The National Radio Hall of Fame is a project of Bruce DuMont, CEO of the Museum of Broadcast Communications, and is described as a museum dedicated to recognizing those who have contributed to the development of the radio medium throughout its history in the United States. The Hall of Fame is slated to be housed in a wing of the Museum of Broadcast Communications building. ^[1]

Selection process[link]

Inductees to the museum are nominated by the National Radio Hall of Fame & Museum Steering Committee (NRHOFSC), the members of which are appointed by the President of the MBC, Bruce Dumont. The Steering Committee recommends nominations in the following categories:

• Pioneer Network or Syndicated
• Active Network or Syndicated
• Pioneer Local or Regional
• Active Local or Regional

The NRHOFSC has the option to select a fifth inductee each year for non-air contributions, as well as selecting posthumous inductees for the hall of fame. The non-air recognition can be for distinguished lifetime achievement in production, management, manufacturing or technology. The NRHOFSC may also make additional inductions that they deem appropriate and in the best interests of the National Radio Hall of Fame.^[2]

Nomination criteria[link]

See footnote^[2]

National Pioneer: A broadcaster who has given no less than 10 years of service to the radio industry and has been recognized as a leader in developing or improving radio programming at the national level.

National Active: An active broadcaster who has made no less than 10 years of significant contributions to the industry on a national level.

Local or Regional Pioneer: A broadcaster who has made no less than a 20 year contribution to the radio industry and has distinguished him or herself at the local and/or regional level.

Local or Regional Active: An active broadcaster who has made no less than a 20 year contribution to the radio industry and has distinguished him or herself at the local and/or regional level.

Controversies[link]

The online public selection of Focus on the Family in 2008 caused some gay rights leaders to protest the induction ceremony in Chicago on November 8, 2008.^[3]

Howard Stern, perhaps the most highly-rated and visible figure in radio in the last 30 years, has been vocally critical of the organization, and has regularly made the organization a focus of jokes. He lampoons the fact that the entire nomination and selection process appears to be controlled by one man, Bruce DuMont, who is also the sole authority appointing the selection panel for the selection process. Stern has stated he would reject any offer to join, and further said "There is no Radio Hall of Fame. It's just a guy in his basement giving out awards. His name is Bruce Dumont and he has nothing to do with radio other than the fact that his family made radios years ago."^[4]

Inductees[link]

Individuals[link]

For list of inductees by induction year, see footnote^[5]

For list of inductees by category, see footnote^[6]

Programs[link]

See also[link]

• NAB Broadcasting Hall of Fame
• American Museum of Radio and Electricity
• Museum of Radio and Technology

References[link]

External links[link]

• Official website
• Photo Gallery. National Radio Hall of Fame official website

Walhalla temple, Germany

Along the Hollywood Walk of Fame, U.S.

A hall of fame, wall of fame, walk of fame, walk of stars or avenue of stars is a type of attraction established for any field of endeavor to honor individuals of noteworthy achievement in that field. The meaning of "Fame" has changed over the years, originally meaning "renown" as opposed to today's more common meaning of "celebrity".^[1]

In some cases, these halls of fame consist of actual halls or museums which enshrine the honorees with sculptures, plaques, and displays of memorabilia. Sometimes, the honorees' plaques may instead be posted on a wall (a '"wall of fame") or inscribed on a sidewalk (a "walk of fame" or an "avenue of fame"). In others, the hall of fame is more figurative, and just simply consists of a list of names of noteworthy individuals maintained by an organization or community.

The English-language term was first used for the Hall of Fame for Great Americans at Bronx Community College, in New York City, although its inspiration, the Ruhmeshalle in Munich, Germany, also means "Hall of Fame". The Walhalla Temple in Bavaria, Germany, is an even earlier hall of fame, conceived in 1807 and built between 1830 and 1842.

References[link]

Wikimedia Commons has media related to: Halls of fame

Look up hall of fame in Wiktionary, the free dictionary.

• R. Rubin (1997). "The Mall of Fame". The Atlantic Monthly 280 (1): 14–18. 

This organization-related article is a stub. You can help Wikipedia by expanding it. v t e

This article needs additional citations for verification. Please help improve this article by adding citations to reliable sources. Unsourced material may be challenged and removed. (September 2008)

The Marwar Hall at Umaid Bhawan Palace, Jodhpur, India

Hall in religious buildings : prayer hall of the Great Mosque of Kairouan, in Kairouan, Tunisia

A hallway at the Royal York Hotel

Hallway during and after construction in an apartment building in Mississauga, Ontario, Canada

An outdoor passageway near the Alamo

In architecture, a hall is fundamentally a relatively large space enclosed by a roof and walls. In the Iron Age, a mead hall was such a simple building and was the residence of a lord and his retainers. Later, rooms were partitioned from it, so that today the hall of a house is the space inside the front door through which the rooms are reached....

This:

• Deriving from the above, a hall is often the term used to designate a British or Irish country house.
• In later medieval Europe, the main room of a castle or manor house was the great hall.
• Where the hall inside the front door of a house is elongated, it may be called a passage, corridor, or hallway.
• In a medieval building, the hall was where the fire was kept. With time, its functions as dormitory, kitchen, parlour and so on were divided off to separate rooms or, in the case of the kitchen, a separate building.

On the same principle:

• Many buildings at colleges and universities are formally titled "_______ Hall", typically being named after the person who endowed it, for example, King's Hall, Cambridge. Others, such as Lady Margaret Hall, Oxford, commemorate respected people. Between these in age, Nassau Hall at Princeton University began as the single building of the then college. In medieval origin, these were the halls in which the members of the university lived together during term time. In many cases, some aspect of this community remains.
• At colleges in the universities of Oxford and Cambridge, Hall is the dining hall for students, with High Table at one end for fellows. Typically, at "Formal Hall", gowns are worn for dinner during the evening, whereas for "informal Hall" they are not.
• Many Livery Companies (e.g., in the City of London) have a Hall that is their headquarters and meeting place.

Similarly:

• A hall is also a building consisting largely of a principal room, that is rented out for meetings and social affairs. It may be privately or government-owned, such as a function hall owned by one company used for weddings and cotillions (organized and run by the same company on a contractual basis) or a community hall available for rent to anyone.
• In religious architecture, as in Islamic architecture, the prayer hall is a large room dedicated to the practice of the worship.^[1] (example : the prayer hall of the Great Mosque of Kairouan in Tunisia)

Following a line of similar development:

• In office buildings and larger buildings (theatres, cinemas etc.), the entrance hall is generally known as the foyer (the French for fire-place). The atrium, a name sometimes used in public buildings for the entrance hall, was the central courtyard of a Roman house.

Firehall (London, Ontario) in 1923

References[link]

1. ^ Stanford Anderson and Colin St. John Wilson, The Oxford companion to architecture, Volume 1, Oxford University Press, 2009, page 477

Look up Hall or hall in Wiktionary, the free dictionary.

Radio New Zealand National

200px
Broadcast area	New Zealand
Frequency	AM: various List FM: 101.0 MHz - 101.7 MHz Freeview: Channel 50 Sky Digital: Channel 501 TelstraClear InHomeTV: Channel 501 Live Stream Windows Media
First air date	1925
Format	Varied
Owner	Radio New Zealand
Webcast	[1]
Website	http://www.radionz.co.nz/national

Radio New Zealand National (formerly National Radio) is a publicly funded non-commercial New Zealand English language radio network operated by Radio New Zealand. It specialises in programmes dedicated to news, the arts, music, and New Zealand culture generally, including some material in the Māori language.

Of all radio stations in New Zealand, Radio New Zealand National's cumulative audience of 522,000 people makes it number one in terms of audience size nationwide. Its station share of 11% makes it number one in terms of station share in New Zealand (among people 15+, nationwide in the year 2011). Radio New Zealand. ^[1]

Programming[link]

National's weekday output between 06:00 and midnight is characterized by the alternation of three extended news and current-affairs sequences–running for between one and three hours each–with three varied-content magazine-style programmes, each of which lasts for three to five hours.

The news operation is staffed 24 hours a day, seven days a week.

A team of specialist correspondents, reporters and regional correspondents operate from 12 newsrooms around the country, including large teams in Auckland, Wellington and Christchurch. Radio New Zealand News draws on the expertise of specialist correspondents in politics, health, social issues, the economy, education, Maori issues, Pacific issues, business and rural affairs. It has an office in the parliamentary gallery. International news is sourced primarily from international news agencies.

Morning Report[link]

Morning Report - Te Pūrongo o te Ata - Geoff Robinson and Simon Mercep - 06:00-09:00

Morning Report is Radio New Zealand National's long-running flagship breakfast programme. It is a three-hour news programme airing between 06:00 and 09:00 on weekdays. The programme consists of half-hourly news and weather updates from Radio New Zealand News and more in-depth coverage of the news between these updates.

Morning Report, has an audience of 365,000 listeners. Radio New Zealand. ^[2]

News and weather bulletins are read by Nicola Wright from the Radio New Zealand News studio half hourly at 06:00, 06:30, 07:00, 07:30, 08:00 and 08:30. Brief recaps of top stories being followed by the Morning Report programme occur half hourly at 06:15, 06:45, 07:15, 07:45 and 08:15.

Specialised segments air at the same time every day. After the 06:00 news there are sports, Pacific, rural and Maori news bulletins. After the 06:30 news there is a summary of local newspapers, an update of traffic and a bulletin of business news. After the 07:30 news there is another traffic update and a further summary of local newspapers. Before the 08:30 news there is a business news bulletin. In the final fifteen minutes of the programme before 09.00 there is a further Maori news bulletin.

For the rest of the programme co-hosts Geoff Robinson and Simon Mercep interview news-makers and journalists, and introduce reports from the programme's correspondents and Radio New Zealand's reporters. The programme has a network of overseas correspondents and contacts, partly through Radio New Zealand's affiliation to the BBC and the ABC. It also has access to Radio New Zealand News reporters, specialist correspondents and a team in the Parliamentary press gallery.^[3]

This programme broadcasts for eleven months of every year; Summer Report (07:00 to 9:00 summer weekday mornings) is its summer holiday replacement.

A feature of morning report are the 'bird calls' which occur on the hour during the programme. These feature the distinctive calls of many of the native birds of New Zealand. An attempt was made in 2004? to remove this from the show by management, claiming that it was dated, but listener feedback was such that the bird call database was enhanced and revamped, and these seem set to continue well into the future.

Nine to Noon[link]

Nine to Noon - Kathryn Ryan - 09:00-12:00

Nine to Noon is a three hour programme of interviews with newsmakers, reviewers, writers, artists, comedians, correspondents, experts, commentators and others. Interviews are intermingled with short pieces of music and a daily book reading. The programme is currently hosted by Kathryn Ryan.

A five minute Radio New Zealand News bulletin, thirty second Radio New Zealand promo and thirty second MetService update begin each hour of the programme. Unlike other Radio New Zealand current affairs programmes like Morning Report and Checkpoint, however, there are no news updates at half past the hour. After a brief summary of what is still to come on the programme and a brief piece of music, the first feature of each hour usually begins at about eight past the hour.

Between approximately 09:08 and 09:45 each day Ryan will cover three leading news stories, interviewing newsmakers, journalists, experts and commentators. Government ministers are often among the guests. This news segment runs on from Morning Report, but covers longer-term social issues rather than daily current events. Items of music are often used to break up stories.

At 09:45 around Ryan will play a further piece of music before taking a live cross to a foreign correspondent who will provide freelance commentary on regional issues in their part of the world. Similar segments have subsequently featured on Morning Report, Newstalk ZB, Radio Live, and New Zealand's Rhema. Europe correspondent Seamus Kearney or Middle East correspondent Irris Makler feature on Mondays, United States correspondents Jack Hitt or Richard Adams appear on Tuesdays, Australia correspondents Paul Barclay or Ray Moynihan are interviewed on Wednesdays, United Kingdom correspondents Matthew Parris, Jon Dennis, Kate Adie or Michael White may be Thursday and Pacific Islands correspondent Mike Field or Asia correspondent Phil O'Sullivan will finish the hour on Friday.

After the hourly news at approximately 10:08 Ryan will do her Feature Interview of the day. The programme website claims this twenty minute interview slot "profiles a wide range of interesting people who stimulate new ideas and debate". Many notable names have featured in this timeslot. For instance, former Prime Minister Helen Clark and former Green Party MP Sue Bradford both used this timeslot to do resignation interviews.

After the feature interview is finished and a further piece of music has been played, the remainder of the hour is dedicated to literature. Scheduled at 10:30, but often starting as late as 10:40, is an interview with a freelance book reviewer who will discuss a particular book, or a selection of particular kinds of books, until 10:45. In accordance with station tradition, a fifteen minute uninterrupted book reading, produced in-house by Radio New Zealand Drama, will be played between 10:45 and Radio New Zealand News at 11:00.

Between 11:08 and 11:25 Ryan reads listener feedback, and then starts a discussion on a given field. On Monday, a political discussion is held between right-wing commentator Matthew Hooton and a left-wing commentator, usually either Mike Williams, former President of the New Zealand Labour Party, or John Pagani. On Tuesdays Rod Oram discusses business issues for fifteen minutes; New Zealand Herald colleague Fran O'Sullivan appears in his absence. Marty Duda presents a music artist of the week on Wednesdays; on Thursdays, Nat Torkington, Steve McCabe and others present news from the world of technology; Manu Taylor introduces new music on Friday.

Between 11:25 and 11:45 a specialist guest is featured. On Mondays a guest chef will provide a recipe, and John Hawkesby will provide a wine match for the dish. This segments varies on other days of the week - currently a legal expert appears on Wednesday, psychologist and parenting expert Nigel Latta appears every second Thursday and journalist Joseph Ramanos discusses sport on Friday.

Ryan is joined by various commentators to round out the programme between 11:45 and 12:00 after previewing the next programme and playing a further piece of music. Tommy Honey or travel journalist Kennedy Warne appear Monday, Denis Welch critiques the media on Tuesday, Graeme Tuckett reviews films on Wednesday, Simon Wilson reviews television programmes on Thursday and on Friday comedian Te Radar and either Michele A'Court, Irene Pink, Gemma Gracewood, Jackie Brown, Elisabeth Easther or Pinky Agnew provide a comic review of the past week.^[4]

Since January 2009, Nine to Noon has been replaced for a one month Christmas and summer break by Summer Noelle (10:00 - 12:00 summer weekdays), a similar format magazine programme presented by Noelle McCarthy up until 2011. From 2011/2012 she was replaced by Ryan's replacement Lynn Freeman and new co-host Sonja Sly. The programme includes interviews with newsmakers, reviewers, scientists, celebrity commentators, artists and actors, live in-studio performances by bands and artists, and musical selections. The timeslot previously featured The Best of Nine to Noon.

Midday Report[link]

Midday Report - 12:00-13:00

Midday Report is produced by Radio New Zealand News. It begins with a fifteen minute comprehensive news bulletin with recent reports filed from RNZ, BBC and ABC correspondents. This is a generic news bulletin: the first six minutes is simulcast on Radio New Zealand Concert and there is no consistent presenter. This is followed by a variety of specialist bulletins, including a two minute long-range weather forecast from MetService, a ten minute business news bulletin, a three minute sports bulletin, an eight minute rural news bulletin and a sixteen minute World Watch world news bulletin.

On public holidays and summer holidays, the programme airs between 12:00 and 12:30, including the 12:00 news plus sport and World Watch.

Afternoons[link]

Afternoons - Jim Mora - 13:00-17:00

Afternoons is a magazine-style programme produced by Meredith McGrath, Jimmy Stewart and Chris Reid. Noelle McCarthy, Wayne Mowat, Paul Brennan, and Chris Whitta are substitute hosts. Produced and presented from Radio New Zealand's Hobson Street studios in Auckland, the programme includes a wide variety of music, special interest and Maori language features, a mixture of serious and light-hearted current affairs interviews, a strong component of viewer feedback and an hour-long celebrity panel discussion of news between 16:00 and 17:00.

Mora and the production crew have developed a number of regular weekly and daily features. Since 2008 Mora has asked listeners to vote on The Best Song Ever Written, and he plays a different response at the start of every show. From Monday to Thursday the first hour is a music and history programme called Reeling in the Years. On Friday between 13:00 and 14:00 New Zealand musicians perform live in one of the Radio New Zealand studios on a show called New Zealand Live. Other features include science feature 8 Months to Mars, small town feature Your Call, New Zealand, and a daily science, environment and health slot at 15:45.^[5]

Jim Mora was introduced to increase the ratings and broaden the appeal of the struggling afternoon slot. He was already well known as a television presenter, voice-over announcer, journalist, television writer and former radio announcer, particularly for his role as host of Mucking In. His show replaced a collection of afternoon programmes, including magazine show In Touch with New Zealand with Wayne Mowat.^[6] The 14:00 to 15:00 music component of that programme, Mowat's Music, now airs late on Saturday and Sunday nights. Mowat now works as a producer and presenter of music programmes on National and as a newsreader for Radio New Zealand News.^[7]

On public holidays and over the one month Christmas and summer break, Kellee Howson, Phil O'Brien and Simon Morris present music variety programme Matinee Idle from the end of any 12:00 news programming through to the news at 17:00. The programme includes a large component of audience comments and recommendations, as well as a daily theme between 13:00 and 14:00.^[8]

Checkpoint[link]

Checkpoint - Mary Wilson - 17:00-19:00

Mary Wilson presents Radio New Zealand National's drive time news programme. It includes live interviews with newsmakers and correspondents on national and international news stories, as well as half-hourly news and weather updates and daily specialist segments. First broadcast in 1967, the programme is the longest-running news broadcast on radio or television in New Zealand.

The programme includes a six minute news and weather bulletin at 17:00 and 18:00, an approximately three minute business bulletin at around 17:22 and 18:22, a three minute news and weather bulletin at 17:30 and 18:30, an approximately three minute sports bulletin at around 17:33 and 18:33, and a two and a half minute Maori affairs bulletin, Waatea, at around 17:46 and 18:46. The first hour has a greater emphasis on domestic issues, the second hour has more of an international focus and the programme overall pays particular attention to political issues that have arisen during the day.^[9]

World news reports and special pre-recorded programming replaces Checkpoint on public holidays and during three weeks of the summer holiday.

Nights[link]

Nights - Bryan Crump - 19:00-24:00

Radio New Zealand National's weeknight evening programme focuses on ideas and music. In the first three hours interviews with guests and regular commentators are intermingled with pre-recorded specialty programmes from RNZ, the ABC in Australia and the BBC in the UK, music and hourly news bulletins. The fourth hour is dedicated to news coverage, and the fifth hour includes a half hour music programme and an additional feature.

Four regular features air most evenings on the programme. Mondays to Thursdays between 20:15 and 20:45, Windows of the World is a nightly timeslot for documentaries by public radio broadcasters from around the world. The second is the News at 10, a fifteen minute extended news bulletin starting at 22:00. This is followed by Late Edition between 22:15 and 22:45, a half hour of highlights from Radio New Zealand News current affairs programmes Morning Report, Nine to Noon and Checkpoint. Dateline Pacific, the daily Pacific Islands news programme from Radio New Zealand International, is broadcast between 22:45 and 23:00.

Monday's programme emphasises world affairs and sports news. The first hour features interviews with special guests and music. After Windows of the World, Crump holds a discussion on sports issues at 20:45, called The Final Whistle, with New Zealand sports journalists Joseph Romanos or Penny Miles, American journalist Helene Elliott or British journalist Richard Fleming. Radio New Zealand News current affairs programme Insight begins 21:06, and at 21:40 Crump is joined by one of the programme's international correspondents. These include Tara Fitzgerald from Mexico, Dorothy Wickham from Solomon Islands, Emma Moore from China, Mahtab Haider from Bangladesh, Andra Suciu from Romania, Daniel Kalinaki from Uganda, Steven Lang from South Africa and Ross Bragg from Canada. In the final hour, Beale St Caravan, a live blues concert, follows the news at 11:06pm.

Tuesday's programme has an academic slant. Tuesdays nights begin with half an hour of music and interviews followed by The Sampler, a new music review programme hosted by Nick Bollinger. After Windows on the World, Crump has a social sciences discussion with one of five specialists at 20:45. This may be philosophy with Ann Kerwin, political systems with Brian Roper (A Nation's Administration), religion with Paul Morris from Victoria University (Prayers), energy with Ralph Sims (Ignition) or economics with Neville Bennett (Dollars and Sense). At 21:06 the Tuesday Feature is a documentary, recorded panel discussion or recorded lecture series; this may be the same as the Sunday Feature at 16:06 the following Sunday. Charlie Gillett's World of Music from the BBC World Service airs at 23:06, followed by Bedtime Story.

An arts focus is evident throughout Wednesday's programme. Music and interviews air until At the Movies, a long-running film review programme hosted by Simon Morris, at 19:30. At 20:45, after Windows on the World, Crumnp hears jazz reviews from Fergus Barrowman (Offbeat), music history with Wayne Mowat (Hit Parade), arts news with Emma Bugden (Gallery), classical musical reviews with Kate Mead (The Podium) DVD reviews with Miles Buckingham (Small Screen Cinema) and poetry with Chris Price (A Leaf of Words). Theatre hour Curtain Call after 21:00 includes Garrison Keillor's Radio Show; the Jazz Hour after 23:00 includes Round Midnight, Jazz Footprint, and Jazz at Lincoln Centre.

Thursday evenings have a science theme. Music and interviews lead up the long-running Spectrum series, a documentary series about ordinary people in New Zealand. After Windows of the World, Crump dedicates the 20:45 to 21:00 timeslot to science. He speaks to Jean Fleming on human biology (Body Parts), Erick Brenstrem on world weather (Barometer), Alan Gilmore on astronomy (Starry Starry Night), Craig Stevens on oceanography (Salty Water), Hamish Campbell on geology (Hot Rocks) and Dennis McCaughan on mathematics (Primarily Numbers). At 21:06, Radio New Zealand's half-hour weekly science and environment programme, Our Changing World, is aired, followed by music and interviews until 22:00. The Music Mix, a programme about contemporary music, airs at 23:06.

Friday evening's programme has a more laid-back, music-centred style. Music leads up to 19:40 when a timeslot called Flash includes brief reports like NZ Society, music report The Vault and Asian Report. The second hour, Spotlight, includes music interviews and excerpts from recorded concerts. In the third hour Country Life, Radio New Zealand's weekly rural news and current affairs programme, premieres; it is rebroadcast at 07:06 on Saturday mornings. At 23:06 the programme's final hour of the week, Friday Finale, is dedicated to music performances and short music documentaries.^[10]

On public holidays, during a four week Christmas and summer break, or on days when Crump is on leave, Chris Whitta or Warwick Burke present.

Overnights[link]

The All Night Programme - Vicki McKay or Lloyd Scott - 00:00-06:00

Vicki McKay and Lloyd Scott present Radio New Zealand National's six hour overnight variety magazine, The All Night Programme, every morning from midnight. Each hour features a four minute bulletin from Radio New Zealand News and the latest weather forecast issued by MetService. The programme then features various pieces of music, specialist programmes and highlight interviews, and provides updates on sporting events and breaking news stories. Repeats of interviews and music from Kim Hill Saturday mornings and Chris Laidlaw Sunday mornings feature alongside repeats of segments of other programmes, and specialist programming from Radio New Zealand, the BBC World Service, the Australian Broadcasting Corporation and other programme producers.

The programme has a regular daily schedule. In the first half hour McKay or Scott reads the latest news update, previews the night ahead, and plays a selection of music in a timeslot called Music after Midnight. Specialist programmes air at 12:30: Discovery from the BBC World Service on Mondays, The Strand from the BBC World Service on Tuesdays, Insight from Radio New Zealand on Wednesdays, Spectrum from Radio New Zealand on Thursday, and Radio New Zealand disability affairs programme One in Five on Friday. Music and a specialist programme air after news at 01:00: Radio New Zealand's Te Ahi Kaa Mondays at 01:05, Radio New Zealand's Primary People Tuesdays at 01:15, BBC World Service timeslot From the World Wednesdays at 01:15, BBC World Service's Digital Planet Thursdays at 01:15, and Radio New Zealand programme Ideas Fridays at 01:05. Music and a specialist programme also air after news at 02:00, including BBC World Service's The Forum Wednesdays at 02:05, Radio New Zealand's Playing Favourites music segment Thursdays at 02:05 and The Sampler on Fridays at 02:05. A daily reading follows news at 03:00; these readings have previously aired at 10:45. A specialist programme or segment airs at 03:30: including a Radio New Zealand science timeslot on Mondays, Radio New Zealand's An Authors Views and Diversions on Tuesdays and Wednesdays respectively, BBC World Service programme The Strand on Thursdays, and Radio New Zealand Canterbury Tales on Fridays. BBC World Service's Global Business airs at 04:30. Radio New Zealand's He Rourou airs at 05:10 Mondays to Friday. Before 06:00 McKay or Scott is joined by the hosts of Morning Report for a preview, and then looks back at the day in history.

On Saturdays Music after Midnight is followed by Laugh Track comedy segment at 12:30, BBC World Service documentary timeslot From the World at 01:05, Waiata Maori Music at 02:35, a reading at 03:05, Radio New Zealand News This Week at 03:35, and Radio New Zealand News Asian Report at 05:35. on Sundays Music after Midnight precedes Radio New Zealand's Our Changing World at 01:05, Radio New Zealand's Touchstone at 02:06, Hymns with Maureen Garing at 02:30, a reading at 03:05, a New Zealand books timeslot at 03:30, BBC World Service's One Planet at 04:30, and Radio New Zealand News Auckland Stories at 05:45.

Saturdays[link]

Saturdays - Kim Hill - 08:00-12:00

Saturdays on Radio New Zealand National begin with two pre-recorded programmes - children's story hour Storytime after the 06:00 news and rural news and current affairs programme Country Life after the 07:00 news. Storytime, produced by Radio New Zealand Drama, consists of excerpts from New Zealand children's fiction titles being read by New Zealand actors.^[11] About fifty children's stores are read for the programme every year^[12] by the likes of Robyn Malcolm and Lloyd Scott.^[13] Country Life, presented by Susan Murray and Dempsey Woodley, with production assistance from Carol Stiles and Cosmo Kentish-Barnes, is Radio New Zealand's rural affairs programme. It combines coverage of stories covered in Midday Report Rural News with documentaries and reports.^[14]

National's flagship weekend programme is magazine Saturday Morning, currently hosted by Kim Hill and produced by Mark Cubey. The show, previously hosted by Brian Edwards as Top of the Morning (1994–1999) and John Campbell as Saturday Morning (1999–2002), covers science, literature, music, current issues and other topics.^[15] The programme is defined as "entertainment" by Radio New Zealand; it therefore has no relationship with Radio New Zealand News and has no obligation to be impartial.^[16]

Between 12:00 and 14:00, Simon Morton presents and Richard Scott produces consumer programme This Way Up - a programme about "the things we use and consume". The programme covers how things are invented, designed, manufactured and consumed, with particular emphasis on technology and food production. A Funky Chicken Farm, a Backyard Bee Hive and a Veggie iPlot have been set up by Morton and Scott since the programme was started in 2006, and the programme regularly updates how each of these is going. Since 2009, television spin-off Use as Directed, also hosted by Simon Morton, has been broadcast on TVNZ6.^[17]

Between 14:00 and 17:00, Kirsten Johnstone presents music programme Music 101. Emma Smith, Kirsten Johnstone and Liisa McMillan co-produce a programme about music and music events both in New Zealand and around the world. The programme includes interviews with contemporary musicians and people in the music industry, live sessions, recorded concerts and requests of commercial and non-commercial music alike. Trevor Reekie's behind-the-scenes show Access All Areas, and selections from Nick Bollinger's music review show The Sampler and contemporary music show The Music Mix are included; a half hour live recording, Musical Chairs musician profile or music documentary will air after 16:00. Music 101 draws its name from National being on a frequency of approximately 101FM in most markets. .^[18]

Music 101 is followed by two hours of news programming and five hours of music programming evening Saturday evening. Political affairs programme Focus on Politics and Pacific Islands affairs programme Tangata o te Moana air after 17:00; Great Encounters provides a selection of the most popular interviews from the past week after 18:00, Peter Fry hosts music and comedy programme Saturday Night from 19:00 and Wayne Mowat presents music history programme Wayne's Music after 23:00.^[19]

Sundays[link]

Sundays - Chris Laidlaw - 08:00-12:00

Sundays, like Saturdays, begin with two hours of pre-recorded programming. Storytime's second weekly hour begins at 06:08 Sundays; Hymns and Weekend Worldwatch follow another news update at 07:04. Hymns is a 25-minute compilation of hymns performed and recorded in New Zealand churches which is presented and produced by Mark Bushell. Maureen Garing, the previous host, died in 2011. Weekend Worldwatch is a 30-minute programme of the latest news reports from Radio New Zealand News affiliates, primarily the Australian Broadcasting Corporation and British Broadcasting Corporation; it is the weekend edition of the Midday Report world news segment.^[20]

From 08:00 to 12:00, Rhodes Scholar Chris Laidlaw presents and Christine Cessford produces an entertainment programme of interviews, regular features, documentaries and music, Sunday Mornings. In the first hour a repeat of Radio New Zealand News current affairs programme Insight is followed by the day's first feature interview. In the second hour media review programme MediaWatch is followed by a second feature interview. In the third hour Laidlaw is joined by the Sunday Group panel to discuss topical issues until 10:40; Trevor Reekie's short music programme Hidden Treasures and reading of listener feedback round out the hour. In the final hour the academic timeslot Ideas explores "a range of philosophical, social, historical or environmental ideas", taking the form of a studio discussion, a documentary presented and produced by Jeremy Rose and Chris Laidlaw, a broadcast of The Forum from BBC World Service, or a broadcast of another documentary.^[21]

From 12:00 to 16:00, arts journalist Lyn Freeman and film and music reviewer Simon Morris present and produce The Arts on Sunday, with Christine Cessford as their roving reporter. After the half-hour Spectrum series has aired in its traditional 12:15 timeslot, the rest of the afternoon is dedicated to art, theatre, film, comedy, literature, dance, entertainment and music. An arts news summary and two interviews or reports precede a news update and Simon Morris' movie review programme At the Movies at 13:00. An additional three interviews or reports lead up to a news update and a half-hour interview with a comedian about their favourite comedy at 14:00. A further three interviews or reports fill out the end of the third hour until the 15:00 news and a Sunday Theatre feature.^[22]

From 16:00 to 20:00, the 4 til 6 programming block includes a variety of specialist programming. After the 16:00 news, the Sunday Feature is an hour-long local or international documentary. Philosophy and spirituality programme Touchstone and Maori music programme Waiata follow the news at 17:00; Maori news programme Te Ahi Kaa follows the news at 18:00. The final hour includes disability affairs programme One in Five with Mike Gourley, and BBC World Service arts programme The Strand.^[23]

Oral historian and archivist Jim Sullivan presents two hours of history and historic music between 20:00 and 22:00 each Sunday evening, called Sounds Historical. Sullivan plays material from the Radio New Zealand Sound Arhives, plays oral histories he has recorded in the past, interviews New Zealand historians about their research, and asks listeners to contribute their own memories.^[24] At 22:00 the ten-minute News at Ten bulletin is followed by a repeat airing of MediaWatch from Laidlaw's Sunday morning programme and Wayne Mowat's music history programme, Wayne's Music, rounds off the evening from 22:50.^[25]

Broadcasting[link]

Radio New Zealand National's programming is distributed via several means.

Terrestrial AM[link]

^[26]

[edit] FM Frequencies

Radio New Zealand National was the first station in New Zealand to incorporate the Radio Data System in its FM signal. Some FM stations are 101FM state-owned public service frequencies and some are owned by non-profit community organisations.

Radio New Zealand National still broadcasts its FM signal in mono, but the on-line service is available in stereo.

[edit] North Island

• Kaitaia - FM 101.1
• Kaikohe - FM 101.5
• Whangarei - FM 101.2 and 104.4
• Auckland - FM 101.4
• Hamilton - FM 101.0
• Tauranga - FM 101.4
• Whakatane - FM 101.7
• Tokoroa - FM 101.3
• Rotorua - FM 101.5
• Te Kuiti - FM 94.0 (Community owned)
• Taupo - FM 101.6, 104.8
• Gisborne - FM 101.3
• Hawke's Bay - FM 101.5
• New Plymouth - FM 101.2
• Wanganui - FM 101.6
• Palmerston North - FM 101.0
• Masterton - FM 101.5
• Kapiti - FM 101.5
• Wellington - FM 101.3, 101.7

[edit] South Island

• Blenheim - FM 101.7
• Takaka - FM 98.2 (Community owned)
• Nelson - FM 101.6
• Greymouth - FM 101.1
• Christchurch - FM 101.7
• Ashburton - FM 101.3
• Lake Tekapo - FM 89.0 (Community owned)
• Twizel - FM 92.6(Community owned)
• Omarama - FM 97.3 (Community owned)
• Otematata - FM 106.7(Community owned)
• Timaru - FM 101.1
• Oamaru - FM 101.6
• Wanaka - FM 101.0
• Milford Sound - FM 92.0 (Community owned)
• Queenstown - FM 101.6
• Alexandra - FM 101.5
• Te Anau - FM 101.6
• Dunedin - FM 101.4
• Invercargill - FM 101.2

[edit] Other islands

• Chatham Islands - FM 89.7 (Community owned)

Other broadcasting methods[link]

• Internet Audio Streaming in stereo
• Podcasting
• Unencrypted satellite broadcast
• SKY Network Television's DHS encrypted satellite service
• TelstraClear's cable television network in Wellington and Christchurch
• Freeview, a free-to-air digital television platform
• Digital Audio Broadcasting as a trial in Auckland and Wellington.

References[link]

External links[link]

• Official page

Jerome David Kern (January 27, 1885 – November 11, 1945) was an American composer of musical theatre and popular music. One of the most important American theatre composers of the early 20th century, he wrote more than 700 songs, used in over 100 stage works, including such classics as "Ol' Man River", "Can't Help Lovin' Dat Man", "A Fine Romance", "Smoke Gets in Your Eyes", "All the Things You Are", "The Way You Look Tonight", "Long Ago (and Far Away)" and "Who?". He collaborated with many of the leading librettists and lyricists of his era, including George Grossmith Jr., Guy Bolton, P. G. Wodehouse, Otto Harbach, Oscar Hammerstein II, Dorothy Fields, Johnny Mercer, Ira Gershwin and E. Y. Harburg.

A native New Yorker, Kern created dozens of Broadway musicals and Hollywood films in a career that lasted for more than four decades. His musical innovations, such as 4/4 dance rhythms and the employment of syncopation and jazz progressions, built on, rather than rejected, earlier musical theatre tradition. He and his collaborators also employed his melodies to further the action or develop characterization to a greater extent than in the other musicals of his day, creating the model for later musicals. Although dozens of Kern's musicals and musical films were hits, only Show Boat is now regularly revived. Songs from his other shows, however, are still frequently performed and adapted. Although Kern detested jazz arrangements of his songs, many have been adopted by jazz musicians to become standard tunes.

Biography[link]

Early life[link]

Kern was born in New York City, on Sutton Place, in what was then the city's brewery district.^[1] His parents were Henry Kern (1842–1908), a Jewish German immigrant, and Fannie Kern née Kakeles (1852–1907), who was an American Jew of Bohemian parentage.^[2] At the time of Kern's birth, his father ran a stable; later he became a successful merchant.^[2] Kern grew up on East 56th Street in Manhattan, where he attended public schools. He showed an early aptitude for music and was taught to play the piano and organ by his mother, an accomplished player and teacher.^[3]

In 1897, the family moved to Newark, New Jersey, where Kern attended Newark High School (which became Barringer High School in 1907). He wrote songs for the school's first musical, a minstrel show, in 1901, and for an amateur musical adaptation of Uncle Tom's Cabin put on at the Newark Yacht Club in January 1902.^[2] Kern's father insisted that his son work with him in business, instead of composing, after leaving high school before graduation in the spring of his senior year in 1902. Kern, however, failed miserably in one of his earliest tasks: he was supposed to purchase two pianos for the store, but instead he ordered 200.^[4] His father relented, and later in 1902, Kern became a student at the New York College of Music, studying the piano under Alexander Lambert and Paolo Galico, and harmony under Dr. Austin Pierce.^[5] His first published composition, a piano piece, At the Casino, appeared in the same year. Between 1903 and 1905, he continued his musical training under private tutors in Heidelberg, Germany, returning to New York via London.^[3][5]

First compositions[link]

For a time, Kern worked as a rehearsal pianist in Broadway theatres and as a song-plugger for Tin Pan Alley music publishers. While in London, he secured a contract from the American impresario Charles Frohman to provide songs for interpolation in Broadway versions of London shows. He began to provide these additions in 1904 to British scores for An English Daisy, by Seymour Hicks and Walter Slaughter, and Mr. Wix of Wickham, for which he wrote most of the songs.^[6]

Angela Lansbury sings "How'd you like to spoon with me?" in Till the Clouds Roll By (1946)

In 1905, Kern contributed the song "How'd you like to spoon with me?" to Ivan Caryll's hit musical The Earl and the Girl when the show transferred to Chicago and New York in 1905.^[3] He also contributed to the New York production of The Catch of the Season (1905), The Little Cherub (1906) and The Orchid (1907), among other shows.^[7] From 1905 on, he spent large blocks of time in London, contributing songs to West End shows like The Beauty of Bath (1906; with lyricist P. G. Wodehouse) and making valuable contacts, including George Grossmith Jr. and Seymour Hicks, who were the first to introduce Kern's songs to the London stage.^[3] Kern's parents died in 1907 and 1908.^[8] In 1909 during one of his stays in England, Kern took a boat trip on the River Thames with some friends, and when the boat stopped at Walton-on-Thames, they went to an inn called the Swan for a drink. Kern was much taken with the proprietor's daughter, Eva Leale (1891–1959), who was working behind the bar. He wooed her, and they were married at the Anglican church of St. Mary's in Walton on October 25, 1910. The couple then lived at the Swan when Kern was in England.^[9]

File:Mind the Paint.pdf Kern is believed to have composed music for silent films as early as 1912, but the earliest documented film music which he is known to have written was for a twenty-part serial, Gloria's Romance in 1916.^[10] This was one of the first starring vehicles for Billie Burke, for whom Kern had earlier written the song "Mind the Paint", with lyrics by A. W. Pinero. The film is now considered lost, but Kern's music survives. Another score for the silent movies, Jubilo, followed in 1919.^[10] Kern was one of the founding members of ASCAP.^[5]

Kern's first complete score was Broadway's The Red Petticoat (1912), one of the first musical-comedy Westerns. The libretto was by Rida Johnson Young. By World War I, more than a hundred of Kern’s songs had been used in about thirty productions, mostly Broadway adaptations of West End and European shows. Kern contributed two songs to To-Night's the Night (1914), another Rubens musical. It opened in New York and went on to become a hit in London. The best known of Kern's songs from this period is probably "They Didn't Believe Me", which was a hit in the New York version of the Paul Rubens and Sidney Jones musical, The Girl from Utah (1914), for which Kern wrote five songs.^[3] Kern's song, with four beats to a bar, departed from the customary waltz-rhythms of European influence and fitted the new American passion for modern dances such as the fox-trot. He was also able to use elements of American styles, such as ragtime, as well as syncopation, in his lively dance tunes.^[11] Theatre historian John Kenrick writes that the song put Kern in great demand on Broadway and established a pattern for musical comedy love songs that lasted through the 1960s.^[12]

In May 1915, Kern was due to sail with Charles Frohman from New York to London on board the RMS Lusitania, but Kern missed the boat, having overslept after staying up late playing poker.^[13] Frohman died in the sinking of the ship.^[14]

The Princess Theatre musicals[link]

Sheet music of "They All Look Alike", from Have a Heart.

Sheet music cover of "An Old-Fashioned Wife".

Kern composed sixteen Broadway scores between 1915 and 1920 and also contributed songs to the London hit Theodore & Co (1916; most of the songs are by the young Ivor Novello) and to revues like the Ziegfeld Follies. The most notable of his scores were those for a series of shows written for the Princess Theatre, a small (299-seat) house built by Ray Comstock. Theatrical agent Elisabeth Marbury asked Kern and librettist Guy Bolton to create a series of intimate and low-budget, yet smart, musicals.^[11]

The "Princess Theatre shows" were unique on Broadway not only for their small size, but their clever, coherent plots, integrated scores and naturalistic acting, which presented "a sharp contrast to the large-scale Ruritanian operettas then in vogue"^[3] or the star-studded revues and extravaganzas of producers like Florenz Ziegfeld. Earlier musical comedy had often been thinly plotted, gaudy pieces, marked by the insertion of songs into their scores with little regard to the plot. But Kern and Bolton followed the examples of Gilbert and Sullivan and French opéra bouffe in integrating song and story. "These shows built and polished the mold from which almost all later major musical comedies evolved. ... The characters and situations were, within the limitations of musical comedy license, believable and the humor came from the situations or the nature of the characters. Kern's exquisitely flowing melodies were employed to further the action or develop characterization."^[11] The shows featured modern American settings and simple scene changes to suit the small theatre.^[15]

The team's first Princess Theatre show was an adaptation of Paul Rubens' 1905 London show, Mr. Popple (of Ippleton), called Nobody Home (1915).^[3] The piece ran for 135 performances and was a modest financial success.^[2] However, it did little to fulfill the new team's mission to innovate, except that Kern's song, "The Magic Melody", was the first Broadway showtune with a basic jazz progression.^[11] Kern and Bolton next created an original piece, Very Good Eddie, which was a surprise hit, running for 341 performances, with additional touring productions that went on into the 1918-19 season.^[2] The British humorist, lyricist and librettist P. G. Wodehouse joined the Princess team in 1917, adding his skill as a lyricist to the succeeding shows. Oh, Boy! (1917) ran for an extraordinary 463 performances.^[16][17] Other shows written for the theatre were Have a Heart (1917), Leave It to Jane (1917)^[18] and Oh, Lady! Lady!! (1918).^[19] The first opened at another theatre before Very Good Eddie closed. The second played elsewhere during the long run of Oh Boy!^[11] An anonymous admirer wrote a verse in their praise^[20] that begins:

Sheet music to Oh, Lady! Lady!! by Kern, Bolton and Wodehouse

This is the trio of musical fame,

Bolton and Wodehouse and Kern.

Better than anyone else you can name

Bolton and Wodehouse and Kern.^[21]

In February 1918, Dorothy Parker wrote in Vanity Fair:

Well, Bolton and Wodehouse and Kern have done it again. Every time these three gather together, the Princess Theatre is sold out for months in advance. You can get a seat for Oh, Lady! Lady!! somewhere around the middle of August for just about the price of one on the stock exchange. If you ask me, I will look you fearlessly in the eye and tell you in low, throbbing tones that it has it over any other musical comedy in town. But then Bolton and Wodehouse and Kern are my favorite indoor sport. I like the way they go about a musical comedy. ... I like the way the action slides casually into the songs. ... I like the deft rhyming of the song that is always sung in the last act by two comedians and a comedienne. And oh, how I do like Jerome Kern's music. And all these things are even more so in Oh, Lady! Lady!! than they were in Oh, Boy! ^[22]

Oh, Lady! Lady!! was the last successful "Princess Theatre show". Kern and Wodehouse disagreed over money, and the composer decided to move on to other projects.^[23] Kern's importance to the partnership was illustrated by the fate of the last musical of the series, Oh, My Dear! (1918), to which he contributed only one song: "Go, Little Boat". The rest of the show was composed by Louis Hirsch, and ran for 189 performances: "Despite a respectable run, everyone realized there was little point in continuing the series without Kern."^[15]

Early 1920s[link]

Marilyn Miller, the star of Sally

The 1920s were an extremely productive period in American musical theatre, and Kern created at least one show every year for the entire decade. His first show of 1920 was The Night Boat, with book and lyrics by Anne Caldwell, which ran for more than 300 performances in New York and for three seasons on tour.^[2] Later in the same year, Kern wrote the score for Sally, with a book by Bolton and lyrics by Otto Harbach. This show, staged by Florenz Ziegfeld, ran for 570 performances, one of the longest runs of any Broadway show in the decade, and popularized the song "Look for the Silver Lining" (which had been written for an earlier show), performed by the rising star Marilyn Miller. It also had a long run in London in 1921, produced by George Grossmith, Jr.^[2] Kern's next shows were Good Morning, Dearie (1921, with Caldwell) which ran for 347 performances; followed in 1922 by a West End success, The Cabaret Girl in collaboration with Grossmith and Wodehouse;^[24] another modest success by the same team, The Beauty Prize (1923); and a Broadway flop, The Bunch and Judy, remembered, if at all, as the first time Kern and Fred Astaire worked together.^[2]

Stepping Stones (1923, with Caldwell) was a success, and in 1924 the Princess Theatre team of Bolton, Wodehouse and Kern reunited to write Sitting Pretty, but it did not recapture the popularity of the earlier collaborations.^[25] Its relative failure may have been partly due to Kern's growing aversion to having individual songs from his shows performed out of context on radio, in cabaret, or on record, although his chief objection was to jazz interpretations of his songs. He called himself a "musical clothier – nothing more or less," and said, "I write music to both the situations and the lyrics in plays."^[1] When Sitting Pretty was produced, he forbade any broadcasting or recording of individual numbers from the show, which limited their chance to gain popularity.^[2]

Oscar Hammerstein II, one of Kern's chief collaborators

1925 was a major turning point in Kern's career when he met Oscar Hammerstein II, with whom he would entertain a lifelong friendship and collaboration. As a young man, Kern had been an easy companion with great charm and humor, but he became less outgoing in his middle years, sometimes difficult to work with: he once introduced himself to a producer by saying, "I hear you're a son of a bitch. So am I."^[26] He rarely collaborated with any one lyricist for long. With Hammerstein, however, he remained on close terms for the rest of his life.^[3] Their first show, written together with Harbach, was Sunny, which featured the song "Who (Stole My Heart Away)?" Marilyn Miller played the title role, as she had in Sally.^[25] The show ran for 517 performances on Broadway, and the following year ran for 363 performances in the West End, starring Binnie Hale and Jack Buchanan.^[27]

[edit] Show Boat

Because of the strong success of Sally and Sunny and consistent good results with his other shows, Ziegfeld was willing to gamble on Kern's next project in 1927. Kern had been impressed by Edna Ferber's novel Show Boat and wished to present a musical stage version.^[1] He persuaded Hammerstein to adapt it and Ziegfeld to produce it. The story, dealing with racism, marital strife and alcoholism, was unheard of in the escapist world of musical comedy. Despite his doubts, Ziegfeld spared no expense in staging the piece to give it its full epic grandeur. According to the theatre historian John Kenrick: "After the opening night audience filed out of the Ziegfeld Theatre in near silence, Ziegfeld thought his worst fears had been confirmed. He was pleasantly surprised when the next morning brought ecstatic reviews and long lines at the box office. In fact, Show Boat proved to be the most lasting accomplishment of Ziegfeld's career – the only one of his shows that is regularly performed today."^[28] The score is, arguably, Kern's greatest and includes the well-known songs "Ol' Man River" and "Can't Help Lovin' Dat Man" as well as "Make Believe", "You Are Love", "Life Upon the Wicked Stage", "Why Do I Love You", and "Bill". The show ran for 572 performances on Broadway and was also a success in London.^[28][29] Although Ferber's novel was filmed unsuccessfully as a part-talkie in 1929 (using some songs from the Kern score), the musical itself was filmed twice, in 1936, and, with Technicolor, in 1951.^[30] In 1989, a stage version of the musical was presented on television for the first time, in a production from the Paper Mill Playhouse telecast by PBS on Great Performances.^[31]

1951 film version of Kern and Hammerstein's Show Boat

While most Kern musicals have largely been forgotten, except for their songs, Show Boat remains well-remembered and frequently seen. It is a staple of stock productions and has been revived numerous times on Broadway and in London. A 1946 revival integrated choreography into the show, in the manner of a Rodgers and Hammerstein production, as did the 1994 Harold Prince–Susan Stroman revival, which was nominated for ten Tony Awards, winning five, including best revival. It was the first musical to enter a major opera company's repertory (New York City Opera, 1954), and the rediscovery of the 1927 score with Robert Russell Bennett's original orchestrations led to a large-scale EMI recording in 1987 and several opera-house productions.^[3] In 1941, the conductor Artur Rodziński wished to commission a symphonic suite from the score, but Kern considered himself a songwriter and not a symphonist. He never orchestrated his own scores, leaving that to musical assistants, principally Frank Saddler (until 1921) and Russell Bennett (from 1923).^[3] In response to the commission, Kern oversaw an arrangement by Charles Miller and Emil Gerstenberger of numbers from the show into the orchestral work Scenario for Orchestra: Themes from Show Boat, premiered in 1941 by the Cleveland Orchestra conducted by Rodziński.^[1][2]

Kern's last Broadway show in the 1920s was Sweet Adeline (1929), with a libretto by Hammerstein. It was a period piece, set in the Gay 90s, about a girl from Hoboken, New Jersey (near Kern's childhood home), who becomes a Broadway star. Opening just before the stock market crash, it received rave reviews, but the elaborate, old-fashioned piece was a step back from the innovations in Show Boat, or even the Princess Theatre shows.^[32] In January 1929, at the height of the Jazz Age, and with Show Boat still playing on Broadway, Kern made news on both sides of the Atlantic for reasons wholly unconnected with music. He sold at auction, at New York's Anderson Galleries, the collection of English and American literature that he had been building up for more than a decade. The collection, rich in inscribed first editions and manuscript material of eighteenth and nineteenth century authors, sold for a total of $1,729,462.50 – a record for a single-owner sale that stood for over fifty years. Among the books he sold were first or early editions of poems by Robert Burns and Percy Bysshe Shelley, and works by Jonathan Swift, Henry Fielding and Charles Dickens, as well as manuscripts by Alexander Pope, John Keats, Shelley, Lord Byron, Thomas Hardy and others.^[1][33][34]