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Books > Arts & Architecture > Performing arts > 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.
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.
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 traditional radio medium has seen significant changes in recent years as part of the current global shift toward multimedia content, with both digital and FM making significant use of new technologies, including mobile communications and the Internet. This book focuses on the important role these new technologies play--and will play as radio continues to evolve. This series of essays by top academics in the field examines new options for radio technology as well as a summary of the opportunities and challenges that characterize academic and professional debates around radio today.
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 comprehensive guide to achieving success in the exciting and imaginative world of audio performance - including radio, voice-overs, commercials, live theater, and more - provides all the information that radio and audio novices need to get started and brush up on their skills. Topics covered in this title include: microphone acting techniques; tips for creating convincing vocal effects; writing tips for audio theater; ideas for creating and manipulating emotion through sound; beginning and intermediate level tips for directors; and, an extensive list of suggestions for creating frequently requested sound effects.
The discovery and development of shortwave technology during the 1920s and 1930s permitted radio stations throughout the world to transmit their programs over long distances, even worldwide, for the first time, and the thrill of hearing broadcasts from faraway places produced a dedicated American audience. Developments in shortwave broadcasting and shortwave listening from their inception through the war years were covered in On the Short Waves, 1923-1945: Broadcast Listening in the Pioneer Days of Radio, published by McFarland in 1999. This book picks up the story in 1945, describing the resumption of organized shortwave listening after the war and its development in the years since. The companion volume, Broadcasting on the Short Waves, 1945 to Today, focuses on the world's shortwave stations. Written from the standpoint of the serious shortwave enthusiast, this book begins with an examination of the broader shortwave listening audience. It then presents in detail the histories of the major North American shortwave clubs and reviews the professional and listener-generated shortwave literature of the era. It also covers the DX programs and other listening fare to which shortwave listeners were most attracted and the QSL-cards they sought as confirmation of their reception. The book presents a chronology of the shortwave receivers available and discusses how changes in receiver technology impacted the listening experience. It also addresses the important role that computers have played in the shortwave listening of recent decades. The book is richly illustrated and indexed, and features extensive notes to facilitate further reading or research.
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.
Frank Deford is one of the most beloved sports commentators in America. A contributing writer to Sports Illustrated for more than fifty years, he is also a longtime correspondent on Real Sports with Bryant Gumbel. These days, Deford is perhaps best known for his weekly commentaries on NPR's Morning Edition. Beginning in 1980, Deford has recorded over 1,600 of them, and in I'd Know That Voice Anywhere he brings together the very best, creating a charming, insightful, and wide-ranging look at athletes and the world of sports. In I'd Know That Voice Anywhere, Deford discusses everything from sex scandals and steroids to Americans' perennial nostalgia for Joe DiMaggio and why, in a culture dominated by celebrity, sport is the only field on earth where popularity and excellence thrive in tandem. He considers the similarities between Babe Ruth and Winnie the Pooh, why football reminds him of Venice, and how the Olympics are like Groundhog Day--or like an independent movie filled with foreign actors you've never heard of. He considers the prevalence of cheating in the classroom among student-athletes and why academic whistle-blowers are castigated as tattletales, pens a one-size-fits-all sports movie script, and even delivers Super Bowl coverage in the form of a Shakespearean sonnet. This page-turning compendium of Deford's witty and frank pieces covers more than thirty years of sports history while showcasing the vast range of Deford's interests and opinions, including his thoughts on the NCAA (a shameless autocracy, where college players are essentially indentured servants), why gay athletes "play straight" (more for fear of their audience than their colleagues), and why he's worried about living in an economy that is so dominated by golfers. A rollicking sampler of one of NPR's most popular segments, I'd Know That Voice Anywhere is perfect for sports enthusiasts--as well as sports skeptics--and a must-read for any Frank Deford fan.
TV game shows are an American pastime broadcast ratings champ and cultural institution. Lavishly illustrated and filled with entertaining titbits EGame Shows FAQE presents an unprecedented look at how the game show genre has evolved in the past hundred years. From its earliest days as a promotional tool for newspapers to the high-browed panel games on radio to the scandalous years of the quiz shows to the glitzy and raucous games of the 1970s to the prime-time extravaganzas of the modern era a this book examines the most relevant game shows of every decade exploring how the genre changed and the reasons behind its evolution.THPacked with photos and mementos to give a feel of how game shows evolved over the years the book includes interviews and insights from the shows' beloved hosts including Wink Martindale and Marc Summers executives Bob Boden and Jamie Klein and producers Aaron Solomon and Mark Maxwell-Smith among others. EGame Shows FAQE offers a richly detailed lineage of this American television institution.
This reference work contains exhaustive histories of 31 of network radio's most durable soap operas on the air between 1930 and 1960. The soap operas covered are ""Aunt Jenny's Real Life Stories"", ""Backstage Wife"", ""Big Sister"", ""The Brighter Day"", ""David Harum"", ""Front Page Farrell"", ""The Guiding Light"", ""Hilltop House"", ""Just Plain Bill"", ""Life Can Be Beautiful"", ""The Light of the World"", ""Lora Lawton"", ""Lorenzo Jones"", ""Ma Perkins"", ""One Man's Family"", ""Our Gal Sunday"", ""Pepper Young's Family"", ""Perry Mason"", ""Portia Faces Life"", ""The Right to Happiness"", ""Road of Life"", ""The Romance of Helen Trent"", ""Rosemary"", ""The Second Mrs. Burton"", ""Stella Dallas"", ""This Is Nora Drake"", ""Today's Children"", ""Wendy Warren and the News"", ""When a Girl Marries"", ""Young Doctor Malone"", and ""Young Widder Brown"".Included for each series are the drama's theme and story line, an in-depth focus on the major characters, and a listing of producers, directors, writers, announcers, casts, sponsors, ratings, and broadcast dates, times and networks. Profiles of 158 actors, actresses, creators and others who figured prominently in a serial's success are also provided.
Basic Radio Journalism is a working manual and practical guide to the tools and techniques necessary to succeed in radio journalism. It will be useful both to students starting a broadcasting career as well as experienced journalists wishing to develop and expand their skills. Based on the popular Local Radio Journalism, this book covers the core skills of news gathering, writing, interviewing, reporting and reading with extensive hints and tips. It outlines working practices in both BBC and commercial radio. There are revamped legal and technical sections as well as a new chapter on the journalist as programme producer. For the student, there is extensive advice about getting a job, marketing yourself and dealing with job interviews. The Foreword is by Lord Ryder of Wensum, vice chairman of the BBC.
Aspiring radio and TV presenters will benefit from the informative and entertaining guidance provided by accomplished presenter, Janet Trewin. Presenting on TV and Radio is packed with illustrations, practical exercises and insider tips for improving your presentation skills and breaking into this competitive industry. Based on the principle that all successful presentation on TV and radio is dependent on uniform skills applicable to both mediums, the book begins by explaining basics such as appearance, authority, body language, diction, scriptwriting, deadlines, technology and working with a co-presenter. Valuable insights into key employment issues such as sexism, ageism, racism and disability are also offered. The different requirements of TV and radio presentation are then examined, focusing on each specialist area in detail and with tips from professionals in the business. These include: presenting news in the studio as an anchor and as a reporter on the road; current affairs and features involving live and recorded material; DJ'ing; light entertainment (e.g. game shows and personality programmes); sports presentation; children's programmes; foreign broadcasters and those broadcasting to worldwide audiences.
This book is a history of women, radio, and the gendered constructions of voice and sound in Buenos Aires, Argentina, and Montevideo, Uruguay. Through the stories of five women and one radio station, this study makes a substantial theoretical contribution to the study of gender, mass media, and political culture and expands our knowledge of these issues beyond the US and Western Europe. Included here is a study of the first all-women's radio station in the Western Hemisphere, an Argentine comedian known as 'Chaplin in Skirts', an author of titillating dramatic serials and, of course, Argentine First Lady 'Evita' Peron. Through the concept of the gendered soundscape, this study integrates sound studies and gender history in new ways, asking readers to consider both the female voice in history and the sonic dimensions of gender.
In the past few years, trust in traditional media has reached new lows. Many Americans disbelieve what they hear from the "mainstream media," and have turned to getting information from media echo chambers which are reflective of a single party or ideology. In this book, Paul Matzko reveals that this is not the first such moment in modern American history. The Radio Right tells the story of the 1960s far Right, who were frustrated by what they perceived to be liberal bias in the national media, particularly the media's sycophantic relationship with the John F. Kennedy administration. These people turned for news and commentary to a resurgent form of ultra-conservative mass media: radio. As networks shifted their resources to television, radio increasingly became the preserve of cash-strapped, independent station owners who were willing to air the hundreds of new right-wing programs that sprang up in the late 1950s and 1960s. By the early 1960s, millions of Americans listened each week to conservative broadcasters, the most prominent of which were clergy or lay broadcasters from across the religious spectrum, including Carl McIntire, Billy James Hargis, and Clarence Manion. Though divided by theology, these speakers were united by their distrust of political and theological liberalism and their antipathy towards JFK. The political influence of the new Radio Right quickly became apparent as the broadcasters attacked the Kennedy administration's policies and encouraged grassroots conservative activism on a massive scale. Matzko relates how, by 1963, Kennedy was so alarmed by the rise of the Radio Right that he ordered the Internal Revenue Service and Federal Communications Commission to target conservative broadcasters with tax audits and enhanced regulatory scrutiny via the Fairness Doctrine. Right-wing broadcasters lost hundreds of stations and millions of listeners. Not until the deregulation of the airwaves under the Carter and Reagan administrations would right-wing radio regain its former prominence. The Radio Right provides the essential pre-history for the last four decades of conservative activism, as well as the historical context for current issues of political bias and censorship in the media.
(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.
In Race and Radio: Pioneering Black Broadcasters in New Orleans, Bala James Baptiste traces the history of the integration of radio broadcasting in New Orleans and tells the story of how African American on-air personalities transformed the medium. Analyzing a trove of primary data-including archived manuscripts, articles and display advertisements in newspapers, oral narratives of historical memories, and other accounts of African Americans and radio in New Orleans between 1945 and 1965-Baptiste constructs a formidable narrative of broadcast history, racism, and black experience in this enormously influential radio market. The historiography includes the rise and progression of black broadcasters who reshaped the Crescent City. The first, O. C. W. Taylor, hosted an unprecedented talk show, the Negro Forum, on WNOE beginning in 1946. Three years later in 1949, listeners heard Vernon ""Dr. Daddy-O"" Winslow's smooth and creative voice as a disk jockey on WWEZ. The book also tells of Larry McKinley who arrived in New Orleans from Chicago in 1953 and played a critical role in informing black listeners about the civil rights movement in the city. The racial integration of radio presented opportunities for African Americans to speak more clearly, in their own voices, and with a technological tool that opened a broader horizon in which to envision community. While limited by corporate pressures and demands from advertisers ranging from local funeral homes to Jax beer, these black broadcasters helped unify and organize the communities to which they spoke. Race and Radio captures the first overtures of this new voice and preserves a history of black radio's awakening.
Legendary cricket broadcaster Henry Blofeld takes the reader on a journey from A-Z through the world of cricket. In his trademark charming style, Blowers goes through the alphabet, explaining some of the puzzling cricket terminology and regaling his favourite anecdotes from his fifty years in the sport, covering the most important moments in the sport's history as well as the most entertaining and amusing. The book will also contain a glossary for those who want to make sure they know their googlys from their bouncers. This gift book is perfect for fans of cricket who want to understand the sport from Henry's unique point of view, it is a humorous and entertaining jaunt through the cricket landscape.
The behind-the-scenes story of how admen and sponsors helped shape
broadcasting into a popular commercial entertainment medium.
This book reveals the value and significance of pirate radio, with a special focus on local radio stations that broadcast illegally in Poland in the early 90s. It shows that many of them, like in other countries from the region, began as non-commercial, community-oriented initiatives. Several sources of information were used to maximize the potential of the study, especially documents gathered from public institutions, press articles, interviews with radio representatives, and decision-makers who influenced the shape of the broadcasting system. The analysis of these sources supports the conclusion that, although the pirates left a lasting legacy, they lost out in the licensed regime driven by market logic.
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.
This book is the definitive guide to the film, stage, radio and television career of Kay Francis, one of the most glamorous stars from the golden age of Hollywood. For each film, the authors provide a thorough synopsis plus cast and crew information (including biographies), opening dates, production notes, behind-the-scenes details, and reviews. In addition, information is provided on her stage, radio, and television appearances, and a section is devoted to collecting Kay Francis memorabilia, including such items as cigarette cards, sheet music and soundtracks. Also covered is the stage and vaudeville career of Kay Francis' mother, Katherine Clinton. A brief biography of Kay Francis is provided, along with an insightful foreword by film scholar James Robert Parish. Truly a treasure trove for Kay Francis fans and anyone interested in classic filmmaking in the 1930s and 1940s, the book includes more than 130 illustrations, many of them rare.
The Radio Station offers a concise and insightful guide to all aspects of radio broadcasting, streaming, and podcasting. This book's tenth edition continues its long tradition of guiding readers to a solid understanding of who does what, when, and why in a professionally managed station. This new edition explains what "radio" in America has been, where it is today, and where it is going, covering the basics of how programming is produced, financed, delivered and promoted via terrestrial and satellite broadcasting, streaming and podcasting, John Allen Hendricks and Bruce Mims examine radio and its future within a framework of existing and emerging technologies. The companion website is new revised with content for instructors, including an instructors' manual and test questions. Students will discover an expanded library of audio interviews with leading industry professionals in addition to practice quizzes and links to additional resources.
The opening decades of the twentieth century witnessed a profound transformation in the history of modern sound media, with workers in U.S. film, radio, and record industries developing pioneering production methods and performance styles tailored to emerging technologies of electric sound reproduction that would redefine dominant forms and experiences of popular audio entertainment. Focusing on broadcasting's initial expansion during the 1920s, Making Radio explores the forms of creative labor pursued for the medium in the period prior to the better-known network era, assessing their role in shaping radio's identity and identifying affinities with parallel practices pursued for conversion-era film and phonography. Tracing programming forms adopted by early radio writers and programmers, production techniques developed by studio engineers, and performance styles cultivated by on-air talent, it shows how radio workers negotiated a series of broader industrial and cultural pressures to establish best practices for their medium that reshaped popular forms of music, drama, and public oratory and laid the foundation for a new era of electric sound entertainment. |
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