Death of a Pirate: British Radio and the Making of the by Adrian Johns

By Adrian Johns

While the pirate operator Oliver Smedley shot and killed his rival Reg Calvert in Smedley’s kingdom cottage on June 21, 1966, it used to be a turning element for the outlaw radio stations dotting the coastal waters of britain. positioned on ships and offshore forts like Shivering Sands, those stations blasted away on the high-minded BBC’s broadcast monopoly with the recent beats of the Stones and DJs like Screaming Lord Sutch. For free-market ideologues like Smedley, the pirate stations have been entrepreneurial efforts to undermine the turning out to be British welfare country as embodied by way of the BBC. The worlds of excessive desk and underground collide during this riveting historical past.

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Extra resources for Death of a Pirate: British Radio and the Making of the Information Age

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It moved to Geneva in 1948. At Atlantic City, broadcasting was given exclusive use of some bands which it had been sharing with other services. More important, Atlantic City was the first major attempt to coordinate use of the radio spectrum. That duty would fall to the newly created International Frequency Registration Board (IFRB) which was to establish a register reflecting the use of frequencies, facilitate compromise in the case of conflicts in usage, and generally give credibility to the international frequency scheme.

Among long-distance radio listeners, contemporary pirate broadcasters have been of two basic types, domestic and foreign. Each group developed differently, but shared a characteristic that attracted North American DXers— their very low power, which made them good DX catches. In addition, their furtive nature added some excitement to the sedentary DX lifestyle. And they were good verifiers. S. pirates, listening to shortwave pirates, both domestic and foreign, began in earnest in America in 1970–73.

S. private international broadcasters on a non-interference basis, although this is becoming more problematic as non-broadcast operators become more protective of their frequencies. 70 42 Broadcasting on the Short Waves, 1945 to Today An increase in power sometimes warrants a special QSL. POWER An important element in reaching target audiences is transmitter power. , some senders in the Soviet Union, a few VOA transmitters, and perhaps one or two other stations, operated with 100 kw. 7¡ Fifty kilowatts was the usual power level of the largest international broadcasters at the time.

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