Now, in On the Air, Dunning has completely rethought this classic work, reorganizing the material and doubling its coverage, to provide a richer and more informative account of radio's golden age. Here are some 1,500 radio shows presented in alphabetical order. The great programs of the '30s, '40s, and '50s are all here--Amos 'n' Andy, Fibber McGee and Molly, The Lone Ranger, Major Bowes' Original Amateur Hour, and The March of Time, to name only a few. For each, Dunning provides a complete broadcast history, with the timeslot, the network, and the name of the show's advertisers. He also lists major cast members, announcers, producers, directors, writers, and sound effects people--even the show's theme song. There are also umbrella entries, such as News Broadcasts, which features an engaging essay on radio news, with capsule biographies of major broadcasters, such as Lowell Thomas and Edward R. Murrow. Equally important, Dunning provides a fascinating account of each program, taking us behind the scenes to capture the feel of the performance, such as the ghastly sounds of Lights Out (a horror drama where heads rolled and bones crunched), and providing engrossing biographies of the main people involved in the show. A wonderful read for everyone who loves old-time radio, On the Air is a must purchase for all radio hobbyists and anyone interested in 20th-century American history. It is an essential reference work for libraries and radio stations.

    But he was bothered with a boyhood dream and eventually left the big time. He made his home in three continents and became a much-loved world traveller. Through all the laughter - and it's uproarious at times - there is an underlying serious note, and the fact that his dream came true and brought him long-sought spiritual assurance is a considerable satisfaction to the reader.

    Harry Sword traces the line from neolithic Indo-European traditions to the modern underground by way of mid-20th Century New York, navigating a beguiling topography of archeoacoustics, ringing feedback, chest plate sub bass, avant-garde eccentricity, and fervent spiritualism. From ancient beginnings to bawdy medieval troubadours, Sufi mystics to Indian raga masters, North Mississippi bluesmen to cone-shattering South London dub reggae sound systems, Hawkwind's Ladbroke Grove to the outer reaches of Faust, Ash Ra Temple and sonic architects like La Monte Young, Brian Eno, and John Cale, the opium-fueled fug of The Theatre of Eternal Music to the caveman doom of Saint Vitus, the cough syrup reverse hardcore of Swans to the seedy VHS hinterland of Electric Wizard, ritual amp worship of Earth and Sunn O))) and the many touch points in between, Monolithic Undertow probes the power of the drone: something capable of affording womb-like warmth or evoking cavernous dread alike.This story does not start in the twentieth century underground: the monolithic undertow has bewitched us for millennia. The book takes the drone not as codified genre but as an audio carrier vessel deployed for purposes of ritual, personal catharsis, or sensory obliteration, revealing also a naturally occurring auditory phenomenon spanning continents and manifesting in fascinatingly unexpected places.Monolithic Undertow will be a book about music and the very human need for transcendence and intoxication through sound. It seeks to reveal the drone as a tool of personal liberation that exists far outside the brittle confines of commodity culture.

    This is the second box set in the epic story that is the Afterlife Saga. This set contains, The Pentagram Child PT1 & PT2, Cult Of The Hexad and Sacrifice Of The Septimus. 2300+ pages, 54+hours of reading and over 630k of words!

    The second chapter considers the way in which the West was seen at the time by residents of Central and Eastern Europe, while the third outlines the practice of Ketman, the act of paying lip service to authority while concealing personal opposition, describing seven forms applied in the people's democracies of mid-20th century Europe.The four chapters at the heart of the book then follow, each a portrayal of a gifted Polish man who capitulated, in some fashion, to the demands of the Communist state. They are identified only as Alpha, the Moralist; Beta, The Disappointed Lover; Gamma, the Slave of History; and Delta, the Troubadour. However, each of the four portraits were easily identifiable: Alpha is Jerzy Andrzejewski, Beta is Tadeusz Borowski, Gamma is Jerzy Putrament and Delta is Konstanty Ildefons Gałczyński.The book moves toward its climax with an elaboration of "enslavement through consciousness" in the penultimate chapter and closes with a pained and personal assessment of the fate of the Baltic nations in particular.

    She lives humbly in one of the poorest neighborhoods of Sheryl Valley, a town corrupted by the mafia in Southern California. With no diploma, she works hard in her parents’ restaurant and provides voice-overs for children’s animated movies during the weekend.In accordance with a long-standing family tradition, Ronney’s twenty-fifth birthday celebration comes with a dare from her cousins: she must knock on the front door of the infamous Khan household. The Khans’ reputation proceeds them, rumored to be in association with the mafia. But when Ronney knocks on the door, before she has the chance to run, the Khan family matriarch, Camilia, takes an interest in Ronney. Romney’s lack of conventional beauty and disinterest in fashion draws Camilia in, leading her to offer Ronney the position of personal assistant to her eldest son, Yeraz, with a substantial salary at stake. It’s an offer Ronney cannot refuse.To keep her job, Ronney’s task is simple: do not fall in love with Yeraz."Easy,” she thinks.But what if destiny decides otherwise?Ugly Ronneyis a romance in which the heroes enter the gallery of legendary lovers.

    On her way to a presentation that could make or break her, she runs into Jason Turner, a handsome, mysterious billionaire. Jason is immediately drawn to Kaia, and wastes no time in letting her know how much he wants her. But for reasons that Jason doesn’t explain, reasons that he doesn’t even like to think about, he can’t let himself get involved with anyone. It’s not safe. So, he asks Kaia to meet up with him that evening, but there’s a catch: they can only have one night together. Despite her own better judgement, Kaia agrees. But one pleasure-filled night isn’t enough for either one of them, and Jason finds his resistance crumbling. If Jason lets Kaia get closer, she could get hurt. If he lets her go, he’ll always want her. If he can keep her safe, is it worth a chance? When Kaia finds out that past Jason’s holding onto is built on a lie, maybe Jason will finally let himself have a future with her…