Westergren Radio Testimony
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Warburton, John Henry. (2010). Picture Radio
! ∀# ∃ !∃%& ∋ ! (()(∗( Picture Radio: Will pictures, with the change to digital, transform radio? John Henry Warburton Master of Philosophy Southampton Solent University Faculty of Media, Arts and Society July 2010 Tutor Mike Richards 3 of 3 Picture Radio: Will pictures, with the change to digital, transform radio? By John Henry Warburton Abstract This work looking at radio over the last 80 years and digital radio today will consider picture radio, one way that the recently introduced DAB1 terrestrial digital radio could be used. Chapter one considers the radio history including early picture radio and television, plus shows how radio has come from the crystal set, with one pair of headphones, to the mains powered wireless with built in speakers. These radios became the main family entertainment in the home until television takes over that role in the mid 1950s. Then radio changed to a portable medium with the coming of transistor radios, to become the personal entertainment medium it is today. Chapter two and three considers the new terrestrial digital mediums of DAB and DRM2 plus how it works, what it is capable of plus a look at some of the other digital radio platforms. Chapter four examines how sound is perceived by the listener and that radio broadcasters will need to understand the relationship between sound and vision. We receive sound and then make pictures in the mind but to make sense of sound we need codes to know what it is and make sense of it. Chapter five will critically examine the issues of commercial success in radio and where pictures could help improve the radio experience as there are some things that radio is restricted to as a sound only medium. -
Jazz and Radio in the United States: Mediation, Genre, and Patronage
Jazz and Radio in the United States: Mediation, Genre, and Patronage Aaron Joseph Johnson Submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy in the Graduate School of Arts and Sciences COLUMBIA UNIVERSITY 2014 © 2014 Aaron Joseph Johnson All rights reserved ABSTRACT Jazz and Radio in the United States: Mediation, Genre, and Patronage Aaron Joseph Johnson This dissertation is a study of jazz on American radio. The dissertation's meta-subjects are mediation, classification, and patronage in the presentation of music via distribution channels capable of reaching widespread audiences. The dissertation also addresses questions of race in the representation of jazz on radio. A central claim of the dissertation is that a given direction in jazz radio programming reflects the ideological, aesthetic, and political imperatives of a given broadcasting entity. I further argue that this ideological deployment of jazz can appear as conservative or progressive programming philosophies, and that these tendencies reflect discursive struggles over the identity of jazz. The first chapter, "Jazz on Noncommercial Radio," describes in some detail the current (circa 2013) taxonomy of American jazz radio. The remaining chapters are case studies of different aspects of jazz radio in the United States. Chapter 2, "Jazz is on the Left End of the Dial," presents considerable detail to the way the music is positioned on specific noncommercial stations. Chapter 3, "Duke Ellington and Radio," uses Ellington's multifaceted radio career (1925-1953) as radio bandleader, radio celebrity, and celebrity DJ to examine the medium's shifting relationship with jazz and black American creative ambition. -
Congratulations on Your New Match! We Are Thrilled That You Have Decided to Opt in for Connection During a Time of Social Distancing
Congratulations on your new match! We are thrilled that you have decided to opt in for connection during a time of social distancing. We understand that starting a new match off through a virtual platform can potentially feel awkward, so we’ve developed a template of conversation prompts to help you begin getting to know one another. How to Use: The first three months of suggested conversations and activities in your match are outlined below. You’ll notice that we’ve designed this template to follow a natural progression beginning with getting to know one another, discussing your different experiences, and goal setting for the future. We strongly recommend spending a minimum of 10-15 minutes each week, talking about the prompts below. Bigs and Littles should take turns leading the conversation each week and always make sure to check in with each other and make space to talk about and express feelings. Note: Keep in mind that this is intended to be a helpful guide and is not required in your match. If you and your Little prefer to come up with your own conversation topics and activities, go for it! Take what works for you and leave the rest. Goal | The goal for this month is to get to know your new Little/Big by learning about their family, friends, likes/dislikes, hobbies, and favorite things, etc. Instructions: Each week review the prompt and have a conversation. Try one of the suggested activities or come up with your own. Try to think out of the box! Week 1: Review Ice Breaker from Match Meeting. -
Musical Explorers My City, My Song a Program of the Weill Music Institute at Carnegie Hall for Students in Grades K–2
Weill Music Institute Musical Explorers My City, My Song A Program of the Weill Music Institute at Carnegie Hall for Students in Grades K–2 Student Guide Weill Music Institute Musical Explorers My City, My Song A Program of the Weill Music Institute at Carnegie Hall for Students in Grades K–2 Student Guide WEILL MUSIC INSTITUTE Joanna Massey, Director, School Programs Jacqueline Stahlmann, Manager, Elementary School Programs Marie Ortinau, Administrative Assistant, Elementary School Programs PUBLISHING AND CREATIVE SERVICES Jay Goodwin, Managing Editor, WMI Carol Ann Cheung, Senior Editor Evelyn Ochoa, Graphics Manager CONTRIBUTORS Daniel Levy, Consultant Sophie Hogarth, Illustrator Scott Lehrer, Audio Production Weill Music Institute at Carnegie Hall 881 Seventh Avenue | New York, NY 10019 Phone: 212-903-9670 | Fax: 212-903-0758 [email protected] carnegiehall.org/MusicalExplorers Lead funding for Musical Explorers has been provided by Ralph W. and Leona Kern. Major funding for Musical Explorers has been provided by the Charles Haimoff Endowment, E.H.A. Foundation, and The Walt Disney Company. Additional support has been provided by the Ella Fitzgerald Charitable Foundation. Musical Explorers is also made possible, in part, by an endowment gift from The Irene Diamond Fund. © 2014 The Carnegie Hall Corporation. All rights reserved. 1 Welcome to Our Musical Trip! Welcome, Musical Explorers! I’m your conductor, and I’ll help you explore our musical city. Together, we’ll meet our singers and hear their songs and stories. Come along with me and make your discoveries! Subway map © 2014 and MTA New York City subway logo ™ Metropolitan Transportation Authority. Used with permission. -
Radio Airplay and the Record Industry: an Economic Analysis
Radio Airplay and the Record Industry: An Economic Analysis By James N. Dertouzos, Ph.D. For the National Association of Broadcasters Released June 2008 Table of Contents About the Author and Acknowledgements ................................................................... 3 Executive Summary....................................................................................................... 4 Introduction and Study Overview ................................................................................ 7 Overview of the Music, Radio and Related Media Industries....................................... 15 Previous Evidence on the Sales Impact of Radio Exposure .......................................... 31 An Econometric Analysis of Radio Airplay and Recording Sales ................................ 38 Summary and Policy Implications................................................................................. 71 Appendix A: Options in Dealing with Measurement Error........................................... 76 Appendix B: Supplemental Regression Results ............................................................ 84 © 2008 National Association of Broadcasters 2 About the Author and Acknowledgements About the Author Dr. James N. Dertouzos has more than 25 years of economic research and consulting experience. Over the course of his career, Dr. Dertouzos has conducted more than 100 major research projects. His Ph.D. is in economics from Stanford University. Dr. Dertouzos has served as a consultant to a wide variety of private and public -
Money for Something: Music Licensing in the 21St Century
Money for Something: Music Licensing in the 21st Century Updated February 23, 2021 Congressional Research Service https://crsreports.congress.gov R43984 SUMMARY R43984 Money for Something: Music Licensing in the February 23, 2021 21st Century Dana A. Scherer Songwriters and recording artists are generally entitled to receive compensation for Specialist in (1) reproductions, distributions, and public performances of the notes and lyrics they create (the Telecommunications musical works), as well as (2) reproductions, distributions, and certain digital public Policy performances of the recorded sound of their voices combined with instruments (the sound recordings). The amount they receive, as well as their control over their music, depends on market forces, contracts between a variety of private-sector entities, and laws governing copyright and competition policy. Who pays whom, as well as who can sue whom for copyright infringement, depends in part on the mode of listening to music. Congress enacted several major updates to copyright laws in 2018 in the Orrin G. Hatch-Bob Goodlatte Music Modernization Act (MMA; P.L. 115-264). The MMA modified copyright laws related to the process of granting and receiving statutory licenses for the reproduction and distribution of musical works (known as “mechanical licenses”). The law set forth terms for the creation of a nonprofit “mechanical licensing collective” through which owners of copyrights in musical works could collect royalties from online music services. The law also changed the standards used by a group of federal administrative law judges, the Copyright Royalty Board, to set royalty rates for some statutory copyright licenses, as well as the standards used by a federal court to set rates for licenses to publicly perform musical works offered by two organizations representing publishers and composers, ASCAP and BMI. -
TELEVISION NATIONAL HONOREES 24 Hours: Assault on the Capitol
TELEVISION NATIONAL HONOREES 24 Hours: Assault On the Capitol (ABC News and Hulu) ABC NEWS Frontline - Special Report [TV - National] 60 in 6: Covid and Domestic Abuse CBS News Investigative Feature [TV - National] 60 Minutes: Talking to the Past CBS News Soft News Feature [TV - National] Alexa Mansour & Aliyah Royale (The Walking Dead: World Beyond) AMC Networks Actress in a Breakthrough Role- Drama [TV - National] Bess Kalb, Karen Chee, Akilah Green, Franchesca Ramsey, Jocelyn Richard (Yearly Departed) Amazon Studios Writer Scripted- Comedy [TV - National] Between the World and Me HBO Special [TV - National] black-ish Disney Television Studios Comedy [TV - National] Bravery and Hope: 7 Days on the Front Line (CBS News Special) CBS News Documentary- Covid Special [TV - National] Breonna Taylor: Her Life, Death and Legacy (CBS This Morning) CBS News Hard News Feature- Interview [TV - National] Caitriona Balfe (Outlander) Starz Actress in a Leading Role - Drama [TV - National] Catherine O'Hara (Schitt's Creek) Not a Real Company Productions, Inc., Pop TV, CBC Actress in a Leading Role - Comedy or Musical [TV - National] Catherine Reitman (Workin' Moms) Wolf + Rabbit Entertainment ULC Showrunner Fiction- Comedy [TV - National] Cecilia Peck, Inbal B. Lessner (Seduced: Inside the NXIVM Cult) Starz Showrunner Nonfiction [TV - National] Erin Andrews (FOX NFL) FOX Sports On-Air Talent - Sports [TV - National] Eve Lindley (Dispatches from Elsewhere) AMC Networks Actress in a Supporting Role - Made for TV Movie or Limited Series [TV - National] folklore: the long pond studio sessions Disney+ Grand Award for Special or Variety [TV - National] Gina Brillon (Gina Brillon: The Floor is Lava) Amazon Prime Video & Comedy Dynamics Variety [TV - National] Hear Her Voice (Nightline) ABC NEWS Hard News Feature [TV - National] Hoda Kotb & Jenna Bush Hager (TODAY with Hoda & Jenna) TODAY Show/NBC News On-Air Talent - Lifestyle, Entertainment [TV - National] Jessica Goldberg (AWAY) True Jack Productions USA, Sixth and Idaho, Refuge Inc. -
Year 15, Issue 4, November 8, 2017: Odyssey Moments
YearOdyssey Oracle 15, Issue 4 November 8, 2017 11-8-2017 ODYSSEY MOMENTS In this Oracle . Proud of Ourselves ............................... 3 Channeling Frederick Douglass ............ 7 Channeling William Lloyd Garrison ...... 8 Special Places ....................................... 9 What’s in a Name ............................... 16 Reflections .......................................... 23 Finding Plato’s Cave Today ................ 27 Moved By Music ................................. 33 What Will Home Be? .......................... 41 Emily Auerbach, Project Director; Oracle Editor [email protected] 608-262-3733 or 608-712-6321 Kevin Mullen, Associate Director; Oracle Editor [email protected] 608-572-6730 Emily Azad, Odyssey Coordinator [email protected] 608-262-3885 Colleen Johnson, Director of Development and Community Partnerships Beth McMahon, Oracle Designer www.odyssey.wisc.edu Odyssey Oracle 11-8-2017 2 Odyssey Oracle 11-8-2017 PROUD OF OURSELVES I am very proud of myself. I family growing up. I was can really say that for always and still am a someone my age, I have respectful person. But done many good things in growing up I colored my hair life. Taking full responsibility any color I wanted. I cut my for my daughter, I consider hair short and kept it that myself to be a good mom, way for a long time. I dressed always working to provide how I wanted because I for my little princess. I’m always trying to find always knew who I was. My hair color and the good in the bad, be happy, and give a style and way I dressed didn’t make me smile to those around me, even if sometimes I represent the “Bad Girl” stereotype that the feel my world crumbling. -
978 470-4700 FAX: 978 470-4740 Email: [email protected]
PLEASE PRINT Date of Wedding: DJ: 1 Main Street Suite #306 Andover, MA 01810 www.getadj.com 978 470-4700 FAX: 978 470-4740 email: [email protected] Same Gender Reception Form – Wedding Party Introductions Grandparents: (Please check one ) Announce into Room Acknowledge at Table None Grandparents: Grandparents: Intro Music DJ Selects Other: Parents: (use 2nd line if announced separately): Parents: (use 2nd line if announced separately): Intro Music Same as above DJ Selects Other: SameasssaaAbo vePrevious Attendant Attendant s s 1. 1. 2. 2. 3. 3. 4. 4. 5. 5. Flower Girl/Jr. Bridesmaid: Ring Bearer/Jr. Usher: Maid/Matron/Person of Honor Best Man/Woman 1. 1. 2. 2. Intro Music: Same as above DJ Selects Other: Previous Newlyweds : Please print all names and be sure this is the same order and the same pairings as you give to your venue. © 2016 AllStar Entertainment/www.getadj.com. All rights reserved. May not be printed or duplicated without prior permission. DJ: Your Name: Your Fiance’s Name: Place of Reception: Time of Ceremony? Travel Time from Ceremony to Reception:___________ minutes or On-Site Ceremony ___ Ceremony to be held in reception room in another room Outdoors Ceremony Music by: DJ Other ___________________ Ceremony from? to ______ (*background music should startD 30 min. BEFORE the scheduled start of the ceremony, to be playing as your guests are arriving.)J Cocktail Hour Music by: DJ Other Cocktails from? to DJ Total Hours DJ is booked: from to Sit-Down Meal Buffet/Stations Receiving Line: (Please specify) At Church We’ll Be Visiting -
July 1946) James Francis Cooke
Gardner-Webb University Digital Commons @ Gardner-Webb University The tudeE Magazine: 1883-1957 John R. Dover Memorial Library 7-1-1946 Volume 64, Number 07 (July 1946) James Francis Cooke Follow this and additional works at: https://digitalcommons.gardner-webb.edu/etude Part of the Composition Commons, Music Pedagogy Commons, and the Music Performance Commons Recommended Citation Cooke, James Francis. "Volume 64, Number 07 (July 1946)." , (1946). https://digitalcommons.gardner-webb.edu/etude/193 This Book is brought to you for free and open access by the John R. Dover Memorial Library at Digital Commons @ Gardner-Webb University. It has been accepted for inclusion in The tudeE Magazine: 1883-1957 by an authorized administrator of Digital Commons @ Gardner-Webb University. For more information, please contact [email protected]. PHOTO BY PHILIP ^ENDREAU, N. Y. mm . ! i-AYVRENCE TIBBETT, recently appeared for the first time on STUDY? Metropolitan Opera any operatic stage when she sang the TO Bass, and Robert Law- title role in “Carmen” with the New York SHALL I GO WHERE rence, former music City Opera Company. According to news- critic turned, conductor, paper accounts, she “made an instant and making joint con- are pronounced success . giving an im- York City) operatic^ ap- Private Teachers (New cert and personation of uncommon interest and pearances in Italy, fea- appeal.” (^JniroJucing a post war marvel of concerts HELEN ANDERSON turing in their DAVIS American com- Walt music world, completely revolutionizing HAROLD FREDERICK Concert Pianist Lawrence music by whitman’s elegy, “When Lilacs the piano, harmony Tibbett Tibbett is Last in the VOICE Interesting course— posers. -
Accessible Common Alerting Protocol Radio Data System Demonstration: Gulf Coast States Final Report August 2014 1 TABLE of CONTENTS
Accessible Common Alerting Protocol Radio Data System Demonstration: Gulf Coast States Final Report August 2014 1 TABLE OF CONTENTS 1 TABLE OF CONTENTS ....................................................................................................................................................................... 2 2 ACKNOWLEDGEMENTS .................................................................................................................................................................... 5 3 EXECUTIVE SUMMARY ..................................................................................................................................................................... 6 4 INTRODUCTION .................................................................................................................................................................................. 8 5 METHODOLOGY.................................................................................................................................................................................. 9 6 TECHNICAL CONFIGURATIONS AND TESTING ..................................................................................................................... 10 6.1 Hardware, Ingest Software (INSO) and Software to Monitor INSO (WATCHINSO) ...................................................... 10 Hardware ................................................................................................................................................................................ -
Development of the Country Music Radio Format
Digitized by the Internet Archive in 2012 with funding from LYRASIS Members and Sloan Foundation http://archive.org/details/developmentofcouOOstoc THE DEVELOPMENT OF THE COUNTRY MUSIC RADIO FORMAT by RICHARD PRICE STOCKDELL B.S., Northwest Missouri State University, 1973 A MASTER'S THESIS submitted in partial fulfillment of the requirements for the degree MASTER OF ARTS Radio and Television Department of Journalism and Mass Communication KANSAS STATE UNIVERSITY Manhattan,;tan, Kansas 1979 Approved by: Major Professor 31 TABLE OF CONTENTS Chapter One . INTRODUCTION 1 A Search of the Literature and the Contribution of this Thesis 2 Methodology » 5 Two . EARLY COUNTRY MUSIC ON RADIO 10 Barn Dances 12 National Barn Dance 13 The Grand Ole Opry 16 The WWVA Jamboree 19 Renf ro Valley Barn Dance 21 Other Barn Dances 22 Refinement of the Music and the Medium 25 Country Music on Records 25 Music Licensing 27 Country Music on Radio 28 Population Migration 29 Country Radio and the War 29 The Disc Jockey 31 Radio Formats Rather Than Programs 32 Three. THE BIRTH OF A FORMAT 34 Why Country Music? 35 Country Disc Jockeys Unite 37 The All-Country Radio Station Ifl David Pinkston and KDAV 47 The Day Country Music Nearly Died 50 Programming the Early Country Stations 55 The Country Music Association 59 ii iii Four. THE ACCEPTANCE AND SUCCESS OF THE FORMAT 63 Refinement of the Format 63 The Marriage of Country and Top /*0 66 Adoption of the Modern Country Format 71 Explosion of the Format „ 76 Advertiser Resistance 78 Bucking the Resistance 81 Audience Loyalty 86 The Final Step 87 Five.