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Returns us to Gertrude Stein’s theater by way of the modernist medium of radio

What happens when we listen to Gertrude Stein’s plays as radio and music theater? This book explores the sound of Stein’s theater and proposes that radio, when approached both historically and phenomenologically, offers technical solutions to her texts’ unique challenges. Adam J. Frank documents the collaborative project of staging Stein’s early plays and offers new critical interpretations of these lesser-known works. Radio Free Stein grapples with her innovative theater poetics from a variety of disciplinary perspectives: sound and media studies, affect and object relations theory, linguistic performativity, theater scholarship, and music composition.

Radio Man tells the story of C.O. Stanley, the unconventional Irishman who acquired Pye Radio at the beginning of the broadcasting age. Although he started with little experience and even less money, he was to make Pye a major player in the British electronics industry - only to crash it spectacularly forty years later. From the romance of early radio to the birth of the mobile, Stanley and Pye were players in some of the key moments of twentieth century Britain. His obsession with the infant medium of television allowed Pye to provide the equipment that put radar into planes in time for the Battle of Britain. His energy also drove Pye's pioneering work on the proximity fuse - work that would revolutionise antiaircraft warfare - and the company's manufacture of the war's most successful army radios.

The Shadow. Fibber McGee and Molly. Amos 'n' Andy. When we think back on the golden age of radio, we think of the shows. In Radio Voices, Michele Hilmes looks at the way radio programming influenced and was influenced by the United States of the 1920s, 1930s, and 1940s, tracing the history of the medium from its earliest years through the advent of television. Hilmes places the development of radio within the context of the turmoils of the 1920s: immigration and urbanization, the rise of mass consumer culture, and the changing boundaries of the public and private spheres. Early practices and structures--the role of the announcer, the emergence of program forms from vaudeville, minstrel shows, and the concert stage--are examined. Central to Radio Voices is a discussion of programs and their relations to popular understandings of race, ethnicity, and gender in the United States of this era. Hilmes explores Amos 'n' Andy and its negotiations of racial tensions and The Rise of the Goldbergs and its concern with ethnic assimilation. She reflects upon the daytime serials--the first soap operas--arguing that these much-disparaged programs provided a space in which women could discuss conflicted issues of gender. Hilmes also explores industry practices, considering the role of advertising agencies and their areas of conflict and cooperation with the emerging networks as well as the impact of World War II on the "mission" of radio. Radio Voices places the first truly national medium of the United States in its social context, providing an entertaining account of the interplay between programming and popular culture. "Radio Voices is the most-cited publication in a recent spate of cultural studies of radio. Hilmes analyzes the early practices and programs of radio-such as the daytime serial drama that would evolve into the soap opera-in relation to the emergence, after World War I, of mass consumerism. She argues that, as the United States rose to world power during the Age of Radio, the medium was crucial in helping to form an American national identity and to blur the boundaries between the public and private spheres." Chronicle of Higher Education "Hilmes offers a fresh, exciting, path-breaking and insightful history of radio broadcasting. Radio Voices provides an innovative and accessible history of U.S. broadcasting that promises to inspire a new wave of critical cultural analysis of the radio era. Radio Voices may prove to be the most important for the research it promises to inspire by rethinking and enlivening the field of radio history." Journal of Communication "The title, Radio Voices, is well chosen: the voices of the radio pioneers, which one might too easily assume to be irrecoverable, emerge through the book's frequent extracts from correspondence and scripts. Radio Voices will remind scholars of popular culture of the pleasures and rewards of archival study." Journal of American History "The author's extensive research has turned up many delicious tales not recounted elsewhere." Historical Journal of Film, Radio, and Television

An original study of radio propaganda in Czechoslovakia.

Between 1939 and 1945, Czechoslovakia disappeared from the maps, existing only as an imagined ‘free republic’ on the radio waves. Following the German invasion and annexation of Bohemia and Moravia and the declaration of independence by Slovakia on 15 March 1939, the Czechoslovak Republic was gone. From their position in exile in wartime London, former Czechoslovak President Edvard Beneš and the government that formed around him depended on radio to communicate with the public they strove to represent. The broadcasts made by government figures in London enabled a performance of authority to impress their hosts, allies, occupying enemies, and claimed constituents.

This book examines this government program for the first time, making use of previously unstudied archival sources to examine how the exiles understood their mission and how their propaganda work was shaped by both British and Soviet influences. This study assesses the strengths, weaknesses, and limitations of the government’s radio propaganda as they navigated the complexities of exile, with chapters examining how they used the radio to establish their authority, how they understood the past and future of the Czechoslovak nation, and how they struggled to include Slovakia and Subcarpathian Ruthenia within it.

Winner of the 2022 Broadcast Education Association Book Award

One of the first books to examine the status of broadcasting on its one hundredth anniversary, Radio’s Second Century investigates both vanguard and perennial topics relevant to radio’s past, present, and future. As the radio industry enters its second century of existence, it continues to be a dominant mass medium with almost total listenership saturation despite rapid technological advancements that provide alternatives for consumers. Lasting influences such as on-air personalities, audience behavior, fan relationships, and localism are analyzed as well as contemporary issues including social and digital media. Other essays examine the regulatory concerns that continue to exist for public radio, commercial radio, and community radio, and discuss the hindrances and challenges posed by government regulation with an emphasis on both American and international perspectives. Radio’s impact on cultural hegemony through creative programming content in the areas of religion, ethnic inclusivity, and gender parity is also explored. Taken together, this volume compromises a meaningful insight into the broadcast industry’s continuing power to inform and entertain listeners around the world via its oldest mass medium--radio. 

We live in a modern world powered by large, complex systems, including financial markets, communication networks, transportation networks, and security infrastructure. Sensitive electronics are omnipresent, making them increasingly vulnerable to high-power electromagnetic (HPEM) threats - an emerging risk capable of disrupting critical networks and the infrastructure they support. This book explores recent advances in HPEM sources, electromagnetic compatibility (EMC), strategies for protecting against intentional electromagnetic interference (IEMI) and detection and mitigation of these threats.

Any and all songs are capable of being remixed. But not all remixes are treated equally. Rock This Way examines transformative musical works—cover songs, remixes, mash-ups, parodies, and soundalike songs—to discover what contemporary American culture sees as legitimate when it comes to making music that builds upon other songs. Through examples of how popular discussion talked about such songs between 2009 and 2018, Mel Stanfill uses a combination of discourse analysis and digital humanities methods to interrogate our broader understanding of transformative works and where they converge at the legal, economic, and cultural ownership levels. 

Rock This Way provides a new way of thinking about what it means to re-create and borrow music, how the racial identity of both the reusing artist and the reused artist matters, and the ways in which the law polices artists and their works. Ultimately, Stanfill demonstrates that the extent to which a work is seen as having new expression or meaning is contingent upon notions of creativity, legitimacy, and law, all of which are shaped by white supremacy.