Radio Books

We found this program many years ago while visiting the Battle Road visitor center/museum in Concord. We took a guided tour of the battle field and the park ranger recommended this tape as a great audio drama of the events that took place on April 19, 1775. To make a long story short, we listened to it many times while driving around on that vacation, and have continued to enjoy it. We are pleased to see that it is now on CD. If you love history and radio drama, you will enjoy this classic production. Really a perfect gift for a history buff, or a child needing to learn some American history in a pain free manner.

We bought this tape because we thought it would be a good way to expose our kids to American history. The Colonial Radio folks seem to have a knack at making dry history lessons fun (we own a couple of their tapes). This particular production is not as flashy as some of their others, but it is none the less a good one. Unfortunately, my Father-in-Law is a history fanatic, and we have not seen the tape since his last visit. The family gives it a hearty four thumbs up.

I live in the area and have been along Battle Road many times. This tape has really brought the historical events alive for me. I have since gotten the Plimouth tape and am eagerly looking forward to the rumored Gettysburg series.

We stumbled upon this wonderful little tape purely by accident while doing the tourist thing in New England. When visiting the Lexington visitors center, we over heard the park rangers saying great things about this cassette, we bought one and must have listened to it a dozen times during the trip. The story of Paul Revere's ride and the battle of Lexington is truly a great one, and this tape makes listening to history fun and exciting. The kids love it (as do we) thought it is by no means a childrens product. It is apparently well researched and very well performed. We will be ordering some of the other items written by Jerry Robbins to see if they are of equal quality.

Our children caught the commercial bug. Try as we might, we couldn't explain the concept to a 4-year old and a 5-year old. They saw kids enjoying cereal, toys and other stuff and figured it had to be good.

The Berenstain Bears book allowed our kids to discuss the bears' problem first before relating it to their own challenge. We bring this book out about 1-2 times per month at bedtime and revisit the concept.

We own several Berenstain Bears books and they have worked very well in helping us instill good values and manners in our children.

My kids love these books. They are fun to read, and at the same time they teach them about daily values of life.
Very nice books for parents to share with their children.

Sister and Brother bear want EVERYTHING they see on the TV Commercials. Whether it is a new cereal or a new candy or a new toy or whatever. They want it and they HAVE to have it.

Mama Bear thinks she should unplug the TV, but then she would miss her show and Papa Bear would miss his.

The cubs keep pestering her to get the things in the Advertisements. So one day Mama decides to let them have everything they want off the TV commercial. They have to eat every bit of cereal and candy and play with all the toys for a month.

The cubs find out the cereal is gross, the candy is too sour, and the toys are lame.

They stop asking for things off the TV.

Children love the Berenstain Bears-- the Berenstain bears have been a source of comfort before dentists' visits, shared important information about safety, and helped in times of transition like new schools or moves. This time, the friendly bears tackle the problem with commercials. Young children are exposed to commercials on TV, the radio, even at school-- this book deals with the "I need that because I saw it on TV" syndrome in a very clever, gentle, and clear way. Highly recommended.

....and you will get plenty of laughter if you listen to these two brothers....their impromptu responses, clever wit, but serious and focused advice makes a very, well-worth buying piece of entertainment. I own new cars and not currently experiencing any mechanical problems, but chose to listen to Car Talk just to relieve some everyday stress in my life! Although the tapes are usually only 90 minutes or less, you will get more out of this than watching some untalented comedian on Comedy Central.

I guess you either love these guys or you hate them. My wife finds them incredibly annoying when she hears them on the radio.

Myself, I love them. Their accents are not off-putting to me, and I love how they laugh together.

What I've learned over time, though, is that the 'straight' answers they provide are actually pretty authoritative. They actually know what they're talking about, based not only on their extensive formal education but also based on their hands-on work with many, many cars.

If I personally found anything annoying, it's only their constant self-referencing which gets old. However, it's a part of their "shtick" which we would not want to do without...

Tom and Ray Magliozzi (aka Click and Clack) are classic examples of the fact that NPR and talk radio can't always be easily categorized. While most NPR stations spend the majority of their time playing classical music, every Saturday morning Bach gets pushed to the side for a heavy of Click and Clack. And while most talk radio hosts seem to take themselves way too seriously, Tom and Ray never let anyone (including themselves) get away with anything. If you or someone you know has never heard "Car Talk", get ahold of these tapes. You'll be laughing before you know it!

If you are new to Car Talk, this tape is a neccessity. Even if you have been listening for years, you may not have heard some of these calls. And if you never have listened to Car Talk, shame on you! The funniest thing on radio is also the funniest thing on tape, and I have found that when Tom and Ray are on my stereo, I can not be in a bad mood. The price is worth the reduction in therapy bills alone!

Television writing is simply not supposed to be this good. Or at least we have become acclimated to a good deal less even in very good shows. But I am not sure that any other show in the history of television has put together five shows with scripts this strong. In the history of Buffy, these are the episodes in which the show moved to an entirely different plane from all other contemporary shows. Not since TWIN PEAKS had TV seen anything this well written. Seeing these episodes for the first time, I was in complete awe that the Neanderthals running the WB had actually allowed anything this good to hit the screen. These are also significant episodes because in them Buffy started becoming a show that appealed as much to adults as to teens, as the themes and issues became progressively more complex and darker.

"Surprise" was written by Marti Noxon, who had very quickly in her first season on Buffy established herself as one of the best writers on the show. She was not merely good; she was prolific. This is one of the more interesting scripts to compare to the actual show produced. These collections compile the shooting scripts; they are not transcripts of the final product. Usually, one will find slight wording alterations, or small scenes that got excised in the final shooting. Often shooting instructions provide a great deal of insight into what is happening in the scenes. But in this script, there are significant differences between the final result and the script, especially scenes involving Cordy and Xander. The script was much, much too long for the time slot, and heavy editing took place. The story itself, of how Buffy came to lose her virginity to Angel, resulting in his losing his soul, provides the foundation for everything that happens thereafter in both BUFFY and ANGEL. We'll leave aside the fact that the gypsy curse-that because he has a soul Angel lives in torment for his past crimes, but if he achieves a moment of perfect happiness he loses his soul and reverts to the evil Angelus-is a bald and rather dumb plot device. It makes no sense as a curse, and his potentially becoming evil again makes the curse profoundly self-defeating. But so much else is tremendous, I and apparently everyone else cut them some slack on this one.

Joss Whedon himself wrote "Innocence," in which we learn that Angel, after having made love to Buffy, has lost his soul. If the show had been a teen series before, it was not after we see Buffy's boyfriend literally transformed into a monster on the morning after. It's an old adage that bad characters are more interesting than good ones, and it is reproven in the transformation of Angel into Angelus. But not just Angel, but Buffy is transformed as well. I believe the title in part is a reference to Blake's SONGS OF INNOCENCE AND SONGS OF EXPERIENCE. Buffy loses her innocence as she gains in experience. Willow also struggles with new pain when she catches Xander and Cordelia kissing in the stacks. (By the way, part of the joy of the scripts is reading the directions. As Xander and Cordy begin to kiss we read: "They haben der big smootchen." And when Willow sees them she "has pain on her face like a blush.") In an episode of many awesome moments, one of my favorites is the freshly reborn Angelus killing a streetwalker smoking a cigarette, and then him expelling her smoke out of his lungs after he kills her. That was shot precisely as written.

"Phases" was written by the team of Rob Des Hotel and Dean Batali, who were also the final script editors on the show until they left for THAT SEVENTIES SHOW. Often in Buffy episodes as strong as "Surprise" and "Innocence" are followed by relatively weak episodes, as if they are trying to create a balance between weak and strong scripts. But "Phases" is a fun, fascinating, and tragic episode in its own right, although it provides a break from the emotional roller coaster of the previous two shows. Buffy never deals with potentially hackneyed subject like werewolves in unoriginal fashion, and that is true here.

Well, others start noticing Cordy and Xander's not-terribly-well-hidden relationship, so Cordy dumps Xander to salvage her social reputation. Marti Noxon produced yet another stellar script in "Bewitched, Bothered & Bewildered," in one of the funniest shows ever in the series. Because Cordy dumped Xander, he wants revenge by having Amy the school witch (from the first season) created a love potion that would make her love him, allowing him to then dump her. But it backfires and every girl in the school EXCEPT for Cordelia falls her him. After the emotional stress of the previous episodes, the show provides a great deal of comic relief. Great moment: Xander demands that Cordy give back the necklace he gave her as a Valentine's present. She goes to her locker to get it, but discretely takes it from around her neck.

"Passion" by Ty King is simply stunning. The show had often proven it could be funny, and sometimes scary, but there is gothic horror in this episode that can bring a tear to the most hard-hearted. Angel's voiceovers would work perfectly in the final shooting, giving a structure to what is one of the most tragic episodes in the run of the show. The episode also served as a warning to its fans: anything can happen on this show. On other shows, the main characters are safe, but here they can die, and proved it by having Angel murder Jenny Calendar. But her death was not as horrific as the macabre scene where Angel has rearranged Giles's apartment to make it seem like Jenny had staged a romantic tryst, only for a romantically touched and excited Giles to ascend his stairs to find Jenny's body in his bed.

This is by far the best single collection of scripts yet published in this series. One writer in the early nineties stated that television had a greater potential for excellence than cinema, and that eventually a series could come along to prove this. I believe that it was in these five episodes that BUFFY THE VAMPIRE SLAYER did precisely that.

Though the quality is not as great as the previous script books, Volume 3 of Season 2 does have some of the best scripts of the season!
The book is slightly smaller than the previous 4, yet holds as many scripts. The pictures of the side and cover are smaller as well. Still, it holds the scripts that are the main point. Nice otherwise for any Buffy fan!

This collection of shooting scripts contains three of the greatest scripts ever produced for the show, as well as one of the weakest. The two-part "Becoming" solidified the emergence of BUFFY THE VAMPIRE SLAYER as one of if not the best-written shows in the history of television. Although the season as a whole was remarkable, earlier in the season with "Surprise" and "Innocence," the show moved beyond being merely one of the finest shows on television to one of the finest ever produced. The emotional depth and complexity of those two episodes, and later of "Passion," signaled that this truly was a remarkable series.

The question as the second season began winding down was whether the season ending could match the highpoints of the season.

"Killed by Death" didn't bode well for the end, being the second weakest show of the season (following "Some Assembly Required"). It was not a flat out dreadful show, but it failed to match the inventiveness and passion of earlier episodes. Whenever fans vote for the weakest episodes in the history of the show, "Killed by Death" usually receives a significant number of votes, though it never rivals such shows like "Some Assembly Required" or "Beer Bad" for the top (bottom?) slot. The episode provides some opportunities for some funny lines, such as Xander's "My whole life just flashed before my eyes. I've got to get me a life."

If one had any idea that the show might be slipping at all, "I Only Have Eyes for You," put any fears to rest. Marti Noxon's final script for her first year with the show, is arguably her best in the superb way she blends a wonderful ghost story about a female teacher who had been murdered by a student with whom she had been having an affair, with Buffy's feelings about her relationship with Angel. Although the scene between the dead lovers is played out twice earlier in the episode, the force and power when the two ghosts reenact the scene near the end is almost overwhelming in its power, not least because the ghost of the murdering male enters Buffy, and Angel speaks the lines of the school teacher. When it was filmed, an actress I have always loved but have too rarely seen, Meredith Salinger, plays the schoolteacher. I'm baffled why she hasn't been in more roles in her career.

"Go Fish" is not an episode that I like very much. It doesn't do much in carrying forward the story arc, though it was probably helpful to have a tiny bit of a break before the emotionally overwhelming end to the season. The episode provides a few laughs at the expense of Xander, but I just couldn't get into the story of a high school coach who biochemically alters his swimmers to enhance their performance.

Joss Whedon saved the final two episodes of the season, "Becoming," for himself. I am not sure that anyone not named Joss Whedon has ever written two better scripts for a television series than these, and in non-series perhaps only Rod Serling. Whedon is like a juggler with eight or nine balls in the air at once while riding about on a unicycle. The balance between all the elements in these two shows, as Angelus gradually brings the crisis to a head, Kendra returns to Sunnydale and is killed by Druscilla, and Buffy is separated from all her friends and mother is nothing short of astonishing. Every few seconds in the show brings forth some gem, either a new shock (like Kendra dying or Joyce learning that her daughter is the slayer) or line (as when Joyce asks "Have you ever tried not being the Slayer?") or comic moment (such as Joyce and Spike sitting silently in the Summers's living room, and her asking whether they had met before) or jolt (such as Angel recovering his soul only to have Buffy kill him a few seconds later) or even introducing a new character (the extraordinary and mysterious Whistler, who tragically did not become an occasional visitor on the show, but who at least managed some utterly memorable lines), all of it culminating in that one heartbreakingly awful moment when Buffy finishes kissing Angel, and whispers to him, "Close your eyes." For me this remains the two most emotionally devastating hours in the history of television.

At the end of the first season, BUFFY THE VAMPIRE SLAYER had established itself as an absolutely first rate, funny, and exceedingly hip show, but one wouldn't after the first twelve episodes have been able to describe it as truly great. But Season Two changed that. Buffy became a genuinely great show this season, one of the high-water marks in the history of the medium. And the foundation for that was the writing. It isn't an accident that the scripts of this show are being reproduced: it is a demonstration of what truly great writing grounded the whole show.

"Buffy the Vampire Slayer: Script Book, Season Two, Volume 4" finally provides in print Joss Whedon's scripts for the two part of "Becoming." It was the second season of "Buffy the Vampire Slayer" that established the show as being operatic television, in which case "Becoming" is the grand aria in which Whedon hits the highest note on the scale. "Becoming, Part 2," in which Buffy has to kill Angel and send him to a demon dimension to save the world, is still one of the ten best television episodes I have ever seen in my life. Having a copy of the script in my hands puts the final touches on my enjoyment of these episodes, not because it is a question of finding differences between what is in the final shooting script and what got aired on television, but simply because I finally get to see Whedon's stage directions. For example, after Joyce has learned Buffy is a vampire slayer there is a scene in Buffy's living room. There is no dialogue, just the shot, which is described as follows: Joyce sits in the living room with Spike. They both are silent and uncomfortable, like it's Sunday and he's come a 'courtin'. Joyce has a glass of bourbon in her hands, which shakes only slightly.

For such small gems of insight into the mind of Joss Whedon picking up this collection of scripts is going to be worthwhile for "BtVS" fans. Completing the Angelus story arc that covered the second half of Season Two begun in Volume 3, you will find in Volume 4 "Killed by Death," "I Only Have Eyes for You," "Go Fish," "Becoming, Part One," and "Becoming, Part Two." Actually, I enjoyed "Go Fish" a lot more being able to read the inside jokes, production notes, and cut dialogue than I did actually watching that rather [weak] episode. Overall I think it was a good move to have divide the scripts for Season Two this way, so that the first two volumes do the Spike-Dru story arc and the last two the Angelus story arc. I was going to point out that all six of the episodes for the "BtVS" Season Two video tape set are from this latter arc, but now that we are in the world of "Buffy the Vampire Slayer" on DVD this is no longer a concern.

Certainly the most comprehensive and balanced study available to guide lawyers, judges and the media through some very contentious issues.

CAMERAS IN THE COURTROOM lives and breathes with the challenges and complexities of legal realities. It should become a standard resource for the continuing debate over the place that cameras could occupy in the courtrooms of the land.

Cohn and Dow have written the definitive work on cameras in the courtroom. Thoroughly researched and brilliantly written, CAMERAS IN THE COURTROOM gives an honest, balanced and realistic discussion of the role of electronic journalism in courtrooms of the past, present and future. This book is an incredible resource!

The best book yet about cameras in the courtroom. Meticulously researched and engagingly written, the book traces the history of cameras in courts and carefully presents the arguments on both sides of this heated debate.

With its national TV and radio networks, regional and local stations, the BBC is massively influential in the UK and also worldwide through the BBC World Service, ten international TV networks plus international radio services in more than 40 languages as well as its Internet news site.

Robin Aitken, having spent 25 years at the organization, provides well-documented proof of its leftist bias, chronicles his struggle against this partisanship and puts forth suggestions for reform. Important elements of the BBC's world-view include unquestioning support for the European Union and the United Nations, guilt about Britain's imperial past, and an anti-capitalist, anti-religious (except when it comes to Islam), anti-American and anti-Israel stance.

The first chapter covers the broadcaster's history from its establishment to the radical change that took place in the late 1960s and subsequent developments, whilst in the second Aitken recounts his career history at the BBC. A significant change took place in 1987 when the ideological agenda took an even sharper turn to the left. The concerns he raised about ideological bias were contemptuously dismissed, he was falsely accused and even threatened.

Chapter four provides profiles of the broadcaster's senior management, almost all of whom have long-standing connections with leftwing media like The Guardian and with the Labour Party. The BBC's overwhelming support for the European Union is dissected in chapter five that reveals a record of purges and suppression of anti-EU opinion, including that of Eurosceptics in the Labour Party.

The "despised tribes" of the BBC are discussed next. They are Ulster Protestants, Conservative Christians and the Roman Catholic Church in particular, most Americans and all those that the organization considers to be "right-wing." There was also a strong bias in favour of the IRA while balanced debate on immigration, the Middle East, Islam and other uncomfortable issues are avoided. There is no doubt that the BBC is contributing to the alarming spread of antisemitism worldwide, as also documented in The Resurgence of Anti-Semitism by Bernard Harrison.

Like all leftists, those at the BBC believe that their moral values are superior and not to be questioned. Chapter eight provides detailed evidence of how far they will go to twist, lie and distort in order to mislead the public. More evidence from current and previous employees - in their own words and anonymously - is provided in the following chapter.

Aitken concludes that one cannot trust the BBC, especially not on issues relating to Israel, the Iraq war, the European Union, Ulster, the USA or Islam. See also The Other War by Stephanie Gutmann for an analysis of reporting from the Middle East. He provides proposals for change by suggesting for example the introduction of a wider spectrum of balanced views and the redirection of funds to other broadcast media.

The BBC is a national institution in the UK so complete abolition is not even considered. It is still hard to understand why opposition parties and civil society did not more vigorously oppose the use of taxpayers' money to subsidize a self-perpetuating class of ideologues promoting such one-sided views. More information on this matter is available in What's Left?: How Liberals Lost Their Way by Nick Cohen.

What a pity that broadcast deregulation wasn't thoroughly effected in the 1980s. It's the one important area where Margaret Thatcher did not succeed. If she had, the UK and a significant part of the global public would have been better informed and less brainwashed than they are today. I also recommend Scrap the BBC! by Richard D North, whilst Propaganda by Jacques Ellul remains a classic on how people's attitudes are shaped by the media.

The Beeb's Bias

WSJ Online Journal

By ROBIN AITKEN
June 29, 2007

I experienced a sense of vindication recently when I read that the BBC was about to publish a document admitting a pervasive liberal-left bias in its output. As this was the theme of my recent book, "Can We Trust the BBC?," it seemed I would be able to indulge in a spectacular bout of I-told-you-so-ing. Alas, that brief, heady moment proved premature. For while the report is a careful piece of research, it pulls its punches when it comes to bias within its own News and Current Affairs department -- where it matters most. Richard Tait, chairman of the BBC's "Impartiality Steering Group," point-blank denied that there is any bias in its news output. The Beeb has never been distinguished by a culture of robust self-criticism.

I know this from experience: Toward the end of my 25 years as a BBC reporter I began writing a series of internal memos, first to senior news executives and finally to the BBC's Board of Governors, detailing an entrenched liberal-left bias that seriously undermined the BBC's claim to be an impartial news provider. Referring to well-documented incidents, I posed several questions: Why did we keep hiring established left-wing pundits, but never any journalists with right-wing credentials? Why did we use "right wing" as a yah-boo term to mean "anything we don't like"? Why did we never give U.S. actions the benefit of the doubt -- in contrast to our strenuous efforts to be "fair" to Britain's avowed enemies?

The reaction was a studied indifference from everyone up the command chain. In a way, the BBC's attitude makes sense. The most important asset for any news organization is credibility. It is the mortal fear of "brand contamination" which in the past persuaded BBC executives to keep a lid on any discussion of the organization's failure to live up to its obligations to fairness and impartiality.

And there has been wide-scale failure. On every issue of public policy and political controversy, the BBC's instincts are to side with the progressive, liberal wing of politics.
...

The Beeb's reaction to my own book was telling: Not a single BBC outlet has seen fit to interview me, even though the accusations it contains are serious, detailed and sober. As a publicly funded body, the BBC has a duty to engage with its critics, especially on the vitally important issue of impartiality and overall fairness. Until it does so, it will not be prudent to trust the BBC.

Mr. Aitken's "Can We Trust the BBC?" was published by Continuum this year.

I've seen public television and heard public radio on more than one continent. And there are some good and bad aspects to them. On one occasion, I was shocked to hear exit interviews on the radio with voters in a democracy. Although the race was close, the more than one dozen interviewees all were strongly for the same candidate! There was no attempt to show the other side at all! I realized at once that this was both bad and biased reporting. On top of that, the other candidate won!

Recently, I read a book called "The Voyage of the Matthew." It was produced by the BBC. And, of course, the book was recreated on public television. It all seemed pretty good to me, as the BBC often does fine work, although I have to wonder about anything it has a hand in.

According to Robert Aitken, the BBC has a strong political bias. One person Aitken mentions wrote that if it could submit a slate of candidates, their platform would be anti-racist, pro-abortion, pro-women's and gay rights, pro-UN and EU, pro-union and anti-big business, pro-high taxes, pro-government spending and intervention in industry, anti-private education, anti-private health care, pro-local democracy and local councils, pro-multiculturalism and ethnic minorities in general, pro-foreigner and foreign governments, especially if they are left-wing, anti-monarchist, anti-prison, and anti-American.

If this is true, it's not good. Yes, I am a liberal, and I have many of the same political positions. But the BBC is supposed to represent the taxpayers in Great Britain, and those taxpayers deserve coverage of their views. I'd say the same thing about any biased media. As a matter of fact, one only has to look at what the media were like in some Communist nations three decades ago to see how political bias can wreck credibility.

As near as I can tell, the BBC is a participant in a war against Israel. One person is quoted in this book as saying that at the BBC "that America is bad and Israel is evil are two of the assumptions that just can't be questioned."

Let's consider the ramifications of this. I'm an American, and I see plenty of very positive things about the United States: it is a great land of opportunity, it is reasonably prosperous, and relatively free. But what about Israel?

Israel is one of the great success stories of the past century. There was a successful revolt against a wicked colonial occupier (which happened to be Great Britain, although I'm not sure what the BBC thinks of that). There were successful defenses in wartime against a variety of racist and bigoted aggressors. It has improved itself even when under attack. It has shown great concern for the environment, being the only nation on this planet to have more trees in the year 2000 than it did in 1900. And whether its people have wanted to be meek and humble or not, it has been content with a small amount of land: at less than 11,000 square miles, it is very land-poor. If every nation were as greedy as Israel for land, there would be no wars over land! It's a democracy, and its people are reasonably free. There is much about Israel we all ought to try to copy if we want human civilization to survive and prosper. And the BBC is failing us if it makes it so difficult for us to hold Israel up as such a positive example.

In addition, the BBC is failing even in its role to display liberal politics when it comes to Israel. After all, it openly sides with the aggressors against Israel. And those aggressors are primarily racists, bigots, right-wing and reactionary extremists, anti-abortion religious fanatics, anti-women's and gay rights, and anti-ethnic minorities in general. I think that the BBC's opposition to Israel is not so grave a moral error as its support for some of Israel's most seriously felonious attackers.

Given how counterproductive the BBC is when it comes to Israel, one would think that there must be many other places where the BBC perverts journalistic standards. And this book points out a number of them. One interesting program it came up with was called "Sex and the Holy City." No, it's not about Jerusalem, it's about the Vatican, or more precisely, the Catholic Church. There's a chapter about the BBC pro-EU bias. And there is a section on the BBC response to the war in Iraq, as well as one on "the despised tribes." Yes, there are other groups besides the Israelis that the BBC shows special contempt for, including, of course, the Orangemen. And that means giving more support to the politics of the Irish Republican Army. I think it can be argued that in the Middle East and in Northern Ireland, the BBC has worked against peace.

We see in this book just how difficult it is for anyone to get the BBC to apologize for outright misstatements. As Aitken says, "the BBC doesn't feel the need for validation from others; it shrugs off strictures, whether from church, politicians or judge, taking the view that its critics are either mad, bad, or stupid." That appears to be true, and I am one of the many critics who aren't mad, bad, or stupid.

Aitken quotes someone who says that the BBC is not a "mouthpiece for the nation," but "a foghorn bellowing at a nation." But whatever it is, the nation is listening to it. It has a huge TV market share, and most British subjects view it at least occasionally. And it is watched by many folks all over the world. Its bias represents a violation of journalistic standards that is hurting plenty of people.

I recommend this book.

Aitken tells the following story. After a bombing incident in which Prime Minister Thatcher was nearly killed by the IRA he heard this not untypical comment in the BBC newsroom, "Pity they missed the bitch". One remark does not of course make for a picture of a whole newsroom, but Aitken provides plenty of evidence here that the BEEB is indeed less than patriotic, very biased to the Left in promoting its own agenda. For instance its enthusiastic stance for Great Britain joining the European Union, or its very soft non Cold War-ish attitude towards the former Soviet Union prevented it from treating fairly opponents of its views.
As one who has listened to the BBC for years on the Middle East I can attest to its almost total lack of balance and objectivity in relating to the Israeli- Arab conflict. Time and again there are interviews in which the spokesmen for the Arab position would blame everything on Israel, and the spokesman supposedly for Israel would be chosen from the extreme left wing of the Israeli political spectrum and so also blame Israel. The fundamental idea was always that the poor Palestinian Arabs were innocent victims and the Israelis cruel oppressors.
This is what Aitken has to say on this issue.
""My view is that the Palestinians and the Palestinian leadership is the architect of its own misfortune in many ways. Whereas, what comes across from the BBC's presentation of events in Palestine and the Middle East generally, is that in some ways, the Palestinians are a put-upon victim minority, and it's the beastly Israelis who are doing the dirty to them.
"And you know, that is not a fair presentation of the position. Because the Israelis are militarily strong and successful, and the Palestinians aren't, I think the BBC allows that too much to play at its judgment, so that what comes across is too much sympathy, if you will, for the Palestinians, too little appreciation of the rights of Israel, and also too little recognition of the fact that Israel is a functioning democracy in a way that Palestine isn't, and nor is any Arab-dominated Middle Eastern state, and not enough credit is given for that in my view."
But Aitken does not confine himself to the Middle East. He writes about the anti- American of the BBC especially in regard to the current Bush Administration. He discusses the British undermining of the current US-British effort in Iraq.
Aitken contends that an institution which should be defending the values of the free world actually works to undermine them.
This book will certainly not make them happy in London's Bush House but for the many many listeners throughout the world who have been subject to this bias for many years it raises the slim hope that some reconsideration and correction might come in the future from this still major source of news to the world.

How could this show be so funny? Maybe it's because they laugh at their own jokes, or that while they're highly trained and educated engineers, they know just about as much about cars at the next guy. Short on actual information, you'll howl at some of the reactions to people's calls.

I guess you either love these guys or you hate them. My wife finds them incredibly annoying when she hears them on the radio. After hearing this, you know their mother loves them!

Myself, I love them, too. Their accents are not off-putting to me, and I love how they laugh together.

What I've learned over time, though, is that the 'straight' answers they provide are actually pretty authoritative. They actually know what they're talking about, based not only on their extensive formal education but also based on their hands-on work with many, many cars.

If I personally found anything annoying, it's only their constant self-referencing which gets old. However, it's a part of their "shtick" which we would not want to do without...

Was a real pick me up on a recent road trip. Lost my Mom 8 months ago and it was nice to hear how other mothers delt with the everyday problems we all experiance with our cars.

The Magliozzi brothers (a.k.a. the Tappet Brothers) here answer calls about and from mothers, giving funny advice on cars in their latest issue Car Talk: Maternal Combustion. In case you don't know them or their show, the brothers narrate the award-winning 'Car Talk' radio broadcast weekly on National Public Radio stations across the nation, accepting call-in questions addressed with a heavy dose of humor. Fans and newcomers of CAR TALK won't be disappointed in the one hour program of hilarity offered on Maternal Combustion: Calls About Moms And Cars.

Every section is written very clearly, a unusal thing in this field. I highly recommend it as supplemetry book.

Rosenberg & Kemp have produced a (large) book that is very readable
that explains clearly just what goes on between your phone and all the rest of a celluar system when you make or receive a call. They include the behaviors of standard dial landlines as well, showing where existing practices have shaped the newer technology. And they point out clearly the different competing systems in use (and about to be deployed) both in America and Europe. Both authors worked with Bell Labs in the old days and have been involved in CDMA analyses recently.If you want the facts in understandable prose, this book is for you.

If you're looking to design a wireless telephony network, turn to this book.

If you are a salesperson wishing to sell to a wireless telephony company, or are otherwise seeking insight into the decisions such companies must make, this is also a good choice.

And it's probably your only choice. I can't think of any other books covering what this one covers. It is the only game in town, and if you need it, you'll get it whether it's well done or not.

Fortunately, the book is very well written and is comprehensive. The sections are well thought out, and the information as easy to understand as it can be made to be. I was very happy with it.

As a pre-publishing reviewer of one chapter in this book, I can't claim to be 100% objective ... only 99%. However, as a teacher of seminars on CDMA, I'm often asked by students to recommend a book on CDMA that is readable. Most books on CDMA rapidly get to a depth that requires extensive mathematics and real dedication to stick with the book. In contrast, this book is very readable and does an excellent job of explaining difficult concepts without extensive use of complex mathematics. It is also one of the most comprehensive books on CDMA I've seen. It covers both the radio access technologies (all the major CDMA standards including cdmaOne (TIA-95), CDMA2000 (IS-2000 1x), W-CDMA/UMTS, and TD-SCDMA) and the network infrastructure for CDMA systems. Its strength is also its limitation: given its comprehensiveness, the depth on any given topic is limited. Still, for the vast majority of readers, I would think that this book hits the right level.

Enjoy this wonderful production and don't forget to get your free Cinnamon Bear Coloring book at http://amazinggrace.org/radioarchive/CinCBook.pdf

Thrilled to see these cd's available. I used to listen to this old radio broadcast when I was growing up and look forward to listening to them again. Paddy O'Cinnamon is one wild Bear! & that Crazy quilt dragon; look out! I love this story.

I had the tapes of this program years back and foolishly lent them to someone else. I'm thrilled to see them on CD. My kids and I would curl up on the sofa each night before Christmas and listen to this great tale unfold. They are now young adults and asked me where the story was and why we hadn't listened to it in so long. With one on his way to college and the other only 3 years behind, you can bet I'm getting these CD's if for nothing more than one more round together. Great for kids of any age and it get's their mind working as the images are painted in words, not video, animation or live action.

I listened to this on cassette tapes from WSOY in Decatur, Illinois many years ago. It is a truly good story. It helps count down the days until Christmas as there are 26 episodes to listen to - starting on the 30th of November.
This is a good example of entertainment in the pre-television days.
If you want an adventure that is good and safe for the whole family to listen to, you won't be disappointed!

This book is exactly what it says, it is comprehensive (it covers his whole life in great detail). It's Illustrated (it has pictures and photographs throughout the book). It can most definitely be used as a reference to many things, Drama, The Arts, Claude rains, life in british poverty. Overall this is a very good book.

As a life-long film buff, I've long regarded Claude Rains as one of the finest screen actors in movie history. He stole every scene he was ever in and enlivened even the worst of his movies. His voice was incomparable, like "honey with a little gravel thrown in." In addition, there was his formal manner, the way he moved... the whole package was quite mesmerizing. Prior to this book, I had to glean my information on Claude from various Hollywood books and many interviews with the inimitable Bette Davis, who adored "my gorgeous Claude." I have to agree with Bette, Claude Rains was everything in a man that discerning women want: sweet, brilliant, a gentleman and sexy as hell. If you're a Claude-besotted soul, this book will please you enormously. The photos alone are worth the price, as are the all-too-brief recollections from his daughter. Excellent work on an essential actor.

Another great biography from John Soister. Mr. Soister wrote the definitive book on Universal horror films from the 1930's a year ago, now he publishes the definitive biography of one of filmdon's acting giants, Claude Rains. A book on this wonderful actor was way overdue. Soister proves it was well worth the wait! Each of Rains' films is recounted in detail, with Soister's well informed opinion on each film, and Mr. Rains' performance. If you are a fan of Claude Rains, or Hollywood's Golden Era, THIS is a must book for you! He may have been short in physical stature, but Claude Rains was a towering giant when it came to talent, style, and film presence. You won't be disappointed in buying this great work!

Claude Rains, A Comprehensive Illustrated Reference is the book Claude Rains fans have been waiting for for years. It starts off with a wonderful mini bio from his daughter, Jessica. Especially nice, is a charming story about them going to see 'The Invisible Man' together. The reader gets a sense of Claude Rains, the man as well as Claude Rains, the actor. Both are well worth reading about. There is a detailed synopsis for each movie with lots of little backround tidbits and loads of great photos. Also discussed, in less detail, is his stage, tv and radio career. The author says that the book is a 'labor of love' and it shows. If your a Claude Rains fan, and who isn't,buy the book... you'll love every minute of it.