This Thing Called Love

What is this thing called Io-o-ove? wails the radio crooner in his agonized search for the sweet mystery of life. All over the country, dowagers and damsels alike sigh and shed a tear of pity; and the poor fellow is voted to a high place among the ranking stars of radio. As his popularity increases, his paycheck grows about in proportion to the square of his public, and life becomes a song for the crooner with the catch in his voice. What is the first thing our poor love-starved hero does upon landing a spot on a coast-to- coast network? Why, he flies back to Sac City and marries the winsome little lass with whom he has been in love all the time, of course. Oh, it\u27s an old, old story, but it can\u27t fool me anymore. I can see through it all with ease, because my problem is the counterbalance of that of the crooner

A Comparison of Two Omaha Radio Talk Shows: Local vs. National Issues

It\u27s 9:06 a.m. in Omaha, Nebraska. A stout, forty-year-old male with sandy blond air sips a cup of coffee. The on air microphone turns red signaling the start of a new morning on talk radio. Good morning you\u27re on news/talk 1110 KFAB. Tom Becka, a three-year veteran of talk radio speaks quickly and loudly. Becka describes his show and re audience as the gang in the kitchen. By that I mean, if you\u27re at a party the best part of the party is the gang in the kitchen, says Becka. They\u27re arguing, they\u27re fighting, they\u27re laughing, they\u27re discussing, they\u27re disagreeing. . . that\u27s what we do on my show. The Tom Becka Show airs five times a week on 1110 KFAB. In downtown Omaha. Talk of the Town with Steve Brown attracts its own listeners to 1290 KKAR. You\u27re on Talk of the Town with Steve Brown. What\u27s on your mind Dorothy? the svelte 57-year-old Brown says with a deep voice. Brown describes his story as a public forum for elected officials and their constituents and for people with interests and expertise on activities other than politics. These two radio programs have a common background in that both are caller-driven political talk shows broadcast live from Omaha, Nebraska each weekday morning from 00 a.m. to I l:00 a.m. (Becka is on until Noon). The purpose of this study is to investigate the role of these two Omaha, Nebraska radio talk show hosts during the 1996 presidential campaign, and to see if callers may be influenced by the host\u27s views or if the host may be influenced by the caller\u27s views

The Legacy of Charles Henry Huber, Class of 1892: A Half Century of Service to Gettysburg College

In the common room of Huber Hall, there hangs high on the wall a dingy looking portrait of an older gentleman, dressed in a dark suit with round-framed glasses and graying hair. Beneath this portrait framed in faded gold is a small, tarnished, black plaque that gives a name to this curious looking man and briefly describes some of his accomplishments. From this portrait located above a small television, the Reverend Charles Henry Huber looks out over what used to be the lobby of the Gettysburg Academy, which was housed in a building where he spent much of his professional life; a building that would one day take on his name. Looking out into the common room of what has been transformed into a first year residence hall, “Huber” can see many of the changes that have come to his building and the college where he spent much of his life. Where a grand piano once stood toward the end of his time at the Academy, two rarely used foosball tables now sit; where a brick fireplace once housed its fair share of crackling fires on a snowy day, the metal doors to an elevator now open and close on a daily basis. Students who once crowded around the fireplace to listen to a radio broadcast now crowd around a television to watch new episodes of Grey’s Anatomy and other popular T.V. shows. From his retirement in 1940 to his death in 1951, and for many years after, Huber\u27s portrait has seen many changes to both Huber all and the students who now live there from his portrait on the wall. The story of his half century of service to the college remains the same, although there are few people who could tell even a portion of it today. [excerpt] Course Information: Course Title: HIST 300: Historical Method Academic Term: Spring 2010 Course Instructor: Dr. Michael J. Birkner \u2772 Hidden in Plain Sight is a collection of student papers on objects that are hidden in plain sight around the Gettysburg College campus. Topics range from the Glatfelter Hall gargoyles to the statue of Eisenhower and from historical markers to athletic accomplishments. You can download the paper in pdf format and click View Photo to see the image in greater detail.https://cupola.gettysburg.edu/hiddenpapers/1010/thumbnail.jp

Young People and News

Presents survey findings on the daily news consumption of young Americans compared with that of older adults -- the sources, medium, frequency, depth, and selectivity of news exposure. Discusses issues of defining news consumption and implications

The Feature in Radio – the Elusiveness of the Genre’s Determinants. Notes on the Prix Europa Festival in the Years 2012 and 2013 in the Context of Literary Genetics

The goal of the article is to answer the question: what do radio broadcasters in the West understand to be a ‘feature’? A lack of clarity in terminology in this respect was especially visible during the Prix Europa 2012 and 2013 festivals. The article begins with an outline of the term ‘feature’, followed by discussion of relevant festival categories, and ending with a presentation of several selected audio examples that indicate both the characteristics of the genre and cases where, in spite of divergences from these qualities, the term ‘feature’ continues to function.Zadanie „Stworzenie anglojęzycznych wersji wydawanych publikacji” finansowane w ramach umowy nr 948/P-DUN/2016 ze środków Ministra Nauki i Szkolnictwa Wyższego przeznaczonych na działalność upowszechniającą naukę

The Archers, the Radio, Violence against Women and Changing the World at Teatime

Feminists working on Violence Against Women (VAW) have often been disappointed by the failure of law to produce profound change. Ill-informed and stereotypical views about VAW held by judges, lawyers, law enforcement officers, those in the media and the general public have undermined laws intended to tackle violence including domestic violence. As a consequence, VAW activists have sought new methods to shift the public discourse and facilitate the operation of the law. This article examines how campaigners used a highly publicised storyline on coercive control in the long running BBC Radio 4 soap opera The Archers to circulate feminist knowledge on domestic violence. It discusses the reasons for the success of the activists on this occasion and reflects on the potential of popular culture combined with other forms of activism to embed feminist understandings of VAW and enhance the effectiveness of the law. It argues that popular culture can influence not only the legal professionals and others responsible for implementing and applying the law, but the broader public consciousness of domestic violence and VAW

For Want of a Better Estimate, Let’s Call It the Year 2000: The Twilight Zone and the Aural Conception of a Dystopian Future

This paper examines the aural conceptions of futuristic dystopias in episodes of The Twilight Zone, focusing on one specific episode, season five’s “Number Twelve Looks Just Like You.” I examine how the music director of CBS conceived of the future, aurally representing these episodes as having an affinity with the premise of Brave New World by reusing its radio score by Bernard Herrmann. As a result, I will explore the use of the radio score in the episode and the ways in which dystopian futures were aurally represented in the series

'Scratch' locative audio drama - report to BBC executives on trial at BBC FreeThinking 2008

‘Scratch’ investigates the use of physical space as a representation of narrative and dramatic structure. An audio-drama, it is a world-first in being location-sensitive without being tied to any particular place (preceding attempts by others have emphasised location-specific aspects of the genre). Developed in collaboration with and part-funded by BBC Radio Drama, it builds on research undertaken for ‘Dragons’ (output 4). It uses pre-recorded audio on GPS-enabled mobile devices allowing sounds to be virtually attached to locations in an outdoor space. As participants move, they encounter scenes forming a coherent drama which behave differently if the same place is visited more than once. This translocational approach opens novel artistic possibilities exploited through team expertise in narrative, sound design and advanced interaction. It is also significant in the economics of broadcast media as a more viable proposition than the many experimental locative experiences which have been site-specific: this was of great interest to the BBC. The public performance selected for BBC FreeThinking, 1-2 September 2008 in Liverpool as part of European Capital of Culture was reported in a co-authored 2009 conference presentation at ISEA, Belfast, 26-29 August 2009 and in a co-authored short chapter in Spierling and Szilas (eds.) Interactive Storytelling, Springer 2008. Boyd Davis directed the project and devised and undertook the evaluation with 40 trial listeners, reporting to BBC executives (http://researchonline.rca.ac.uk/1000/) for whom a second trial was also run in London in 2009. The evaluation used interview, video observation and a questionnaire combining an open question at the beginning with more specific questions later, avoiding channelling respondents' reactions immediately after the experience into issues which might not be uppermost in their minds, while also yielding data capable of rigorous analysis. The evaluation was to provide feedback to the makers of the drama and to guide policy at the BBC. [287] Participants were recruited principally through the publicity for FreeThinking 2008 – mainly via the festival website. The average age of participants was 40. The gender of participants was 20 males, 17 females and 3 null returns. The evaluation strategy was to combine an open question at the beginning with more specific questions later. In this way we avoided channeling respondents' initial opinions immediately after the experience into issues which might not be uppermost in their minds, while also yielding data capable of rigorous analysis. The purpose of the evaluation was to provide guidance for ourselves as the makers of the drama and to guide policy at the BBC on locative and other interactive media. The responses are analysed in the report

A Report on the Media and the Immigration Debate

Analyzes media coverage of immigration since 1980 and how industry practices and new media have conditioned the public to associate immigration with illegality, crisis, controversy, and government failure, causing a stalemate in the policy debate

Supporting memory and identity in older people: findings from a ‘Sandpit’ process

Identity in old age is challenged by physical changes, evolving roles within the family, and life transitions such as retirement. Supporting identity is therefore important in later life, and might be assisted by media technologies which allow people to reflect on their lives, record their personal histories and share these with family, friends and caregivers. This possibility was explored in two creative ‘Sandpits’ with older people as part of the SUS-IT project, funded by the New Dynamics of Ageing programme in the UK. Discussions were held with PC and non-PC user groups of retirement age to understand memory and identity practices and elicit reactions to three novel product concepts. These included a Reminiscing Radio for life review, a Story Lamp for associating spoken stories with photographs and memorabilia, and a pair of virtual reality Travel Glasses for transporting you back to a special place in the past. The main findings of these discussions will be presented, along with concepts generated by the participants in a re-design exercise. This paper will also show how the sandpits enabled older people to be involved in the design process by allowing them to shape early design concepts through exploring their own ideas and motivations