Absolute Radio

Drawing on both academic research and real world practice, this book offers an in-depth investigation into the production of music documentaries broadcast on radio. Music Documentaries for Radio provides a thorough overview of how the genre has developed technically and editorially alongside a discussion of the practical production processes involved. Digital production equipment and online tools used in music documentary production are discussed in detail, outlining how the development of these technologies shapes the output of producers operating in both the public service and the commercial sectors of the industry. Drawing on his own experiences as an award-winning music documentary producer, the author also looks at how the industry views this form of radio documentary and considers how innovation and technical advances, as well as governmental regulation, have shaped the field. The book demonstrates how changing practices and technical innovations have led to the emergence of multi-skilled, freelance radio producers and how previously separate production roles have merged into one convergent, multifaceted position. Music Documentaries for Radio is an ideal resource for students and academics in the fields of radio studies, media production, documentary-making, and journalism studies.

This book maps, describes and further explores all contemporary forms of interaction between radio and its public, with a specific focus on those forms of content co-creation that link producers and listeners. Each essay will analyze one or more case studies, piecing together a map of emerging co-creation practices in contemporary radio. Contributors describe the rise of a new class of radio listeners: the networked ones. Networked audiences are made up of listeners that are not only able to produce written and audio content for radio and co-create along with the radio producers (even definitively bypassing the central hub of the radio station, by making podcasts), but that also produce social data, calling for an alternative rating system, which is less focused on attention and more on other sources, such as engagement, sentiment, affection, reputation, and influence. What are the economic and political consequences of this paradigm shift? How are radio audiences perceived by radio producers in this new radioscape? What’s the true value of radio audiences in this new frame? How do radio audiences take part in the radio flow in this age? Are audiences’ interactions and co-creations overrated or underrated by radio producers? To what extent listeners' generated content can be considered a form of participation or "free labour" exploitation? What’s the role of community radio in this new context? These are some of the many issues that this book aims to explore. Visit https://www.facebook.com/pages/Radio-Audience-and-Participation-in-the-Age-of-Network-Society/869169869799842 for the book's Facebook page.

This book explores music/sound-image relationships in non-mainstream screen repertoire from the earliest examples of experimental audiovisuality to the most recent forms of expanded and digital technology. It challenges presumptions of visual primacy in experimental cinema and rethinks screen music discourse in light of the aesthetics of non-commercial imperatives. Several themes run through the book, connecting with and significantly enlarging upon current critical discourse surrounding realism and audibility in the fiction film, the role of music in mainstream cinema, and the audiovisual strategies of experimental film. The contributors investigate repertoires and artists from Europe and the USA through the critical lenses of synchronicity and animated sound, interrelations of experimentation in image and sound, audiovisual synchresis and dissonance, experimental soundscape traditions, found-footage film, re-mediation of pre-existent music and sound, popular and queer sound cultures, and a diversity of radical technological, aesthetic, tropes in film media traversing the work of early pioneers such as Walther Ruttmann and Len Lye, through the mid-century innovations of Norman McLaren, Stan Brakhage, Lis Rhodes, Kenneth Anger, Andy Warhol, and studio collectives in Poland, to latter-day experimentalists John Smith and Bill Morrison, as well as the contemporary practices of Vjing.

In a career that’s spanned thirty-five years and generated fourteen albums, fifty-three singles (two of them UK number ones), four Brit Awards, two Ivor Novellas and inspired literally hundreds of university dissertations, quite a few PhD’s and the odd specialist subject on Mastermind, Manic Street Preachers have become, in the words of their 2011 singles collection, national treasures. The Welsh trio (who, to many, will always be a quartet) have a uniquely intense impact on their fans; educating them as much as they entertain and inspire. This book collects fourteen brand new essays, one for each Manics album, from fourteen different writers from diverse backgrounds, tracing the band’s impact on fans and culture and setting each of their works, from 1992’s Generation Terrorists to 2018’s Resistance Is Futile and beyond, into context. The essays are linked by a detailed month-by-month biography by music critic and Manics fan Marc Burrows (The Guardian, The Quietus, Drowned In Sound), who compiled and edited the book, tracing the band’s development from glamourpuss upstart intellectuals to the elder statesmen of British indie rock, via an era-defining run of hits, an historic trip to Cuba and one vanished genius. Manic Street Preachers: Album by Album includes a complete discography and is sourced from in-depth archival research, making it one of the most comprehensive and detailed works devoted to the band yet compiled.

The Committee warns of a major public reaction against radio digital switchover, scheduled for 2015, unless the Government make the case for switchover and keep the public informed about its impact. There is 'public confusion and industry uncertainty' over radio switchover and concern that due to the lack of public information people are still buying analogue radios which will be out of date in a few years time. Retailers gave evidence stating that they are not getting adequate information on switchover plans so are unable to offer consumers accurate guidance when making purchases. The report also points out that car manufacturers are still fitting analogue radios in new cars and digital radios will not be fitted as standard in all cars until 2013.The radio switchover is contrasted with the television switchover programme, finding that the benefits of TV switchover were well understood, in contrast surveys show that the public are generally happy with the present FM radio system and with the range of programmes that are provided.The Committee recommends urgent steps on a range of actions including: providing a detailed plan for universal digital radio coverage including how it is to be funded; developing a policy for the long term use of FM; devising a help scheme for radio switchover financed by general taxation rather than the BBC licence fee; ensuring new digital car radios are fitted with a multi-standard chip to enable their use overseas; encouraging radio manufacturers and retailers to devise a sensible scrappage scheme for redundant analogue radios. It is also noted that the BBC and Government disagree over whether the cost of universal digital coverage of their national stations can be met under the current licence fee. The report says that it is essential that a 'firm and unambiguous' plan for funding the completion of build-out of the digital radio service is put in place as soon as possible. The report concludes reversing current policy would be unproductive given the amount of investment in digital radio already and while the switchover in 2015 is ambitious a change of target date is not favoured at this stage.

A one-stop resource for each aspect of designing and developing Sidebar gadgets, this handbook is ideal for anyone who wants to create killer gadgets. This volume includes complete design instructions for four never-before-seen gadgets and provides ready-to-use samples using .NET, XML, CSS and AJAX.

A Level Media Studies is a comprehensive guide to the subject content of AS and A Level Media Studies, across all examining boards. It is specifically designed to meet the needs of both students and teachers with an accessible writing style, helpful notes on key theories and theorists and a range of learning exercises. The book’s overall approach is gradual immersion, assuming no prior knowledge of the subject. Starting with an overview of the discipline, the book moves on to develop increasingly sophisticated ideas whilst repeatedly reinforcing the basic principles of media studies. Each component of media studies is illustrated with practical examples and guided exercises that demonstrate the application of theories and concepts. In addition, numerous case studies offer examples of media studies in practice. Working through these examples, students will acquire the skill set and confidence to tackle the analysis of media products and the discussion of media issues to the standard required at A Level. The focus is on contemporary media, but there is also full acknowledgement of historical precedents, as well as the significance of social, cultural, political and economic contexts. With its clear structure and integrative approach, A Level Media Studies is the ideal introductory resource for students and teachers.

Whilst there are enough celebrity connections and anecdotes not to be out of place in an A list autobiography, the real hook of this book is that the author isnt remotely famous. The endearing appeal is that it is the viewpoint of the everyman, but one who has had enough light brushes with celebrity that he has some great tales to tell. These stories, anecdotes and musings are seamlessly woven into what for many of us will be a memory jogging, laughter inducing remembrance of some of the major, as well as quainter, stranger and more trivial moments of pop culture over the last few decades. If you love pop music and pop culture, feared the Daleks, the Child Catcher from Chitty Chitty Bang Bang and mourn the demise of Pez, Cresta, conkers as a rite of passage, jokes on lolly sticks, Top of the Pops and pink vinyl limited edition LPs, then you will surely enjoy this. Please beware! This book may waste days (if not weeks) of your life as almost every paragraph will have you frantically typing into your search engine and getting lost, on what may turn out to be an endless Internet Safari. This book contains some adult humour. Best Wishes and Good Luck with your writing Ben Elton