Simon Morrison
- Published in print:
- 2008
- Published Online:
- January 2009
- ISBN:
- 9780195181678
- eISBN:
- 9780199870806
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780195181678.003.0003
- Subject:
- Music, History, Western
This chapter chronicles Prokofiev's activities from the spring of 1938 to the winter of 1939, a period that witnessed the loss of his ability to travel abroad, the arrest (at the height of the ...
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This chapter chronicles Prokofiev's activities from the spring of 1938 to the winter of 1939, a period that witnessed the loss of his ability to travel abroad, the arrest (at the height of the Stalinist purges) of his mentor Vsevolod Meyerhold, his embrace of the aesthetic of Socialist Realism in his opera Semyon Kotko, and his composition of a cantata in honor of Stalin's sixtieth birthday for Soviet Radio (the signing of the Molotov-Rippentrop non-aggression pact in 1939 necessitated a rewriting of the libretto of Semyon Kotko). Beyond these conformist works, the chapter also discusses Prokofiev's unknown music for athletic display.Less
This chapter chronicles Prokofiev's activities from the spring of 1938 to the winter of 1939, a period that witnessed the loss of his ability to travel abroad, the arrest (at the height of the Stalinist purges) of his mentor Vsevolod Meyerhold, his embrace of the aesthetic of Socialist Realism in his opera Semyon Kotko, and his composition of a cantata in honor of Stalin's sixtieth birthday for Soviet Radio (the signing of the Molotov-Rippentrop non-aggression pact in 1939 necessitated a rewriting of the libretto of Semyon Kotko). Beyond these conformist works, the chapter also discusses Prokofiev's unknown music for athletic display.
Simon J. Potter
- Published in print:
- 2012
- Published Online:
- September 2012
- ISBN:
- 9780199568963
- eISBN:
- 9780191741821
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780199568963.003.0003
- Subject:
- History, British and Irish Modern History, Cultural History
During the early 1930s, governments created more powerful public broadcasting authorities in Canada, Australia, and New Zealand, including the Canadian Radio Broadcasting Commission (CRBC), the ...
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During the early 1930s, governments created more powerful public broadcasting authorities in Canada, Australia, and New Zealand, including the Canadian Radio Broadcasting Commission (CRBC), the Australian Broadcasting Commission (ABC), and the New Zealand Broadcasting Board (NZBB). In Canada, the Canadian Radio League (CRL) enlisted the help of the BBC to make the case for public broadcasting. However, the world economic depression hampered plans to develop broadcasting, both on a national basis in these countries, and on an imperial footing. The BBC's underfunded Empire Service did little to link up the British world, despite attempts to use sport and the monarchy to generate interest in its broadcasts. BBC recorded programmes or transcriptions similarly met with a mixed response, and the BBC for its part seemed unenthusiastic about taking reciprocal programmes from the dominions. BBC attempts to operate overseas on a rigorously public-service basis compounded its problemsLess
During the early 1930s, governments created more powerful public broadcasting authorities in Canada, Australia, and New Zealand, including the Canadian Radio Broadcasting Commission (CRBC), the Australian Broadcasting Commission (ABC), and the New Zealand Broadcasting Board (NZBB). In Canada, the Canadian Radio League (CRL) enlisted the help of the BBC to make the case for public broadcasting. However, the world economic depression hampered plans to develop broadcasting, both on a national basis in these countries, and on an imperial footing. The BBC's underfunded Empire Service did little to link up the British world, despite attempts to use sport and the monarchy to generate interest in its broadcasts. BBC recorded programmes or transcriptions similarly met with a mixed response, and the BBC for its part seemed unenthusiastic about taking reciprocal programmes from the dominions. BBC attempts to operate overseas on a rigorously public-service basis compounded its problems
Kathryn H. Fuller-Seeley
- Published in print:
- 2017
- Published Online:
- May 2018
- ISBN:
- 9780520295049
- eISBN:
- 9780520967946
- Item type:
- book
- Publisher:
- University of California Press
- DOI:
- 10.1525/california/9780520295049.001.0001
- Subject:
- Film, Television and Radio, Radio
Jack Benny became one of the most influential entertainers of the 20th century - by being the top radio comedian, when the comics ruled radio, and radio was the most powerful and pervasive mass ...
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Jack Benny became one of the most influential entertainers of the 20th century - by being the top radio comedian, when the comics ruled radio, and radio was the most powerful and pervasive mass medium in the US. In 23 years of weekly radio broadcasts, by aiming all the insults at himself, Benny created Jack, the self-deprecating “Fall Guy” character. He indelibly shaped American humor as a space to enjoy the equal opportunities of easy camaraderie with his cast mates, and equal ego deflation. Benny was the master of comic timing, knowing just when to use silence to create suspense or to have a character leap into the dialogue to puncture Jack’s pretentions. Jack Benny was also a canny entrepreneur, becoming one of the pioneering “showrunners” combining producer, writer and performer into one job. His modern style of radio humor eschewed stale jokes in favor informal repartee with comic hecklers like his valet Rochester (played by Eddie Anderson) and Mary Livingstone his offstage wife. These quirky characters bouncing off each other in humorous situations created the situation comedy. In this career study, we learn how Jack Benny found ingenious ways to sell his sponsors’ products in comic commercials beloved by listeners, and how he dealt with the challenges of race relations, rigid gender ideals and an insurgent new media industry (TV). Jack Benny created classic comedy for a rapidly changing American culture, providing laughter that buoyed radio listeners from 1932’s depths of the Great Depression, through World War II to the mid-1950s.Less
Jack Benny became one of the most influential entertainers of the 20th century - by being the top radio comedian, when the comics ruled radio, and radio was the most powerful and pervasive mass medium in the US. In 23 years of weekly radio broadcasts, by aiming all the insults at himself, Benny created Jack, the self-deprecating “Fall Guy” character. He indelibly shaped American humor as a space to enjoy the equal opportunities of easy camaraderie with his cast mates, and equal ego deflation. Benny was the master of comic timing, knowing just when to use silence to create suspense or to have a character leap into the dialogue to puncture Jack’s pretentions. Jack Benny was also a canny entrepreneur, becoming one of the pioneering “showrunners” combining producer, writer and performer into one job. His modern style of radio humor eschewed stale jokes in favor informal repartee with comic hecklers like his valet Rochester (played by Eddie Anderson) and Mary Livingstone his offstage wife. These quirky characters bouncing off each other in humorous situations created the situation comedy. In this career study, we learn how Jack Benny found ingenious ways to sell his sponsors’ products in comic commercials beloved by listeners, and how he dealt with the challenges of race relations, rigid gender ideals and an insurgent new media industry (TV). Jack Benny created classic comedy for a rapidly changing American culture, providing laughter that buoyed radio listeners from 1932’s depths of the Great Depression, through World War II to the mid-1950s.
Colin Shaw
- Published in print:
- 1999
- Published Online:
- October 2011
- ISBN:
- 9780198159377
- eISBN:
- 9780191673603
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780198159377.003.0002
- Subject:
- Literature, Film, Media, and Cultural Studies
In 1927, the U.S. Congress approved the establishment of a Federal Radio Commission in the continuing effort to ensure an orderly development for the medium. The Radio Act of that year required the ...
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In 1927, the U.S. Congress approved the establishment of a Federal Radio Commission in the continuing effort to ensure an orderly development for the medium. The Radio Act of that year required the Commissioners, who took over the granting of licences from the Commerce Department, to have in mind ‘the public interest, convenience and necessity’. It was drawn by people, including Herbert Hoover himself, who saw the social and cultural possibilities of radio as a medium of enlightenment to which all the citizens of the United States should have access. Patterns of regulation both in Britain and the United States have employed regulation with the positive objective of maintaining the range of radio programming on offer to their audiences. Each country, however, has a distinct approach to the regulation of content which has led the British to support a much greater degree of intervention in the detail of radio programmes.Less
In 1927, the U.S. Congress approved the establishment of a Federal Radio Commission in the continuing effort to ensure an orderly development for the medium. The Radio Act of that year required the Commissioners, who took over the granting of licences from the Commerce Department, to have in mind ‘the public interest, convenience and necessity’. It was drawn by people, including Herbert Hoover himself, who saw the social and cultural possibilities of radio as a medium of enlightenment to which all the citizens of the United States should have access. Patterns of regulation both in Britain and the United States have employed regulation with the positive objective of maintaining the range of radio programming on offer to their audiences. Each country, however, has a distinct approach to the regulation of content which has led the British to support a much greater degree of intervention in the detail of radio programmes.
Charlotte Bedford
- Published in print:
- 2018
- Published Online:
- May 2019
- ISBN:
- 9781529203363
- eISBN:
- 9781529203516
- Item type:
- book
- Publisher:
- Policy Press
- DOI:
- 10.1332/policypress/9781529203363.001.0001
- Subject:
- Sociology, Law, Crime and Deviance
Radio produced and broadcast behind prison walls is redefining traditional meanings of ‘public service broadcasting’ and disrupting traditional power structures within the prison system. Focusing on ...
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Radio produced and broadcast behind prison walls is redefining traditional meanings of ‘public service broadcasting’ and disrupting traditional power structures within the prison system. Focusing on one of the most interesting developments in UK prisons over the past ten years, this book examines the early history of the Prison Radio Association (PRA) and the formation of the first national radio station for prisoners. Highlighting the enduring importance of social values in broadcasting, this book shows how radio can be used as a powerful force for social change. It will be of interest to those involved in media, criminal justice, and social activism.Less
Radio produced and broadcast behind prison walls is redefining traditional meanings of ‘public service broadcasting’ and disrupting traditional power structures within the prison system. Focusing on one of the most interesting developments in UK prisons over the past ten years, this book examines the early history of the Prison Radio Association (PRA) and the formation of the first national radio station for prisoners. Highlighting the enduring importance of social values in broadcasting, this book shows how radio can be used as a powerful force for social change. It will be of interest to those involved in media, criminal justice, and social activism.
Paul Maddrell
- Published in print:
- 2006
- Published Online:
- January 2010
- ISBN:
- 9780199267507
- eISBN:
- 9780191708404
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780199267507.003.0009
- Subject:
- History, European Modern History
This chapter discusses the significant role played by the returnees from the USSR in Western intelligence collection. It adds that the returnees were valued sources because little other intelligence ...
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This chapter discusses the significant role played by the returnees from the USSR in Western intelligence collection. It adds that the returnees were valued sources because little other intelligence was being acquired on weapons research, development, and production in the USSR in the 1950s. It then explains that the lack of information lead to the underestimation of Soviet progress. It also talks about the exploitation of German scientific workers in the USSR. It suggests that the value of information obtained was diminished by three factors: the tendency of the Soviet system to bad organization; the limited role given to the Germans even when they were seen as having a role to play; and the security measures taken to prevent them from acquiring intelligence of value to the West. It discusses that the atomic returnees were the most valuable collection of informants; among them were former members of the Riehl Group.Less
This chapter discusses the significant role played by the returnees from the USSR in Western intelligence collection. It adds that the returnees were valued sources because little other intelligence was being acquired on weapons research, development, and production in the USSR in the 1950s. It then explains that the lack of information lead to the underestimation of Soviet progress. It also talks about the exploitation of German scientific workers in the USSR. It suggests that the value of information obtained was diminished by three factors: the tendency of the Soviet system to bad organization; the limited role given to the Germans even when they were seen as having a role to play; and the security measures taken to prevent them from acquiring intelligence of value to the West. It discusses that the atomic returnees were the most valuable collection of informants; among them were former members of the Riehl Group.
Michael Stenton
- Published in print:
- 2000
- Published Online:
- October 2011
- ISBN:
- 9780198208433
- eISBN:
- 9780191678004
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780198208433.003.0019
- Subject:
- History, European Modern History, Political History
Black broadcasting to French audiences undoubtedly had a following, but no one knew how much. The original purpose of black broadcasting had been political. It was only after the success of the V ...
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Black broadcasting to French audiences undoubtedly had a following, but no one knew how much. The original purpose of black broadcasting had been political. It was only after the success of the V campaign that Woburn introduced ‘F4’ — Radio Gaulle or Radio France — as a vehicle for operational propaganda. Radio France was not thought of a great success though Anglo-Free French quarrels in 1941–2 had interrupted its work. In any case, Radio France was no more inflammatory than the BBC. The purpose of F Section was not to frustrate de Gaulle but it seemed evident that since no one could force all France to take orders from de Gaulle, the BCRA should not monopolize the link between the Resistance and London. After Torch illuminated the political landscape, SOE and PWE acknowledged a stronger commitment to the ‘gaullist’ resistance.Less
Black broadcasting to French audiences undoubtedly had a following, but no one knew how much. The original purpose of black broadcasting had been political. It was only after the success of the V campaign that Woburn introduced ‘F4’ — Radio Gaulle or Radio France — as a vehicle for operational propaganda. Radio France was not thought of a great success though Anglo-Free French quarrels in 1941–2 had interrupted its work. In any case, Radio France was no more inflammatory than the BBC. The purpose of F Section was not to frustrate de Gaulle but it seemed evident that since no one could force all France to take orders from de Gaulle, the BCRA should not monopolize the link between the Resistance and London. After Torch illuminated the political landscape, SOE and PWE acknowledged a stronger commitment to the ‘gaullist’ resistance.
Pierluigi Petrobelli and Roger Parker
- Published in print:
- 2008
- Published Online:
- January 2012
- ISBN:
- 9780197264348
- eISBN:
- 9780191734250
- Item type:
- chapter
- Publisher:
- British Academy
- DOI:
- 10.5871/bacad/9780197264348.003.0005
- Subject:
- History, Historiography
Julian Medford Budden (1924–2007), a Fellow of the British Academy, was the finest scholar of nineteenth-century Italian opera of his generation. He will be remembered for his achievements as a ...
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Julian Medford Budden (1924–2007), a Fellow of the British Academy, was the finest scholar of nineteenth-century Italian opera of his generation. He will be remembered for his achievements as a producer at the British Broadcasting Corporation (BBC), for his broadcasts and reviews, and above all for his books on Giuseppe Verdi and Giacomo Puccini. Indeed, his passing leaves a huge gap in the field of opera studies. Budden was born in Hoylake, near Liverpool, on April 9, 1924, the only child of Lionel Budden and Maud Budden. In 1951 he started at the BBC, where he remained for his entire working life. Budden's first post was as a clerk and script editor; he then rose through the ranks to become a producer, Chief Producer of Opera, and finally External Services Music Organizer. Two aspects of Budden's background were likely to have been fundamental to his scholarly achievement: his exposure to Classics at Oxford University and his career in BBC Radio.Less
Julian Medford Budden (1924–2007), a Fellow of the British Academy, was the finest scholar of nineteenth-century Italian opera of his generation. He will be remembered for his achievements as a producer at the British Broadcasting Corporation (BBC), for his broadcasts and reviews, and above all for his books on Giuseppe Verdi and Giacomo Puccini. Indeed, his passing leaves a huge gap in the field of opera studies. Budden was born in Hoylake, near Liverpool, on April 9, 1924, the only child of Lionel Budden and Maud Budden. In 1951 he started at the BBC, where he remained for his entire working life. Budden's first post was as a clerk and script editor; he then rose through the ranks to become a producer, Chief Producer of Opera, and finally External Services Music Organizer. Two aspects of Budden's background were likely to have been fundamental to his scholarly achievement: his exposure to Classics at Oxford University and his career in BBC Radio.
Asa Briggs
- Published in print:
- 1995
- Published Online:
- March 2012
- ISBN:
- 9780192129260
- eISBN:
- 9780191670008
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780192129260.003.0005
- Subject:
- History, British and Irish Modern History, Cultural History
This chapter focuses on the boom of the broadcasting sector in the U.S. It discusses American visitor P.F. Godley's address to the Wireless Society of London in which he described broadcasting ...
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This chapter focuses on the boom of the broadcasting sector in the U.S. It discusses American visitor P.F. Godley's address to the Wireless Society of London in which he described broadcasting developments in the U.S. and criticised the attitude of the British Post Office towards broadcasting. It highlights the eventual impact of the broadcasting pattern that developed in the U.S. on the sequence of events of Great Britain. It also discusses the work of the Radio Corporation of America.Less
This chapter focuses on the boom of the broadcasting sector in the U.S. It discusses American visitor P.F. Godley's address to the Wireless Society of London in which he described broadcasting developments in the U.S. and criticised the attitude of the British Post Office towards broadcasting. It highlights the eventual impact of the broadcasting pattern that developed in the U.S. on the sequence of events of Great Britain. It also discusses the work of the Radio Corporation of America.
Asa Briggs
- Published in print:
- 1995
- Published Online:
- March 2012
- ISBN:
- 9780192129260
- eISBN:
- 9780191670008
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780192129260.003.0008
- Subject:
- History, British and Irish Modern History, Cultural History
This chapter focuses on the manufacturers' meetings concerning the formation of the British Broadcasting Corporation (BBC). The first meeting was held in May 1922 at the Institution of Electrical ...
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This chapter focuses on the manufacturers' meetings concerning the formation of the British Broadcasting Corporation (BBC). The first meeting was held in May 1922 at the Institution of Electrical Engineers (IEE), which led to the led to the long-term relation between BBC and the IEE. Six companies played a key role in the formation of the BBC. These were the Marconi Company, Metropolitan-Vickers, Western Electric Company, Radio Communications Company, General Electric Company, and the British Thomson-Houston Company.Less
This chapter focuses on the manufacturers' meetings concerning the formation of the British Broadcasting Corporation (BBC). The first meeting was held in May 1922 at the Institution of Electrical Engineers (IEE), which led to the led to the long-term relation between BBC and the IEE. Six companies played a key role in the formation of the BBC. These were the Marconi Company, Metropolitan-Vickers, Western Electric Company, Radio Communications Company, General Electric Company, and the British Thomson-Houston Company.
Ian Whittington
- Published in print:
- 2018
- Published Online:
- September 2018
- ISBN:
- 9781474413596
- eISBN:
- 9781474444897
- Item type:
- book
- Publisher:
- Edinburgh University Press
- DOI:
- 10.3366/edinburgh/9781474413596.001.0001
- Subject:
- Literature, 20th-century Literature and Modernism
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 ‘broadbrow’ radicalism of J.B. Priestley, ...
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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 ‘broadbrow’ 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 capitalized 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. Though rarely controversial, the broadcasts of these writers navigated an environment of political compromise in order to present new articulations of British and imperial identity that set the stage for the postwar multi-ethnic welfare state to come.Less
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 ‘broadbrow’ 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 capitalized 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. Though rarely controversial, the broadcasts of these writers navigated an environment of political compromise in order to present new articulations of British and imperial identity that set the stage for the postwar multi-ethnic welfare state to come.
Ronojoy Sen
- Published in print:
- 2015
- Published Online:
- May 2016
- ISBN:
- 9780231164900
- eISBN:
- 9780231539937
- Item type:
- chapter
- Publisher:
- Columbia University Press
- DOI:
- 10.7312/columbia/9780231164900.003.0012
- Subject:
- Sociology, Sport and Leisure
How cricket swamped all other sports in India.
How cricket swamped all other sports in India.
Christina L. Baade
- Published in print:
- 2011
- Published Online:
- January 2012
- ISBN:
- 9780195372014
- eISBN:
- 9780199918287
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780195372014.003.0006
- Subject:
- Music, History, Western, Popular
Chapter 5 focuses on the program Radio Rhythm Club (RRC) and its participation in discourses surrounding race and authenticity in jazz, as well as its role in popularizing swing in Britain. First ...
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Chapter 5 focuses on the program Radio Rhythm Club (RRC) and its participation in discourses surrounding race and authenticity in jazz, as well as its role in popularizing swing in Britain. First broadcast in June 1940, the program signaled the BBC's recognition of jazz as a distinct musical genre, its developing sense that jazz enthusiasts were connoisseurs, and its interest in serving young men, a crucial wartime audience. The series featured an array of informative gramophone records recitals, live performances, and jam sessions, providing a legitimizing, mainstream site for British rhythm club discourse and improvised performance. Its house bandleader, Parry, played a key role in popularizing swing in Britain. RRC also represented an important site where the creativity of African American and black British musicians was taken seriously, and it offered regular representations of interracial music making.Less
Chapter 5 focuses on the program Radio Rhythm Club (RRC) and its participation in discourses surrounding race and authenticity in jazz, as well as its role in popularizing swing in Britain. First broadcast in June 1940, the program signaled the BBC's recognition of jazz as a distinct musical genre, its developing sense that jazz enthusiasts were connoisseurs, and its interest in serving young men, a crucial wartime audience. The series featured an array of informative gramophone records recitals, live performances, and jam sessions, providing a legitimizing, mainstream site for British rhythm club discourse and improvised performance. Its house bandleader, Parry, played a key role in popularizing swing in Britain. RRC also represented an important site where the creativity of African American and black British musicians was taken seriously, and it offered regular representations of interracial music making.
Christina L. Baade
- Published in print:
- 2011
- Published Online:
- January 2012
- ISBN:
- 9780195372014
- eISBN:
- 9780199918287
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780195372014.003.0009
- Subject:
- Music, History, Western, Popular
Focusing on 1944, “Invasion Year,” Chapter 8 explores how the BBC, British musicians, and fans negotiated the “special relationship” with their American allies and the potential threat that ...
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Focusing on 1944, “Invasion Year,” Chapter 8 explores how the BBC, British musicians, and fans negotiated the “special relationship” with their American allies and the potential threat that Americanization posed to a distinctly British culture. In the months surrounding D-Day, when American soldiers, Armed Forces Radio, and performers like Bing Crosby and Glenn Miller entered Great Britain in force, British dance musicians and enthusiasts welcomed the opportunity to observe American musicians in person. Meanwhile, the BBC became concerned with promoting British-style dance music, which it defined in opposition to American swing, and discouraging “pseudo-American” bands, like Geraldo's. Nationalism aside, dance music's value as a morale booster existed only so long as it remained popular. In 1944, BBC Listener Research determined that dance music had declined significantly in popularity, and programmers reduced its presence in the schedule—a decision that critics and performers, especially those who had contact with soldiers, contested.Less
Focusing on 1944, “Invasion Year,” Chapter 8 explores how the BBC, British musicians, and fans negotiated the “special relationship” with their American allies and the potential threat that Americanization posed to a distinctly British culture. In the months surrounding D-Day, when American soldiers, Armed Forces Radio, and performers like Bing Crosby and Glenn Miller entered Great Britain in force, British dance musicians and enthusiasts welcomed the opportunity to observe American musicians in person. Meanwhile, the BBC became concerned with promoting British-style dance music, which it defined in opposition to American swing, and discouraging “pseudo-American” bands, like Geraldo's. Nationalism aside, dance music's value as a morale booster existed only so long as it remained popular. In 1944, BBC Listener Research determined that dance music had declined significantly in popularity, and programmers reduced its presence in the schedule—a decision that critics and performers, especially those who had contact with soldiers, contested.
Asa Briggs
- Published in print:
- 1995
- Published Online:
- March 2012
- ISBN:
- 9780192129260
- eISBN:
- 9780191670008
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780192129260.003.0020
- Subject:
- History, British and Irish Modern History, Cultural History
This chapter describes J.C.W. Reith's publicity strategy for the British Broadcasting Corporation (BBC). It discusses the launch of the Radio Times in September 1923 and the appointment of Gladstone ...
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This chapter describes J.C.W. Reith's publicity strategy for the British Broadcasting Corporation (BBC). It discusses the launch of the Radio Times in September 1923 and the appointment of Gladstone Murray as director publicity in December 1924. It explains that Radio Times was designed to shape the public image of BBC while Murray was authorize to control the editorial side of all publications and granted sole responsibility for all public relations.Less
This chapter describes J.C.W. Reith's publicity strategy for the British Broadcasting Corporation (BBC). It discusses the launch of the Radio Times in September 1923 and the appointment of Gladstone Murray as director publicity in December 1924. It explains that Radio Times was designed to shape the public image of BBC while Murray was authorize to control the editorial side of all publications and granted sole responsibility for all public relations.
Simon J. Potter
- Published in print:
- 2012
- Published Online:
- September 2012
- ISBN:
- 9780199568963
- eISBN:
- 9780191741821
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780199568963.003.0004
- Subject:
- History, British and Irish Modern History, Cultural History
During the later 1930s the BBC made more progress with its imperial mission, expanding its domestic monopoly of broadcasting into a monopoly over broadcasting to the empire from Britain. ...
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During the later 1930s the BBC made more progress with its imperial mission, expanding its domestic monopoly of broadcasting into a monopoly over broadcasting to the empire from Britain. Collaborative relations with other public broadcasting authorities in the British world improved, particularly following the establishment of the South African Broadcasting Corporation (SABC), the Canadian Broadcasting Corporation (CBC), and New Zealand's National Broadcasting Service (NBS). More broadcasting officers travelled overseas, and more resources were devoted to the Empire Service. Alongside coverage of sport and royalty, the BBC now provided talks, music, and comedy. Empire Day and Christmas Day remained important fixtures. However, accents were a problem for the BBC, provoking criticism of the Corporation's elite, metropolitan voice. The BBC also began to consider the role of broadcasting in the dependent colonies and in Britain's informal empire, and played a role in the founding of All India Radio (AIR) and other colonial broadcasting authorities.Less
During the later 1930s the BBC made more progress with its imperial mission, expanding its domestic monopoly of broadcasting into a monopoly over broadcasting to the empire from Britain. Collaborative relations with other public broadcasting authorities in the British world improved, particularly following the establishment of the South African Broadcasting Corporation (SABC), the Canadian Broadcasting Corporation (CBC), and New Zealand's National Broadcasting Service (NBS). More broadcasting officers travelled overseas, and more resources were devoted to the Empire Service. Alongside coverage of sport and royalty, the BBC now provided talks, music, and comedy. Empire Day and Christmas Day remained important fixtures. However, accents were a problem for the BBC, provoking criticism of the Corporation's elite, metropolitan voice. The BBC also began to consider the role of broadcasting in the dependent colonies and in Britain's informal empire, and played a role in the founding of All India Radio (AIR) and other colonial broadcasting authorities.
Francis L.F. Lee
- Published in print:
- 2014
- Published Online:
- January 2015
- ISBN:
- 9789888208579
- eISBN:
- 9789888268832
- Item type:
- book
- Publisher:
- Hong Kong University Press
- DOI:
- 10.5790/hongkong/9789888208579.001.0001
- Subject:
- Society and Culture, Media Studies
Phone-in programs on public and commercial radio channels have been a staple of popular Hong Kong politics since the 1990s. In the absence of a fully democratic system, they have played an ...
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Phone-in programs on public and commercial radio channels have been a staple of popular Hong Kong politics since the 1990s. In the absence of a fully democratic system, they have played an influential role in channeling and mediating public opinion. This work examines the phenomenon of talk radio in Hong Kong, using as its analytical framework the idea of remediation. It argues that the circulation and re-circulation of talk radio content through the mainstream media is crucial in explaining the medium's social prominence and influence. The process has not only widened the dissemination of talk radio content, but also established talk radio as a channel as well as a symbol for free political expression, giving it a role in shaping serious debate not seen in many other societies. Drawing on interviews with radio personnel, analysis of radio and newspaper content, and audience surveys, Talk Radio explores the vital and influential world of Hong Kong's phone-in programs. The book will be of interest to scholars of politics, media studies, and cultural studies both in Hong Kong and overseas.Less
Phone-in programs on public and commercial radio channels have been a staple of popular Hong Kong politics since the 1990s. In the absence of a fully democratic system, they have played an influential role in channeling and mediating public opinion. This work examines the phenomenon of talk radio in Hong Kong, using as its analytical framework the idea of remediation. It argues that the circulation and re-circulation of talk radio content through the mainstream media is crucial in explaining the medium's social prominence and influence. The process has not only widened the dissemination of talk radio content, but also established talk radio as a channel as well as a symbol for free political expression, giving it a role in shaping serious debate not seen in many other societies. Drawing on interviews with radio personnel, analysis of radio and newspaper content, and audience surveys, Talk Radio explores the vital and influential world of Hong Kong's phone-in programs. The book will be of interest to scholars of politics, media studies, and cultural studies both in Hong Kong and overseas.
Jeff Porter
- Published in print:
- 2016
- Published Online:
- January 2017
- ISBN:
- 9781469627779
- eISBN:
- 9781469627793
- Item type:
- book
- Publisher:
- University of North Carolina Press
- DOI:
- 10.5149/northcarolina/9781469627779.001.0001
- Subject:
- History, American History: Civil War
Lost Sound is a book about a literary tradition that, while rarely studied, was a vital part of broadcast radio during the mid-1930s through the 1940s and beyond. From Archibald MacLeish to Glenn ...
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Lost Sound is a book about a literary tradition that, while rarely studied, was a vital part of broadcast radio during the mid-1930s through the 1940s and beyond. From Archibald MacLeish to Glenn Gould, radio storytelling was a thriving acoustic art that bridged the worlds of literature and broadcast culture. In Lost Sound, Jeff Porter examines the vital interplay between sonic techniques and modernist practices in the growth of radio. Concentrating on the 1930s through the 1970s, but also speaking to the rising popularity of today's narrative broadcasts such as This American Life, Radiolab, Serial, and The Organicist, Porter's close readings of key radio programs show how writers adapted literary techniques to an acoustic medium with great effect. For a brief spell, a door opened in broadcast culture that allowed sophisticated forms of storytelling to mix with prevailing forms of popular radio. Lost Sound explores the way modernism was absorbed by radio and seeks to understand how avant-garde writing contributed to the boon in literary programming in radio’s heyday. Modernist programming vitalized radio. It elevated drama and introduced other genres to broadcast culture, such as the literary essay and narrative poetry. The movement also encouraged experiments with narrative form and provoked interest in radiophonic techniques that pushed the boundaries of music and sound effects. As a consequence, its storytelling acquired an acoustic depth and density that called attention to the nature of the medium itself.Less
Lost Sound is a book about a literary tradition that, while rarely studied, was a vital part of broadcast radio during the mid-1930s through the 1940s and beyond. From Archibald MacLeish to Glenn Gould, radio storytelling was a thriving acoustic art that bridged the worlds of literature and broadcast culture. In Lost Sound, Jeff Porter examines the vital interplay between sonic techniques and modernist practices in the growth of radio. Concentrating on the 1930s through the 1970s, but also speaking to the rising popularity of today's narrative broadcasts such as This American Life, Radiolab, Serial, and The Organicist, Porter's close readings of key radio programs show how writers adapted literary techniques to an acoustic medium with great effect. For a brief spell, a door opened in broadcast culture that allowed sophisticated forms of storytelling to mix with prevailing forms of popular radio. Lost Sound explores the way modernism was absorbed by radio and seeks to understand how avant-garde writing contributed to the boon in literary programming in radio’s heyday. Modernist programming vitalized radio. It elevated drama and introduced other genres to broadcast culture, such as the literary essay and narrative poetry. The movement also encouraged experiments with narrative form and provoked interest in radiophonic techniques that pushed the boundaries of music and sound effects. As a consequence, its storytelling acquired an acoustic depth and density that called attention to the nature of the medium itself.
Gwen Terry
- Published in print:
- 2011
- Published Online:
- May 2012
- ISBN:
- 9780520268463
- eISBN:
- 9780520949782
- Item type:
- chapter
- Publisher:
- University of California Press
- DOI:
- 10.1525/california/9780520268463.003.0041
- Subject:
- Music, History, American
The National Broadcasting Corporation (NBC) maintained a staff of 175 musicians and Clark was to be the first Negro musician in the group. Although apprehensive, Clark was proud to be representing ...
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The National Broadcasting Corporation (NBC) maintained a staff of 175 musicians and Clark was to be the first Negro musician in the group. Although apprehensive, Clark was proud to be representing his race. Clark describes NBC as a great band, in which he was immediately propelled into the world of “first-call musicians.” The band had a lot of work in hand and was most sought after by the contractors for television commercials, radio work, and recording sessions. Clark even hired a hired a service called Radio Registry to keep up with his hectic schedule. As a part of NBC, Clark was making a truckload of money, working with a truckload of stellar musicians at the commercial dates. Clark describes his association with the NBS as a great experience.Less
The National Broadcasting Corporation (NBC) maintained a staff of 175 musicians and Clark was to be the first Negro musician in the group. Although apprehensive, Clark was proud to be representing his race. Clark describes NBC as a great band, in which he was immediately propelled into the world of “first-call musicians.” The band had a lot of work in hand and was most sought after by the contractors for television commercials, radio work, and recording sessions. Clark even hired a hired a service called Radio Registry to keep up with his hectic schedule. As a part of NBC, Clark was making a truckload of money, working with a truckload of stellar musicians at the commercial dates. Clark describes his association with the NBS as a great experience.
John Sinclair
- Published in print:
- 1998
- Published Online:
- October 2011
- ISBN:
- 9780198159308
- eISBN:
- 9780191673580
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780198159308.003.0003
- Subject:
- Literature, Film, Media, and Cultural Studies
Brazil still exhibits parallels with other major television nations of its region in the development and structure of its media, although distinct from the rest of Latin America in its language, ...
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Brazil still exhibits parallels with other major television nations of its region in the development and structure of its media, although distinct from the rest of Latin America in its language, ethnic composition, and historical experience. However, more like Argentina and Venezuela, it was also shaped by government controls and dictatorship. In spite of this, by the end of the 1920s, stations such as Rádio Record de São Paulo had been established. There is evidence that U.S. corporations and their agencies, at least in the Brazilian case, took an active interest in ensuring that radio developed on the commercial model, providing entertainment programming calculated to deliver audiences to advertisers. Radio networks built their audiences through the exploitation of popular culture, and the cultivation of commercial entertainment genres such as the radionovela, the serial genre which originated in Cuba, and variety shows more on a U.S. model.Less
Brazil still exhibits parallels with other major television nations of its region in the development and structure of its media, although distinct from the rest of Latin America in its language, ethnic composition, and historical experience. However, more like Argentina and Venezuela, it was also shaped by government controls and dictatorship. In spite of this, by the end of the 1920s, stations such as Rádio Record de São Paulo had been established. There is evidence that U.S. corporations and their agencies, at least in the Brazilian case, took an active interest in ensuring that radio developed on the commercial model, providing entertainment programming calculated to deliver audiences to advertisers. Radio networks built their audiences through the exploitation of popular culture, and the cultivation of commercial entertainment genres such as the radionovela, the serial genre which originated in Cuba, and variety shows more on a U.S. model.
