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Books > Arts & Architecture > Performing arts > Radio
A fascinating collection of revealing and entertaining interviews
by the award-winning host of National Public Radio's premier
interview program Fresh Air.
Over the last twenty years, Terry Gross has interviewed many of our
most celebrated writers, actors, musicians, comics, and visual
artists. Her show, Fresh Air with Terry Gross, a weekday magazine
of contemporary arts and issues produced by WHYY in Philadelphia,
is one of National Public Radio's most popular programs. More than
four million people tune in to the show, which is broadcast on over
400 NPR stations across the country.
Gross is known for her thoughtful, probing interviewing style. In
her trusted company, even the most reticent guest relaxes and opens
up. But Gross doesn't shy away from controversy, and her questions
can be tough--too tough, apparently, for Bill O'Reilly, who
abruptly terminated his conversation with her. Her interview with
Gene Simmons of Kiss, which is included in the book, prompted
Entertainment Weekly to name Simmons its male "Crackpot of the
Year."
For All I Did Was Ask, Gross has selected more than three dozen of
her best interviews--ones of lasting relevance that are as lively
on the page as they were on the air. Each is preceded by a personal
introduction in which she reveals why a particular guest was on the
show and the thinking behind some of her questions. And in an
introductory chapter, the normally self-effacing Gross does
something you're unlikely ever to hear her do on Fresh Air--she
discusses her approach to interviewing, revealing a thing or two
about herself in the bargain.
The collection focuses on luminaries from the art and entertainment
world, including actors, comedians, writers, visual artists, and
musicians, such as:
Conan O'Brien Chris Rock Michael Caine Dennis Hopper Dustin Hoffman
Jodie Foster John Updike Mary Karr Mario Puzo Nick Hornby Chuck
Close Eric Clapton George Clinton Sonny Rollins Samuel L. Jackson
Johnny Cash Isabella Rossellini Divine Uta Hagen Carol Shields
The popularity of radio for purposes of instruction and
entertainment is a remarkable phenomenon, the full significance of
which we have hardly yet grasped. Spiritual Radio is vindicating
the work of the great mystics of Christian history; it is
demonstrating that the "Interior Life" is not limited to the
seclusion of the cloister, but produces a robust type of Christian
manhood and womanhood that makes for leadership and achievement in
the marvelous age in which our lot is cast.
James Grout, Jimmy Mulville, Robert Duncan and Andy Hamilton star
in six episodes from the third and fourth series of Old Harry's
Game, the comedy series set in Hell. Satan may rule the roost, but
he's beset by the poor unfortunates condemned to sit out Eternity
with him. Amongst them are the Professor, who is convinced that
societies evolve and mature until Satan introduces him to Bill
Clinton. There's also Scumspawn, who here finds himself trying to
deal with a lager lout, and a new arrival in the form of a Health
and Safety Officer - who soon announces that the lighting in Hell
is inadequate. As for Satan himself, in this batch of episodes he
is concerned about his image on Earth, persuaded to remake
Casablanca (with Bogart, Bergman and a mutant alien), and
determined to prove that the English are the worst nation on Earth.
He also takes offence to W.B. Yeats' verse description of him - and
so pays a visit to the underworld's own Poets' Corner. The episodes
in this volume are: Series Three, Episode One, 24 March 1999;
Series Three, Episode Two, 31 March 1999; Series Three, Episode
Three, 7 April 1999; Series Four, Episode Two, 5 April 2001; Series
Four, Episode Three, 12 April 2001; Series Four, Episode Four, 19
April 2001. A fiery furnace of brilliant one-liners and biting
satire, Old Harry's Game is the insider's guide to Hell. 'One of
the great comic creations of recent years' - Sunday Telegraph. '...
one of the best-written comedies around, sustained over its 12
years on the air by brilliant performances and production' - Daily
Telegraph. 3 CDs. 2 hrs 48 mins.
Angela Carter is best known for her novels, short fiction and
journalism, but she also produced a substantial body of writing for
media other than the printed page, including five radio plays, two
film adaptions, an original television documentary and a number of
unrealised scripts for stage and screen. Despite increasing
academic interest in Carter's work, these dramatic writings have
largely been ignored. In this book, Charlotte Crofts redresses this
lack of critical attention by examining Carter's dramatic writings
together for the first time (including two unpublished works),
giving them a more central position in the Carter canon. Divided
into three sections on radio, film and television, the book's
interdisciplinary approach is underpinned by reference to exclusive
interviews with the directors and producers with whom Carter
collaborated, giving a unique insight into processes of adaptation
and the technologies of media production. The author demonstrates
how, far from being an aberration from her real vocation as a
writer of fiction, Carter's writing for radio, film and television
is an extension of her self-professed demythologising practice.
Essential reading for those engaged in the research and teaching of
Angela Carter, this book will also appeal to a wider academic and
sixth-form audience and those with a general interest in literary,
cultural, and media studies.
Science and technology had a significant influence on American
culture and thought in the years immediately following World War
II. The new wonders of science and the threat of the Soviet Union
as a powerful new enemy made science fiction a popular genre in
radio, television, and film. Mutant creatures spawned by
radioactive energy and intergalactic dictators unleashing horrific
weapons upon Earth were characteristic of science fiction at the
time and served as warnings to the very real dangers posed by the
atomic age. This work examines science and science fiction in
American culture beginning in the year World War II ended and going
to 1962, the year of John Glenns orbital flight and the Cuban
Missile Crisis. The radio work of Arch Oboler and the significance
of his "Rocket from Manhattan, " which aired only one month after
the dropping of the first atomic bomb and asked serious questions
about the use of atomic energy, are examined. Other topics are the
conflict between the free world and the Communist world in the
context of science fiction plot lines, the dangers of science as
shown in films like Godzilla, Them!, The Day the Earth Stood Still,
and radio and television programs, the flying saucer phenomenon and
the treatment of such stories in the media (with special attention
given to the 1956 documentary UFO), the changing and more positive
depictions of scientists, television programs like Flash Gordon and
Space Patrol, the shift in the balance of world power due to the
successful launching of Sputnik I by the
Was the first radio news network for blacks a boon--or a bust?
Author Sanders was there from the beginning and stayed on the air
for over 20 years. Here he recounts the trials and tribulations of
launching--and sustaining--the pride of a pioneering network.
"How to DJ" is the insider's guide to becoming a professional DJ.
Written by two industry insiders who DJ and produce hit records
throughout the world, this is the concise, how-to sourcebook that
comes straight from real DJs and musicians. They explain and
demonstrate everything you need to know---from the basics of what
DJs do and how they got their careers off of the ground to the
worldwide phenomenon of DJ/producers who work with the biggest
names in the business and make the music in the charts today.
-- top advice on how to DJ---from selecting what to spin to getting
gigs to keeping your audience dancing
-- technology made easy---what you need and how to set it up
-- how the DJ and music business works and how to rise to the top
-- how to make hit records at home
-- interviews and tips from celebrity DJs including Tall Paul, Boy
George, Tim Westwood, Andy Cato, Mr. C, Andy Wilson, BT, Jeremy
Healy, Allister Whitehead, and Sasha.
The classic serial, invented by BBC Radio Drama sixty years ago,
survived and adapted itself to television, the arrival of colour
and the global market in what has become a flood of classics with
all channels competing for ratings and overseas sales. This richly
detailed book traces these developments and analyses the genre's
response to social, economic, technical and cultural changes, which
have re-shaped it into the form we recognise today. The book
contains considerable interview material with performers and media
professionals.
The classic serial, invented by BBC Radio Drama sixty years ago,
survived and adapted itself to television, the arrival of colour
and the global market in what has become a flood of classics with
all channels competing for ratings and overseas sales. This richly
detailed book traces these developments and analyses the genre's
response to social, economic, technical and cultural changes, which
have re-shaped it into the form we recognise today. The book
contains considerable interview material with performers and media
professionals.
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Writing for Radio
(Paperback)
Vincent McInerney; Index compiled by Susan Williams
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Writing for radio brings together theoretical and practical aspects
of radio writing. It deals with writing for all principal radio
genres - short stories, plays, documentaries/drama documentaries,
talks and features, adaptations/dramatisations, poems, and
advertisements. It contains historical overviews of the genesis and
development of each of these categories and attempts an analysis of
the nature of radio itself. For the first time there is an attempt
to isolate a 'radio language', a syntax and vocabulary guaranteed
to produce pictures in the mind of the listener. This means radio
can be taught as an academic subject as all writing - prose, drama
and verse, can be tested as radio and examples for analysis are
used from both broadcast and non-broadcast work. -- .
This volume gathers together, for the first time in English
translation, Brecht's own writings on the new film and broadcast
technologies that revolutionised arts and communication in the
early part of the twentieth century This book includes all of
Brecht's theoretical writing about film, radio, broadcasting and
the new media written between 1919 and 1956 as well as all of his
important screenplays produced during the 1920s and 1930s.
Screenplays written during this time include an early sound-film
adaptation of The Threepenny Opera, and a collaboration with Fritz
Lang, Hangmen Also Die. Brecht's writings on the new media document
his fascination with it from Weimar Germany to Hollywood and the
movie industry.A must for students of Brecht and film studies
alike.
"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.
With this invaluable resource, Stern's 16 million weekly listeners
can keep a wealth of information stored at their fingertips--from
Howard's middle name (Alan) and favorite food (Chinese) to his
least successful school subject (chemistry). It's everything a fan
needs to know!
There are approximately 502 million radios in America. For this
savvy, far-reaching diary, celebrated journalist and author Vowell
turned hers on and listened--closely, critically, creatively--for
an entire year.
As a series of impressions and reflections regarding contemporary
American culture, and as an extended meditation on both our media
and our society, this keenly focused book is as insightful as it is
refreshing.
Throughout "Radio On," "Vowell's touch is about as delicate as
Teddy Kennedy's after a pitcher of martinis" (Richard Roeper,
"Chicago Sun-Times").
Here is a first-hand portrait of the flamboyant American genius who
became a titanic figure in twentieth century popular culture. Orson
Welles revolutionised theatre, terrified a nation of radio
listeners, and made cinematic history with Citizen Kane, regarded
by many as the greatest American film ever made.
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.
A dazzling insight into what gives meaning to our life and to us as
a species. What makes us human? From Carlo Rovelli on the particles
of dust that make us, to Caitlin Moran on the joy of Friday nights,
and A C Grayling on how we express ourselves through culture: this
illuminating book shares 130 mind-expanding answers to that
question. We all want to understand our place in the universe and
find a sense of purpose in the life. This book will help the reader
navigate that journey with the help of leading names from the
worlds of literature, history, philosophy, politics, sport, comedy
and popular culture. Originally broadcast as a popular feature on
the Jeremy Vine Show, What Makes Us Human? includes short essays
from: Andrew Marr, Carlo Rovelli, Marian Keyes, Alain de Botton,
Robert Webb, Richard Dawkins, Stephen Fry, and many more.
British Radio Drama, 1945-1963 reveals the quality and range of the
avant-garde radio broadcasts from the 'golden age' of British radio
drama. Turning away from the cautious and conservative programming
that emerged in the UK immediately after World War II, young
generations of radio producers looked to French theatre,
introducing writers such as Samuel Beckett and Eugene Ionesco to
British radio audiences. This 'theatre of the absurd' triggered a
renaissance of writing and production featuring the work of Giles
Cooper, Rhys Adrian and Harold Pinter, as well as the launch of the
BBC Radiophonic Workshop. Based on primary archival research and
interviews with former BBC staff, Hugh Chignell places this
high-point in the BBC's history in the broader context of British
post-war culture, as norms of morality and behavior were
re-negotiated in the shadow of the Cold War, while at once
establishing the internationalism of post-war radio and theatre.
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