First Published in 2005. Routledge is an imprint of Taylor & Francis, an informa company.

As entertaining as it is educational, Radio: The Book is a must-have guide to success for anyone interested in a career in radio. Providing a wealth of information and relating his own personal experiences, veteran radio personality, Program Director and Programming Consultant Steve Warren shares trade secrets and industry know-how that would usually take years to accumulate through experience. An invaluable advantage over your competition, this "cheat-sheet" for the radio programmer includes practical advice regarding: ·Radio as a career--from tips on getting started to job negotiations ·Programming--talk radio and music, from format science to picking the hits ·Relationships with listeners--everything from staying in touch with your audience to public image ·Branding, marketing, and advertising the radio station ·Research--music tests, audience analysis, ratings, and more ·Practical information about management policies ·Radio realities--information on rules and regulations This latest edition has been updated to include: ·Important updates on an ever-evolving field ·Essential forms for radio station functions--production orders, personnel files, absentee reports, PSA schedules, format clocks, remote schedule, and more.to be accompanied by an on-line section of electronic forms for convenience ·Ideas for successfully programming in new radio formats like satellite, internet, and cable In such a competitive industry where formal training can be hard to come by, Radio: The Book, 4e, is a short-cut to the fast track for current and future programmers and program directors. With an active radio broadcast career that is still exploring new ideas following s more than forty years at some of America's most prestigious radio stations (including WNBC, WHN, WNEW, and CBS radio), Steve Warren is more than qualified to mentor readers. Steve has competed successfully in all music formats from Easy Listening to Country to Top 40 to Oldies, always putting the listener first and now, putting you first.

Over the last few decades, the radio documentary has developed into a strikingly vibrant form of creative expression. Millions of listeners hear arresting, intimate storytelling from an ever-widening array of producers on programs including This American Life, StoryCorps, and Radio Lab; online through such sites as Transom, the Public Radio Exchange, Hearing Voices, and Soundprint; and through a growing collection of podcasts. Reality Radio celebrates today's best audio documentary work by bringing together some of the most influential and innovative practitioners from the United States, Canada, the United Kingdom, and Australia. In these nineteen essays, documentary artists tell--and demonstrate, through stories and transcripts--how they make radio the way they do, and why. Whether the contributors to the volume call themselves journalists, storytellers, even audio artists--and although their essays are just as diverse in content and approach--all use sound to tell true stories, artfully. Contributors: Jad Abumrad Jay Allison damali ayo John Biewen Emily Botein Chris Brookes Scott Carrier Katie Davis Sherre DeLys Lena Eckert-Erdheim Ira Glass Alan Hall Natalie Kestecher The Kitchen Sisters Maria Martin Karen Michel Rick Moody Joe Richman Dmae Roberts Stephen Smith Sandy Tolan

"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 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. Kennedy responded with the most successful government censorship campaign of the last half century. Taking the advice of union leader Walter Reuther, the Kennedy administration used the Internal Revenue Service and the Federal Communications Commission to pressure stations into dropping conservative programs. This book reveals the growing power of the Radio Right through the eyes of its opponents using confidential reports, internal correspondence, and Oval Office tape recordings. With the help of other liberal organizations, including the Democratic National Committee and the National Council of Churches, the censorship campaign muted the Radio Right. But by the late 1970s, technological innovations and regulatory changes fueled a resurgence in conservative broadcasting. A new generation of conservative broadcasters, from Pat Robertson to Ronald Reagan, harnessed the power of conservative mass media and transformed the political landscape of America"--

Walter Benjamin was fascinated by the impact of new technology on culture, an interest that extended beyond his renowned critical essays. From 1927 to ’33, he wrote and presented something in the region of eighty broadcasts using the new medium of radio. Radio Benjamin gathers the surviving transcripts, which appear here for the first time in English. This eclectic collection demonstrates the range of Benjamin’s thinking and his enthusiasm for popular sensibilities. His celebrated “Enlightenment for Children” youth programs, his plays, readings, book reviews, and fiction reveal Benjamin in a creative, rather than critical, mode. They flesh out ideas elucidated in his essays, some of which are also represented here, where they cover topics as varied as getting a raise and the history of natural disasters, subjects chosen for broad appeal and examined with passion and acuity. Delightful and incisive, this is Walter Benjamin channeling his sophisticated thinking to a wide audience, allowing us to benefit from a new voice for one of the twentieth century’s most respected thinkers.

It's been nearly seven thousand days since the world ended. Seven thousand days of devastation, seven thousand days of shifting wastelands and dangerous creatures, seven thousand days of a vicious fight for survival. Humanity has long gone silent, except for two voices. Lota's broadcast has served as the sole beacon in this time of darkness for years now, and she reports on everything from daily events to her own deepest fears in the hopes of connecting with another person. But these hopes begin to dwindle as time goes on, and it becomes increasingly evident that solitary survival under these conditions is unlikely at best. Rachel, meanwhile, lives on her own in the empty shell of her family's former home and place of work, a laboratory across the ocean, doing anything she can to get by. But when a mysterious disease ravages Rachel's crops and the ghosts of her past come back to haunt her, it becomes increasingly evident that she needs to leave. She has nowhere to go, however, until one night, the impossible happens: she uncovers Lota's broadcast. Then it becomes a race for them to beat the odds-to cross an ocean and hundreds of miles of radioactive land, outrun superhuman mutations and monsters of every kind, not to mention braving the elements-and for two of the last people on earth to find each other.

"Radio Iris has a lovely, eerie, anxious quality to it. Iris's observations are funny, and the story has a dramatic otherworldly payoff that is unexpected and triumphant." —Deb Olin Unferth, The New York Times Book Review "A noirish nod to the monotony of work." —O: The Oprah Magazine "Kinney is a Southern California Camus." —Los Angeles Magazine "'The Office' as scripted by Kafka." —Minneapolis Star-Tribune "[An] astute evocation of office weirdness and malaise." —The Wall Street Journal Radio Iris follows Iris Finch, a twentysomething socially awkward daydreamer and receptionist at Larmax, Inc., a company whose true function she doesn’t understand (though she’s heard her boss refer to himself as “a businessman”). Gradually, her boss’ erratic behavior becomes even more erratic, her coworkers begin disappearing, the phone stops ringing, making her role at Larmax moot, and a mysterious man appears to be living in the office suite next door. Radio Iris is an ambient, eerie dream of a novel, written with remarkable precision and grace that could also serve as an appropriate allegory for our modern recession. Anne-Marie Kinney’s short fiction has appeared or is forthcoming in Indiana Review, Black Clock, Keyhole, and Satellite Fiction.

In the 1920s, after learning Morse code and setting up his own amateur radio station, a twelve-year-old boy sends a message that leads to the rescue of a family stranded by a hurricane in Florida. Based on experiences of the author's father.

Prince Jones, a self-professed teen love doctor known for his radio segment on the local hip-hop station, believes he can get the bookish, anti-romance Dani Ford to fall in love with him in three dates.

Mayhem breaks out in the fifth grade when the Venice Menace bullies his classmates into letting him become a regular guest on "Kidsview," the school's radio program.