Listening On The Short Waves 1945 To Today

"This book presents the histories of the major North American shortwave clubs and reviews the professional and listener-generated shortwave literature of the era. It also covers the DX programs and other listening fare to which shortwave listeners were most attracted and the QSL-cards they sought as confirmation of their reception."--Provided by publisher.

Shortwave broadcasting originated in the 1920s, when stations used the new technology to increase their range in order to serve foreign audiences and reach parts of their own country not easily otherwise covered. The early days of shortwave radio were covered in On the Short Waves, 1923-1945: Broadcast Listening in the Pioneer Days of Radio, published by McFarland in 1999 (paperback 2007). Then, two companion volumes were published, picking up the story after World War II. They were Listening on the Short Waves, 1945 to Today (McFarland, 2008; paperback 2010), which focuses on the shortwave listening community, and the present Broadcasting title, about the stations themselves and their environment. The heart of the book is a detailed, year-by-year account of the shortwave bands in each year from 1945 to 2008. It reviews what American listeners were hearing on the international and domestic shortwave bands, describes the arrivals and departures of stations, and recounts important events. The book describes the several categories of broadcasters--international, domestic, private, religious, clandestine and pirate. It explains the impact of relay stations, frequency management, and jamming. It also addresses the considerable changes in shortwave broadcasting since the end of the Cold War. The book is richly illustrated and indexed, and features a bibliography and extensive notes.

As radio developed in the early 1920s, the focus for most people was the AM band and stations such as KDKA, the first broadcast station. There was, however, another broadcast method that was popular among many early enthusiasts--shortwave radio. As is true today, the transmission of news and entertainment programs over shortwave frequencies permitted reception over great distances. For many in America and beyond, shortwave was an exciting aspect of the new medium. Some still tune the shortwave bands to enjoy the programming. Others pursue broadcasts for the thrill of the hunt. This book fully covers shortwave broadcasting from its beginning through World War II. A technical history examining the medium's development and use tells the story of a listener community that spanned the globe. Included are overviews of the primary shortwave stations operating worldwide in the 1930s, along with clubs and competitions, publications and prizes. A rich collection of illustrations includes many QSLs, the cards that stations sent to acknowledge receipt of their transmissions and that are much prized by long-distance collectors.

In July 1923, less than three years after Westinghouse station KDKA signed on, company engineer Frank Conrad began regular simulcasting of its programs on a frequency in the newly-discovered shortwave range. It was an important event in a technological revolution that would make dependable worldwide radio communication possible for the first time. In subsequent years, countless stations in practically all countries followed suit, taking to shortwave to extend reception domestically or reach audiences thousands of miles away. Shortwave broadcasting would also have an important role in World War II and in the Cold War. In this, his fourth book on shortwave broadcast history, the author revisits the period of his earlier work, On the Short Waves, 1923-1945, and focuses on the stations that were on the air in those early days. The year-by-year account chronicles the birth and operation of the large international broadcasters, as well as the numerous smaller stations that were a great attraction to the DXers, or long-distance radio enthusiasts, of the time. With more than 100 illustrations and extensive notes, bibliography and index, the book is also a valuable starting point for further study and research.

The Handbook of Communication History addresses central ideas, social practices, and media of communication as they have developed across time, cultures, and world geographical regions. It attends to both the varieties of communication in world history and the historical investigation of those forms in communication and media studies. The Handbook editors view communication as encompassing patterns, processes, and performances of social interaction, symbolic production, material exchange, institutional formation, social praxis, and discourse. As such, the history of communication cuts across social, cultural, intellectual, political, technological, institutional, and economic history. The volume examines the history of communication history; the history of ideas of communication; the history of communication media; and the history of the field of communication. Readers will explore the history of the object under consideration (relevant practices, media, and ideas), review its manifestations in different regions and cultures (comparative dimensions), and orient toward current thinking and historical research on the topic (current state of the field). As a whole, the volume gathers disparate strands of communication history into one volume, offering an accessible and panoramic view of the development of communication over time and geographical places, and providing a catalyst to further work in communication history.

Why were Hollywood producers eager to film on the other side of the Iron Curtain? How did Western computer games become popular in socialist Czechoslovakia's youth paramilitary clubs? What did Finnish commercial television hope to gain from broadcasting Soviet drama? Cold War media cultures are typically remembered in terms of an East-West binary, emphasizing conflict and propaganda. Remapping Cold War Media, however, offers a different perspective on the period, illuminating the extensive connections between media industries and cultures in Europe's Cold War East and their counterparts in the West and Global South. These connections were forged by pragmatic, technological, economic, political, and aesthetic forces; they had multiple, at times conflicting, functions and meanings. And they helped shape the ways in which media circulates today—from film festivals, to satellite networks, to coproductions. Considering film, literature, radio, photography, computer games, and television, Remapping Cold War Media offers a transnational history of postwar media that spans Eastern and Western Europe, the Nordic countries, Cuba, the United States, and beyond. Contributors draw on extensive archival research to reveal how media traveled across geopolitical boundaries; the processes of translation, interpretation, and reception on which these travels depended; and the significance of media form, content, industries, and infrastructures then and now.

Stereotypes often cast communism as a defunct, bankrupt ideology and a relic of the distant past. However, recent political movements like Europe's anti-austerity protests, the Arab Spring, and Occupy Wall Street suggest that communism is still very much relevant and may even hold the key to a new, idealized future. In The Oxford Handbook of Communist Visual Cultures, contributors trace the legacies of communist ideology in visual culture, from buildings and monuments, murals and sculpture, to recycling campaigns and wall newspapers, all of which work to make communism's ideas and values material. Contributors work to resist the widespread demonization of communism, demystifying its ideals and suggesting that it has visually shaped the modern world in undeniable and complex ways. Together, contributors answer curcial questions like: What can be salvaged and reused from past communist experiments? How has communism impacted the cultures of late capitalism? And how have histories of communism left behind visual traces of potential utopias? An interdisciplinary look at the cultural currency of communism today, The Oxford Handbook of Communist Visual Cultures demonstrates the value of revisiting the practices of the past to form a better vision of the future.

This book explores Cold War journalism and journalists as threat, representing ‘enemy’ systems and ideologies. The book also examines Cold War aspirations of forging transnational journalistic connections across the Iron Curtain as well as finding common journalistic ground within the East and West blocs. The book shines a critical light on overly idealistic visions for that journalistic common ground, drawing on primary archival source material to investigate journalists and reporting work, journalistic content and journalistic venues during the Cold War era. This is not a book about traditional war correspondence – rather, it is about the rhetorical battles and the ideological fronts that have shaped and continue to shape our world. By fully understanding how journalism and journalists have intersected with hostile barriers and divisions in the past, we can have a more nuanced understanding of the current global media environment.