- Title Pages
- Figures and tables
- Notes on contributors
- Foreword: In search of discographic others
- References
- 1 Introduction: <i>Desert Island Discs</i> in context
- Personal Spin A
- 2 The cultural baggage of the desert island
- 3 From <i>Forces’ Choice</i> to <i>Desert Island Discs</i>: The BBC’s promotion of personal choice in wartime
- 4 Desert island discomorphoses: Listening formations and the material cultures of music
- Personal Spin B
- Personal Spin C
- 5 Adrift or ashore? <i>Desert Island Discs</i> and celebrity culture
- 6 Playlists and prizes: Cultural authority, personal taste, and musical value since the 1940s
- 7 What does it mean to be cultured? <i>Desert Island Discs</i> as an ideological archive
- Personal Spin D
- Personal Spin E
- 8 <i>Desert Island Discs</i> and British emotional life
- 9 Punk, class, and taste in <i>Desert Island Discs</i>
- 10 Peripheral identities on <i>Desert Island Discs</i> and <i>Beti a’i Phobol</i>
- Personal Spin F
- Personal Spin G
- 11 Public and narrative selves in <i>Desert Island Discs</i>
- 12 Desert island dislocation: Emotion, nostalgia, and the utility of music
- 13 Musicianly lives musically told: Oral history, classical music, and <i>Desert Island Discs</i>
- Personal Spin H
- Personal Spin I
- Personal Spin J
- 14 Afterword: Playing the discographic self
- Index
Personal Spin B
Personal Spin B
Desert Island Discs producer
- Chapter:
- (p.83) Personal Spin B
- Source:
- Defining the Discographic Self
- Author(s):
Derek Drescher
- Publisher:
- British Academy
Desert Island Discs was, and probably still is, the one radio programme that everyone wants to appear on. So when I was asked to produce it in 1976, I saw it as a golden opportunity to meet all my heroes, from Lauren Bacall, Luciano Pavarotti, and Sir Adrian Boult to Count Basie and Felicity Kendal....
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- Title Pages
- Figures and tables
- Notes on contributors
- Foreword: In search of discographic others
- References
- 1 Introduction: <i>Desert Island Discs</i> in context
- Personal Spin A
- 2 The cultural baggage of the desert island
- 3 From <i>Forces’ Choice</i> to <i>Desert Island Discs</i>: The BBC’s promotion of personal choice in wartime
- 4 Desert island discomorphoses: Listening formations and the material cultures of music
- Personal Spin B
- Personal Spin C
- 5 Adrift or ashore? <i>Desert Island Discs</i> and celebrity culture
- 6 Playlists and prizes: Cultural authority, personal taste, and musical value since the 1940s
- 7 What does it mean to be cultured? <i>Desert Island Discs</i> as an ideological archive
- Personal Spin D
- Personal Spin E
- 8 <i>Desert Island Discs</i> and British emotional life
- 9 Punk, class, and taste in <i>Desert Island Discs</i>
- 10 Peripheral identities on <i>Desert Island Discs</i> and <i>Beti a’i Phobol</i>
- Personal Spin F
- Personal Spin G
- 11 Public and narrative selves in <i>Desert Island Discs</i>
- 12 Desert island dislocation: Emotion, nostalgia, and the utility of music
- 13 Musicianly lives musically told: Oral history, classical music, and <i>Desert Island Discs</i>
- Personal Spin H
- Personal Spin I
- Personal Spin J
- 14 Afterword: Playing the discographic self
- Index
