor's Guide

This narrative contains the documentation and interpretation of two imaginative pastimes (radio and baseball) and illuminates each in a unique manner. It integrates radio and baseball historically, sociologically, and culturally using the common themes of imaginative expression. This book is a unique approach into the magic of radio's imaginative power. Broadcasting baseball on the radio has brought many millions of Americans an imaginative link to a game that is built upon recollections of athletic achievement that ring far truer in our ?sweet imaginations.? Through the use of our imaginations, we can see the game itself as more than just a game, but a gateway to an imaginative realm beyond the reality of everyday life.

Charlotte Greenwood never intended to become a comedienne, but she was unfashionably tall at 5'10"" and her early aspirations to become a great dramatic actress eventually led her to the field of comedy. Greenwood, whose early life had taught her nothing if not how to be optimistic, stifled her disappointment and used her considerable skill to become one of the greatest comedic actresses of the early twentieth century. Based on Greenwood's unpublished memoirs; this biography presents a personal, detailed look at her colorful life. Beginning with her early years in Philadelphia, Boston and Norfolk, it relates her struggles with ill health, her social difficulties caused by her then unusual height and her realization of her ambition to become an actress. The main focus of the work is her career, which spanned more than 50 years and ranged from vaudeville to the stage and, finally, to films (during the World War II years she starred in Twentieth Century Fox musicals with Cesar Romero, Betty Grable, Edward Everett Horton, Jack Haley, Don Ameche, and Carmen Miranda). Her roles in a variety of works including ""The Passing Show of 1912"", ""So Long Letty"" (both stage and film), and ""I Remember Mama"" are also discussed. Special emphasis is placed on her career-defining (and best-known) role as Aunt Eller Murphy in the 1955 film adaptation of ""Oklahoma!"" Charlotte Greenwood's performance history, a list of her known recordings, and a filmography for her husband Martin Broones are also included.

Born in Ujpest, Hungary, in 1919, George Jellinek began his musical career playing violin with gypsies in the family's garden restaurant. He spent his adolescence doing much the same, honing his talent and enriching his own musical education with frequent trips to the Hungarian Royal Opera House. But when Hitler and Chamberlain signed the Munich Pact in 1938, Jellinek's quiet life was shattered. How the exiled teenager survived World War II, worked his way up from a poor Hungarian immigrant in Cuba and became one of the most important and influential musical administrators in New York is an unconventional but truly American success story. This memoir documents the inspiring life of George Jellinek, beginning with his childhood in his beloved Hungary. The crisis of World War II soon invaded his life and, leaving behind his family and homeland, he fled west. Having been finally allowed to enter the United States, he was drafted into the U.S. Army in 1942, obligated to bear arms against the country of his birth. This ironic turn of events culminated in his firsthand role in the capture of Ferenc Szalasi, the leader of Hungary's Hitlerite faction. The latter half of the book reveals how music helped Jellinek piece back together his broken life in America. After rising to the post of musical director for radio station WQXR, he went on to become the producer and host of The Vocal Scene. His 36 years with that program established it as a revered fixture of New York's opera life. The epilogue documents the day on which Hungary's president bestowed upon Jellinek the Knight's Cross of the Order of Merit of the Republic of Hungary.

"Programme Making for Radio" focused practical guidelines to the professional practice techniques applied to the production of radio programs. It explains how specific radio programs are made and the conventions and techniques required to produce them by explaining the good practice followed by professionals. The book describes how and why these methods are applied through the use of a behind-the-scenes glimpse at working practices and procedures used in the industry. It considers the constraints and incentives that limit or stimulate creativity and innovation within programme production. "Programme Making for Radio" examines the individual roles and responsibilities of the whole production team and the importance of team-working skills needed for the preparation, organization and communication required to produce a successful radio program. Other chapters focus on the specific requirements of specialist programs and offer advice from a range of program makers working in local and national broadcasting. There is a case study example that follows the progress of a Feature Programme from pitching the original idea to a commissioning editor through assembling program material to transmission. "Programme Making for Radio" includes: A clear description of the role of each member of the program making team, their duties and responsibilities Practical tips on interviewing, mixing and presenting Explanations of the key elements that make up a radio programme such as clips, wraps, packages, features and interviews with a full glossary of technical terms The book is informed, accessible and comprehensive, covering the whole range of skills needed by the radio professional in the studio and onlocation.

"Programme Making for Radio" focused practical guidelines to the professional practice techniques applied to the production of radio programs. It explains how specific radio programs are made and the conventions and techniques required to produce them by explaining the good practice followed by professionals. The book describes how and why these methods are applied through the use of a behind-the-scenes glimpse at working practices and procedures used in the industry. It considers the constraints and incentives that limit or stimulate creativity and innovation within programme production. "Programme Making for Radio" examines the individual roles and responsibilities of the whole production team and the importance of team-working skills needed for the preparation, organization and communication required to produce a successful radio program. Other chapters focus on the specific requirements of specialist programs and offer advice from a range of program makers working in local and national broadcasting. There is a case study example that follows the progress of a Feature Programme from pitching the original idea to a commissioning editor through assembling program material to transmission. "Programme Making for Radio" includes: A clear description of the role of each member of the program making team, their duties and responsibilities Practical tips on interviewing, mixing and presenting Explanations of the key elements that make up a radio programme such as clips, wraps, packages, features and interviews with a full glossary of technical terms The book is informed, accessible and comprehensive, covering the whole range of skills needed by the radio professional in the studio and onlocation.

Few twentieth-century artists are renowned in such a variety of media as Orson Welles. Well known for his work in film and theater as director, actor, and writer, Welles's influence in the field of radio has often been overlooked for the more glamorous entertainment of his movies. The Medium and the Magician is a comprehensive review of Welles's radio career, devoted to assessing his radio artistry and influence in the field. Paul Heyer offers a new look at the infamous War of the Worlds panic broadcast and a discussion of how Welles's use of sound in radio influenced his motion pictures.

From an experienced author in the field, this indispensable guide presents everything needed to create and maintain a successful freelancing career in the world of television and radio. Whether the reader is studying the field, considering their options, or currently employed as a freelance media professional, this book not only gives a brief overview of all areas, but also explains what it means to be freelance in the world of the audio-visual industry. Drawing upon real-life experiences of freelancers and freelance employers, all aspects of the job are detailed, from an outline of tax and employment issues to an analysis of the skills needed to succeed, and all the pitfalls, problems and opportunities which a career in this sector affords are clearly presented. Including: practical advice on how to start, where to find work, writing your CV and networking assessments of related sectors and their opportunities, e.g. facilities and video production an important section on developing and maintaining a freelance career key information on the challenges and responsibilities of setting up a small business a significant chapter on the basics of writing and submitting programme proposals to broadcasters useful contact information. Freelancing for TV and Radio is an absolute must for students of media studies and anyone considering, or already building a career in this hugely popular and fast-growing industry.

From an experienced author in the field, this indispensable guide presents everything needed to create and maintain a successful freelancing career in the world of television and radio. Whether the reader is studying the field, considering their options, or currently employed as a freelance media professional, this book not only gives a brief overview of all areas, but also explains what it means to be freelance in the world of the audio-visual industry. Drawing upon real-life experiences of freelancers and freelance employers, all aspects of the job are detailed, from an outline of tax and employment issues to an analysis of the skills needed to succeed, and all the pitfalls, problems and opportunities which a career in this sector affords are clearly presented. Including: practical advice on how to start, where to find work, writing your CV and networking assessments of related sectors and their opportunities, e.g. facilities and video production an important section on developing and maintaining a freelance career key information on the challenges and responsibilities of setting up a small business a significant chapter on the basics of writing and submitting programme proposals to broadcasters useful contact information. Freelancing for TV and Radio is an absolute must for students of media studies and anyone considering, or already building a career in this hugely popular and fast-growing industry.

This book provides a narrative history of the BBC Radio Variety Department exploring, along chronological lines, the workings of, tensions within and the impact of BBC policies on the programme-making department which generated the organisation's largest audiences. It provides an insight into key events, personalities, programmes, internal politics and trends in popular entertainment, censorship and anti-American policy as they individually or collectively affected the Department. Martin Dibbs examines how the Department's programmes became markers in the daily and weekly lives of millions of listeners, and helped shape the nation's listening habits when radio was the dominant source of domestic entertainment. The book explores events and topics which, while not directly forming part of the Variety Department's history, nevertheless intersected with or had an impact on it. Such topics include the BBC's attitude to jazz and rock and roll, the arrival of television with its impact on radio, the pirate radio stations, and the Popular Music and Gramophone Departments, both of whom worked closely with the Variety Department.

Sweeping narrative of the technological advances, events, and personalities that have made radio and television a dominant force in contemporary society.

From the 1920s to the 1950s, radio was the entertainment source for millions. Two of the primary themes of radio serials were mysteries and adventure. This is a detailed analysis of the important programs in these genres - ""Jack Armstrong,"" ""The Green Hornet,"" ""Sergeant Preston,"" ""Tom Mix,"" and more. Each entry includes type of series, broadcast days, air dates, sponsors, network, cast and production credits, and a comprehensive essay. When, as often happened, the series landed in other media, that is examined as well.

Tells how radio and television became an integral part of American life, of how a toy became an industry and a force in politics, business, education, religion, and international affairs.

Science and technology had a significant influence on American culture and thought in the years immediately following World War II. The new wonders of science and the threat of the Soviet Union as a powerful new enemy made science fiction a popular genre in radio, television, and film. Mutant creatures spawned by radioactive energy and intergalactic dictators unleashing horrific weapons upon Earth were characteristic of science fiction at the time and served as warnings to the very real dangers posed by the atomic age. This work examines science and science fiction in American culture beginning in the year World War II ended and going to 1962, the year of John Glenns orbital flight and the Cuban Missile Crisis. The radio work of Arch Oboler and the significance of his "Rocket from Manhattan, " which aired only one month after the dropping of the first atomic bomb and asked serious questions about the use of atomic energy, are examined. Other topics are the conflict between the free world and the Communist world in the context of science fiction plot lines, the dangers of science as shown in films like Godzilla, Them!, The Day the Earth Stood Still, and radio and television programs, the flying saucer phenomenon and the treatment of such stories in the media (with special attention given to the 1956 documentary UFO), the changing and more positive depictions of scientists, television programs like Flash Gordon and Space Patrol, the shift in the balance of world power due to the successful launching of Sputnik I by the

(Book). Now in softcover, No Static shows why success in today's corporate-controlled world of radio depends on putting personality and fun back on the air and how to build the creative team to do it. This inspirational handbook by Quincy McCoy offers radio pros and aspiring broadcasters proven strategies for restoring the craft of creative programming. Practical techniques and exercises help develop leadership skills that encourage creativity, motivate staff, increase flexibility and nurture teamwork. Writing in a personal style, McCoy guides you and your radio station toward more focused branding, stronger programming, more personable DJs, and ultimately higher ratings leading to higher revenue.

Beginning in the 1970s Chicana and Chicano organizers turned to community radio broadcasting to educate, entertain, and uplift Mexican American listeners across the United States. In rural areas, radio emerged as the most effective medium for reaching relatively isolated communities such as migrant farmworkers. And in Washington's Yakima Valley, where the media landscape was dominated by perspectives favorable to agribusiness, community radio for and about farmworkers became a life-sustaining tool. Feminista Frequencies unearths the remarkable history of one of the United States' first full-time Spanish-language community radio stations, Radio KDNA, which began broadcasting in the Yakima Valley in 1979. Extensive interviews reveal the work of Chicana and Chicano producers, on-air announcers, station managers, technical directors, and listeners who contributed to the station's success. Monica De La Torre weaves these oral histories together with a range of visual and audio artifacts, including radio programs, program guides, and photographs to situate KDNA within the larger network of Chicano community-based broadcasting and social movement activism. Feminista Frequencies highlights the development of a public broadcasting model that centered Chicana radio producers and documents the central role of women in developing this infrastructure in the Yakima Valley. De La Torre shows how KDNA revolutionized community radio programming, adding new depth to the history of the Chicano movement, women's activism, and media histories.

This book is a real find - for those who enjoy radio nostalgia but more importantly for scholars of broadcasting. From 1947 to 1950 while listening to such voices as Bob Hope, Red Skelton, Milton Berle, Jacl Benny, Fred Allen, and Jimmy Durante, and shows like Fiber McGee & Molly, Amos 'n' Andy, Blondie, and You Bet Your Life, the author was writing down jokes, gags, one-liners and quotations. In that short time he had filled 11 spiral notebooks. Fifty years later in a labor of love, the author painstakingly transferred those childhood notes into this invaluable - in fact, undoubtably unique - record of a boom time in American radio. This is an unexpected treasure for radio scholars, who have long lamented the lack of recordings for the majority of radio programming. Television researchers as well will benefit - here are root sources of television comedy. It is a revelation to find that what we are laughing at today often was first done on radio over 50 year ago. The author has also included a notes and comments section which includes background material on all the radio programs in this book.

In 1967, Jim Harmon published the first edition of The Great Radio Heroes to great acclaim. Thirty-three years later comes an illustrated, corrected, revised and greatly expanded new edition... Once there was a time--and it was not so long ago--when radio listening, especially to the dramas, was one of the most important events in many a young person's life. People developed a love affair with the radio, and though the old times are now gone forever, the love affair continues. The heroes and settings of radio drama spurred the imagination to supply its own and much better images than visual media provided. There were no padded shoulders on the Lone Ranger, Superman flew with no jiggly trick photography, and the Martians whom Orson Welles helped attack the Earth were more convincing than anything the movies can provide. For those who have been under the thrall of radio's alluring call, your new host Jim Harmon provides reminiscences of the heyday of radio programming, with insights on such radio dramas as I Love a Mystery, Gangbusters, The Shadow, Inner Sanctum, Batman and Robin, Superman, Tom Mix, The Lone Ranger, The Green Hornet, Adventures by Morse and a couple of dozen more. Photographs, a bibliography, and an index are included to enhance the reader's journey into a past time when radio was the favorite pastime.

Eastman has assembled this exemplary volume to spotlight media promotion and to examine current research on the promotion of television and radio programs. The studies included here explore various types of promotion and use widely differing methods and approaches, providing a comprehensive overview of promotion research activities. Chapters include extensive literature reviews, original research, and discussion of research questions for subsequent study.
"Research in Media Promotion" serves as a benchmark for the current state of promotion research and theory, and establishes the role of promotion as a primary factor affecting audience size. Appropriate for coursework and study in programming, marketing, research methods, management, and industry processes and practices, this volume offers agenda items for future study and is certain to stimulate new research ideas.

Includes interviews with such well known personalities as Walter Cronkite, Dick Clark, Steve Allen, Art Linkletter, Paul Harvey, Howard K. Smith, Ed McMahon, Bruce Morrow, as well as more than fifty other individuals who were or continue to be actively involved in radio.