Using film theory and current criticism, White traces the figure of woman in the work of Max Ophuls.

Charles Monroe-Kane is a natural raconteur, and boy, does he have stories to tell. Born into an eccentric Ohio clan of modern hunter-gatherers, he grew up hearing voices in his head. Over a dizzying two decades, he was many things-teenage faith healer, world traveler, smuggler, liberation theologian, ladder-maker, squatter, halibut hanger, grifter, environmental warrior, and circus manager-all the while wrestling with schizophrenia and self-medication. From Baby Doc's Haiti to the Czech Velvet Revolution, and from sex, drugs, and a stabbing to public humiliation by the leader of the free world, Monroe-Kane burns through his twenties and several bridges of youthful idealism before finally saying: enough. In a memoir that blends engaging charm with unflinching frankness, Monroe-Kane gives his testimony of mental illness, drug abuse, faith, and love. By the end of Lithium Jesus there may be a voice in your head, too, saying "Do more, be more, live more. And fear less."

More than 700 uncredited scriptwriters who created the memorable characters and thrilling stories of radio's Golden Age receive due recognition in this encyclopedia. For some, radio was a stepping stone on the way to greater achievements in film or television, on the stage or in literature. For others, it was the culmination of a life spent writing newspaper copy. Established authors dabbled in radio as a new medium, while working writers saw it as another opportunity to earn a paycheck. When these men and women came to broadcasting, they crafted a body of work still appreciated by modern listeners.

Eddie Mair is, by his own account, one of Britain's most beloved broadcasters. Born in Dundee, Scotland, he has worked in radio all his adult life. From the foothills of commercial radio in his hometown, through the sunlit uplands of the BBC in Scotland, he has reached the peaks of his profession, with BBC network radio in London. And he's never afraid to work a metaphor beyond endurance. In addition he's appeared on most of the BBC's TV channels, including ones that are no longer on TV. He witnessed the handover of Hong Kong and once asked Arnold Schwarzenegger a question - though he takes no responsibility for either. For nearly twenty years he has been at the helm of Radio 4's PM: a nightly news round up that means Eddie works for just one hour a day, giving him plenty time to knock together these diaries. Whether he's interviewing politicians, getting people to share their personal experiences, or just imparting his favourite zesty chicken recipes, Eddie is never happier than when he is at the microphone. Except when he is at the microphone with a large martini. In truth, his neediness is an irritation to everyone who knows him and if you buy this book he might get out of their hair. Eddie's other work, as a humanitarian and tireless, secret worker for charity is not mentioned in these pages.

Four of the funniest recent episodes from the much-loved BBC Radio 4 panel game chaired by Nicholas Parsons Among the talented and humorous players in this sparkling quartet are Paul Merton, Gyles Brandreth, Jo Caulfield, Julian Clary, Stephen Fry, Jan Ravens, Rebecca Front, Marcus Brigstocke, Sheila Hancock, Fern Britton and Graham Norton. Did Nicholas know Boudicca? What dish was to be served after the Royal Wedding? When did Gyles meet Fanny Cradock, and is he really getting married in the morning? What does Sheila know of George Orwell, and what are her views on ripped jeans? Should Paul be challenged for being out of tune? Answers to these and many more tantalising questions can be answered, without hesitation, deviation or repetition, after listening to this quartet of instalments! Duration: 2 hours approx.

Spike Milligan, Harry Secombe and Peter Sellers star in ten classic episodes of The Goon Show, plus a host of bonus features. Immensely popular and hugely influential, The Goon Show changed the face of British comedy. This fourteenth and final collection returns to the programme's fourth series and includes the episodes 'The History of Communications', 'The Kippered Herring Gang', 'The Tooth-Paste Expedition', 'The Case of the Vanishing Room', 'The Greatest Mountain in the World', 'Collapse of the British Railways Sandwich System', 'The Case of Agent X2 (aka The Silent Bugler)', 'The Story of Brain [sic] (aka Western Story)', 'The Saga of the Internal Mountain' and 'Bank of England Robbery'. Also included is the special satirical show The Starlings, recorded without an audience or orchestra, plus radio programmes including Vivat Milligna!, Growing Up with the Goons and Radio Fun: The Story of Radio Comedy Part 7. Documentary extracts include items from Kaleidoscope and Dad Made Me Laugh, as well as 'The Disconnected Thoughts of Chairman Spike', featuring unused interview material from At Last the Go On Show. In addition, two physical booklets combine to tell the story of the show's development with reference to original archive paperwork, plus the history of the recordings themselves. Remastered using new material and the latest technology to give the best possible sound quality, these recordings are sure to appeal to all collectors of The Goon Show. Duration: 9 hours 35 mins approx.

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.

A star-studded BBC radio production of Bernard Shaw's Pygmalion - plus bonus drama The 'B' Word, telling the story of the play's scandalous opening night Irascible phonetics professor Henry Higgins makes a bet with his friend Colonel Pickering that he can train Cockney flower girl Eliza Doolittle to talk 'like a lady' and pass as a duchess at the Ambassador's Ball. As the day of reckoning approaches, can Eliza convince the assembled aristocrats that she's one of them? And what will become of her afterwards? This effervescent radio version of Shaw's classic comedy features a stellar cast, including award-winning comedians Alistair McGowan as Henry Higgins, Morgana Robinson as Eliza Doolittle and Al Murray as Alfred Doolittle. Also featured on this release is The 'B' Word, written by and starring Alistair McGowan as Bernard Shaw. Centring on the shocking opening night of Pygmalion - the first time that the word 'bloody' was used on the British stage - it also explores the passionate love-hate relationship between Shaw; his leading man, Sir Herbert Beerbohm Tree (Richard McCabe) and his leading lady, Mrs Patrick Campbell (Charlotte Page), who played the 19-year-old Eliza Doolittle at the age of 49. Cast and credits Pygmalion Henry Higgins........................Alistair McGowan Eliza Doolittle........................Morgana Robinson Alfred Doolittle........................Al Murray Colonel Pickering........................Hugh Fraser Mrs Higgins........................Sian Phillips Mrs Pearce/Maid........................Charlotte Page Mrs Eynsford-Hill........................Georgie Glen Clara Eynsford-Hill........................Maeve Bluebell Wells Freddy Eynsford-Hill.............................Tom Forrister Nepommuck........................David Sturzaker Ambassador........................John Dougall Ambassador's wife........................Sarah Ridgeway Bystander........................David Sterne Written by Bernard Shaw Produced and directed by Emma Harding The 'B' Word Bernard Shaw........................Alistair McGowan George Alexander........................David Sturzaker Mrs Patrick Campbell.............................Charlotte Page Sir Herbert Beerbohm Tree........................Richard McCabe Charlotte Shaw........................Georgie Glen Merivale........................Philip Fox Gurney/Fishman........................Simon Ludders Bell........................Charlie Clements Maid........................Sarah Ridgeway Written by Alistair McGowan Produced and directed by Emma Harding Production Coordinator: Jenny Mendez Studio Managers: Alison Craig, Caleb Knightley and Thomas Glasser Duration: 2 hours 45 mins approx.

This collection examines the work of Norman Corwin - one of the most important, yet understudied, media authors of all time - as a critical lens to view the history of multimedia authorship and sound production. Known as the "poet laureate" of radio, Corwin is most famous for his radio dramas, which reached millions of listeners around the world and contributed to radio's success as a mass media form in the 1930s and 1940s. But Corwin was also a pioneer in other fields, including cinema, theater, TV, and journalism. In each of these areas, he had a distinctive approach to "soundwork," relying on inventive prerecorded and live-in-real-time atmospheric effects in the studio, among other aesthetic techniques. Exploring the range of Corwin's work-from his World War II-era poetry and his special projects for the United Nations to his path-breaking writing for film and television - and its influence on media today, these essays underscore the political and social impact of Corwin's oeuvre and cement his reputation as a key writer in the history of many sound media.

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.

Since the rise of film and television, radio has continued to evolve, with satellite radio and podcasts as its latest incarnations. Any understanding of the development of radio, like its visual counterparts, depends on closely examining the artistic ventures that preceded commercial acceptance. In Pieces of Sound, Daniel Gilfillan offers a cultural history that explores these major aspects of the medium by focusing on German radio broadcasting, providing a context that sees beyond programming to consider regulations, cultural politics, and social standardization. Gilfillan showcases the work of radio pioneers and artists over the past century, including Brecht's work with the form, and how radio was employed before and after World War II. He traces how German radio broadcasters experimented with networked media not only to expand the artistic and communicative possibilities of radio, but also to inform perceptions about the advantages and direction of newer telecommunications media like Internet broadcasting and pirate radio, which artists are using today to engage with a medium that is increasingly coming under corporate control. Gilfillan astutely observes how claims made for the Internet today echo those made for radio in its infancy and puts forth a broad and incisive historical analysis of German cultural broadcasting.

"CBS Views the Press "ranks as one of the most important radio programs in U.S. journalism history. The pet project of Edward R. Murrow, Don Hollenbeck's fifteen-minute program aired weekly over WCBS in New York City from 1947 to 1950 and won a Peabody, a George Polk and other major journalism awards. The provocative program was broadcasting's Declaration of Independence from newspapers--the first time a network dared trade roles with the powerful press to become the critic of newspapers, not merely the subject of newspapers' criticism. "Radio's Revolution" brings together twenty historically significant transcripts of "CBS Views the Press," with Loren Ghiglione providing the historical context and insight into Hollenbeck's approach. Hollenbeck tackled the toughest topics, from racism to McCarthyism, and many in the media applauded his conscience and courage. But powerful New York newspapers, including William Randolph Hearst's flagship "Journal-American," attacked Hollenbeck's program as pro-Communist and anticonservative. In 1954 Hollenbeck got caught in the middle of the televised confrontation between CBS's Murrow and Senator Joe McCarthy. Still under assault by Hearst columnists, separated from his third wife, worried about losing his job at CBS, and suffering from alcoholism and depression, Hollenbeck killed himself.

Fleeing the Nazis, Theodor W. Adorno lived in New York City as a refugee from 1938 until 1941. During these years, he was intensively involved in a study of how the recently developed techniques for the nation-wide transmission of music over radio were transforming the perception of music itself. This broad ranging radio research was conceived as nothing less than an investigation, partly empirical, of Walter Benjamins speculative claims for the emancipatory potential of art in the age of its mechanical reproduction. The results of Adornos project set him decisively at odds with Benjamins theses and at the same time became the body of thinking that formed the basis for Adornos own aesthetics in his Philosophy of New Music.
Current of Music is the title that Adorno himself gave to this research project. For complex reasons, however, Adorno was not able to bring the several thousands of pages of this massive study, most of it written in English, to a final form prior to leaving New York for California, where he would immediately begin work with Max Horkheimer on the Dialectic of Enlightenment. Robert Hullot-Kentor, the distinguished Adorno scholar, reconstructed Adornos project for the Adorno Archive in Germany and provides a lengthy and informative introduction to the fragmentary texts collected in this volume.
Current of Music will be widely discussed for the light it throws on the development of Adornos own thought, on his complex relationship with Walter Benjamin, but most of all for the important perspectives it provides on questions of popular culture, the music of industrial entertainment, the history of radio and the social dimensions of the reproduction of art.

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.

Rebecca Front presents this two-part look back at Victoria Wood's stand-up and songs using her own archives and tapes - including never-before-heard material Victoria Wood was a comedian, actress and all-round national treasure. She wrote and starred in countless sketches, plays, musicals, films and sitcoms over four decades, winning numerous awards, and her work remains timeless to this day. With her perceptive observational humour, she made the everyday and mundane hilarious - but how did she do it? In this BBC Radio 4 documentary, Rebecca Front uses Victoria Wood's personal rehearsal recordings, rare live performances and behind-the-scenes footage to reveal some of her comedy tricks and techniques. We hear about her instinctive sense of rhythm, amazing rhyming ability and unerring knack for finding the perfect word to make a sentence sing, and learn how she honed her unique talent to become one of Britain's favourite funny women. With unprecedented access to Victoria's own boxes of battered cassette tapes, this programme is a shameless chance to hear some wonderful stand-up comedy, characters and songs, mixed with a look back at what made her so funny and so universally loved. Executive Producer: Geoff Posner Produced by David Tyler A Pozzitive production for BBC Radio 4.

This is the fascinating history of the innovative work of Wisconsin's educational radio stations, from the first broadcast by experimental station 9XM at the University of Wisconsin to the network of stations known today as Wisconsin Public Radio. Randall Davidson provides the first comprehensive history of the University of Wisconsin radio station, WHA; affiliated state-owned station, WLBL; and the post-World War II FM stations that formed the WPR network. Davidson describes how, with homemade equipment and ideas developed from scratch, 9XM became a tangible example of "the Wisconsin Idea," bringing the educational riches of the university to all the state's residents.

This study examines the culture of Yiddish radio in the United States during radio's golden age. Ari Y. Kelman explores the dynamic relationships between an immigrant population and a mass medium and between audience and community. By focusing on voices previously excluded from radio histories, this treatment of non-English-language radio breaks new ground in the study of both American mass media and immigrant culture. Yiddish radio directly addressed the everyday lives of Jewish immigrants, while providing them with invaluable guidance as they struggled to become American. Throughout the 1930s and 1940s, radio created a virtual place where Jewish immigrants could listen to voices like theirs and affirm the sound of their community as it evolved, particularly in light of World War II and the years that followed.

Wartime British writers took to the airwaves to reshape the nation and the Empire'Writing the Radio War' positions the Second World War as a critical moment in the history of cultural mediation in Britain. Through chapters focusing on the middlebrow radicalism of J.B. Priestley, ground-breaking works by Louis MacNeice and James Hanley at the BBC Features Department, frontline reporting by Denis Johnston, and the emergence of a West Indian literary identity in the broadcasts of Una Marson, 'Writing the Radio War' explores how these writers capitalised on the particularities of the sonic medium to communicate their visions of wartime and postwar Britain and its empire. By combining literary aesthetics with the acoustics of space, accent, and dialect, writers created aural communities that at times converged, and at times contended, with official wartime versions of Britain and Britishness.Key FeaturesMerges the fields of sound studies, radio studies, and Second World War literary studies through considerations of both major and marginalized figures of wartime broadcastingBrings substantial but underused archival material (from the BBC Written Archives Centre, the Harry Ransom Humanities Research Center, the British Library, and other archives) to bear on the cultural importance of radio during the warForegrounds the role of radio in bridging literary movements from the highbrow to the middlebrow, and from the regional to the imperialDraws on Listener Research Reports, listener correspondence, newspaper coverage, and surveys by Mass Observation and the Wartime Social Survey in order to capture listeners' responses to wartime broadcasting in general as well as specific programsFills a gap in accounts of literary radio broadcasting, between Todd Avery's Radio Modernism (which ends at 1939) and postwar accounts of the Third Programme (by Humphrey Carpenter and Kate Whitehead) and individual writer-broadcasters

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.

Now long out of print, John Dunning's Tune in Yesterday was the definitive one-volume reference on old-time radio broadcasting. Now, in On the Air, Dunning has completely rethought this classic work, reorganizing the material and doubling its coverage, to provide a richer and more informative account of radio's golden age.

Here are some 1,500 radio shows presented in alphabetical order. The great programs of the '30s, '40s, and '50s are all here--Amos 'n' Andy, Fibber McGee and Molly, The Lone Ranger, Major Bowes' Original Amateur Hour, and The March of Time, to name only a few. For each, Dunning provides a complete broadcast history, with the timeslot, the network, and the name of the show's advertisers. He also lists major cast members, announcers, producers, directors, writers, and sound effects people--even the show's theme song. There are also umbrella entries, such as "News Broadcasts," which features an engaging essay on radio news, with capsule biographies of major broadcasters, such as Lowell Thomas and Edward R. Murrow. Equally important, Dunning provides a fascinating account of each program, taking us behind the scenes to capture the feel of the performance, such as the ghastly sounds of Lights Out (a horror drama where heads rolled and bones crunched), and providing engrossing biographies of the main people involved in the show.

A wonderful read for everyone who loves old-time radio, On the Air is a must purchase for all radio hobbyists and anyone interested in 20th-century American history. It is an essential reference work for libraries and radio stations.

A fascinating tour of baseball's greatest moments and iconic stadiums, told through the reminiscences of 50 play-by-play broadcasters. With careers spanning two to three times that of an average player, baseball's best broadcasters have no shortage of history to offer. They have witnessed opening days, no hitters, slugfests, and perfect games, all from arguably the best seats in the house. Broadcasters know their clubs, their stadiums, and their teams in a way that no one else can. In The Voices of Baseball: The Game's Greatest Broadcasters Reflect on America's Pastime, Updated Edition, Kirk McKnight provides an in-depth look at each of Major League Baseball's thirty ballparks from the perspectives of the game's longest-tenured storytellers. Fifty broadcasters reflect on their most iconic calls, fondest memories, what makes their ballparks unique, and more. This updated edition includes 14 additional broadcasters, two new stadiums, the latest World Series calls from the booth, and a special tribute to the recently-departed Vin Scully. With decades of broadcasting between them, their stories encapsulate some of Major League Baseball's biggest moments. Generations of baseball fans will all enjoy the historic and triumphant memories shared by some of the game's greatest broadcasters in The Voices of Baseball.

'London Calling Italy offers an expertly researched, thought-provoking analysis of BBC propaganda for Italy during the Second World War, exploring how programmes were put together and what listeners made of them. It will surely become the key work on this topic.' Simon Potter, Professor of Modern History at the University of Bristol London calling Italy is a book about Radio Londra, as the BBC Italian Service was known in Italy, and the company's development as a global leader in the broadcasting industry, starting from the Second World War. Drawing on unexplored archive material collected in Italy and the United Kingdom, it aims to understand how the BBC programmes engaged with ordinary Italians, while concurrently conducting political warfare against fascist Italy. The book also focuses on the relationship between the BBC Italian anti-fascist broadcasters, the British Foreign Office, and Labour Party. Key sources analysed in the book are, among others, the Foreign Office's records, the programmes broadcast by the BBC Italian Service during the Allied campaign, the memoirs of Italian anti-fascist broadcasters, the BBC surveys on the audience and the letters sent by listeners of the Italian Service. -- .

This book explores the convergence of urban radio with digital media technologies in Africa, focusing on how youth are riding on the rapid (though uneven) internet rollout on the continent to participate and drive the production and consumption of urban radio. With thirteen original chapters, the book sheds new light on the changing landscape of radio in a diverse set of African countries, illustrated with rich case studies from Zimbabwe, South Africa, Eswatini, Nigeria and Kenya. This book covers the following themes: youth agency and cultural power; civic engagement and political participation; youth, identity and belonging; youth cultural expressions as well as the impact of capitalist imperatives on commercial radio programing in Africa. Vibrant and innovative, Converged Radio, Youth and Urbanity in Africa reveals the creation of a new public sphere, through which African youth project their voices and identities, participating in and shaping national discourse.