"This is not another turgid guide to digital editing, writing for radio and the structure of a newsroom team. It is an ambitious and accessible study that combines a succinct narrative history of radio journalism with an analysis of its power in the public sphere. It describes the development of British audio broadcasting before locating it in an international context and contemplating the contours of the convergent future. Such ambition is often the prelude to failure. Instead, Starkey and Crisell have written a precious introduction to the theory, practice and purposes of radio journalism that will be very useful to serious students of the subject... This is a very good book." - THE (Times Higher Education) Radio Journalism introduduces key themes in journalism studies to explore what makes radio reporting distinctive and lay out the claims for radio's critical importance in the news landscape. With their extensive experience in radio production and academica, authors Guy Starkey and Andrew Crisell take readers on a tour through the past, present and future of radio broadcasting, from the infancy of the BBC in the 1920s up to the prospect of rolling news delivered to mobile telephones. Grounding each chapter in a survey of scholarly writing on the radio, they explore the connections between politics, policy and practice, inviting critical reflection on who radio professionals are, what they do and why. Putting theory and practice into dialogue, this book is the perfect bridge between unreflective production manuals and generalised media theory texts. Witty and engaging, Radio Journalism provides an essential framework for understanding the continuing relevance of radio journalism as a profession, set of practices and arena for critical debate.

This new Major Work from Routledge is a six-volume facsimile collection featuring long-out-of-print articles, documents and books that shed light on the key developments in radio in the USA - most of which took place in the 1920s and 1930s. The volumes cover most aspects of radio broadcasting in its formative years. Selections include professional journal articles, descriptive and critical pieces from more general periodicals, government publications, short books and industry publications. Each volume includes an introduction by the editor, placing the chosen reprinted materials in their larger historical and intellectual context.

Offering the first book-length exploration of network television's relations with advocacy groups, Kathryn C. Montgomery presents a comprehensive picture of the impact of organized pressure on prime-time TV. She vividly describes, for example, how the Catholic Church campaigned against Maude's abortion on the TV show, Maude; how outraged actors mobilized a national protest against the portrayal of blacks in the TV miniseries, Beulah Land; and how the Moral Majority waged a sophisticated campaign to "clean up TV," by threatening to boycott advertisers. Exposing the inner workings of network television as no other book has done, Montgomery's study demonstrates how behind-the-scenes struggles have shaped the images, messages, and values that enter people's homes every night. The book also raises critical questions about television's role in our society and its responsibility to the American public.

Why is music so important to radio? This anthology explores the ways in which musical life and radio interact, overlap and have influenced each other for nearly a century. One of music radio's major functions is to help build smaller or larger communities by continuously offering broadcast music as a means to create identity and senses of belonging. Music radio also helps identify and develop musical genres in collaboration with listeners and the music industry by mediating and by gatekeeping. Focusing on music from around the world, Music Radio discusses what music radio is and why or for what purposes it is produced. Each essay illuminates the intricate cultural processes associated with music and radio and suggests ways of working with such complexities.

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'BrienChris RockMichael CaineDennis HopperDustin HoffmanJodie FosterJohn UpdikeMary KarrMario PuzoNick HornbyChuck CloseEric ClaptonGeorge ClintonSonny RollinsSamuel L. JacksonJohnny CashIsabella RosselliniDivineUta Hagen *Carol Shields

This title combines both theory and practice to lead, stepwise, to a full understanding of radio drama form. With the resurgence (though some say it has never left) of radio, due in part to new media practices and technological innovations, not only are there more theory-related radio courses, but also those teaching the production and practice aspects. "The Radio Drama Handbook" combines both theory and practice to lead, stepwise, to a full understanding of radio drama form. The handbook is broken down into two large sections: "A Contextual Guide to Radio Drama" and "A Practical Guide to Radio Drama". There will be a wide selection of case studies and practical exercises to make the book engaging and, above all, useful. Each section will be accompanied by practical exercises and suggested activities. Practice oriented and teacher/student friendly, this handbook is sure to become the new standard for all radio drama courses.

Written for broadcast on Minnesota Public Radio's "Good Evening", these memorable observations and reflections by the host of National Public Radio's "All Things Considered" are now published in a beautiful gift book.

A thrilling collection of episodes from the classic radio show "Suspense"

Conceived as a potential radio vehicle for Alfred Hitchcock to direct, "Suspense" was a radio series of epic proportion. It aired on CBS from 1942 to 1962 and is considered by many to be the best mystery series of the golden age. Often referred to as Radio s Outstanding Theater of Thrills, the show focused on suspenseful thrillers starring the biggest names in Hollywood. Early in the run, the episodes were hosted by the Man in Black who, from an omniscient perch, narrated stories of people thrown into dangerous or bizarre situations with plots that, at the very end, usually had an unseen twist or two. Hollywood s finest actors jumped at the chance to appear on "Suspense," including Cary Grant, Jimmy Stewart, Alan Ladd, Henry Fonda, Humphrey Bogart, Bette Davis, and Orson Welles. Scripts were by John Dickson Carr, Lucille Fletcher, James Poe, Ray Bradbury, and many others.

Episodes include: The Cave of Ali Baba, The Hitchhiker, The Kettler Method, A Passage to Benares, One Hundred in the Dark, The Lord of the Witch Doctors, Will You Make a Bet with Death?, Menace in Wax, The Body Snatchers, The Doctor Prescribed Death, In Fear and Trembling, and Fire Burn and Cauldron Bubble.

"Our Miss Brooks" was a highly popular radio sitcom that was eventually adapted for both television and film. It starred Hollywood film and New York stage veteran Eve Arden, who specialized in playing the wisecracking friend. She often did it better than anyone else, receiving an Oscar nomination for the 1945 film "Mildred Pierce." Since her skill with the wicked one-liner was beginning to lead to typecasting, Arden signed on for the lead in radio s "Our Miss Brooks "to find a new image.

The series centers on Connie Brooks, a sharp-witted, lovable English teacher at fictional Madison High School. Between gentle wisecracks, Miss Brooks dotes on nerdish student Walter Denton, played by Richard Crenna, and frequently locks horns with crusty, cranky Principal Osgood Conklin, played by Gale Gordon. Many plot lines revolve around Miss Brooks longing for Philip Boynton, the school s bashful biology teacher.

The radio series lasted until 1957, having already made a successful jump to television in 1952 where Arden won a Primetime Emmy for Best Female Star in a Regular Series."