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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. -
THE LORE of the DOORS: Celebrating Santa Barbara Connections As Legendary Rockers Mark Milestone
Newspress.com http://www.newspress.com/Top/Article/printArticle.jsp?ID... THE LORE OF THE DOORS: Celebrating Santa Barbara connections as legendary rockers mark milestone KARNA HUGHES, NEWS-PRESS STAFF WRITER February 11, 2007 8:18 AM Some say The Doors' late singer Jim Morrison wrote "The Crystal Ship" when he was dropping acid on an Isla Vista beach one night, transfixed by the glittering lights of Platform Holly, an offshore oil rig. Whispered rumors, legends and contrary accounts go hand in hand with iconic rock bands, and Santa Barbarans aren't immune to the mystique of The Doors. But though recirculated stories often stretch the bounds of credibility, the Los Angeles band does have some curious connections to Santa Barbara County. When The Doors receive a lifetime achievement Grammy Award tonight, some locals can even claim they knew the boys back in the beginning. In tribute to the band's 40th anniversary, being celebrated this year, we collected local trivia related to the group. Maybe you'll find yourself a few degrees from The Doors. • Before becoming The Doors' ace guitarist, Robby Krieger (then Robert Alan Krieger) was a student at UCSB, where he studied psychology from 1964 to 1965. He taught flamenco guitar to kids and practiced his grooves in the laundry room of his dorm. "It was a total party school," Mr. Krieger recalled in "The Doors by The Doors" (Hyperion, 2006). "There was a band of hippies at UCSB. Longhairs few and far between at that point. We were doing acid and stuff, but there weren't a lot (of) us, maybe twenty people that were hip, you know." 1 of 6 02/13/2007 1:34 PM Newspress.com http://www.newspress.com/Top/Article/printArticle.jsp?ID.. -
Ohio Shanghai India's Temples
fall/winter 2019 — $3.95 Ohio Fripp Island Michigan Carnival Mardi Gras New Jersey Panama City Florida India’s Temples Southwestern Ontario Shanghai 1 - CROSSINGS find your story here S ome vacations become part of us. The beauty and Shop for one-of-a-kind Join us in January for the 6th Annual Comfort Food Cruise. experiences come home with us and beckon us back. Ohio’s holiday gifts during the The self-guided Cruise provides a tasty tour of the Hocking Hills Hocking Hills in winter is such a place. Breathtaking scenery, 5th Annual Hocking with more than a dozen locally owned eateries offering up their outdoor adventures, prehistoric caves, frozen waterfalls, Hills Holiday Treasure classic comfort specialties. and cozy cabins, take root and call you back again and Hunt and enter to win again. Bring your sense of adventure and your heart to the one of more than 25 To get your free visitor’s guide and find out more about Hocking Hills and you’ll count the days until you can return. prizes and a Grand the Comfort Food Cruise and Treasure Hunt call or click: Explore the Hocking Hills, Ohio’s Natural Crown Jewels. Prize Getaway for 4. 1-800-Hocking | ExploreHockingHills.com find your story here S ome vacations become part of us. The beauty and Shop for one-of-a-kind Join us in January for the 6th Annual Comfort Food Cruise. experiences come home with us and beckon us back. Ohio’s holiday gifts during the The self-guided Cruise provides a tasty tour of the Hocking Hills Hocking Hills in winter is such a place. -
Creating a Roadmap for the Future of Music at the Smithsonian
Creating a Roadmap for the Future of Music at the Smithsonian A summary of the main discussion points generated at a two-day conference organized by the Smithsonian Music group, a pan- Institutional committee, with the support of Grand Challenges Consortia Level One funding June 2012 Produced by the Office of Policy and Analysis (OP&A) Contents Acknowledgements .................................................................................................................................. 3 Introduction ................................................................................................................................................ 4 Background ............................................................................................................................................ 4 Conference Participants ..................................................................................................................... 5 Report Structure and Other Conference Records ............................................................................ 7 Key Takeaway ........................................................................................................................................... 8 Smithsonian Music: Locus of Leadership and an Integrated Approach .............................. 8 Conference Proceedings ...................................................................................................................... 10 Remarks from SI Leadership ........................................................................................................ -
The Evolution of Ornette Coleman's Music And
DANCING IN HIS HEAD: THE EVOLUTION OF ORNETTE COLEMAN’S MUSIC AND COMPOSITIONAL PHILOSOPHY by Nathan A. Frink B.A. Nazareth College of Rochester, 2009 M.A. University of Pittsburgh, 2012 Submitted to the Graduate Faculty of The Kenneth P. Dietrich School of Arts and Sciences in partial fulfillment of the requirements for the degree of Doctor of Philosophy University of Pittsburgh 2016 UNIVERSITY OF PITTSBURGH THE KENNETH P. DIETRICH SCHOOL OF ARTS AND SCIENCES This dissertation was presented by Nathan A. Frink It was defended on November 16, 2015 and approved by Lawrence Glasco, PhD, Professor, History Adriana Helbig, PhD, Associate Professor, Music Matthew Rosenblum, PhD, Professor, Music Dissertation Advisor: Eric Moe, PhD, Professor, Music ii DANCING IN HIS HEAD: THE EVOLUTION OF ORNETTE COLEMAN’S MUSIC AND COMPOSITIONAL PHILOSOPHY Nathan A. Frink, PhD University of Pittsburgh, 2016 Copyright © by Nathan A. Frink 2016 iii DANCING IN HIS HEAD: THE EVOLUTION OF ORNETTE COLEMAN’S MUSIC AND COMPOSITIONAL PHILOSOPHY Nathan A. Frink, PhD University of Pittsburgh, 2016 Ornette Coleman (1930-2015) is frequently referred to as not only a great visionary in jazz music but as also the father of the jazz avant-garde movement. As such, his work has been a topic of discussion for nearly five decades among jazz theorists, musicians, scholars and aficionados. While this music was once controversial and divisive, it eventually found a wealth of supporters within the artistic community and has been incorporated into the jazz narrative and canon. Coleman’s musical practices found their greatest acceptance among the following generations of improvisers who embraced the message of “free jazz” as a natural evolution in style. -
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. -
Polish Musicians Merge Art, Business the INAUGURAL EDITION of JAZZ FORUM SHOWCASE POWERED by Szczecin Jazz—Which Ran from Oct
DECEMBER 2019 VOLUME 86 / NUMBER 12 President Kevin Maher Publisher Frank Alkyer Editor Bobby Reed Reviews Editor Dave Cantor Contributing Editor Ed Enright Creative Director ŽanetaÎuntová Design Assistant Will Dutton Assistant to the Publisher Sue Mahal Bookkeeper Evelyn Oakes ADVERTISING SALES Record Companies & Schools Jennifer Ruban-Gentile Vice President of Sales 630-359-9345 [email protected] Musical Instruments & East Coast Schools Ritche Deraney Vice President of Sales 201-445-6260 [email protected] Advertising Sales Associate Grace Blackford 630-359-9358 [email protected] OFFICES 102 N. Haven Road, Elmhurst, IL 60126–2970 630-941-2030 / Fax: 630-941-3210 http://downbeat.com [email protected] CUSTOMER SERVICE 877-904-5299 / [email protected] CONTRIBUTORS Senior Contributors: Michael Bourne, Aaron Cohen, Howard Mandel, John McDonough Atlanta: Jon Ross; Boston: Fred Bouchard, Frank-John Hadley; Chicago: Alain Drouot, Michael Jackson, Jeff Johnson, Peter Margasak, Bill Meyer, Paul Natkin, Howard Reich; Indiana: Mark Sheldon; Los Angeles: Earl Gibson, Andy Hermann, Sean J. O’Connell, Chris Walker, Josef Woodard, Scott Yanow; Michigan: John Ephland; Minneapolis: Andrea Canter; Nashville: Bob Doerschuk; New Orleans: Erika Goldring, Jennifer Odell; New York: Herb Boyd, Bill Douthart, Philip Freeman, Stephanie Jones, Matthew Kassel, Jimmy Katz, Suzanne Lorge, Phillip Lutz, Jim Macnie, Ken Micallef, Bill Milkowski, Allen Morrison, Dan Ouellette, Ted Panken, Tom Staudter, Jack Vartoogian; Philadelphia: Shaun Brady; Portland: Robert Ham; San Francisco: Yoshi Kato, Denise Sullivan; Seattle: Paul de Barros; Washington, D.C.: Willard Jenkins, John Murph, Michael Wilderman; Canada: J.D. Considine, James Hale; France: Jean Szlamowicz; Germany: Hyou Vielz; Great Britain: Andrew Jones; Portugal: José Duarte; Romania: Virgil Mihaiu; Russia: Cyril Moshkow; South Africa: Don Albert. -
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 -
NJBIZ 0501 17 FOB.Indd
SPOTLIGHT Green for Greens Small business Kearny-based Bowery is newcomer to indoor farmin. Page 4 Page 23 Raising a glass, The music man lifting a brand Santelli thrilled to Cobalt’s move to buy famed bring Grammy Museum Scotch Whiskey to Newark paying o Page 12 ® Page 10 njbiz.com MAY 1, 2017 $2.00 Experts say Marino’s pay is in line with the industry Horizon CEO’s $4.5M total YOU CAN has been targeted by Christie BY ANJALEE KHEMLANI At an economic forum last week, Gov. Chris Chris- GO HOME tie told the crowd he would introduce legislation that would add more government appointees to the board of the state’s largest insurer. Christie also took an op- AGAIN portunity to criticize the sal- INSIDE For DeMetropolis and ary of Horizon Blue Cross Blue Christie Shield of New Jersey’s chair- again her team at J.P. Morgan, man and CEO, Robert Marino. attacks a New Jersey location NJBIZ learned through a Horizon, is proving its worth public records request that Ma- proposes in numerous ways rino made $4.5 million in 2016, reform bill. including salary and bonuses. PAGE 14 PAGE 16 Experts quickly hit back at Christie by saying the number was not out of line with Horizon’s size. The insurer has more than 3.8 million covered lives, or about half the state’s population. Alan Johnson, of New York-based Johnson Associates, said the number may be big “in the real world … but it’s not unreasonable.” “With the mess New Jersey is in, we need someone who is good; if he’s good, he’s worth it,” Johnson said of Marino. -
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. -
Jury Convicts Man in Killing
Project1:Layout 1 6/10/2014 1:13 PM Page 1 Olympics: USA men’s boxing has revival in Tokyo /B1 THURSDAY T O D A Y C I T R U S C O U N T Y & n e x t m o r n i n g HIGH 84 Numerous LOW storms. Localized flooding possible. 73 PAGE A4 www.chronicleonline.com AUGUST 5, 2021 Florida’s Best Community Newspaper Serving Florida’s Best Community $1 VOL. 126 ISSUE 302 SO YOU KNOW I The Florida Depart- ment of Health Jury convicts man in killing has ceased the daily COVID-19 re- ports that have been used to track Michael Ball, 64, faces possibility of life in prison for shooting of neighbor changes in the MIKE WRIGHT It’s as simple as prison. Sentenc- video recording of an in- video. “I hate it but he number of corona- Staff writer that,” Ball said. ing was set for terview detectives con- didn’t give me no virus cases and A four-man, Sept. 15. ducted with Ball at the choice.” deaths in the state. A Beverly Hills man on two-woman jury Ball, 64, was county jail after the Ball said he had just trial for second-degree held Ball respon- charged in the shooting. finished cleaning the murder in the shooting sible, convicting March 25, 2020, During the interview, handgun when he stuffed NEWS death of a neighbor said him as charged death of 32-year- Ball repeatedly states he it in his waistband, cov- he was afraid for his life Wednesday eve- old Tyler Dorbert shot Dorbert out of fear ered with a sweatshirt, BRIEFS when he pulled the ning at the conclu- Michael on a street outside based on an assault that and went outside to get trigger. -
Rock the Blues Away
ROCK THESE BLUES AWAY. The Recordings of John Lee Hooker since 1981 ROCK THESE BLUES AWAY The Recordings Of John Lee Hooker Since 1981 By Gary Hearn (Feb. 2006) Introduction In 1992 Les Fancout’s sessionography of John Lee Hooker – “Boogie Chillen” – was published in booklet form by Blues & Rhythm magazine (ed. Tony Burke). This pamphlet is intended to update Les’ work with all the known Hooker sessions since 1981. Though details on other, earlier, sessions have come to light through recent releases, I have excluded them from the scope of my research and it is left to others to publish those corrections and additions elsewhere. The recordings listed here come from the final phase of John’s career during what is known as the Rosebud era, the name of his management company. To my imperfect mind, the best – and darkest – of them found release on the “Boom Boom” album put out by Pointblank in 1993. This was also a period when blues artists were called upon to provide benevolent cameos to artists better known in the mainstream. John took part in many such sessions with varying degrees of success; whatever the finished product, his contributions were immediately recognisable. The compact discs in this survey are, as far as I can tell, the first UK issue shown listed in order of catalogue number for ease of cross-reference to the sessionography. Because record companies re-issue, re-package and licence their recordings, subsequent issues are not considered. None of the cd-singles listed are still available and are shown merely in evidence of the penetration of the “John Lee Hooker” brand.