No Longer One-to-Many: How Web 2.0 Interactivity is Changing Public Service Radio’s Relationship with its Audience

The relationship between public radio and its audience has undergone significant change since the adoption of Web 2.0 technology. Web 2.0 allows an audience to interact easily and speedily with a public service broadcaster, forming an inclusive, two-way listening environment. This contrasts with the traditional one-way model of public broadcasting. This research project used New Zealand public radio broadcaster RNZ National as a case study. The phenomenon was studied from the perspective of those who listen to content, and those who create it. Findings include the ready adoption of Web 2.0 technology by the audience and the validation of that participation by RNZ National hosts and producers.     

The Public Broadcasting Act of 1967: Radio’s Real Second Chance

This introductory essay serves to frame this special public radio symposium that commemorates the 50th anniversary of the Public Broadcasting Act of 1967, on November 7, 2017. Drawing from his earlier writings on public broadcasting history, the author tells the story of how educational radio got its start and continued to struggle for survival until the fledgling enterprise could be reborn as public radio, a result of what may be the most significant piece of communications legislation of the second half of the 20th century. The author argues that despite the enterprise’s marginalized roots and repeated political attacks that span a half century, public radio, in one form or another, will survive well into the future.     

Radio’s Forgotten Visuals

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.     

Latino Airwaves: Radio Bilingüe and Spanish-Language Public Radio

This article focuses on Radio Bilingüe, a community driven Spanish-language public radio station that serves the information and entertainment needs of one of the most disenfranchised Latino communities across local, national, and transnational borders. The author discusses its establishment as a result of the formation of CPB’s Task Force on Minorities and explains the role Radio Bilingüe plays in helping elevate minority voices in public broadcasting. This case illustrates how a Latino owned and operated radio enterprise empowers traditionally underrepresented Latino communities by providing them a space where they can be heard and represented in culturally sensitive ways.     

BBC Experiments in Local Radio Broadcasting 1961–62

In the early 1960s, the BBC was given the opportunity to demonstrate that it had the skills and resources to create localized broadcasting, by organizing a series of experimental stations across the UK. Although the output was not heard publicly, the results were played to the Pilkington Committee on Broadcasting, who were deliberating about the future direction of radio and television. Using archival research, featuring contemporary BBC documents, this paper argues that these experimental stations helped senior managers at the BBC to harness technological innovation with changing attitudes in society and culture, thus enabling them to formulate a strategy that put the BBC in the leading position to launch local radio a few years later in 1967.     

Black Radio Listeners in America’s “Golden Age”

“Black Radio Listeners in America’s “Golden Age’” argues that U.S. black listenership has been all but ignored in radio scholarship regarding the 1930s-1950s, as has the context of America’s racial segregation and radio’s active role in affirming and propagating it. The essay argues for an expanded understanding of archive and archival methodology in order to gain a more complex, accurate, and varied understanding of historical black listenership, and, toward that end, performs culturally contextualized close textual analysis across media: a 1937 Lead Belly song (“Turn Yo’ Radio On”), Joe Bostic’s column for The People’s Voice in the 1940s, Frederic Wakeman’s 1946 novel The Hucksters, a 1949 feature on black listeners in Sponsor magazine, a 1934 Vitaphone Short featuring Cab Calloway, and Ann Petry’s 1946 novel The Street. Through engaging with widely-varied representations of black radio listenership, Stoever argues that black listening practices from this period not only challenge the periodization of this era as the “Golden Age” of American radio, but also upend traditional categories of active, passive, and “resistant” listening that scholars have employed to understand media reception, revealing that active listening can look and sound different for black listeners, particularly in a period when listening “actively” to segregated media in ways prescribed by the dominant culture often proved to be deleterious. The act of “turning one’s radio on” was a complicated act of agency for black listeners, not simply a passive form of ignorance, escape, and/or anesthetization as popularly represented.     

Planning Istanbul’s Public Library System

The paper is an attempt to analyse the role of Nigerian television (TV) journalists as major participants in mass information production, transfer, and, delivery. The analysis centres on the legal, political, economic, and cultural contexts in which the TV journalists operate, and the dangers, problems, and frustrations involved in this operation. It also analyses the strategic role of the TV and its impact as a medium of mass information. The paper concludes by analyzing how TV programming orientation has been skewed in favour of more literate urban and semi-urban populations, and how Nigeria's legal, political, economic, and cultural environments are unfavourable for conscientious and conscious TV journalists. It suggests that only when the TV journalists re-orient themselves and assert their right as people's conscience can they mobilize society for positive change.     

Towards a Democratic Public Sphere: A History of Radio FreeDom in Réunion

The history and present practices of talk station Radio FreeDom in the French Overseas Department of Réunion are explored in terms of their relevance to the concept of a democratic public sphere. The station uses a listener centered, call in format to aggregate rather than segment demographic groups and to offer non-hierarchical (lateral) communication among common people. The station’s success in achieving ratings dominance and financial sustainability in a competitive market is presented, as well as discussion of the potential for similar practices to work elsewhere.     

Undervaluing Mutual: The FCC’s Missed Opportunity to Restructure Radio Broadcasting in the New Deal Era

This article reexamines the Federal Communications Commission’s investigation into monopoly practices by the “chain” or network radio broadcasters in the late 1930s and early 1940s. The FCC targeted NBC and CBS and eventually succeeded in forcing NBC to sell its Blue radio network. But the Commission ultimately failed to prevent network domination of affiliates. I argue that the Commission missed an opportunity to recognize that the Mutual Broadcasting System offered an alternative, cooperative model for organization of the industry that could have better served the FCC’s goals of harnessing the power of chain broadcasting and promoting localism in broadcasting.     

That’s Entertainment: Crafting a Creative Ecology within Public Television

ABSTRACT

Television has gone through a period of rapid disruption in the last few years. New technologies, increased globalization, shifting demographics, and evolving consumer demand have impelled widespread change to business models. Consequently, Broadcasters have been forced to re-examine their approaches to creativity and ideation including capacities and enabling methods. Following analysis of recorded interviews with key personnel behind three recent television productions a better understanding of the cultural ecology surrounding creativity was developed. Findings emphasized the decisive influence that internal sense of community, tacit realization practices, and quality leadership – all working together – play in delivering a distinctive production to a mass-market media audience.