Radio History

From the cramped bowels of a dimly lit radio station, Ghost Radio is beamed onto the airwaves. More than a call-in show to tell scary stories, Ghost Radio is a sanctuary for those sleepless denizens of the night, lost halfway between this world and the next. Joaquin, the host, slowly he finds himself unable to distinguish between the real world and the world populated by the nightmares on Ghost Radio.

From the bestselling author of The Nurses' War comes this charming, funny, pointed look at the golden years of radio broadcasting in post-war Australia, celebrating the extraordinary unseen women who wrote the radio plays that held a nation captive. For readers of Lessons in Chemistry.

Doc Savage is the prototype of the modern fictional superhero. The character exploded onto the scene in 1933, with the Great Depression and the gathering clouds of war as a cultural backdrop. The adventure series is examined in relation to historical events and the changing tastes of readers, with special attention paid to the horror and science fiction elements. The artwork features illustrations, covers, and original art. Chapters cover Doc Savage paperbacks, pulp magazines, comic books, and fanzines, and an appendix offers biographies of all major contributors to the series.

When Lilly was first chief engineer at The Commonwealth, nearly 50 years ago, the Central Archive wasn't yet the greatest repository of knowledge in the known world, protected by scribes copying every piece of found material - books, maps, even scraps of paper - and disseminating them by Archive Runners to hidden off-site locations for safe keeping. Back then, there was no Order of Silence to create and maintain secret routes deep into the sand-covered towers of the Gone World or into the northern forests beyond Sea Glass Lake.

Hired by the Tibetan government, Royal Air Force veteran Robert W. Ford put together a radio communications network for a nation that had up to this time relied on messages carried by foot over the highest mountains on the globe. More important, his radio connected the secluded nation to the outside world. When, in October, 1950, the Communist Chinese army began its march to subjugate Tibet, Ford risked his life by staying behind to send out reports over his radio to let the world know.

The Radio Right tells the story of the 1960s far right, who were frustrated by what they perceived to be liberal bias in the national media, particularly the media's sycophantic relationship with the John F. Kennedy administration. By the early 1960s, millions of Americans listened each week to conservative broadcasters, the most prominent of which were clergy or lay broadcasters from across the religious spectrum, including Carl McIntire, Billy James Hargis, and Clarence Manion.

Cold War Radio is a fascinating look at how the United States waged the Cold War through the international broadcasting of Voice of America (VOA) and Radio Free Europe/Radio Liberty (RFE/RL). Mark G. Pomar takes listeners inside the two radio stations to show how the broadcasts were conceived and the impact they had on international broadcasting, United States-Soviet relations, Russian history, and the dissolution of the Soviet Union.

While not dead, radio's familiarity has made it seem a bit mundane, but people shouldn’t think of it that way. In fact, the airwaves have always been a place of mystery, a battleground of competing ideologies, and a source of anonymous voices. Radio has been used to support war efforts, topple governments, communicate secretly, and even attempt to communicate with the dead. These strange stories will make this familiar medium seem a bit less familiar and far more interesting.

In 1926, the American version of the film classic Metropolis was cut in half, now for the first time in seventy years you can experience the whole story. A very important book in the development of the audiobook industry. The music and sound effects are piped through differant speakers so the listener gets the surround sound or 3-D effect. The futuristic music alone (and the listener's imagination) tells part of the story without any words describing the action.