Radio Books

I have already had this book for a while. This one is the third book of the author's ESD book series which cover the most comprehensive topics related to ESD protection comparing with other ESD books. This one is also the only ESD book focusing on RF technology and circuits and it comes at the time when a growing interest is observed in ESD in RF technology and applications. RF ESD design is different and tough. This book gives a clear picture of how the RF ESD design is distinct from the basic ESD design practices, and then tells you how to design ESD protection for different RF applications. It has good amount of examples and plenty of new and updated data points and the latest developments in the field. I also like the way the author expose the reader to the patent art in the ESD field. The more my knowledge grew, the more I have appreciated returning to this book as a reference. I always keep it at hand for my ESD design projects.

This book, ESD: RF Technology and Circuits, is part of a 3-book series on Electrostatic Discharge (ESD) by the same author (Steven Voldman).

One of the main strengths of this series (and there are very many) is that this is very recently published with new and updated datapoints, not to mention being the only series of ESD textbook. Essentially, this means that all the latest developments in the field is published in an easy-to-understand series.

In this book, Voldman writes about the design of ESD protection circuits for RF designs in his unique style which is illuminating both for experts and beginners alike. ESD design for RF parts is highly complex, and a lot of the tricks and tips needed for high performance protection circuits are collected in this book. I highly recommend this book series to all students of integrated circuit design and ESD.

Erik Barnouw tells the story of television from the beginning. It does not begin with Uncle Miltie and I Love Lucy, in fact Milton Berle doesn't appear until page 117. This is a story of television which begins seven decades earlier, when the first piece of the puzzle which would become television was unveiled: the telephone. This, Barnouw recognizes, is the birth of television, because it fired the imaginations of scientists and engineers, artists and entrepreneurs, and, perhaps most importantly, boys plowing fields with their horse teams.

The stories of the young geniuses like Marconi and Farnsworth capture the imagination, and Barnouw highlights these heros' struggles in the wars waged by RCA against each of them. Greater attention is due Edwin Howard Armstrong, another young genius who was crushed by the monstrous corporation, but Barnouw gives Armstrong more than most. By the time RCA premieres television service in 1939, the reader understands that television has already had a tremendous impact on America.

Television's greatest moments are here, and Barnouw does a excellent job of devoting appropriate amounts of time to each. The author recognizes how interwoven television has become in our society and some chapter breaks are measured by historical events, rather than by eras of television. The end of World War II and the assassination of JFK not only marked shifts in our nation's history, but in television as well. What followed were not historical events, as before TV, but media events.

The book also features a very useful and interesting 11-page chronology, an excellent biographical notes section, and an exceptional indexes, all of which make this tremendously accessible. It is tremendously compelling reading. Don't pick it up before your favorite show, because you won't be able to put it down in time!

This is a generous single-volume condensation of Erik Barnouw's seminal three-volume HISTORY OF BROADCASTING IN THE UNITED STATES. It is not a perfect book--took much is left out for that--but it does provide any student of American TV with an essential overview of many aspects in the birth and development of the medium. Despite the great length of the book, even in the single-volume abridgment, there are some curious omissions, but the strong points of the book are very strong indeed and make the book one of the crucial volumes for any personal library on television.

Barnouw tells in wonderful (and wonderfully entertaining) detail the development of the technologies that allowed the existence of radio and television, as well as the economic realities that turned it into the massive business that it has long been. He also explores the political aspects of the medium, both in terms of serving as part of the Fourth Estate by providing oversight to government actions and policies, and the erosion of that role as right wing groups have undermined that role (Barnouw anticipates the ultimate melding of right wing politics and corporate owned media, while at the same time crying crocodile tears over the mythical liberal media). He is also exceptional at detailing what kinds of shows arose at what time and what the constituent factors were. Even if one has a pretty decent idea of what was happening on TV at what time, Barnouw will both broaden and deepen one's understanding of the medium.

Nonetheless, while this is an outstanding book, one can't help but be struck by what was left out. For instance, there is no mention of a large number of seminal television shows. Although one of the most popular shows on TV in the fifties, THE PHIL SILVERS SHOW with Silvers as Sgt. Bilko got no mention at all. THE TWILIGHT ZONE was one of the best-written and iconic shows of all time, yet it is not discussed at all. Though I was never a fan of GILLIGAN'S ISLAND, it was nearly as popular as THE BEVERLY HILLBILLIES, which receives extensive notice. One recognizes that there are time restrictions, but these omissions are significant. There is also an amazing neglect of British Television shows. SECRET AGENT MAN aka DANGER MAN received no mention nor did the massively influential MONTY PYTHON'S FLYING CIRCUS.

This all highlights the book's strength. It is far weaker in discussing the aesthetics of TV than examining it as an industry and as a technology. The cut off point for the book is the late eighties, yet not a single word deals with the enormous growth of television as an art form in that decade. The most important show that decade by far was HILL STREET BLUES. Virtually every series (what Barnouw would call a telefilm) in the history of prime time television prior to HILL STREET BLUES adhered to the episodic format, each series consisting of a series of self-contained segments that would resolve all of that week's action and then be forgotten by the next week and the next episode. Some prime time soap operas did use the serial format, with the action spilling over from week to week, but none of these enjoyed any critical acclaim and were at best contained rather simplistic plots. HILL STREET BLUES, on the other hand, though it tried to resolve one story arc each week, contained multiple story arcs and possessed a remarkably complex narrative style. This revolutionized television narrative and made possible subsequent shows as various as ST. ELSEWHERE, THE X-FILES, BUFFY THE VAMPIRE SLAYER, 24, THE GILMORE GIRLS, FARSCAPE, ER, THE SOPRANOS, SIX FEET UNDER, LOST, and VERONICA MARS (the list could go on and on and on). In other words, almost everything good on TV can be said to have evolved out of what HILL STREET BLUES wrought. Yet, Barnouw does not mention HILL STREET BLUES even once. The development of the multiple story arc series was the greatest aesthetic development not merely of the eighties, but one of the two or three most important developments ever, yet Barnouw simply doesn't notice.

But for understanding the history of television as a business and the technology it is rooted in, Barnouw's book stands alone. Most people imagine the story of television beginning in the fifties or perhaps the late forties, but Barnouw begins in the late 19th century with Marconi. This isn't just a book that any more-than-casual student of TV ought to read; it is one they MUST read.

The Fast Show (and to some extent Harry Enfield) was a step forward in British comedy. The post-Python years were best served by Not The Nine o'Clock News (an irreverent, smug and often viciously satirical show which put Mel Smith and Rowan Atkinson on the map) and the aggressive, nihilistic Young Ones. The Fast Show deviates from previous shows in being character-based rather than situation-based, and managing to be gut-achingly funny without being overtly vindictive. The Fast Show is quick-paced sketch comedy, but over the course of the series we become acquainted with oddball but often loveable eccentrics and archetypes (miserable old man, the Cockney thief, the obnoxious sales assistants), colourful TV personalities (coughing Bob Fleming and jazz-show presenter, Louis Balfour) and even whole TV shows (the hilarious Chanel 9). This is not punchline comedy - the smutty innuendos of 70s prime-time shows like Benny Hill and Two Ronnies are few and far between - but thanks to brilliant writing, focus on three-dimensional rather than two-dimensional characters, and a gently lop-sided look at everyday situations, Paul Whitehouse, Charlie Higson and the rest of the team have created what in retrospect can be seen as the jewel in the crown of British comedy.

I first discovered The Fast Show while in England. It is a sketch program that consists of several recurring characters.

It is blunt, crude, and very, very funny. I have played this countless times, and it hasn't lost its appeal.

Charlie Payne's book on Radio is a must read for ANYONE in the BROADCAST INDUSTRY or ANYONE ELSE!
Charlie puts a focus on Radio history, while melding in his fascinating Radio career!
I have been in Radio for over 30 years and find Charlie's book simply fascinating!
You just cannot lay Charlie's book down without reading it from cover and then again! Great reference guide, too!
There is a lot of broadcast Radio background you'll find nowhere else! Things I had wondered about are included in this book!
Charlie's book covers early Gordon McLendon and Todd Storz TOP 40 Radio beginnings, from the early days to the present in a light hearted, but very descriptive nature!
From Texas Radio, to California, to New York and back is an absolutely wonderful journey!
I highly recommend this book to everyone!
JIM ROSE

Charlie Payne's biography is absolutely delightful. Fascinating facts about the radio business, and memories of a time when music was everything in our lives. I can't recommend this one too highly.

Fibber McGee and Molly were a popular radio comedy duo of the late 1930s through the 1940s. This CD includes two radio shows from 1941 as noted by another reviewer (and listed on the current cover picture) rather than those in the product description. Part of the charm for me is that the original commercials for Johnson's wax are included. The CD has excellent radio-level sound quality. One comical song is an ode to the radio sound effect man. Give yourself or a friend an authentic 1940s radio experience with this CD.

The CD is excellent but the product description is incorrect. 5 Stars for the CD. One Star for the Amazon listing robots.

The description of this cd is totally incorrect. Actually this cd has two shows to enjoy, not those shown;

Amusement Park 06-17-41 & Off to Hollywood 06-24-41.

Both are excellent, if you're a Fibber McGee & Molly fan.

I have owned this cd for a few years having purchased it directly from Radio Spirits. I was hoping to get new shows as stated in the description.

No one under the age of 45 can truly appreciate this quartet that had me literally rolling around the floor,collapsed from helpless laughter--while those younger may laugh politely,today,these Bozos truly made the days of Nixon seem like a haze in the fog.We are all glad we made it.

"The Firesign Theatre's Big Mystery Joke Book" is the second and final book put out by the Firesign Theatre (David Ossman, Philip Proctor, Peter Bergman, & Phil Austin) during their heyday (it was published in 1974). It collects scripts from several of the troupe's records, allowing the reader to, finally, totally penetrate the sometimes impenetrable texts of this legendary comedy group. The pieces included are "The Further Adventures of Nick Danger, Third Eye" from "How Can You Be In Two Places At Once When You're Not Anywhere At All," "The Tale of the Giant Rat of Sumatra" from the album of the same name, "Le Trente Huit Cunegonde" from "Waiting for the Electrician Or Someone Like Him," "Young Guy, Motor Detective" from "Not Insane or Anything You Want To," "Mark Time" and "$100.00 Ben" from "Dear Friends," and some pieces performed live but never committed to vinyl. These sketches and plays are accompanied by archival and personal photos, as well as an original mock-history of the Firesign's origins (tracing back to the 1800s). However, it's been out of print for nearly 30 years, so good luck finding a copy. Though, if you do, it's well worth buying.

THHIS IS NOT A REVIEW, BUT A CORRECTION IN YOUR LISTINGS OF ONE OF MY OTHER BOOKS. You mis-spell my author's name in one of my books now out of print. in my book Coulomb and the Evolution of Physics and Engineering in Eighteenth-Century France, you have my name listed as spelled Gilmor, and Gillmour. INCORRECT. Correct author's name
C. Stewart Gillmor, as in four of my other books you list.

This biography of Fred Terman was thorough, detailed, and well-documented. The author did a fine job in piecing together the biograhical data into an enjoyable narrative. At times it is very scientific and gets into real science, at others its heart warming and all about love, family -- the stuff that really matters.

What is really amazing is the amount of documentation -- letters, notes, historical records, sketches, etc -- that not only the author dug up, but apparently Fred kept and then donated to the University. I learned about a lot of other things Fred donated to the University too -- such as his house and his book royalties. It goes without saying, but I learned a lot about Fred.

Although I am a Cornellian and not a Cardinal, I believe that this book should be required reading for every freshman entering both Stanford and Cornell, in the summer prior to their matriculation. Not only does this tell a story of a real person, with weaknesses, faults, and strengths, it tells a story of a human who perservered through terrible, life-threatening illnesses to become a leader who changed not only Stanford and Palo Alto and also catalyzed Silicon Valley, but the world. Moreover, it also is a story of family, of things good in life that I believe is still a value in the Valley and was partially responsible for enabling it to springboard off of Fred's initiatives. Finally, it is a story of an entrepreneur, whose vision, perseverance, and care enabled him to achieve greatness, not through himself, but through others, and he reveled in it.

As a Ph.D. student researching entrepreneurship and innovation within the triple helix models (university-industry-government), I was of course interested in why Stanford is such a leader in innovation, and thus this book was a must for me to read, once I learned it was published last fall. However, I got so much more out of it than expected, over and above what I sought to understand intellectually within my narrow field of academic interest. But then again, this is what a good biography is supposed to deliver, is it not?

-Mike Clouser, Ph.D. Student
Edinburgh-Stanford Link Associate
University of Edinburgh, Scotland

Covering the lives of all the great physicists, from Galileo and Newton to Helmholtz, this book is an excelent read for students and any just interested. It goes in detail to the personal experiences of the great minds and the events that formed them and brought about the great discoveries.

This book records the first modern scientist (well, physicists) and their discoveries. The translation from the Italian is brilliant and the photographs, illustration and drawings really augment the fine text. We read about the start of modern science, how the great minds created experiments, what they thought, what they did and how their discoveries affected both them and future generations.

This work and its companion ("From X-Rays to Quarks") should be required reading for all high-school science students. They learn that science is not some theoretical exercise but involves working with the materials of the Earth. One of the fortunate accidental consequences of science is that we have discovered that by using matter and energy in unique ways, our lives can be more abundant and easier.

ALl the great names are here - Galileo, Newton, Faraday, Watts, Helmholtz. More and more emphasis is given over to science and its meaning in society. The philosophy of science and its practices are debated even as research and experimentation continue unabated. The pace at which science advanced - from dropping balls from a tower to theorizing on the nature of matter and gravity itself - was contained within a relatively short period. And, as we now see, that pace only increases in time.

Imagine closing your eyes and being there! That is what this tape set was like. Little round top, Pickett's charge, Seminary ridge, and Lincoln's Gettysburg address. All of this was presented as it must have sounded. This was not your standard "listen to a noble voice" read to you a book, this was recreated magic, an old fashion radio show made modern. The acting, sound effects and music were top shelf. Congratulations to Jerry Robbins and the Colonial Radio Players for bringing this wonderful story to life. Now I will have to try their Little Big Horn production.

An excellent perspective on the battle that turned the tide of the Civil War. The sound effects used to transition from one scene to another was creative and pretty unusual. I thoroughly enjoyed listening to this rendition of the intricacies of the battle and how the key participants acted, reacted and were perceived. A must for any Civil War buff. Recommend listening to this at home instead of the car to get the full effects of the sound effects. The sound effects definitely separates this classic from the traditional type of books on tape. Instead of having a book read to you, you are there!

We all love this CD, it's wonderful. The children totally enjoy the giant stories, not too scarry, and for me it brings back fond memories of my childhood reading. If you haven't heard Jim's voice, it's excellent, but be ware...buy one and you'll be hooked, soon you'll discover you have a collection!

This was the first Jim Weiss tape we purchased and it is still one of our favorites. Jim is such and excellent storyteller and the kids ages 4 and 7 just love the tunes as well. "If I were a Giant" gets them laughing every time. The stories are not at all frightening or scary - just good. Most importantly, I can tolerate listening to Jim Weiss again and again and (almost) again. Now we have at least 7 of his tapes and I would recommend them to anyone. With his wide selection of titles you are sure to find one that fits your child's interest.