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     National Association of Educational Broadcasters Convention - Radio Session
    1 - Radio Reconsidered - Tape 2
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The Bible says Peter plow shares into swords line was a Friday and slipped at Malcolm X the Negro black Muslim leader made on the air one night. We just saved it until the right time came he was. Piper's a Harlem continues next. And as you will hear this program utilizes folk music integrated with the story line. It's intermixed with real people's voices and as a matter of fact I predicted many months before the event the Harlem race riots of this past summer. The one following that is called a Sunday afternoon in Warsaw and it represents an interesting if not completely successful solution to an intriguing problem. We wanted to determine what contemporary message the Warsaw uprising some 20 years before held for our audience. Father Norman O'Connor wrote the script became equally intrigued and volunteered his hand at it. For budgetary reasons we used one actress and for dramatic effect we enter makes the historical tapes you'll hear used. The male voices of station staff newsman. And the actors by the way for those of you with long memories with Terry Keenan who played Ciccio life can be beautiful for years. There is a final excerpt a final segment after that
but I want to comment on that after you've heard. It. For. A. Week. Or so. My life was again. And programs of course. It is a
practice is it in the course of three. And that was September 30. Brady was aware of it all the way all. The While presenting part of the fish the mountain level of a
real choice. He was an actor not the 6. Well the 63 speaks for the manager Mark Boal. He's the rebels on the shoes of someone discovers on my vessel that me and I don't want to be. Eat eat and. Eat.
They're right and you're right. Yes. That program was called Hate is a wrong way street and it was designed for air on the evening of the freedom march on Washington. They felt the possibilities of violence existed in a climate of not understanding of the real meaning and nature of prejudice. We decided to psych the hate mongers for all to hear. I put this program last because I think it summarizes better than I can my earlier remarks since in the one program. We have involved the use of historical archives material. Collected were retained and
carefully labeled file over a long period of time. Some imaginative writing. No fear of being controversial. Arduous editing in a creative framework. We use a professorial commentators in the resources of local colleges and universities. The expression of a strong point of view expressed to the best of our creative ability. And above all of real people saying real things out on the streets. I suspect this well may be where education starts like. It was. I'm sure that. Earlier words about my injunctions to him will have a second meaning. When I called his attention the sound of applause that he has just received.
Because you see it wasn't an accident. And I asked Bert to play us some samples of some of these award winning documentaries. It just may be possible in the not too distant future for the NE our network to have available some of these programs to us as specials. I wonder if we ought to let him know whether we're interested in carrying the programs of the statute was. I. One of the most significant uses. Of the radio medium particularly as it relates to most of us in this room. Is what happens to this medium. When it comes into a classroom and we have with us today a man who has some very strong feelings about that subject.
He is Jason a Associate Professor of Music at Wayne State University. Has been a member of the faculty of Wayne State for 27 years. He's a composer of liturgical music which has been performed in over 300 temples in the United States Canada Europe and Israel. Music Director and organist at the temple Bethel in Detroit. An organ recital list. Having given twenty six public organ recitals during the past 20 years. He's been a lecturer for the Detroit Symphony Orchestra. He's a two time holder of the winner of the award for the adult education prize for creativity in the arts. And I know the value of that award because we tried very hard at the University of Michigan to do something about it. Professor ticked and was successful twice. And finally. He is the. Teacher of a program that w d t of Wayne State University has carried for six years. It's a program called
introduction to music literature and it provides the text for our professor Texan's remarks this morning. He has chosen. A paraphrase of a well-known. Literary statement Professor Jason ticked in and for whom the school bell tolls. T. Thank you Mr. Sander very much. The hour is late. It's five after 10. I'll see if I can be as brief as possible. My students would appreciate this year now. The experiment started at Wayne State University six years ago. When I have a class in front of me as you people would be with a microphone around my neck and I teach music literature. Three different courses for the entire year. This is Tate and a 7:30 in the evening it goes out over an FM station. Students sitting home. Can elect this course
for credit. It is the only course at Wayne State University that can be elected for credit by students merely sitting home. They come to Wayne three times once at the beginning once for the mid semester months for the final. Then interesting enough. The following week a commercial station rebroadcasts the tape. So a student can hear the tape the following week. If he misses it the first time. And just last month the University station has rebroadcast it. This means something if me for whom the school bell tolls. It means people want to learn. We find out that there is a tremendous reach in our FM stated stations at a very reasonable cost. The program is flexible. We have a basic appeal for everybody. And ladies and gentleman this program works. We have figures
to prove it that educational radio now is pulling more listeners. Quote the fastest growing medium is network radio unquote. If you're going to imagine an AM radio Beethoven's Fifth Symphony which you heard today can you imagine on our FM stations works of Gregorian chant Hebrew chant Henry Kahlil Aaron Copeland etc. etc. and my students constantly writes to me not only about music but they're interested in plays of Ibsen Europe of the Shakespeare they're interested in discussions on electronic music narcotics addiction. Pakistani politics right wing extremism Buddhism Yogi everything. People want to learn. We have found this out. And because w d t is on 12 hours a day we feel that we have a moral obligation to these people to tell them what to listen to when they're listening to
classical music. In 1956 there were five hundred twenty five FM stations in March 1964 there were fourteen hundred FM stations. Two hundred forty of them were noncommercial and the prognosis is ladies and gentlemen that in 1974 there will be thirty two hundred FM stations. This will be the saturation point. Our programme on the later broadcast is unique because of many reasons. First people want to learn and we tell them we haven't forgotten you. As adults. Secondly we haven't forgotten the adults who want to go to school. There are school needs. And we give them what they want. Third my program is an instructional program. I am not for entertainment. I am on for instruction for a college credit. The president of our university the deans of our university feel that
people must work for four hours college credit every quarter. And let me repeat when the cumulative record comes to the student. It does not say that they took Mr. Pickens cars via radio. It says they took a course in music literature and received four hours credit at three different quarters they can take up to 16 hours if they want. A few years ago we had other courses they kind of fell by the wayside for many reasons not talk about them later but we have found out that my colleagues in the TBD parfum all agree with me. We have found out that the word is important not only the picture in TV. People want to learn and they will listen to the radio. For example students now can receive credit if they live in suburbia. And for the people here in Ann Arbor you know what I mean everybody seems to be moving out of Detroit. In fact I don't live in Detroit we live in the suburbs. Bumper to bumper traffic a miserable situation. We started our chorus six years ago with four people taking
it every semester we have increased in the Pax past six years. We have had over 600 people electric cars that they might not have been able to take if they had to drive in. I've had some polio victims and interestingly enough they are the people who really listen. They can't come back the way and I've gone out of their homes. I have gone to the hospital. To quote quiz them which I don't do. I have had a Housewives take the course I have had blind students take the course. I have had spastic students take the course. These are the people who are interested and they fanmail if I can use the term generally as most gratifying. Tremendous response for the people taking it for credit. I recommended for universities but a larger response for people taking the course for no credit. For example the librarians called me.
There are runs in the library first certain books and for certain records I can recommend something. I have no idea to whom I am speaking there is no eye contact. I cannot feel the audience I know they're listening or not. Although my class is in front of me. In the library will tell me that within the past week there were 20 calls for a commy number Ranna or 15 calls for the medium or the council. There are maybe 20 calls for a certain book which I recommended again for whom the school bell tolls. People really want to learn. They want to understand something about music. What do you listen for when you listen to Mozart or Beethoven or Schubert or Schumann or Mendelssohn. What is the difference. Attorneys are written to me. It's nice to get away from court for an hour a day. In the evening just to listen to some classical music. The professors listens. The deans listen. The janitor told me a few days ago that he wanted the mimeographed material and I said to him Do you listen that I haven't missed it for three years. Most gratifying
the hospital patients listen. Detroit has many hospitals most of them have FM radio and I am extremely happy to learn that patients in the hospital. Are given FM radio if they would like to listen to a program on classical music and want to listen for. Cold listen listen listen I scream to my students and they write back dear teach. You don't even give me a chance to eat my dessert. And I say no now I can say quote Daniela's. That this music is not music to be incidental by that I want you to listen to the music listen as though your life depended upon it. Listen because it is music. Of heart and soul in my mind. The record stores in Detroit have asked me to tell them what I am going to play at least two weeks in advance because it is most frustrating to all of a sudden have 50 calls where is Bernstein Symphony Number 3. That was just composed in memory of John F.
Kennedy. And which has been played a great deal and which will be played more and more now come November 22nd 1964. Incidentally Detroit does not have a newspaper we have a newspaper strike for one hundred ten days now. Last July our newspapers going on strike but when we had newspapers. I might tell you that it carried news every day carried the title of my lecture that evening and it was interesting to know people want to learn. They would buy an afternoon paper and go to the library and get either a score or a libretto of some opera are some score or some going I was going to do take it home follow the music keep it for a week re release them the following week and bring it back. We don't have newspapers so now we have a quarterly and I'm interested to tell you about the quarterly. If you want to copy the quantity please let me know of a very glad to send you one. There is no budget for the quarterly. We have a mailing list of 12000
people so we send them the quarterly. And they know what will happen what pieces will be played what my lectures will be. Well I'm sure you people know about budgets budgets were cut. So we send one letter out with a quarterly telling the people budgets were cut. Any donation will be appreciated. And ladies and gentlemen in two weeks we receive four thousand dollars in contributions dollar here $2 there $5 here. People want to learn this is a noncommercial station and they donate it. So we could continue to tell them what we're going to do particularly in music. Our program is unique in many ways. Where else on AM radio are commercial radio. Can you hear the same thing played conducted by three or four different people. One of the most interesting experiments on this is gone on for many years. It's a play part
of a Beethoven symphony or a Haydn symphony conducted by Toscanini. Stop the record play the same thing conducted by armony play the same thing conducted by Fritz Reiner play the same thing conducted by Paul parade. It is amazing the amount of difference even I as a musicologist I'm surprised. How do you account for the fact that a 20 minute symphony. Takes one conductor only 18 minutes on one end and the other side of the coin another one. Twenty six minutes wordy you pick up six seven eight minutes. This is what the student is interested. Or to play part of a some out of by Vladimir Horowitz and then play pile the sonata the same part by Rubenstein. Where do you pick up three or four minutes in a 15 minute composition. Our most exciting is to have an operatic sellable sung by three or four different Soprano. You might be interested
to know that the Caruso records. Fall on dead ears. Students still don't realize when I tell them the Caruso recording is not as good. Naturally not. But the listen for the interpretation. And I do have people tell me it wasn't very clear but I'm not interested in the clearness I am interested in the interpretation of Caruso as against Martin alley as against Richard Tucker. And then where else can you find except on educational radio. Different kinds of instruments. I have records of the US Martin doll and I'm sure you don't know what it is it's a contemporary instrument. I have records of the glass harmonica not a mouth organ you might be interested in now that Benjamin Franklin invented the glass harmonica and no other person can claim credit for it. Mozart wrote for the glass harmonica. Where else can you hear music of the viola d'amore except FM radio radio for credit.
Again let me repeat I. I recommend that people walk on it. People are interested. People want to learn. And then they write me they write me all kinds of problems and every letter I answer by hand it it makes a personal contact. I don't need this personal contact believe me ladies and gentlemen but I few know they take time out to write me and tell me. They're interested. Quote In the Ministry of Culture. This comes from a person who was a spastic and I couldn't help but think yesterday as I listen to the keynote address fostering creative thinking through radio and TV that the spastic person wrote about the Ministry of Culture. Within the past six years I have had many requests to give them another lecture on the aesthetics of music. You might think this is pretty dull. Are the diatonic scale verse of the well-tempered scale. This is a pretty rough lecture I'll tell you why I need the blackboard. But I have to remember that my students at home
don't have a blackboard so anything I put on the blackboard they have to do. But they can hear the overtones as I hold down and play the lowers the they can hear the overtones over the airways and this goes about 300 miles around Detroit. Mail from Cleveland mail from Sandusky mail from upper. The Upper Peninsula. People are interested they want to learn about the emotional theory of music people. We're interested in opera opera nameless and they love to argue with me about operating those vs opera in Italian which they can understand. And of course there's the humor and if we lose our sense of humor we die. People write me. Not my students but the outsider will say they attended the symphony and they love Symphony Number one by Brahms B R O N C E R they are heard are they are heard the the the Wagnerian the goy hear Demerol instead of get her down right. Are. The mildew by
Smith and one of them old or the afternoon of a fern Effi Arianna. Are they love the Negro spiritual the bomb. Yeah. Ladies and gentlemen I have twenty pages some day I shall send them to Mr. Sandler and let him publish them. I'm not making fun of students don't misunderstand me I thought of myself into the Reader's Digest but then I mean making fun I don't mean to make fun I mean people want to learn and they write they write to teach or Dear teach my own wife wrote me a letter and said Dear teach you are unfair your loving wife. Because I gave a quiz over the radio there were 20 questions and they have to know certain selections of certain compositions and I didn't tell them that out of 20 compositions. Four of them were not on their listening quiz. I was interested to know what put they put down. If I play Tchaikovsky's for some but they were held responsible for the fifth and sixth what they put down
I don't know what they put down sounds like Tchaikovsky or what they put Mozart. Dear teacher she said you are unfair. A cadenza is a piece of furniture. In the mash no anthem by George Washington. And excuse me gals but I have to tell this one I don't think it was meant to be off color. That a young lady wrote that something terrible happened to church last night. It was worse than having the piano out of tune. The organ went dead during a piece of the globe. I have great enthusiasm for this chorus. I. Let me conclude let me conclude by giving you something serious. One of my
students wrote me just recently. Dear Professor. I have listened to your program for five years. Quote Let us not worry about putting a man on the moon. Let us enjoy the fine arts music drama literature poetry. Let us probe the mystery of culture. Maybe he concluded world peace through music literature. Thank you. Thanks. Thank you Professor Texan. I would like to see those 20 pages that. We turn next to a field that I'm particularly interested in I've spent the better part of my adult life being concerned with that field and hence
there it there aren't too many hairs left on this pate. Let me turn to the field of radio drama and we have a man with us. Who has spent many years in this field he's Mr. Jack SEE Wilson. Story Editor of theatre 5. The new ABC Radio Drama Series. Mr. Wilson has been a script writer for 30 years starting on stations that had a one man script staffer news commercials publicity and continuity. He's worked in many cities around the country including Cleveland Detroit Chicago Cincinnati and New York. He's a member of the NBC script department for 12 years. He's written for such varied programs as music America loves best and Grand Old Opry. The United States Steel our and Bob and Ray the Helen Hayes theater and my secret story. Mr. Wilson has been the writer on three Peabody Award winning series. Words at wor University playhouse. And biographies and sound. And
today. He is here to tell us about the radio drama. Autopsy or renaissance with us. I think maybe we can still have a coffee break. It's actually after having been identified as a story editor of a radio drama series. I don't feel any commitment to do anything more. I'm good. If you wait to see two legged calf for next I'm very sure you are Siamese twins. You know you would be satisfied just by the novelty of looking at it and knowing it was living and breathing without having a performance and I am I am a living breathing story editor of a radio dramatic series and I have this only here position because ABC.
Is right enough. But dosing. A series of radio dramas on this very day in New York. To set a new scripts will be taken to a studio and actors and actresses will assemble. And. Engineer will walk into the control room and go to the board of director Peter Hughes and I'd like to break your heart nightly. Ah. Our. I tell you I've been associated with the strange banks are this guy and it's not all fun when I go to lunch with people when I go into a saloon. When I go to a party go to friends homes and the subject of what I do comes up there's always some guy who says All you're trying to bring back old time radio in that interest and then some guy over hears him and says gee I hear they're bringing back the Lone Ranger in the
shadow and the Green Hornet. What kind of shows are you going to bring to the tires and then a son who says I do hope you bring back those divine daytime serials My grandmother just adored the time and then I don't know what they say after that because I go and throw up right now you know. I dare say to most of you know that there is a fad or. Tranda or a blight in the radio land of bringing back so-called old favorites. When I first heard about this I was kind of touch at the sentimental gesture and I was kind of queasy about the taste of it. You know something like the lady in black going with them with the bouquet to Rudolph Valentino you agree. But. I still thought it was kind of cute.
Kind of colorful but working actually working with a living breathing program I've come to take a somewhat dimmer view. Because these people are not presenting this claptrap of his as period curiosities or trying to pawn it off as entertainment and as representative of of the past. Now I love the dearly departed for a good many years. And I don't much care about going through a family album to Lafferty old fashioned costumes or to chuckle at the fine looking poses. But the same time. I live through what they call the good old days. And I am so happy that. I wrote more scripts than I can left. And I wrote for many of the programs all kinds of problems that are being talked about being
bought back. And even though I was forced to go into a different area of employment. When radio drama ended I was with a great sense of relief. God forbid I don't want to go back to writing Grand Central Station in the first night or Dr Christian in Mystic Tracer of Lost Person. And anyone who doesn't want to go back. Is a victim of nostalgia. Senility. Or incompetence. So I had a lot of laughs and I had a lot of fun. But I'm glad that's over and I'm glad that the title today is radio reconsidered instead a radio revival. I just mention very quickly what we're trying to do on theater five. We are trying to use a very ambitious word we are trying to do a new series of radio programs. That's an ambitious word in an arrogant word but I approach God bless this is your morality.
We have I believe for the first time tried to put our egos aside. And figure out what is new about radio what can be new about race and what is new and what can be you know is not our ingenuity. But it's the audience. The recognition that the audience is a different audience not just in the sense that. The older residents have died and been replaced. By in the terms in which they listen. Some of you may think this is condescending. And that we recognize the listener. And that we instead of trying to change his listening habits we try to change our production happens. We think that it's that it's. Realistic. And I kind of chasing active humanity for us. I won't try to tell you in any detail Arlo I love to do it
but just when we are trying to do. I say this for briefing the writers but we are we're doing it as a populist. Construct a contemporary subject matter and dialogue and leading us. To the degree that we can disapprove of flashbacks. We want the sound of it could be happening now. And we don't say that this is the best way to do a program but we know that to do something new you have to take a set of terms and work very hard. I just try to illustrate the spirit of it rather than specific things. For instance we had the problem. Of whether or not we should do adaptations this came up immediately to beginning and we'll need to discard it. Now we could have done some better shows with adapted material and we could ourselves. But this goes for everything that we're trying to do. We put aside adaptations because we wanted
to force ourselves. To find and a new form. And to develop writers who could who could work in this field and we've succeeded in some way to doing that. It's also meant to kill the spirit of it. We have live music and we have music that is arranged composers arranged and recorded for each individual script. And it's not only that the music is affective in itself it's the fact that we realize how very important it is to to get a different sound. And. We do incidentally set up an 18 minute script. Which is a form. Thank goodness nobody ever worked in before. And it gives me a chance to look at my contemporaries when they are writers. And tell them not to bring me cut down versions of inner sanctum and whatnot. It's a good thing that we have a different length even because again it
forces us to be to be new. He will skip and skip and scare. Incidentally speaking of writing. This again is very significant. This is the other topic that always comes up in more serious conversations. Where are you going to get writers. Well we've done 75 tapes so far. Number 76 to number 77 today. That's right. And we have used 31 writings. And God bless and keep us we have used 10 writers out of those 31 who have never written a radio script before. And the way you get writers is to. Take chances with with new writers. And we haven't used unskilled people or unproven people when I say we will use 10 people who have never written a radio script before.
And this is again like the refusal to use the adaptations we use in the fact that we would use 31 writers to do 75 scripts. I want to be so much nicer to take 10 proven writers and let them do it all. Is the same thing as with the adaptation we want to force ourselves to discover writers and we've done this to a degree now. I don't have any idea about the potential success of this of the series. ABC is happy about it at this juncture. But there is no. Wow we have been away you know played you know really screamed and hollered. Because I was just down to Forty fourth Street nights only six blocks I want to come up you know. But a lot we don't know I am right but proud of it.
Up ABC for realizing that the way to find out. Is not to do something that was done in the past or not to try to update something that was done in the past but the way to find out is to do something new. And we are in our own fashion for better or worse doing something new. I think ABC also recognizes that if. Radio Drama is to be not revived but re-established. That it will not be ABC alone it will be the interest of the entire broadcasting community. And I was saying this about radio people in general. They've been very encouraging at the fact that this is ABC and they're with other networks and not them. Well that doesn't seem to make a great deal of difference. They are eager and and interested and as helpful as they can be. And in your own fashion I trust that you would have open minds and be helpful. We would sit down we try to provide tapes to noncom up
for noncommercial use. And scripts or whatnot if you want in four classrooms. And work because we while we're doing very definite commercial programming there's as I say I think that this does involve the creativity of everybody in the broadcasting field. Thank you very much. Atlanta. I. Thank you Mr. Olson. In a couple of minutes we will have a coffee break but not quite yet. And in the words of Mr. Wilson. We will have donuts but there are new donuts. I'm. Sure. You've noticed no doubt. That there. Is another person at this table whose name is not on the program because we were
fortunate enough to get him to agree to come down here after the program had gone to the printer. We thought it might be nice not in spite of but because we had such a full program if people had a great deal to say. To also have a guest critic. And so we've asked Mr. William Schwarz. Who is radio program manager for W NBC. The flagship station of the National Broadcasting Company in New York. To play this very difficult. Role for us. Mr. Schwartz began his career broadcasting as a pageboy at CBS. He held a broad range of technical and creative positions before leaving nine years later to initiate an outstanding career with the Westinghouse Broadcasting Company. From his position in Westinghouse in 1962. He joined over to NBC during his
reign there as PROGRAM MANAGER Mr. Schwartz is drawing upon his experience in all radio formats from Top 40 to classical music to conversation. And he is one of the creators of NBC his current format. Now known as the conversation station in New York City. I don't envy him his task. After hearing all of these people this morning. Talk about the kinds of things that they're doing. But I will listen with great relish and I know you will too. So to our guest critic Bill Schwartz. Of the. I. Thank you Jerry it's an impossible task. I think I'm the victim of some kind of collusion. Everybody talks so long they don't give me time to leave me any time to do any criticism. I actually has very little to criticize and I instead of criticizing will.
Attempt to synthesize if possible. What I think perhaps all of these gentlemen have been trying to illustrate with specific examples perhaps I can put it all together and make. A couple of what I hope will be cogent points. We've heard about music we've heard about drama we've heard about documentaries we've heard about various approaches to these. Various kinds of radio programming. But I think before we can talk really sensibly about the various forms. We have to define our audience. Seems to me this is the most important aspect of any kind of radio programming but especially of educational programming. Who is it we are trying to educate. And for what purpose. Culture has been broken down and has mass called. Middle culture and high culture. Are
we going to talk to all of these groups. Are we going to talk to only one of them. What two of them. Is it enough for instance to educate only those who want to learn. Sure people want to learn. But can we talk only to those who want to learn. Is this truly educational programming. And if we talk to those who want to learn. How do we know what. They want to learn. And how do you educate those who want to learn but don't know they want to learn. One of the ways that. We have w NBC are approaching this problem. Is by what I think I can call in the confines of this room. Top 40 talk. The so-called formula music stations. Don't sit back.
And look at four walls and consult among themselves and decide. What audience what music they think the audience wants to hear. And then put it on and hope somebody listens. They go to the public to the people and they say what do you want to hear. They do this by record surveys other techniques sales. Even requests the dangerous requests. But they try to play the kind of music people want to hear. What we try to talk about. The things people want to talk about. We don't. Have any survey. Outside our own station. Our surveys the telephone. It's a very simple very inexpensive technique. We put a guy on the air we do this. Frequently during the day and phone long periods of time. And we say call us up and we'll talk about whatever you want to talk about. And it's amazing the breadth of subjects we cover. It
goes from the race issue. To politics to marital infidelity to. Putting fluoride in the water. To anything and everything that people are interested in. And we don't have experts who answer these questions. We have. People who are interested in many things and they end up. Giving their own opinions. But the experts eventually call in. And the information does get across and all points of view on the information are expressed over a period of time. I think this has a relevance to educational radio. I think it's possible for. You people to do the same kind of programming perhaps to get a little bit differently. Perhaps to use experts to answer your questions. But instead of a lecture on philosophy. A specific cut and dried or even
interesting and entertaining lecture on philosophy if we took a. Philosophy professor who was particularly adept at ad libbing. Put him in your radio studio gave him a telephone put both ends of the conversation on the air and let him go for two hours and let him talk to people who call him. To talk about philosophy with him I think you might get. Some very interesting programming interesting not only to the autism.
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Program
National Association of Educational Broadcasters Convention - Radio Session 1 - Radio Reconsidered - Tape 2
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University of Maryland (College Park, Maryland)
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cpb-aacip/500-c24qpp73
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Public Affairs
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Duration
00:48:13
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University of Maryland
Identifier: 4331 (University of Maryland)
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Chicago: “ National Association of Educational Broadcasters Convention - Radio Session 1 - Radio Reconsidered - Tape 2 ,” University of Maryland, American Archive of Public Broadcasting (GBH and the Library of Congress), Boston, MA and Washington, DC, accessed March 29, 2024, http://americanarchive.org/catalog/cpb-aacip-500-c24qpp73.
MLA: “ National Association of Educational Broadcasters Convention - Radio Session 1 - Radio Reconsidered - Tape 2 .” University of Maryland, American Archive of Public Broadcasting (GBH and the Library of Congress), Boston, MA and Washington, DC. Web. March 29, 2024. <http://americanarchive.org/catalog/cpb-aacip-500-c24qpp73>.
APA: National Association of Educational Broadcasters Convention - Radio Session 1 - Radio Reconsidered - Tape 2 . Boston, MA: University of Maryland, American Archive of Public Broadcasting (GBH and the Library of Congress), Boston, MA and Washington, DC. Retrieved from http://americanarchive.org/catalog/cpb-aacip-500-c24qpp73