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Books : Entertainment : Radio : History & Criticism
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Long before the internet, another young technology was transformed--with help from a colorful collection of eccentrics and visionaries--into a mass medium with the power to connect millions of people.
When amateur enthusiasts began sending fuzzy signals from their garages and rooftops, radio broadcasting was born. Sensing the medium's potential, snake-oil salesmen and preachers took to the air, at once setting early standards for radio programming and making bedlam of the airwaves. Into the chaos stepped a young secretary of commerce, Herbert Hoover, whose passion for organization guided the technology's growth. When a charismatic bandleader named Rudy Vallee created the first on-air variety show and America elected its first true radio president, Franklin Delano Roosevelt, radio had arrived.
With clarity, humor, and an eye for outsized characters forgotten by polite history, Anthony Rudel tells the story of the boisterous years when radio took its place in the nation's living room and forever changed American politics, journalism, and entertainment.
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The Grand Ole Opry has been home to the greatest legends of country music for over eighty years, and in that time it has seen some of conutry music's most dramatic stories unfold.
We'll hear of the great love stories ranging from Johnny Cash and June Carter in the 1960s to Garth Brooks and Trisha Yearwood, who married in 2005. We'll get the truth of the tragedies that led to the loss of three stars all in the same month, starting the rumor of the "Opry Curse." We'll learn how after being stabbed, shot, and maimed, Trace Adkins calls his early honky-tonk years "combat country," and we'll find inspiration from DeFord Bailey, an African American harmonica player in 1927 crippled by childhood polio who rose to fame as one of the first Opry stars. Our hearts will break for Willie Nelson, who lost his only son on Christmas Day, and soar for Amy Grant and Vince Gill, who found true love.
Based on over 150 firsthand interviews with the stars of The Grand Ole Opry, these are stories that tell the heart of country--the lives that are lived and inspire the songs we love.
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Adventures in the fictional small town of Odyssey have entertained families around the world for over 20 years. The show has reintroduced a whole new generation to a forgotten form of entertainment (audio drama). Over 20 million Adventures in Odyssey products have been distributed worldwide, and two generations of families feel like they know Whit, Connie, Eugene, and hundreds of other characters. Now Focus on the Family reveals the story behind the stories in Adventures in Odyssey: The Official Guide.
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From the first time a record was played over the airwaves in 1906, to a modern club economy that totals $3 billion annually in New York City alone, the DJ has been at the center of popular music. Starting as little more than a talking jukebox, the DJ is now a premier entertainer, producer, businessman, and musician in his own right. Superstar DJs, from Junior Vasquez to Sasha and Digweed, command worship and adoration from millions, flying around the globe to earn tens of thousands of dollars for one night's work. Increasingly, they are replacing live musicians as the central figures of the music industry. In Last Night a DJ Saved My Life, music journalists Bill Brewster and Frank Broughton have written the first comprehensive history of the mysterious and charismatic figure behind the turntables -- part obsessive record collector, part mad scientist, part intuitive psychologist of the party groove. From England's rabid Northern Soul scene to the birth of disco in New York, from the sound systems of Jamaica to the scratch wars of early hip-hop in the Bronx, from Chicago house to Detroit techno to London rave, DJs are responsible for most of the significant changes in music over the past forty years. Drawing on in-depth interviews with DJs, critics, musicians, record executives, and the revelers at some of the century's most legendary parties, Last Night a DJ Saved My Life is nothing less than the life story of dance music.
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Movie Tie-In: Good Night, and Good Luck nominated for 6 Academy Awards!Long before the era of the news anchor, the pundit, and the mini-cam, one man blazed a trail that thousands would follow. Edwards brings to life the great stories Murrow covered and brought into American living rooms for the first time--the rooftop reports of the London Blitz, bombing raids over Berlin, and the 1954 broadcast that helped bring down Senator Joe McCarthy--as well as the ups and downs of his career at CBS. Edwards reveals how Murrow dramatically impacted public opinion and how the high standards he lived by influenced an entire generation of broadcasters. Includes LIVE radio broadcasts.
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This rock and roll radio memoir takes you behind the scenes at the nation's hottest station during FM's heyday, from 1973 to 1986. Sex and drugs, music and merchandising--it was a wild time when the FM airwaves were wide open for innovation.
John Gorman led a small band of true believers who built Cleveland's WMMS from a neglected stepchild into an influential powerhouse. The station earned high praise from musicians and even higher ratings from listeners.
Gorman tells how WMMS remade rock radio while Cleveland staked its claim as the "Rock and Roll Capital" by breaking many major international music acts. The fun may have died when FM went corporate in the late 1980s, but it was a hell of a ride while it lasted.
Filled with juicy insider details, this fast-paced story will entertain anyone who listened in during those glory days when FM delivered excitement and the Buzzard ruled the airwaves.
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In this popular play-cycle, Sayers makes the Gospels come alive. "Her Jesus can bring tears to your eyes. You will be deeply moved--a powerful experience."--Sheldon Vanauken, A Severe Mercy.
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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.
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Shortwave broadcasting originated in the 1920s, when stations used the new technology to increase their range in order to serve foreign audiences and reach parts of their own country that could not easily be covered by regular AM stations. The early days of shortwave radio were covered in On the Short Waves, 1923-1945: Broadcast Listening in the Pioneer Days of Radio, published by McFarland in 1999. This book picks up the story after World War II, focusing on the stations themselves and the environment in which they operated. A companion volume, Listening on the Short Waves, 1945 to Today, focuses on the shortwave listening community.
The heart of the book is a detailed, year-by-year account of the shortwave bands in each year from 1945 to the present. It reviews what American listeners were hearing on the international and domestic shortwave bands, describes the arrivals and departures of stations, and recounts important shortwave events. The book also introduces readers to the several categories of broadcasters-international, domestic, religious, clandestine and pirate-and to private shortwave broadcasting in the United States. It explains the impact of relay stations, frequency management, and jamming, and describes promising shortwave technologies. It also addresses the considerable changes in, and challenges to, shortwave broadcasting since the end of the cold war. The book is richly illustrated and indexed, and features a bibliography and extensive notes to facilitate further reading or research.
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For everybody "raised on radio" -- and that's everybody brought up in the thirties, forties, and early fifties -- this is the ultimate book, combining nostalgia, history, judgment, and fun, as it reminds us of just how wonderful (and sometimes just how silly) this vanished medium was. Of course, radio still exists -- but not the radio of The Lone Ranger and One Man's Family, of Our Gal Sunday and Life Can Be Beautiful, of The Goldbergs and Amos 'n' Andy, of Easy Aces, Vic and Sade, and Bob and Ray, of The Shadow and The Green Hornet, of Bing Crosby, Kate Smith, and Baby Snooks, of the great comics, announcers, sound-effects men, sponsors, and tycoons.
In the late 1920s radio exploded almost overnight into being America's dominant entertainment, just as television would do twenty-five years later. Gerald Nachman, himself a product of the radio years -- as a boy he did his homework to the sound of Jack Benny and Our Miss Brooks -- takes us back to the heyday of radio, bringing to life the great performers and shows, as well as the not-so-great and not-great-at-all. Nachman analyzes the many genres that radio deployed or invented, from the soap opera to the sitcom to the quiz show, zooming in to study closely key performers like Benny, Bob Hope, and Fred Allen, while pulling back to an overview that manages to be both comprehensive and seductively specific.
Here is a book that is generous, instructive, and sinfully readable -- and that brings an era alive as it salutes an extraordinary American phenomenon.
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A sweeping, anecdotal account of the great sounds and voices of radio–and how it became a bonding agent for a generation of American youth
When television became the next big thing in broadcast entertainment, everyone figured video would kill the radio star–and radio, period. But radio came roaring back with a whole new concept. The war was over, the baby boom was on, the country was in clover, and a bold new beat was giving the syrupy songs of yesteryear a run for their money. Add transistors, 45 rpm records, and a young man named Elvis to the mix, and the result was the perfect storm that rocked, rolled, and reinvented radio.
Visionary entrepreneurs like Todd Storz pioneered the Top 40 concept, which united a generation. But it took trendsetting “disc jockeys” like Alan Freed, Murray the K, Wolfman Jack, Cousin Brucie, and their fast-talking, too-cool-for-school counterparts across the land to turn time, temperature, and the same irresistible hit tunes played again and again into the ubiquitous sound track of the fifties and sixties. The Top 40 sound broke through racial barriers, galvanized coming-of-age kids (and scandalized their perplexed parents), and provided the insistent, inescapable backbeat for times that were a-changin’.
Along with rock-and-roll music came the attitude that would literally change the “voice” of radio forever, via the likes of raconteur Jean Shepherd, who captivated his loyal following of “Night People”; the inimitable Bob Fass, whose groundbreaking Radio Unnameable inaugurated the anything-goes free-form style that would come to define the alternative frontier of FM; and a small-time Top 40 deejay who would ultimately find national fame as a political talk-show host named Rush Limbaugh.
From Hunter Hancock, who pushed beyond the limits of 1950s racial segregation with rhythm and blues and hepcat patter, to Howard Stern, who blew through all the limits with a blue streak of outrageous on-air antics; from the heyday of summer songs that united carefree listeners to the latter days of political talk that divides contentious callers; from the haze of classic rock to the latest craze in hip-hop, Something in the Air chronicles the extraordinary evolution of the unique and timeless medium that captured our hearts and minds, shook up our souls, tuned in–and turned on–our consciousness, and went from being written off to rewriting the rules of pop culture.
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On January 1, 1999, All Things Considered aired the first in a series of richly layered stories that trace the soundtrack of the 20th century. Broadcast weekly through 1999, continuing monthly through 2000, Lost & Found Sound chronicles, reflects, and celebrates the human experience in rare recordings and "sonic snapshots" submitted by listeners. Blending the historic with the everyday, the monumental with the personal, this is evocative, haunting, eclectic listening—endangered sounds, shifting accents, vanishing voices, home recordings, and audio artifacts that reveal a sense of place and mark the passage of time.
Contents:
• Tony Schwartz: 30,000 Recordings Later
• Quest for Sound: Gettysburg Eyewitness
• Fishman, Fishman Cigar Stories, narrated by Andy Garcia
• Carnival Talkers
• LBJ and the Helium-Filled Astronauts
• Listening to the Northern Lights
• West Virginia Steam Trains
• Tennessee Williams: The Pennyland Recordings
• Sound Restoration
• The Partridge Family Grand Tour
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In Right of the Dial, Alec Foege explores how the mammoth media conglomerate evolved from a local radio broadcasting operation, founded in 1972, into one of the biggest, most profitable, and most polarizing corporations in the country. During its heyday, critics accused Clear Channel, the fourth-largest media company in the United States and the nation’s largest owner of radio stations, of ruining American pop culture and cited it as a symbol of the evils of media monopolization, while fans hailed it as a business dynamo, a beacon of unfettered capitalism. What’s undeniable is that as the owner at one point of more than 1,200 radio stations, 130 major concert venues and promoters, 770,000 billboards, 41 television stations, and the largest sports management business in the country, Clear Channel dominated the entertainment world in ways that MTV and Disney could only dream of. But in the fall of 2006, after years of public criticism and flattening stock prices, Goliath finally tumbled—Clear Channel Inc. sold off one-third of its radio holdings and all of its television concerns while transferring ownership to a consortium of private equity firms. The move signaled the end of an era in media consolidation, and in Right of the Dial, Foege takes an insightful look at the company’s successes and abuses, showing the ways in which Clear Channel reshaped America’s cultural and corporate landscapes along the way.
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Few inventions evoke such nostalgia, such deeply personal and vivid memories as radio—from Amos ’n’ Andy and Edward R. Murrow to Wolfman Jack and Howard Stern. Listening In is the first in-depth history of how radio culture and content have kneaded and expanded the American psyche.But Listening In is more than a history. It is also a reconsideration of what listening to radio has done to American culture in the twentieth century and how it has brought a completely new auditory dimension to our lives. Susan Douglas explores how listening has altered our day-to-day experiences and our own generational identities, cultivating different modes of listening in different eras; how radio has shaped our views of race, gender roles, ethnic barriers, family dynamics, leadership, and the generation gap. With her trademark wit, Douglas has created an eminently readable cultural history of radio.
"Douglas’s wonderful book offers a sophisticated history of radio listening." —Journal of American History
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In Finding My Voice, the nationally acclaimed public radio host Diane Rehm tells the story of her remarkable life -- a story in three acts. First, her childhood: She was raised in a traditional Christian Arab household -- her parents were immigrants from the Near East who had a grocery store in Washington, D.C. It was a household dominated by rigor and fear, and Rehm's account of her mother's emotional and physical abuse is chilling. Her young girl's intelligence and energy helped her survive, though the cost to her self-esteem was substantial. After a brief early marriage and divorce, she embarked on a second marriage, to John Rehm -- a marriage rockier than many but one that has endured and flourished, and in which they have happily raised their two children.
Then, in her thirties, as she found her life as a housewife/mother starting to push her into depression, Rehm began by a stroke of good fortune to volunteer at WAMU-FM, then a small public radio station in Washington, and found that she loved radio and was good at it. She had found her métier. Six years later she had her own show, hosting politicians, artists, writers, musicians, and scientists, including Hillary Clinton, Newt Gingrich, Carl Sagan, Francis Crick, Salman Rushdie, and Norman Mailer, among thousands of others. Twenty years after she began, her talk show is distributed nationally by National Public Radio (NPR) and reaches more than 700,000 listeners each week. Rehm's knowledge of her medium is extensive. Her account of her career is important for what it tells us about the growth of talk radio and about her ability to use that medium to create a straightforward, honest dialogue with her guests and callers throughout the nation.
Finally, Finding My Voice recounts Rehm's recent frightening battle with a rare neurological disorder, spasmodic dysphonia (SD), a condition that "creates a strangled hoarseness [and] fills [her] voice with tremors." A radio broadcaster's nightmare, the loss of her voice took her off the air for an extended period of time and into a frantic -- and successful -- search for treatment. As she has with other trials in her life, Rehm has faced this ongoing struggle with fortitude, insight, and pluck. This is a fascinating story by a courageous and resourceful American woman.
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These seventy annotated broadcasts present frequent BBC contributor Forster not only as a literary critic but also as a political activist, an advocate for India, and a wary yet cooperative ally of a colonialist government during World War II. Nearly half the scripts date from 1941 to 1945 and provide an eyewitness account of war. Forster comments on how the arts gallantly survived the blitz--even taking his listeners to the theater as bombing threats loom--and in other cases protests government interference in private life or the limits on free expression caused by the paper shortage. Forster casts a cosmopolitan eye on contemporary literature from Joyce to Steinbeck, enlarges the scope of European art by pairing Austen or Lewis with Indian writers, and offers pointed comments on contemporary literati such as Huxley and Eliot.
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Decades before the Internet, ham radio provided instantaneous, global, person-to-person communication. Hundreds of thousands of amateur radio operators—a predominantly male, middle- and upper-class group known as "hams"—built and operated two-way radios for recreation in mid twentieth century America. In Ham Radio's Technical Culture, Kristen Haring examines why so many men adopted the technical hobby of ham radio from the 1930s through 1970s and how the pastime helped them form identity and community.
Ham radio required solitary tinkering with sophisticated electronics equipment, often isolated from domestic activities in a "radio shack," yet the hobby thrived on fraternal interaction. Conversations on the air grew into friendships, and hams gathered in clubs or met informally for "eyeball contacts." Within this community, hobbyists developed distinct values and practices with regard to radio, creating a particular "technical culture." Outsiders viewed amateur radio operators with a mixture of awe and suspicion, impressed by hams' mastery of powerful technology but uneasy about their contact with foreigners, especially during periods of political tension.
Drawing on a wealth of personal accounts found in radio magazines and newsletters and from technical manuals, trade journals, and government documents, Haring describes how ham radio culture rippled through hobbyists' lives. She explains why hi-tech employers recruited hams and why electronics manufacturers catered to these specialty customers. She discusses hams' position within the military and civil defense during World War II and the Cold War as well as the effect of the hobby on family dynamics. By considering ham radio in the context of other technical hobbies—model building, photography, high-fidelity audio, and similar leisure pursuits—Haring highlights the shared experiences of technical hobbyists. She shows that tinkerers influenced attitudes toward technology beyond hobby communities, enriching the general technical culture by posing a vital counterpoint.
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Started by the National Life and Accident Insurance Company in 1925, WSM became one of the most influential and exceptional radio stations in the history of broadcasting and country music. WSM gave Nashville the moniker “Music City USA” as well as a rich tradition of music, news, and broad-based entertainment. With the rise of country music broadcasting and recording between the 1920s and ‘50s, WSM, Nashville, and country music became inseparable, stemming from WSM’s launch of the Grand Ole Opry, popular daily shows like Noontime Neighbors, and early morning artist-driven shows such as Hank Williams on Mother’s Best Flour.
Sparked by public outcry following a proposal to pull country music and the Opry from WSM-AM in 2002, Craig Havighurst scoured new and existing sources to document the station’s profound effect on the character and self-image of Nashville. Introducing the reader to colorful artists and businessmen from the station’s history, including Owen Bradley, Minnie Pearl, Jim Denny, Edwin Craig, and Dinah Shore, the volume invites the reader to reflect on the status of Nashville, radio, and country music in American culture.
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"A fascinating read that, paired with the historic recordings, gives a thrilling sense of what it was like for Americans at home following the war in their living rooms."-Library Journal"High-level drama"-Indianapolis Star
"Highly recommended."-Choice
The story of World War II was told first not by historians, but by reporters. And no one told that story with more impact than Edward R. Murrow and the remarkable band of reporters he assembled. World War II on the Air recounts the dramatic stories behind these extraordinary correspondents. And it lets you hear their actual broadcasts, culled from the archives and collected here-many for the first time-on audio CD, narrated by Dan Rather.