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Full-Text Articles in American Studies
From The Limbo Zone Of Transmissions: Gregory Whitehead’S "On The Shore Dimly Seen", Virginia Madsen
From The Limbo Zone Of Transmissions: Gregory Whitehead’S "On The Shore Dimly Seen", Virginia Madsen
RadioDoc Review
In this review-essay, Virginia Madsen enters the polyphonous 'limbo zone of transmissions' created by Gregory Whitehead's most recent 'performed documentary' and radio provocation, "On the shore dimly seen". This composed voicing, drawn from verbatim texts courtesy of WikiLeaks and the dysfunctionality of America's Guantanamo Bay, is heard as a fortuitous chance encounter with a medium – and as an increasingly rare listening 'detour' while Madsen is on the road. This essay is thus both a reflection upon the nature of the radio offered here, the chance listening experience to work of this kind, and upon the distinctive body of work …
Norman Corwin's The Lonesome Train (Decca Recording) 1944, David K. Dunaway
Norman Corwin's The Lonesome Train (Decca Recording) 1944, David K. Dunaway
RadioDoc Review
The Lonesome Train, the cantata for radio with words by Millard Lampell, music by Earl Robinson, and directed by Norman Corwin, probably originated in a dilapidated brownstone on lower Sixth Avenue in Manhattan: The Almanac House, a radical commune for music organisers in Greenwich Village, including Pete Seeger and Woody Guthrie. Corwin is widely regarded as a guru of thoughtful radio producers, a poet-laureate of radio. From 1936, when he helped create WQXR-FM in New York City (later, voice of the New York Times) to his death 75 years later, Norman Corwin managed to be simultaneously commercial, popular, …
Norman Corwin's The Lonesome Train (Live Broadcast) Cbs 1944: A Critical Reflection, Tim Crook
Norman Corwin's The Lonesome Train (Live Broadcast) Cbs 1944: A Critical Reflection, Tim Crook
RadioDoc Review
The Lonesome Train was a commercial half-hour ‘ballad opera’ or folk cantata, transmitted in 1944, about the funeral train bearing President Abraham Lincoln’s body home after his assassination in the Ford Theatre of Washington D.C. in 1865. This became culturally resonant in 1945 on the death of President Franklin D. Roosevelt, when the Decca recording of the show became a sort of ‘media requiem’, played over and over again on US radio stations. The live production, directed by Norman Corwin, is a hybrid between drama and documentary, but goes further with its use of music and poetry… perhaps a musical …