Academic literature on the topic 'American Radio Archives'

This epilogue discusses Richard Durham's legacy. Throughout his life Durham fought for freedom, justice, and equality for African Americans and other oppressed people, whether through poetry or print reporting, broadcast drama or political speechmaking. In the years following her husband's death, Clarice Durham mounted a campaign to keep his legacy alive. Today, via online archives, Internet users may listen to forty-two original broadcasts of Durham's Destination Freedom episodes. Web users may also hear his CBS Radio Workshop dramas and view the only two programs known to have survived from

This chapter surveys the institutions and movements that brought together the city’s musical life with the aim of merging disparate styles, trends, and personnel. First comes the auto industry, based on archival sources from Ford and General Motors that show how the companies deployed music for worker morale and company promotion. The complementary work of labor follows, through the United Auto Workers’ songs. Next comes the counterculture’s musical moment in the age of the folk revival and the artist collectives of the 1950s–1960s. Motown offers a special case of African American entrepreneur

Making Music in Selznick’s Hollywood explores the network of musicians and filmmakers whose work defined the sound of Hollywood’s golden age (c. 1920s–1950s). The book’s central character is producer David O. Selznick, who immersed himself in the music of his films, serving as manager, critic, and advocate. By demonstrating music’s value in film and encouraging its distribution through sheet music, concerts, radio broadcasts, and soundtrack albums, Selznick cultivated audiences’ relationship to movie music. But he did not do it alone. Selznick’s films depended upon the men and women who brough

The presence and history of black people in Britain, going back centuries, has been obscured, forgotten and misunderstood. This book, which expands upon the Radio 4 series of the same name, uses new archival discoveries and fresh scholarly interpretations to recover the stories of some of the black individuals, groups and communities whose lives in England were shaped and restricted by slavery and racism during the eighteenth and nineteenth centuries. In eighteen chapters by different contributors, readers encounter black figures from the past who span the social and economic spectrum from dom

Jack Benny accomplished major achievements in 23 years on the radio. Adapting his performance from vaudeville, he brought the progenitor of stand-up comedy to the new broadcast form through the position of the master of ceremonies, and he and Harry Conn invented the situation comedy format, which was dependent for laughs on humor stemming from characters and dialogue, not stand alone laughs. Benny incorporated advertising messages into his humorous narrative more successfully than any other performer. And he was instrumental in making radio the nation’s most powerful mass medium, all while depicting the character of “The Fall Guy” or schmo, a Yiddish character thoroughly assimilated into American culture. Benny was indelibly tied to the best features of his radio career and persona as he maneuvered the upheavals of American entertainment culture in the 1960s and early 1970s. The genius of Jack Benny’s radio humor is increasingly spread today through new media - websites sharing 750+ Benny broadcasts, satellite radio and podcast programs, and digitization of entertainment trade journals and archival sources.

In 1991, some colleagues and I started the campaign to save Bletchley Park from demolition by property developers. At this time I was working at the Science Museum in London restoring some early British computers. I believed it would be possible to rebuild Colossus, but nobody else believed me. In 1993, I gathered together all the information available. This amounted to no more than eight 1945 wartime photographs of Colossus (some of which are printed in this book), plus brief descriptions by Flowers, Coombs, and Chandler, and—crucially—circuit diagrams which some engineers had kept, quite illegally, as engineers always do! I spent nine months poring over the wartime photographs, using a sophisticated modern CAD system on my PC to recreate machine drawings of the racks. I found that, fortunately, sufficient wartime valves were still available, as were various pieces of Post Office equipment used in the original construction. In July 1994, His Royal Highness the Duke of Kent opened the Bletchley Park Museum and inaugurated the Colossus rebuild project. At that time I had not managed to obtain any sponsorship for the project, so my wife Margaret and I decided to put our own money into it, to get it started. We both felt that if the effort was not made immediately there would be nobody still alive to help us with memories of Colossus. Over the next few years various private sponsors came to our aid and some current and retired Post Office and radio engineers formed the team that helped me in the rebuild. In 1995, the American National Security Agency was forced by application of the Freedom of Information Act to release about 5000 Second World War documents into the US National Archive. A list of these documents was put onto the Internet. When I read it I was amazed to see titles like ‘The Cryptographic Attack on FISH’. I obtained copies of these documents and found that they were invaluable reports written by American servicemen seconded to Bletchley Park when America entered the war. I was also fortunate enough to be given access to the then still classified General Report on Tunny (parts of which are published for the first time in this book).