The popular authority on movies, television, and video now tunes in to the Golden Age of Radio. This fascinating and long-overdue celebration of the way things were includes... -- Behind the scenes stories about Orson Welles, Lucille Ball, Jack Benny, Bob Hope, Kirk Douglas, Joan Crawford, Bette Davis, and many, many others -- The history of radio soap operas, westerns, variety shows, comedies, and thrillers -- Hundreds of revealing personal interviews with radio legends -- More than 125 rare photographs and illustrations

In the bestselling tradition of Indecent Exposure and Final Cut, Peter Bart--a production executive at MGM in 1983 and 1984--gives an inside r's account of how the once-great movie studio was destroyed by a Las Vegas financier and the series of incompetant studio heads he hired. 8-page photo insert.

Boston's radio history begins with pioneering station 1XE/WGI, one of America's first radio stations, and includes the first station to receive a commercial license, WBZ; the first FM radio network, W1XOJ and W1XER; and one of the first news networks, the Yankee News Service. Nationally known bandleaders like Joe Rines and Jacques Renard were first heard on Boston radio, as was one of the first weathercasters, E. B. Rideout. The city has been home to a number of legendary announcers, such as Bob and Ray, Arnie Ginsburg, Dick Summer, Dale Dorman, and Charles Laquidara; talk show giants like Jerry Williams and David Brudnoy; and sports talkers like Eddie Andelman and Glenn Ordway. Many Boston radio personalities, such as Curt Gowdy, "Big Brother" Bob Emery, Don Kent, and Louise Morgan, found fame on television but first established themselves on Boston's airwaves. Since 1920, Boston radio has remained vibrant, proving that live and local stations are as important as ever--Publisher.

The New Soundtrack focuses on the aural elements which combine with moving images. It regards the sounds which accompany the visuals not as a combination of disparate disciplines, but as a unified and coherent entity. It assumes that, irrespective of the industrial determinants, the soundtrack is perceived as a continuum by the audience.