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Radiodays Europe the best bits 2012…Berlin as the host city in 2013
Barcelona, 16 March 2012
Radiodays Europe 2012 closed its doors today with the announcement that next year’s event will be held in Berlin on 18-19 March 2013.
In a statement from the Radiodays Europe organising team they said “This year’s event has surpassed all expectations. We sold out three weeks before the start. The feedback from participants has been extremely positive and the support from our partners and the city of Barcelona has made this an event to remember”.
Radiodays Europe has been a positive event not just in terms of participation and great speakers but also due to the positivity of the radio industry which could be felt through the conference sessions.
Here is a selection of some of the best bits of Radiodays 2012:
“The most important thing you can do today is tell your mobile operator that you want phones to receive a broadcast signal, as IP can’t deliver us the growth that we need…It’s a wonderful time to be in radio”
Tim Davie, BBC
Christian O’Connell launches new idea - A key tenet of the programme is to make listeners a part of the show – “Together we’re making every radio show. We’re an inclusive club….To take an idea, rev it up and see if you can jump over the canyon”
Christian O’Connell, Absolute Radio
Ira Glass on changing National Public radio – we decided to be “aggressively entertaining” and make sure that they “take away the whiff of broccoli…Great stories happen to those who can tell them”
Ira Glass, This is American Life
On what makes a great radio hit - “You know it’s a hit if it makes your willy tingle!”
Pete Waterman
“There’s no reason to complain – 86% of Europeans listen to radio for up to 3 hours every day”.
Annika Nyberg, EBU
“Radio provides a consistent environment tailored for the listener, whatever they do and wherever they are...Radio improves energy levels by almost 300 per cent,”
Mark Barber, RAB
It’s never being easier to reach new target audiences in more countries – and the app downloads keep increasing.
Bernhard Bahners, rad.io
Radioplayer goes worldwide - Over 7million unique users each month listen to both live and on-demand audio from commercial and BBC stations. - ”Working together has real benefits – you speak with one voice, you can keep your costs and risks down, as a partnership you attract bigger partners”
Michael Hill, Radioplayer
”Geotagging and user locations will transform the world and radio broadcasters can benefit and profit from this development”
Gary Gale, Nokia
Klubradio fights for freedom of speech in Hungar - ”Democracy has no defense if the government hacks the media system”
Vicsek Ferenc, Klubrádio
News is changing - There was a clear goal to get away from the “we interrupt this program” attitude that made news an alien in the output, to a natural and integrated part of the show.
Giselle van Cann, NOS
“People do not listen because the device looks good, people listen because the content is good.”
Ole Jørgen Torvmark, Digitalradio Norway
Radiodays Europe is coming to an end but here’s some more information for those of you who missed it...
We had 800 visitors, 80 speakers, more than 45 sessions (so many we lost count!), visitors from every continent except where they have penguins, 3 official bloggers, 26 exhibitors, 14 partners, 2 radio shows broadcasting live (Spain/Italy), our own radio station This is Radio!, 60 Radiodays staff members (Thanks to all), 100s of tweets using the #rde12, our own Radiodays Europe app, a few famous faces, two fantastic drinks parties and much much more….. Radiodays Europe remains the no.1 radio event in Europe.
Finally for those of you who missed this year, all that’s left to be said is BOOK EARLY!!!
And now to Berlin...
"From North to South and now directly to the centre of Europe: It's not only Berlin's rich history and culture that makes it worth a visit. The excellent flight and rail connections, the variety of sights and the accommodations on offer in all price categories are further reasons why Berlin has developed into an ideal conference location with international flair. Radiodays Europe is delighted to host the fourth next year along with its members and partners. Promoting radio through a friendly exchange of experiences is both our objective and our incentive. We would like to warmly welcome you to Berlin in 2013!"
Lutz Kuckuck, CEO Radiozentrale, Berlin
For full details of the conference go to: www.radiodayseurope.com
Press contacts:
Anders Held, Project Manager – andersheld@sr.se
Rosie Smith, Press Officer - rosiesmith@radiodayseurope.com
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.* A manual and handbook for working journalists and an ideal starter textbook for radio journalism and media students* Written by two experienced journalists and trainers* Includes the latest digital production techniques as well as scores of practical hints and tips covering the core skills of radio journalism
The early history of radio is the history of technology that produced radio instruments that use radio waves. Within the timeline of radio, many people contributed theory and inventions in what became radio.[1] Radio development began as "wireless telegraphy".[1] Later radio history increasingly involves matters of programming and content.
Invention
James Clerk Maxwell showed mathematically that electromagnetic waves could propagate through free space. Heinrich Rudolf Hertz and many others demonstrated radio wave propagation on a laboratory scale.
Nikola Tesla experimentally demonstrated the transmission and radiation of radio frequency energy in 1892 and 1893 proposing that it might be used for the telecommunication of information.[2][3] The Tesla method was described in New York[4] in 1897.[5][6] In 1897, Tesla applied for two key United States radio patents, US 645576 , first radio system patent, and US 649621 .[7] Tesla also used sensitive electromagnetic receivers,[8][9][10] that were unlike the less responsive coherers later used by Marconi and other early experimenters.[dubious – discuss] Shortly thereafter, he began to develop wireless remote control devices.
In 1895, Marconi built a wireless system capable of transmitting signals at long distances (1.5 mi./ 2.4 km).[11] From Marconi's experiments, the phenomenon that transmission range is proportional to the square of antenna height is known as "Marconi's law".[12] This formula represents a physical law that radio devices use.
Early radio telegraphy and telephony
The term wireless telegraphy is a historical term used today to apply to early radio telegraph communications techniques and practices, particularly those used during the first three decades of radio (1887 to 1920) before the term radio came into use. Guglielmo Marconi demonstrated application of radio in commercial, military and marine communications and started a company for the development and propagation of radio communication services and equipment. The field of radio development attracted many researchers, and bitter arguments[who?] over the true "inventor of radio" persist to this day.[citation needed]
Turn of the 19th to 20th century
Around the turn of the 19th to 20th century, the Slaby-Arco wireless system was developed by Adolf Slaby and Georg von Arco. In 1900, Reginald Fessenden made a weak transmission of voice over the airwaves. In 1901, Marconi conducted the first successful transatlantic experimental radio communications. In 1904, The U.S. Patent Office reversed its decision, awarding Marconi a patent for the invention of radio, possibly influenced by Marconi's financial backers in the States, who included Thomas Edison and Andrew Carnegie. This also allowed the U.S. government (among others) to avoid having to pay the royalties that were being claimed by Tesla for use of his patents. For more information see Marconi's radio work. In 1907, Marconi established the first commercial transatlantic radio communications service, between Clifden, Ireland and Glace Bay, Newfoundland.
Julio Cervera Baviera
Julio Cervera Baviera developed radio in Spain around 1902.[13][14] Cervera Baviera obtained patents in England, Germany, Belgium, and Spain. In May–June 1899, Cervera had, with the blessing of the Spanish Army, visited Marconi's radiotelegraphic installations on the English Channel, and worked to develop his own system. He began collaborating with Marconi on resolving the problem of a wireless communication system, obtaining some patents by the end of 1899. Cervera, who had worked with Marconi and his assistant George Kemp in 1899, resolved the difficulties of wireless telegraph and obtained his first patents prior to the end of that year. On March 22, 1902, Cervera founded the Spanish Wireless Telegraph and Telephone Corporation and brought to his corporation the patents he had obtained in Spain, Belgium, Germany and England.[15] He established the second and third regular radiotelegraph service in the history of the world in 1901 and 1902 by maintaining regular transmissions between Tarifa and Ceuta for three consecutive months, and between Javea (Cabo de la Nao) and Ibiza (Cabo Pelado). This is after Marconi established the radiotelegraphic service between the Isle of Wight and Bournemouth in 1898. In 1906, Domenico Mazzotto wrote: "In Spain the Minister of War has applied the system perfected by the commander of military engineering, Julio Cervera Baviera (English patent No. 20084 (1899))."[16] Cervera thus achieved some success in this field, but his radiotelegraphic activities ceased suddenly, the reasons for which are unclear to this day.[17]
British Marconi
Using various patents, the company called British Marconi was established in 1897 and began communication between coast radio stations and ships at sea. This company along with its subsidiary American Marconi, had a stranglehold on ship to shore communication. It operated much the way American Telephone and Telegraph operated until 1983, owning all of its equipment and refusing to communicate with non-Marconi equipped ships. Many inventions improved the quality of radio, and amateurs experimented with uses of radio, thus the first seeds of broadcasting were planted.
Telefunken
The company Telefunken was founded on May 27, 1903 as "Telefunken society for wireless telefon" of Siemens & Halske (S & H) and the Allgemeine Elektrizitäts-Gesellschaft (General Electricity Company) as joint undertakings for radio engineering in Berlin. It continued as a joint venture of AEG and Siemens AG, until Siemens left in 1941. In 1911, Kaiser Wilhelm II sent Telefunken engineers to West Sayville, New York to erect three 600-foot (180-m) radio towers there. Nikola Tesla assisted in the construction. A similar station was erected in Nauen, creating the only wireless communication between North America and Europe.
Reginald Fessenden
The invention of amplitude-modulated (AM) radio, so that more than one station can send signals (as opposed to spark-gap radio, where one transmitter covers the entire bandwidth of the spectrum) is attributed to Reginald Fessenden and Lee de Forest. On Christmas Eve 1906, Reginald Fessenden used an Alexanderson alternator and rotary spark-gap transmitter to make the first radio audio broadcast, from Brant Rock, Massachusetts. Ships at sea heard a broadcast that included Fessenden playing O Holy Night on the violin and reading a passage from the Bible.
Ferdinand Braun
In 1909, Marconi and Karl Ferdinand Braun were awarded the Nobel Prize in Physics for "contributions to the development of wireless telegraphy".
Charles David Herrold
In April 1909 Charles David Herrold, an electronics instructor in San Jose, California constructed a broadcasting station. It used spark gap technology, but modulated the carrier frequency with the human voice, and later music. The station "San Jose Calling" (there were no call letters), continued to eventually become today's KCBS in San Francisco. Herrold, the son of a Santa Clara Valley farmer, coined the terms "narrowcasting" and "broadcasting", respectively to identify transmissions destined for a single receiver such as that on board a ship, and those transmissions destined for a general audience. (The term "broadcasting" had been used in farming to define the tossing of seed in all directions.) Charles Herrold did not claim to be the first to transmit the human voice, but he claimed to be the first to conduct "broadcasting". To help the radio signal to spread in all directions, he designed some omnidirectional antennas, which he mounted on the rooftops of various buildings in San Jose. Herrold also claims to be the first broadcaster to accept advertising (he exchanged publicity for a local record store for records to play on his station), though this dubious honour usually is foisted on WEAF (1922).
In 1912, the RMS Titanic sank in the northern Atlantic Ocean. After this, wireless telegraphy using spark-gap transmitters quickly became universal on large ships. In 1913, the International Convention for the Safety of Life at Sea was convened and produced a treaty requiring shipboard radio stations to be manned 24 hours a day. A typical high-power spark gap was a rotating commutator with six to twelve contacts per wheel, nine inches (229 mm) to a foot wide, driven by about 2,000 volts DC. As the gaps made and broke contact, the radio wave was audible as a tone in a magnetic detector at a remote location. The telegraph key often directly made and broke the 2,000 volt supply. One side of the spark gap was directly connected to the antenna. Receivers with thermionic valves became commonplace before spark-gap transmitters were replaced by continuous wave transmitters.
Harold J. Power
On March 8, 1916, Harold Power with his radio company American Radio and Research Company (AMRAD), broadcast the first continuous broadcast in the world from Tufts University under the call sign 1XE (it lasted 3 hours). The company later became the first to broadcast on a daily schedule, and the first to broadcast radio dance programs, university professor lectures, the weather, and bedtime stories.[18]
Edwin Armstrong
Inventor Edwin Howard Armstrong is credited with developing many of the features of radio as it is known today. Armstrong patented three important inventions that made today's radio possible. Regeneration, the superheterodyne circuit and wide-band frequency modulation or FM. Regeneration or the use of positive feedback greatly increased the amplitude of received radio signals to the point where they could be heard without headphones. The superhet simplified radio receivers by doing away with the need for several tuning controls. It made radios more sensitive and selective as well. FM gave listeners a static-free experience with better sound quality and fidelity than AM.
Audio broadcasting (1919 to 1950s)
Crystal sets
The most common type of receiver before vacuum tubes was the crystal set, although some early radios used some type of amplification through electric current or battery. Inventions of the triode amplifier, motor-generator, and detector enabled audio radio. The use of amplitude modulation (AM), with which more than one station can simultaneously send signals (as opposed to spark-gap radio, where one transmitter covers the entire bandwidth of spectra) was pioneered by Fessenden and Lee de Forest.
To this day there is a small but avid base of fans of this technology who study and practice the art and science of designing and making crystal sets as a hobby; the Boy Scouts of America have often undertaken such craft projects to introduce boys to electronics and radio, and quite a number of them having grown up remain staunch fans of a radio that 'runs on nothing, forever'. As the only energy available is that gathered by the antenna system, there are inherent limitations on how much sound even an ideal set could produce, but with only moderately decent antenna systems remarkable performance is possible with a superior set.
The first vacuum tubes
During the mid 1920s, amplifying vacuum tubes (or thermionic valves in the UK) revolutionized radio receivers and transmitters. John Ambrose Fleming developed an earlier tube known as an "oscillation valve" (it was a diode). Lee De Forest placed a screen, the "grid" electrode, between the filament and plate electrode, creating the triode. The Dutch engineer Hanso Schotanus à Steringa Idzerda made the first regular wireless broadcast for entertainment from his home in The Hague on 6 November 1919. He broadcast his popular program four nights per week until 1924 when he ran into financial troubles.
On 27 August 1920, regular wireless broadcasts for entertainment began in Argentina, pioneered by the group around Enrique Telémaco Susini, and spark gap telegraphy stopped. On 31 August 1920 the first known radio news program was broadcast by station 8MK, the unlicensed predecessor of WWJ (AM) in Detroit, Michigan. In 1922 regular wireless broadcasts for entertainment began in the UK from the Marconi Research Centre 2MT at Writtle near Chelmsford, England. Early radios ran the entire power of the transmitter through a carbon microphone. In the 1920s, the Westinghouse company bought Lee De Forest's and Edwin Armstrong's patent. During the mid 1920s, Amplifying vacuum tubes (US)/thermionic valves (UK) revolutionized radio receivers and transmitters. Westinghouse engineers developed a more modern vacuum tube.
Licensed commercial public radio stations
The question of the 'first' publicly-targeted licensed radio station in the U.S. has more than one answer and depends on semantics. Settlement of this 'first' question may hang largely upon what constitutes 'regular' programming.
- It is commonly attributed to KDKA in Pittsburgh, Pennsylvania, which in October 1920 received its license and went on the air as the first US licensed commercial broadcasting station. (Their engineer Frank Conrad had been broadcasting from his own station since 1916.) Technically, KDKA was the first of several already-extant stations to receive a 'limited commercial' license.
- On February 17, 1919, station 9XM at the University of Wisconsin in Madison broadcast human speech to the public at large. 9XM was first experimentally licensed in 1914, began regular Morse code transmissions in 1916, and its first music broadcast in 1917. Regularly scheduled broadcasts of voice and music began in January 1921. That station is still on the air today as WHA.
- On August 20, 1920, at least two months before KDKA, E.W. Scripps's WBL (now WWJ) in Detroit started broadcasting. It has carried a regular schedule of programming to the present.
- There is the history noted above of Charles David Herrold's radio services (eventually KCBS) going back to 1909.
Broadcasting was not yet supported by advertising or listener sponsorship. The stations owned by manufacturers and department stores were established to sell radios and those owned by newspapers to sell newspapers and express the opinions of the owners. In the 1920s, radio was first used to transmit pictures visible as television. During the early 1930s, single sideband (SSB) and frequency modulation (FM) were invented by amateur radio operators. By 1940, they were established commercial modes.
Westinghouse was brought into the patent allies group, General Electric, American Telephone and Telegraph, and Radio Corporation of America, and became a part owner of RCA. All radios made by GE and Westinghouse were sold under the RCA label 60% GE and 40% Westinghouse. ATT's Western Electric would build radio transmitters. The patent allies attempted to set up a monopoly, but they failed due to successful competition. Much to the dismay of the patent allies, several of the contracts for inventor's patents held clauses protecting "amateurs" and allowing them to use the patents. Whether the competing manufacturers were really amateurs was ignored by these competitors.
These features arose:
Dates of first radio stations
This is a listing of radio stations in broadcast networks, whether AM or FM. (Radio telegraph systems which did not carry audio are not listed.) They include both commercial, public and nonprofit varieties found throughout the world.
- Note
- The first claimed audio transmission that could be termed to be from a broadcast station occurred on Christmas Eve in 1906, and was made by Reginald Fessenden. Charles Herrold started broadcasting from a station in California in 1909 and was carrying audio by 1910.
Notes:^Note 1 : Date unconfirmed.^Note 2 : Broadcasts had also been available from Louisiana and Alabama since 1922.^Note 3 : Broadcasts were also available from North Carolina and Georgia.^Note 4 : Broadcasts were also available from Colorado since 1921.^Note 5 : Radio broadcasting in Java briefly ceased after a station was destroyed by lightning.^Note 6 : Broadcasts from Argentina had also been available as is the case today.^Note 7 : Radio broadcasting had also been received from Italy, since Vatican City lies within the vicinity of Rome as is the case today.^Note 8 : Malta had also received radio broadcasts from Italy. The British adopted a radio service on the island to counter Fascist propaganda.^Note 9 : Radio broadcasts did exist in the Bahamas prior to 1936. Before then, they were received from the United States.^Note 10 : Also received radio broadcasts from nearby Yugoslavia.^Note 11 : Broadcasting in Aden ceased in 1946-1947 and again from 1948-1955.^Note 12 : Andorra also received radio broadcasts from Spain.^Note 13 : Radio broadcasts from the Trust Territory of the Pacific Islands had also been available.^Note 14 : Broadcasts had also been received from Saudi Arabia and Bahrain.^Note 15 : Broadcasts had previously been received from South Africa.
FM and television start
In 1933, FM radio was patented by inventor Edwin H. Armstrong. FM uses frequency modulation of the radio wave to minimize static and interference from electrical equipment and the atmosphere, in the audio program. In 1937, W1XOJ, the first experimental FM radio station, was granted a construction permit by the U.S. Federal Communications Commission (FCC). In the 1930s, standard analog television transmissions started in Europe, and then in the 1940s in North America. Armstrong's FM system was designated by the FCC to transmit and receive television sound.
FM in Europe
After World War II, the FM radio broadcast was introduced in Germany. In 1948, a new wavelength plan was set up for Europe at a meeting in Copenhagen. Because of the recent war, Germany (which did not exist as a state and so was not invited) was only given a small number of medium-wave frequencies, which are not very good for broadcasting. For this reason Germany began broadcasting on UKW ("Ultrakurzwelle", i.e. ultra short wave, nowadays called VHF) which was not covered by the Copenhagen plan. After some amplitude modulation experience with VHF, it was realized that FM radio was a much better alternative for VHF radio than AM. Because of this history FM Radio is still referred to as "UKW Radio" in Germany. Other European nations followed a bit later, when the superior sound quality of FM and the ability to run many more local stations because of the more limited range of VHF broadcasts were realized.
Later 20th century developments
In 1954 Regency introduced a pocket transistor radio, the TR-1, powered by a "standard 22.5V Battery". In the early 1960s, VOR systems finally became widespread for aircraft navigation; before that, aircraft used commercial AM radio stations for navigation. (AM stations are still marked on U.S. aviation charts). In 1960 Sony introduced their first transistorized radio, small enough to fit in a vest pocket, and able to be powered by a small battery. It was durable, because there were no tubes to burn out. Over the next twenty years, transistors displaced tubes almost completely except for picture tubes and very high power or very high frequency uses.
Color television and digital
- 1963: Color television was commercially transmitted, and the first (radio) communication satellite, Telstar, was launched.
- Late 1960s: The USA long-distance telephone network began to convert to a digital network, employing digital radios for many of its links.
- 1970s: LORAN became the premier radio navigation system. Soon, the U.S. Navy experimented with satellite navigation.
- 1987: The GPS constellation of satellites was launched.
- Early 1990s: Amateur radio experimenters began to use personal computers with audio cards to process radio signals.
- 1994: The U.S. Army and DARPA launched an aggressive successful project to construct a software radio that could become a different radio on the fly by changing software.
- Late 1990s: Digital transmissions began to be applied to broadcasting.
Telex on radio
Telegraphy did not go away on radio. Instead, the degree of automation increased. On land-lines in the 1930s, teletypewriters automated encoding, and were adapted to pulse-code dialing to automate routing, a service called telex. For thirty years, telex was the absolute cheapest form of long-distance communication, because up to 25 telex channels could occupy the same bandwidth as one voice channel. For business and government, it was an advantage that telex directly produced written documents.
Telex systems were adapted to short-wave radio by sending tones over single sideband. CCITT R.44 (the most advanced pure-telex standard) incorporated character-level error detection and retransmission as well as automated encoding and routing. For many years, telex-on-radio (TOR) was the only reliable way to reach some third-world countries. TOR remains reliable, though less-expensive forms of e-mail are displacing it. Many national telecom companies historically ran nearly pure telex networks for their governments, and they ran many of these links over short wave radio.
Legal issues with radio
When radio was first introduced in the 1930s many predicted the end of records. Radio was a free medium for the public to hear music for which they would normally pay. While some companies saw radio as a new avenue for promotion, others feared it would cut into profits from record sales and live performances. Many companies had their major stars sign agreements that they would not appear on radio.[19][20]
Indeed, the music recording industry had a severe drop in profits after the introduction of the radio. For a while, it appeared as though radio was a definite threat to the record industry. Radio ownership grew from two out of five homes in 1931 to four out of five homes in 1938. Meanwhile record sales fell from $75 million in 1929 to $26 million in 1938 (with a low point of $5 million in 1933), though the economics of the situation were also affected by the Great Depression.[21]
The copyright owners of these songs were concerned that they would see no gain from the popularity of radio and the ‘free’ music it provided. Luckily, everything they needed to make this new medium work for them already existed in previous copyright law. The copyright holder for a song had control over all public performances ‘for profit.’ The problem now was proving that the radio industry, which was just figuring out for itself how to make money from advertising and currently offered free music to anyone with a receiver, was making a profit from the songs.
The test case was against Bamberger Department Store in Newark, New Jersey in 1922. The store was broadcasting music throughout its store on the radio station WOR. No advertisements were heard, except for at the beginning of the broadcast which announced "L. Bamberger and Co., One of America's Great Stores, Newark, New Jersey." It was determined through this and previous cases (such as the lawsuit against Shanley's Restaurant) that Bamberger was using the songs for commercial gain, thus making it a public performance for profit, which meant the copyright owners were due payment.
With this ruling the American Society of Composers, Authors and Publishers (ASCAP) began collecting licensing fees from radio stations in 1923. The beginning sum was $230 for all music protected under ASCAP, but for larger stations the price soon ballooned up to $5,000. Edward Samuel's reports in his book The Illustrated Story of Copyright that "radio and TV licensing represents the single greatest source of revenue for ASCAP and its composers […] and average member of ASCAP gets about $150–$200 per work per year, or about $5,000-$6,000 for all of a member's compositions. Not long after the Bamberger ruling, ASCAP had to once again defend their right to charge fees in 1924. The Dill Radio Bill would have allowed radio stations to play music without paying and licensing fees to ASCAP or any other music-licensing corporations. The bill did not pass.[22]
Exotic technologies
See also
- General
- ^ a b The Invention of Radio inventors.about.com/od/rstartinventions/a/radio.htm
- ^ "On Light and Other High Frequency Phenomena". Delivered before the Franklin Institute, Philadelphia, February 1893, and before the National Electric Light Association, St. Louis, March 1893.
- ^ "Experiments with Alternating Currents of High Potential and High Frequency". Delivered before the Institution of Electrical Engineers, London, February 1892.
- ^ The Electrical world, Volume 29
- ^ Tesla explained his early methods of the transformation of electrical energy by oscillatory condenser discharges in his lecture "The stream of Lenard and Roentgen and novel apparatus for their production". (April 6, 1897).
- ^ The same concepts were patented by Tesla in U.S. Patent 462,418.
- ^ Those two patents were issued in early 1900.
- ^ These are known as electric circuit controllers.
- ^ U.S. Patent 609,245, U.S. Patent 609,246, U.S. Patent 609,247, U.S. Patent 609,250, U.S. Patent 609,251, and U.S. Patent 611,719
- ^ Corum, K. L., and J. F. Corum, "Tesla's Colorado Springs Receivers (A Short Introduction)".
- ^ "The Nobel Prize in Physics 1909- Guglielmo Marconi, Ferdinand Braun". http://nobelprize.org/nobel_prizes/physics/laureates/1909/marconi-bio.html.
- ^ Fleming, Sir John Ambrose (1906). The principles of electric wave telegraphy. Longmans, Green, and Co.. pp. 601–606. http://books.google.com/?id=LABVAAAAMAAJ&lpg=PR18&pg=PA601#v=onepage&q&f=false. Retrieved 2010-11-19.
- ^ Noticias, Últimas noticias, El español Julio Cervera Baviera, y no Marconi, fue quien inventó la radio, según el profesor Ángel Faus . Universidad de Navarra
- ^ Un estudio asegura que fue el español Cervera Baviera y no Marconi el inventor de la radio - comunicación - elmundo.es
- ^ News, Latest news, The Spaniard Julio Cervera Baviera, and not Marconi, was the inventor of the radio, according to professor Ángel Faus . University of Navarra
- ^ Domenico Mazzotto, Wireless Telegraphy and Telephony. Translated by Selimo Romeo Bottone (Whittaker & Co., 1906), 217.
- ^ http://www.coit.es/foro/pub/ficheros/librosapendice_1_981ff066.pdf?PHPSESSID=c3606fd8d59137417f50e69e7d8f8566
- ^ "North Hall." Concise Encyclopedia of Tufts History. Ed. Anne Sauer [1]
- ^ liebowitz.dvi
- ^ frontline: the way the music died: inside the music industry: chronology - technology and the music industry | PBS
- ^ Creativity Wants to be Paid
- ^ Chapter Two
References
Primary sources
- De Lee Forest. Father of Radio: The Autobiography of Lee de Forest (1950).
- Gleason L. Archer Personal Papers (MS108), Suffolk University Archives, Suffolk University; Boston, Massachusetts. Gleason L. Archer Personal Papers (MS108) finding aid
- Kahn Frank J., ed. Documents of American Broadcasting, fourth edition (Prentice-Hall, Inc., 1984).
- Lichty Lawrence W., and Topping Malachi C., eds. American Broadcasting: A Source Book on the History of Radio and Television (Hastings House, 1975).
Secondary sources
- Aitkin, Hugh G. J. The Continuous Wave: Technology and the American Radio, 1900-1932 (Princeton University Press, 1985).
- Anderson, Leland. "Nikola Tesla On His Work With Alternating Currents and Their Application to Wireless Telegraphy, Telephony, and Transmission of Power", Sun Publishing Company, LC 92-60482, ISBN 0-9632652-0-2 (ed. excerpts available online)
- Anderson, Leland I. Priority in the Invention of Radio — Tesla vs. Marconi, Antique Wireless Association monograph, 1980, examining the 1943 decision by the US Supreme Court holding the key Marconi patent invalid (9 pages). (21st Century Books)
- Archer, Gleason L. Big Business and Radio (The American Historical Society, Inc., 1939)
- Archer, Gleason L. History of Radio to 1926 (The American Historical Society, Inc., 1938).
- Barnouw, Erik. The Golden Web (Oxford University Press, 1968); The Sponsor (1978); A Tower in Babel (1966).
- Belrose, John S., "Fessenden and Marconi: Their Differing Technologies and Transatlantic Experiments During the First Decade of this Century". International Conference on 100 Years of Radio (5–7 September 1995).
- Briggs, Asa. The BBC — the First Fifty Years (Oxford University Press, 1984).
- Briggs, Asa. The History of Broadcasting in the United Kingdom (Oxford University Press, 1961).
- Brodsky, Ira. "The History of Wireless: How Creative Minds Produced Technology for the Masses" (Telescope Books, 2008)
- Butler, Lloyd (VK5BR), "Before Valve Amplification - Wireless Communication of an Early Era"
- Coe, Douglas and Kreigh Collins (ills), "Marconi, pioneer of radio". New York, J. Messner, Inc., 1943. LCCN 43010048
- Covert, Cathy and Stevens John L. Mass Media Between the Wars (Syracuse University Press, 1984).
- Craig, Douglas B. Fireside Politics: Radio and Political Culture in the United States, 1920–1940 (2005)
- Crook, Tim. International Radio Journalism: History, Theory and Practice Routledge, 1998
- Douglas, Susan J., Listening in : radio and the American imagination : from Amos ’n’ Andy and Edward R. Murrow to Wolfman Jack and Howard Stern , New York, N.Y. : Times Books, 1999.
- Ewbank Henry and Lawton Sherman P. Broadcasting: Radio and Television (Harper & Brothers, 1952).
- Garratt, G. R. M., "The early history of radio : from Faraday to Marconi", London, Institution of Electrical Engineers in association with the Science Museum, History of technology series, 1994. ISBN 0-85296-845-0 LCCN gb 94011611
- Geddes, Keith, "Guglielmo Marconi, 1874-1937". London : H.M.S.O., A Science Museum booklet, 1974. ISBN 0-11-290198-0 LCCN 75329825 (ed. Obtainable in the U.S.A. from Pendragon House Inc., Palo Alto, California.)
- Gibson, George H. Public Broadcasting; The Role of the Federal Government, 1919-1976 (Praeger Publishers, 1977).
- Hancock, Harry Edgar, "Wireless at sea; the first fifty years. A history of the progress and development of marine wireless communications written to commemorate the jubilee of the Marconi International Marine Communication Company limited". Chelmsford, Eng., Marconi International Marine Communication Co., 1950. LCCN 51040529 /L
- Jackaway, Gwenyth L. Media at War: Radio's Challenge to the Newspapers, 1924-1939 Praeger Publishers, 1995
- Journal of the Franklin Institute. "Notes and comments; Telegraphy without wires", Journal of the Franklin Institute, December 1897, pages 463-464.
- Katz, Randy H., "Look Ma, No Wires": Marconi and the Invention of Radio". History of Communications Infrastructures.
- Lazarsfeld, Paul F. The People Look at Radio (University of North Carolina Press, 1946).
- Maclaurin, W. Rupert. Invention and Innovation in the Radio Industry (The Macmillan Company, 1949).
- Marconi's Wireless Telegraph Company, "Year book of wireless telegraphy and telephony", London : Published for the Marconi Press Agency Ltd., by the St. Catherine Press / Wireless Press. LCCN 14017875 sn 86035439
- Marincic, Aleksandar and Djuradj Budimir, "Tesla contribution to radio wave propagation". (PDF)
- Masini, Giancarlo. "Guglielmo Marconi". Turin: Turinese typographical-publishing union, 1975. LCCN 77472455 (ed. Contains 32 tables outside of the text)
- Massie, Walter Wentworth, "Wireless telegraphy and telephony popularly explained". New York, Van Nostrand, 1908.
- McChesney, Robert W. Telecommunications, Mass Media, and Democracy: The Battle for the Control of U.S. Broadcasting, 1928-1935 Oxford University Press, 1994
- McCourt, Tom. Conflicting Communication Interests in America: The Case of National Public Radio Praeger Publishers, 1999
- McNicol, Donald. "The Early Days of Radio in America". The Electrical Experimenter, April 1917, pages 893, 911.
- Peers, Frank W. The Politics of Canadian Broadcasting, 1920–1951 (University of Toronto Press, 1969).
- Pimsleur, J. L. "Invention of Radio Celebrated in S.F.; 100th birthday exhibit this weekend ". San Francisco Chronicle, 1995.
- The Prestige, 2006, Touchstone Pictures.
- The Radio Staff of the Detroit News, WWJ-The Detroit News (The Evening News Association, Detroit, 1922).
- Ray, William B. FCC: The Ups and Downs of Radio-TV Regulation (Iowa State University Press, 1990).
- Rosen, Philip T. The Modern Stentors; Radio Broadcasting and the Federal Government 1920-1934 (Greenwood Press, 1980).
- Rubin, Julian "Guglielmo Marconi: The Invention of Radio". January 2006.
- Rugh, William A. Arab Mass Media: Newspapers, Radio, and Television in Arab Politics Praeger, 2004
- Scannell, Paddy, and Cardiff, David. A Social History of British Broadcasting, Volume One, 1922-1939 (Basil Blackwell, 1991).
- Schramm Wilbur, ed. Mass Communications (University of Illinois Press, 1960).
- Schwoch James. The American Radio Industry and Its Latin American Activities, 1900-1939 (University of Illinois Press, 1990).
- Seifer, Marc J., "The Secret History of Wireless". Kingston, Rhode Island.
- Slater, Robert. This ... is CBS: A Chronicle of 60 Years (Prentice Hall, 1988).
- Smith, F. Leslie, John W. Wright II, David H. Ostroff; Perspectives on Radio and Television: Telecommunication in the United States Lawrence Erlbaum Associates, 1998
- Sterling, Christopher H. Electronic Media, A Guide to Trends in Broadcasting and Newer Technologies 1920–1983 (Praeger, 1984).
- Sterling, Christopher, and Kittross John M. Stay Tuned: A Concise History of American Broadcasting (Wadsworth, 1978).
- Stone, John Stone. "John Stone Stone on Nikola Tesla's Priority in Radio and Continuous-Wave Radiofrequency Apparatus". Twenty First Century Books, 2005.
- Sungook Hong, "Wireless: from Marconi's Black-box to the Audion", Cambridge, Massachusetts: MIT Press, 2001, ISBN 0-262-08298-5
- Waldron, Richard Arthur, "Theory of guided electromagnetic waves". London, New York, Van Nostrand Reinhold, 1970. ISBN 0-442-09167-2 LCCN 69019848 //r86
- Weightman, Gavin, "Signor Marconi's magic box : the most remarkable invention of the 19th century & the amateur inventor whose genius sparked a revolution" 1st Da Capo Press ed., Cambridge, Massachusetts : Da Capo Press, 2003.
- White, Llewellyn. The American Radio (University of Chicago Press, 1947).
- White, Thomas H. "Pioneering U.S. Radio Activities (1897-1917)", United States Early Radio History.
- Wunsch, A. David "Misreading the Supreme Court: A Puzzling Chapter in the History of Radio" Mercurians.org.
Media and documentaries
External links
- "A Comparison of the Tesla and Marconi Low-Frequency Wireless Systems ". Twenty First Century Books, Breckenridge, Co.
- Marconi's Early Wireless Experiments, 1895 IEEE History Center
- Sparks Telegraph Key Review
- Early Radio History
- Radio waves, the Hertzian Radiation: what it is and how it happens.
- Information on the development of Radio at Camp Evans, New Jersey
- "The Invention of Radio". inventors.about.com.
- Zenonas Langaitis — Old radios from Lithuania * (Europa, Baltic States, past USSR
- "The Invention of the Radio". Through the wires, a century of communication, library.thinkquest.org.
- "Presentation of the Edison Medal to Nikola Tesla". Minutes of the Annual Meeting of the American Institute of Electrical Engineers. Held at the Engineering Society Building, New York City, Friday evening, May 18, 1917.
- "Guglielmo Marconi and Early Systems of Wireless Communication". Marconi.com. (PDF file)
- Timeline of the First Thirty Years of Radio 1895 – 1925; An important chapter in the Death of Distance. Nova Scotia, Canada, March 14, 2006.
- Ontario Plaques - The Rogers Batteryless Radio
- Brazilian experimenter Roberto Landell de Moura
- Portuguese Radio History: Telefonia Sem Fios - História da Rádio em Portugal
- Cybertelecom :: Radio History (legal and regulatory)
- Canadian Broadcasting Corporation archives
Radios of the World - PORTUGAL: Antena 1
Linha Verde: 800 21 01 01
Disponível de 2ª a 6ª das 6h às 22h
Fim de Semana e Feriados das 15h às 22h
Radios of the World - ITALY: Radio 1
Selezionati i sedici finalisti di Musicultura 2012, al termine dell'ascolto di circa 1000 canzoni e di una sessione di Audizioni Live delle proposte più meritevoli. Solo in 8 accederanno alle serate conclusive presso l’Arena Sferisterio di Macerata il 15, 16, e 17 Giugno.
Dal 10 Aprile fino al 18 maggio i 16 brani verranno trasmessi su Radio1. In Gianvarietà, nelle prime quattro settimane si ascolterà un brano per giorno accompagnato dall’intervista telefonica all’autore; nella quarta e quinta settimana si riascolteranno i 16 brani, al ritmo di due per giorno. Ogni venerdì, dal 13 aprile fino al 4 maggio, dalle 00,30 alle 01,00 in Radiounomusicalive, le 4 canzoni verranno fatte riascoltare in versione live.
Degli 8 artisti che arriveranno alle serate finali, uno verrà scelto attraverso le preferenze espresse sulla pagina facebook di Musicultura, uno dal pubblico con il televoto. Gli altri sei saranno scelti dal Comitato Artistico di Garanzia.Le modalità di voto e tutte le informazioni sul sito del Festival e sul nostro sito
Radios of the world - FRANCE: France Info
So, you want to be a broadcaster? Great! Lucky for you today's technology allows anyone to do what was once limited to a small percentage of people. Now you can become a broadcaster, you can be the deejay, you can be the Program Director who decides your broadcast to the world - thanks to the Internet.There are several approaches to creating streaming Internet radio and which one you choose depends on your goals. If you are truly inspired to begin a Internet-based Radio station that operates for the purpose of profit and generating revenue, your path will be different than from the person who just wants to set up a broadcast to simply share his or her CD collection with friends.
There are excellent options for the novice which require very little technical knowledge. If you can create or assemble MP3 files, upload them and choose a few options, you can reach a global audience!
So, keep reading because you're about to enter the world of online radio.
Essay on The Role of Digital Radio in SocietySince its beginning in the early 1920’s, radio has taken on the role of one of the worlds most widely used media forms, as more time is spent listening to radio than any other medium. As most media forms, the primary role of radio is communication. Though as technology advances faster and faster each year, commercial radio is being forced to keep up with the times, and is taking this almost primitive media source to new levels of the digital age. With the introduction and future plans of Digital Audio Broadcasting, the industry is aiming to not just gain listeners, but fans, and offers a whole new look at the world of radio. Although the role of radio does not change as a communicative source of media, these changes see radio taking on new roles as information and entertainment are presented in much more effective, accessible, friendly and modern ways, and also reflect the affects the new media has on society.
Radio has played an important part in history, being one of the original electronic forms of media and having the advantage of being simplistic in relation to other forms such as TV, or film, with homemade radios being a less than complex experiment. Radio’s can be found practically anywhere, in the car, in the pocket, and there wouldn’t be one house which didnt own a radio. The appeal of this form of media to society is in its 2 primary purposes; to inform and to entertain. In the early days of radio, it was used to reach country farmers of Australia and educate the children in remote areas. The addition of commercial FM radio saw popularity increase and range spread all over the world. The technological advancements brought on a change in programming, and also audience. Rock ‘n’ roll hits dominated the airwaves, and the youth tuned in to the new radio format. However, these days, the commercial stations are limiting to the market dynamics and playing the same thing everywhere you go. This is where digital radio plays a key part in expanding the role of radio stations into a whole new era of modern technology that will see radio hit back against the other advanced forms of media.Digital radio has many advantages over the wave form, in all areas. The quality is extremely high in comparison, virtually as on CD, and there are no worries of distorted signals or interference. The formats and programming are offered with an enormous variety, commercial free, just like cable TV. There are a huge number of channels designed to specialise in a certain area, hence attracting a larger audience, and also giving the people what they want to hear, not just the same old music charts. The accessibility of radio will increase too, with the added ability to listen to the radio over the internet finding new audiences, and also increasing the range of communication. For a community radio station, the range of broadcast can be amplified from local, to worldwide, through the use of the internet. One of the most important features of digital radio is that it will serve more purposes than just carrying audio. Pictures, video, and text are some of the extra capabilities of this new form of communication. In the car, data such as maps, travel and traffic information, and business or stock information can all be readily available through the use of digital radio. In the not too distant future, the introduction of satellite radio will see an even broader horizon of technology in the way we listen to radio.
As the technology advances in the world of radio and changes take place, the role of radio itself as a communicative form of media only changes in the sense that the range of communication is increased. The radio becomes more accessible, more effective and more appealing, and will attract a greater audience. For society, radio allows communication of information and entertainment over long distances, and the digital changes will see an increase in the audiences and recipients of the radio, on a worldwide scale. Digital technology can affect many aspects of society. Whether it be education or grocery shopping, the digital age has played a part in changing many parts of our world. This new form of media has many, many advantages though, over the primitive analogue type. Despite the complaints that it may be costly, or too advanced for many people to use, digital radio holds the upper hand in society, as the features it offers are more beneficiary to the people, than some care to see. Areas such as emergency services; ambulance, police, fire-fighters, can respond quicker, and more accurately. Drivers on their way to work can avoid traffic jams with ease. In situations where maybe a person listening to a specialised program finds themselves moving out of range of the station, instead of the distorted breakdown-to-no-signal, the digital radio “smart” receiver can find another local station with the same specialised program and “feed” off that station, hence benefiting the listener once more.
Digital radio is a must all round. It holds so many advantages over the out-of-date analogue radio and is so much more practical that it will soon be almost essential to have, not just another media luxury. Through history, radio has served its purpose as a communicative source of information and entertainment, but has fallen behind in the age of the new media. Digital radio will not only play a part in bringing radio back as a primary media outlet, but also will affect society in many ways unseen by media before, and will see its role expanded and appreciated by all.
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Useful guidelines on writing radio drama.Notes on Radio Drama
The Nature of the Medium
Radio is a descriptive medium. On the surface it has obvious attractions for the writer in its very simplicity and freedom from technical restrictions. It is the medium of the word — where anything that can be described can be imagined. It can span centuries and continents and can present extremes of action and movement without the limitations imposed by the cost of sets and costumes. It can explore the recesses of a man’s mind without the problem of how to fill the rest of the stage or screen. In short, it is a medium of almost unlimited possibilities — even in times of economic stringency.
It would be wrong to assume, however, that this freedom makes it easier to write for than other media. On the contrary, it calls for a greater discipline of structure and a more precise awareness of the nuances of language than most other forms of dramatic writing. Given that the listener must be attracted and held by means of sound alone, then that sound must be constantly stimulating. The visual media can rely on a variety of stimuli — on light and colour and movement — to compel the attention. Deprived of these, the radio writer must construct mental images in the listener’s head by a careful orchestration of the only four sources at his disposal — speech, music, sound and silence. Each of these may have a proper place in the author’s original concept but of course speech is the most important.
In radio, the writer must provide everything in his dialogue. The producer can underline, heighten or embroider by skilful casting, timing and use of effects and music, but he can seldom, if ever, create from scratch an idea which is not originally planted in the dialogue. So the dialogue in a radio play will actually contain more information than is normal in everyday speech, but it should still be able to sound completely natural. It follows that radio dialogue and construction make the highest possible demands on the writer’s skill. A radio play that was simply ‘all talk’ in a conventional conversational sense would be very boring.
Some Practical Points on Construction
1. In radio, one abandons the convention of theatre or film in deciding the length or number of ‘scenes’. A sequence in a radio play may be several pages long or it may be simply one line. It depends on the complexity of the idea or the mental image you wish to create ‘ and should never go beyond its natural length. Of all the media, radio can most easily create boredom — and is fatally easy to switch off.
2. When nearing the end of a sequence, it is important to prepare the listeners, as subtly as possible, for the next one. It is easy enough to make a rapid change of scene from a technical point of view but the listeners need help. They have no programme and they can’t see. When the scene or viewpoint has changed, an equally subtle signpost should confirm it.
3. ‘Stage directions’ for the producer’s benefit are a temptation that should be avoided. If it’s important, it should be in the dialogue. If it’s not, then nobody need ever know. [I think this means ‘explanations’ and other notes. — IB]
4. It should be remembered that the listeners will always (quite involuntarily) supply their own mental images in response to what they hear. They should be given enough ideas to work on but never so many that they become restricted or confused. Radio is not a definitive medium. At all levels, it should stimulate only, so that the listener can adjust the basic idea to his or her individual experience.
5. When deciding the number of characters in a scene it should be borne in mind that the only ways of establishing someone’s presence unequivocally are either to have them speak or for them to be spoken to by name. If there are too many characters in a scene, the listeners will lose track or become confused.
6. Sound effects, either singly or in sequence should certainly be part of the writer’s concept but it is worth remembering that they need to be integrated in, and usually identified by, the dialogue. Sound effects that are ‘left to the producer’ will be hard to introduce at production stage without altering the balance of the sequence.
7. Since radio involves only one of the senses, it is important to construct each individual sequence and the play as a whole, to provide a variety of sound which will hold the listener’s attention. This variety can be achieved in lengths of sequences, number of people speaking, pace of dialogue, volume of sound, background acoustics and location of action. On radio, one room sounds very like another, if they’re roughly the same size, but the difference between in interior and an exterior acoustic is considerable. The difference between a noisy sequence with a number of voices and effects, and a quiet passage of interior monologue, is dramatic and effective.
8. There is no formula for writing a successful radio play. It requires all the basic techniques of good dramatic writing plus an imaginative awareness of the restrictions and advantages of a medium where nothing is seen. It is only by listening as often as possible to radio plays that a writer can begin to judge what works and what doesn’t.
Radios of the World - CHINA: China National Radio (CNR)
Nominated for 2 Oscars. Another 2 wins & 7 nominations See more awards »Learn more
EditCast
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Woody Allen's sentimental reminiscence about the golden age of radio. A series of vignettes involving radio personalities is intertwined with the life of a working class family in Rockaway Beach, NY circa 1942. Written by Scott Renshaw <as.idc@forsythe.stanford.edu>
Plot Summary | Add SynopsisEditDetails
Release Date:
30 January 1987 (USA) See more »Also Known As:
Días de radio See more »Box Office
Budget:
$16,000,000 (estimated)
Opening Weekend:
$1,522,423 (USA) (1 February 1987) (128 Screens)
Gross:
$14,792,779 (USA) See more »Company Credits
Technical Specs
Runtime:
88 min
Aspect Ratio:
1.85 : 1 See full technical specs »EditDid You Know?
Trivia
In the 1940s, the term "Radio Days" was often used to describe that type of employment for those in the entertainment field. See more »Goofs
Factual errors: The burglars turn on a radio and instantly hear sound, when the vacuum tubes should have taken longer to warm up. See more »Quotes
Narrator: [First Lines] Once upon a time, many years ago, two burglars broke into our neighbors house in Rockaway. Mr. and Mrs. Needleman had gone to a movie and the following events occurred.
See more »
For those who understand portuguese, here is one of the most funny moments during a radio contest in a portuguese station named Rádio Brigantia.
video by Sykkro
Newswriting for RadioWelcome to newscript.com, the Newswriting for Radio website. The Newswriting for Radio website is an online tutorial on the craft of radio journalism, with particular attention to the writing of news scripts. Since 1996, newscript.com has been providing creative suggestions and ideas to radio news reporters, writers and anchors, as well as to broadcast journalism students around the world.
Improving your newscasts
The purpose of this website is to help radio journalists improve their skills as writers and anchors. Journalism education has greatly declined over the past two decades as colleges and universities have either closed journalism programs or transformed them into "Communications Departments." Radio journalism has been especially hard hit, with diminished teaching resources given over to television instruction because TV is the more attractive broadcast medium.Consequently, many journalists starting out in radio lack basic knowledge on how to communicate effectively though the medium. In the past, much of that knowledge was learned on the job, but consolidations, cutbacks and downsizing in radio have reduced news staffs to the point where news directors can afford little time to training those new in the profession.
In this sink-or-swim environment, far too many radio journalists have figured out only how to float. They haven't been introduced to the wide range of possibilities in preparing radio news and are often frustrated either by not being able to move up to a larger market or by not having the satisfaction of becoming respected journalists within their communities.
Features
This website is intended for those who are early in their radio careers, whether in a first or second job or still in college or an internship. The pages assume some experience in radio, but visitors unfamiliar with some of the terminology may consult a small glossary. Although the Newswriting for Radio website has been extensively used in college journalism courses, the website is not meant to replace a broadcast newswriting textbook. The Newswriting for Radio website is a supplement to coursework, and especially to on-the-job experience.
The site is organized into four major sections. In The Basics, you learn fundamental lessons and characteristics of broadcast newswriting. Three different newscast formats are examined in The Styles. You'll examine some of the questions surrounding what deserves coverage in the section on News Judgment. Finally, The Newsroom teaches you about creating an organized environment that allows you to be better prepared for stories. There's also a collection of links to other radio journalism websites.
On several of the pages, sample news scripts are accompanied on the right side of the page by the speaker symbol (shown on the right side of this paragraph). The appearance of the symbol next to a script indicates that you can listen to a sound file (in the WAV format) containing the words of the script. Listening to these files will allow you to hear and practice the patterns of voice modulation regularly used in radio newscasts. Just click on the symbol to hear the script.
Michael Meckler, creator of the Newswriting for Radio website
I began working in radio news with an internship at WCBE in my hometown of Columbus, Ohio, back in 1982. Over the next decade and a half, I worked at radio stations in small, medium and large markets in the Midwest and Northeast, including three enjoyable years in the 1990s as a writer, producer and reporter at the pre-Westinghouse, pre-Infinity, pre-Viacom CBS owned-and-operated all-news WWJ in Detroit.I have also taught at several universities, including Michigan, Ohio State and Yale. I have a master's degree in history and a Ph.D. in classical studies, and I pursue scholarly research in ancient and medieval history in addition to my work as a journalist. In 2006, a book I edited on Classical Antiquity and the Politics of America: From George Washington to George W. Bush was published by Baylor University Press.
To all the visitors to newscript.com, best wishes on your radio career, and thanks for visiting!
Combining classic work on radio with innovative research, journalism and biography, Women and Radio offers a variety of approaches to understanding the position of women as producers, presenters and consumers as well as offering guidelines, advice and helpful information for women wanting to work in radio.Women and Radio examines the relationship between radio audiences, technologies and programming and reveals and explains the inequalities experienced by women working in the industry.
Radios of the World - GERMANY: Bayern 1
A8 Sperre bei Neusäß
- Die A8 München Richtung Stuttgart ist zwischen Neusäß und Adelsried nach einem LKW-Unfall gesperrt. Im Moment 6 km Stau. Wenn Sie sich dort auskennen, umfahren Sie das Gebiet weiträumig (10:56)
- A8 München Richtung Salzburg zwischen Anger und dem Grenzübergang Bad Reichenhall 2 km Stau (11:14)
- A6 Nürnberg Richtung Heilbronn zwischen Schwabach-West und Neuendettelsau 2 km Stau wegen Markierungsarbeiten (10:50)
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Radios of the World - DENMARK: P1
Mennesker og tro 30. maj 2012 11:33
Eva Bergmann er født i en jødisk familie, og lærte som 16 årig at meditere igennem Transcendental Meditation. Det satte hende på sporet til en rejse, hvor hun nu i mange år har fordybet sig i den gamle indiske ayur vediske viden.