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Recommended: History of radio
Odds are if you have ever had a favorite radio show on a favorite FM radio station, it’s only a memory from days gone by. The age of the FM radio DJ has been a large part of our culture in the past, but is has slowly been coming to an end. Djs were a very important part of the 60s and pirate radio as well as, continuing to do so throughout the 70s and 80s. Now with the availability of internet radios and national radio stations having a digital setlist, DJ’s no longer have the sway over the radio stations that they work at or the ability to play what they like when they like.
The FM DJ came to be a major influence on Britain's culture after the second World War. Some could say that the music of the early 1960s reflected peace, love, and happiness. However, with the start of the Vietnam War, the music began to reflect a more rebellious and turbulent nation. The revolution of this music introduced widely different sounds that the young people of the time were incredibly intrigued by. Artists like The Beatles, The Rolling Stones, and The Who were all over the top of the charts in America ("Billboard Charts Archive: 1960s. ). The BBC, however, would not play more than 45 minutes a day of the type of music that the youth wanted to hear because of the limitations on needle time -- the amount of air time for playing records -- which was the result of an arrangement that the BBC had with the Musicians' Union (“Pirate Radio”). Another strong factor would be that the decidedly traditional managers of the BBC looked at the new music with disdain and were thoroughly unimpressed. Enter Pirate Radio.
Pirate Radio is defined by the Continuum Encyclopedia of Popular Music of the World:
Media, Industry and Society as: “A synony...
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... the World: Media, Industry and Society. London: Continuum, 2003. Credo Reference. Web. 28 February 2014.
"Billboard Charts Archive: 1960s." Billboard. N.p., n.d. Web. 28 Feb. 2014.
Bylin, Kyle. Sidewinder.fm. The “New” Pandora: Blue Ocean to Bloody Water, 24 July 2013. Web. 28 Feb. 2014.
Fonda, Daren. "The Revolution IN RADIO." Time 163.16 (2004): 55-56. Academic Search Premier. Web. 28 Feb. 2014.
May, Alex. "Don’t Touch That Dial: The Rise and Fall of the DJ." Sidewinder.fm. N.p., 27 Feb. 2013. Web. 28 Feb. 2014.
Mellencamp, John. "On My Mind: The State of the Music Business." The Huffington Post. TheHuffingtonPost.com, 22 Mar. 2009. Web. 28 Feb. 2014.
"Pandora Radio Statistics." Statistic Brain RSS. Statistic Brain Research Institute, n.d. Web. 28 Feb. 2014.
"Pirate Radio." Key Concepts in Radio Studies. London: Sage UK, 2009. Credo Reference. Web. 28 Feb. 2014.
Back in the day, music is not readily available online at the tip of your fingertips. Fifty years ago, you would listen to the radio and that’s how you knew what records to buy. Radio stations in large music cities such as Los Angeles, New York or Nashville normally set the standard for the most popular music. New music emerges in their city, than gets released on their local radio stations, and the music becomes a smash hit. This is not the case for the small town radio station of CKLW in Windsor, Ontario. As television was drastically changing the radio industry, CKLW had to change to keep up. This change is what resulted into CKLW- The Big 8, a radio station that created new standards of radio hosting as well as rock and roll music. CKLW influenced not only music throughout North America but the entire music industry such as Bill Drake's "Boss Radio” technique, and how this station influenced its home city of Windsor, Ontario. CKLW evolved from a small city radio station to become “The Big 8” a huge nationwide music icon that was responsible for not only changing the music industry but changing the face of radio forever.
Howard Stern is a radio personality, producer, actor, author, and is the self proclaimed “King of All Media”. Stern is widely known for “The Howard Stern Show”, which was aired on FM radio from 1986 to 2005, until it moved to Sirius XM Radio in 2006. Stern specific style of “shock jock” radio is what makes him so popular, taking him only four years to get his show nationally syndicated in 1986.
-The American people were hungry for new music, so they accepted the independent stations of the majors.
Music week ( 2005) ‘HMV to encourage environmental awareness’ [online] musicweek 27TH of January. Available from http://www.musicweek.com/news/read/hmv-to-encourage-environmental-awareness/027552 [accessed on the 30-3-1014]
...nal Public Radio: News and Analysis, World, US, Music and Arts. 31 March 2010. Web. 31 January 2011.
... Popular Music Studies 23, no. 1 (2011): 19-39. Accessed April 28, 2014. Academic Search Complete.
Willoughby, David. "Chapter 11." The World of Music. 7th ed. New York: McGraw-Hill, 2012. 249-53. Print.
Smith, Isabel. “History of Music.” Stories of Rock and Roll Music from 1950s Ed. New York: Plume, 1989. 87-95.
Martin, Marvin. The Beatles: The Music Was Never the Same. New York: F. Watts, 1996. Print.
The article that appeared in Fortune entitled “Radio’s Stern Challenge” by John Helyar discusses Sirius’ marketing strategy to not only take market share from the entrenched and free terrestrial radio industry but also to beat its only competitor, XM. The Fortune article presents how a fat and lazy radio industry has failed to react to an eroding listening base and an increasing number of competing technologies. Issues like lack of attention to programming, no on-air talent, and an increase of 166% in the time devoted to commercials have driven listeners away from radio. Teens aged 12-17 spend 11% less time listening to radio compared to five years ago and adults 18-24 spend 13% less time compared to five years ago (Helyar, 2004). The article further discusses that terrestrial radio has much to fear from competing technologies like satellite radio, streaming digital radio on the Internet, and Apple’s iPod. What terrestrial radio does have in its favor is that it’s free compared to any of the current competing technologies like satellite radio.
Back in the early 1980’s, record labels controlled what people could hear through airplay, record distribution and manufacturing, and selective promotion of music based on their judgement of their audience. An artist’s only feasible option was to go through this system. To obtain music of high quality, people had to buy vinyl singles or albums or tape, and later, only CDs. There was no practical way to listen to music before buying it without listening to or taping off the radio. Music was very restricted by several different record companies.
John Williams Interview for Music Express Magazine. Perf. John Williams. YouTube, 20 Apr. 2012. Web. 21 Nov. 2013.
middle of paper ... ... A. The "Music and Censorship" Noise Between Stations. Dec. 1, 1991. Web.
"Short History of Radio A Short History of Radio With an Inside Focus on Mobile Radio." fcc.gov. Version 2003-2004. N.p., n.d. Web. 4 Dec. 2013. .
Impact of the Radio The invention of the radio had an immense impact, revolutionizing the unity of society. “I live in a strictly rural community, and people here speak of ‘The Radio’ in the large sense, with an over-meaning,” said E.B. White in 1933. “When they say ‘The Radio’ they don’t mean a cabinet, an electrical phenomenon, or a man in a studio, they refer to a pervading and somewhat godlike presence which has come into their lives and homes” (Lewis). The radio became a mighty weapon whose power involved spreading ideas to millions of listeners, who may otherwise never have heard those inspirational messages. Religious fanatics used to stand at the back of churches shouting radical nonsense, while others would ignore it.