This classic performance of Garrison Keillor's American Radio Company was broadcast live from the Mark Twain Memorial in Hartford Connecticut. The Hartford house is where Twain wrote many of his works. The show pays homage to Twain's genius and personality with humor, period music, and a classic Keillor monologue. Guests included Roy Blount, Jr., the Gregg Smith Quartet, and singer Pamela Warrick-Smith.
Please note: This is the audio version of this title.
During the fateful summer of 1966, a handful of restless and frustrated deejays in New York and San Francisco began to conceive of a whole new brand of radio, one which would lead to the reinvention of contemporary music programming. Gone were the screaming deejays, the two minute doowop hits, and the goofy jingles. In were the counterculture sounds and sentiments that had seldom, if ever, made it to commercial radio. This new and unorthodox form of radio--this radical departure from the Top 40 establishment--reflected the social and cultural unrest of the period. Underground radio had been born of a desire to restore substance and meaning to a medium that had fallen victim to the bottom-line dictates of an industry devoted to profit. In this compelling and intriguing account of the counterculture radio movement, over 30 pioneers of the underground airwaves share insights and observations, and tell it like it was.
Michael Keith has interviewed some of the most prominent figures of underground radio and has woven their reflections into a seamless, engrossing oral history of one of radio's most extraordinary moments. From the first broadcasts of a Screamin' Jay Hawkins record and a live Love-In and Be-In Rock 'n Roll concert, to the ultimate corporate takeover of the commercial underground airwaves, Keith provides the reader with a unique and fresh look at this turbulent era. There had never been anything like commercial underground radio before its '60s debut, and there has not been anything like it since its premature demise in the early 1970s. The innovativeness and boldness of underground radio brought a new golden age to the medium. Ignoring playlists, rigid programming formulas and program clocks, the underground deejays attracted a dedicated following of maturing baby boomers.
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. From former Baltimore Orioles announcer Jon Miller calling Cal Ripken Jr.'s record-breaking 2,131st straight game, to Red Sox announcer Joe Castiglione witnessing the "Curse of the Babe" being lifted the night Boston won its first World Series in eighty-six years, 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, 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. These broadcasters share their fondest memories from the booth, what makes their ballparks unique, and even how their ballparks' structural features have impacted games. Thirty-five of today's broadcasters-from "newbie" Brian Anderson to sixty-five-year veteran Vin Scully-pay tribute not only to the edifices that host their broadcasting craft but also to their predecessors, such as Harry Caray and Red Barber, who influenced and inspired them. With decades of broadcasting between them, their stories encapsulate some of Major League Baseball's greatest moments. Generations of baseball fans-from the veteran who witnessed Joe DiMaggio coming back from World War II to the son or daughter going through the gate's turnstiles for the first time-will all enjoy the historic and triumphant moments shared by some of the game's greatest broadcasters in The Voices of Baseball.
Line changes, limited time outs, and pucks traveling 100 miles per hour-hockey is called "the fastest game on Earth" for a reason. Keeping up with this non-stop action, especially for decades on end, takes a special kind of talent. Today's NHL broadcasters capture the game in arguably the most difficult capacity in the world of sports, giving the fans a guide to the action in a way nobody else could. With careers outlasting the players, coaches, general managers, and, in some cases, the city itself, the NHL's broadcasters have more than their fair share of stories to tell. In The Voices of Hockey: Broadcasters Reflect on the Fastest Game on Earth, Kirk McKnight takes forty-two of the game's most gifted play-by-play broadcasters-including ten hall of famers-and shares their many insights, memories, and experiences. These broadcasters have witnessed all-time greats such as Gordie Howe, Bobby Hull, Wayne Gretzky, Mario Lemieux, Sidney Crosby, and Alexander Ovechkin, making them the ideal voices to pay tribute to the legends of yesterday and the heroes of tomorrow. The Voices of Hockey brings the reader down to the surface of the ice to experience overtime marathons, record-setting performances, bloodied fights, intense rivalries, and the raising of the Stanley Cup, with details and inside perspectives from some of the most qualified spectators of the game. From Bob Miller's description of "The Miracle on Manchester" to John Kelly's childhood recollection of Bobby Orr's famous "flying goal," this book is truly an encapsulation of the NHL over the past fifty years. Generations of hockey fans will enjoy reliving their favorite moments and reading about those they missed in this unique and captivating view of the fastest game on Earth.
Each week, more than three million listeners tune into Wait Wait . . . Don't Tell Me to test their knowledge of the week's news. In the popular "Not My Job" segment, a celebrity guest must answer three questions on a topic totally outside his or her area of expertise. The topic seems random but is thoughtfully skewed. Because Henry Winkler played Fonzie on Happy Days, host Peter Sagal asks him about Ponzi schemes. For indie rock singer Neko Case, the questions are about Necco Wafers. Baseball Hall of Famer Cal Ripken Jr. holds the record for most consecutive games played; the Wait Wait team pitches him stumpers about sports' real streakers--those without clothes. Jane Goodall, who studies wild chimpanzees, is met with questions about actor Nicolas Cage. And so on. Twisted and tricky, it's all in good fun for panelists, celebrities, and especially the audience.
Words at War describes how 17 radio dramatists and their actors fought a war of words against fascism abroad and injustice at home. Beginning in the late 1930s, the commercial networks, private agencies, and the government cooperated with radio dramatists to produce plays to alert Americans to the Nazi threat. They also used radio to stimulate morale. They showed how Americans could support the fight against fascism even if it meant just having a "victory garden." Simultaneously as they worked on the war effort, many radio writers and actors advanced a progressive agenda to fight the enemy within: racism, poverty, and other social ills. When the war ended, many of these people paid for their idealism by suffering blacklisting. Veterans' groups, the FBI, right-wing politicians, and other reactionaries mounted an assault on them to drive them out of their professions. This book discusses that partly successful effort and the response of the radio personalities involved. This book discusses commercial drama series such as The Man Behind the Gun, network sustained shows such as those of Norman Corwin, and government-produced programs such as the Uncle Sam series. The book is largely based on the author's interviews with Norman Corwin, Arthur Miller, Pete Seeger, Arthur Laurents, Art Carney and dozens of others associated with radio during its Golden Age. It also discusses public reaction to these broadcasts and the issue of blacklisting. Words at War weaves together materials from FBI files and materials from archives around the country, including the Academy of Motion Picture Arts and Sciences, the National Archives and a dozen university special collection libraries, to tell how the nation used a unique broadcast genre in a time of national crisis. Readers in the era of the current World Trade Center terrorism crisis will be particularly interested to read about censorship, scapegoating, and the government's role in disseminating propaganda and other issues that have once again
Soap opera has become the most popular form of radio and television drama and now constitutes the biggest market for modern day dramatists. For the new writer, as well as those experienced in other genres, this book reveals how Soap works. As well as covering the specifics of Soap writing, Chris Curry guides the writer through the uniquely collaborative process from storylining to finished script.'A clear, honest, practical and funny guide to soap writing' - Valerie Windsor.
Y -Y is a delightful style of pop music featuring young female singers that influenced France and many other countries, as says Susan Sontag, with its particular "camp" style throughout the 1960s.Y -Y pop had secondary explosions in the 1970s and 1990s in Japan and Europe through the likes of Lio (who provides this book's foreword), and in the United States through singers like April March, whose Y -Y number "Chick Habit" was heard in the Quentin Tarantino film Death Proof. Interest in Y -Y revived again recently during the fifth season of the mega-popular television series Mad Men, when Don Draper's young, sexy wife sang the Y -Y number "Zou Bisou Bisou," originally made famous in the 1960s by blonde actress Gillian Hills. The most famous Y -Y practitioners include the glamorous Sylvie Vartan (married to rock star Johnny Hallyday), French lolita France Gall, beautiful actresses Brigitte Bardot and Chantal Goya, and the statuesque Fran oise Hardy. This collection by French pop music expert Jean-Emmanuel Deluxe includes many interviews with the original singers and producers, visual excerpts of record covers, both 45s and LPs, and remarkable excerpts from a children's fan diary of the period. Y -Y means "Yeah Yeah" and many music lovers are ready for an immersion in this beloved but little-known genre. "This lavishly illustrated compendium is like a passport to another time and place...a window into an era in which one could switch on the TV & see Bridget Bardot singing about Harley Davidson motorcycles while wearing thigh-high boots and a black leather mini-skirt. This book may well be the Bible of Y -Y ." --Boyd Rice