Annotated, scholarly edition of the original landmark anthology, Voices of Ghana, containing poetry, plays, stories and essays first broadcast on radio in the years leading up to Ghana's independence. Ghana's first radio programme of original literature, The Singing Net, began in 1955 as part of the development of a national radio station in the years leading to independence in 1957. Its central aim was to bring Ghanaianwriters to the forefront of cultural programming as part of the Africanisation of radio in Ghana. It was a critical cultural expression of the radical changes that were unfolding across the colonial world. The programme successfully introduced listeners to a series of pioneering Ghanaian authors who would go on to become significant figures of Anglophone West African literature in the early postcolonial decades: Efua Sutherland, Frank Parkes, Amu Djoleto,Geormbeeyi Adali-Mortty, Albert Kayper-Mensah, Kwesi Brew, Cameron Duodu, J.H. Nketia and many others. The anthology, Voices of Ghana (1958) is a collection of the poetry, short stories, play scripts and critical discussions that were aired on the Gold Coast Broadcasting Service (later the Ghana Broadcasting System) (1954-1958). Both The Singing Net and Voices of Ghana were edited by the BBC producer, Henry Swanzy. The context of Ghana's independence, the singularity of the anthology's history, and the significance of many of the writers all contribute to the importance of this text. This second edition is a timely intervention into recent debateswithin postcolonial studies and world literature on the importance of broadcast culture in the dissemination of "new literatures" from the colonial world. It includes an unabridged version of the 1958 text, a new introduction andfootnoted annotations, which draw on extensive research undertaken in Ghana and Britain. It will appeal to a general readership with an interest in Ghanaian literature, 1950s broadcast culture, the figure of Dr Kwame Nkrumah and the making of a national literature in the era of decolonisation, as well as engaging scholars. The new edition presents a deeply insightful and engaging history of Voices of Ghana and reintroduces the original works on theoccasion of the anthology's 60th anniversary. Victoria Ellen Smith is a Lecturer in the Department of History, University of Ghana, Legon Ghana & Nigeria: Sub-Saharan Publishers

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?

It all begins in a small town in Belgium near the French border, on the morning of the festival of St. Woelfred. There are dead fish scattered everywhere seemingly blown in by the wind. The lives of six people who live in the town are about to be changed forever. Journeys of selfdiscovery are experienced through the eyes of a magician, a writer, the town Casanova, a clairvoyant married to a drunk, a priest and a Rimbaud scholar; each seeking the answers to their individual tribulations. Despite their differences in status and occupation all characters follow a path towards recognition, whether it be of love, courage, rage, illusion or acceptance. Yet, the mystery behind the scattered fish remains unexplained. This is a story with magic and fish... and the lost poems of Rimbaud.

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.

In the 1970s, '80s and '90s Britain witnessed what many in the business saw as the second great age of radio. It was a period when FM radio blossomed and local stations opened and broadcast across the land. It was a step away from the output of the national broadcaster, the BBC, which had held a monopoly on the airways since its inception. Broadcaster, station manager and regulator for over forty years David Lloyd was very much a part of this revolution and is, amongst his peers, well placed to tell that story. Lloyd describes the period as one of innovation, his aim to create a timeline of radio of this era through to the present day, to capture those heady days, the characters, the fun and heartache, life on the air, life off the air. And to revisit those station launches, company consolidations, the successes and the failures. Told with the insight of an insider, with his characteristic wit and a huge dollop of nostalgia, David Lloyd brings to life a unique age in broadcasting in this fascinating account.

'This innovative and clearly written handbook does exactly what it claims on the cover, providing students with accessible and authoritative knowledge of the essential topics in Radio Studies... Chignell writes about radio with an engaging mixture of scholarly detachment and private passion' - The Radio Journal 'There is a need for a straightforward, wide-ranging, and up-to-date introduction to ways to study radio and other new audio-based media. Hugh Chignell's new book certainly fits the bill, and admirably takes the reader from initial ideas through to additional readings which explore the core issues in greater depth. It is crisply and engagingly written, draws upon a very good range of scholarship, and provides many useful contemporary examples... Students will find it an essential aid to their studies, and it may even go someway to ensuring that the study of radio is as important in the academy as its visual cousins' - Viewfinder 'This book is a useful starting point for radio students and staff, packed with citations and pithy comment from the author. It is a rich resource book for academic radio study at all levels' - Janey Gordon, University of Bedfordshire The SAGE Key Concepts series provides students with accessible and authoritative knowledge of the essential topics in a variety of disciplines. Cross-referenced throughout, the format encourages critical evaluation through understanding. Written by experienced and respected academics, the books are indispensible study aids and guides to comprehension. Key Concepts in Radio Studies: " Provides a comprehensive, easy-to-use introduction to the field " Grounds theory with global examples " Takes it further with recommended reading " Covers the central ideas and practices from production and media studies " Situates radio studies within its historical context and contemporary auditory culture

Since its initial publication in 1978, "Stay Tuned" has been recognized as the most comprehensive and useful single-volume history of American broadcasting and electronic media available. This third edition has been thoroughly revised and updated to bring the story of American broadcasting forward to the 21st century, affording readers not only the history of the most important and pervasive institution affecting our society, but also providing a contextual transition to the Internet and other modern media.
The enthusiasm of authors Christopher H. Sterling and John Michael Kittross is apparent as they lead readers through the development of American electronic mass media, from the first electrical communication (telegraph and telephone); through radio and television; to the present convergence of media, business entities, programming, and delivery systems, including the Internet. Their presentation is engaging, as well as informative, promoting an interest in history and making the connections between the developments of yesterday and the industry of today.
Features of this third edition include:
*chronological and topical tables of contents;
*new material reflecting modern research in the field;
*a new chapter describing historical developments from 1988 through to the current day;
*an expanded bibliography, including Web site and museum listings;
*an updated and expanded glossary and chronology; and
*extensive statistical data of the development of television and radio stations, networks, advertising, programming, audiences, and other aspects of broadcasting.
Designed for use in undergraduate and graduate courses on the history of American mass media, broadcasting, and electronic media, "Stay Tuned" also fits well into mass communication survey courses as an introduction to electronic media topics. As a chronicle of American broadcasting, this volume is also engaging reading for anyone interested in old radio, early television, and the origins and development of American broadcasting.

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.

Why is music so important to radio? This anthology explores the ways in which musical life and radio interact, overlap and have influenced each other for nearly a century. One of music radio's major functions is to help build smaller or larger communities by continuously offering broadcast music as a means to create identity and senses of belonging. Music radio also helps identify and develop musical genres in collaboration with listeners and the music industry by mediating and by gatekeeping. Focusing on music from around the world, Music Radio discusses what music radio is and why or for what purposes it is produced. Each essay illuminates the intricate cultural processes associated with music and radio and suggests ways of working with such complexities.

An overview of radio's impact on American culture in the first half of the twentieth century.

The Shadow. Fibber McGee and Molly. Amos 'n' Andy. When we think back on the golden age of radio, we think of the shows. In Radio Voices, Michele Hilmes looks at the way radio programming influenced and was influenced by the United States of the 1920s, 1930s, and 1940s, tracing the history of the medium from its earliest years through the advent of television.

Hilmes places the development of radio within the context of the turmoils of the 1920s: immigration and urbanization, the rise of mass consumer culture, and the changing boundaries of the public and private spheres. Early practices and structures -- the role of the announcer, the emergence of program forms from vaudeville, minstrel shows, and the concert stage -- are examined.

Central to Radio Voices is a discussion of programs and their relations to popular understandings of race, ethnicity, and gender in the United States of this era. Hilmes explores Amos 'n' Andy and its negotiations of racial tensions and The Rise of the Goldbergs and its concern with ethnic assimilation. She reflects upon the daytime serials -- the first soap operas -- arguing that these much-disparaged programs provided a space in which women could discuss conflicted issues of gender. Hilmes also explores industry practices, considering the role of advertising agencies and their areas of conflict and cooperation with the emerging networks as well as the impact of World War II on the "mission" of radio.

Radio Voices places the first truly national medium of the United States in its social context, providing an entertaining account of the interplay betweenprogramming and popular culture.

Radio s influence can be found in almost every corner of new media. Radio in the Digital Age assesses a medium that has not only survived the challenges of a new technological age but indeed has extended its reach. This is not a book about digital radio, but rather about the medium of radio in its many analogue and digital forms in an age characterised by digital technologies. The context of the digital age reveals new insights about the nature of radio. In this important addition to the world of radio scholarship, Dubber provides a theoretical framework for understanding the medium - allowing for complexity and contradiction, while avoiding essentialism and technological determinism. Introducing radio as a series of practices and phenomena that can be understood through a range of discursive categories, this book explores the relationships between radio, music, politics, storytelling and society in a new and thoughtful way. This book will make essential reading for students of media, communication, broadcasting and the digital industries. It offers a timely and comprehensive introduction for anyone who wishes to understand the role of radio in today s media landscape.

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.

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.

Despite the all-pervading influence of television ninety per cent of people in Britain still listen to the radio, clocking up over a billion hours of listening between us every week. It's a background to all our lives: we wake up to our clock radios, we have the radio on in the kitchen as we make the tea, it's on at our workplaces and in our cars. From Listen With Mother to the illicit thrill of tuning into pirate stations like Radio Caroline; from receiving a musical education from John Peel or having our imagination unlocked by Douglas Adams' The Hitchhiker's Guide to the Galaxy; from school-free summers played out against a soundtrack of Radio One and Test Match Special to more grown-up soundtracks of the Today programme on Radio 4 and the solemn, rhythmic intonation of the shipping forecast - in many ways, our lives can be measured in kilohertz. Yet radio is changing because the way we listen to the radio is changing. Last year the number of digital listeners at home exceeded the number of analogue listeners for the first time, meaning the pop and crackle and the age of stumbling upon something by chance is coming to an end. There will soon be no dial to turn, no in-between spaces on the waveband for washes of static, mysterious beeps and faint, distant voices. The mystery will be gone: we'll always know exactly what it is we're listening to, whether it's via scrolling LCD on our digital radios, the box at the bottom of our TV screen or because we've gone in search of a particular streaming station. And so, as the world of analogue listening fades, Charlie Connelly takes stock of the history of radio and its place in our lives as one of the very few genuinely shared national experiences. He explores its geniuses, crackpots and charlatans who got us to where we are today, and remembers its voices, personalities and programmes that helped to form who we are as individuals and as a nation. He visits the key radio locations from history, and looks at its vital role over the past century on both national and local levels. Part nostalgic eulogy, part social history, part travelogue, Last Train To Hilversum is Connelly's love letter to radio, exploring our relationship with the medium from its earliest days to the present in an attempt to recreate and revisit the world he entered on his childhood evenings on the dial as he set out on the radio journey of a lifetime.

More than 700 uncredited scriptwriters who created the memorable characters and thrilling stories of radio's Golden Age receive due recognition in this encyclopedia. For some, radio was a stepping stone on the way to greater achievements in film or television, on the stage or in literature. For others, it was the culmination of a life spent writing newspaper copy. Established authors dabbled in radio as a new medium, while working writers saw it as another opportunity to earn a paycheck. When these men and women came to broadcasting, they crafted a body of work still appreciated by modern listeners.

Music and the Broadcast Experience explores the complex ways in which music and broadcasting have developed together throughout the twentieth and into the twenty-first centuries. It brings into dialogue researchers working in media and music studies; explores and develops crucial points of contact between studies of music in radio and music in television; and investigates the limits, persistence, and extensions of music broadcasting in the Internet era. The book presents a series of case studies that address key moments and concerns in music broadcasting, past and present, written by leading scholars in the field, who hail from both media and music studies. Unified by attentiveness both to musical sound and meaning and to broadcasting structures, practices, audiences, and discourses, the chapters in this collection address the following topics: the role of live orchestral concerts and opera in the early development of radio and their relation to ideologies of musical uplift; the relation between production culture, music, and television genre; the function of music in sponsored radio during the 1930s; the fortunes of musical celebrity and artistic ambition on television; questions of music format and political economy in the development of online radio; and the negotiation of space, community, and participation among audiences, online and offline, in the early twenty-first century. The collection's ultimate aim is to explore the usefulness and limitations of broadcasting as a concept for understanding music and its cultural role, both historically and today.

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.

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.

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.

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.

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.

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.

Payola is as old as the music industry and continues today. Contrary to popular belief, the acceptance of payola is legal. (Only the nonreporting of it would be illegal.) The recipients of payola and the reasons behind it are discussed decade-by-decade. The early bribes to the minstrel groups and vaudeville players are traced, as are modern-day payments to disc jockeys and radio station programme directors, where drugs are often given instead of cash. Particular attention is paid to 1959 and 1960 when federal investigators attempted to eradicate the practice.

Shortwave broadcasting originated in the 1920s, when stations used the new technology to increase their range in order to serve foreign audiences and reach parts of their own country that could not easily be covered by regular AM stations. The early days of shortwave radio 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 after World War II, focusing on the stations themselves and the environment in which they operated. A companion volume, Listening on the Short Waves, 1945 to Today, focuses on the shortwave listening community.] The heart of the book is a detailed, year-by-year account of the shortwave bands in each year from 1945 to the present. It reviews what American listeners were hearing on the international and domestic shortwave bands, describes the arrivals and departures of stations, and recounts important shortwave events. The book also introduces readers to the several categories of broadcasters--international, domestic, religious, clandestine and pirate--and to private shortwave broadcasting in the United States. It explains the impact of relay stations, frequency management, and jamming, and describes promising shortwave technologies. It also addresses the considerable changes in, and challenges to, shortwave broadcasting since the end of the cold war. The book is richly illustrated and indexed, and features a bibliography and extensive notes to facilitate further reading or research.