REMEMBERING RADIO: AN ORAL HISTORY OF OLD-TIME RADIO

REMEMBERING RADIO has 9 ratings and 2 reviews. Sam said: In 'Remembering Radio: An Oral History of Old Time Radio', David Siegel has shared a.
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Kaltenborn , Lowell Thomas and Edward R. Most important, there are fascinating essays for each program that take you behind the scenes to capture the feel of a typical broadcast and which provide engrossing information about the people who were involved in the show. An essential reference work for libraries and radio stations, this is THE book for anyone who loves old-time radio. Using some rare photographs, a noted radio historian provides the reader with a visual history of radio, from the first broadcast through its "Golden Era" of the 's and '40s, to the introduction of the first DJ's, Top 40 radio and later Talk Radio.

REMEMBERING RADIO: AN ORAL HISTORY OF OLD-TIME RADIO by David S. Siegel

Many consider this book to be the most extensive, decade-by-decade, era-by-era, photo-by-photo account of American radio ever published. One of the first books ever written about old-time radio this is still one of the best. The author grew up listening to radio during the s and '40s and knew as much about the histories of the great radio shows of yesteryear as anyone.

There is even information on some of the great radio premiums that could be had by sending in a box top or a label from the sponsor's product.


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This is one book that should be every old-time radio fan's library! Based on hundreds of personal interviews, this book provides a fascinating oral history of radio's golden age when programs such as One Man's Family , Vic and Sade , Suspense , and Escape turned America's airwaves into coast-to-coast magic. Included are many behind-the-scenes stories of some of the medium's most colorful personalities: Here is the definitive history of one of radio's most important and influential dramatic anthology series.

DeMille, it had the biggest budget, the biggest stars and the most acclaim of any radio program. In addition to a general history of the series, there is a complete log of each show that was broadcast that lists cast members and the roles they played , literary sources, and a brief commentary on the broadcast itself.

There is also a great deal of interesting trivia surrounding certain broadcasts such as the one of The Plainsman on May 31, , where Frederick March was brought in at the very last minute to replace an ailing Gary Cooper. If you're a fan of the Lux Radio Theater , this book should be in your library. Back then, most Americans relied on radio to keep themselves informed on the latest war news. No one did a better job of covering the war for radio than Edward R.

Murrow and the team of correspondents William L. Smith, Bill Downs, and Richard C. Hottelet that he assembled for CBS. This book recounts the dramatic story behind these broadcasts and the often-hazardous conditions under which they were made. There are also brief biographies of CBS war correspondents.

If you are the least bit interested in the news and commentary programs from World War II, then this book is highly recommended. One of radio's best-remembered dramatic shows, Suspense can be summarized by its opening announcement: The hushed voice and the prowling step. This book provides a complete history of this remarkable series.

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It includes memories from the directors, writers, sound effects men and actors as well as a complete and detailed broadcast log of each episode, listing the cast and providing a brief synopsis of the plot. We do 13 half-hour shows with no host, just groovy graphics by a TV2 graphic artist called Peter McKliskey. He creates the opening titles, all in frame-by-frame animation, and in those days it took ages to do. It was really cool for 11pm, Wednesday night. Apparently, the steady stream of uninterrupted video clips gave him the idea that such a show would suit American television as well.

Cut to an ex-Monkee sitting in his Auckland motel room watching our show. So he takes the idea back to his buddy Bob Pittman. There were other pop shows around the world, but not the kind of grassroots rock show we were doing. I think Nesmith recognised the potential the format had, especially given that it was also cheap! The rest is history.

The concept itself had been in the works since , when major record companies began supplying the New Zealand Broadcasting Corporation with promotional music clips to play on the air at no charge. Few artists made the long trip to New Zealand to appear live. And one of them was Vladimir Putin … Then we got to Australia and one of the Vladimirs had disappeared off the boat. One would go off and another guy would come on. Thurston, who later became better known for his production of sports and events, looked for some help.

The official word came through: And he went onto the telly. So he put the word out: It was Fred Botica who gave me that. By September 12, , it was shifted back to late-night, this time on Mondays, as an hour-long show. Barry Jenkin on the first show: I was absolutely terrified. What happened, I suppose, was I staggered through. Barry is a true pro, but is always nervous. He agonises over his scripts, then at the end of a long read, he may fluff the last couple of lines. Barry Jenkin on playlisting the show: Behind the scenes, we fought like Kilkenny cats!

I would bully my producer, they would back off and I would play what I liked. We always had little battles; Barry wanting to play more alternative rock stuff; Little Feat are his faves. And I know Kevan Moore is watching! Then later on when they had New Zealand videos, the New Zealand video of the week would always be the last thing.

REMEMBERING RADIO: AN ORAL HISTORY OF OLD-TIME RADIO

So it was a weird melange between progressive rock and … you know, Little Feat possibly on one hand and Three Chord Wonders on the other hand. So it was quite a thing. Barry Jenkin on how much in-put he had into playlisting RWP: So it was reasonably democratic but I usually shouted loudest.

Generational barricades were forming and music fans often had to rapidly assume a position on one side or the other. I was working at Hauraki when all these punk clips started coming in from Britain.


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    • Before then, you only heard about the usual suspects — Led Zeppelin, Neil Young, Dylan — then all of a sudden there were great bands like The Stranglers with heaps of attitude, and I suddenly understood what music was all about. Back then, you were pretty much either a punk or a hippie, and pity help you if you were a hippie! What really did it, strangely enough, was the Stranglers. I was working for the telly at the time, The difference was, they could play.

    2 Philip Marlowe Radio Shows The Last Laugh-Name To Remember otr old time radio

    But they had the attitude. That did it for me. I sat there and played it, time after time, all afternoon. That was enough for me.

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    I got it, I got the attitude. It was more that than the night I got kidnapped. We embrace punk right from the beginning. In 77, we go on a bus with the Suburban Reptiles and the Scavengers heading overnight down to Wellington. We share a film crew, news are covering this phenomena of punk with Auckland kids on a bus to play at the Wellington Town Hall. At the time, a vast majority of records for sale in New Zealand were manufactured locally rather than imported. Its distribution arm, HMV, determined which records were fit to be pressed for the local market, and given the low likelihood of getting promotion through radio play, generally avoided punk, or at least delayed the release of punk records until public demand gave them no choice.

    This made disc jockeys like Barry Jenkin a rare breed: In a way I was [responsible for punk being introduced to New Zealand]. It was pretty exciting stuff at the time. I think I was pretty much the only game in town. I must admit, before punk, I played a lot of what I regarded as quality stuff and it did sell records I suppose, yeah. Particularly once there were independent labels that were releasing stuff, and when AK79 came out in either late 79 or early ; after that from my perspective was when things really began to kick off. Toy Love probably led the way because they had several videos for their singles.

    I was going to see bands and was starting to become aware that New Zealand music was worth following. And certainly in my teenage years living in Nelson I was being exposed to commercial radio and television, and that was all.