That year's race was cut short by rain, forcing Mutual to interrupt Queen for a Day to broadcast the finish of the rain-shortened event. Later in the day, Collins reported from victory lane. Slater was able to make it to the race, so Collins joined Slater in the booth as co-anchor. Sid Collins, who had served as a turn reporter for two years, was tentatively named his replacement. In 1950, due to an illness, Slater was expected to miss the broadcast. In the years after World War II, Mutual utilized the services of WIBC-AM to produce the broadcast and provide additional talent. ![]() In the years prior to World War II, Mutual used the production services of WLW, and provided the signal to other Mutual stations across the country. Bill Slater was brought in as the anchor. Mutual / WIBCįrom 1939 to 1950, Mutual Broadcasting System covered the Indianapolis 500 nationwide with live segments at the start, the finish, and live periodic updates throughout the race. WIRE and WLW also reported from the race during the 1930s. CBS also covered the race in the late 1930s, with Ted Husing anchoring the coverage in 1936. Charlie Lyons was their announcer for 1939. NBC eventually returned, and continued until 1939, in some years also carrying live segments at the start. There was no radio coverage in 1932, as Speedway officials decided to allow newspapers exclusive coverage of the race. The first major coverage came in 1928 when NBC covered the final hour of the race live, with Graham McNamee as anchor. In 1929, WKBF and WFBM carried a 5-1/2 hour full race broadcast. Starting in either 1924 or 1925, WFBM and WGN carried the race, broadcasting periodic updates. Two small stations, WOH and WLK broadcast descriptions of the race to a small number of households in the Indianapolis area. 6 Brickyard 400 & Lilly Diabetes 250 on-air talentĬoverage of the Indianapolis 500 on radio dates back to 1922.5 Indianapolis 500 On-air crews and broadcast details by year.Other notable broadcasters over the network's history include Paul Page, Bob Jenkins, Jerry Baker, Bob Lamey, and dozens more. The most notable personality from the network is hall of fame broadcaster Sid Collins, who was the original "Voice of the 500" from 1952 to 1976. Currently, the network is referred to on-air as the Shell Ind圜ar Radio Network through a sponsorship arrangement with Shell Oil. Mark Jaynes is the current anchor and chief announcer for the network, a role he assumed beginning in 2016. The longtime flagship of the network is 1070/ WFNI (formerly WIBC) in Indianapolis. ![]() For 2017, the broadcast reached 20.5 million listeners. The network is carried on satellite radio through SiriusXM, and is also accessible through online streaming, and downloadable podcasts. It currently boasts over 350 terrestrial radio affiliates, plus shortwave transmissions through American Forces Network and World Harvest Radio. The network, owned by the Indianapolis Motor Speedway and headquartered in Speedway, Indiana, claims to be one of the largest of its kind in the world. The Indianapolis Motor Speedway Radio Network (known typically as the IMS Radio Network or Shell INDYCAR Radio Network), is an in-house radio syndication arrangement which broadcasts the Indianapolis 500, the NTT Ind圜ar Series, and Indy Lights to radio stations covering most of North America.
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![]() But I will have to keep on searching.We’re here to help you collect art securely. Its effect is encapsulated by another of the Neon Bible Hotline’s callers: “No, I’m not satisfied. The clear limit to the film’s success is that it doesn’t do much more than that, ultimately. It’s the most potent reminder of the Arcade Fire’s ambitious art that Miroir Noir possesses, and if the film does nothing more than remind us of its subjects’ transcendence in its final bow, then it can be called a success. The artsy editing finally relaxes enough to allow the live footage to build to a visceral climax with Funeral‘s anthemic duo of “Neighbourhood #3 (Power Out)” and “Rebellion (Lies)”, whose melding is ever a high-point of an Arcade Fire gig. There are occasional shoots of inspiration poking through: the band playing Neon Bible‘s title track in an elevator, complete with torn-magazine percussion Win and Régine in another elevator, letting rip on a version of “Windowsill” that quivers with easy power and a verse or so of “Surf City Eastern Block”, a b-side piano ballad about a kid escaping East Berlin in the trunk of a car that veers closer to the Berlin-era-Bowie sun than the band has ever passed before. But it’s mostly given to us in snatches, brief studio and live outtakes that serve to keep the film loosely on track. I’ve said little about the music in the film, which should not be taken to imply that there is not much of it. Morisset seems to realize this, providing a lengthy steadicam shot of Butler’s back as he walks through a festival audience, always already alone in a crowd. Though he joins Tim Kingsbury for a camera-mugging slow-dance to “Ocean of Noise” at one point, Butler is mostly a lifelike portrait of stoic detachment throughout. Her liveliness is a welcome foil to Butler’s ponderous inscrutability. We see her tiny feet straining to reach the pedals of the massive church organ she plays in “Intervention”, and later witness her effusive glee at the recording of the song’s backing orchestra. Chassagne’s pixie-like buoyancy shines through the random chop-cuts and marks her as the film’s most endearing force. Butler and Régine Chassagne are the most fully characterized, but even they only get the briefest of sketches. The behind-the-scene footage is hardly revelatory, presenting the band hammering out ideas in the studio and relaxing on the road. Miroir Noir is not a product that is likely to give anyone their life back. But one female caller sums up the Arcade Fire’s teetering balance of commercial appeal and soulful empathy perfectly: “Your product gave me my life back.” ![]() Oh shit, my foot’s on fire, I gotta go,” mutters one deadpan gent over shots of the band riding bumper cars). These recordings are interspersed throughout the film, and they vary from the adorable to the combative, from candid confessionals to hilarious non-sequiturs (“We’ve been touched by the hope and the truth. Perhaps the most penetrating idea of this type was the (866) NEON-BIBLE hotline, a number which fans could call to leave messages for the band. The film is replete with these concepts, from the cheesy pyramid-scheme ads released online to Richard Reed Parry’s front-row cameo on The Price Is Right. ![]() In promoting 2007’s Neon Bible, the group’s chosen instruments for that navigation tended towards ironic appropriations of infomercial hucksterism. Its most obvious antecedent is Radiohead’s Meeting People is Easy, but while that film unwinds gradually to the disaffected malaise in Thom Yorke’s voice, Miroir Noir is a self-aware tone-poem essay on the Arcade Fire’s navigation of the post-millennial liminal spaces between commercial capitalism and independent art. Directed by their long-time collaborator Vincent Morisset, this is never entirely a concert film nor a tour documentary nor even a film-student art flick, though elements of all three are prominent. The contradictions and hypocrisies that the Arcade Fire both embody and work gamely to transcend are visualized repeatedly in Miroir Noir. Even in such close quarters, the act of leveling can only be achieved through the conduit of the music. No species of direct connection is sought. But this footage shows indie’s high priests seeming uneasy among the faithful, who appear to share the feeling. Renowned for their sojourns into the crowd, this particular gimmick is usually configured as a populist transgression of the supposed boundary between performer and audience. The fans bunch awkwardly around them as Win Butler intones into a ghetto-taped megaphone. The Arcade Fire’s enigmatic Miroir Noir opens with its most authentic moment: the band faces each other in the middle of an audience and gingerly eases into “Wake Up”. ![]() ![]() She won 12 Emmys, and received a Peabody Award for her interview with Christopher Reeve, following the horseback-riding accident from which he was paralyzed. And she was not afraid to snatch an interview away from a colleague – her competitive chops to get an exclusive were strong.īy 2004, when she stepped down from "20/20," she had logged more than 700 interviews (more than a few of whose subjects would be made to cry). "I'm not afraid when I'm interviewing, I have no fear!" Walters told The Associated Press in 2008. She admitted she was never in awe around celebrities, because she'd grown up around many, her father being a nightclub owner. And in 1997, she created "The View," an all-female live talk show that tackled any and every topic.ĭuring her decades at NBC and ABC, she earned her reputation as a tough interviewer with incisive questioning of newsmakers, celebrities, politicians and world leaders. But co-anchoring with Harry Reasoner proved disastrous, and ABC News president Roone Arledge moved her into special projects, with primetime interview specials and contributions to the newsmagazine "20/20," a show she would eventually co-host. Walters would become the co-host of "Today," only to be lured away by ABC News in 1976, becoming the first woman to anchor an evening network newscast, earning an unprecedented $1 million salary. In addition to "Today," she also hosted the syndicated morning show "Not for Women Only." She began making on-air appearances with light, offbeat stories, for which she once wore bunny ears to report on the life of a Playboy bunny. Writing for male correspondents would become only one of many glass ceilings she would break. Trailblazing broadcaster Barbara Walters (September 25, 1929-December 30, 2022) forged a path for women in an industry that was dominated by men, so much so that, when she was hired as a writer for NBC's "Today" in 1961, she was only allowed to write for women. Barry O'Rourke /Disney General Entertainment Content via Getty Images Francis would say having Benedict at the Vatican was like having a "wise grandfather" living at home. The two lived as neighbors, an unprecedented arrangement, as Benedict wrote and lived a monastic life in the Vatican Gardens. There were also PR gaffes he was criticized for telling reporters, in 2009, that distributing condoms would increase, not decrease, the spread of AIDS.īut he was also forced to confront the fallout of the church's sex abuse scandal, and notably apologized to victims.īenedict's dramatic decision to retire, rather than to remain in office until his death, paved the way for the election of Pope Francis, a more progressive cleric. As a conservative, many of his actions (such as relaxing the restrictions on Latin mass) satisfied traditionalists, but were controversial among more progressive voices in the clergy. He reached out to other faiths, and became only the second pope in history to enter a synagogue. It seems as if everything would be just the same even without Him." On his first foreign trip as pope, at a 2005 World Youth Day gathering in Cologne, Germany, he told a million attendees, "In vast areas of the world today, there is a strange forgetfulness of God. ![]() He used his position to redirect the world's focus on faith in an era of secularization. The first German pope in a thousand years, Benedict – born Joseph Ratzinger – was a theologian and writer devoted to history and tradition, who was elected to succeed Pope John Paul II. The then-85-year-old thus became the first pope in 600 years to resign. Pope Emeritus Benedict XVI (April 16, 1927-December 31, 2022) stunned the world in 2013 when he announced, after eight years in office, that he lacked the strength to continue as head of the Catholic Church. The Associated Press contributed to this gallery. ![]() | Alessandra Benedetti/Corbis via Getty ImagesĪ look back at the esteemed personalities who left us this year, who'd touched us with their innovation, creativity and humanity.īy senior producer David Morgan. Pope Benedict XVI is greeted by the faithful in Les Combes in 2005. |