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.

This powerful history of broadcasting in the United States goes beyond traditional accounts to explore the field's important social, political, and cultural ramifications. It examines how broadcasting has been organized as a business throughout much of the 20th century, and focuses on the aesthetics of programming over the years.
Surveys four key broadcasting periods from 1921 to 1996, drawing on a range of new sources to examine recent changes in the field, including coverage of the recent impact of cable TV and home video
Includes new data from collections at the Library of Congress and the Library of American Broadcasting
Ideal for anyone seeking a readable history of the field, offering the most current coverage available

This title was first published in 2001. This work provides detailed information taken from the 'Programmes-as-Broadcast' daily log of output held at the BBC Written Archives Centre in Caversham. Arranged in chronological order, entries are given for broadcasts of first performances of musical works in the United Kingdom, and include details of: the date of the broadcast, the composer, the title of the work, performers and conductor. In addition to its usefulness as a reference tool, the Chronicle enables us to gauge the trends in twentieth-century British musical life, and the role of the BBC in their promotion.

During the first half of the 20th century, when radio reigned supreme in the living rooms of America, the medium's hunger for captivating characters and stories could not be sated. Three national networks and dozens of independent stations created a vast expanse of air time that had to be filled with comedy, adventure, mystery, drama and music, night after night. It's no surprise that radio's producers and writers looked to outside sources for inspiration, drawing some of old-time radio's most beloved characters (e.g., Sherlock Holmes, Tarzan, Hopalong Cassidy, and Buck Rogers) directly from the pages of literature and popular fiction.This book examines individual characters that jumped from prose to radio, and also looks at a number of anthology programs that specialized in dramatizing short stories or novels. It begins with an exploration of mystery and detective shows, followed by evaluations of adventure stories, westerns, and science fiction. Later chapters focus on anthology shows, such as Orson Welles' ""Mercury Theater on the Air,"" that adapted classic novels by Twain, Steinbeck, Dickens and other great authors. Each chapter explores how the writers and producers approached the source material - what they changed, what they kept and what they left behind. The results of their efforts were almost always highly entertaining radio, examples of a form of storytelling much more engaging and satisfying than much of that with which it has been replaced.

In 1929, ""The Goldbergs"" debuted on the air, introducing Gertrude Berg - and her radio alter ego, Bronx housewife Molly Goldberg - to the nation. The show would become one of the most beloved and enduring programs of Golden Age radio and of early TV. At the helm was Berg who, as creator, star, writer, and producer, became a force to be reckoned with. This multifaceted biography provides a penetrating look at how Gertrude Berg carved a special place for herself in the annals of broadcast history. Decades before Lucille Ball, Berg triumphed as a woman of commercial and creative consequence in what was essentially a male-dominated arena. For over three decades, Berg's ""Molly"" fluttered about and hung out her kitchen window dispensing motherly advice laced with engaging malapropisms, insights, and lots of ""schmaltz."" The show offered a warmly comedic look at the lives and dreams of working-class American Jews and subtle insights into the nature of assimilation. While Molly, husband Jake, and Uncle David represent Old World Jewish stereotypes, children Rosalie and Sammy are as American as apple pie. A sentimental portrait of the immigrant experience, ""The Goldbergs"" offered a mythic ideal of the American dream. Drawing on Gertrude Berg's papers at Syracuse University's Bird Library and rare interviews with her family and colleagues, the author reveals her as shrewd, creative, and forthright. Unlike ""Molly,"" Berg was a cultivated woman and a Columbia graduate. A pioneer in the concept of product tie-in, she parlayed the show's popularity into a movie, short stories, and even a cookbook. In 1951, she stood up to the blacklist by refusing to fire longtime co-star Philip Loeb who was under investigation by the House Un-American Activities Committee. The book also chronicles Berg's accomplishments in theater, film, and literature.

Changes in society, the pluralistic nature of the citizens and the geographic breadth of America preclude a common definition of what is indecent, profane, or obscene. What may appear to be 'dirty discourse' to some may be considered to be laudable satire to others. In this fascinating book, renowned media scholars and authors, Robert Hilliard and Michael Keith, examine the history and nature of indecent program content in American radio.
Examines the blue side of the airways with a first-ever analysis of the history and nature of off-color program content.
Explores the treatment of once-forbidden topics in the electronic media, investigating the beliefs, attitudes and actions of those who present such material, those who condemn it, and those who defend it.
Written from a social and cultural perspective, concentrates on the means of greatest distribution - radio, with its phenomenal growth of "shock jocks" and rap music lyrics.
Provides coverage of television and the Internet, showing how and why broadcasting has evolved from the ribald antics of the Roaring 20's to today's streaming cybersex, contrasting the standards and actions of the FCC v. the First Amendment amidst the over-the-air and in-the-court battles of over-the-top radio.
Illustrates political pressures and legal considerations, including Supreme Court decisions, and efforts to protect children from media smut.

Changes in society, the pluralistic nature of the citizens and the geographic breadth of America preclude a common definition of what is indecent, profane, or obscene. What may appear to be 'dirty discourse' to some may be considered to be laudable satire to others. In this fascinating book, renowned media scholars and authors, Robert Hilliard and Michael Keith, examine the history and nature of indecent program content in American radio.
Examines the blue side of the airways with a first-ever analysis of the history and nature of off-color program content.
Explores the treatment of once-forbidden topics in the electronic media, investigating the beliefs, attitudes and actions of those who present such material, those who condemn it, and those who defend it.
Written from a social and cultural perspective, concentrates on the means of greatest distribution - radio, with its phenomenal growth of "shock jocks" and rap music lyrics.
Provides coverage of television and the Internet, showing how and why broadcasting has evolved from the ribald antics of the Roaring 20's to today's streaming cybersex, contrasting the standards and actions of the FCC v. the First Amendment amidst the over-the-air and in-the-court battles of over-the-top radio.
Illustrates political pressures and legal considerations, including Supreme Court decisions, and efforts to protect children from media smut.

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.

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 GonzA!lez 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, GonzA!lez 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.

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.

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.

"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.

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.

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.

"This book adds immeasurably to our appreciation and understanding of the power the aural medium possesses to mirror and shape culture." -- Communication Booknotes Quarterly

From reviews of the first edition: "The magic of [a] wildly colorful chapter in broadcast history lives on in this entertainingly informative look at the forces and the people who contributed to the rise of the medium." -- Chicago Tribune "Characters like Wolfman Jack, Reverend Ike, Norman Baker, "Dr." J. R. Brinkley, Pappy O'Daniel and others were master showmen and tremendously successful salesmen. Secret-formula medicines, magic prayer cloths, Crazy Water Crystals, and goat-gland rejuvenations are just part of this often hilarious telling of this outrageous period in broadcast history." -- Variety "If you're wondering where Herbalife, Home Shopping Network, No-Money-Down Seminars, and Jim and Tammy Bakker found their inspiration and techniques, look no further than this superb book." -- Dallas Morning News

Before the Internet brought the world together, there was border radio. These mega-watt "border blaster" stations, set up just across the Mexican border to evade U.S. regulations, beamed programming across the United States and as far away as South America, Japan, and Western Europe.

This book traces the eventful history of border radio from its founding in the 1930s by "goat-gland doctor" J. R. Brinkley to the glory days of Wolfman Jack in the 1960s. Along the way, it shows how border broadcasters pioneered direct sales advertising, helped prove the power of electronic media as a political tool, aided in spreading the popularity of country music, rhythm and blues, and rock, and laidthe foundations for today's electronic church. The authors have revised the text to include even more first-hand information and a larger selection of photographs.

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

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.

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.