The Allure of Nostalgia in Broadcasting

Nostalgia taps into a universal human experience: the longing for a simpler time. For many, retro content evokes cherished memories, creating an emotional connection that modern productions often struggle to replicate. This phenomenon isn’t confined to a single demographic; younger audiences are discovering the appeal of vintage aesthetics, while older generations relish the chance to revisit their past.

This resurgence of retro themes is evident across various broadcasting platforms. Streaming services offer curated collections of classic TV shows, podcasts revive radio dramas from the golden age, and even social media platforms feature retro-inspired content that mirrors the aesthetics of VHS tapes and vinyl records. The appeal lies in both the authenticity of these formats and the creative ways they’re adapted for contemporary audiences.

Reviving Classic Television Shows

Classic television shows are at the forefront of the retro broadcasting movement. Iconic programs such as I Love Lucy, The Twilight Zone, and Friends continue to capture the imagination of viewers, thanks to their timeless humor, relatable themes, and endearing characters. These shows are often remastered for modern platforms, preserving their charm while ensuring they meet today’s visual and audio standards.

Broadcasters have also tapped into the reboot trend, reviving beloved series with updated storylines and cast members. Examples like Fuller House (a continuation of Full House) and the Twin Peaks revival demonstrate how broadcasters can reignite interest in vintage content while introducing it to a new generation.

The Rise of Retro Radio and Podcasts

Radio, one of the oldest forms of broadcasting, has experienced a renaissance through podcasts. Many creators are drawing inspiration from vintage radio formats, producing content that mimics the structure of classic broadcasts. Serialized audio dramas, reminiscent of 1930s and 1940s radio plays, have gained immense popularity. These productions often feature vintage sound effects, music, and storytelling styles that transport listeners to a bygone era.

Shows like Welcome to Night Vale and The Thrilling Adventure Hour have mastered the art of blending retro vibes with modern narratives, creating immersive audio experiences. This trend demonstrates the enduring appeal of radio-style storytelling and its adaptability to contemporary tastes.

Vintage Visual Aesthetics in Modern Broadcasting

Visual aesthetics play a crucial role in reviving retro content. Vintage-inspired design elements, such as grainy film filters, neon signage, and analog-style graphics, are frequently used to evoke a sense of nostalgia. Music videos, advertisements, and even new television shows often incorporate these elements to create a retro atmosphere.

For example, the hit Netflix series Stranger Things draws heavily on 1980s aesthetics, from its synth-heavy soundtrack to its wardrobe and set design. This careful attention to detail not only enhances the storytelling but also appeals to viewers who associate these visuals with their own experiences of the era.

Social media platforms have also embraced vintage aesthetics. TikTok and Instagram are brimming with content creators who use retro filters, VHS effects, and Polaroid-style imagery to craft visually compelling posts. These tools allow broadcasters and creators to evoke nostalgia while keeping their content fresh and engaging.

Revitalizing Vintage Content with Technology

Technology has been instrumental in reviving retro content for modern audiences. Advances in digital restoration enable broadcasters to enhance old recordings, improving picture quality, color accuracy, and sound clarity. This process ensures that vintage content can be enjoyed in high definition while retaining its original charm.

Streaming platforms have also played a pivotal role in making retro content accessible. Services like Disney+, HBO Max, and Peacock offer extensive libraries of classic shows and movies, allowing audiences to explore a treasure trove of nostalgic entertainment. These platforms use sophisticated algorithms to recommend retro content based on viewer preferences, ensuring that audiences can easily discover gems from the past.

Additionally, interactive technologies are adding a new dimension to vintage broadcasting. Virtual reality (VR) and augmented reality (AR) experiences are being developed to immerse audiences in retro-themed environments. For instance, VR applications might recreate a 1950s living room where viewers can watch classic television, blurring the lines between nostalgia and innovation.

The Role of Music in Nostalgia-Fueled Broadcasting

Music is a powerful trigger for nostalgia, and broadcasters have long recognized its ability to evoke emotional connections. Retro-themed playlists, radio shows, and music documentaries celebrate the sounds of past decades, from jazz and swing to rock and disco.

Television and film often use vintage soundtracks to transport audiences to specific eras. Movies like Guardians of the Galaxy and Once Upon a Time in Hollywood expertly incorporate classic songs to enhance their narratives and evoke nostalgia. Broadcasters can leverage this strategy to curate music-based programming that resonates with audiences, such as countdown shows highlighting the greatest hits of a particular decade.

Cultural Significance of Retro Broadcasting

Reviving retro content is more than just a marketing strategy—it’s a way to preserve cultural heritage. Broadcasting serves as a time capsule, capturing the values, trends, and events of different eras. By bringing vintage content to new audiences, broadcasters ensure that these cultural artifacts remain relevant and appreciated.

Moreover, retro broadcasting fosters intergenerational connections. Families can bond over classic shows, music, and movies, sharing the stories and experiences that shaped their lives. This sense of continuity is a testament to the enduring power of nostalgia and its ability to bridge generational gaps.

Challenges and Considerations in Reviving Retro Content

While nostalgia is a powerful tool, broadcasters must approach retro content with care. Modern audiences have diverse tastes and sensitivities, and some aspects of vintage material may no longer align with contemporary values. For example, outdated stereotypes or cultural norms may require thoughtful adaptation or contextualization to ensure the content remains inclusive and respectful.

Broadcasters also face the challenge of balancing authenticity with innovation. Simply replicating retro content without adding new elements can feel stagnant, while straying too far from the original may alienate loyal fans. The key is to strike a balance that honors the spirit of the past while embracing the possibilities of the present.

The Enduring Appeal of Vintage Vibes

The revival of retro content in broadcasting is more than a trend—it’s a celebration of the timeless qualities that make vintage entertainment so special. By combining the charm of the past with the tools of the future, broadcasters can create nostalgia-fueled experiences that captivate audiences and stand the test of time. From remastered classics to retro-inspired innovations, the possibilities are endless, proving that the magic of vintage vibes is here to stay.

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The Shared Roots of Aviation and Broadcasting

Aviation and broadcasting share a rich history of technological evolution. Both industries emerged as revolutionary forces in the early 20th century, transforming how people connect and communicate. In aviation, the development of radio communication enabled pilots to stay in touch with ground control, ensuring safer and more efficient flights. Around the same time, radio broadcasting began to capture the public’s imagination, delivering news, music, and entertainment directly into homes.

The technological overlap is significant. Aviation’s reliance on radio waves for navigation and communication laid the groundwork for broadcasting to leverage similar technologies. Systems like VHF (Very High Frequency) radios, initially designed for aviation, also became instrumental in early broadcast transmissions. This symbiotic relationship highlights how advancements in one field often catalyze progress in another.

Aviation-Inspired Precision in Broadcasting

One of the defining characteristics of aviation is its emphasis on precision. Every procedure, from takeoff to landing, follows a carefully orchestrated plan. This attention to detail has inspired broadcasting, particularly in live reporting and news coverage. Just as pilots rely on checklists and standard operating procedures, broadcasters adhere to meticulously crafted scripts and schedules.

The use of real-time data is another area where aviation has influenced broadcasting. In aviation, flight radar systems track aircraft movement with remarkable accuracy, providing critical information for air traffic control and safety. This level of precision has been mirrored in live broadcasting, where real-time updates are crucial for delivering accurate and timely news. Broadcasters now use similar technologies to monitor events and ensure seamless reporting, from political elections to natural disasters.

Communication Protocols: Lessons from the Cockpit

Effective communication is at the heart of both aviation and broadcasting. In aviation, standardized communication protocols ensure that pilots and air traffic controllers understand each other clearly, minimizing the risk of errors. Phrases like “Roger” and “Wilco” have become iconic examples of aviation lingo, representing the importance of brevity and clarity.

Broadcasting has adopted similar principles, particularly in live environments where miscommunication can derail entire productions. Anchors, producers, and technical teams rely on concise and standardized language to coordinate their efforts. For instance, the use of cue words like “Standby” and “On Air” mirrors the precision of aviation commands, underscoring how these industries borrow best practices from one another.

The Role of Technology: Bridging the Gap

Technological innovation is a cornerstone of both aviation and broadcasting. Over the years, advancements in one field have often driven progress in the other. For example, satellite technology, initially developed for aviation navigation and communication, became a game-changer for broadcasting, enabling global coverage of events like the Olympics and international news.

Drones are another example of cross-pollination between these industries. Originally designed for military and aviation purposes, drones are now widely used in broadcasting to capture aerial footage for documentaries, live sports, and news coverage. This integration of aviation technology into broadcasting has redefined storytelling, offering viewers breathtaking perspectives and immersive experiences.

Real-Time Coverage: Drawing Parallels with Flight Radar Systems

In aviation, flight radar systems have revolutionized how aircraft are tracked and monitored. These systems provide real-time data on flight paths, altitude, and speed, ensuring the smooth operation of air traffic worldwide. Broadcasting has adopted a similar reliance on real-time data, particularly in live news coverage.

During breaking news events, broadcasters use tools analogous to flight radar systems to track developments as they unfold. Whether it’s following the path of a hurricane or monitoring election results, these tools provide the real-time insights necessary for accurate reporting. The ability to deliver live updates with precision and reliability is a hallmark of both industries, showcasing their shared commitment to staying ahead of the curve.

Storytelling from the Sky: Aviation’s Influence on Broadcast Narratives

Aviation has not only inspired the technical aspects of broadcasting but also shaped its narrative style. The sense of adventure and exploration associated with flight has found its way into countless documentaries, news segments, and even fictional stories. Shows that explore air travel, pilot life, or the science of aviation captivate audiences with their blend of technical knowledge and human interest.

Moreover, aviation’s focus on global connectivity resonates deeply with broadcasting. Just as aviation links people across continents, broadcasting unites viewers through shared stories and experiences. This parallel underscores the mutual goal of fostering understanding and connection, whether through the airwaves or the airways.

Aviation Broadcasting: A Unique Intersection

Broadcasting within the aviation industry itself has become a specialized field, offering valuable insights into flight operations and safety. Aviation-focused broadcasts, such as in-flight announcements and airport information systems, play a critical role in ensuring smooth travel experiences. Airlines have even adopted personalized in-flight entertainment systems, blending broadcasting with customer service to enhance passenger satisfaction.

Live streaming of flights, airshows, and even air traffic control communications has gained popularity among aviation enthusiasts. These broadcasts offer a behind-the-scenes look at the industry, combining the thrill of aviation with the accessibility of modern media. For aviation buffs, websites offering flight radar systems and aviation tech updates provide a deeper understanding of the world above.

Looking to the Future: Collaborative Innovations

As technology continues to evolve, the collaboration between aviation and broadcasting is poised to reach new heights. Emerging technologies like artificial intelligence (AI) and augmented reality (AR) have the potential to revolutionize both fields. In aviation, AI is being used to optimize flight paths and improve safety, while AR is enhancing pilot training. Broadcasting is leveraging these technologies to create more engaging and immersive content, such as interactive news segments and virtual reality documentaries.

5G networks, with their promise of ultra-fast connectivity, are another game-changer. In aviation, 5G will enable more reliable communication between aircraft and ground systems. In broadcasting, it will facilitate faster data transmission and higher-quality live streams, bridging the gap between the airwaves and the airways even further.

The synergy between aviation and broadcasting serves as a reminder that innovation often thrives at the intersection of different fields. By learning from each other’s strengths, these industries continue to inspire and push the boundaries of what’s possible. Whether it’s through real-time data, precision communication, or cutting-edge storytelling, the skies—and the airwaves—are full of opportunities to connect and create.

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Music therapy uses music purposefully to help improve patients’ physiological, psychological, and emotional states. Research has demonstrated its effectiveness at reducing pain, anxiety, and depression while improving mood and quality of life. These goals align closely with the aims of palliative care, which focuses on providing comfort and relief at the end of life.

Overview of Music Therapy

Music therapy, at its core, is the clinical use of musical interventions to achieve therapeutic goals. This age-old practice can be traced back to the ancient Greeks, who believed in the power of music to heal the body and soul.

The advantages of this therapy are manifold:

• Reduces pain, anxiety, and depression: The soothing nature of music has been shown to alleviate physiological and psychological discomfort.
• Improves mood and quality of life: Music can evoke positive memories and elicit emotions that uplift the spirit.

Music Therapy in Palliative Care

Palliative care is centered on enhancing the quality of life and offering comfort to patients facing life-threatening illnesses. The integration of music therapy in this domain is an affirmation of its holistic approach.

Several studies have indicated that music therapy:

• Provides emotional support and helps in processing feelings.
• Enhances relaxation, thus decreasing symptoms like breathlessness.
• Techniques employed often include individualized song choice, live singing, receptive music listening, and guided music imagery.

Palliative care, a specialized form of medical care, focuses on providing relief from the symptoms and stress of severe illnesses, aiming to improve the overall quality of life for both patients and their families. In this realm, the role of music therapy is becoming increasingly pivotal. Recognizing the deep connection between music and emotional well-being, the healthcare community has started embracing the therapeutic benefits of melodies and rhythms.

Music therapy’s potential isn’t merely anecdotal; it is backed by a myriad of scientific studies. These studies have consistently showcased that music therapy not only offers emotional support but also plays a vital role in helping patients process complex emotions, fears, and feelings that arise during their medical journey. For instance, the calming nature of certain tunes has been observed to counteract feelings of anxiety, creating a serene environment conducive to healing.

Moreover, the physiological benefits of music therapy are just as profound. By facilitating relaxation, music aids in alleviating discomforting symptoms commonly experienced in palliative care, such as breathlessness or agitation. This relaxation response can decrease heart rate, lower blood pressure, and reduce the stress hormone, cortisol, promoting overall well-being.

The methods employed in music therapy are diverse and tailored to the needs of the individual. For some, the simple act of choosing a beloved song from their past can evoke positive memories, offering solace in challenging times. Live singing sessions provide an interactive platform where patients can express themselves, while receptive music listening allows individuals to absorb and resonate with the music’s emotional cadence. Meanwhile, guided music imagery encourages patients to pair music with their imagination, often leading to profound personal insights and cathartic emotional releases.

In essence, as the realm of palliative care continues to evolve and adapt to the needs of patients, music therapy stands out as a beacon of holistic healing, touching both the body and the soul.

ALSO READ: International broadcasting

Radio’s Role in Providing Music Therapy

Ottawa, with its rich cultural tapestry, boasts of local radio stations that curate playlists aimed to soothe and heal. These stations understand their pivotal role in the community and often broadcast programs tailored for palliative patients.

Furthermore:

• Radio hosts typically interview therapists and patients, shedding light on the music selection process and the transformative experiences of listeners.
• The accessibility of radio ensures that therapeutic music reaches even those who may not have direct access to individualized music therapy sessions.

Case Studies of Ottawa Palliative Patients Helped by Radio Music Therapy

1. Mrs. Lorraine: Battling terminal cancer, she found solace in the late-night jazz sessions broadcasted by a local Ottawa station. The melodies reminded her of her youth and helped her cope with anxiety.
2. Mr. Ahmed: Living with progressive ALS, he couldn’t communicate or move. The classical hours on the radio became his daily respite, often bringing a tear to his eye, conveying emotions he could no longer verbalize.

The profound impact of music on the human psyche is undeniable. As Ottawa’s healthcare industry continues to evolve, the collaboration between radio and palliative care professionals is set to deepen further. As we reflect on the harmonious blend of radio, music, and palliative care in Ottawa, it’s evident that the symphony of healing is timeless, transcending boundaries and touching souls in their most vulnerable moments.

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The term “international broadcasting” is widely used in scientific and popular literature, as well as in journalistic practice. Along with it, the terms “foreign broadcasting”, “broadcasting to foreign countries”, “foreign broadcasting”, “foreign radio broadcasting” are used. All of them are synonyms.

Within a broadcasting country, international broadcasting is an important part of the national media system. At the same time, it is part of a system of global information exchange that also includes the press, television, tourism, all kinds of international communications and organizations, and diplomatic channels.

The inhabitants of the world today are bombarded with a gigantic flow of information from different countries in different languages. According to UNESCO and other sources, by the end of the millennium there were 8,896 daily newspapers with a combined circulation of over 400 million copies, and almost 70,000 radio and television stations. The world population had about 1.5 billion television sets and over 2 billion radios. That means that we had an average of 100 newspapers, 236 televisions and 380 radios for every 1,000 people each day.

Almost all states of the world are active in information activity in the international arena, participate in the exchange of information, and this activity is constantly expanding, changing its directions, goals and methods. This is due to a number of economic, socio-political and technical factors, both in the countries – subjects of information activity, and in the world as a whole. The scale of modern international information exchange is greatly influenced by changes in the international environment, expansion and deepening of all types of international cooperation.

Historical experience shows that international broadcasting can serve the interests of international cooperation, deepening mutual understanding, trust, good-neighborliness and partnership, but in other conditions it can also become a factor destabilizing the international situation and can provoke explosive situations.

The growing importance of outdoor radio broadcasting is demonstrated by the fact that by the end of the 20th century, 1,600 radio stations in more than 160 countries were on the international airwaves. These range from the BBC, which has the world’s highest volume of broadcasts to foreign audiences, 1,400 hours a week, to Radio Botswana, which broadcasts for about 100 hours a week. Many nations take advantage of radio’s ability to reach listeners abroad, to influence public opinion in other countries, and to use the airwaves to keep in touch with their compatriots abroad. Print media are unable to accomplish such tasks. Even prestigious world-class publications have a limited audience beyond their borders, while international broadcasting programs can be received by anyone who owns a shortwave receiver at any time of day or night.

Listeners turn to the programs of foreign radio stations for a number of significant reasons. One of them is the desire to get first-hand information about events in a particular country. For many, the broadcasts of world radio are the only source of information about facts and events that the mass media in their countries do not report at all. For a large part of the audience, alternative information is needed and they are interested in different perspectives on what is happening in the world.

Finally, listeners are drawn to foreign programs to learn more about the culture, art, literature, music, history, and language of the broadcasting country.

International broadcasting in most countries of the world is carried out by state or public organizations (BBC, Deutsche Welle). In a number of states, private radio stations are also engaged in such activities on behalf of public, cultural, religious and other organizations and interest groups.

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First of all, there are two types of organizations: intergovernmental and informal. The former are formed on the basis of international agreements by governments of a number of countries. Governments delegate their representatives to these organizations. Decisions of intergovernmental organizations have the force of law, this is the area of international law.

Informal organizations, whose members are also representatives of different countries, but already at the public level, are limited in the legal field, do not adopt laws and do not formulate official policies. Their interests are cooperation, mutual consultation, exchange of experience, and resolution of technical and programmatic issues.

The relations that exist between the two types of organizations are generally non-confrontational, benevolent and cordial, although there is a certain line of demarcation between them. Members of informal organizations cannot participate in the work of intergovernmental organizations, at best they are invited as observers. A similar protocol is established by informal organizations with respect to intergovernmental organizations. Still, many special problems are not within the competence of an informal organization. In solving them, it naturally turns to the authority of the interstate organization.

Inter-State organizations

UNO – UNITED NATIONS;
UNESCO – UNESCO;
ITU – International Telecommunications Union;
INTELSAT – International Organization for Satellite Communications INTELSAT;
CERT – European Conference of Posts and Telecommunications;
IPO – World Intellectual Property Organization.
Informal Organizations.
ABU, Asia Pacific Broadcasting Union (founded 1964; headquarters in Kuala Lumpur, Malaysia);
ASBU, Arab States Broadcasting Union (founded in 1969, secretariat in Cairo, technical center in Khartoum, Sudan);
CBU, the Commonwealth Broadcasting Union (founded in 1945 and headquartered in London);
EBU, European Broadcasting Union (founded 1950, with headquarters in Geneva);
IAAB, Inter-American Association of Broadcasters (Central and South America, center in Montevideo, Uruguay);
IBI, International Broadcasting Institute (founded in 1968 in London, with board members from Commonwealth countries, some European countries, United States);
CBU, Caribbean Broadcasting Union, based in Kingston, Jamaica;
NANBA, North American National Broadcasters Association (formed in 1972, with three members: USA, Mexico and Canada, based in Ottawa, Canada);
UNIA, the International Catholic Association for Broadcasting and Television (center in Brussels);

Central among international organizations, of course, is the United Nations, a recognized authority and the main coordinator of world politics, including in the field of mass media. Its two most important divisions are UNESCO and the International Telecommunications Union.

UNESCO – founded on November 4, 1946, is located in Paris. Its charter was adopted by 20 countries. By the 1990s, UNESCO had more than 150 member states. UNESCO is the abbreviation of the name of an educational, scientific, cultural organization under the United Nations. During its existence, it has done a lot of work on the development of mass communications in the world, produced valuable studies in this field, put forward certain criteria of minimum media presence in a state, necessary for its normal development.

In 1978, 145 UNESCO member states signed the Declaration on Mass Media. Among its many important provisions, it contained the overriding media principle of “respect for the rights and dignity of every nation, every people, every human being. UNESCO went beyond the Declaration to enforce its principles. Its most sensational project was the New World Information Order, inspired by the Non-Aligned Movement, against “electronic imperialism,” the information blockade, and for honor and dignity. The U.S., the signatories of the Declaration, angrily opposed its practical implementation, believing that this new “information order” was a barrier to the “free flow of information. As a result, the U.S. withdrew from UNESCO in 1984.

Until the early 1990s, the main rival and ideological opponent of the European Union was the OIRT, the International Radio and Television Organization, founded in 1946. The core of the organization was made up of socialist countries. Each Soviet republic was a separate member. In addition, the organization included Finland, Iraq and Sudan. By 1984, the number of OIRT members was thirty. The headquarters was located in Prague. With the collapse of the socialist camp, the OIRT disappeared. The European Union (EBU) opened its doors to the former socialist countries.

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First, the task of attracting the audience is solved by unique content (at one time, when the competition on the radio grew and the Internet was not yet so popular, there were programs that “blew up” the audience: “Model for Assembly” or “Frankie Show” – these things are still on their lips). Second, putting some of the information on the Internet and over the airwaves. If a radio station doesn’t live off the air, you can bury it.

Radio stations create web-communities and, in addition to audio material, post photos, videos, interesting texts, links and Instagram pages, all just to keep listeners interested. Every self-respecting station has off-air events.

Nevertheless, constant radio streaming is being replaced by (and in the West has already been replaced by) podcasts. Internet radio is another phenomenon that is predicted to defeat FM stations. Today, anyone can open an Internet station – it does not need to be officially registered, buy a license and expensive equipment.

For the simplest online broadcasting, you need hosting for the site, a broadcasting service (such as IceCast or ShoutCast), through which audio streams will pass, and software for broadcast automation, which we wrote about above (there are also free options). After setting up all these elements, you can start live broadcasts, any music or talk programs, the only question is the choice of the audience.

In a sense, we can watch the decline of classical FM broadcasting – sooner or later, evolution will take its course. Unprofitable FM stations are likely to curtail broadcasting, and there is a chance that technology will allow “catch-up” Internet radio, and the listener will accustom himself to podcasting. Audio information is still considered the most unobtrusive and comfortable to listen to in the background.

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Radio stations use radio transmitters of different power, depending on which transmit information at different distances. The listener has a radio receiver that receives electromagnetic radiation and converts it to sound. The sound is modulated in two ways – amplitude (this is AM) and frequency (FM proper).

Separately, the software that is used in radio broadcasting can be considered. In essence, the program through which the broadcast goes on the air is the main tool for the on-air staff of the radio station. Automated broadcasting packages such as Digiton, DJin, or Sam Broadcaster are used to put all the content on the air.

The tasks of such software are to organize the work with on-air content and bring everything together: commercials, music, design, recorded programs and live broadcasts.

The structure of the programs is similar: there is a workspace, which displays the current state (what is playing, what will go on the air next), there is a breakdown by hours: every hour is filled according to the broadcasting schedule, which is made by the program director.

In the workspace, all manipulations are done by drag’n’drop, files are pulled from folders to which the program has access. In addition to the workspace, there is a jingle machine that runs the design elements, liners, jingles, and interludes.

It’s controlled not only with the mouse and keyboard, but also from the DJ console (the corresponding “tracks” and faders can automatically turn on the next track or start a jingle, it all depends on the settings). Simply put, the program is “zipped” everything, the entire broadcast.

If the program shuts down, it’s an emergency-level event, because all broadcasting functions are tied to it. Of course, serious radio stations have a reserve disk for such cases from which music is simply played so that the broadcasting is not “silent” while the software is “up” because, for example, commercials and recorded programs cannot be aired without it.

Programs for automation, however, vary. In the professional community most often praise DJin, because it has the most fine-tuning. But it also costs more than other complexes.

In turn Digiton, though cheaper, often “strains” its clumsiness and independence. The program sometimes says unpredictable things, itself switches tracks or fails to start jingles, and such mistakes are destructive for the airwaves. Nevertheless, it is almost as popular as DJin.

Any number of staff can maintain a radio station – it all depends on its size and tasks. There are small regional stations with three marketing specialists, two DJs and an editor, and there are giants with three hundred people with promotional departments, commerce, editorial staff, PR-service, warehouse, security and the board of directors.

The average radio station, in addition to DJs, has a program director who builds the broadcasting grid, an on-air editor, a commercial director, a sound engineer to work with sound and post-production, and a promo department.

There are radio stations that broadcast all over the country – federal, and there are those that work only for their region. Often regional radio stations do not have their own airwaves and retransmit Moscow stations. In this case, the regions are allocated a few hours of their own airtime and time for local advertising (this is stipulated in the franchise agreement).

New radio stations are opened, even despite the complexity of the process and the vague prospects for profit. In order to open an FM radio station, a concept is prescribed, a legal entity is registered, the exact location coordinates for the transmitter, documents are collected, a tender for a frequency is held, which is arranged twice a year, and so on.

The main factor by which we distinguish (or not) from each other radio stations is the format. The format is made up of what and for whom the airwaves are filled. In the classic division there are about 14 formats, such as AC (Adult Contemporary), CHR (Contemporary hit radio), classical, rock, etc., which, in turn, are divided into sub-formats. The division is based on the age of the audience and the musical content.

It should be understood that this division into formats is very relative, and today it is quite difficult to find a “purebred” rock radio station or AC format – under the conditions of fierce competition strong stations are in search and constantly bring out new formats, combining several old ones into one.

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The word “radio” in translation from Latin radiare means “to radiate, to emit rays”. The basis of radio is electromagnetic waves. Today every schoolboy knows this, but humanity only became aware of them at the end of the seventeenth century – and even then only vaguely. It took another two centuries for the English scientist Michael Faraday in the late 1830’s to finally make a confident statement about the discovery of electromagnetic waves. Another 30 years later, another scientist from Great Britain, James Maxwell, completed the construction of the electromagnetic field theory, which found its application in physics.

Around the same time, the American dentist Mahlon Loomis announced that he had discovered a method of wireless communication. The signal was transmitted using two kites to which electrical wires were attached. One was the antenna of a radio transmitter and the other was the antenna of a radio receiver. When the circuit of one wire was disconnected from the ground, the arrow of the galvanometer also deflected in the circuit of the other wire. According to the claims of the inventor, the signal was transmitted at a distance of more than 22 km. In 1872 Loomis received the world’s first patent for wireless communication. But unfortunately the document doesn’t contain a detailed description of the devices used by the inventor. Blueprints of his devices have not survived either.

In 1880-1890 a number of scientists almost simultaneously conducted successful experiments on the use of electromagnetic waves with improved elements. This is why today several countries claim to be the inventor of radio.

In Germany, Heinrich Hertz is credited with discovering how to transmit and receive electromagnetic waves. He did this in 1888. Incidentally, the waves themselves were called “Hertzian Waves” for a long time.

In the United States, the credit for the invention of radio belongs to Nikola Tesla, who patented a transmitter in 1893 and a receiver in 1895. By the way, in 1943, his priority over Marconi was recognized in court. This is due to the fact that Marconi and Popov’s device allowed only a signal function, including the use of Morse code. And Tesla’s device could convert a radio signal into acoustic sound. All modern radio devices based on an oscillating circuit have the same design.

Not just radio anymore

Today Radio Day is a professional holiday not only for those who transmit information. Those who deal with the protection of information, create electronic warfare devices, navigation systems and other sophisticated electronic equipment have a direct relation to it. It is impossible to list them all, so let’s talk about only three of the newest developments.

Because of mass computerization and widespread adoption of network technology, developments in the field of cybersecurity are of great relevance. The threat of cyberterrorism today includes state secrets and high-tech industrial facilities, global transportation hubs and pass-through terminals, electronic payment systems and intelligent automation devices.

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