Defining Prisoners' Radio Is Not a Simple Undertaking
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Feedtime and Rachael Leahcar Rise to the Top Spots in the Community Radio Charts
Feedtime and Rachael Leahcar Rise To The Top Spots in The Community Radio Charts By Kate Marning Published April 26th, 2017 www.themusicnetwork.com/news/feedtime-and-rachel-leahcar-rise-to-the-top-spots-in- the-community-radio-charts Amrap Metro and Amrap Regional Charts provide insight into what’s gaining airplay and attention on community radio. The charts show the top ten tracks ordered for airplay by community broadcasters through the Amrap's AirIt music distribution service. This week feedtime move up into the top spot in the Amrap Metro Chart, with Rachael Leahcar rising up to #1 in the Amrap Regional Chart. Sydney-based trio feedtime have taken out #1 in the Amrap Metro Chart with Any Good Thing. Feedtime's latest album Gas, their first release in over 20 years, was PBS FM Melbourne's Feature Record of the Week. Any Good Thing features in Tone Deaf's 'The 7 Best Aussie Songs You Haven't Heard' with PBS FM Melbourne's Music Director Cam Durnsford'. Check out the article here. The post-punk charting track has received airplay support from 6HFM, Radio Goolarri and Harvey Community Radio in WA, OCR FM, 3WAY FM and 96.5 Inner FM in VIC, 5 Triple Z, Three D Radio, PBA FM and Three D Radio in SA as well as 2SEA, Yass FM, Nim FM, 2EAR FM, FBi Radio and Radio Skid Row in NSW. Rachael Leahcar has earned #1 in the Amrap Regional Chart with What They Don't Tell You. Watch the official video teaser for the pop-country track as featured viaAmrap pages, on station websites including Voice of the Avon FM in WA, Fraser Coast FM in QLD, PBA FM in SA, 3WAY FM and 979fm Community radio in VIC, as well as Northside Radio and Valley FM in NSW . -
Art Gallery of New South Wales Annual Report 2012 – 13
ART GALLERY OF NEW SOUTH WALES ANNUAL REPORT 2012 – 13 1 CONTENTS 4 Vision and strategic direction 2010 – 15 5 President’s foreword 9 Director’s statement 13 At a glance 15 Access 15 Exhibitions and audience programs 19 Future exhibitions 21 Publishing 23 Engaging 23 Digital engagement 23 Community 30 Education 35 Outreach Regional NSW 40 Stewarding 40 Building and environmental management 42 Corporate Governance 58 Collecting 58 Major collection acquisitions 67 Other collection activity 70 Appendices 123 General Access Information 131 Financial statements 2 ART GALLERY OF NSW ANNUAL REPORT 12-13 The Hon George Souris MP Minister for Tourism, Major Events, Hospitality and Racing, and Minister for the Arts Parliament House Macquarie Street SYDNEY NSW 2000 Dear Minister It is our pleasure to forward to you for presentation to the NSW Parliament the annual report for the Art Gallery of NSW for the year ended 30 June 2013. This report has been prepared in accordance with the provisions of the Annual Report (Statutory Bodies) Act 1984 and the Annual Reports (Statutory Bodies) Regulations 2010. Yours sincerely Steven Lowy Michael Brand President Director Art Gallery of NSW Trust 21 October 2013 3 VISION AND STRATEGIC DIRECTION 2010 – 2015 Vision The Gallery is dedicated to serving the widest possible audience, both nationally and internationally, as a centre of excellence for the collection, preservation, documentation, . interpretation and display of Australian and international art. The Gallery is also dedicated to providing a forum for scholarship, art education and the exchange of ideas. Strategic Directions Access To continue to improve access to our collection, resources and expertise through exhibitions, publishing, programs, new technologies and partnerships. -
Girls to the Mic 2014 PDF.Pdf
Girls To The Mic! This March 8 it’s Girls to the Mic! In an Australian first, the Community Broadcasting Association of Australia’s Digital Radio Project and Community Radio Network are thrilled to be presenting a day of radio made by women, to be enjoyed by everyone. Soundtrack your International Women’s Day with a digital pop up radio station in Sydney, Melbourne, Brisbane, Adelaide and Perth, and online at www.girlstothemic.org. Tune in to hear ideas, discussion, storytelling and music celebrating women within our communities, across Australia and around the world. Set your dial to Girls to the Mic! to hear unique perspectives on women in politics on Backchat from Sydney’s FBi Radio, in our communities with 3CR’s Women on the Line, seminal women’s music programming from RTR’s Drastic on Plastic from Perth, and a countdown of the top women in arts and culture from 2SER’s so(hot)rightnow with Vivid Ideas director Jess Scully. We’ll hear about indigenous women in Alice Springs with Women’s Business, while 3CR’s Accent of Women take us on an exploration of grassroots organising by women around the world. Look back at what has been a phenomenal year for women and women’s rights, and look forward to the achievements to come, with brekkie programming from Kulja Coulston at Melbourne’s RRR and lunchtime programming from Bridget Backhaus and Ellie Freeman at Brisbane’s 4EB, and an extra special Girls Gone Mild at FBi Radio celebrating the creative, inspiring and world changing women who ought to dominate the airwaves daily. -
Solitary Confinement Torture in California’S Security Housing Units (Shus), 12,000 People in Prisons Throughout the State Participated in the Hunger Strike
SOLITARY CONFINEMENT - TORTURE I Thought Solitary Confinement in Iran Was Bad -- Then I Went Inside America's Prisons We throw thousands of people in prison for the books they read, the company they keep, the beliefs they hold. Here's why. of the three American hikers imprisoned in Iran after being apprehended on the Iraqi border in 2009. He spent 26 months in Tehran's Evin Prison, 4 of them in solitary. Bauer is winner of the2013 Hillman Prize for Magazine Journalism for the article below, his special investigation into solitary confinement. The winning feature was published in Mother Jones and supported by the Investigative Fund of the Nation Institute. IT'S BEEN SEVEN MONTHS since I've been inside a prison cell. Now I'm back, sort of. The experience is eerily like my dreams, where I am a prisoner in another man's cell. Like the cell I go back to in my sleep, this one is built for solitary confinement. I'm taking intermittent, heaving breaths, like I can't get enough air. This still happens to me from time to time, especially in tight spaces. At a little over 11 by 7 feet, this cell is smaller than any I've ever inhabited. You can't pace in it. Like in my dreams, I case the space for the means of staying sane. Is there a TV to watch, a book to read, a round object to toss? The pathetic artifacts of this inmate's life remind me of objects that were once everything to me: a stack of books, a handmade chessboard, a few scattered pieces of artwork taped to the concrete, a family photo, large manila envelopes full of letters. -
Latest Financials
Page 1 CONTENTS - Acknowledgment of country and partnerships - President's Report - Treasurer's Report - Station Manager's Report - Year at a glance - The Stats - Financial Report - 2018 AGM Meeting Minutes Page 2 We would like to start my report with acknowledging the traditional owners of the land that we meet, the station resides, and that we broadcast from. We pay our respects to the Yugara and Turrbal people and recognise their continuing connection to land, waters and culture. We pay our respects to their Elders past, present and emerging. Page 3 PRESIDENT'S REPORT Hi everyone and welcome to our AGM. As you will have been aware there have been huge changes at the Station and I would like to just take a few moments to put things into perspective. We have lived through what is probably the fastest changing dynamic the world has ever seen and the momentum is growing. When I grew up all we had was radio and we listened faithfully to all the programmes as there was only one Station – the BBC in England and the ABC here. I worked at the BBC in the 50s and we had the huge tapes that I recognised when I came to 4RHP about 12 years ago. My first training on a computer was in the mid 70s and that was at one of the first companies to use computers. All very strange to us. The machines were big and bulky and the computer had a whole room to itself. We slowly got used to that and when I opened my own business in the early 80s we had home computers and can you believe it a mobile phone that was huge. -
Music on PBS: a History of Music Programming at a Community Radio Station
Music on PBS: A History of Music Programming at a Community Radio Station Rochelle Lade (BArts Monash, MArts RMIT) A thesis submitted for the degree of Doctor of Philosophy January 2021 Abstract This historical case study explores the programs broadcast by Melbourne community radio station PBS from 1979 to 2019 and the way programming decisions were made. PBS has always been an unplaylisted, specialist music station. Decisions about what music is played are made by individual program announcers according to their own tastes, not through algorithms or by applying audience research, music sales rankings or other formal quantitative methods. These decisions are also shaped by the station’s status as a licenced community radio broadcaster. This licence category requires community access and participation in the station’s operations. Data was gathered from archives, in‐depth interviews and a quantitative analysis of programs broadcast over the four decades since PBS was founded in 1976. Based on a Bourdieusian approach to the field, a range of cultural intermediaries are identified. These are people who made and influenced programming decisions, including announcers, program managers, station managers, Board members and the programming committee. Being progressive requires change. This research has found an inherent tension between the station’s values of cooperative decision‐making and the broadcasting of progressive music. Knowledge in the fields of community radio and music is advanced by exploring how cultural intermediaries at PBS made decisions to realise eth station’s goals of community access and participation. ii Acknowledgements To my supervisors, Jock Given and Ellie Rennie, and in the early phase of this research Aneta Podkalicka, I am extremely grateful to have been given your knowledge, wisdom and support. -
Books-Library.Online-10151911Lf5w5.Pdf
CHAPTER 11 Press and Public Access to the Judicial Processes, Records, Places, and Meetings My relationship doesn’t fall under the Freedom of Information Act. I keep it to myself. I don’t think it’s too much to ask. —Actress Julia Roberts1 The First Amendment protects the press in two important areas. First, the govern- ment cannot interfere with the publication of material except under unusual cir- cumstances such as when national security is at stake. Second, publishers generally do not have to fear criminal sanctions. However, the U.S. Supreme Court has never explicitly recognized a First Amendment right to gather information. In those rare instances in which the Court has enunciated the rights of the media to have access to information, places, or events such criminal trials, the Court has done so on the ground that the press acts as a surrogate for the public. The Court clings to the principle that the press can claim no greater rights of access than those afforded the public under the U.S. Constitution. Thus the press faces the unfortu- nate dilemma of having broad freedom to publish but considerably less freedom to ferret out the truth. The situation may be due largely to the fact that the press at the time the Constitution was written consisted primarily of “party organs” financed by political and other special interest groups that had little concern with objectivity, fairness, and truth. They were simply seeking to inform and influence their constitu- ents and to criticize their opponents, not necessarily to serve as a watchdog over the government. -
COMMUNITY RADIO NETWORK PROGRAMS and CONTENT LIST - Content for Broadcast on Your Station
COMMUNITY RADIO NETWORK PROGRAMS AND CONTENT LIST - Content for broadcast on your station May 2019 All times AEST/AEDT CRN PROGRAMS AND CONTENT LIST - Table of contents FLAGSHIP PROGRAMMING Beyond Zero 9 Phil Ackman Current Affairs 19 National Features and Documentary Bluesbeat 9 Playback 19 Series 1 Cinemascape 9 Pop Heads Hour of Power 19 National Radio News 1 Concert Hour 9 Pregnancy, Birth and Beyond 20 Good Morning Country 1 Contact! 10 Primary Perspectives 20 The Wire 1 Countryfolk Around Australia 10 Radio-Active 20 SHORT PROGRAMS / DROP-IN Dads on the Air 10 Real World Gardener 20 CONTENT Definition Radio 10 Roots’n’Reggae Show 21 BBC World News 2 Democracy Now! 11 Saturday Breakfast 21 Daily Interview 2 Diffusion 11 Service Voices 21 Extras 1 & 2 2 Dirt Music 11 Spectrum 21 Inside Motorsport 2 Earth Matters 11 Spotlight 22 Jumping Jellybeans 3 Fair Comment 12 Stick Together 22 More Civil Societies 3 FiERCE 12 Subsequence 22 Overdrive News 3 Fine Music Live 12 Tecka’s Rock & Blues Show 22 QNN | Q-mmunity Network News 3 Global Village 12 The AFL Multicultural Show 23 Recorded Live 4 Heard it Through the Grapevine 13 The Bohemian Beat 23 Regional Voices 4 Hit Parade of Yesterday 14 The Breeze 23 Rural Livestock 4 Hot, Sweet & Jazzy 14 The Folk Show 23 Rural News 4 In a Sentimental Mood 14 The Fourth Estate 24 RECENT EXTRAS Indij Hip Hop Show 14 The Phantom Dancer 24 New Shoots 5 It’s Time 15 The Tiki Lounge Remix 24 The Good Life: Season 2 5 Jailbreak 15 The Why Factor 24 City Road 5 Jam Pakt 15 Think: Stories and Ideas 25 Marysville -
Reclink Annual Report 2017-18
, Annual Report 2017-18 Partners Our Mission Respond. Rebuild. Reconnect. We seek to give all participants the power of purpose. About Reclink Australia Reclink Australia is a not-for-profit organisation whose aim is to enhance the lives of people experiencing disadvantage or facing significant barriers to participation, through providing new and unique sports, specialist recreation and arts programs, and pathways to employment opportunities. We target some of the community’s most vulnerable and isolated people; at risk youth, those experiencing mental illness, people with a disability, the homeless, people tackling alcohol and other drug issues and social and economic hardship. As part of our unique hub and spoke network model, Reclink Australia has facilitated cooperative partnerships with a membership of more than 290 community, government and private organisations. Our member agencies are committed to encouraging our target population group, under-represented in mainstream sport and recreational programs, to take that step towards improved health and self-esteem, and use Reclink Australia’s activities as a means of engagement for hard to reach population groups. Contents Our Mission 3 State Reports 11 About Reclink Australia 3 AAA Play 20 Why We Exist 4 Reclink India 22 What We Do 5 Art Therapy 23 Delivering Evidence-based Programs 6 Events, Fundraising and Volunteers 24 Transformational Links, Training Our Activities 32 and Education 7 Our Members 34 Corporate Governance 7 Gratitude 36 Founder’s Message 8 Our National Footprint 38 Improving Lives and Reducing Crime 9 Reclink Australia Staff 39 Community Partners 10 Contact Us 39 Notice of 2017 Annual General Meeting The Annual General Meeting for Members 1. -
Brisbane Used to Be Called the Deep North
Radical Media in the Deep North: The origins of 4ZZZ-FM by Alan Knight PhD Brisbane used to be called the Deep North. It spoke of a place where time passed slowly in the summer heat, where rednecks ran the parliament and the press, blacks died from beatings and the police thought themselves above the law. Even though Brisbane is situated in the bottom southeast quarter of the great northern state of Queensland, it's sobriquet represented a state of mind. Queensland was described as a cultural backwater lacking bookshops, political pubs, radio and television network headquarters and the publishing centres where Australian intellectuals could be seen and heard. It was fashionable, then as now, for many in Sydney and Melbourne to dismiss Queenslanders as naive, if not malignant conservatives. Yet in 1975, Brisbane created Australia's most radical politics and music station, 4ZZZ-FM. It broadcasts to this day. How did it come about and why? The Bitter Fight Queensland has a long, yet often forgotten history of conflict between conservatives and radicals. In a huge, decentralised state, the march to democracy has been signposted by demands for free speech expressed through a diversified media. ZZZ is an offspring of these battles, which were in part fought out in the state's mainstream and underground media. The bitter fight began in earnest in 1891, when Queensland shearers went on strike over work contracts. The strikers produced a flurry of cartoons, articles and satirical poems, which were passed around their camp fires. They joined armed encampments, which were broken up only after the government called in the military. -
Griffith University Centre for Public Culture and Ideas
Submission 89 GRIFFITH UNIVERSITY CENTRE FOR PUBLIC CULTURE AND IDEAS TUNING IN TO COMMUNITY BROADCASTING SUBMISSION TO THE HOUSE OF REPRESENTATIVES STANDING COMMITTEE ON COMMUNICATIONS, INFORMATION TECHNOLOGY AND THE ARTS 23 MARCH 2006 CONTENTS 1. Introduction 2. Culture, Commitment, Community: Looking at the stations 2.1 Scope of the study 2.2 Key findings 2.2.1 Metropolitan and regional stations 2.2.2 Indigenous and ethnic stations 2.2.3 Training 3. Qualitative Audience Research Project, Australia Talks Back 3.1 Scope of the study 3.2 Preliminary Findings of Audience-Based Research 3.2.1 Connecting Communities 3.2.2 Local News and Information 3.2.3 Indigenous Audiences 3.2.4 Ethnic audiences 3.2.5 Community Television 4. Summary and Conclusions REFERENCES APPENDIX A: Schedule of completed metropolitan and regional audience focus groups, and community group interviews Meadows, Forde, Ewart, Foxwell 2 Griffith University Tuning in to community broadcasting 1. Introduction Since 1999, researchers from Griffith University have undertaken national research on Australia’s community broadcasting sector. This research has involved two national projects. The first project (1999-2001) was station-based and was designed to gather data on the sector’s stations and participants. The second study (2003- ), currently underway is an audience-based study which has gathered qualitative data on community broadcasting audiences. This audience study, Australia’s Community Broadcasting Audiences Talk Back, is designed to complement the quantitative study of community broadcasting audiences completed by McNair Ingenuity (2004) and also to complete the circle of community radio stations and their audiences initiated by the first Griffith University study. -
Australian Community Broadcasting Hosts a Quiet Revolution
Sounds like a whisper: Australian Community Broadcasting hosts a quiet revolution Author Foxwell-Norton, Kerrie, Ewart, Jacqueline, Forde, Susan, Meadows, Michael Published 2008 Journal Title Westminster Papers in Communication and Culture Copyright Statement © 2008 Westminster Papers in Communication and Culture, University of Westminster, London. The attached file is reproduced here in accordance with the copyright policy of the publisher. Please refer to the journal's website for access to the definitive, published version. Downloaded from http://hdl.handle.net/10072/23018 Link to published version http://www.wmin.ac.uk/mad/page-880 Griffith Research Online https://research-repository.griffith.edu.au Sounds like a whisper: Australian Community Broadcasting hosts a quiet revolution Kerrie Foxwell, Jacqui Ewart, Susan Forde and Michael Meadows School of Arts Griffith University Keywords : Audiences, community radio, broadcasting, empowerment, democracy, public sphere. Abstract Recent research into the Australian community broadcasting sector has revealed a developing role for community radio, in particular, in reviving notions of democracy by enhancing public sphere engagement by audiences. This paper is drawn from the first national qualitative audience study of the sector undertaken by the authors and provides strong evidence to suggest listeners are challenging globalised views of the world. They see community radio as ‘theirs’ and the only media able to accurately reflect Australia’s cultural diversity. This is enabling a revival of public sphere activity in the face of restrictions on democracy following an upsurge in global terrorism. We argue that the community broadcasting sector in Australia is providing citizens with services largely ignored by commercial media and to some extent, the publicly-funded Australian Broadcasting Corporation Introduction It’s for us, about us (Focus Group, Roxby Downs ROX FM, 2005).