Radio Hitler follows the life of Deutschlandsender, the Nazi equivalent of BBC Radio 4, and its sister stations that transmitted to Germany and the world at large. Using first-hand interviews, archives, diaries, letters and memoirs, this book examines what Nazi radio was and what it stood for. Detailed here is the vast 'fake news' effort, which bombarded audiences in the Middle East, Africa, the United States and Great Britain. A light is also shone on the home service stations that, with their monumental announcements including Stalingrad, the assassination attempt on Hitler and the invasion of France, provided the soundtrack to everyday life in Nazi Germany. Details of entertainment shows and programmes designed to lift morale on the Home Front are abundant and offer a fresh insight into the psyche of the nation. The book also looks at Nazi attempts to develop television throughout Germany and in occupied France. A rich cast of characters is featured throughout, including Ernst Himmler, brother of Heinrich, who worked as technical chief at Deutschlandsender, and Lord Haw-Haw, the infamous British mouthpiece of the Nazi propaganda machine. Nathan Morley had unlimited access to former Reich radio studios and transmitter sites in Hamburg, Berlin, and Vienna, as well as to a vast archive of recordings and transcripts. The result is a fascinating and revealing portrait of propaganda, communication and media in Nazi Germany.

Listening to British Nature: Wartime, Radio, and Modern Life, 1914-1945 reveals for the first time how the sounds and rhythms of the natural world were listened to, interpreted and used amid the pressures of early twentieth century life. The book argues that despite and sometimes because of the chaos of wartime and the struggle to recover, nature's voices were drawn close to provide security and engender optimism. Nature's sonic presences were not obliterated by machine age noise, the advent of radio broadcasting or the rush of the urban everyday, rather they came to complement and provide alternatives to modern modes of living. This book examines how trench warfare demanded the creation of new listening cultures to understand danger and to imagine survival. It tells of the therapeutic communities who made use of nature's quietude and the rhythms of rural work to restore shell-shocked soldiers, and of ramblers who sought to immerse themselves in the sensualities of the outdoors. It reveals how home-front listening during the Blitz was punctuated by birdsong, broadcast by the BBC. To listen to nature during this period was to cultivate an intimate connection with its energies and to sense an enduring order and beauty that could be taken into the future. Listening to nature was a way of being modern.

This is a volume of history validating the contributions of radio toward keeping America informed. Like everything else, radio has gone through many changes since the 1920s. Periods very distinct from each other embrace its roots, its golden age, and the well-defined eras dominated by the disc jockey, talk, and news formats. The U.S. was dependent on radio as a source of cheap entertainment during the Great Depression and the critical information gained from it during the Second World War had no parallel. Radio's diminished effects in the wake of television in the 1950s are surveyed; the aural medium shifted from being at the core of many families' activities to more specialised applications, reaching narrowly defined listener bases. Many people turned elsewhere for the news. (And now even TV is challenged by yet newer media.) The introduction of technological marvels throughout the past hundred years has significantly altered what Americans hear and how, when, and where they hear it.

Sunday Times Celebrity Book of the Year 2010 In It's Not What You Think Chris Evans had seemingly found the recipe for success. He was rich, famous, and now the owner of his own radio station and media company. What could possibly go wrong? As it turned out, the answer was everything...well almost. When we left our loveable ginger hero at the end of It's Not What You Think, it looked like Chris had made it. But things were about to take a very dark turn. Soon Chris's childhood dreams of a job in radio lay in tatters, and as an endless drink-fuelled lifestyle began to take its toll, he plunged into a downward spiral so deep that escape seemed almost impossible. And then his salvation appeared, in the form of a young singer called Billie Piper. Told with the same wit, verve and startling honesty that surprised and delighted readers of It's Not What You Think, this is the final part - for now - of Chris Evans's journey of self discovery.

On 1 September 1939, British television broadcasting was closed down on Government orders, leaving radio as the sole source of broadcast home entertainment. For the next six years the radio became the main source of entertainment, information and news for the majority of the population. Personalities and stars became household names and their catchphrases could be heard everywhere. Radio was also a tremendous vehicle for propaganda, and for sending coded messages across Britain and later to resistance groups throughout Europe. After the war TV would return, but in the meantime the wireless ruled the air waves. The book is about wireless in Britain in the Second World War, focusing mainly on the BBC, but briefly looking at other broadcasters, such as Radio Luxembourg and German broadcasts to Britain by Lord Haw Haw.

"Radio in the Global Age "offers a fresh, up-to-date, and wide-ranging introduction to the role of radio in contemporary society. It places radio, for the first time, in a global context, and pays special attention to the impact of the Internet, digitalization and globalization on the political-economy of radio. It also provides a new emphasis on the links between music and radio, the impact of formatting, and the broader cultural roles the medium plays in constructing identities and nurturing musical tastes.

Individual chapters explore the changing structures of the radio industry, the way programmes are produced, the act of listening and the construction of audiences, the different meanings attached to programmes, and the cultural impact of radio across the globe. David Hendy portrays a medium of extraordinary contradictions: a cheap and accessible means of communication, but also one increasingly dominated by rigid formats and multinational companies; a highly 'intimate' medium, but one capable of building large communities of listeners scattered across huge spaces; a force for nourishing regional identity, but also a pervasive broadcaster of globalized music products; a 'stimulus to the imagination', but a purveyor of the banal and of the routine. Drawing on recent research from as far afield as Africa, Australasia and Latin America, as well as from the UK and US, the book aims to explore and to explain these paradoxes - and, in the process, to offer an imaginative reworking of Marshall McLuhan's famous dictum that radio is one of the world's 'hot' media.

"Radio in the Global Age "is an invaluable text for undergraduates and researchers in media studies, communicationstudies, journalism, cultural studies, and musicology. It will also be of interest to practitioners and policy-makers in the radio industry.

'Incredibly comprehensive. Learn and understand this lot and you will have a fine grasp' Jon Snow

'This sets the standard for every radio newsroom' - Andy Ivy, Editor, Sky News Radio

In an age of infinite choice made possible by new technology, and a disturbing move away from traditional reporting into colourful comment and speculation by blogs and 'citizen journalists' there has never been a better time to focus on pure journalism skills.

"Essential Radio Journalism "is a vastly comprehensive working manual for radio journalists as well as a textbook for broadcast journalism students. It contains practical advice for gathering, reporting, writing, editing and presenting, the news, alongside media law and ethics. There is a wealth of 'inside' information, checklists and on-the-job advice that you can immediately put to use whether you are in your first job or have several years of experience. This is a book to inspire responsible, accurate and exceptional journalism skills.

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. This gift book is perfect for fans of cricket who want to understand the sport from Henry's unique point of view - this is a humorous and entertaining jaunt through the cricket landscape.

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.

THE UPLIFTING AND HEARTWARMING LOVE LETTER TO FAMILY AND THE GREAT OUTDOORS 'Cox is a natural storyteller... she brings that authentic voice to bear in her memoir. The tone is so intimate, chatty and friendly, so you feel as though she could be sitting next to you' Hannah Beckerman, Daily Express 'endearing, engaging and very funny' Mirror 'Coxy's memoir about growing up on a farm is as funny as you'd expect, genuinely touching and has some excellent 80s and 90s details. Her love of animals is infectious' Alexandra Heminsley, Grazia 'The book is like a big warm hug, full of local characters and misadventures' Sophie Heawood, Observer 'Made me laugh out loud...I loved it!' Lynda La Plante 'Glorious springtime, haystacks and a herd of cows can all be found in this' Sunday Times Bestseller 'Warm and witty' - Express A funny and heart-warming love letter to childhood, family and growing up. Till the Cows Come Home is DJ and TV presenter Sara Cox's wonderfully written, funny coming of age memoir of growing up in 1980s Lancashire. The youngest of five siblings, Sara grew up on her father's cattle farm surrounded by dogs, cows, horses, fields and lots of 'cack'. The lanky kid sister - half girl, half forehead - a nuisance to the older kids, the farm was her very own dangerous adventure playground, 'a Bolton version of Narnia'. Her writing conjures up a time of wagon rides and haymaking and agricultural shows, alongside chain smoking pensioners, cabaret nights at the Conservative club and benign parenting. Sara's love of family, of the animals and the people around them shines through on every page. Unforgettable characters are lovingly and expertly drawn bringing to life a time and place. Sara later divided her childhood days between the beloved farm and the pub she lived above with her mother, these early experiences of freedom and adventure came to be the perfect training ground for later life. This funny, big-hearted and often moving telling of Sara Cox's semi rural upbringing is not what you'd expect from the original ladette, and one of radio's most enduring and well loved presenters.

For over half a century, Henry Blofeld has conveyed his unfailing enthusiasm for the game of cricket as a much loved broadcaster and journalist. His characteristically patrician tones, overlaid with those of the bon viveur, have delighted listeners to the BBC's Test Match Special where the personality of the broadcaster comes second only to a deep knowledge of the game and its players. With his engaging conversational tone it is easy to see why listeners feel as if they are actually at the Test match watching in Henry's friendly company. Now that 'Blowers' has decided to declare his TMS innings closed, his book reveals the secrets of life in the commentary box and of the rich cast of characters with whom he shared it, from the early days of John Arlott and Brian Johnson to Aggers and new boys Boycott, Swann, Vaughan and Tuffers. Henry is equally revealing of his own performances and self-deprecatingly recalls his several verbal misfortunes while live broadcasting. Like the greatest commentators and writers on the game Blofeld has always understood that there is a world beyond the cricket field. Not forgetting pigeons passing, red buses and much loved cricket grounds, Henry Blofeld writes of his favourite countries, and experiences while travelling, and meeting and interviewing many cricket-loving celebrities. His passionate and entertaining book will become one of the classics of cricket's literature.

The Oxford Mid-Century Studies series publishes monographs in several disciplinary and creative areas in order to create a thick description of culture in the thirty-year period around the Second World War. With a focus on the 1930s through the 1960s, the series concentrates on fiction, poetry, film, photography, theatre, as well as art, architecture, design, and other media. The mid-century is an age of shifting groups and movements, from existentialism through abstract expressionism to confessional, serial, electronic, and pop art styles. The series charts such intellectual movements, even as it aids and abets the very best scholarly thinking about the power of art in a world under new techno-political compulsions, whether nuclear-apocalyptic, Cold War-propagandized, transnational, neo-imperial, super-powered, or postcolonial. The Wireless Past chronicles the emergence of the British Broadcasting Corporation (BBC) as a significant promotional platform and aesthetic influence for Irish modernism from the 1930s to the 1960s. This is the first book-length study of Irish literary broadcasting on the BBC and situates the works of W. B. Yeats, Elizabeth Bowen, Louis MacNeice, and Samuel Beckett in the context of the media environments that shaped their works. Drawing upon unpublished radio archives, this book shows that radio broadcasting, rather than prompting a break with literary history and traditional literary forms, in fact served as an important means for reinterpreting the legacies of oral and print traditions. In the years surrounding World War II, radio came to be seen as a catalyst for literary revivals and, simultaneously, a force for experimentation. This double valence of radio-the conjoining of revivalism and experimentation-create a distinctive radiogenic aesthetics in mid-century modernism.

When Waseem Mahmood's brother broke a confidence and filed a story in the world's highest circulating tabloid, the News of the World, Mahmood feared he'd never work in broadcast media again. History intervened with the events of 9/11, the attack on Afghanistan, and the Taliban's fall. Headed by Mahmood, a group of journalists responded by producing a Kabul-based radio program to disseminate much-needed and, for the first time, uncensored information. What they end up providing is hope for a devastated land and a voice for a people long smothered by oppression. Told with searing honesty, this is a story of struggle, cruelty, and courage populated by ordinary people who risk their lives for freedom.

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.

In a wide-ranging, cross-cultural, and transhistorical assessment, John Mowitt examines radio's central place in the history of twentieth-century critical theory. A communication apparatus that was a founding technology of twentieth-century mass culture, radio drew the attention of theoretical and philosophical writers such as Jean-Paul Sartre, Walter Benjamin, Jacques Lacan, and Frantz Fanon, who used it as a means to disseminate their ideas. For others, such as Martin Heidegger, Theodor Adorno, and Raymond Williams, radio served as an object of urgent reflection. Mowitt considers how the radio came to matter, especially politically, to phenomenology, existentialism, Hegelian Marxism, anticolonialism, psychoanalysis, and cultural studies. The first systematic examination of the relationship between philosophy and radio, this provocative work also offers a fresh perspective on the role this technology plays today.

The only book on the market to specifically address its audience, Recording Voiceover is the comprehensive guide for engineers looking to understand the aspects of capturing the spoken word. Discussing all phases of the recording session, Recording Voiceover addresses everything from microphone recommendations for voice recording to pre-production considerations, including setting up the studio, working with and directing the voice talent, and strategies for reducing or eliminating distracting noise elements found in human speech. Recording Voiceover features in-depth, specific recommendations for recording radio and television commercials, corporate communications, documentaries, tracks for gaming and animation, radio drama, interviews and roundtable discussions. A discussion of the voice in film and television is also included. Special attention is paid to the final release format and its impact on recording strategies. Exploration of using telephone interfaces - including both analogue and digital ISDN, as well as recording across the internet - is included.

The only book on the market to specifically address its audience, Recording Voiceover is the comprehensive guide for engineers looking to understand the aspects of capturing the spoken word. Discussing all phases of the recording session, Recording Voiceover addresses everything from microphone recommendations for voice recording to pre-production considerations, including setting up the studio, working with and directing the voice talent, and strategies for reducing or eliminating distracting noise elements found in human speech. Recording Voiceover features in-depth, specific recommendations for recording radio and television commercials, corporate communications, documentaries, tracks for gaming and animation, radio drama, interviews and roundtable discussions. A discussion of the voice in film and television is also included. Special attention is paid to the final release format and its impact on recording strategies. Exploration of using telephone interfaces - including both analogue and digital ISDN, as well as recording across the internet - is included.

"soundBAIT" is a formula for radio-marketing success that has been developed for 1) radio station account executives who want to attract new advertisers, 2) radio advertisers who want their hard earned marketing dollars to produce dramatically better results and 3) radio listeners who demand that you at least entertain them while you interrupt the flow of music or talk on their favorite station. "soundBAIT" examines what radio stations should be looking for in an advertiser, what an advertiser should be looking for in a radio station and most importantly, what listeners expect advertisers to use as "bait" in their messages before they will "bite" at the products and services advertisers offer them.

Radio Four has been described as "the greatest broadcasting channel in the world," the "heartbeat of the BBC," a cultural icon of Britishness, and the voice of Middle England. Defined by its rich mix, encompassing everything from journalism and drama to comedy, quizzes, and short-stories. Many of its programs- such as Today, The Archers, Woman's Hour, The Hitchhiker's Guide To the Galaxy, Gardeners' Question Time, and The Shipping Forecast--have been part of British life for decades. Others, less successful, have caused offence and prompted derision. Born as it was in the Swinging Sixties, Radio Four's central challenge has been to change with the times, while trying not to lose faith with those who see it as a standard-bearer for quality, authoritativeness, or simply "old-fashioned" BBC values.
In this first major behind-the-scenes account of the station's history, David Hendy--a former producer for Radio Four--draws on privileged access to the BBC's own archives and new interviews with key personnel to illuminate the arguments and controversies behind the creation of some of its most popular programmes. He reveals the station's struggle to justify itself in a television age, favouring clear branding and tightly-targeted audiences, with bitter disputes between the BBC and its fiercely loyal listeners. The story of these struggles is about more than the survival of one radio network: Radio Four has been a lightning rod for all sorts of wider social anxieties over the past forty years. A kaleidoscopic view of the changing nature of the BBC, this book provides a gripping insight into the very nature of British life and culture in the last decades of the twentieth century.

Broadcast Announcing Worktext, now in its fifth edition, remains one of the best resources for those looking to gain the skills, techniques, and procedures necessary to enter the competitive field of broadcast performance. Written accessibly, with easy-to-digest modules and practice projects, this book encourages active participation from readers to help develop their talent on air. In addition to the principles of good performance, the book addresses the importance of the audience and how to communicate effectively to diverse groups. The book combines traditional teaching with practical experience, and includes sample scripts and self-study exercises to allow for a practical, hands-on application of key concepts. The fifth edition, expanded throughout, features updates about performance on the Internet and social media, as well as content about podcasting and audio performance. A new chapter on international media offers readers a look at media performance and career possibilities around the world. This book is an invaluable resource for any student of journalism, communication, or public relations looking to enhance their media performance skills. A detailed accompanying website features audio-clips, sample test questions, and a Professionals' Comment Bank setting out experience and advice from working pros.

The first hilarious volume of comedy writer, journalist, radio DJ and screenwriter Danny Baker's memoir, and now the inspiration for the major BBC series CRADLE TO GRAVE, starring Peter Kay. 'And what was our life like in this noisy, dangerous and polluted industrial pock-mark wedged into one of the capital's toughest neighbourhoods? It was, of course, utterly magnificent and I'd give anything to climb inside it again for just one day.' In the first volume of his memoirs, Danny Baker brings his early years to life as only he knows how. With his trademark humour and eye for a killer anecdote, he takes us all the way from the council house in south-east London that he shared with his mum Betty and dad 'Spud' (played by Peter Kay) to the music-biz excesses of Los Angeles, where he famously interviewed Michael Jackson for the NME. Laugh-out-loud funny, it is also an affectionate but unsentimental hymn to a bygone era.

'Full of glorious examples of caller wisdom [with] laugh-out-loud anecdotes' Allison Pearson, Sunday Telegraph Jeremy Vine has been presenting his BBC Radio 2 show since 2003 - it now attracts more than seven million listeners. He calculates he has taken more than 25,000 calls from his listeners on issues big and small: life, love, lollipop ladies and poisonous plants. But what have the callers told him? If you listen to Radio 4, Brexit was a shock. If you are on Radio 2 it would not have surprised you at all. Where Jeremy's callers once expressed a kind of resignation ('But what can you do?') or a gloomy rejoinder ('You have to laugh'), now they give him their views expecting to be heeded. Listener wisdom is far more valuable than most of what we hear from appointed spokespeople. What was the response when Jeremy asked: 'Have you ever been pecked in the eye by a gannet?' Which subjects are most likely to start pitched warfare between different sections of the audience? (Answer: old people using buses, old people NOT using buses, cellophane, or Tony Blair saying anything.) In a book punctuated by his own vivid stories and laugh-out-loud moments, Jeremy Vine explains what it's like to hit a button and hear - totally unvarnished and unspun - the voice of the so-called 'ordinary' person. And why we should take notice.

Radio history is currently much talked about. Radio was the medium which 'defined and defied' American culture in the early 20th century, setting patterns for all media that followed. Topics include 1940s radio suspense drama, quiz shows, American propogandists for Axis Powers, The Green Hornet and race, black liberation radio, NPR, and Christian right and radio.

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. -- .