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.

Greece on Air offers the first substantial discussion of the fascinating history of creative and public engagements with ancient Greek literature, history, and thought via the BBC Radio, from the birth of domestic broadcasting in the 1920s up to the 1960s.
The astonishing range of programmes broadcast in this period includes some of the most interesting, creative, and political engagements with ideas from and about ancient Greece in twentieth-century Britain. From talks to schools and adult education groups, creative re-imaginings of ancient historical texts written and broadcast as Second World War propaganda, and scores of performances of Greek tragedy, comedy, and their modern adaptations, Wrigley draws on the vast amount of evidence that exists in the written archives (both for production processes and also listeners' responses) to develop a full understanding of the role of the radio medium in public engagements with ancient Greece in twentieth-century Britain.

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.

When Breeze FM Radio, in the provincial Zambian town of Chipata, hired an elderly retired school teacher in 2003, no one anticipated the skyrocketing success that would follow. A self-styled grandfather on air, Gogo Breeze seeks intimacy over the airwaves and dispenses advice on a wide variety of grievances and transgressions. Multiple voices are broadcast and juxtaposed through call-ins and dialogue, but free speech finds its ally in the radio elder who, by allowing people to be heard and supporting their claims, reminds authorities of their obligations toward the disaffected. Harri Englund provides a masterfully detailed study of this popular radio personality that addresses broad questions of free speech in Zambia and beyond. By drawing on ethnographic insights into political communication, Englund presents multivocal morality as an alternative to dominant Euro-American perspectives, displacing the simplistic notion of voice as individual personal property an idea common in both policy and activist rhetoric. Instead, Englund focuses on the creativity and polyphony of Zambian radio while raising important questions about hierarchy, elderhood, and ethics in the public sphere. A lively, engaging portrait of an extraordinary personality, Gogo Breeze will interest Africanists, scholars of radio and mass media, and anyone interested in the history and future of free speech.

The behind-the-scenes story of how admen and sponsors helped shape broadcasting into a popular commercial entertainment medium.
During the "golden age" of radio, from roughly the late 1920s until the late 1940s, advertising agencies were arguably the most important sources of radio entertainment. Most nationally broadcast programs on network radio were created, produced, written, and/or managed by advertising agencies: for example, J. Walter Thompson produced "Kraft Music Hall" for Kraft; Benton & Bowles oversaw "Show Boat" for Maxwell House Coffee; and Young & Rubicam managed "Town Hall Tonight" with comedian Fred Allen for Bristol-Myers. Yet this fact has disappeared from popular memory and receives little attention from media scholars and historians. By repositioning the advertising industry as a central agent in the development of broadcasting, author Cynthia B. Meyers challenges conventional views about the role of advertising in culture, the integration of media industries, and the role of commercialism in broadcasting history.
Based largely on archival materials, A Word from Our Sponsor mines agency records from the J. Walter Thompson papers at Duke University, which include staff meeting transcriptions, memos, and account histories; agency records of BBDO, Benton & Bowles, Young & Rubicam, and N. W. Ayer; contemporaneous trade publications; and the voluminous correspondence between NBC and agency executives in the NBC Records at the Wisconsin Historical Society.
Mediating between audiences' desire for entertainment and advertisers' desire for sales, admen combined "showmanship" with "salesmanship" to produce a uniquely American form of commercial culture. In recounting the history of this form, Meyers enriches and corrects our understanding not only of broadcasting history but also of advertising history, business history, and American cultural history from the 1920s to the 1940s.

The behind-the-scenes story of how admen and sponsors helped shape broadcasting into a popular commercial entertainment medium.
During the "golden age" of radio, from roughly the late 1920s until the late 1940s, advertising agencies were arguably the most important sources of radio entertainment. Most nationally broadcast programs on network radio were created, produced, written, and/or managed by advertising agencies: for example, J. Walter Thompson produced "Kraft Music Hall" for Kraft; Benton & Bowles oversaw "Show Boat" for Maxwell House Coffee; and Young & Rubicam managed "Town Hall Tonight" with comedian Fred Allen for Bristol-Myers. Yet this fact has disappeared from popular memory and receives little attention from media scholars and historians. By repositioning the advertising industry as a central agent in the development of broadcasting, author Cynthia B. Meyers challenges conventional views about the role of advertising in culture, the integration of media industries, and the role of commercialism in broadcasting history.
Based largely on archival materials, A Word from Our Sponsor mines agency records from the J. Walter Thompson papers at Duke University, which include staff meeting transcriptions, memos, and account histories; agency records of BBDO, Benton & Bowles, Young & Rubicam, and N. W. Ayer; contemporaneous trade publications; and the voluminous correspondence between NBC and agency executives in the NBC Records at the Wisconsin Historical Society.
Mediating between audiences' desire for entertainment and advertisers' desire for sales, admen combined "showmanship" with "salesmanship" to produce a uniquely American form of commercial culture. In recounting the history of this form, Meyers enriches and corrects our understanding not only of broadcasting history but also of advertising history, business history, and American cultural history from the 1920s to the 1940s.

"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.

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.

Beginning in the 1970s Chicana and Chicano organizers turned to community radio broadcasting to educate, entertain, and uplift Mexican American listeners across the United States. In rural areas, radio emerged as the most effective medium for reaching relatively isolated communities such as migrant farmworkers. And in Washington's Yakima Valley, where the media landscape was dominated by perspectives favorable to agribusiness, community radio for and about farmworkers became a life-sustaining tool. Feminista Frequencies unearths the remarkable history of one of the United States' first full-time Spanish-language community radio stations, Radio KDNA, which began broadcasting in the Yakima Valley in 1979. Extensive interviews reveal the work of Chicana and Chicano producers, on-air announcers, station managers, technical directors, and listeners who contributed to the station's success. Monica De La Torre weaves these oral histories together with a range of visual and audio artifacts, including radio programs, program guides, and photographs to situate KDNA within the larger network of Chicano community-based broadcasting and social movement activism. Feminista Frequencies highlights the development of a public broadcasting model that centered Chicana radio producers and documents the central role of women in developing this infrastructure in the Yakima Valley. De La Torre shows how KDNA revolutionized community radio programming, adding new depth to the history of the Chicano movement, women's activism, and media histories.

'The bombshell book everyone is talking about' DAILY MAIL 'A radio genius ... the maestro of the show' EVENING STANDARD As presenter of Radio 4's Today, the nation's most popular news programme, John Humphrys was famed for his tough interviewing. He has been at the heart of journalism for decades. Now, he offers his life story from the poverty of his post-war childhood in Cardiff, leaving school at fifteen, to the summits of broadcasting. Along the way, he recalls the experiences that have marked him most: being the first reporter at the terrible disaster in Aberfan, reporting from South Africa in the dying days of apartheid, from Ireland during the Troubles, and from the White House on Richard Nixon's historic resignation. With his trademark tenacity and no punches pulled, John also weighs in on the controversies of his career, the role and limitations of the BBC, and the broader health of political debate today. He hopes you'll tune in.

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.

'Melvyn not only makes you think ... he makes it enjoyable too. He's brilliant.' - John Humphrys, the Today Programme. 'In a troubled world where many sneer at experts, In Our Time is always a treat. Those who know what they're talking about, talk about it, and they do it under the benevolent if occasionally testy guidance of one who knows how to bring out the best in them. Listen, read, mark, and inwardly digest; agreeable glass of accompanying refreshment optional.' - Sir Diarmaid MacCulloch 'This beautifully produced and expertly edited book is a wonderfully rich and varied sample of 50 In Our Time programmes, from ancient Greek philosophy to dark matter via the gin craze. It will whet your appetite to visit or revisit the many hundreds of other programmes in this remarkable series.' - Professor Angela Hobbs 'Bragg gives short shrift to pretension of any kind, while remaining stalwart in his search for knowledge. His methodology in In Our Time is... not unlike that of a man throwing a stick at a dog: he chucks his questions ahead, and if the chosen academic fails to bring it right back, he chides them. He retains enough of his bluff Cumbrian origins not to be taken in by gambolling and tweedy high spirits.' - Will Self, from a February 2010 issue of London Review of Books In Our Time has been the cornerstone of broadcasting every Thursday morning on BBC Radio 4 for the past twenty years, with over 800 episodes since its launch in October 1998. Presented by one of Britain's greatest champions of the arts, Melvyn Bragg, the show explores ideas across history, religion, philosophy, science and culture. With a vast array of contributors from the world of academia, such as Mary Beard, Angie Hobbs and Diarmaid MacCulloch, it is one of Radio 4's most successful programmes, attracting a weekly live audience exceeding 2 million listeners, and, per episode, it is one of the world's most downloaded podcasts. To honour this major anniversary of BBC broadcasting, this beautifully illustrated book provides a lively and colourful guide to fifty of the most captivating discussions from the past two decades of In Our Time, as chosen by Melvyn and the producer Simon Tillotson, and, influenced by listeners who have recommended their favourite programmes from those years. Highlights include 'Romulus and Remus', 'The Death of Elizabeth I', 'Ada Lovelace', 'The Gin Craze', the 'Epic of Gilgamesh' and 'The Salem Witch Trials', and there are additional behind-the-scenes insights, peppered with Melvyn Bragg's remarks both on and off air. This is a captivating gift for all fans and a celebration of this iconic series.

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.

For generations, fans and critics have characterized classic American radio drama as a "theater of the mind". This book examines that characterization by recasting the radio play as an aesthetic object within its unique historical context. In "Theater of the Mind", Neil Verma applies an array of critical methods to more than six thousand recordings to produce a vivid new account of radio drama from the Depression to the Cold War. In this sweeping exploration of dramatic conventions, Verma investigates legendary dramas by the likes of Norman Corwin, Lucille Fletcher, and Wyllis Cooper on key programs ranging from The Columbia Workshop, The Mercury Theatre on the Air, and Cavalcade of America to Lights Out!, Suspense, and Dragnet to reveal how these programs promoted and evolved a series of models of the imagination. With close readings of individual sound effects and charts of broad trends among formats, Verma not only gives us a new account of the most flourishing form of genre fiction in the mid-twentieth century but also presents a powerful case for the central place of the aesthetics of sound in the history of modern experience.

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.

The Radio Act of August 13, 1912, provided for the licensing of radio operators and transmitting stations for nearly 15 years until Congress passed the Radio Act of 1927. From 1921 to 1927, there were continual revisions and developments and these still serve as the basis for current broadcast regulation. This book chronicles that crucial six-year period using primary documents. The administrative structure of the Department of Commerce and the personnel involved in the regulation of broadcasting are detailed. The book is arranged chronologically in three sections: Broadcast Regulation and Policy from 1921 to 1925; Congestion and the Beginning of Regulatory Breakdown in 1924 and 1925; and Regulatory Breakdown and the Passage of the Act of 1927. There is also discussion of the Department of Commerce divisions and their involvement until they were absorbed by the Federal Communication Commission. A bibliography and an index conclude the work.

Rock stars and rap gods. Comedy legends and A-list actors. Supermodels and centerfolds. Moguls and mobsters. A president. Over his unrivaled four-decade career in radio, Howard Stern has interviewed thousands of personalities-discussing sex, relationships, money, fame, spirituality, and success with the boldest of bold-faced names. But which interviews are his favorites? It's one of the questions he gets asked most frequently. Howard Stern Comes Again delivers his answer. This book is a feast of conversation and more, as between the lines Stern offers his definitive autobiography-a magnum opus of confession and personal exploration. Tracy Morgan opens up about his near-fatal car crash. Lady Gaga divulges her history with cocaine. Madonna reminisces on her relationship with Tupac Shakur. Bill Murray waxes philosophical on the purpose of life. Jerry Seinfeld offers a master class on comedy. Harvey Weinstein denies the existence of the so-called casting couch. An impressive array of creative visionaries weigh in on what Stern calls "the climb"-the stories of how they struggled and eventually prevailed. As he writes in the introduction, "If you're having trouble finding motivation in life and you're looking for that extra kick in the ass, you will find it in these pages." Interspersed throughout are rare selections from the Howard Stern Show archives with Donald Trump that depict his own climb: transforming from Manhattan tabloid fixture to reality TV star to president of the United States. Stern also tells of his Moby Dick-like quest to land an interview with Hillary Clinton in the run-up to the 2016 election-one of many newly written revelations from the author. He speaks with extraordinary candor about a variety of subjects, including his overwhelming insecurity early in his career, his revolutionary move from terrestrial radio to SiriusXM, and his belief in the power of psychotherapy. As Stern insightfully notes in the introduction: "The interviews collected here represent my best work and show my personal evolution. But they don't just show my evolution. Gathered together like this, they show the evolution of popular culture over the past quarter century."

The rise of right-wing broadcasting during the Cold War has been mostly forgotten today. But in the 1950s and '60s you could turn on your radio any time of the day and listen to diatribes against communism, civil rights, the United Nations, fluoridation, federal income tax, Social Security, or JFK, as well as hosannas praising Barry Goldwater and Jesus Christ. Half a century before the rise of Rush Limbaugh and Glenn Beck, these broadcasters bucked the FCC's public interest mandate and created an alternate universe of right-wing political coverage, anticommunist sermons, and pro-business bluster. A lively look back at this formative era, "What's Fair on the Air? "charts the rise and fall of four of the most prominent right-wing broadcasters: H. L. Hunt, Dan Smoot, Carl McIntire, and Billy James Hargis. By the 1970s, all four had been hamstrung by the Internal Revenue Service, the FCC's Fairness Doctrine, and the rise of a more effective conservative movement. But before losing their battle for the airwaves, Heather Hendershot reveals, they purveyed ideological notions that would eventually triumph, creating a potent brew of religion, politics, and dedication to free-market economics that paved the way for the rise of Ronald Reagan, the Moral Majority, Fox News, and the Tea Party.

This book explores how community radio contributes to social change. Community radio remains a unique communication platform under digital capitalism, arguably capable of expanding the project of media democratisation. Yet there is a lack of in-depth analysis of community radio experience, and a dearth of understanding of its functionality as an actively transformative tool for greater equity in society. This project combines the theoretical positions of the political economy of communication with a citizen's media perspective in order to interrogate community radio's democratic potential. By presenting case studies of two radio stations in Melbourne and Lospalos, and applying multiple research methods, the book reveals community radio's amplification of media participation, communication rights, counter-hegemony and media power - in effect, its distinct regenerative voice.

With his dynamic on-air personality and his trademark cry of "Burn, baby! BURN!" when spinning the hottest new records, Magnificent Montague was the charismatic voice of soul music in Chicago, New York, and Los Angeles from the mid-1950s to the mid-1960s. In this memoir Montague recounts the events of his momentous radio career, which ran from the era of segregation to that of the civil rights movement; as he does so, he also tells the broader story of a life spent in the passionate pursuit of knowledge, historical and musical. Like many black disc jockeys of his day, Montague played a role in his community beyond simply spreading the music of James Brown, Otis Redding, Aretha Franklin, and other prominent artists. Montague served as an unofficial spokesman for his black listeners, reflecting their beliefs and acting as a sounding board for their concerns. Montague was based in Los Angeles in 1965 when the Watts rioters seized on his incendiary slogan, turning the shout of musical appreciation into a rallying cry for racial violence. In Burn, Baby! BURN! Montague recalls these tumultuous times, including the personal struggle he faced over whether to remain true to his listeners or bend to political pressure and stop shouting his suddenly controversial slogan. Since the mid-1950s Montague had also expressed his passion for African American culture by becoming a zealous collector of artifacts of black history. He has built a monumental collection, taking time out from his collecting to become only the second African American to build his own radio station literally from the ground up. A compelling account of a rich and varied life, Burn, Baby! BURN! gives an insider's view of half a century of black history, told with on-the-air zest by the DJ/historian who was there to see it unfold.

Radio legend Michael Savage reveals the man behind the microphone, sharing his extraordinary American journey and the adventures that shaped him. **FEATURING EXCLUSIVE, NEVER-BEFORE-PUBLISHED NEW MATERIAL** For twenty-five years, Michael Savage has captivated listeners on his national radio show The Savage Nation, which reaches a loyal audience of more than ten million each week. In A Savage Life, the usually private man tells his own compelling story in forty-six vignettes that span his childhood to today. These tales of Savage's journey from poor immigrant's son in New York City to media star are deeply personal and revealing: he writes of being so poor as a child that he had to wear a dead man's pants; of the various trials that beset his parents and "silent brother," Jerome, who was sent to an institution; of his botanical expeditions to Fiji in the 1970's; and, most of all, of his family, his sustaining force throughout. "A marvelous storyteller." - THE NEW YORKER "Vivid storytelling." - WASHINGTON TIMES

This book is the first full-length history of the BBC World Service: from its interwar launch as short-wave radio broadcasts for the British Empire, to its twenty-first-century incarnation as the multi-media global platform of the British Broadcasting Corporation. The book provides insights into the BBC's working relationship with the Foreign Office, the early years of the Empire Service, and the role of the BBC during the Second World War. In following the voice of the BBC through the Cold War and the contraction of the British empire, the book argues that debates about the work and purposes of the World Service have always involved deliberations about the future of the UK and its place in the world. In current times, these debates have been shaped by the British government's commitment to leave the European Union and the centrifugal currents in British politics which in the longer term threaten the integrity of the United Kingdom. Through a detailed exploration of its past, the book poses questions about the World Service's possible future and argues that, for the BBC, the question is not only what it means to be a global broadcaster as we enter the third decade of the twenty-first century, but what it means to be a national broadcaster in a divided kingdom.

Norman Corwin is regarded as the most acclaimed creative artist of radio's Golden Age (mid 1930s to late 1940s). Corwin worked as a producer for CBS at a time when radio was the centerpiece of American family life. His programs brought high moments to the medium during a period when exceptional creativity and world crisis shaped its character and conviction. Bannerman's book is more than biography: it is also social history--the story of network radio, its great achievements and ultimate decline. Many of Corwin's programs are considered radio classics. During World War II his programs energized the people and marshaled morale. "We Hold These Truths, " commemorating the 150th anniversary of the American Bill of Rights, was broadcast eight days after the attack on Pearl Harbor, and "On a Note of Triumph," a VE-Day special for CBS, marked the historic culmination of a momentous conflict. Bannerman's work is a portrayal of a remarkable man, who led an influential fight for the art and integrity of broadcasting, who endured unfounded accusations during the blacklisting period of the McCarthy era, and who by his dedication accomplished significant programs of historic dimensions.