Murrow is the biography of America's foremost broadcast journalist, Edward R. Murrow. At twenty-nine, he was the prototype of a species new to communications-an eyewitness to history with power to reach millions. His wartime radio reports from London rooftops brought the world into American homes for the first time. His legendary television documentary See It Now exposed us to the scandals and injustices within our own country. Friend of Presidents, conscience of the people, Murrow remained an enigma-idealistic, creative, self-destructive. In this portrait, based on twelve years of research, A. M. Sperber reveals the complexity and achievements of a man whose voice, intelligence, and honesty inspired a nation during its most profound and vulnerable times.

Murrow is the biography of America's foremost broadcast journalist, Edward R. Murrow. At twenty-nine, he was the prototype of a species new to communications-an eyewitness to history with power to reach millions. His wartime radio reports from London rooftops brought the world into American homes for the first time. His legendary television documentary See It Now exposed us to the scandals and injustices within our own country. Friend of Presidents, conscience of the people, Murrow remained an enigma-idealistic, creative, self-destructive. In this portrait, based on twelve years of research, A. M. Sperber reveals the complexity and achievements of a man whose voice, intelligence, and honesty inspired a nation during its most profound and vulnerable times.

Presenting a collection of original chapters, this book reassesses the history of the BBC foreign-language services prior to, and during, the Second World War. The communication between the British government and foreign publics by way of mass media constituted a fundamental, if often ignored, aspect of Britain's international relations. From the 1930s onwards, transnational broadcasting - that is, broadcasting across national borders - became a major element in the conduct of Britain's diplomacy, and the BBC was employed by the government to further its diplomatic, strategic, and economic interests in times of rising international tension and conflict. The contributions to this volume display a series of case studies of BBC transmissions in various European foreign languages directed to occupied, neutral, and enemy countries. This allows for a comprehensive understanding of the different broadcasting strategies adopted by the BBC in the late 1930s and throughout the war, when the Corporation was under the direction of the Ministry of Information and the Political Warfare Executive. This book was originally published as a special issue of Media History.

Radio journalists have witnessed much of the history of the twentieth century. From early documentary recordings , to the ground-breaking war reporting of Ed Murrow and Richard Dimbleby, to the sophisticated commentaries of Alistair Cooke and reporters such as Fergal Keane, International Radio Journalism explores the way radio has covered the most important stories this century and the way in which it continues to document events in Britan, America, Europe and many other countries around the world.
International Radio Journalism is both a theoretical textbook and a practical guide for students of radio journalism, reporters, editors and producers. The book details training and professional standards in writing, presentation, technology, editorial ethics and media law in America, Britain, Australia and other English speaking countries and examines the major public sector broadcast networks such as the BBC, CBC, NPR and ABC as well as the work of commercial and small public radio stations.
Timothy Crook investigates the way in which news reporting has been influenced by governments and media conglomerates and identifies an undercurrent of racial and sexual discrimination throughout the history of radio news. There are chapters on media law for broadcast journalists, the implications of multi-media and new technologies, digital applications in radio news, and glossaries which cover the skills of voice presentaion, writing radio news and broadcast vocabulary.

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.

A practical handbook for programming directors, this guide focuses on achieving specific objectives in today's modern, competitive environment.

Radio Programming is designed to convey underlying principles and to assist the programmer in accomplishing specific objectives, without mandating exact implementation methods. Instead, it empowers station management and the PD to implement strategies that will work for the particular format and market niche.
Radio Programming will be helpful for neophytes in programming, experienced programmers seeking further growth, air talent seeking to develop skills, and general managers trying to understand programming and effectively manage program directors without stifling creativity. It will also help general managers hire effective programmers.
Eric Norberg is the editor and publisher of the Adult Contemporary Music Research Letter and a radio consultant. He has worked as a program director at several radio stations, as on-air talent and general manager, and has also operated a radio production company. For fourteen years he has written a weekly column on radio programming for The Gavin Report, a radio trade publication.
Shows radio programmers how to work toward acheiving specific objectives
Coveys the principles of agressive radio programming
Part of the Broadcasting & Cable series

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.

We all talk about the "tube" or "box," as if television were simply another appliance like the refrigerator or toaster oven. But Cecilia Tichi argues that TV is actually an environment--a pervasive screen-world that saturates almost every aspect of modern life. In Electronic Hearth, she looks at how that environment evolved, and how it, in turn, has shaped the American experience.

Tichi explores almost fifty years of writing about television--in novels, cartoons, journalism, advertising, and critical books and articles--to define the role of television in the American consciousness. She examines early TV advertising to show how the industry tried to position the new device as not just a gadget but a prestigious new piece of furniture, a highly prized addition to the home. The television set, she writes, has emerged as a new electronic hearth--the center of family activity. John Updike described this "primitive appeal of the hearth" in Roger's Version: "Television is--its irresistable charm--a fire. Entering an empty room, we turn it on, and a talking face flares into being." Sitting in front of the TV, Americans exist in a safety zone, free from the hostility and violence of the outside world. She also discusses long-standing suspicions of TV viewing: its often solitary, almost autoerotic character, its supposed numbing of the minds and imagination of children, and assertions that watching television drugs the minds of Americans. Television has been seen as treacherous territory for public figures, from generals to presidents, where satire and broadcast journalism often deflate their authority. And the print culture of journalism and book publishing has waged a decades-long war of survival against it--only to see new TV generations embrace both the box and the book as a part of their cultural world. In today's culture, she writes, we have become "teleconscious"--seeing, for example, real life being certified through television ("as seen on TV"), and television constantly ratified through its universal presence in art, movies, music, comic strips, fabric prints, and even references to TV on TV.

Ranging far beyond the bounds of the broadcast industry, Tichi provides a history of contemporary American culture, a culture defined by the television environment. Intensively researched and insightfully written, The Electronic Hearth offers a new understanding of a critical, but much-maligned, aspect of modern life.

Television has changed drastically in the Soviet Union over the last three decades. In 1960, only five percent of the population had access to TV, but now the viewing population has reached near total saturation. Today's main source of information in the USSR, television has become Mikhail Gorbachev's most powerful instrument for paving the way for major reform.
Containing a wealth of interviews with major Soviet and American media figures and fascinating descriptions of Soviet TV shows, Ellen Mickiewicz's wide-ranging, vividly written volume compares over one hundred hours of Soviet and American television, covering programs broadcast during both the Chernenko and Gorbachev governments. Mickiewicz describes the enormous significance and popularity of news programs and discusses how Soviet journalists work in the United States. Offering a fascinating depiction of the world seen on Soviet TV, she also explores the changes in programming that have occurred as a result of glasnost.

The book takes as its theme the relationship between literature and the contemporary means of production and distribution collectively termed 'the media' - in particular, film and television. The intention of the book is to explore and evaluate the mutual opportunities and restrictions in this relationship. In the grammar of our culture there seems to be an accepted opinion that print is superior in terms of cultural production to film, radio or television, that to read a book is somehow a 'higher' cultural activity than seeing a play on television or seeing a film. By the same token, a novel is a 'superior' work of art to film or television. The longer perspective reveals that traditionally there always is a greater respect paid to the previous mode of literary production - poetry was superior to drama, poetic drama was superior to the novel, and film attained cult and classic status initially over television.

Loren Ghiglione recounts the fascinating life and tragic suicide of Don Hollenbeck, the controversial newscaster who became a primary target of McCarthyism's smear tactics. Drawing on unsealed FBI records, private family correspondence, and interviews with Walter Cronkite, Mike Wallace, Charles Collingwood, Douglas Edwards, and more than one hundred other journalists, Ghiglione writes a balanced biography that cuts close to the bone of this complicated newsman and chronicles the stark consequences of the anti-Communist frenzy that seized America in the late 1940s and 1950s.

Hollenbeck began his career at the Lincoln, Nebraska "Journal" (marrying the boss's daughter) before becoming an editor at William Randolph Hearst's rip-roaring "Omaha Bee-News." He participated in the emerging field of photojournalism at the Associated Press; assisted in creating the innovative, ad-free "PM" newspaper in New York City; reported from the European theater for NBC radio during World War II; and anchored television newscasts at CBS during the era of Edward R. Murrow.

Hollenbeck's pioneering, prize-winning radio program, "CBS Views the Press" (1947-1950), was a declaration of independence from a print medium that had dominated American newsmaking for close to 250 years. The program candidly criticized the prestigious "New York Times," the "Daily News" (then the paper with the largest circulation in America), and Hearst's flagship "Journal-American" and popular morning tabloid "Daily Mirror." For this honest work, Hollenbeck was attacked by conservative anti-Communists, especially Hearst columnist Jack O'Brian, and in 1954, plagued by depression, alcoholism, three failed marriages, and two network firings (and worried about a third), Hollenbeck took his own life. In his investigation of this amazing American character, Ghiglione reveals the workings of an industry that continues to fall victim to censorship and political manipulation. Separating myth from fact, "CBS's Don Hollenbeck" is the definitive portrait of a polarizing figure who became a symbol of America's tortured conscience.

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.

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.

With reference to a radio production directed and documented by the author himself, the study sets out to demonstrate that in presenting a figure in the media (, acting') the central concern is the shaping of the emotional expressive potential of language. At the same time, emotional expression is the main arena in which director and actors engage with each other on the, rightness' of the given role conception for the figure to being portrayed. This fact is also understood here as a reflection of the significance of emotional expression via language in everyday communication

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.

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.

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.

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.

Walter Benjamin was fascinated by the impact of new technology on culture, an interest that extended beyond his renowned critical essays. From 1927 to '33, he wrote and presented something in the region of eighty broadcasts using the new medium of radio. Radio Benjamin gathers the surviving transcripts, which appear here for the first time in English. This eclectic collection demonstrates the range of Benjamin's thinking and his enthusiasm for popular sensibilities. His celebrated "Enlightenment for Children" youth programs, his plays, readings, book reviews, and fiction reveal Benjamin in a creative, rather than critical, mode. They flesh out ideas elucidated in his essays, some of which are also represented here, where they cover topics as varied as getting a raise and the history of natural disasters, subjects chosen for broad appeal and examined with passion and acuity. Delightful and incisive, this is Walter Benjamin channeling his sophisticated thinking to a wide audience, allowing us to benefit from a new voice for one of the twentieth century's most respected thinkers.

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.