RADIO TIMES OF INDIA used to serve the listener as a Bradshaw of broadcasting, and used to give listener the useful information in an interesting manner about programmes, who writes them, take part in them and produce them along with photographs of performing artists. It also contains the information about major changes in the policies and services of the organisation round the world. NAME OF THE JOURNAL: RADIO TIMES OF INDIA LANGUAGE OF THE JOURNAL: English DATE, MONTH & YEAR OF PUBLICATION: 01-12-1948 PERIODICITY OF THE JOURNAL: Fortnightly NUMBER OF PAGES: 32 VOLUME NUMBER: Vol. III, No. 23 ARTICLE: 1. Radio ' A Lively British Industry' 2. Inventions For Tomorrow 3. Soviet Radio Land-Tarpedo AUTHOR: 1. William Holt 2. H. Hart 3. Hugo Gernsback Document ID: IRT-1948(J-D)-VOL-I-23

THE INDIAN RADIO TIMES was the first programme journal of ALL INDIA RADIO, formerly known as The Indian State Broadcasting Service, Bombay, it was started publishing from 16 July, 1927. Later, it has been renamed to The Indian Listener w.e.f. 22 December,1935. It used to serve the listener as a Bradshaw of broadcasting, and used to give listener the useful information in an interesting manner about programmes, who writes them, take part in them and produce them along with photographs of performing artists. It also contains the information about major changes in the policy and service of the organisation. NAME OF THE JOURNAL: THE INDIAN RADIO TIMES LANGUAGE OF THE JOURNAL: English DATE, MONTH & YEAR OF PUBLICATION: 22-07-1932 PERIODICITY OF THE JOURNAL: Fortnightly NUMBER OF PAGES: 53 VOLUME NUMBER: Vol. VI, No. 14 ARTICLE: Our Broadcasting Receiver AUTHOR: Unknown KEYWORDS: Wireless Receivers is a Companion Document ID: IRT-1932 (A-O)VOL-I-8

THE INDIAN RADIO TIMES was the first programme journal of ALL INDIA RADIO, formerly known as The Indian State Broadcasting Service, Bombay, it was started publishing from 16 July, 1927. Later, it has been renamed to The Indian Listener w.e.f. 22 December, 1935. It used to serve the listener as a Bradshaw of broadcasting, and used to give listener the useful information in an interesting manner about programmes, who writes them, take part in them and produce them along with photographs of performing artists. It also contains the information about major changes in the policy and service of the organisation. NAME OF THE JOURNAL: THE INDIAN RADIO TIMES LANGUAGE OF THE JOURNAL: English DATE, MONTH & YEAR OF PUBLICATION: 22-01-1934 PERIODICITY OF THE JOURNAL: Fortnightly NUMBER OF PAGES: 51 BROADCAST PROGRAMME SCHEDULE PUBLISHED (PAGE NOS): 20-51 VOLUME NUMBER: Vol. VIII, No. 3 Document ID: IRT-1933-34 (J-J)Vol-I-03

This book is open access and available on www.bloomsburycollections.com. It is funded by Knowledge Unlatched. The 20th century was a time of rapid expansion in media industries, as well as of accelerating demands for equality and recognition for women. While women's agency has typically been defined through the domestic sphere, the introduction of media into the home destabilised firm boundaries between public and private spheres. Gender and Media in the Broadcast Age demonstrates how women as media producers and audiences in three countries with public service broadcasters (UK, Canada and Australia) have contributed to changes in our understandings of public and private. Justine Lloyd offers a new way of understanding how tremendous changes in social definitions of gender roles played out in media forms worldwide during this period through the notion of 'intimate geographies'. Women's participation in media continues to be a key challenge to notions of the public sphere and the book concludes that profound changes initiated in the broadcast era are unfinished in the age of digital media. Lloyd therefore provides rich and valuable evidence of the dynamic relationship between media texts, producers and audiences that is relevant to contemporary debates about a growing gender 'apartheid' in a mediated culture.

The British horn player Dennis Brain (1921-1957) is commonly described by such statements as "the greatest horn player of the 20th Century," "a genius," and "a legend." He was both a prodigy and popularizer, famously performing a concerto on a garden hose in perfect pitch. On his usual concert instrument his tone was of unsurpassed beauty and clarity, complemented by a flawless technique. The recordings he made with Herbert von Karajan of Mozart's horn concerti are considered the definitive interpretations. Brain enlisted in the English armed forces during World War II for seven years, joining the National Symphony Orchestra in wartime in 1942. After the war he filled the principal horn positions in both the Philharmonia and Royal Philharmonic Orchestras. He later formed his own wind quintet and began conducting. Composers including Benjamin Britten and Paul Hindemith lined up to write music for him. Even fifty years after his tragic death at the age of 36 in an auto accident in 1957, Peter Maxwell Davies was commissioned to write a piece in his honor. Stephen Gamble and William Lynch have conducted numerous interviews with family, friends, and colleagues and uncovered information in the BBC archives and other lesser known sources about recordings that were previously unknown. This volume describes Brain's life and analyzes in depth his musical career. Its appendices of information on performances will appeal to music historians, and its details on Brain's instruments and equipment will be useful to horn players.