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1.
This article reveals how Spanish-language radio started in San Antonio, Texas—as blocks of time bought by Hispanics interested in providing music to San Antonio's Spanish-speaking residents. In particular, this study recognizes the contributions of San Antonio radio pioneer Manuel Davila and his role in starting Spanish-language radio and the Tejano format, drawing from a combination of on-site observation at Davila's station, personal interviews, and the collection of historical data. The article also lays a foundation for critically analyzing the political economy and hegemonic process of maintenance of economic and cultural power possible in the early days of radio broadcasting to compare it to the current corporately dominated marketplace.  相似文献   

2.
The 2015 radio controversy “SaladGate” revealed a lack of female music artists gaining airplay. This study expands a previous gender analysis of American music radio into a longitudinal study. A content analysis of 192 stations revealed that airplay is increasing for females. However, most of these gains came from the Top-40 format, echoing concerns about the recording industry’s preference that women become pop stars, leaving all other musical genres to men. The results suggest the existence of a gender order in music radio, one that works hand-in-hand with the music industry to exclude women.  相似文献   

3.
The author examines radio programs produced by women in the U.S. that feature music by women. Women's music programming offers a variety of music genres and presentation styles. Criteria of music selection also vary, with some programs concentrating solely on women's contributions and musical works, and others that play music by mixed-sex groups and even featuring a male vocal. However, the commonality of all these programs lies in their dedication to highlighting women artists and giving voice to those who would otherwise not be heard. As media artifacts, women's music radio programs offer multiple layers of feminist inquiry.  相似文献   

4.
In 1933–1935, Admiral Richard Byrd's second Antarctic expedition was partly funded by General Foods. This included radio program sponsorship aired via relays from the South Pole to CBS in New York. The program format generally opened with news and music from CBS, then weather, expedition reports, entertainment, and a segment with Byrd. It often closed with 2-way conversations between New York and Little America featuring family, acquaintances, experts, or New York hosts conversing with explorers. This sponsored program's design clearly answered Hoover's public interest requirements and added educational emphasis in 1934 at a time of hearings over educational broadcasting.  相似文献   

5.
Almost everyone knows Nashville, home of WSM Radio's "Grand Ole Opry" as "Music City U.S.A." However, Knoxville, nearly 200 miles east, also was important in the development of country music radio. Many of the early and contemporary "Opry" performers began their careers at one of KnoxvilIe's two early radio stations. Despite Knoxville's significant role as a "feeder" of talent to the "Grand ole Opry," Nashville today is the undisputed capital of country music. This paper explores the contributions of both cities to the country music industry of Tennessee, as well as reasons for Nashville's enduring prominence and Knoxville's present obscurity in this activity.  相似文献   

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8.
This article examines the emergence of local radio in a rural southeastern Turkish city called Sanllurfa in the early 7990s following the end of the state's media monopoly on broadcasting. Informed by a media ethnography conducted there in 2001, this article discusses local debates over the content and quality of local radio and the influence of the state's official cultural policies on the programming decisions of local radio owners, managers, and DJs. This paper also illustrates Turkish young people's local and national radio preferences, their responses to local programming and on-air personalities, and the meaning of music and local radio in their lives.  相似文献   

9.
Radio stations regularly conduct music research to determine what music they should play. Programming belief is that if they play music that people like better, more people will listen and listen longer, and the station's ratings will improve. This project utilizes Radio &; Records' Callout America® callout research of the top 30 songs on its Contemporary Hit Radio/Pop chart and their published CHR/Pop radio station playlists to compile an average favorability score for the music the station played. These scores were then compared to Arbitron ratings. Analysis found a statistically significant direct correlation between music research scores and Arbitron ratings.  相似文献   

10.
Based on original oral history and archival research, this historical study details how the development of wireless immigrant community radio has related to the Chinese American experience. It examines (1) the social, political, and economic conditions in which Chinese- language radio emerged in the diaspora; (2) the development of Sinocast, a Cantonese-language station in New York City, as a case study in immigrant community radio; (3) the change and continuity in Sino- cast's radio programming during the past three decades, with a focus on news, community service, drama, and music programs; and (4) a summary analysis of the implications of Sinocast's experience in reference to recent developments of Chinese American ethnic radio at the turn of the 21st century.  相似文献   

11.

This article examines the licensing of radio station WRNO—the first private US international station constructed in 20 years and the only such station to operate commercially with a popular music format.  相似文献   

12.
Using data from a post-test only experiment with random assignment, this article examines whether differing music genres influence socially relevant decisions made by listeners. A sample of White college students was exposed to1 of 3 music genres during an ostensible waiting period, and was then asked to allocate funding to projects for different ethnic groups. Three music conditions—radical White power rock, mainstream rock, and Top 40 pop music—were examined to determine whether differential allocations to ethnic groups would emerge following music exposure. As expected, Top 40 pop music exposure led to equal allocations to the various ethnic groups. After listening to mainstream rock, participants allocated significantly higher budgets to White Americans compared to all other race groups. After listening to radical White power rock music, participants also allocated significantly higher budgets to White Americans, but changes in allocations to ethnic minority groups also emerged. Namely, African Americans and Arab Americans received particularly low funding from participants exposed to radical White power rock music.  相似文献   

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14.
Some radio stations emulate mainstream formats in an effort to attract “niche” audiences, characterized by cultural determinants such as language or religion. This study analyzed stations that follow religious music subgenre formats. The most prominent religious music format. Southern Gospel, along with Country Religious and Black Gospel, was found almost exclusively in the Southern region of the U.S. The majority of stations that featured these formats were AM. In contrast, Worship, Soft Rock, and Rock format emulations were broadcast primarily on FM, with Soft Rock formats most evenly distributed around the country. Religious Rock formatted stations gave significantly greater emphasis to promotion and lowest emphasis to ministry. Findings suggest that niche formats' success in appealing to identifiable cultural groups may rest on the effectiveness of station promotion to the intended audiences.  相似文献   

15.
With music being one of the key elements of radio, and plurality one of the most important principles of public service, this article’s central argument is that one of the missions of public radio is to foster musical elements produced in the country’s national language. Focusing on traditional musical genres of the Portuguese-speaking countries, we will analyze the role of music in public radio by selecting specific musical shows focused on the Lusophone world. In order to determine the presence and impact of Lusophony in national stations, music will be the common thread for a reflection on how multicultural their programming strategies are able to be.  相似文献   

16.
The aim of this article is to assess whether and how the CBC’s music radio programming reflects the corporation’s mandate of showcasing a diversity of music and culture. I argue that a program logic that privileges an international corporate music industry strategy persists (particularly during the peak morning and afternoon drive time programs) and limits the capacity for public radio to imagine and project alternative musical trajectories. My aspiration is to imagine CBC Music’s over-the-air radio as a residual broadcast service, one that presents novel opportunities at a time when digital and online streaming music is dominant.  相似文献   

17.
Whither Radio     
This experimental study tested the effects of instrumental background music on subjects' opinions of the candidate in a political radio commercial. Democrats hearing a Democratic candidate commercial without music considered it more issue-oriented than those hearing it with music. No significant effects were found in Republicans. Controlling for party affiliation, results showed a significant correlation between subjects' perceiving the spot as issue-oriented and their stated intention to vote for the candidate. Subjects hearing the spot with music were more likely to consider the spot “well done,” but this did not translate into a statistically significant preference for the candidate.  相似文献   

18.
Some of the most ambitious experiments in early radio programming involved the coordination of sounds and visuals. This essay explores the phenomenon of “illustrated radio,” or radio broadcasts enhanced with accompanying visual media such as lantern slides, museum exhibits, and filmstrips. Newspapers, museums, and schools experimented with this format in the 1920s–40s in an effort to expand their audiences and adapt their informational missions to a changing media environment. While relatively short-lived, illustrated radio constituted a significant form of audiovisual broadcasting before television and highlights the range of uses that were envisioned for radio when it was new.  相似文献   

19.
The Telecommunications Act of 1996 and ensuing radio ownership consolidation are often blamed for harming radio localism and the public interest. The present research sought to determine effects of local-market radio ownership concentration on listener opinions and use of radio—potentially indicative of stations' localism and public service—by surveying listeners in markets categorized by ownership concentration. Findings suggest concentration does not strongly influence perceptions; however, overall results indicate potentially negative consequences from local and national consolidation on amounts of local music, news, and public-service programming; live-local programming; and station responsiveness.  相似文献   

20.
The CKO Radio Network was the only privately owned English language news and information radio network in Canada. CKO held a one‐of‐a‐kind package of licenses to build, own, and operate 12 stations in the largest Canadian markets but built only nine of them. The network launched in 1977 and survived until 1989 when it was shut down by its owners under a staggering $55‐million debt. This paper chronicles Canada's largest broadcast failure and examines the broadcast regulatory agency's role in CKO's demise. It will also consider the legacy of CKO in the context of the current Canadian radio landscape.  相似文献   

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