Kenneth Williams, Clement Freud, Derek Nimmo, Peter Jones and Paul Merton are the 'Famous Five' of Just a Minute: sparkling raconteurs whose sharp wits and skill made them consistently a pleasure to listen to. Each brings their own unique quality to the show, and this box set showcases their highlights - the moments which reveal these talented players at the very top of their game. Also among the featured shows are the first ever Just a Minute, plus the 25th anniversary edition and the infamous episode when Clement Freud failed to appear and the show's ever capable chairman Nicholas Parsons replaced him as a panellist. Full of fast-paced, irreverent fun and ferocious competition, this collection is a goldmine of wonderful comedy nuggets from five fantastically funny comedians. 11 CDs. 11 hrs.

Distant Voices Near chronicles the development of the popular and contentious Indian radio media subsector in the Republic of Trinidad and Tobago from global historical perspectives and explores its implications for culture and national sentiment in the modern context. The work acknowledges the complex discourses surrounding ethnic and cultural identities in this diverse Caribbean nation where numerous groups coexist, among them the descendants of Indian indentured labourers. Shaheed Nick Mohammed employs a media-history approach that recounts the emerging roles of modern communications technology and systems from the development of wireless telegraphy and early radio to the use of streaming and social media and the interplay of social and cultural forces along the way. Within this framework, he also maps the evolution of the Indian radio content genre into its own media subsector and into a business and marketing concern across national media while at the same time boasting global reach. In Distant Voices Near, we learn of international and regional influences as listeners in Trinidad would tune into broadcasts from abroad before local stations were available. Among these influences were international broadcasts from All-India Radio and broadcasts from British Guiana, where descendants of Indian indentured labourers first introduced pay-for-play song request programmes on their local stations. Using documentary research, interviews with programmers and listeners and content analysis, Mohammed examines the precedents of Indian radio in Trinidad, its advent and development, and its emergence into a global presence through live streaming and social media.

As the Second World War raged throughout Europe, modernist writers often became crucial voices in the propaganda efforts of both sides. Modernism at the Microphone: Radio, Propaganda, and Literary Aesthetics During World War II is a comprehensive study of the role modernist writers' radio works played in the propaganda war and the relationship between modernist literary aesthetics and propaganda. Drawing on new archival research, the book covers the broadcast work of such key figures as George Orwell, Orson Welles, Dorothy L. Sayers, Louis MacNeice, Mulk Raj Anand, T.S. Eliot, and P.G. Wodehouse. In addition to the work of Anglo-American modernists, Melissa Dinsman also explores the radio work of exiled German writers, such as Thomas Mann, as well as Ezra Pound's notorious pro-fascist broadcasts. In this way, the book reveals modernism's engagement with new technologies that opened up transnational boundaries under the pressures of war.

As World War II drew to a close and radio news was popularized through overseas broadcasting, journalists and dramatists began to build upon the unprecedented success of war reporting on the radio by creating audio documentaries. Focusing particularly on the work of radio luminaries such as Edward R. Murrow, Fred Friendly, Norman Corwin, and Erik Barnouw, Radio Utopia: Postwar Audio Documentary in the Public Interest traces this crucial phase in American radio history, significant not only for its timing immediately before television, but also because it bridges the gap between the end of the World Wars and the beginning of the Cold War. Matthew C. Ehrlich closely examines the production of audio documentaries disseminated by major American commercial broadcast networks CBS, NBC, and ABC from 1945 to 1951. Audio documentary programs educated Americans about juvenile delinquency, slums, race relations, venereal disease, atomic energy, arms control, and other issues of public interest, but they typically stopped short of calling for radical change. Drawing on rare recordings and scripts, Ehrlich traces a crucial phase in the evolution of news documentary, as docudramas featuring actors were supplanted by reality-based programs that took advantage of new recording technology. Paralleling that shift from drama to realism was a shift in liberal thought from dreams of world peace to uneasy adjustments to a cold war mentality. Influenced by corporate competition and government regulations, radio programming reflected shifts in a range of political thought that included pacifism, liberalism, and McCarthyism. In showing how programming highlighted contradictions within journalism and documentary, Radio Utopia reveals radio's response to the political, economic, and cultural upheaval of the post-war era.