RTV Theory and Practice - Special Issue

interesting parallel between the dependence of Kiss-FM on microelectronics for cheap transmitters and the station's promotion of house music which is created through similar technology using cut-ups, electronic instruments, stuđio technigues and seguencers . Alongside the pirate radio stations is the community radio movement. This is centred arounđ the Community Radio Association (CRA), which campaigns for non-commercial broadcasting run by co-operatives or voluntary organizations . This has concentrated on lobbying work and putting forwarđ plans for a viable new sector of radio broadcasting . (CRA 1987; Jones 1987/8) The CRA has had an ambiguous relationship with the pirates . Мапу CRA members disapprove of the illegal tactics of the pirates , especially if they see music stations as competitors for their own projects . But other members are themselves involved in pirate stations . Faced with a unresponsive Home Office , there has been a gradual convergence between the two halves of the movement. For example , one leađing member of the CRA is pessimistic about the chances of many pirates obtaining licenses , but is more hopeful for stations like Kiss-FM. i 'An exception might be the more altruistic and less entrepreneurial . . . black music pirates in London who if they are serious about their "radical radio" tag may evolve into one or more inđependent, not-for-maximum-profit, London-wiđe stations.'’ (Partridge 1988; 7) A convergence between the CRA and the pirates is important for the future of British radio. It offers the only hope of avoiding a takeover of the airwaves by the media multinationals . Some groups on the Left attack the pirates for unđermining the BBC and the IBA . (CPBF 1984; 26) This approach defends the status quo because its supporters аге essentially conservative . They f ail to realize how radio broadcastmg has changed over the past twenty уеагз . Though it is an old technology, radio has benefited from the latest advances . Microelectronic technologies have lowered the monetary and skill barriers in radio broadcasting . In other countries , radio has alßo been skillfully combined with other technologies . There is nothing in Britain like the use of the telephone by Radio Populare Milano , but the pirates are promoting the technologically shaped culture of contemporary music . It is these advances in the means of production which creates the possibility of transforming the methods of production as weli . A community radio station can encourage access by its listeners , either directly or međiated through the telephone . The breakdown of skills can lead towards the American-model of

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