The free-standing radios of the middle decades of the 20th century were invitingly rotund and proudly displayed--nothing like today's skinny televisions hidden inside "entertainment centers." Radios were the hub of the family's after-dinner activities, and children and adults gorged themselves on western-adventure series like "The Lone Ranger," police dramas such as "Calling All Cars," and the varied offerings of "The Cavalcade of America." Shows often aired two or three times a week, and many programs were broadcast for more than a decade, comprising hundreds of episodes. This book includes more than 300 program logs (many appearing in print for the first time) drawn from newspapers, script files in broadcast museums, records from NBC, ABC and CBS, and the personal records of series directors. Each entry contains a short broadcast history that includes directors, writers, and actors, and the broadcast dates and airtimes. A comprehensive index rounds out the work.

An essential guide for anyone who dreams of penning tomorrow's radio classics.

For generations, fans and critics have characterized classic American radio drama as a “theater of the mind.” This book unpacks that characterization by recasting the radio play as an aesthetic object within its unique historical context. In Theater of the Mind, Neil Verma applies an array of critical methods to more than six thousand recordings to produce a vivid new account of radio drama from the Depression to the Cold War. In this sweeping exploration of dramatic conventions, Verma investigates legendary dramas by the likes of Norman Corwin, Lucille Fletcher, and Wyllis Cooper on key programs ranging from The Columbia Workshop, The Mercury Theater on the Air, and Cavalcade of America to Lights Out!, Suspense, and Dragnet to reveal how these programs promoted and evolved a series of models of the imagination. With close readings of individual sound effects and charts of broad trends among formats, Verma not only gives us a new account of the most flourishing form of genre fiction in the mid-twentieth century but also presents a powerful case for the central place of the aesthetics of sound in the history of modern experience.

Radio drama has been around for more than one hundred years and is still vibrant in many countries. A narrative-dramatic genre and art form in its own right, radio drama has traditionally crossed medial and generic boundaries and continues to do so in our age of digitization. Audionarratology: Lessons from Audio Drama, edited by Lars Bernaerts and Jarmila Mildorf, explores radio drama from a narratological angle. The contributions cover key questions surrounding audiophonic meaning-making, storyworld creation, mediation, focalization, suspense, unreliability, and ambiguity as well as the relationship between script and performance, seriality, antinarrative tendencies, and radio drama's political implications now and in its early days. The book thus explores the interplay between sound, voices, music, language, silence, electroacoustic manipulation, and narrative structures. Providing examples from American, Australian, British, Dutch, and German radio drama--such as I Love a Mystery, The War of the Worlds, and The Hitchhiker's Guide to the Galaxy--this book has important insights for scholars working in transmedial narratology, media studies, literary and cultural studies, theatre and performance studies, and communication studies as well as for practitioners and lovers of radio drama alike.

"A romance between an Anglican priest and a children's book writer who moves into his neighborhood. It is set in Mitford, North Carolina, where life is peaceful and problems are overcome with prayer and some good cooking." --Publisher.

Steal the Stars, a debut novel by Nat Cassidy, is based on the science fiction podcast from Tor Labs, written by Mac Rogers. Dakota “Dak” Prentiss guards the biggest secret in the world. They call it “Moss.” It’s your standard grey alien from innumerable abduction stories. It still sits at the controls of the spaceship it crash-landed eleven years ago. A secret military base was built around the crash site to study both Moss and the dangerous technology it brought to Earth. The day Matt Salem joins her security team, Dak’s whole world changes. It’s love at first sight—which is a problem, since they both signed ironclad contracts vowing not to fraternize with other military personnel. If they run, they’ll be hunted for what they know. Dak and Matt have only way to be together: do the impossible. Steal Moss and sell the secret of its existence. And they can’t afford a single mistake.