Randall Davidson provides a comprehensive history of the innovative work of Wisconsin's educational radio stations. Beginning with the first broadcast by experimental station 9XM at the University of Wisconsin, followed by WHA, through the state-owned affiliate WLBL, to the network of stations that in the years following WWII formed the Wisconsin Public Radio network, Davidson describes how, with homemade equipment and ideas developed from scratch, public radio became a tangible example of the Wisconsin Idea, bringing the educational riches of the university to all the state's residents. Marking the centennial year of Wisconsin Public Radio, this paperback edition includes a new foreword by Bill Siemering, National Public Radio's founding director of programming.
Acoustic Properties: Radio, Narrative, and the New Neighborhood of the Americas discovers the prehistory of wireless culture. It examines both the coevolution of radio and the novel in Argentina, Cuba, and the United States from the early 1930s to the late 1960s, and the various populist political climates in which the emerging medium of radio became the chosen means to produce the voice of the people.
Based on original archival research in Buenos Aires, Havana, Paris, and the United States, the book develops a literary media theory that understands sound as a transmedial phenomenon and radio as a transnational medium. Analyzing the construction of new social and political relations in the wake of the United States’ 1930s Good Neighbor Policy, Acoustic Properties challenges standard narratives of hemispheric influence through new readings of Richard Wright’s cinematic work in Argentina, Severo Sarduy’s radio plays in France, and novels by John Dos Passos, Manuel Puig, Raymond Chandler, and Carson McCullers. Alongside these writers, the book also explores Che Guevara and Fidel Castro’s Radio Rebelde, FDR’s fireside chats, Félix Caignet’s invention of the radionovela in Cuba, Evita Perón’s populist melodramas in Argentina, Orson Welles’s experimental New Deal radio, Cuban and U.S. “radio wars,” and the 1960s African American activist Robert F. Williams’s proto–black power Radio Free Dixie.
From the doldrums of the Great Depression to the tumult of the Cuban Revolution, Acoustic Properties illuminates how novelists in the radio age converted writing into a practice of listening, transforming realism as they struggled to channel and shape popular power.
In 1931, the United States and France embarked on a broadcasting partnership built around radio. Over time, the transatlantic sonic alliance came to personify and to shape American-French relations in an era of increased global media production and distribution.
Drawing on a broad range of American and French archives, Derek Vaillant joins textual and aural materials with original data analytics and maps to illuminate U.S.-French broadcasting's political and cultural development. Vaillant focuses on the period from 1931 until France dismantled its state media system in 1974. His analysis examines mobile actors, circulating programs, and shifting institutions that shaped international radio's use in times of war and peace. He explores the extraordinary achievements, the miscommunications and failures, and the limits of cooperation between America and France as they shaped a new media environment. Throughout, Vaillant explains how radio's power as an instantaneous mass communications tool produced, legitimized, and circulated various notions of states, cultures, ideologies, and peoples as superior or inferior.
A first comparative history of its subject, Across the Waves provocatively examines how different strategic agendas, aesthetic aims and technical systems shaped U.S.-French broadcasting and the cultural politics linking the United States and France.
Started by the National Life and Accident Insurance Company in 1925, WSM became one of the most influential and exceptional radio stations in the history of broadcasting and country music. WSM gave Nashville the moniker “Music City USA” as well as a rich tradition of music, news, and broad-based entertainment. With the rise of country music broadcasting and recording between the 1920s and ‘50s, WSM, Nashville, and country music became inseparable, stemming from WSM’s launch of the Grand Ole Opry, popular daily shows like Noontime Neighbors, and early morning artist-driven shows such as Hank Williams on Mother’s Best Flour.
Sparked by public outcry following a proposal to pull country music and the Opry from WSM-AM in 2002, Craig Havighurst scoured new and existing sources to document the station’s profound effect on the character and self-image of Nashville. Introducing the reader to colorful artists and businessmen from the station’s history, including Owen Bradley, Minnie Pearl, Jim Denny, Edwin Craig, and Dinah Shore, the volume invites the reader to reflect on the status of Nashville, radio, and country music in American culture.
This collection assembles the best interviews from Steve Cushing's long-running radio program Blues Before Sunrise, the nationally syndicated, award-winning program focusing on vintage blues and R&B. As both an observer and performer, Cushing has been involved with the blues scene in Chicago for decades. His candid, colorful interviews with prominent blues players, producers, and deejays reveal the behind-the-scenes world of the formative years of recorded blues. Many of these oral histories detail the careers of lesser-known but greatly influential blues performers and promoters.
The book focuses in particular on pre–World War II blues singers, performers active in 1950s Chicago, and nonperformers who contributed to the early blues world. Interviewees include Alberta Hunter, one of the earliest African American singers to transition from Chicago's Bronzeville nightlife to the international spotlight, and Ralph Bass, one of the greatest R&B producers of his era. Blues expert, writer, record producer, and cofounder of Living Blues Magazine Jim O'Neal provides the book's foreword.
In Breaks in the Air John Klaess tells the story of rap’s emergence on New York City’s airwaves by examining how artists and broadcasters adapted hip hop’s performance culture to radio. Initially, artists and DJs brought their live practice to radio by buying time on low-bandwidth community stations and building new communities around their shows. Later, stations owned by New York’s African American elite, such as WBLS, reluctantly began airing rap even as they pursued a sound rooted in respectability, urban sophistication, and polish. At the same time, large commercial stations like WRKS programmed rap once it became clear that the music attracted a demographic that was valuable to advertisers. Moving between intimate portraits of single radio shows and broader examinations of the legal, financial, cultural, and political forces that indelibly shaped the sound of rap radio, Klaess shows how early rap radio provides a lens through which to better understand the development of rap music as well as the intertwined histories of sounds, institutions, communities, and legal formations that converged in the post-Civil Rights era.
During the 1980s war in El Salvador, Radio Venceremos was the main news outlet for the Frente Farabundo Martí para la Liberación Nacional (FMLN), the guerrilla organization that challenged the government. The broadcast provided a vital link between combatants in the mountains and the outside world, as well as an alternative to mainstream media reporting. In this first-person account, "Santiago," the legend behind Radio Venceremos, tells the story of the early years of that conflict, a rebellion of poor peasants against the Salvadoran government and its benefactor, the United States.
Originally published as La Terquedad del Izote, this memoir also addresses the broader story of a nationwide rebellion and its international context, particularly the intensifying Cold War and heavy U.S. involvement in it under President Reagan. By the war's end in 1992, more than 75,000 were dead and 350,000 wounded—in a country the size of Massachusetts. Although outnumbered and outfinanced, the rebels fought the Salvadoran Army to a draw and brought enough bargaining power to the negotiating table to achieve some of their key objectives, including democratic reforms and an overhaul of the security forces.
Broadcasting the Civil War in El Salvador is a riveting account from the rebels' point of view that lends immediacy to the Salvadoran conflict. It should appeal to all who are interested in historic memory and human rights, U.S. policy toward Central America, and the role the media can play in wartime.
With his dynamic on-air personality and his trademark cry of "Burn, baby! BURN!" when spinning the hottest new records, Magnificent Montague was the charismatic voice of soul music in Chicago, New York, and Los Angeles from the mid-1950s to the mid-1960s. In this memoir Montague recounts the events of his momentous radio career, which ran from the era of segregation to that of the civil rights movement; as he does so, he also tells the broader story of a life spent in the passionate pursuit of knowledge, historical and musical.
Like many black disc jockeys of his day, Montague played a role in his community beyond simply spreading the music of James Brown, Otis Redding, Aretha Franklin, and other prominent artists. Montague served as an unofficial spokesman for his black listeners, reflecting their beliefs and acting as a sounding board for their concerns.
Montague was based in Los Angeles in 1965 when the Watts rioters seized on his incendiary slogan, turning the shout of musical appreciation into a rallying cry for racial violence. In Burn, Baby! BURN! Montague recalls these tumultuous times, including the personal struggle he faced over whether to remain true to his listeners or bend to political pressure and stop shouting his suddenly controversial slogan.
Since the mid-1950s Montague had also expressed his passion for African American culture by becoming a zealous collector of artifacts of black history. He has built a monumental collection, taking time out from his collecting to become only the second African American to build his own radio station literally from the ground up.
A compelling account of a rich and varied life, Burn, Baby! BURN! gives an insider's view of half a century of black history, told with on-the-air zest by the DJ/historian who was there to see it unfold.
Written by two leading experts in the field, this exceptional book introduces the reader to the principles, theory and applications of physical layer wireless/mobile communications. In the area of wireless, the antennas, propagation and the radio channel used are inter-related; this book offers an explanation of that relationship, which is fundamental to the development of systems with high spectral efficiency.
By the middle of the twentieth century, Hollywood, formerly the one and only dream factory, found itself facing a host of media rivals for the public’s attention. In the 1980s, another competitor arrived in the form of the proto-Internet—a computer network as yet untested by all but research scientists, college students, the military, and a few thousand PC and modem owners. How did Hollywood respond to this nascent challenge? By dreaming about it, in a series of technological fantasies, from Tron to War Games to Lawnmower Man. The Cinema Dreams Its Rivals examines the meaning and effect of the movies’ attempts to reshape the shifting media landscape.
Paul Young looks at the American cinema’s imaginative constructions of three electronic media—radio, television, and the Internet—at the times when these media seemed to hold limitless possibilities. In doing so, he demonstrates that Hollywood is indelibly marked by the advent of each new medium, from the inclusion of sound in motion pictures to the use of digital graphics. But conversely, Young argues, the identities of the new media are themselves changed as Hollywood turns them to its own purposes and its own dreams.
Paul Young is professor of English and director of the film studies program at Vanderbilt University.
Drawing on a rich base of British archival materials, Arabic periodicals, and secondary sources, Colonialism and Christianity in Mandate Palestine brings to light the ways in which the British colonial state in Palestine exacerbated sectarianism. By transforming Muslim, Christian, and Jewish religious identities into legal categories, Laura Robson argues, the British ultimately marginalized Christian communities in Palestine. Robson explores the turning points that developed as a result of such policies, many of which led to permanent changes in the region's political landscapes. Cases include the British refusal to support Arab Christian leadership within Greek-controlled Orthodox churches, attempts to avert involvement from French or Vatican-related groups by sidelining Latin and Eastern Rite Catholics, and interfering with Arab Christians' efforts to cooperate with Muslims in objecting to Zionist expansion. Challenging the widespread but mistaken notion that violent sectarianism was endemic to Palestine, Colonialism and Christianity in Mandate Palestine shows that it was intentionally stoked in the wake of British rule beginning in 1917, with catastrophic effects well into the twenty-first century.
In an innovative cultural history of Argentine movies and radio in the decades before Peronism, Matthew B. Karush demonstrates that competition with jazz and Hollywood cinema shaped Argentina's domestic cultural production in crucial ways, as Argentine producers tried to elevate their offerings to appeal to consumers seduced by North American modernity. At the same time, the transnational marketplace encouraged these producers to compete by marketing "authentic" Argentine culture. Domestic filmmakers, radio and recording entrepreneurs, lyricists, musicians, actors, and screenwriters borrowed heavily from a rich tradition of popular melodrama. Although the resulting mass culture trafficked in conformism and consumerist titillation, it also disseminated versions of national identity that celebrated the virtue and dignity of the poor, while denigrating the wealthy as greedy and mean-spirited. This anti-elitism has been overlooked by historians, who have depicted radio and cinema as instruments of social cohesion and middle-class formation. Analyzing tango and folk songs, film comedies and dramas, radio soap operas, and other genres, Karush argues that the Argentine culture industries generated polarizing images and narratives that provided much of the discursive raw material from which Juan and Eva Perón built their mass movement.
This collection of essays explores the development of electronic sound recording in Japanese cinema, radio, and popular music to illuminate the interrelationship of aesthetics, technology, and cultural modernity in prewar Japan. Putting the cinema at the center of a "culture of the sound image", it restores complexity to a media transition that is often described simply as slow and reluctant. In that vibrant sound culture, the talkie was introduced on the radio before it could be heard in the cinema, and pop music adaptations substituted for musicals even as cinema musicians and live narrators resisted the introduction of recorded sound. Taken together, the essays show that the development of sound technology shaped the economic structure of the film industry and its labour practices, the intermedial relation between cinema, radio, and popular music, as well as the architecture of cinemas and the visual style of individual Japanese films and filmmakers.
Analogue filters will always be needed for interfacing between digital systems and the 'real' analogue world. In fact, the high frequency integrated analogue filter has become a key component in achieving ubiquitous communication and computing. In recent years, the renewed interest in analogue, mixed-signal and RF circuits due to the need for system-on-chip design and the market for wireless communications has led to a new peak of research into high frequency integrated analogue filters.
Much has been written about Faraday and Marconi, and about the history of the development of radio from the time of Marconi. However, Gerald Garratt's special interest was in what might be termed the 'prehistory' of radio. This book therefore outlines the sequence of development from Faraday's first prediction and concept of the electromagnetic field: Maxwell worked out the mathematics of electromagnetic wave propagation and Hertz demonstrated their physical existence. Lodge identified the need for resonance between transmitter and receiver, thus leading to Marconi's successful practical application.
A unique and definitive study of freedom of expression rights in electronic media from the 1920s through the mid-1930s, Louise M. Benjamin’s Freedom of the Air and the Public Interest: First Amendment Rights in Broadcasting to 1935 examines the evolution of free speech rights in early radio.
Drawing on primary resources from sixteen archives plus contemporary secondary sources, Benjamin analyzes interactions among the players involved and argues that First Amendment rights in radio evolved in the 1920s and 1930s through the interaction of many entities having social, political, or economic interests in radio. She shows how free speech and First Amendment rights were defined and perceived up to 1935.
Focusing on the evolution of various electronic media rights, Benjamin looks at censorship, speakers’ rights of access to the medium, broadcasters’ rights to use radio as they desired, and listeners’ rights to receive information via the airwaves. With many interested parties involved, conflict was inevitable, resulting in the establishment of industry policies and government legislation—particularly the Radio Act of 1927. Further debate led to the Communications Act of 1934, which has provided the regulatory framework for broadcasting for over sixty years. Controversies caused by new technology today continue to rage over virtually the same rights and issues that Benjamin deals with.
This book explores the future of mobile communications networks from 3G trials, developments and products, to what will follow in the future. The increasing demands for services and higher quality continue to drive forward the technological capabilities. The implications of increasing mobile customer numbers on a global scale are investigated, as well as the convergence of mobile and the Internet, which, it is envisaged, will provide the next massive growth burst to the mobile market and 3G networks.
As either observer or participant, radio deejay and political activist Richard E. Stamz witnessed every significant period in the history of blues and jazz in the last century. From performing first-hand as a minstrel in the 1920s to broadcasting Negro League baseball games in a converted 1934 Chrysler to breaking into Chicago radio and activist politics and hosting his own television variety show, the remarkable story of his life also is a window into milestones of African American history throughout the twentieth century.
Dominating the airwaves with his radio show "Open the Door, Richard" on WGES in Chicago, Stamz cultivated friendships with countless music legends, including Willie Dixon, Sonny Boy Williamson, Little Walter, Howlin' Wolf, Memphis Slim, and Leonard Chess. The pioneering Chicago broadcaster and activist known as "The Crown Prince of Soul" died in 2007 at the age of 101, but not before he related the details of his life and career to college professor Patrick A. Roberts. Give 'Em Soul, Richard! surrounds Stamz's memories of race records, juke joints, and political action in Chicago's Englewood neighborhood with insights on the larger historical trends that were unfolding around him in radio and American history.
Narrated by Stamz, this entertaining and insightful chronicle includes commentary by Roberts as well as reflections on the unlikely friendship and collaboration between a black radio legend and a white academic that resulted in one of the few existing first-hand accounts of Chicago's post-war radio scene.
When Breeze FM, a radio station in the provincial Zambian town of Chipata, hired an elderly retired schoolteacher in 2003, no one anticipated the skyrocketing success that would follow. A self-styled grandfather on air, Gogo Breeze seeks intimacy over the airwaves and dispenses advice on a wide variety of grievances and transgressions. Multiple voices are broadcast and juxtaposed through call-ins and dialogue, but free speech finds its ally in the radio elder who, by allowing people to be heard and supporting their claims, reminds authorities of their obligations toward the disaffected.
Harri Englund provides a masterfully detailed study of this popular radio personality that addresses broad questions of free speech in Zambia and beyond. By drawing on ethnographic insights into political communication, Englund presents multivocal morality as an alternative to dominant Euro-American perspectives, displacing the simplistic notion of voice as individual personal property—an idea common in both policy and activist rhetoric. Instead, Englund focuses on the creativity and polyphony of Zambian radio while raising important questions about hierarchy, elderhood, and ethics in the public sphere.
A lively, engaging portrait of an extraordinary personality, Gogo Breeze will interest Africanists, scholars of radio and mass media, and anyone interested in the history and future of free speech.
The National Barn Dance was the nation's most popular country music radio show during the 1930s and 1940s, essentially defining country and western entertainment until it was supplanted by the Grand Ole Opry and rock 'n' roll in the 1950s. Broadcast for more than three decades from Chicago on WLS's powerful 50,000-watt signal, the show reached listeners throughout the Midwest, the East Coast, and large regions of the South, delivering popular entertainment to rural and urban areas and celebrating the folk traditions that were fading in an increasingly urbanized America.
Drawing on the colorful commentary of performers and former listeners, these essays analyze the National Barn Dance and its audience, trace the history of barn dance radio, explore the paradox of country music in a major urban center, investigate notions of authenticity in the presentation of country music and entertainment, and delve into other provocative issues raised by the barn dance phenomenon.
Contributors are Chad Berry, Michael T. Bertrand, Lisa Krissoff Boehm, Don Cusic, Wayne W. Daniel, Loyal Jones, Kristine M. McCusker, Stephen Parry, Susan Smulyan, Paul L. Tyler, and Michael Ann Williams.
The history of radio broadcasting is traced from its earliest origins, through its role as a subversive tool in World War II to the cold war era, and finally to its present day use as an instrument of foreign policy used by over 160 countries.
Jean Feraca’s road to self-fulfillment has been as quirky and demanding as the characters in her incredible memoir. A veteran of several decades of public radio broadcasting, Feraca is also a writer and a poet. She is a talk show host beloved for her unique mixture of the humanities, poetry, and journalism, and is the creator of the pioneering international cultural affairs radio program Here on Earth: Radio without Borders.
In this searing memoir, Feraca traces her own emergence. She pulls back the curtain on her private life, revealing unforgettable portraits of the characters in her brawling Italian-American family: Jenny, the grandmother, the devil woman who threw Casey Stengel down an excavation pit; Dolly, the mother, a cross between Long John Silver and the Wife of Bath, who in battling mental illness becomes the scourge of a Lutheran nursing home; and Stephen, the brilliant but troubled older brother, an anthropologist adopted by a Sioux tribe. In a new chapter that reinforces and ties together the book’s exploration of the multiple forms of love, Jean introduces us to Roger, a Wildman and her husband’s best friend with whom she, too, develops an extraordinary intimacy. A selection of fifteen of Feraca’s poems add counterpoint to her engaging prose.
Imagine that there was a time in America when a child sat next to a radio and simply listened. But didn’t just listen, was enthralled and knew that this time was his alone, that he was part of the vortex of drama unfolding inside the radio’s innards. . . . I never saw a punch thrown, or a glass shatter, or a blood-smeared shirt as I listened to the radio. Nor did I know Barbara Stanwyck’s hairstyle as she overacted in Sorry, Wrong Number on the Lux Radio Theatre. And I had no idea how corpulent Happy Felton was as he dropped ten silver dollars that jangled into a Sheffield’s Milk bottle on Guess Who. (Yes, ten bucks was what you won on that show.) Instead, I imagined it all.
I Hid It under the Sheets captures a bygone era—the late 1930s, 1940s, and early 1950s—through the reminiscences of award-winning New York Times reporter Gerald Eskenazi. This first-person recollection shows radio’s broad impact on his generation and explains how and why it became such a major factor in shaping America and Americans.
For Eskenazi and his peers, radio had virtually no competition from other forms of media, aside from newspapers. Because of this, radio was able to create a common American culture, something that is not found in today’s multifaceted world. Eskenazi shows how the popular programs of the times—from The Lone Ranger to The Fat Man to The Answer Man—helped create a culture of values (telling the truth, being courteous, being courageous, and being a moral person).
Eskenazi’s personal anecdotes about each program are interspersed with interviews of personalities ranging from Tom Brokaw to Colin Powell about their own experiences with radio. Brokaw, who grew up in South Dakota, found radio brought him closer to the world beyond him. Would he have become the newsman he is today without the radio to pique his imagination?
Eskenazi also shows how important radio was to immigrants seeking to become a part of the American experience. Through radio, even he, a Jewish kid from Brooklyn, could grow up feeling connected to the dominant culture of the times. For those who yearn to remember a time gone by, to laugh at childhood memories, or merely to learn about life during a simpler time, this book is for you.
Journalist and activist Thorne Dreyer has interviewed hundreds of people for Rag Radio since it went on the air in 2009. Making Waves features transcripts from twenty-one of those interviews, with everyone from TV anchor Dan Rather to Senator Bernie Sanders to monumental sculptor Bob “Daddy-O” Wade. The Rag Radio archive is now part of the collections at the Briscoe Center for American History at the University of Texas.
As a student at the University of Texas in the 1960s, Dreyer joined the Students for a Democratic Society (SDS) and became heavily involved in civil rights and the movement to end the war in Vietnam. He also helped create and edit two underground newspapers—The Rag in Austin and Space City! in Houston—and later ran a public relations business with a diverse list of clients, including progressive political campaigns. Dreyer credits the influence of his artist mother and writer father and their lively salons plus his journalism career, his political and social activism, and his stage acting experience for his interviewing success—“Put it all in a blender and Rag Radio was bound to whip up.”
Making Waves holds a wealth of information, but Dreyer makes it read like conversations among friends. “I always tell my guests that I want the discussion to be informal,” Dreyer says. “We’re going to record some important history here, but we also want to have fun.”
Modern Personal Radio Systems
R.C.V. Macario The Institution of Engineering and Technology, 1996 Library of Congress TK5103.485.M64 1996 | Dewey Decimal 621.3845
This topical book builds upon an earlier IEE text Personal & mobile radio systems, by the same editor, which set out the fundamental issues in a discipline that appeared to have global expansion potential. That potential has now become a reality, and something more than a new edition of the previous book was needed to bring it up to date. This book is completely new, drawing on the experience and the many intensive studies that have been concentrated in this field in the past five years.
This unique anthology assembles primary documents chronicling the development of the phonograph, film sound, and the radio. These three sound technologies shaped Americans' relation to music from the late nineteenth century until the end of the Second World War, by which time the technologies were thoroughly integrated into everyday life. There are more than 120 selections between the collection's first piece, an article on the phonograph written by Thomas Edison in 1878, and its last, a column advising listeners "desirous of gaining more from music as presented by the radio." Among the selections are articles from popular and trade publications, advertisements, fan letters, corporate records, fiction, and sheet music. Taken together, the selections capture how the new sound technologies were shaped by developments such as urbanization, the increasing value placed on leisure time, and the rise of the advertising industry. Most importantly, they depict the ways that the new sound technologies were received by real people in particular places and moments in time.
In 1926, the new NBC networks established an advisory board of prominent citizens to help it make program decisions as well as to deflect concerns over NBC’s dominance over radio. The council, which advised NBC on program development—especially cultural broadcasts and those aimed at rural audiences—influenced not only NBC’s policies but also decisions other radio organizations made, decisions that resonate in today’s electronic media
The council’s rulings had wide-ranging impact on society and the radio industry, addressing such issues as radio’s operation in the public interest; access of religious groups to the airwaves; personal attacks on individuals, especially the clergy; and coverage of controversial issues of public importance. Principles adopted in these decrees kept undesirable shows off the air, and other networks, stations, and professional broadcast groups used the council’s decisions in establishing their own organizational guidelines.
Benjamin documents how these decrees had influence well after the council’s demise. Beginning in the early 1930s, the council denied use of NBC to birth control advocates. This refusal revealed a pointed clash between traditional and modernistic elements in American society and laid down principles for broadcasting controversial issues. This policy resonated throughout the next five decades with the implementation of the Fairness Doctrine.
The NBC Advisory Council and Radio Programming, 1926–1945 offers the first in-depth examination of the council, which reflected and shaped American society during the interwar period. Author Louise M. Benjamin tracks the council from its inception until it was quietly disbanded in 1945, insightfully critiquing the council’s influence on broadcast policies, analyzing early attempts at using the medium of radio to achieve political goals, and illustrating the council’s role in the development of program genres, including news, sitcoms, crime drama, soap operas, quiz shows, and variety programs.
In 1925 Earl May began broadcasting KMA Radio-960 from Shenandoah, Iowa, to boost his fledgling seed business. The station aired practical information designed to help with the day-to-day activity in midwestern farmhouse kitchens. Before long KMA was a trusted friend throughout the wide listening area, offering inspiration, companionship, and all manners of domestic counsel. Hosting the daily radio programs—Home Hour, the Stitch and Chat Club, and the KMA Party Line—and the live cooking demonstrations that drew thousands to the KMA auditorium was a changing roster of personable, lively women who quickly became known as the KMA Radio Homemakers.
Now, in Neighboring on the Air, we can hear the voices of the KMA homemakers and sample their philosophy and—best of all—cooking. Through recipes, biographies, and household advice we get to know such enduring women as "The Little Minister," the Reverend Edythe Stirlen, and Leanna Driftmier and the whole Kitchen-Klatter family, part of the longest-running homemaker program in the history of radio. Learn how to make Sour Cream Apple Pie from "The Farmer's Wife," Florence Falk; Varnished Chicken from the first long-term KMA Radio Homemaker, Jessie Young; and E.E.E. Missouri Dessert (nobody can remember what the "E.E.E." stands for) from the indomitable host of the Edith Hansen Kitchen Club. This endearing scrapbook of people, places, and foods charts the continuing adventure of the KMA homemakers as they broadcast into the 1990s. Neighboring on the Air is an enchanting piece of Americana. Anyone interested in cooking, cultural history, or the Midwest will want to own and use this book.
Norman Corwin is regarded as the most acclaimed creative artist of radio’s Golden Age (mid 1930s to late 1940s). Corwin worked as a producer for CBS at a time when radio was the centerpiece of American family life. His programs brought high moments to the medium during a period when exceptional creativity and world crisis shaped its character and conviction. Bannerman’s book is more than biography: it is also social history—the story of network radio, its great achievements and ultimate decline. Many of Corwin’s programs are considered radio classics. During World War II his programs energized the people and marshaled morale. We Hold These Truths, commemorating the 150th anniversary of the American Bill of Rights, was broadcast eight days after the attack on Pearl Harbor, and On a Note of Triumph, a VE-Day special for CBS, marked the historic culmination of a momentous conflict. Bannerman’s work is a portrayal of a remarkable man, who led an influential fight for the art and integrity of broadcasting, who endured unfounded accusations during the blacklisting period of the McCarthy era, and who by his dedication accomplished significant programs of historic dimensions.
Allen S. Weiss Duke University Press, 1995 Library of Congress ML3877.W45 1995 | Dewey Decimal 791.44
The alienation of the self, the annihilation of the body, the fracturing, dispersal, and reconstruction of the disembodied voice: the themes of modernism, even of modern consciousness, occur as a matter of course in the phantasmic realm of radio. In this original work of cultural criticism, Allen S. Weiss explores the meaning of radio to the modern imagination. Weaving together cultural and technological history, aesthetic analysis, and epistemological reflection, his investigation reveals how radiophony transforms expression and, in doing so, calls into question assumptions about language and being, body and voice. Phantasmic Radio presents a new perspective on the avant-garde radio experiments of Antonin Artaud and John Cage, and brings to light fascinating, lesser-known work by, among others, Valère Novarina, Gregory Whitehead, and Christof Migone. Weiss shows how Artaud’s "body without organs" establishes the closure of the flesh after the death of God; how Cage’s "imaginary landscapes" proffer the indissociability of techne and psyche; how Novarina reinvents the body through the word in his "theater of the ears." Going beyond the art historical context of these experiments, Weiss describes how, with their emphasis on montage and networks of transmission, they marked out the coordinates of modernism and prefigured what we now recognize as the postmodern.
The golden age of radio is often recalled as a time when the medium unified the nation, when families gathered around the radios in homes across the country to listen to live, commercially sponsored network broadcasts. In Points on the Dial, Alexander Russo revises our understanding of radio’s past by revealing the hidden histories of production, distribution, and reception practices during this era, which extended from the 1920s into the 1950s. Russo brings to light a tiered broadcasting system with intermingling but distinct national, regional, and local programming forms, sponsorship patterns, and methods of program distribution. Examining a wide range of practices, including regional networking, sound-on-disc transcription, the use of station representatives, spot advertising, and programming aimed at homes with several radios, he not only recasts our understanding of the relationship between national networks and local stations but also charts the development of new ways of listening—often distractedly rather than attentively—that set the stage for radio in the second half of the twentieth century.
Powerful Frequencies details the central role that radio technology and broadcasting played in the formation of colonial Portuguese Southern Africa and the postcolonial nation-state, Angola. In Intonations, Marissa J. Moorman examined the crucial relationship between music and Angolan independence during the 1960s and ’70s. Now, Moorman turns to the history of Angolan radio as an instrument for Portuguese settlers, the colonial state, African nationalists, and the postcolonial state. They all used radio to project power, while the latter employed it to challenge empire.
From the 1930s introduction of radio by settlers, to the clandestine broadcasts of guerrilla groups, to radio’s use in the Portuguese counterinsurgency strategy during the Cold War era and in developing the independent state’s national and regional voice, Powerful Frequencies narrates a history of canny listeners, committed professionals, and dissenting political movements. All of these employed radio’s peculiarities—invisibility, ephemerality, and its material effects—to transgress social, political, “physical,” and intellectual borders. Powerful Frequencies follows radio’s traces in film, literature, and music to illustrate how the technology’s sonic power—even when it made some listeners anxious and frightened—created and transformed the late colonial and independent Angolan soundscape.
Propagation of Radiowaves
Les Barclay The Institution of Engineering and Technology, 2012 Library of Congress QC661.P87 2013 | Dewey Decimal 621.38411
Propagation of Radiowaves introduces the basic concepts and mechanisms of radiowave propagation engineering in both the troposphere and ionosphere, an understanding of which is fundamental to the effective use of the radio spectrum for radiocommunication. Reflecting the wide experience of the exceptional group of authors, the contents provide a firm background to established theory and introduce the most appropriate models, methods and procedures which are of use to spectrum planners, system designers and operators in assessing the estimated performance of radio systems.
Propagation of Radiowaves
Les Barclay The Institution of Engineering and Technology, 2003 Library of Congress QC661.P87 2003 | Dewey Decimal 621.38411
The field of radio communications continues to change rapidly, and the second edition of this outstanding book, based on a popular IEE Vacation School, has been fully updated to reflect the latest developments. The introduction of new services and the proliferation of mobile communications have produced a growing need for wider bandwidths and the consequent need for frequency reuse. This book introduces the basic concepts and mechanisms of radiowave propogation engineering in both the troposphere and ionosphere, and includes greater emphasis on the needs of digital technologies and new kinds of radio systems. The content reflects the wide experience of an exceptional group of authors and the emphasis throughout is on modelling and prediction methods and the relevant ITU Radiocommunication Sector recommendations. Propagation of Radiowaves, 2nd Edition is essential reading for professionals involved in planning, designing and operating radio systems, as well as postgraduate students in the field.
How has American radio—once a grassroots, community-based medium—become a generic service that primarily benefits owners and shareholders and prohibits its listeners from receiving diversity of opinions, ideas, and entertainment through local programming? In The Quieted Voice: The Rise and Demise of Localism in American Radio, Robert L. Hilliard and Michael C. Keith blame the government’s continual deregulation of radio and the corporate obsession with the bottom line in the wake of the far-reaching and controversial Telecommunications Act of 1996. Fighting for greater democratization of the airwaves, Hilliard and Keith call for a return to localism to save radio from rampant media conglomeration and ever-narrowing music playlists—and to save Americans from corporate and government control of public information.
The Quieted Voice details radio’s obligation to broadcast in the public’s interest. Hilliard and Keith trace the origins of the public trusteeship behind the medium and argue that local programming is essential to the fulfillment of this responsibility. From historical and critical perspectives, they examine the decline of community-centered programming and outline the efforts of media watchdog and special interest groups that have vigorously opposed the decline of democracy and diversity in American radio. They also evaluate the implications of continuing delocalization of the radio medium and survey the perspectives of leading media scholars and experts.
Radio and Television Broadcasting on the European Continent was first published in
1967. Minnesota Archive Editions uses digital technology to make long-unavailable books once again accessible, and are published unaltered from the original University of Minnesota Press editions.
In this book Dr. Paulu provides a comprehensive survey based on firsthand study of the development and current status of radio and television broadcasting in continental Europe. He discusses the technical, organizational, financial, and programming aspects of European broadcasting in both Communist and Western countries. The material is organized, not on a country-by-country basis, but as it relates to broad basic issues, and it is presented in a framework of such interrelated factors as geography, history politics, international relations, religious traditions, language, national economic standards, and cultural and social life. The broadcasting systems studied include those of the Soviet Union and other Communist countries, France, West Germany, Belgium, the Netherlands, Italy, Sweden, and Switzerland.
The account is particularly timely in view of the concern and discussion about the future course of broadcasting in the United States. It has relevance not only for communications specialists but for political scientists and other scholars in the social sciences as well as for the growing public which is interested in the improvement of American broadcasting.
Blaring the Cream anthem “I Feel Free,” WBCN went on the air in March 1968 as an experiment in free-form rock on the fledgling FM radio band. It broadcast its final song, Pink Floyd’s “Shine On You Crazy Diamond,” in August 2009. In between, WBCN became the musical, cultural, and political voice of the young people of Boston and New England, sustaining a vibrant local music scene that launched such artists as the J. Geils Band, Aerosmith, James Taylor, Boston, the Cars, and the Dropkick Murphys, as well as paving the way for Bruce Springsteen, Tom Petty, U2, and many others. Along the way, WBCN both pioneered and defined progressive rock radio, the dominant format for a generation of listeners. Brilliantly told by Carter Alan—and featuring the voices of station insiders and the artists they loved—Radio Free Boston is the story of a city; of artistic freedom, of music and politics and identity; and of the cultural, technological, and financial forces that killed rock radio.
Radio is a medium of seemingly endless contradictions. Now in its third century of existence, the technology still seems startlingly modern; despite frequent predictions of its demise, radio continues to evolve and flourish in the age of the internet and social media. This book explores the history of the radio, describing its technological, political, and social evolution, and how it emerged from Victorian experimental laboratories to become a near-ubiquitous presence in our lives.
Alasdair Pinkerton’s story is shaped by radio’s multiple characters and characteristics—radio waves occur in nature, for instance, but have also been harnessed and molded by human beings to bridge oceans and reconfigure our experience of space and time. Published in association with the Science Museum, London, Radio is an informative and thought-provoking book for all enthusiasts of an old technology that still has the capacity to enthuse, entertain, entice, and enrage today.
Radio Man tells the story of C.O. Stanley, the unconventional Irishman who acquired Pye Radio at the beginning of the broadcasting age. Although he started with little experience and even less money, he was to make Pye a major player in the British electronics industry - only to crash it spectacularly forty years later. From the romance of early radio to the birth of the mobile, Stanley and Pye were players in some of the key moments of twentieth century Britain. His obsession with the infant medium of television allowed Pye to provide the equipment that put radar into planes in time for the Battle of Britain. His energy also drove Pye's pioneering work on the proximity fuse - work that would revolutionise antiaircraft warfare - and the company's manufacture of the war's most successful army radios.
Radio, Morality, and Culture: Britain, Canada, and the United States, 1919–1945 examines the moral controversies surrounding radio’s development during its formative years. In comparing the fledgling medium in Great Britain, Canada, and the United States, Robert S. Fortner documents how the church failed to participate in radio’s moral development and instead engaged in internecine warfare over issues of legitimacy and orthodoxy.
The church was arguing about theological turf and dealing with internal disputes while radio policy was being developed and communications history was being written. Fortner reveals how the church, doomed to play little more than a bit part in the future of radio, eventually lost its voice altogether in the continuing development of electronic media. Fortner effectively synthesizes cultural history and theory, communication studies, and the role religious organizations played in shaping the content and character of early radio. Geared to scholars of history, communications, and theology, Radio, Morality, and Culture provides a useful resource for research, scholarship, and public policy.
As World War II drew to a close and radio news was popularized through overseas broadcasting, journalists and dramatists began to build upon the unprecedented success of war reporting on the radio by creating audio documentaries. Focusing particularly on the work of radio luminaries such as Edward R. Murrow, Fred Friendly, Norman Corwin, and Erik Barnouw, Radio Utopia: Postwar Audio Documentary in the Public Interest traces this crucial phase in American radio history, significant not only for its timing immediately before television, but also because it bridges the gap between the end of the World Wars and the beginning of the Cold War.
Matthew C. Ehrlich closely examines the production of audio documentaries disseminated by major American commercial broadcast networks CBS, NBC, and ABC from 1945 to 1951. Audio documentary programs educated Americans about juvenile delinquency, slums, race relations, venereal disease, atomic energy, arms control, and other issues of public interest, but they typically stopped short of calling for radical change. Drawing on rare recordings and scripts, Ehrlich traces a crucial phase in the evolution of news documentary, as docudramas featuring actors were supplanted by reality-based programs that took advantage of new recording technology. Paralleling that shift from drama to realism was a shift in liberal thought from dreams of world peace to uneasy adjustments to a cold war mentality.
Influenced by corporate competition and government regulations, radio programming reflected shifts in a range of political thought that included pacifism, liberalism, and McCarthyism. In showing how programming highlighted contradictions within journalism and documentary, Radio Utopia reveals radio's response to the political, economic, and cultural upheaval of the post-war era.
The Shadow. Fibber McGee and Molly. Amos 'n' Andy. When we think back on the golden age of radio, we think of the shows. In Radio Voices, Michele Hilmes looks at the way radio programming influenced and was influenced by the United States of the 1920s, 1930s, and 1940s, tracing the history of the medium from its earliest years through the advent of television.
Hilmes places the development of radio within the context of the turmoils of the 1920s: immigration and urbanization, the rise of mass consumer culture, and the changing boundaries of the public and private spheres. Early practices and structures--the role of the announcer, the emergence of program forms from vaudeville, minstrel shows, and the concert stage--are examined.
Central to Radio Voices is a discussion of programs and their relations to popular understandings of race, ethnicity, and gender in the United States of this era. Hilmes explores Amos 'n' Andy and its negotiations of racial tensions and The Rise of the Goldbergs and its concern with ethnic assimilation. She reflects upon the daytime serials--the first soap operas--arguing that these much-disparaged programs provided a space in which women could discuss conflicted issues of gender. Hilmes also explores industry practices, considering the role of advertising agencies and their areas of conflict and cooperation with the emerging networks as well as the impact of World War II on the "mission" of radio.
Radio Voices places the first truly national medium of the United States in its social context, providing an entertaining account of the interplay between programming and popular culture.
"Radio Voices is the most-cited publication in a recent spate of cultural studies of radio. Hilmes analyzes the early practices and programs of radio-such as the daytime serial drama that would evolve into the soap opera-in relation to the emergence, after World War I, of mass consumerism. She argues that, as the United States rose to world power during the Age of Radio, the medium was crucial in helping to form an American national identity and to blur the boundaries between the public and private spheres." Chronicle of Higher Education
"Hilmes offers a fresh, exciting, path-breaking and insightful history of radio broadcasting. Radio Voices provides an innovative and accessible history of U.S. broadcasting that promises to inspire a new wave of critical cultural analysis of the radio era. Radio Voices may prove to be the most important for the research it promises to inspire by rethinking and enlivening the field of radio history." Journal of Communication
"The title, Radio Voices, is well chosen: the voices of the radio pioneers, which one might too easily assume to be irrecoverable, emerge through the book's frequent extracts from correspondence and scripts. Radio Voices will remind scholars of popular culture of the pleasures and rewards of archival study." Journal of American History
"The author's extensive research has turned up many delicious tales not recounted elsewhere." Historical Journal of Film, Radio, and Television
Orson Welles’s greatest breakthrough into the popular consciousness occurred in 1938, three years before Citizen Kane, when his War of the Worlds radio broadcast succeeded so spectacularly that terrified listeners believed they were hearing a genuine report of an alien invasion—a landmark in the history of radio’s powerful relationship with its audience. In Radio’s America, Bruce Lenthall documents the enormous impact radio had on the lives of Depression-era Americans and charts the formative years of our modern mass culture.
Many Americans became alienated from their government and economy in the twentieth century, and Lenthall explains that radio’s appeal came from its capability to personalize an increasingly impersonal public arena. His depictions of such figures as proto-Fascist Charles Coughlin and medical quack John Brinkley offer penetrating insight into radio’s use as a persuasive tool, and Lenthall’s book is unique in its exploration of how ordinary Americans made radio a part of their lives. Television inherited radio’s cultural role, and as the voting tallies for American Idol attest, broadcasting continues to occupy a powerfully intimate place in American life. Radio’s America reveals how the connections between power and mass media began.
Winner of the 2022 Broadcast Education Association Book Award
One of the first books to examine the status of broadcasting on its one hundredth anniversary, Radio’s Second Century investigates both vanguard and perennial topics relevant to radio’s past, present, and future. As the radio industry enters its second century of existence, it continues to be a dominant mass medium with almost total listenership saturation despite rapid technological advancements that provide alternatives for consumers. Lasting influences such as on-air personalities, audience behavior, fan relationships, and localism are analyzed as well as contemporary issues including social and digital media. Other essays examine the regulatory concerns that continue to exist for public radio, commercial radio, and community radio, and discuss the hindrances and challenges posed by government regulation with an emphasis on both American and international perspectives. Radio’s impact on cultural hegemony through creative programming content in the areas of religion, ethnic inclusivity, and gender parity is also explored. Taken together, this volume compromises a meaningful insight into the broadcast industry’s continuing power to inform and entertain listeners around the world via its oldest mass medium--radio.
This unique inquiry into the history and ongoing moral significance of mass communication also represents a defense, extension, and overhaul of the idea and social form of the discipline. Organized around narrative accounts of individuals and their communicative worlds, Refiguring Mass Communication illuminates significant but overlooked rhetorical episodes in history to enable modern-day readers to rehabilitate and reinvigorate their own engagements with mass communication.
Coined in the 1920s as a way to describe radio, motion pictures, wide-circulation magazines, and the press, the term "mass communication" frequently is misused in the era of cable TV, niche marketing, and the Internet. In Refiguring Mass Communication, Peter Simonson compares his own vision of mass communication with distinct views articulated throughout history by Paul of Tarsus, Walt Whitman, Charles Horton Cooley, David Sarnoff, and Robert K. Merton, utilizing a collection of texts and tenets from a variety of time periods and perspectives. Drawing on textual and archival research as well as access to Merton's personal papers, Simonson broadly reconceives a sense of communication theory and what social processes might be considered species of mass communication. Simonson reveals the geographical and social contexts from which these visions have emerged and the religious and moral horizons against which they have taken shape. In a unique perspective, he considers the American county fair as an example of a live gathering and crucial site that is overlooked in contemporary forms of mass communication, urging a reconsideration of how individuals participate in and shape similar forms.
This book is a follow-up to the award-winning first edition and is written as a comprehensive guide for those who need to obtain a working knowledge of radiowave propagation on satellite-to-ground links at frequencies above 1 GHz and as a reference book for experts in the field. To accomplish this, expanded sections of explanatory text, copiously illustrated, enable an undergraduate or non-specialist to grasp the fundamentals involved. An extensive reference list permits the expert to go to the source material should the level of enquiry go beyond the level of this book.
Mr. Wizard’s World. Bill Nye the Science Guy. NPR’s Science Friday. These popular television and radio programs broadcast science into the homes of millions of viewers and listeners. But these modern series owe much of their success to the pioneering efforts of early-twentieth-century science shows like Adventures in Science and “Our Friend the Atom.” Science on the Air is the fascinating history of the evolution of popular science in the first decades of the broadcasting era.
Marcel Chotkowski LaFollette transports readers to the early days of radio, when the new medium allowed innovative and optimistic scientists the opportunity to broadcast serious and dignified presentations over the airwaves. But the exponential growth of listenership in the 1920s, from thousands to millions, and the networks’ recognition that each listener represented a potential consumer, turned science on the radio into an opportunity to entertain, not just educate.
Science on the Air chronicles the efforts of science popularizers, from 1923 until the mid-1950s, as they negotiated topic, content, and tone in order to gain precious time on the air. Offering a new perspective on the collision between science’s idealistic and elitist view of public communication and the unbending economics of broadcasting, LaFollette rewrites the history of the public reception of science in the twentieth century and the role that scientists and their institutions have played in both encouraging and inhibiting popularization. By looking at the broadcasting of the past, Science on the Air raises issues of concern to all those who seek to cultivate a scientifically literate society today.
An experimental novel that pushes the constraints of language to bear witness to the history of both Germany and the individual.
Jürgen Becker’s The Sea in the Radio is a collection of “journal sentences” divided into three sections called notebooks. In this great concert of a novel, language has been pared down to a minimum: fragments, phrases, and short sentences combine and make up a life both banal and profound. It is a life in which many of the details remain unstated or, as in miniatures, float just beyond the edges of the frame. Though at first the narrative may seem to move in a relatively harmless manner, soon enough we begin to realize that the story to be told may indeed be more unsettling than we had suspected.
The Sea in the Radio is a novel that bears witness not only to one’s final years but also to one’s place within history in general and Germany’s cataclysmic twentieth-century past in particular.
In this interdisciplinary study of the laws and policies associated with commercial radio and television, Thomas Streeter reverses the usual take on broadcasting and markets by showing that government regulation creates rather than intervenes in the market. Analyzing the processes by which commercial media are organized, Streeter asks how it is possible to take the practice of broadcasting—the reproduction of disembodied sounds and pictures for dissemination to vast unseen audiences—and constitute it as something that can be bought, owned, and sold.
With an impressive command of broadcast history, as well as critical and cultural studies of the media, Streeter shows that liberal marketplace principles—ideas of individuality, property, public interest, and markets—have come into contradiction with themselves. Commercial broadcasting is dependent on government privileges, and Streeter provides a searching critique of the political choices of corporate liberalism that shape our landscape of cultural property and electronic intangibles.
Originating as a radio series in 1933, the Lone Ranger is a cross-media star who has appeared in comic strips, comic books, adult and juvenile novels, feature films and serials, clothing, games, toys, home furnishings, and many other consumer products. In his prime, he rivaled Mickey Mouse as one of the most successfully licensed and merchandised children’s properties in the United States, while in more recent decades, the Lone Ranger has struggled to resonate with consumers, leading to efforts to rebrand the property. The Lone Ranger’s eighty-year history as a lifestyle brand thus offers a perfect case study of how the fields of licensing, merchandizing, and brand management have operated within shifting industrial and sociohistorical conditions that continue to redefine how the business of entertainment functions.
Deciphering how iconic characters gain and retain their status as cultural commodities, Selling the Silver Bullet focuses on the work done by peripheral consumer product and licensing divisions in selectively extending the characters’ reach and in cultivating investment in these characters among potential stakeholders. Tracing the Lone Ranger’s decades-long career as intellectual property allows Avi Santo to analyze the mechanisms that drive contemporary character licensing and entertainment brand management practices, while at the same time situating the licensing field’s development within particular sociohistorical and industrial contexts. He also offers a nuanced assessment of the ways that character licensing firms and consumer product divisions have responded to changing cultural and economic conditions over the past eighty years, which will alter perceptions about the creative and managerial authority these ancillary units wield.
Despite uncertain beginnings, public broadcasting emerged as a noncommercial media industry that transformed American culture. Josh Shepperd looks at the people, institutions, and influences behind the media reform movement and clearinghouse the National Association of Educational Broadcasters (NAEB) in the drive to create what became the Public Broadcasting Service and National Public Radio.
Founded in 1934, the NAEB began as a disorganized collection of undersupported university broadcasters. Shepperd traces the setbacks, small victories, and trial and error experiments that took place as thousands of advocates built a media coalition premised on the belief that technology could ease social inequality through equal access to education and information. The bottom-up, decentralized network they created implemented a different economy of scale and a vision of a mass media divorced from commercial concerns. At the same time, they transformed advice, criticism, and methods adopted from other sectors into an infrastructure that supported public broadcasting in the 1960s and beyond.
In Sight Unseen radio drama, a genre traditionally dismissed as popular culture, is celebrated as high art. The radio plays discussed here range from the conventional (John Arden’s Pearl) to the docudramatic (David Rudkin’s Cries from Casement), from the curtly conversational (Harold Pinter’s A Slight Ache) to the virtually operatic (Robert Ferguson’s Transfigured Night), testifying to radio drama’s variety and literary stature. Two of the plays included in this study pose aesthetic questions—the role of art in politics (Howard Barker’s Scenes from an Execution), and the nature of artistic excellence (Tom Stoppard’s Artist Descending a Staircase).
Guralnick contends that well-crafted radio plays tend to meld to their medium so naturally that they cannot be transferred to the theater or to film without being diminished. Each play is thus shown to exploit, to special effect, one of radio’s fundamental features: its invisible stage (Barker and Stoppard), its affinity to music (Ferguson and Beckett), its ability to imitate the mind’s subjectivity (Kopit and Pinter), its association with world events through features and the news (Rudkin). As for the question of radio’s relation to the theater, the issue is engaged in the work of John Arden, who dares to portray a theatrical stage on the airwaves, while intimating that the radio offers contemporary playwrights an incomparable boon: creative conditions roughly equivalent to those enjoyed by Shakespeare.
Perhaps you’ve always wondered how public radio gets that smooth, well-crafted sound. Maybe you’re thinking about starting a podcast, and want some tips from the pros. Or maybe storytelling has always been a passion of yours, and you want to learn to do it more effectively. Whatever the case—whether you’re an avid NPR listener or you aspire to create your own audio, or both—Sound Reporting: The NPR Guide to Audio Journalism and Production will give you a rare tour of the world of a professional broadcaster.
Jonathan Kern, who has trained NPR’s on-air staff for years, is a gifted guide, able to narrate a day in the life of a host and lay out the nuts and bolts of production with equal wit and warmth. Along the way, he explains the importance of writing the way you speak, reveals how NPR books guests ranging from world leaders to neighborhood newsmakers, and gives sage advice on everything from proposing stories to editors to maintaining balance and objectivity. Best of all—because NPR wouldn’t be NPR without its array of distinctive voices—lively examples from popular shows and colorful anecdotes from favorite personalities animate each chapter.
As public radio’s audience of millions can attest, NPR’s unique guiding principles and technical expertise combine to connect with listeners like no other medium can. With today’s technologies allowing more people to turn their home computers into broadcast studios, Sound Reporting couldn’t have arrived at a better moment to reveal the secrets behind the story of NPR’s success.
Wireless Morse code began a new age of communications, magically sending invisible waves through the ether received at some distant place. Among the first universities to experiment in this unknown world was The Ohio State University, which became one of the first educational broadcast stations and a think tank for the future of public service radio—pioneering radio audience research and serving as an innovative school of the air. Sparks Flew is a rich story of creative, tenacious men and women working in a new medium that commercial enterprises soon dominated. At any moment in time, educational broadcasting could have failed if not for a few land-grant institutions like The Ohio State University and prominent stations like WOSU that supported the medium. Sparks Flew is the untold story, a century in the making, of one institution and one educational station that represent the roots of today’s public broadcasting system.
Mobile communication is one of the most important applications in the tele-communications and IT field. Developments in technology are enabling the design of advanced mobile radio networks linking information processing and data routing, with the radio segment sandwiched between layers of digital signal processors. Spread spectrum technology adapts radio communication to computational data information processing networks.
For the first decade of the twenty-first century, every weekend, people throughout Uganda converged to participate in ebimeeza, open debates that invited common citizens to share their political and social views. These debates, also called “People’s Parliaments,” were broadcast live on private radio stations until the government banned them in 2009. In Talkative Polity, Florence Brisset-Foucault offers the first major study of ebimeeza, which complicate our understandings of political speech in restrictive contexts and force us to move away from the simplistic binary of an authoritarian state and a liberal civil society.
Brisset-Foucault conducted fieldwork from 2005 to 2013, primarily in Kampala, interviewing some 150 orators, spectators, politicians, state officials, journalists, and NGO staff. The resulting ethnography invigorates the study of political domination and documents a short-lived but highly original sphere of political expression. Brisset-Foucault thus does justice to the richness and depth of Uganda’s complex political and radio culture as well as to the story of ambitious young people who didn’t want to behave the way the state expected them to. Positioned at the intersection of media studies and political science, Talkative Polity will help us all rethink the way in which public life works.
Television existed for a long time before it became commonplace in American homes. Even as cars, jazz, film, and radio heralded the modern age, television haunted the modern imagination. During the 1920s and 1930s, U.S. television was a topic of conversation and speculation. Was it technically feasible? Could it be commercially viable? What would it look like? How might it serve the public interest? And what was its place in the modern future? These questions were not just asked by the American public, but also posed by the people intimately involved in television’s creation. Their answers may have been self-serving, but they were also statements of aspiration. Idealistic imaginations of the medium and its impact on social relations became a de facto plan for moving beyond film and radio into a new era.
In Television in the Age of Radio, Philip W. Sewell offers a unique account of how television came to be—not just from technical innovations or institutional struggles, but from cultural concerns that were central to the rise of industrial modernity. This book provides sustained investigations of the values of early television amateurs and enthusiasts, the fervors and worries about competing technologies, and the ambitions for programming that together helped mold the medium.
Sewell presents a major revision of the history of television, telling us about the nature of new media and how hopes for the future pull together diverse perspectives that shape technologies, industries, and audiences.
For generations, fans and critics have characterized classic American radio drama as a “theater of the mind.” This book unpacks that characterization by recasting the radio play as an aesthetic object within its unique historical context. In Theater of the Mind, Neil Verma applies an array of critical methods to more than six thousand recordings to produce a vivid new account of radio drama from the Depression to the Cold War.
In this sweeping exploration of dramatic conventions, Verma investigates legendary dramas by the likes of Norman Corwin, Lucille Fletcher, and Wyllis Cooper on key programs ranging from The Columbia Workshop, The Mercury Theater on the Air, and Cavalcade of America to Lights Out!, Suspense, and Dragnet to reveal how these programs promoted and evolved a series of models of the imagination.
With close readings of individual sound effects and charts of broad trends among formats, Verma not only gives us a new account of the most flourishing form of genre fiction in the mid-twentieth century but also presents a powerful case for the central place of the aesthetics of sound in the history of modern experience.
Modeled after the BBC, the Palestine Broadcasting Service was launched in 1936 to serve as the national radio station of Mandate Palestine, playing a pivotal role in shaping the culture of the emerging middle class in the region. Despite its significance, the PBS has become nearly forgotten by scholars of twentieth-century Middle Eastern studies. Drawn extensively from British and Israeli archival sources, “This Is Jerusalem Calling” traces the compelling history of the PBS’s twelve years of operation, illuminating crucial aspects of a period when Jewish and Arab national movements simultaneously took form.
Andrea L. Stanton describes the ways in which the mandate government used broadcasting to cater to varied audiences, including rural Arab listeners, in an attempt to promote a “modern” vision of Arab Palestine as an urbane, politically sophisticated region. In addition to programming designed for the education of the peasantry, religious broadcasting was created to appeal to all three main faith communities in Palestine, which ultimately may have had a disintegrating, separatist effect. Stanton’s research brings to light the manifestation of Britain’s attempts to prepare its mandate state for self-governance while supporting the aims of Zionists. While the PBS did not create the conflict between Arab Palestinians and Zionists, the service reflected, articulated, and magnified such tensions during an era when radio broadcasting was becoming a key communication tool for emerging national identities around the globe.
“Edward Miller has written a sharply observant, often revelatory, and stimulating book that explores the 1970s with gusto, showing all the intimacy and pleasure and startling richness of observation with which a scholar may sometimes approach a period in which he lived.”
—Martin Harries, New York University
Contemporary American media is awash with reality programs, faux documentaries, and user generated content. When did this fixation on real or feigned nonfictionality begin? Tomboys, Pretty Boys, and Outspoken Women argues that its origins can be found in the early 1970s, when American media discovered the entertainment value of documentaries, news programming, and other nonfiction forms. Edward D. Miller challenges preconceptions of the ’60s and ’70s through close readings of key events and important figures in the early 1970s: John Dean’s performance in front of the Senate during the Watergate Hearings; Billie Jean King popularizing tennis by taking on Bobby Riggs in a prime-time match; David Bowie experiencing “outer space” in his tours across America; An American Family and their gay son facing the public’s consternation; and Alison Steele, a female DJ who invited listeners to fly with her at night. Miller explores the early 1970s as a turning point in American culture, with nonfiction media of the time creating new possibilities for expressions of gender and sexuality, and argues that we are living in its aftermath.
In addition to readers attracted to media studies, this book will be of great interest to those involved in LGBT studies, feminism, and queer studies as well as students of contemporary media culture. The aim of the book is to demystify current media trends by providing an analysis of the recent past. Tomboys, Pretty Boys, and Outspoken Women is written for a large audience that extends beyond academia and embraces readers who have an interest in American pop culture and, in particular, the '70s.
This applied engineering reference covers a wide range of wireless communication design techniques; including link budgets, error detection and correction, adaptive and cognitive techniques, and system analysis of receivers and transmitters. Digital modulation and demodulation techniques using phase-shift keyed and frequency hopped spread spectrum systems are addressed. The title includes sections on broadband communications and home networking, satellite communications, and global positioning systems (GPS). Various techniques and designs are evaluated for modulating and sending digital signals, and the book offers an intuitive approach to probability plus jammer reduction methods using various adaptive processes. This title assists readers in gaining a firm understanding of the processes needed to effectively design wireless digital communication systems.
Now in its 3rd edition, this successful book provides an intuitive approach to transceiver design, allowing a broad spectrum of readers to understand the topics clearly. It covers a wide range of data link communication design techniques, including link budgets, dynamic range and system analysis of receivers and transmitters used in data link communications, digital modulation and demodulation techniques of phase-shift keyed and frequency hopped spread spectrum systems using phase diagrams, multipath, gain control, an intuitive approach to probability, jamming reduction method using various adaptive processes, global positioning systems (GPS) data link, and direction-finding and interferometers, plus a section on broadband communications and home networking. Various techniques and designs are evaluated for modulating and sending digital data. Thus readers gain a firm understanding of the processes needed to effectively design wireless data link communication systems.
Original essays exploring important developments in radio and television broadcasting
The essays included in this collection represent some of the best cultural and historical research on broadcasting in the U. S. today. Each one concentrates on a particular event in broadcast history—beginning with Marconi’s introduction of wireless technology in 1899.
Michael Brown examines newspaper reporting in America of Marconi's belief in Martians, stories that effectively rendered Marconi inconsequential to the further development of radio. The widespread installation of radios in automobiles in the 1950s, Matthew Killmeier argues, paralleled the development of television and ubiquitous middle-class suburbia in America. Heather Hundley analyzes depictions of male and female promiscuity as presented in the sitcom Cheers at a time concurrent with media coverage of the AIDS crisis. Fritz Messere examines the Federal Radio Act of 1927 and the clash of competing ideas about what role radio should play in American life. Chad Dell recounts the high-brow programming strategy NBC adopted in 1945 to distinguish itself from other networks. And George Plasketes studies the critical reactions to Cop Rock, an ill-fated combination of police drama and musical, as an example of society's resistance to genre-mixing or departures from formulaic programming.
The result is a collection that represents some of the most recent and innovative scholarship, cultural and historical, on the intersections of broadcasting and American cultural, political, and economic life.
Beginning in the early 1980s Aboriginal Australians found in music, radio, and filmic media a means to make themselves heard across the country and to insert themselves into the center of Australian political life. In The Voice and Its Doubles Daniel Fisher analyzes the great success of this endeavor, asking what is at stake in the sounds of such media for Aboriginal Australians. Drawing on long-term ethnographic research in northern Australia, Fisher describes the close proximity of musical media, shifting forms of governmental intervention, and those public expressions of intimacy and kinship that suffuse Aboriginal Australian social life. Today’s Aboriginal media include genres of country music and hip-hop; radio requests and broadcast speech; visual graphs of a digital audio timeline; as well as the statistical media of audience research and the discursive and numerical figures of state audits and cultural policy formation. In each of these diverse instances the mediatized voice has become a site for overlapping and at times discordant forms of political, expressive, and institutional creativity.
The phrase 'waveform design and diversity' refers to an area of radar research that focuses on novel transmission strategies as a way to improve performance in a variety of civil, defense and homeland security applications. Three basic principles are at the core of waveform diversity. First is the principle that any and all knowledge of the operational environment should be exploited in system design and operation. Second is the principle of the fully adaptive system, that is, that the system should respond to dynamic environmental conditions. Third is the principle of measurement diversity as a way to increase system robustness and expand the design trade space. Waveform design and diversity concepts can be found dating back to the mid-twentieth century. However, it has only been in the past decade or so, as academics and practitioners have rushed to exploit recent advances in radar hardware component technology, such as arbitrary waveform generation and linear power amplification, that waveform diversity has become a distinct area of research. The purpose of this book is to survey this burgeoning field in a way that brings together the diverse yet complementary topics that comprise it. The topics covered range from the purely theoretical to the applied, and the treatment of these topics ranges from tutorial explanation to forward-looking research discussions. The topics treated in this book include: classical waveform design and its extensions through information theory, multiple-input multiple-output systems, and the bio-inspired sensing perspective; the exploration of measurement diversity through distributed radar systems, in both cooperative and non-cooperative configurations; the optimal adaptation of the transmit waveform for target detection, tracking, and identification; and more. This representative cross-section of topics provides the reader with a chance to see the three principles of waveform diversity at work, and will hopefully point the way to further advances in this exciting area of research.
Radio sparked the massive upsurge of organized labor during the Great Depression. The powerful new medium became an important weapon in the ideological war between labor and business. Corporations used radio to sing the praises of individualism and consumerism, while unions emphasized equal rights, industrial democracy, and social justice.
Elizabeth Fones-Wolf analyzes the battle to utilize, and control, the airwaves in radio's early era. Working chronologically, she explores the advent of local labor radio stations such as WCFL and WEVD, labor's campaigns against corporate censorship, and union experiments with early FM broadcasting. Using union archives and broadcast industry records, Fones-Wolf demonstrates radio's key role in organized labor's efforts to fight business's domination of political discourse throughout the 1930s, 1940s, and 1950s. She concludes with a look at how labor's virtual disappearance from today's media helps explain why unions have become so marginalized, and offers important historical lessons for revitalizing organized labor.
This book presents a state of the art review of integrated circuits, systems and transceivers for wireless and mobile communications. Contributions from world-class researchers focus upon the most recent developments in key RF, IF and baseband components and subsystems and transceiver architecture in CMOS technology. Adopting a top-down approach from wireless communications systems, mobile terminals and transceivers, to constituent components, this book covers the whole range of baseband, IF and RF issues in a systematic way. Circuit and system techniques for design and implementation of reconfigurable low voltage and low power single-chip CMOS transceivers for both mobile cellular and wireless LAN applications are included.
Practical lessons and approaches in radio receiver design for wireless communication systems are the hallmarks of Wireless Receiver Design for Digital Communications, 2nd Edition. Decades of experience 'at the bench' are collected within and the book acts as a virtual replacement for a mentor who teaches basic concepts from a practical perspective and has the war stories that help their 'apprentice' avoid the mistakes of the past.
The crucial decade for the development of the domestic wireless was 1924-34. At the beginning of the period most receivers in Britain were crystal sets, but by the end nearly all sets were on the mains, using valves and mostly with superhet circuits-broadly the same as those in use today.
On a wintry evening in 1917, university professor Earle Terry listened with guests as the popular music of the day filtered from a physics laboratory in Science Hall into a receiving set in his living room. Little did they know that one hundred years of public service broadcasting had just begun. Terry’s radio experiment blossomed into a pioneering endeavor to carry out the "Wisconsin Idea," a promise to make the university’s knowledge accessible to all Wisconsinites, in their homes, statewide, a Progressive-era principle that still guides public broadcasting in Wisconsin and throughout the nation. In 1947, television was added to this public service model with Channel 21 in Madison, produced, like radio, from the University of Wisconsin campus. By 1967, when the Public Broadcasting Act created the Public Broadcasting System (PBS) and National Public Radio (NPR), the Wisconsin stations had been broadcasting for fifty years. A history one hundred years in the making, Wisconsin on the Air introduces readers to the personalities and philosophies, the funding challenges and legislation, the original Wisconsin programming and pioneering technology that gave us public radio and television. Author Jack Mitchell, who developed All Things Considered for NPR before becoming the head of Wisconsin Public Radio, deftly maps public broadcasting’s hundred-year journey by charting Wisconsin’s transition from the early days of radio and television to educational broadcasting to the news, information, and music of Wisconsin Public Radio and Wisconsin Public Television.
Posthumously inducted into the National Radio Hall of Fame in 2007, Richard Durham creatively chronicled and brought to life the significant events of his times. Durham's trademark narrative style engaged listeners with fascinating characters, compelling details, and sharp images of pivotal moments in American and African American history and culture.
In Word Warrior, award-winning radio producer Sonja D. Williams draws on archives and hard-to-access family records, as well as interviews with family and colleagues like Studs Terkel and Toni Morrison, to illuminate Durham's astounding career. Durham paved the way for black journalists as a dramatist and a star investigative reporter and editor for the pioneering black newspapers the Chicago Defender and Muhammed Speaks. Talented and versatile, he also created the acclaimed radio series Destination Freedom and Here Comes Tomorrow and wrote for popular radio fare like The Lone Ranger. Incredibly, his energies extended still further--to community and labor organizing, advising Chicago mayoral hopeful Harold Washington, and mentoring generations of activists.
Incisive and in-depth, Word Warrior tells the story of a tireless champion of African American freedom, equality, and justice during an epoch that forever changed a nation.