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Bibliographies thématiques / Now Show (Radio program) / Livres

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Livres sur le sujet « Now Show (Radio program) »

Auteur : Grafiati

Publié le 25 juillet 2024

Mis à jour le 31 juillet 2025

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1

Michael, Barson, and Marx Brothers, eds. Flywheel, Shyster, and Flywheel: The Marx Brothers' last radio show. Pantheon, 1988.

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2

Wilmut, Roger. The Goon Show companion: A history and goonography. Robson Books, 1992.

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3

Russell, Paul. Ryan on the radio. Gill and Macmillan, 1991.

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4

Coraúcci, Carlos. Um show de rádio: A vida de Estevam Sangirardi. A Girafa, 2006.

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5

Liz, Fell, and Wenzel Carolin, eds. The Coming out show: Twenty years of feminist ABC radio. ABC Book, 1995.

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6

Hickerson, Jay. The new, revised ultimate history of network radio programming and guide to all circulating shows. 3rd ed. J. Hickerson, 1996.

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7

Barson, Michael. Flywheel, Shyster, and Flywheel: The Marx Brothers' lost radio show. Pantheon, 1988.

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8

Julie, Rigg, Copeland Julie, and Australian Broadcasting Corporation, eds. Coming out!: Women's voices, women's lives : a selection from ABC radio's Coming out show. Nelson in association with the Australian Broadcasting Corporation, 1985.

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9

Ryan, Gerry. Would the real Gerry Ryan please stand up. Penguin Ireland, 2008.

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10

N.U. (Organization). Lembaga Kajian dan Pengembangan Sumberdaya Manusia., ed. Transkrip talk show Program Pengembangan Islam Pluralis: Puasa dan visi emansipatoris : Radio Asy-Syafi'iyah. Kerjasama Lakpesdam NU [dan] the Asia Foundation, 2001.

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11

Gorban, Alina, Sari Cohen, and Hagar Wertheim. On the air: Graphic stories based on the popular radio show This American Life. [s.n.], 2010.

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12

Took, Barry. Round the Horne: (the complete and utter history) : based on the BBC radio show Round the Horne created by Barry Took and Marty Feldman. Boxtree, 1998.

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13

Tom, Price. Fibber McGee's closet: The ultimate log of performances by Fibber McGee and Molly, 1917-1987 : a celebration of the 52nd anniversary of Fibber McGee and Molly and Jim's 70 years in show business. T.A. Price, 1987.

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14

Luke, Dodd, and Radio Telefís Éireann, eds. Marian Finucane: The Saturday interview, 2005-2011. Wolfhound Press, 2011.

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15

91.9 KGLT (Radio station : Bozeman, Mont.), ed. The Montana Medicine Show's genuine Montana history. Riverbend Publishing, 2014.

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16

Scott, Elaine. Ramona: Behind the scenes of a television show. Morrow Junior Books, 1988.

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17

1957-, Patrick Dan, ed. The big show: Inside ESPN's SportsCenter. Pocket Books, 1997.

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18

Denis, Moynihan, ed. The silenced majority: Stories of uprisings, occupations, resistance, and hope. Haymarket Books, 2012.

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19

Now Show. Orion Publishing Group, Limited, 2011.

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20

The Now Show. Orion Publishing Group, 2010.

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21

(Performer), Steve Punt, and Hugh Dennis (Performer), eds. The Now Show (BBC Radio Collection). BBC Audiobooks, 2002.

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22

(Performer), Steve Punt, and Hugh Dennis (Performer), eds. The Now Show (BBC Radio Collection). BBC Audiobooks, 2002.

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23

Carson, Leigh Ellen. Star Radio Show: A Christmas Program. Author Solutions, LLC, 2022.

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24

Carson, Leigh Ellen. Star Radio Show: A Christmas Program. Author Solutions, LLC, 2022.

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25

The Lawrence Welk Show, Then & Now. Welk Music Group, 1995.

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26

Milligan, Spike. The Lost "Goon" Shows. Robson Books Ltd, 1993.

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27

From the top: Brief transmissions from Tent show radio. Wisconsin Historical Society Press, 2013.

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28

Maslon, Laurence. The Majestic Theater of the Air. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780199832538.003.0004.

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The advent of radio in the early 1920s allowed for the music of Broadway to penetrate even more households with dance bands, variety shows, and interview programs that exploited the rarified atmosphere of Broadway. In the 1920s, personalities such as Eddie Cantor and Rudy Vallee hawked not only the sponsors’ products, but the latest hit songs of Broadway. Songwriters, such as George Gershwin, as well as Rodgers and Hart, wrote original material for radio and appearing on the air as acclaimed celebrities. The Hit Parade program also codified the hit-making potential of Broadway songs. By the 19

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29

Bodroghkozy, Aniko. Propaganda Tool for Racial Progress? University of Illinois Press, 2017. http://dx.doi.org/10.5406/illinois/9780252036682.003.0002.

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This chapter examines early discourses on the relationship between television and the developing black freedom movement, with particular emphasis on optimistic hopes that television could be a progressive tool for African American advancement and racial justice. Unlike radio, early network television appeared to take seriously obligations to present African Americans in respectful ways. In the early 1950s, for example, NBC's politically progressive chief censor worked to eradicate offensive black stereotypes from programming by scrubbing references to “darkies,” images of Stepin Fetchit–style

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30

Mayo, Simon, and Matt. The Very Worst Of...confessions: More Appealing Misdeeds from the Radio 1FM Breakfast Show. HarperCollins Publishers, 1993.

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31

Black Radio/Black Resistance: The Life and Times of the Tom Joyner Morning Show. Oxford University Press, Incorporated, 2019.

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32

Mayo, Simon, and Matt. Further Confessions. HarperCollins Publishers, 1992.

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33

Would The Real Gerry Ryan Please Stand Up. Penguin Group UK, 2010.

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34

Rollins, Henry. Fanatic!: Songs Lists and Notes from the Harmony In My Head Radio Show. 2.13.61, 2006.

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35

Westengard, Laura, and Aaron Barlow, eds. The 25 Sitcoms That Changed Television. ABC-CLIO, LLC, 2017. http://dx.doi.org/10.5040/9798400605789.

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This book spotlights the 25 most important sitcoms to ever air on American television—shows that made generations laugh, challenged our ideas regarding gender, family, race, marital roles, and sexual identity, and now serve as time capsules of U.S. history. What was the role of The Jeffersons in changing views regarding race and equality in America in the 1970s? How did The Golden Girls affect how society views older people? Was The Office an accurate (if exaggerated) depiction of the idiosyncrasies of being employees in a modern workplace? How did the writers of The Simpsons make it acceptabl

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36

Laird, Tracey. Country Music and Television. Edited by Travis D. Stimeling. Oxford University Press, 2017. http://dx.doi.org/10.1093/oxfordhb/9780190248178.013.28.

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The country music variety show Hee Haw simultaneously hearkened back to radio era precedents and embraced cutting edge production and editing techniques. This chapter situates Hee Haw’s 1969 debut among earliest examples of televised country music that merely added visual components to radio formats, followed by sitcoms like the Andy Griffith Show or Beverly Hillbillies that used country music for added color and bumpkin humor. Hee Haw embraced a rapid-fire, nonnarrative, “postmodern” aesthetic directly inspired by its predecessor, Laugh-In. Distinct from contemporary variety programs hosted b

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37

Matzko, Paul. The Radio Right. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780190073220.001.0001.

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By the early 1960s, and for the first time in history, most Americans across the nation could tune their radio to a station that aired conservative programming from dawn to dusk. People listened to these shows in remarkable numbers; for example, the broadcaster with the largest listening audience, Carl McIntire, had a weekly audience of twenty million, or one in nine American households. For the sake of comparison, that is a higher percentage of the country than would listen to conservative talk radio host Rush Limbaugh forty years later. As this Radio Right phenomenon grew, President John F.

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38

Growing Up With The Goons. JR, 2010.

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39

Lamb, Rick. Rick Lamb's Horse Smarts for the Busy Rider: Insights in Small Bites from The Horse Show Minute Radio Program. The Lyons Press, 2005.

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40

Rick Lamb's horse smarts for the busy rider: Insights in small bites from the horse show minute radio program. Lyons Press, 2005.

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41

Miller, Margaret, and Elaine Scott. Ramona: Behind the Scenes of a Television Show. William Morrow & Co, 1988.

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42

Scott, Elaine. Ramona: Behind the Scenes of a Television Show. William Morrow & Co Library, 1988.

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43

Finley, Laura L., ed. Violence in Popular Culture. ABC-CLIO, LLC, 2018. http://dx.doi.org/10.5040/9798216032458.

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A comprehensive resource, this book reviews current and historical examples of violence in film, television, radio, music, music videos, video games, and novels. Despite decades of attention and various attempts to enact legislation that limits violence in American popular culture, it remains ubiquitous across films, television, radio, music, music videos, video games, and popular fiction. Studies have shown that programs marketed to children are often remarkably violent and that viewing or otherwise consuming such violence has numerous negative effects on children's psychological health. This

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44

author, Goodman David 1959, and Moynihan Denis author, eds. Democracy now!: Twenty years covering the movements changing America. 2016.

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45

Cohen, Ronald D., and Rachel Clare Donaldson, eds. The Decade Ends, 1959–1960. University of Illinois Press, 2017. http://dx.doi.org/10.5406/illinois/9780252038518.003.0007.

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This chapter describes the folk music scene from 1959 to 1960. Topics covered include Alan Lomax's efforts to capture the complex nature of popular music in 1959; the Kingston Trio's continued popularity; Britain's flourishing folk music scene despite the decline of skiffle; increasing popularity of folk music in America as its boundaries disappeared in the flood of new recordings, books, magazines, newsletters, radio programs, and TV shows; the release of the New Lost City Ramblers's album The New Lost City Ramblers; and the folk revival's musical and activist political connections in the Sou

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46

Patrick, Dan, and Keith Olbermann. The Big Show: Inside ESPN's Sportscenter. Atria, 1997.

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47

di Leonardo, Micaela. Black Radio/Black Resistance. Oxford University Press, 2019. http://dx.doi.org/10.1093/oso/9780190870195.001.0001.

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Black Radio is a window into the most famous radio show you never heard of. The Tom Joyner Morning Show is a quarter-century-old syndicated black morning radio show reaching more than eight million adult, largely working-class listeners. It offers progressive political talk, soul music, humor, advice, philanthropy, and celebrity gossip. But the TJMS is not just an adult “old-school music” radio show: it is an on-air organizer, fusing progressive politics and aesthetics. It focuses on specific political issues affecting and enraging African Americans. Black Radio analyzes the TJMS’s rise in the

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48

Snauffer, Douglas. Crime Television. Praeger, 2006. http://dx.doi.org/10.5040/9798400633720.

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Crime dramas have been a staple of the television landscape since the advent of the medium. Along with comedies and soap operas, the police procedural made an easy transition from radio to TV, and starting withDragnetin 1952, quickly became one of the most popular genres. Crime television has proven to be a fascinating reflection of changes and developments in the culture at large. In the '50s and early '60s, the square-jawed, just-the-facts detectives ofThe UntouchablesandThe FBIput police work in the best light possible. As the '60s gave way to the '70s, however, the depictions gained more s

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49

Sickels, Robert, ed. The Business of Entertainment. Praeger, 2008. http://dx.doi.org/10.5040/9798216960362.

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We love to be entertained. And today's technology makes that easier than ever. Listen to tunes while working out? No problem. Watch a movie on your cell phone? Can do. Get 450 channels of digital entertainment bounced off a satellite and into your vehicle—even while traveling through empty wastelands? Simple. But behind these experiences is a complex industry, dominated by a handful of global media conglomerates whose executives exert considerable influence over the artists and projects they bankroll, the processes by which products are developed, and the methods they use to promote and distri

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Sickels, Robert, ed. The Business of Entertainment. Praeger, 2008. http://dx.doi.org/10.5040/9798216960379.

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We love to be entertained. And today's technology makes that easier than ever. Listen to tunes while working out? No problem. Watch a movie on your cell phone? Can do. Get 450 channels of digital entertainment bounced off a satellite and into your vehicle—even while traveling through empty wastelands? Simple. But behind these experiences is a complex industry, dominated by a handful of global media conglomerates whose executives exert considerable influence over the artists and projects they bankroll, the processes by which products are developed, and the methods they use to promote and distri

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