Beginning in the 1970s Chicana and Chicano organizers turned to community radio broadcasting to educate, entertain, and uplift Mexican American listeners across the United States. In rural areas, radio emerged as the most effective medium for reaching relatively isolated communities such as migrant farmworkers. And in Washington's Yakima Valley, where the media landscape was dominated by perspectives favorable to agribusiness, community radio for and about farmworkers became a life-sustaining tool. Feminista Frequencies unearths the remarkable history of one of the United States' first full-time Spanish-language community radio stations, Radio KDNA, which began broadcasting in the Yakima Valley in 1979. Extensive interviews reveal the work of Chicana and Chicano producers, on-air announcers, station managers, technical directors, and listeners who contributed to the station's success. Monica De La Torre weaves these oral histories together with a range of visual and audio artifacts, including radio programs, program guides, and photographs to situate KDNA within the larger network of Chicano community-based broadcasting and social movement activism. Feminista Frequencies highlights the development of a public broadcasting model that centered Chicana radio producers and documents the central role of women in developing this infrastructure in the Yakima Valley. De La Torre shows how KDNA revolutionized community radio programming, adding new depth to the history of the Chicano movement, women's activism, and media histories.

Why is music so important to radio? This anthology explores the ways in which musical life and radio interact, overlap and have influenced each other for nearly a century. One of music radio's major functions is to help build smaller or larger communities by continuously offering broadcast music as a means to create identity and senses of belonging. Music radio also helps identify and develop musical genres in collaboration with listeners and the music industry by mediating and by gatekeeping. Focusing on music from around the world, Music Radio discusses what music radio is and why or for what purposes it is produced. Each essay illuminates the intricate cultural processes associated with music and radio and suggests ways of working with such complexities.

In July 1923, less than three years after Westinghouse station KDKA signed on, company engineer Frank Conrad began regular simulcasting of its programmes on a frequency in the newly-discovered shortwave range. It was an important event in a technological revolution that would make dependable worldwide radio communication possible for the first time. In subsequent years, countless stations in practically all countries followed suit, taking to shortwave to extend reception domestically or reach audiences thousands of miles away. Shortwave broadcasting would also have an important role in World War II and in the Cold War. In this, his fourth book on shortwave broadcast history, the author revisits the period of his earlier work, On the Short Waves, 1923-1945, and focuses on the stations that were on the air in those early days. The year-by-year account chronicles the birth and operation of the large international broadcasters, as well as the numerous smaller stations that were a great attraction to the DXers, or long-distance radio enthusiasts, of the time. With more than 100 illustrations and extensive notes, bibliography and index, the book is also a valuable starting point for further study and research.

Leading scholars combine their love of The Archers with their specialist subjects, in Custard, Culverts and Cake - a sometimes serious, but most often wry look at the people of Ambridge. A group of Archers Academics take on subjects such as food, geography, social media, faith. There is, naturally, an entire section dedicated to the Helen and Rob storyline. With contributions from members of the Academic Archers network, the book blurs the line between fact and fiction - The Archers as a BBC soap opera, and Ambridge as a real place in a county called Borsetshire. Each chapter is 'peer reviewed' by a different Ambridge inhabitant. Custard, Culverts and Cake gives the reader a deeper understanding of the real life issues covered in the programme, an insight into the residents of Ambridge, and validation that hours of listening to The Archers is, in fact, academic research.

In Writing Music for Commercials: Television, Radio, and New Media, professor, composer, arranger, and producer Michael Zager describes the process of composing and arranging music specifically for commercials across the growing variety of media formats. Writing music for commercials requires composers not only learn the craft of writing short-form compositions that can stand on their own, but also understand the advertising business. In this third edition of his original Writing Music for Television and Radio Commericals, Zager walks starting composers through the business and art of writing music that aims for a product's target audience and, when done well, hits its mark. Chapter by chapter, Zager covers a broad array of topics: how to approach and analyze commercials from a specifically musical perspective, the range of compositional techniques for underscoring and composing jingles, the standard expectations and techniques for arranging and orchestration, and finally the composing of music for radio commercials, corporate videos, infomercials, theatrical trailers, video games, Internet commercials, websites, and web series (webisodes). This third edition has been updated to include more in-depth analysis of the changing landscape of music writing for modern media, with critical information on composing not only for the Web but for mobile applications, from video-driven advertising in online newspapers to electronic greeting cards. Zager also includes new interviews with industry professionals, updated business information, the latest sound design concepts, and much more. Writing Music for Commercials: Television, Radio, and New Media features: *Easy-to-read chapters for beginning and intermediate music composition students *Over a hundred graphics and musical examples *Interviews with industry professionals *An assortment of assignments to train and test readers, preparing them for the world of writing music for various media *Online audio samples that illustrate the book's principles Writing Music for Commercials is designed not only for composers but for students and professionals at every level.

Radio s influence can be found in almost every corner of new media. Radio in the Digital Age assesses a medium that has not only survived the challenges of a new technological age but indeed has extended its reach. This is not a book about digital radio, but rather about the medium of radio in its many analogue and digital forms in an age characterised by digital technologies. The context of the digital age reveals new insights about the nature of radio. In this important addition to the world of radio scholarship, Dubber provides a theoretical framework for understanding the medium - allowing for complexity and contradiction, while avoiding essentialism and technological determinism. Introducing radio as a series of practices and phenomena that can be understood through a range of discursive categories, this book explores the relationships between radio, music, politics, storytelling and society in a new and thoughtful way. This book will make essential reading for students of media, communication, broadcasting and the digital industries. It offers a timely and comprehensive introduction for anyone who wishes to understand the role of radio in today s media landscape.

Within seventeen years of the first public broadcast in Britain, the nation again found itself at war. As the Second World War progressed, the BBC eventually realised the potential benefits of public radio and the service became vital in keeping an anxious public informed, upbeat and entertained behind the curtains of millions of blacked-out homes. The Radio Front examines just how the BBC reinvented itself and delivered its carefully controlled propaganda to listeners in the UK and throughout Nazi-occupied Europe. It also reveals the BBC's often-strained relationships with the government, military and public as the organisation sought to influence opinion and safeguard public morale without damaging its growing reputation for objectivity and veracity. Using original source material, historian and author Ron Bateman tracks the BBC's growth during the Second World War from its unorganised and humble beginnings to the development of a huge overseas and European operation, and also evaluates the importance of iconic broadcasts from the likes of J.B. Priestley, Vera Lynn and Tommy Handley.

From 1950 to 1960, millions of Americans throughout the United States willingly and enthusiastically participated in Radio Free Europe's ""Crusade for Freedom."" They signed ""Freedom Scrolls"" and ""Freedom Grams,"" participated in fund-raising dinners and lunches, attended Crusader meetings, marched in parades, launched leaflet-carrying balloons, among other activities. A compelling, decade-long propaganda campaign, the Crusade for Freedom proved to be a powerful tool of the state-private network's anti-communist agenda. This book takes an in-depth look at the Crusade for Freedom, revealing how its unmatched pageantry of patriotism led to the creation of a dynamic movement involving not only the government but also private industry, mass media, academia, religious leaders, and, lastly, ""the average Joe.

The traditional radio medium has seen significant changes in recent years as part of the current global shift toward multimedia content, with both digital and FM making significant use of new technologies, including mobile communications and the Internet. This book focuses on the important role these new technologies play--and will play as radio continues to evolve. This series of essays by top academics in the field examines new options for radio technology as well as a summary of the opportunities and challenges that characterize academic and professional debates around radio today.

The history of American radio broadcasting has often been written as a lament for lost possibilities, a tale of what might have been. One now familiar landmark in that account is the story of how American commercial broadcasters, in the passage of the 1934 Communications Act, won a great victory over reformers who wanted frequencies set aside for non-commercial use. It is generally agreed that the defeat of the radio reformers was decisive and permanent, and that the best hopes for a public radio in the United States had been thwarted by 1934. In Radio's Civic Ambition, however, author David Goodman focuses not on the lost possibilities and defeated reformers, but on what did happen as the beginning of another chapter in the story of the struggle over the meaning and purpose of American broadcasting. Commercial broadcasters paid a considerable price for their victory: in the years after 1934, American broadcasters always had to be seen to be providing public service as well as entertainment. An impressive range of programs, from imaginatively conceived classical music broadcasts to lively multi-opinion radio forums, was designed to promote civic engagement and individualization. By the later 1930s, political leaders, key social science and communications intellectuals, the Federal Communications Commission, and many articulate and educated ordinary Americans, increasingly expected commercial broadcasters in the US to perform a range of ambitious civic functions, including encouraging local community, strengthening democracy, fostering talent, and producing tolerance for other points of view.
A new look at the history of commercial radio broadcasting in America, Radio's Civic Ambition will appeal to students and scholars in communications and radio studies, music history, media studies, and American history.

Radio is 'Africa's medium', with an ability to transcend barriers to access, facilitate political debate and shape identities. Contributors investigate the multiple roles of radio in the lives of African listeners across the continent. Some essays turn to the history of radio and its part in culture and politics. Others show how radio throws up new tensions, yet endorses social innovation and the making of new publics. A number of contributors look at radio's current role in creating listening communities that radically shift the nature of the public sphere. Yet others cover radio's central role in the emergence of informed publics in fragile national spaces, or in failed states. The book also highlights radio's links to the new media, its role in resistance to oppressive regimes, and points in several cases to the importance of African languages in building modern communities that embrace both local and global knowledge. Liz Gunner is visiting Professor at the Wits Institute for Social and Economic Research; Dina Ligagais a lecturer in the Department of Media Studies, University of the Witwatersrand; Dumisani Moyo is Research and Publications Manager at the Open Society Initiative for Southern Africa. Southern Africa (South Africa, Namibia, Botswana, Lesotho, Zimbabwe & Swaziland): Wits University Press

An overview of radio's impact on American culture in the first half of the twentieth century.

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 betweenprogramming and popular culture.

From the 1920s to the 1950s, radio was the entertainment source for millions. Two of the primary themes of radio serials were mysteries and adventure. This is a detailed analysis of the important programs in these genres - ""Jack Armstrong,"" ""The Green Hornet,"" ""Sergeant Preston,"" ""Tom Mix,"" and more. Each entry includes type of series, broadcast days, air dates, sponsors, network, cast and production credits, and a comprehensive essay. When, as often happened, the series landed in other media, that is examined as well.

This comprehensive guide to achieving success in the exciting and imaginative world of audio performance - including radio, voice-overs, commercials, live theater, and more - provides all the information that radio and audio novices need to get started and brush up on their skills. Topics covered in this title include: microphone acting techniques; tips for creating convincing vocal effects; writing tips for audio theater; ideas for creating and manipulating emotion through sound; beginning and intermediate level tips for directors; and, an extensive list of suggestions for creating frequently requested sound effects.

For the first time in print, celebrated storytelling phenomenon The Moth presents fifty spellbinding, soul-bearing stories selected from their extensive archive (fifteen-plus years and 10,000-plus stories strong). Inspired by friends telling stories on a porch, The Moth was born in small-town Georgia, garnered a cult following in New York City, and then rose to national acclaim with the wildly popular podcast and Peabody Award-winning weekly public radio show "The Moth Radio Hour."
Stories include: writer Malcolm Gladwell's wedding toast gone horribly awry; legendary rapper Darryl "DMC" McDaniels' obsession with a Sarah McLachlan song; poker champion Annie Duke's two-million-dollar hand; and A. E. Hotchner's death-defying stint in a bullring . . . with his friend Ernest Hemingway. Read about the panic of former Clinton Press Secretary Joe Lockhart when he misses Air Force One after a hard night of drinking in Moscow, and Dr. George Lombardi's fight to save Mother Teresa's life.
This will be a beloved read for existing Moth enthusiasts, fans of the featured storytellers, and all who savor well-told, hilarious, and heartbreaking stories.

The discovery and development of shortwave technology during the 1920s and 1930s permitted radio stations throughout the world to transmit their programs over long distances, even worldwide, for the first time, and the thrill of hearing broadcasts from faraway places produced a dedicated American audience. Developments in shortwave broadcasting and shortwave listening from their inception through the war years were covered in On the Short Waves, 1923-1945: Broadcast Listening in the Pioneer Days of Radio, published by McFarland in 1999. This book picks up the story in 1945, describing the resumption of organized shortwave listening after the war and its development in the years since. The companion volume, Broadcasting on the Short Waves, 1945 to Today, focuses on the world's shortwave stations. Written from the standpoint of the serious shortwave enthusiast, this book begins with an examination of the broader shortwave listening audience. It then presents in detail the histories of the major North American shortwave clubs and reviews the professional and listener-generated shortwave literature of the era. It also covers the DX programs and other listening fare to which shortwave listeners were most attracted and the QSL-cards they sought as confirmation of their reception. The book presents a chronology of the shortwave receivers available and discusses how changes in receiver technology impacted the listening experience. It also addresses the important role that computers have played in the shortwave listening of recent decades. The book is richly illustrated and indexed, and features extensive notes to facilitate further reading or research.

Before stories of King Arthur and Robin Hood were adapted and readapted for film, television and theater, radio scriptwriters looking for material turned to Thomas Malory's Le Morte Darthur (1485) and Howard Pyle's The Merry Adventures of Robin Hood (1883). From the 1930s throughout the mid-1950s, their legends inspired storylines for Abbott and Costello, Popeye, Let's Pretend, Escape, Gunsmoke, The Adventures of Supermanand others. Many of these adaptations reflect the moral and ethical questions of the day, as characters' faced issues of gender relations, divorce, citizenship, fascism, crime and communism in a medieval setting.

Radio s influence can be found in almost every corner of new media. Radio in the Digital Age assesses a medium that has not only survived the challenges of a new technological age but indeed has extended its reach. This is not a book about digital radio, but rather about the medium of radio in its many analogue and digital forms in an age characterised by digital technologies. The context of the digital age reveals new insights about the nature of radio. In this important addition to the world of radio scholarship, Dubber provides a theoretical framework for understanding the medium - allowing for complexity and contradiction, while avoiding essentialism and technological determinism. Introducing radio as a series of practices and phenomena that can be understood through a range of discursive categories, this book explores the relationships between radio, music, politics, storytelling and society in a new and thoughtful way. This book will make essential reading for students of media, communication, broadcasting and the digital industries. It offers a timely and comprehensive introduction for anyone who wishes to understand the role of radio in today s media landscape.

Frank Deford is one of the most beloved sports commentators in America. A contributing writer to Sports Illustrated for more than fifty years, he is also a longtime correspondent on Real Sports with Bryant Gumbel. These days, Deford is perhaps best known for his weekly commentaries on NPR's Morning Edition. Beginning in 1980, Deford has recorded over 1,600 of them, and in I'd Know That Voice Anywhere he brings together the very best, creating a charming, insightful, and wide-ranging look at athletes and the world of sports. In I'd Know That Voice Anywhere, Deford discusses everything from sex scandals and steroids to Americans' perennial nostalgia for Joe DiMaggio and why, in a culture dominated by celebrity, sport is the only field on earth where popularity and excellence thrive in tandem. He considers the similarities between Babe Ruth and Winnie the Pooh, why football reminds him of Venice, and how the Olympics are like Groundhog Day--or like an independent movie filled with foreign actors you've never heard of. He considers the prevalence of cheating in the classroom among student-athletes and why academic whistle-blowers are castigated as tattletales, pens a one-size-fits-all sports movie script, and even delivers Super Bowl coverage in the form of a Shakespearean sonnet. This page-turning compendium of Deford's witty and frank pieces covers more than thirty years of sports history while showcasing the vast range of Deford's interests and opinions, including his thoughts on the NCAA (a shameless autocracy, where college players are essentially indentured servants), why gay athletes "play straight" (more for fear of their audience than their colleagues), and why he's worried about living in an economy that is so dominated by golfers. A rollicking sampler of one of NPR's most popular segments, I'd Know That Voice Anywhere is perfect for sports enthusiasts--as well as sports skeptics--and a must-read for any Frank Deford fan.

The early eras of radio storytelling have entered and continue to enter the public domain in large quantities, offering unprecedented access to the Golden Age of Radio. Author and Professor John Pavlik mines the best this age of radio has to offer in Masterful Stories, an examination of the masterpieces of audio storytelling. This book provides a chronological history of the best of the best from radio's Golden Age, outlining a core set of principles and techniques that made these radio plays enduring examples of storytelling. It suggests that, by using these techniques, stories can engage audiences emotionally and intellectually. Grounded in a historical and theoretical understanding of radio drama, this volume illuminates the foundational works that proceeded popular modern shows such as Radiolab, The Moth, and Serial. Masterful Stories will be a powerful resource in both media history courses and courses teaching audio storytelling for modern radio and other audio formats, such as podcasting. It will appeal to audio fans looking to learn about and understand the early days of radio drama.

This reference work contains exhaustive histories of 31 of network radio's most durable soap operas on the air between 1930 and 1960. The soap operas covered are ""Aunt Jenny's Real Life Stories"", ""Backstage Wife"", ""Big Sister"", ""The Brighter Day"", ""David Harum"", ""Front Page Farrell"", ""The Guiding Light"", ""Hilltop House"", ""Just Plain Bill"", ""Life Can Be Beautiful"", ""The Light of the World"", ""Lora Lawton"", ""Lorenzo Jones"", ""Ma Perkins"", ""One Man's Family"", ""Our Gal Sunday"", ""Pepper Young's Family"", ""Perry Mason"", ""Portia Faces Life"", ""The Right to Happiness"", ""Road of Life"", ""The Romance of Helen Trent"", ""Rosemary"", ""The Second Mrs. Burton"", ""Stella Dallas"", ""This Is Nora Drake"", ""Today's Children"", ""Wendy Warren and the News"", ""When a Girl Marries"", ""Young Doctor Malone"", and ""Young Widder Brown"".Included for each series are the drama's theme and story line, an in-depth focus on the major characters, and a listing of producers, directors, writers, announcers, casts, sponsors, ratings, and broadcast dates, times and networks. Profiles of 158 actors, actresses, creators and others who figured prominently in a serial's success are also provided.

Basic Radio Journalism is a working manual and practical guide to the tools and techniques necessary to succeed in radio journalism. It will be useful both to students starting a broadcasting career as well as experienced journalists wishing to develop and expand their skills. Based on the popular Local Radio Journalism, this book covers the core skills of news gathering, writing, interviewing, reporting and reading with extensive hints and tips. It outlines working practices in both BBC and commercial radio. There are revamped legal and technical sections as well as a new chapter on the journalist as programme producer. For the student, there is extensive advice about getting a job, marketing yourself and dealing with job interviews. The Foreword is by Lord Ryder of Wensum, vice chairman of the BBC.

Aspiring radio and TV presenters will benefit from the informative and entertaining guidance provided by accomplished presenter, Janet Trewin. Presenting on TV and Radio is packed with illustrations, practical exercises and insider tips for improving your presentation skills and breaking into this competitive industry. Based on the principle that all successful presentation on TV and radio is dependent on uniform skills applicable to both mediums, the book begins by explaining basics such as appearance, authority, body language, diction, scriptwriting, deadlines, technology and working with a co-presenter. Valuable insights into key employment issues such as sexism, ageism, racism and disability are also offered. The different requirements of TV and radio presentation are then examined, focusing on each specialist area in detail and with tips from professionals in the business. These include: presenting news in the studio as an anchor and as a reporter on the road; current affairs and features involving live and recorded material; DJ'ing; light entertainment (e.g. game shows and personality programmes); sports presentation; children's programmes; foreign broadcasters and those broadcasting to worldwide audiences.

This book is a history of women, radio, and the gendered constructions of voice and sound in Buenos Aires, Argentina, and Montevideo, Uruguay. Through the stories of five women and one radio station, this study makes a substantial theoretical contribution to the study of gender, mass media, and political culture and expands our knowledge of these issues beyond the US and Western Europe. Included here is a study of the first all-women's radio station in the Western Hemisphere, an Argentine comedian known as 'Chaplin in Skirts', an author of titillating dramatic serials and, of course, Argentine First Lady 'Evita' Peron. Through the concept of the gendered soundscape, this study integrates sound studies and gender history in new ways, asking readers to consider both the female voice in history and the sonic dimensions of gender.