Black-oriented radio emerged after World War II. Full time programming from sun-up to sun-down; blues, spirituals, rhythm and blues replaced jazz as the primary form of music. These improvising "street rapping" Disc Jockeys dominated the airwaves. Welcome to Black Radio...Winner Takes All!

Methods of Historical Analysis in Electronic Media provides a foundation for historical research in electronic media by addressing the literature and the methods--traditional and the eclectic methods of scholarship as applied to electronic media. It is about history--broadcast electronic media history and history that has been broadcast, and also about the historiography, research written, and the research yet to be written. Divided into five parts, this book: *addresses the challenges in the application of the historical methods to broadcast history; *reviews the various methods appropriate for electronic-media research based on the nature of the object under study; *suggests new approaches to popular historical topics; *takes a broad topical look at history in broadcasting; and *provides a broad overview of what has been accomplished, a historian's challenges, and future research. Intended for students and researchers in broadcast history, Methods of Historical Analysis in Electronic Media provides an understanding of the qualitative methodological tools necessary for the study of electronic media history, and illustrates how to find primary sources for electronic media research.

Now firmly established as one of the leading textbooks in the increasingly popular field of radio studies, Radio in Context provides students with a practical, critical and comprehensive understanding of the main principles and techniques used in radio programming. Organized around the most commonly studied radio genres and setting production within a range of different contexts – professional, institutional and historical - the text offers an ideal blend of theory and practical guidance. Readers of this fully updated new edition will continue to benefit from this core text, as it reflects important technological, regulatory and institutional changes since its initial publication in 2004 and expands on key areas such as digital radio, broadcasting over the internet, and the interplay between radio and social media. Supported by a full glossary, tips on getting into radio and exercises to develop practical and critical skills, Radio in Context is the ideal companion for anyone studying radio, the media, communications and/or journalism, at undergraduate and postgraduate levels, as well as short courses in radio or audio production techniques. Now firmly established as one of the leading textbooks in the increasingly popular field of radio studies, Radio in Context provides students with a practical, critical and comprehensive understanding of the main principles and techniques used in radio programming. Organized around the most commonly studied radio genres and setting production within a range of different contexts – professional, institutional and historical - the text offers an ideal blend of theory and practical guidance. Readers of this fully updated new edition will continue to benefit from this core text, as it reflects important technological, regulatory and institutional changes since its initial publication in 2004 and expands on key areas such as digital radio, broadcasting over the internet, and the interplay between radio and social media. Supported by a full glossary, tips on getting into radio and exercises to develop practical and critical skills, Radio in Context is the ideal companion for anyone studying radio, the media, communications and/or journalism, at undergraduate and postgraduate levels, as well as short courses in radio or audio production techniques.

"Radio Cultures examines the manifold ways in which radio has influenced the nation's social and cultural environment since its inception nearly a century ago. Written by leading scholars in the field, chapters address a wide range of topics, including how this powerful medium has impacted and affected non-mainstream segments of the population throughout its history and how these repressed and neglected groups have employed radio to counter and overcome discrimination and bias. The use of the audio medium for political, economic, and religious purposes is comprehensively probed and analyzed in this insightful and innovative volume."--Back cover.

This book provides a sequel to Robert Ford's comprehensive reference work A Blues Bibliography, the second edition of which was published in 2007. Bringing Ford's bibliography of resources up to date, this volume covers works published since 2005, complementing the first volume by extending coverage through twelve years of new publications. As in the previous volume, this work includes entries on the history and background of the blues, instruments, record labels, reference sources, regional variations, and lyric transcriptions and musical analysis. With extensive listings of print and online articles in scholarly and trade journals, books, and recordings, this bibliography offers the most thorough resource for all researchers studying the blues.

Contains primary source material.

Hollywood, California. October 1988. Im afraid Ive placed you in an untenable situation. When youre summoned by the company president and he starts the conversation with that, you know its not going to end well. He was firing me. I wasnt surprised. But by the time the president sent for me, my ability to sign a sellable act was no longer a question mark. My first platinum act was about to blow past one million units sold. The decision to fire me, at the very least, was poorly timed. But from my standpoint this move had less to do with sales and more to do with corporate politics. My new boss and I, the two highest ranking black executives in Capitol Records, were openly feuding. My hope was that the new president had my back. And maybe he had for a while. But his loyalty was not to me. His boss, the newly appointed chairman and CEO of Capitol-EMI, had brought him on board. The chairman and CEO had also hired the new head of black promotion, who had in a poorly devised restructuring scheme, become my new boss. No matter how you did the math, the power base of the number-one white guy and the number-one black guy trumped any alliance between the two number twos. I was the lone outsider in the group and the low man on the totem pole. It was a bad combination that made letting me go the logical solution. Four years would pass, however, before I truly understood the magnitude of a moment that had far-reaching implications well beyond hit records and corporate business decisions. And so begins Cant Touch This: Memoir of a Disillusioned Music Executive, the fascinating story of one mans love affair with music and the industry determined to destroy it.