Hans Knot International Radio Report Late April 2020
Total Page:16
File Type:pdf, Size:1020Kb
Load more
Recommended publications
-
Inequality and Higher Education: a Class Act Professor Stephen Parker Ao Vice-Chancellor, University of Canberra
INEQUALITY AND HIGHER EDUCATION: A CLASS ACT PROFESSOR STEPHEN PARKER AO VICE-CHANCELLOR, UNIVERSITY OF CANBERRA PAPER PRESENTED TO THE TJ RYAN FOUNDATION BRISBANE 16 FEBRUARY 20161 “GOOD VIBRATIONS?” Thank you for inviting me. I am proud to present to the TJ Ryan Foundation, and to have been invited to do so by a former Vice-Chancellor of my University, Professor Roger Scott. Whether or not TJ Ryan would have agreed with what I say, I hope he would have agreed we need a debate about it from a socially progressive point of view. Exactly 50 years ago, in February 1966, The Beach Boys began recording the song which became “Good Vibrations”, the embodiment of modernist optimism. Two months later, middle England was adjusting to a new style of comedy which poked fun at the world that was passing, and ushered in biting satire; such as the one and a half minute gem on the BBC programme The Frost Report, where John Cleese, Ronnie Barker and Ronnie Corbett performed the now-famous Class Sketch, about who looks down on whom. Around this time, the UK, the US, and a little later Australia, were welcoming upbeat reports urging the expansion of higher education. 1 I would like to thank the following for their help with my thinking, for which I take full responsibility: Dr Jenny Chesters, Professor Anne Daly, Professor Bruce Chapman, Associate Professor Michele Fleming, Professor Diane Gibson, Adjunct Professor John Goss, Professor Michelle Grattan, Ms Alexis Johnson, Professor Peter Radoll, Professor Louise Watson. 1 Gary Becker's human capital theory is catching on. -
APPENDIX Radio Shows
APPENDIX Radio Shows AAA Radio Album Network BBC Cahn Media Capital Radio Ventures Capitol EMI Global Satellite Network In The Studio (Album Network / SFX / Winstar Radio Services / Excelsior Radio Networks / Barbarosa) MJI Radio Premiere Radio Networks Radio Today Entertainment Rockline SFX Radio Network United Stations Up Close (MCA / Media America Radio / Jones Radio Network) Westwood One Various Artists Radio Shows with Pink Floyd and band members PINK FLOYD CD DISCOGRAPHY Copyright © 2003-2010 Hans Gerlitz. All rights reserved. www.pinkfloyd-forum.de/discography [email protected] This discography is a reference guide, not a book on the artwork of Pink Floyd. The photos of the artworks are used solely for the purposes of distinguishing the differences between the releases. The product names used in this document are for identification purposes only. All trademarks and registered trademarks are the property of their respective owners. Permission is granted to download and print this document for personal use. Any other use including but not limited to commercial or profitable purposes or uploading to any publicly accessibly web site is expressly forbidden without prior written consent of the author. APPENDIX Radio Shows PINK FLOYD CD DISCOGRAPHY PINK FLOYD CD DISCOGRAPHY APPENDIX Radio Shows A radio show is usually a one or two (in some cases more) hours programme which is produced by companies such as Album Network or Westwood One, pressed onto CD, and distributed to their syndicated radio stations for broadcast. This form of broadcasting is being used extensively in the USA. In Europe the structure of the radio stations is different, the stations are more locally oriented and the radio shows on CDs are very rare. -
The Last Days of John Lennon
Copyright © 2020 by James Patterson Hachette Book Group supports the right to free expression and the value of copyright. The purpose of copyright is to encourage writers and artists to produce creative works that enrich our culture. The scanning, uploading, and distribution of this book without permission is a theft of the author’s intellectual property. If you would like permission to use material from the book (other than for review purposes), please contact [email protected]. Thank you for your support of the author’s rights. Little, Brown and Company Hachette Book Group 1290 Avenue of the Americas, New York, NY 10104 littlebrown.com twitter.com/littlebrown facebook.com/littlebrownandcompany First ebook edition: December 2020 Little, Brown and Company is a division of Hachette Book Group, Inc. The Little, Brown name and logo are trademarks of Hachette Book Group, Inc. The publisher is not responsible for websites (or their content) that are not owned by the publisher. The Hachette Speakers Bureau provides a wide range of authors for speaking events. To find out more, go to hachettespeakersbureau.com or call (866) 376-6591. ISBN 978-0-316-42907-8 Library of Congress Control Number: 2020945289 E3-111020-DA-ORI Table of Contents Cover Title Page Copyright Dedication Prologue Chapter 1 Chapter 2 Chapter 3 Chapter 4 Chapter 5 — Chapter 6 Chapter 7 Chapter 8 Chapter 9 Chapter 10 Chapter 11 Chapter 12 Chapter 13 Chapter 14 Chapter 15 Chapter 16 Chapter 17 Chapter 18 — Chapter 19 Chapter 20 Chapter 21 Chapter 22 Chapter 23 Chapter 24 -
Celebrating 40 Years of Commercial Radio With
01 Cover_v3_.27/06/1317:08Page1 CELEBRATING 40 YEARS OF COMMERCIAL RADIOWITHRADIOCENTRE OFCOMMERCIAL 40 YEARS CELEBRATING 01 9 776669 776136 03 Contents_v12_. 27/06/13 16:23 Page 1 40 YEARS OF MUSIC AND MIRTH CONTENTS 05. TIMELINE: t would be almost impossible to imagine A HISTORY OF Ia history of modern COMMERCIAL RADIO music without commercial radio - and FROM PRE-1973 TO vice-versa, of course. The impact of TODAY’S VERY privately-funded stations on pop, jazz, classical, soul, dance MODERN BUSINESS and many more genres has been nothing short of revolutionary, ever since the genome of commercial radio - the pirate 14. INTERVIEW: stations - moved in on the BBC’s territory in the 1960s, spurring Auntie to launch RADIOCENTRE’S Radio 1 and Radio 2 in hasty response. ANDREW HARRISON From that moment to this, independent radio in the UK has consistently supported ON THE ARQIVAS and exposed recording artists to the masses, despite a changing landscape for AND THE FUTURE broadcasters’ own businesses. “I’m delighted that Music Week 16. MUSIC: can be involved in celebrating the WHY COMMERCIAL RadioCentre’s Roll Of Honour” RADIO MATTERS Some say that the days of true ‘local-ness’ on the UK’s airwaves - regional radio for regional people, pioneered by 18. CHART: the likes of Les Ross and Alan Robson - are being superseded by all-powerful 40 UK NO.1 SINGLES national brands. If that’s true, support for the record industry remains reassuringly OVER 40 YEARS robust in both corners of the sector. I’m delighted that Music Week can be involved in celebrating the RadioCentre’s 22. -
THE LOST LENNON TAPES Megatree Liners Index
THE LOST LENNON TAPES MEGATREE INDEX Compiled from the liner note information on the Lost Lennon Tapes MegaTree. Unless otherwise noted, songs are performed by John Lennon. _____________________________________________________________ #9 Dream (alternate mix) .......................................................................................128 #9 Dream (composing demo) ................................................................................203 #9 Dream (demo 2) ..................................................................................................081 #9 Dream (demo) .....................................................................................................063 #9 Dream (LP version) ...........................................................................................063 #9 Dream (partial) ...................................................................................................081 #9 Dream (rough mix) ...................................................................................081, 203 #9 Dream......................................................000, 006, 050, 052, 138, 164, 176, 185 12-Bar Original – The Beatles................................................................................081 1968 marijuana bust.................................................................................................015 1980 Demos...............................................................................................................213 1980.............................................................................................................................200 -
DISCOGRAPHIE CANADIENNE DES BEATLES Par Gilles Valiquette
DISCOGRAPHIE CANADIENNE DES BEATLES Par Gilles Valiquette Gilles Valiquette poursuit sa série d'articles faisant le point sur la discographie canadienne des Beatles. Le compte-rendu se limite principalement aux disques parus alors que le groupe était actif entre 1962 et 1970. Le lecteur est appelé à contribuer via l'adresse courriel [email protected]. L'auteur a publié un ouvrage sur le sujet intitulé « C'est fou mais c'est tout – Parcours discographique des Beatles au Canada » aux Éditions de l'homme. DATE DE LANCEMENT : Lundi 2 juin 1969 POCHETTE PROTECTRICE : CAPP 45.S68A, CAPP 45.S68B et APP RS.2A PRESSAGE : COMPO et RCA CONTEXTE Si les Beatles s'étaient retrouvés avec treize titres sur les palmarès américains au printemps 1964, les choses avaient bien changé cinq ans plus tard, surtout depuis les changements entrepris à la fin de 1966. De fait, il s'était écoulé six mois entre les singles Yellow Submarine et Strawberry Fields Forever, cinq mois entre Lady Madonna et Hey Jude et au-delà de sept mois entre Hey Jude et Get Back, par exemple. Dans ce contexte, on était loin de s'attendre à un nouveau 45 tours des Beatles six semaines seulement après la sortie de Get [CAPP 2531 A] Back alors que ce titre performait fort bien sur les palmarès. APPLE 2531 THE BALLAD OF JOHN AND YOKO est une chanson qui THE BALLAD OF JOHN AND YOKO / OLD BROWN SHOE décrit les événements autour du mariage de John et Yoko. Il avait été question de se marier en mer à partir de Southampton ou rapidement dans la ville de Paris mais finalement à la suggestion de l'assistant des Beatles Peter Brown, c'est à Gibraltar que la cérémonie a lieu le 20 mars. -
Springsteen, Tradition, and the Purpose of the Artist
Springsteen, Tradition, and the Purpose of the Artist William I. Wolff Rowan University Abstract In 2012, Bruce Springsteen delivered the keynote address at the South By Southwest Music Conference and Festival. His task was daunting: reconnect authenticity to a traditional approach to creating art. By bringing together ideas on authenticity, creativity, and culture, Springsteen’s talk joins a lineage of essays that defend poetry, creativity, and culture, including famous works by William Wordsworth and T.S. Eliot. In this article, I connect Springsteen’s ideas to the “folk process,” which leads to considering Wordsworth’s ideas on the voice of the common citizen and Eliot’s ideas on historical tradition. In the end, I consider Springsteen’s legacy as cultural ambassador for the arts. “[Springsteen] wears his influences on his sleeve.” —Peter Knobler1 In March 1973, in the first major article about Bruce Springsteen, Peter Knobler of Crawdaddy! immediately locates Springsteen’s influences as Bob Dylan and Van Morrison. Much of Springsteen’s 1974 interview with Paul Williams is about his musical influences, ranging from Dylan to The Yardbirds. In a 1975 edition of Rolling Stone, Dave Marsh describes Springsteen as “the William I. Wolff has licensed this article under a Creative Commons Attribution- NonCommercial-ShareAlike 4.0 International license, 2014. The author would like to thank the anonymous reviewers and journal editors for their considerable time and for pushing him to make his article more thorough and nuanced. Please address correspondence to [email protected]. 1 Peter Knobler, “Who Is Bruce Springsteen and Why Are We Saying All These Wonderful Things About Him?,” Crawdaddy!, March 1973, found in: Racing in the Street: The Bruce Springsteen Reader, ed. -
Classic Radio 1 Schedules (1967-2004)
Frequency Finder UK (www.frequencyfinder.org.uk) Classic Radio 1 Schedules (1967-2004) October 1967 In the early years, Radio 1 was very different. It was originally conceived as a general popular music network, broadcasting easy listening, jazz, folk and country as well as pop and rock music. The intention was that it would opt out of the Light Programme with music when the Light was carrying a speech programme. This was largely the pattern in the first few years, with a lot of sharing between Radios 1 and 2, though the two stations did carry separate music programmes at breakfast and late afternoon. The daytime schedules didn't fully separate until the 1970s. Another feature of the early schedule is that many programmes featured different presenters on different days or in different weeks. A lot of the presenters floated between several shows. Saturday Monday to Friday 05:30 As Radio 2 05:30 As Radio 2 07:00 Tony Blackburn 07:00 Tony Blackburn 08:30 Junior Choice with Leslie Crowther (also on R2) 08:30 Family Choice with a guest presenter (also on R2) 10:00 Saturday Club with Keith Skues 10:00 Jimmy Young (also on R2 until 11:00) 12:00 Emperor Rosko 12:00 Midday Spin with Simon Dee (Mon), Duncan 13:00 Jack Jackson (also on R2) Johnson (Tue), Kenny Everett (Wed), David Rider 14:00 Chris Denning (also on R2) (Thur) and Stuart Henry (Fri) (also on R2) 15:00 Pete Murray (also on R2) 13:00 (Mon) Dave Cash - Live Music 16:00 Pete Brady (also on R2) 13:00 (Tue) Keith Fordyce - Live Music 17:30 Country Meets Folk with Wally Whyton (also on 13:00 (Wed) Bob Miller and The Millermen with R2) Parade of the Pops - Live orchestral pop 18:30 Scene and Heard - magazine with Johnny Moran 13:00 (Thur) Pop North with the Northern Dance 19:30 As Radio 2 Orchestra 22:00 Pete Murray (easy listening, also on R2) 13:00 (Fri) The Joe Loss Show - Live orchestral pop 00:00-02:00 Night Ride with Sean Kelly (easy listening, 14:00 Pete Brady (also on R2 15:00-16:15) also on R2) 16:30 What's New 17:30 David Symonds Sunday 19:30 As Radio 2 except.. -
Broadcast Speech and the Effect of Voice Quauty
BROADCAST SPEECH AND THE EFFECT OF VOICE QUAUTY ON THE LISTENER: A STUDY OF THE VARIOUS COMPONENTS WHICH CATEGORISE LISTENER PERCEPTION OF VOCAL CHARACTERISTICS JOHN CHARLES HERBERT PhD Thesis Department of English Language, University of Sheffield OCTOBER 1988 CONTENTS SUMMARy 1 CHAPTER ONE: 2 VOICE QUALITY AND THE BROADCASTER'S ART CHAPTER TWO: 11 DESCRIPTION AND FEATURES OF VOICE QUALITY The notion of voice quality in literature; early British writings; the American elocutionists; voice quality description; gender differences. CHAPTER THREE: 37 ATTRIBUTES OF VOICE QUALITY Physical; psychological; social information in voice quality; vocal characteristics and personality perception; voice dynamics. CHAPTER FOUR: S4 ACCENTS AND THE BROADCAST VOICE Radio accent; status of accents; listener personality variants; importance on radio; the 'BBC' voice; pronunciation prestige; accent persuasiveness; the 'world service' voice; the 'ILR' voice; the 'reporter's' voice; voice quality questionnaire; the 'radio speech register'. CHAPTER FIVE: 78 VOICE QUALITY CONTROL Reflex control mechanism of the larynx; use of the larynx in language; laryngeal adjustments in voice and speech production; voice features; articulation; voice quality deviations; skeletal framework for respiratory activity; inhalation muscles; sequence of respiratory muscular activity; respiratory activity associated with suprasegmental features; prosodic features; speech production; speech sounds; formant frequencies; resonance and the resonators; resonance and voice quality; supraglottic resonators; the oral cavity; the nasal cavity; experiment. CHAPTER SIX: 117 DISORDERS OF VOICE QUALITY AND THEIR EFFECf ON THE BROADCASTER Vowel resonance; pharyngeal resonators; balanced broadcast quality; resonance and hyperfunction; taut pharynx; faulty tongue position; mouth opening problems; improper palatal movement; resonance disorders; the tongue; articulation disorders; strident voice; improving oral resonance; nasality; voice mismanagement; laryngitis; cord thickening; vocal nodules; vocal polyps. -
Hail! Hail! Rock'n'roll
HAIL! HAIL! ROCK’N’ROLL By ALAN THOMPSON Alan Thompson has been presenting and producing Rock’n’Roll shows and documentaries for more than two decades. He owns an operates the Golden Days Archive and Production facility some of which can also be found in broadcasting stations and broadcast museums in the United States and yet, as he tells us in this feature, the idea for the original “Hail! Hail! Rock’n’Roll” shows were only scheduled for six weeks on a local radio station. Today, 21 years later, the programming can still be heard and it is highly likely that wherever you are listening in the UK the chances are something has come from the archive, Alan takes up the story in his own words…. AS Danny and the Juniors once sang “Rock’n’Roll is here to stay. But I doubt even they realised what a poignant statement they were making nearly 50 years ago. I know how they probably feel. A Rock’n’Roll radio programme that was scheduled on the radio for six weeks has since ricocheted and the buds of its family tree are still heard to this day. It was during the summer of 1985 that amongst others things, I had been presenting the perennial “Golden Days” programme on Reading’s ILR station Radio 210. It went out late on Friday nights and at that time there was not all night television, BBC local radio closed down early and relayed Radio 2 which did not serve a “baby boomer” audience at that time of night as it does today and Radio Luxembourg had a poor signal. -
50 Years of Bbc Radio 1 Press Pack
50 YEARS OF BBC RADIO 1 30TH SEPTEMBER 1967- 2017 PRESS PACK 1 Table of Contents 1. BBC Radio 1’s 50th Anniversary plans ……………………………………….. 3 2. BBC Radio 1 Vintage Schedule ………………………………………………….. 4 3. 50 Facts about BBC Radio 1 ………………………………………………………. 5-7 4. BBC Radio 1 at 50 Quotes …………………………………………………………. 8-9 5. BBC Radio 1 at 50 - Radio 1 DJ Q&A’s ……………………………………….. 10-23 6. Images and videos …………………………………………………………………….. 24 2 50 Years of BBC Radio 1 - Established 30th September 1967 BBC Radio 1 will celebrate its 50th anniversary on Saturday 30 September 2017. On the same date - 50 years to the day since Radio 1 launched - the station will launch ‘Radio 1 Vintage’ - a three-day digital radio station featuring 50 one-hour themed nostalgic shows made from Radio 1's archive material from DJs across its entire history to celebrate the pivotal role that Radio 1 has played in music, entertainment and popular culture since its launch in 1967. Radio 1 Vintage will feature hour-long ‘Best Of’ shows featuring iconic DJ names from the last five decades and programmes about classic shows including Radio 1 Roadshows, Radio 1’s Live Lounge, Radio 1’s Official Chart, Newsbeat, 1990s Comedy Shows, Hidden Gems, and Classic Albums with Roger Scott. As a way of celebrating Radio 1’s 50th Birthday with its current audience, throughout September the Radio 1 Live Lounge Month line-up of acts including Jay-Z, Foo Fighters, Miley Cyrus and Harry Styles will perform their own songs and as a nod to Radio 1’s legacy as the nation’s favourite for the past five decades, the famous Live Lounge cover versions will be hits from anytime in the past 50 years. -
CHAPTER ONE John Stewart: 'Twixt Trio and Solo — What Was It Really
CHAPTER ONE John Stewart: ’Twixt Trio and Solo — What Was It Really Like? After The Kingston Trio: John Stewart, “Quo vadis?”1 ! ! ! How long a gap was there between leaving the Trio and starting to play again? I had a year where I just wrote and tried to figure out what I was going to do. Was it going to be another group? Was I going to be solo? Would I play with another guy or a girl? I decided to sing with Buffy Ford, and we did one album for Capitol called Signals Through the Glass. The album sold 7,000 copies at the time, and I know language records that have sold more than that. We did a few concerts and club dates, but it didn’t work too well. When you have a male and female singing together, you have to have songs that complement the two. I mean, you can’t have a girl singing “July, You’re a Woman.” So, I thought to myself, if I’m going to do it, do it. I went solo, and that’s what I’ve been doing ever since and will do for as long as they let me. — Omaha Rainbow #9/Summer 1976 “John Stewart — Interviewed By Fraser Massey” Malibu, California February 12, 1976 [Emphases mine — FWK] The period between the breakup of the Kingston Trio (most sources say late 1966 or early 1967) and the release of Signals Through the Glass, John Stewart’s first “solo” career album (September 1968/Capitol Records), comprised — at the outside — only about a year and a half to two years.