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Books > Arts & Architecture > Performing arts > Radio
ONE OF THE SUNDAY TIMES' 100 BEST SUMMER READS OF 2020 'It's hard
to beat Susanna Moore's Miss Aluminium' Vogue 'A sharp-edged
summery treat' Hadley Freeman 'Unlike any Hollywood memoir you'll
have read' Metro At seventeen, Susanna Moore left her home in
Hawai'i, with no money, no belongings and no prospects. But in
Philadelphia, an unexpected gift of four trunks of beautiful
clothes allowed her to assume the first of many disguises. Her
journey takes her from New York to Los Angeles where she becomes a
model and meets Joan Didion and Audrey Hepburn. She works as a
script reader for Warren Beatty and Jack Nicholson, and is given a
screen test by Mike Nichols. But beneath Miss Aluminium's
glittering fairytale surface lies the story of a girl's insatiable
hunger to learn. Moore gives us a sardonic, often humorous portrait
of Hollywood in the seventies and of a young woman's hard-won
arrival at selfhood.
Transnationalizing Radio Research presents a theoretical and
methodological guide for exploring radio's multiple "global ages",
from its earliest years through its recent digital transformations.
It offers radio scholars theoretical tools and concrete case
studies for moving beyond national research frames. It gives radio
practitioners inspiration for production and archiving, and offers
scholars from many disciplines new ways to incorporate radio's
vital voices into work on transnational institutions, communities,
histories and identities.
Bringing together an international and diverse group of scholars,
Tuning in to the neo-avant-garde offers the first in-depth study of
the radio medium's significance as a site of artistic
experimentation for the literary neo-avant-garde in the postwar
period. Covering radio works from the 1950s until the 2010s, the
collection charts how artists across the UK, Europe and North
America continued as well as reacted to the legacies of the
historical avant-garde and modernism, operating within different
national broadcasting contexts, by placing radio in an intermedial
dialogue with prose, poetry, theatre, music and film. In doing so,
the volume explores a wide variety of acoustic genres - radio play,
feature, electroacoustic music, radiophonic poem, radio opera - to
show that the medium deserves to occupy a more central place than
it currently does in studies of literature, (inter)media(lity) and
the (neo-)avant-garde. -- .
The crack of the bat on the radio is ingrained in the American mind
as baseball takes center stage each summer. Radio has brought the
sounds of baseball into homes for almost one hundred years, helping
baseball emerge from the 1919 Black Sox scandal into the glorious
World Series of the 1920s. The medium gave fans around the country
aural access to the first All-Star Game, Lou Gehrig's farewell
speech, and Bobby Thomson's "Shot Heard 'Round the World." Red
Barber, Vin Scully, Harry Caray, Ernie Harwell, Bob Uecker, and
dozens of other beloved announcers helped cement the love affair
between radio and the national pastime. Crack of the Bat takes
readers from the 1920s to the present, examining the role of
baseball in the development of the radio industry and the complex
coevolution of their relationship. James R. Walker provides a
balanced, nuanced, and carefully documented look at radio and
baseball over the past century, focusing on the interaction between
team owners, local and national media, and government and business
interests, with extensive coverage of the television and Internet
ages, when baseball on the radio had to make critical adjustments
to stay viable. Despite cable television's ubiquity, live video
streaming, and social media, radio remains an important medium
through which fans engage with their teams. The evolving
relationship between baseball and radio intersects with topics as
varied as the twenty-year battle among owners to control radio, the
development of sports as a valuable media product, and the impact
of competing technologies on the broadcast medium. Amid these
changes, the familiar sounds of the ball hitting the glove and the
satisfying crack of the bat stay the same.
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