Radio is the transmission of signals through free space by modulation of electromagnetic waves with frequencies below those of visible light. Electromagnetic radiation travels by means of oscillating electromagnetic fields that pass through the air and the vacuum of space. Information is carried by systematically changing (modulating) some property of the radiated waves, such as amplitude, frequency, phase, or pulse width. When radio waves pass an electrical conductor, the oscillating fields induce an alternating current in the conductor. This can be detected and transformed into sound or other signals that carry information.

Etymology

The etymology of "radio" or "radiotelegraphy" reveals that it was called "wireless telegraphy", which was shortened to "wireless" in Britain. The prefix ''radio-'' in the sense of wireless transmission, was first recorded in the word ''radioconductor'', a description provided by the French physicist Édouard Branly in 1897. It is based on the verb ''to radiate'' (in Latin "radius" means "spoke of a wheel, beam of light, ray"). This word also appears in a 1907 article by Lee De Forest, it was adopted by the United States Navy in 1912, and became common by the time of the first commercial broadcasts in the United States in the 1920s. (The noun "broadcasting" itself came from an agricultural term, meaning "scattering seeds widely".) The term was then adopted by other languages in Europe and Asia. British Commonwealth countries continued to mainly use the term "wireless" until the mid-20th century, though the magazine of the BBC in the UK has been called Radio Times ever since it was first published in the early 1920s.

In recent years the term "wireless" has gained renewed popularity through the rapid growth of short-range computer networking, e.g., Wireless Local Area Network (WLAN), Wi-Fi, and Bluetooth, as well as mobile telephony, e.g., GSM and UMTS. Today, the term "radio" often refers to the actual transceiver device or chip, whereas "wireless" refers to the system and/or method used for radio communication; hence one talks about ''radio'' transceivers and ''Radio'' Frequency Identification (RFID), but about ''wireless'' devices and ''wireless'' sensor networks.

Processes

Radio systems used for communications will have the following elements. With more than 100 years of development, each process is implemented by a wide range of methods, specialized for different communications purposes.

Each system contains a transmitter. This consists of a source of electrical energy, producing alternating current of a desired frequency of oscillation. The transmitter contains a system to modulate (change) some property of the energy produced to impress a signal on it. This modulation might be as simple as turning the energy on and off, or altering more subtle properties such as amplitude, frequency, phase, or combinations of these properties. The transmitter sends the modulated electrical energy to a tuned resonant antenna; this structure converts the rapidly changing alternating current into an electromagnetic wave that can move through free space (sometimes with a particular polarization).

Electromagnetic waves travel through space either directly, or have their path altered by reflection, refraction or diffraction. The intensity of the waves diminishes due to geometric dispersion (the inverse-square law); some energy may also be absorbed by the intervening medium in some cases. Noise will generally alter the desired signal; this electromagnetic interference comes from natural sources, as well as from artificial sources such as other transmitters and accidental radiators. Noise is also produced at every step due to the inherent properties of the devices used. If the magnitude of the noise is large enough, the desired signal will no longer be discernible; this is the fundamental limit to the range of radio communications.

The electromagnetic wave is intercepted by a tuned receiving antenna; this structure captures some of the energy of the wave and returns it to the form of oscillating electrical currents. At the receiver, these currents are demodulated, which is conversion to a usable signal form by a detector sub-system. The receiver is "tuned" to respond preferentially to the desired signals, and reject undesired signals.

Early radio systems relied entirely on the energy collected by an antenna to produce signals for the operator. Radio became more useful after the invention of electronic devices such as the vacuum tube and later the transistor, which made it possible to amplify weak signals. Today radio systems are used for applications from walkie-talkie children's toys to the control of space vehicles, as well as for broadcasting, and many other applications.

Electromagnetic spectrum

Radio frequencies occupy the range from a few tens of hertz to three hundred gigahertz, although commercially important uses of radio use only a small part of this spectrum. Other types of electromagnetic radiation, with frequencies above the RF range, are microwave, infrared, visible light, ultraviolet, X-rays and gamma rays. Since the energy of an individual photon of radio frequency is too low to remove an electron from an atom, radio waves are classified as non-ionizing radiation.

History

19th century

The meaning and usage of the word "radio" has developed in parallel with developments within the field of communications and can be seen to have three distinct phases: electromagnetic waves and experimentation; wireless communication and technical development; and radio broadcasting and commercialization. Many individuals—inventors, engineers, developers, businessmen - contributed to produce the modern idea of radio and thus the origins and 'invention' are multiple and controversial. Early radio designs could not transmit sound or speech and were called the "wireless telegraph".

Development from a laboratory demonstration to a commercial entity spanned several decades and required the efforts of many practitioners. In 1878, David E. Hughes noticed that sparks could be heard in a telephone receiver when experimenting with his carbon microphone. He developed this carbon-based detector further and eventually could detect signals over a few hundred yards. He demonstrated his discovery to the Royal Society in 1880, but was told it was merely induction, and therefore abandoned further research.

Experiments, later patented, were undertaken by Thomas Edison and his employees of Menlo Park. Edison applied in 1885 to the U.S. Patent Office for his patent on an electrostatic coupling system between elevated terminals. The patent was granted as on December 29, 1891. The Marconi Company would later purchase rights to the Edison patent to protect them legally from lawsuits.

In 1893, in St. Louis, Missouri, Nikola Tesla made devices for his experiments with electricity. Addressing the ''Franklin Institute'' in Philadelphia and the ''National Electric Light Association'', he described and demonstrated the principles of his wireless work. The descriptions contained all the elements that were later incorporated into radio systems before the development of the vacuum tube. He initially experimented with magnetic receivers, unlike the coherers (detecting devices consisting of tubes filled with iron filings which had been invented by Temistocle Calzecchi-Onesti at Fermo in Italy in 1884) used by Guglielmo Marconi and other early experimenters.

A demonstration of wireless telegraphy took place in the lecture theater of the Oxford University Museum of Natural History on August 14, 1894, carried out by Professor Oliver Lodge and Alexander Muirhead. During the demonstration a radio signal was sent from the neighboring Clarendon laboratory building, and received by apparatus in the lecture theater.

In 1895 Alexander Stepanovich Popov built his first radio receiver, which contained a coherer. Further refined as a lightning detector, it was presented to the Russian Physical and Chemical Society on May 7, 1895. A depiction of Popov's lightning detector was printed in the Journal of the Russian Physical and Chemical Society the same year. Popov's receiver was created on the improved basis of Lodge's receiver, and originally intended for reproduction of its experiments.

In 1895, Marconi built a wireless system capable of transmitting signals at long distances (1.5 mi./ 2.4 km). In radio transmission technology, early public experimenters had made short distance broadcasts. Marconi achieved long range signalling due to a wireless transmitting apparatus and a radio receiver claimed by him. From Marconi's experiments, the phenomenon that transmission range is proportional to the square of antenna height is known as "Marconi's law". This formula represents a physical law that radio devices use. Marconi's experimental apparatus proved to be a complete, commercially successful radio transmission system. According to the ''Proceedings of the United States Naval Institute'' in 1899, the Marconi instruments had a "[...] coherer, principle of which was discovered some twenty years ago, [and was] the only electrical instrument or device contained in the apparatus that is at all new".

In 1896, Marconi was awarded British patent 12039, ''Improvements in transmitting electrical impulses and signals and in apparatus there-for'', for radio. In 1897, he established a radio station on the Isle of Wight, England. Marconi opened his "wireless" factory in Hall Street, Chelmsford, England in 1898, employing around 50 people. Shortly after the 1900s, Marconi held the patent rights for radio.

20th century

The next advancement was the vacuum tube detector, invented by Westinghouse engineers. On Christmas Eve, 1906, Reginald Fessenden used a synchronous rotary-spark transmitter for the first radio program broadcast, from Ocean Bluff-Brant Rock, Massachusetts. Ships at sea heard a broadcast that included Fessenden playing ''O Holy Night'' on the violin and reading a passage from the Bible. This was, for all intents and purposes, the first transmission of what is now known as amplitude modulation or AM radio. The first radio news program was broadcast August 31, 1920 by station 8MK in Detroit, Michigan, which survives today as all-news format station WWJ under ownership of the CBS network. The first college radio station began broadcasting on October 14, 1920, from Union College, Schenectady, New York under the personal call letters of Wendell King, an African-American student at the school. That month 2ADD, later renamed WRUC in 1947, aired what is believed to be the first public entertainment broadcast in the United States, a series of Thursday night concerts initially heard within a radius and later for a radius. In November 1920, it aired the first broadcast of a sporting event. At 9 pm on August 27, 1920, Sociedad Radio Argentina aired a live performance of Richard Wagner's Parsifal opera from the Coliseo Theater in downtown Buenos Aires. Only about twenty homes in the city had receivers to tune in this radio program. Meanwhile, regular entertainment broadcasts commenced in 1922 from the Marconi Research Centre at Writtle, England.

Sports broadcasting began at this time as well, including the first broadcast college football game.

In 1943 the United States Supreme Court upheld Tesla's patent for radio, number 645,576 (1897), with the supreme court's justification that claim 16 in Marconi's related patent, number 763,772 (1904), contained nothing new not having been published earlier and registered by Tesla, Lodge, and others. After years of patent battles by Marconi's company, the United States Supreme Court, in the 1943 case "Marconi Wireless Telegraph co. of America v. United States", held regarding the priority of engineering advances concerning the invention of radio that "[but] it is now held that in the important advance upon his basic patent Marconi did nothing that had not already been seen and disclosed". The decision effectively awarded priority of the invention of radio to Tesla and his 1893 presentation in St. Louis. Although Marconi claimed that he had no knowledge of prior art taken from Tesla's patents, the supreme court considered his claim false. In addition to the June 21, 1943 ruling made by the supreme court, the United States Court of Claims also invalidated the fundamental Marconi patent earlier, in 1935. This case defined radio by the statement: "A radio communication system requires two tuned circuits each at the transmitter and receiver, all four tuned to the same frequency." Because Tesla's 1897 patent for radio was intended for general transmission of energy, the court determined that Tesla's patent clearly was the first to disclose a system which could be used for wireless communication of intelligible messages (such as human voice and music) and used the four-circuit tuned combination. In contrast, related developments in the United Kingdom saw the British High Court uphold Marconi's British Patent 7,777 that was issued on April 26, 1900. This British patent held by Marconi disclosed a four-circuit system, which was strikingly similar to a four-circuit system disclosed in U.S. patent #645,576 that was issued earlier to Tesla on March 20, 1900. On the matter of invention, it is held that Marconi knowingly and unknowingly used the scientific and experimental work of many others who were devising their own radio tuning apparatus' around the same time, such as the work of American electrical engineer John Stone Stone who was issued several U.S. patents between 1904 and 1908. However, what made Marconi more successful than any other was his ability to ''commercialize'' radio and its associated equipment into a global business.

One of the first developments in the early 20th century was that aircraft used commercial AM radio stations for navigation. This continued until the early 1960s when VOR systems became widespread. In the early 1930s, single sideband and frequency modulation were invented by amateur radio operators. By the end of the decade, they were established commercial modes. Radio was used to transmit pictures visible as television as early as the 1920s. Commercial television transmissions started in North America and Europe in the 1940s.

In 1954, the Regency company introduced a pocket transistor radio, the TR-1, powered by a "standard 22.5 V Battery". In 1955, the newly formed Sony company introduced its first transistorized radio. It was small enough to fit in a vest pocket, and able to be powered by a small battery. It was durable, because it had no vacuum tubes to burn out. Over the next 20 years, transistors replaced tubes almost completely except for very high-power transmitter uses. By 1963, color television was being regularly broadcast commercially (though not all broadcasts or programs were in color), and the first (radio) communication satellite, ''Telstar'', was launched. In the late 1960s, the U.S. long-distance telephone network began to convert to a digital network, employing digital radios for many of its links. In the 1970s, LORAN became the premier radio navigation system. Soon, the U.S. Navy experimented with satellite navigation, culminating in the invention and launch of the GPS constellation in 1987. In the early 1990s, amateur radio experimenters began to use personal computers with audio cards to process radio signals. In 1994, the U.S. Army and DARPA launched an aggressive, successful project to construct a software-defined radio that can be programmed to be virtually any radio by changing its software program. Digital transmissions began to be applied to broadcasting in the late 1990s.

Uses of radio

Early uses were maritime, for sending telegraphic messages using Morse code between ships and land. The earliest users included the Japanese Navy scouting the Russian fleet during the Battle of Tsushima in 1905. One of the most memorable uses of marine telegraphy was during the sinking of the RMS ''Titanic'' in 1912, including communications between operators on the sinking ship and nearby vessels, and communications to shore stations listing the survivors.

Radio was used to pass on orders and communications between armies and navies on both sides in World War I; Germany used radio communications for diplomatic messages once it discovered that its submarine cables had been tapped by the British. The United States passed on President Woodrow Wilson's Fourteen Points to Germany via radio during the war. Broadcasting began from San Jose, California in 1909, and became feasible in the 1920s, with the widespread introduction of radio receivers, particularly in Europe and the United States. Besides broadcasting, point-to-point broadcasting, including telephone messages and relays of radio programs, became widespread in the 1920s and 1930s. Another use of radio in the pre-war years was the development of detection and locating of aircraft and ships by the use of radar (''RA''dio ''D''etection ''A''nd ''R''anging).

Today, radio takes many forms, including wireless networks and mobile communications of all types, as well as radio broadcasting. Before the advent of television, commercial radio broadcasts included not only news and music, but dramas, comedies, variety shows, and many other forms of entertainment (the era from 1930 to the mid-1950s is commonly called radio's "Golden Age"). Radio was unique among methods of dramatic presentation in that it used only sound. For more, see radio programming.

Audio

AM radio uses amplitude modulation, in which the amplitude of the transmitted signal is made proportional to the sound amplitude captured (transduced) by the microphone, while the transmitted frequency remains unchanged. Transmissions are affected by static and interference because lightning and other sources of radio emissions on the same frequency add their amplitudes to the original transmitted amplitude. In the early part of the 20th century, American AM radio stations broadcast with powers as high as 500 kW, and some could be heard worldwide; these stations' transmitters were commandeered for military use by the US Government during World War II. Currently, the maximum broadcast power for a civilian AM radio station in the United States and Canada is 50 kW, and the majority of stations that emit signals this powerful were grandfathered in (see List of 50kw AM radio stations in the USA). In 1986 KTNN received the last granted 50,000 watt license. These 50 kW stations are generally called "clear channel" stations (not to be confused with Clear Channel Communications), because within North America each of these stations has exclusive use of its broadcast frequency throughout part or all of the broadcast day.

FM broadcast radio sends music and voice with higher fidelity than AM radio. In frequency modulation, amplitude variation at the microphone causes the transmitter frequency to fluctuate. Because the audio signal modulates the frequency and not the amplitude, an FM signal is not subject to static and interference in the same way as AM signals. Due to its need for a wider bandwidth, FM is transmitted in the Very High Frequency (VHF, 30 MHz to 300 MHz) radio spectrum. VHF radio waves act more like light, traveling in straight lines; hence the reception range is generally limited to about 50–100 miles. During unusual upper atmospheric conditions, FM signals are occasionally reflected back towards the Earth by the ionosphere, resulting in long distance FM reception. FM receivers are subject to the capture effect, which causes the radio to only receive the strongest signal when multiple signals appear on the same frequency. FM receivers are relatively immune to lightning and spark interference.

High power is useful in penetrating buildings, diffracting around hills, and refracting in the dense atmosphere near the horizon for some distance beyond the horizon. Consequently, 100,000 watt FM stations can regularly be heard up to 100 miles (160 km) away, and farther (e.g., 150 miles, 240 km) if there are no competing signals. A few old, "grandfathered" stations do not conform to these power rules. WBCT-FM (93.7) in Grand Rapids, Michigan, USA, runs 320,000 watts ERP, and can increase to 500,000 watts ERP by the terms of its original license. Such a huge power level does not usually help to increase range as much as one might expect, because VHF frequencies travel in nearly straight lines over the horizon and off into space. Nevertheless, when there were fewer FM stations competing, this station could be heard near Bloomington, Illinois, USA, almost 300 miles (500 km) away.

FM subcarrier services are secondary signals transmitted in a "piggyback" fashion along with the main program. Special receivers are required to utilize these services. Analog channels may contain alternative programming, such as reading services for the blind, background music or stereo sound signals. In some extremely crowded metropolitan areas, the sub-channel program might be an alternate foreign language radio program for various ethnic groups. Sub-carriers can also transmit digital data, such as station identification, the current song's name, web addresses, or stock quotes. In some countries, FM radios automatically re-tune themselves to the same channel in a different district by using sub-bands.

Aviation voice radios use VHF AM. AM is used so that multiple stations on the same channel can be received. (Use of FM would result in stronger stations blocking out reception of weaker stations due to FM's capture effect). Aircraft fly high enough that their transmitters can be received hundreds of miles (or kilometres) away, even though they are using VHF.

Marine voice radios can use single sideband voice (SSB) in the shortwave High Frequency (HF—3 MHz to 30 MHz) radio spectrum for very long ranges or narrowband FM in the VHF spectrum for much shorter ranges. Narrowband FM sacrifices fidelity to make more channels available within the radio spectrum, by using a smaller range of radio frequencies, usually with five kHz of deviation, versus the 75 kHz used by commercial FM broadcasts, and 25 kHz used for TV sound.

Government, police, fire and commercial voice services also use narrowband FM on special frequencies. Early police radios used AM receivers to receive one-way dispatches.

Civil and military HF (high frequency) voice services use shortwave radio to contact ships at sea, aircraft and isolated settlements. Most use single sideband voice (SSB), which uses less bandwidth than AM. On an AM radio SSB sounds like ducks quacking, or the adults in a Charlie Brown cartoon. Viewed as a graph of frequency versus power, an AM signal shows power where the frequencies of the voice add and subtract with the main radio frequency. SSB cuts the bandwidth in half by suppressing the carrier and one of the sidebands. This also makes the transmitter about three times more powerful, because it doesn't need to transmit the unused carrier and sideband.

TETRA, Terrestrial Trunked Radio is a digital cell phone system for military, police and ambulances. Commercial services such as XM, WorldSpace and Sirius offer encrypted digital Satellite radio.

Telephony

Mobile phones transmit to a local cell site (transmitter/receiver) that ultimately connects to the public switched telephone network (PSTN) through an optic fiber or microwave radio and other network elements. When the mobile phone nears the edge of the cell site's radio coverage area, the central computer switches the phone to a new cell. Cell phones originally used FM, but now most use various digital modulation schemes. Recent developments in Sweden (such as DROPme) allow for the instant downloading of digital material from a radio broadcast (such as a song) to a mobile phone.

Satellite phones use satellites rather than cell towers to communicate.

Video

Television sends the picture as AM and the sound as AM or FM, with the sound carrier a fixed frequency (4.5 MHz in the NTSC system) away from the video carrier. Analog television also uses a vestigial sideband on the video carrier to reduce the bandwidth required.

Digital television uses 8VSB modulation in North America (under the ATSC digital television standard), and COFDM modulation elsewhere in the world (using the DVB-T standard). A Reed–Solomon error correction code adds redundant correction codes and allows reliable reception during moderate data loss. Although many current and future codecs can be sent in the MPEG transport stream container format, as of 2006 most systems use a standard-definition format almost identical to DVD: MPEG-2 video in Anamorphic widescreen and MPEG layer 2 (''MP2'') audio. High-definition television is possible simply by using a higher-resolution picture, but H.264/AVC is being considered as a replacement video codec in some regions for its improved compression. With the compression and improved modulation involved, a single "channel" can contain a high-definition program and several standard-definition programs.

Navigation

All satellite navigation systems use satellites with precision clocks. The satellite transmits its position, and the time of the transmission. The receiver listens to four satellites, and can figure its position as being on a line that is tangent to a spherical shell around each satellite, determined by the time-of-flight of the radio signals from the satellite. A computer in the receiver does the math.

Radio direction-finding is the oldest form of radio navigation. Before 1960 navigators used movable loop antennas to locate commercial AM stations near cities. In some cases they used marine radiolocation beacons, which share a range of frequencies just above AM radio with amateur radio operators. LORAN systems also used time-of-flight radio signals, but from radio stations on the ground. VOR (Very High Frequency Omnidirectional Range), systems (used by aircraft), have an antenna array that transmits two signals simultaneously. A directional signal rotates like a lighthouse at a fixed rate. When the directional signal is facing north, an omnidirectional signal pulses. By measuring the difference in phase of these two signals, an aircraft can determine its bearing or radial from the station, thus establishing a line of position. An aircraft can get readings from two VORs and locate its position at the intersection of the two radials, known as a "fix." When the VOR station is collocated with DME (Distance Measuring Equipment), the aircraft can determine its bearing and range from the station, thus providing a fix from only one ground station. Such stations are called VOR/DMEs. The military operates a similar system of navaids, called TACANs, which are often built into VOR stations. Such stations are called VORTACs. Because TACANs include distance measuring equipment, VOR/DME and VORTAC stations are identical in navigation potential to civil aircraft.

Radar

Radar (Radio Detection And Ranging) detects objects at a distance by bouncing radio waves off them. The delay caused by the echo measures the distance. The direction of the beam determines the direction of the reflection. The polarization and frequency of the return can sense the type of surface. Navigational radars scan a wide area two to four times per minute. They use very short waves that reflect from earth and stone. They are common on commercial ships and long-distance commercial aircraft.

General purpose radars generally use navigational radar frequencies, but modulate and polarize the pulse so the receiver can determine the type of surface of the reflector. The best general-purpose radars distinguish the rain of heavy storms, as well as land and vehicles. Some can superimpose sonar data and map data from GPS position.

Search radars scan a wide area with pulses of short radio waves. They usually scan the area two to four times a minute. Sometimes search radars use the Doppler effect to separate moving vehicles from clutter. Targeting radars use the same principle as search radar but scan a much smaller area far more often, usually several times a second or more. Weather radars resemble search radars, but use radio waves with circular polarization and a wavelength to reflect from water droplets. Some weather radar use the Doppler effect to measure wind speeds.

Data (digital radio)

Most new radio systems are digital, see also: Digital TV, Satellite Radio, Digital Audio Broadcasting. The oldest form of digital broadcast was spark gap telegraphy, used by pioneers such as Marconi. By pressing the key, the operator could send messages in Morse code by energizing a rotating commutating spark gap. The rotating commutator produced a tone in the receiver, where a simple spark gap would produce a hiss, indistinguishable from static. Spark-gap transmitters are now illegal, because their transmissions span several hundred megahertz. This is very wasteful of both radio frequencies and power.

The next advance was continuous wave telegraphy, or CW (Continuous Wave), in which a pure radio frequency, produced by a vacuum tube electronic oscillator was switched on and off by a key. A receiver with a local oscillator would "heterodyne" with the pure radio frequency, creating a whistle-like audio tone. CW uses less than 100 Hz of bandwidth. CW is still used, these days primarily by amateur radio operators (hams). Strictly, on-off keying of a carrier should be known as "Interrupted Continuous Wave" or ICW or on-off keying (OOK).

Radioteletype equipment usually operates on short-wave (HF) and is much loved by the military because they create written information without a skilled operator. They send a bit as one of two tones using frequency-shift keying. Groups of five or seven bits become a character printed by a teleprinter. From about 1925 to 1975, radioteletype was how most commercial messages were sent to less developed countries. These are still used by the military and weather services.

Aircraft use a 1200 Baud radioteletype service over VHF to send their ID, altitude and position, and get gate and connecting-flight data. Microwave dishes on satellites, telephone exchanges and TV stations usually use quadrature amplitude modulation (QAM). QAM sends data by changing both the phase and the amplitude of the radio signal. Engineers like QAM because it packs the most bits into a radio signal when given an exclusive (non-shared) fixed narrowband frequency range. Usually the bits are sent in "frames" that repeat. A special bit pattern is used to locate the beginning of a frame. Communication systems that limit themselves to a fixed narrowband frequency range are vulnerable to jamming. A variety of jamming-resistant spread spectrum techniques were initially developed for military use, most famously for Global Positioning System satellite transmissions. Commercial use of spread spectrum began in the 1980s. Bluetooth, most cell phones, and the 802.11b version of Wi-Fi each use various forms of spread spectrum.

Systems that need reliability, or that share their frequency with other services, may use "coded orthogonal frequency-division multiplexing" or COFDM. COFDM breaks a digital signal into as many as several hundred slower subchannels. The digital signal is often sent as QAM on the subchannels. Modern COFDM systems use a small computer to make and decode the signal with digital signal processing, which is more flexible and far less expensive than older systems that implemented separate electronic channels. COFDM resists fading and ghosting because the narrow-channel QAM signals can be sent slowly. An adaptive system, or one that sends error-correction codes can also resist interference, because most interference can affect only a few of the QAM channels. COFDM is used for Wi-Fi, some cell phones, Digital Radio Mondiale, Eureka 147, and many other local area network, digital TV and radio standards.

Heating

Radio-frequency energy generated for heating of objects is generally not intended to radiate outside of the generating equipment, to prevent interference with other radio signals. Microwave ovens use intense radio waves to heat food. Diathermy equipment is used in surgery for sealing of blood vessels. Induction furnaces are used for melting metal for casting, and induction hobs for cooking.

Amateur radio service

Amateur radio, also known as "ham radio", is a hobby in which enthusiasts are licensed to communicate on a number of bands in the radio frequency spectrum non-commercially and for their own enjoyment. They may also provide emergency and public service assistance. This has been very beneficial in emergencies, saving lives in many instances. Radio amateurs use a variety of modes, including nostalgic ones like Morse code and experimental ones like Low-Frequency Experimental Radio. Several forms of radio were pioneered by radio amateurs and later became commercially important, including FM, single-sideband (SSB), AM, digital packet radio and satellite repeaters. Some amateur frequencies may be disrupted by power-line internet service.

Unlicensed radio services

Unlicensed, government-authorized personal radio services such as Citizens' band radio in Australia, the USA, and Europe, and Family Radio Service and Multi-Use Radio Service in North America exist to provide simple, (usually) short range communication for individuals and small groups, without the overhead of licensing. Similar services exist in other parts of the world. These radio services involve the use of handheld units.

Free radio stations, sometimes called pirate radio or "clandestine" stations, are unauthorized, unlicensed, illegal broadcasting stations. These are often low power transmitters operated on sporadic schedules by hobbyists, community activists, or political and cultural dissidents. Some pirate stations operating offshore in parts of Europe and the United Kingdom more closely resembled legal stations, maintaining regular schedules, using high power, and selling commercial advertising time.

Radio control (RC)

Radio remote controls use radio waves to transmit control data to a remote object as in some early forms of guided missile, some early TV remotes and a range of model boats, cars and airplanes. Large industrial remote-controlled equipment such as cranes and switching locomotives now usually use digital radio techniques to ensure safety and reliability.

In Madison Square Garden, at the Electrical Exhibition of 1898, Nikola Tesla successfully demonstrated a radio-controlled boat. He was awarded U.S. patent No. 613,809 for a "Method of and Apparatus for Controlling Mechanism of Moving Vessels or Vehicles."

See also

References

;General information

''A História da Rádio em Datas (1819-1997)'' (in Portuguese) - notes on etymology

L. de Forest, article in Electrical World 22 June 1270/1 (1907), early use of word "radio".

http://web.mit.edu/varun_ag/www/bose.html - It contains a proof that Sir Jagadish Chandra Bose invented the Mercury Coherer which was later used by Guglielmo Marconi and along with other patents.

;Footnotes

Further reading

Hugh G. J. Aitkin: ''The Continuous Wave: Technology and the American Radio, 1900-1932'' (Princeton University Press, 1985).

Asa Briggs: ''The History of Broadcasting in the United Kingdom'' (Oxford University Press, 1961).

John Dunning: ''On the Air. The Encyclopedia of Old-Time Radio''. New York; Oxford: Oxford University Press, 1998. ISBN 0-19-507678-8

Henry Ewbank and Sherman P. Lawton: ''Broadcasting: Radio and Television'' (Harper & Brothers, 1952).

Marc Fisher: ''Something In The Air: Radio, Rock, and the Revolution That Shaped A Generation'' (Random House, 2007).

Leland I. Anderson (ed.), "John Stone Stone, Nikola Tesla's Priority in Radio and Continuous-Wave Radiofrequency Apparatus". The AWA Review, Vol. 1. 1986. 24 pages, illustrated.

Tom Lewis: ''Empire of the Air: The Men Who Made Radio'', 1st ed., New York : E. Burlingame Books, 1991. ISBN 0060182156. "Empire of the Air: The Men Who Made Radio" (1992) by Ken Burns was a PBS documentary based on the book.

W. Rupert Maclaurin: ''Invention and Innovation in the Radio Industry'' (The Macmillan Company, 1949).

William B. Ray: ''FCC: The Ups and Downs of Radio-TV Regulation'' (Iowa State University Press, 1990).

Alexander Russo: ''Points on the Dial: Golden Age Radio Beyond the Networks'' (Duke University Press; 2010) 278 pages; discusses regional and local radio as forms that "complicate" the image of the medium as a national unifier from the 1920s to the 1950s.

Scannell, Paddy, and Cardiff, David. ''A Social History of British Broadcasting, Volume One, 1922-1939'' (Basil Blackwell, 1991).

Schwoch James. ''The American Radio Industry and Its Latin American Activities, 1900-1939'' (University of Illinois Press, 1990).

Christopher H. Sterling with Michael C. Keith (ed.): ''Encyclopedia of Radio''. New York; London: Fitzroy Dearborn, 2004 (three vols.)

Llewellyn White: ''The American Radio'' (University of Chicago Press, 1947).

Ulrich L. Rohde, Jerry Whitaker: ''Communications Receivers, Third Edition'', McGraw Hill, New York, NY, 2001, ISBN 0-07-136121-9.

External links

;General

"It's Radi-O! Essay by Richard Rubin, ''The Atlantic Monthly'', January 1998.

;History

U.S. Supreme Court, "''Marconi Wireless Telegraph co. of America v. United States''". 320 U.S. 1. Nos. 369, 373. Argued 9–12 April 1943. Decided 21 June 1943.

"''Who Invented Radio?''" Buzzle.com Date unknown. retrieved 20 January 2011.

Steven Schoenherr's History of Radio

The Broadcast Archive - Radio History on the Web! Retrieved 20 January 2011.

Canadian Communications Foundation - The History on Canadian Broadcasting - 1920 onward. Retrieved 20 January 2011.

United States Early Radio History -1897 to 1927. Retrieved 20 January 2011.

Historic Radios from Around the World at Kurrajong Radio Museum, Australia - a private collection. Retrieved 20 January 2011.

;Antiques

George H. Clark Radioana Collection, ca. 1880 - 1950 - Archives Center, National Museum of American History, Smithsonian Institution

A gallery of Antiques from the 1920s to the 1960s

;Technical

Radio Frequency Chart National Telecommunications and Information Administration (NTIA).

IAteacher: Interactive Explanation of Radio Receiver Construction

How Stuff Works - Radio

VOR Basic Information

Dr. Phil's Receiver Designs Single-Triode and Single-Transistor Regenerative Radio Designs

;DX

The British DX Club

World of Radio Glenn Hauser's internationally known DX radio show

Category:British inventions

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Paavo Järvi (born December 30, 1962) is an Estonian-American conductor, and current Music Director of the Orchestre de Paris.

Järvi was born in Tallinn, Estonia, to conductor Neeme Järvi and Liilia Järvi. His siblings, Kristjan Järvi and Maarika Järvi, are also musicians. He studied at the Curtis Institute of Music with Max Rudolf and Otto-Werner Mueller, and at the Los Angeles Philharmonic Institute with Leonard Bernstein.

From 1994-97 Järvi was principal conductor of the Malmö Symphony Orchestra. He was named music director of the Cincinnati Symphony in January 2000, and assumed the post with the 2001-2002 season. In April 2007, the orchestra announced Järvi's contract with the CSO would be extended through 2011, at which point the contract would become an "evergreen" agreement. In addition to his American position, since 2004, he has been the artistic director of the Deutsche Kammerphilharmonie, Bremen and an Artistic Advisor to Estonian National Symphony Orchestra. In January 2010, however, it was announced that Järvi, who will by then hold three directorships on top of his Cincinnati position, would terminate his tenure with the expiration of his current contract in 2011. In May 2011 he was named Music Director Laureate of the Cincinnati Symphony.

In 2006, Järvi became the principal conductor of the Frankfurt Radio Symphony Orchestra.

In May 2007, the Orchestre de Paris named Järvi as its next music director, beginning with the 2010/2011 season. Järvi conducted as many concerts as Music Director Eschenbach in the 2009-2010 season and began his directorship in September 2010.

The orchestras Paavo Järvi has guest-conducted include the Orchestre National de France, the London Symphony Orchestra, the Los Angeles Philharmonic, the Philadelphia Orchestra, the New York Philharmonic, the NHK Symphony Orchestra, the Philharmonia, the Chicago Symphony Orchestra, the Boston Symphony Orchestra, the Cleveland Orchestra, and Amsterdam's Royal Concertgebouw Orchestra. He debuted with the Vienna Philharmonic Orchestra in 2006, conducting Franz Schubert's Great C major symphony.

He has recorded for the RCA label as well as Telarc, ECM, BIS and Virgin Records.

His Virgin Classics recording of Sibelius Cantatas with the Estonian National Symphony Orchestra, Estonian National Male Choir and Ellerhein Girls Choir won a Grammy Award for “Best Choral Performance”.

References

External links

Paavo Järvi official website

Category:1962 births Category:Estonian emigrants to the United States Category:American conductors (music) Category:Estonian conductors (music) Category:American people of Estonian descent Category:Living people Category:People from Monmouth County, New Jersey Category:People from Tallinn Category:Grammy Award winners

da:Paavo Järvi de:Paavo Järvi et:Paavo Järvi fr:Paavo Järvi it:Paavo Järvi he:פאבו ירווי ja:パーヴォ・ヤルヴィ ru:Ярви, Пааво fi:Paavo Järvi sv:Paavo Järvi uk:Пааво Ярві

Coordinates	40°42′15.0″N73°55′4.0″N
name	Justin Bieber
background	solo_singer
birth name	Justin Drew Bieber
birth date	March 01, 1994
birth place	London, Ontario, Canada
origin	Stratford, Ontario, Canada
instrument	Vocals, guitar, piano, percussion, trumpet
genre	Pop, R&B, teen pop
occupation	Singer, musician, actor
years active	2009–present
label	Island, RBMG
associated acts	Usher
website	justinbiebermusic.com }}

Justin Drew Bieber ( , born March 1, 1994) is a Canadian pop/R&B singer, songwriter and actor. Bieber was discovered in 2008 by Scooter Braun, who came across Bieber's videos on YouTube and later became his manager. Braun arranged for him to meet with Usher in Atlanta, Georgia, and Bieber was soon signed to Raymond Braun Media Group (RBMG), a joint venture between Braun and Usher, and then to a recording contract with Island Records offered by L.A. Reid. Bieber's debut single, "One Time", was released in 2009 and peaked in the top ten in Canada and charted in the top thirty in several international markets. His debut album, the seven-track EP ''My World'', followed in November 2009, and was soon certified platinum in the United States (it was later reissued with two bonus tracks). He became the first artist to have seven songs from a debut album chart on the ''Billboard'' Hot 100.

Bieber's first full-length studio album, ''My World 2.0'', was released in March 2010. It debuted at number one or within the top ten in several countries and was certified platinum in the United States. It was preceded by the worldwide top-ten single, "Baby". The music video of "Baby" is currently ranked as the most viewed and most discussed YouTube video. Bieber followed-up the release of his debut album with his first headlining tour, the My World Tour, the remix albums ''My Worlds Acoustic'' and ''Never Say Never – The Remixes'', and the 3D biopic-concert film ''Justin Bieber: Never Say Never'' – which had an opening weekend gross that nearly matched the record for the biggest opening weekend for a concert-film. Bieber released his second studio album, ''Under the Mistletoe'' in November 2011, which debuted at number one on the ''Billboard'' 200. Bieber has received numerous awards, including Artist of the Year at the 2010 American Music Awards — and has been nominated for numerous awards, including Best New Artist and Best Pop Vocal Album at the 53rd Grammy Awards.

Life and career

1994–2007: Childhood and youth

Bieber was born on March 1, 1994, in London, Ontario, and was raised in Stratford, Ontario. Bieber's mother, Patricia Lynn "Pattie" Mallette, was 18 years old when she became pregnant with her son. Mallette, originally from Stratford, raised her son with the help of her parents, Bruce and Diane. Mallette worked a series of low-paying office jobs, raising Bieber as a single mother in low-income housing. Bieber has maintained contact with his father, Jeremy Jack Bieber, who married another woman and had two children. Bieber's paternal great-grandfather was a German immigrant to Canada. His mother's ancestry is French Canadian. Bieber attended French immersion school at Stratford school Jean Sauve.

During his childhood, Bieber was interested in hockey, soccer, and chess; he often kept his musical aspirations to himself. As he grew up, Bieber taught himself to play the piano, drums, guitar, and trumpet. In early 2007, when he was twelve, Bieber sang Ne-Yo's "So Sick" for a local singing competition in Stratford and placed second. Mallette posted a video of the performance on YouTube for their family and friends to see. She continued to upload videos of Bieber singing covers of various R&B songs, and Bieber's popularity on the site grew. Chris Hicks, Bieber's A&R at Island/Def Jam, explained the young artist's huge online following to HitQuarters by saying:

"He was doing something different. He was an attractive white kid singing very soulful R&B hits. That set him apart immediately from anyone in his range because no one was covering or singing these kind of records. But equally important was that you believed in these songs – it was real. And you wanted to hear more."

2008–10: Discovery, ''My Worlds'', and subsequent releases

While searching for videos of a different singer, Scooter Braun, a former marketing executive of So So Def, clicked on one of Bieber's 2007 videos by accident. Impressed, Braun tracked down the theater Bieber was performing in, located Bieber's school, and finally contacted Mallette. Mallette was reluctant because of Braun's Jewish religion; she remembered praying, "God, I gave him to you. You could send me a Christian man, a Christian label! ... you don’t want this Jewish kid to be Justin’s man, do you?" However, after praying with her church elders and receiving their encouragement, she permitted Braun to fly Bieber, then 13, to Atlanta, Georgia, to record demo tapes. A week after arriving, Bieber sang for R&B singer/songwriter Usher. Bieber was soon signed to Raymond Braun Media Group (RBMG), a joint venture between Braun and Usher. Justin Timberlake was also reportedly in the running to sign Bieber, but lost the bidding war to Usher. Usher then sought assistance in finding a label home for the artist from then manager Chris Hicks, who helped engineer an audition with his contact Antonio L.A. Reid of Island Def Jam Music Group. Reid signed Bieber to Island Records in October 2008 (resulting in a joint venture between RBMG and Island Records) and appointed Hicks as executive Vice-President of Def Jam where he would be able manage Bieber's career at the label. At that point, Bieber and his mother moved to Atlanta temporarily, also the home of Usher and Braun, to record and get counseling from Braun. Braun became Bieber's manager.

Bieber's first single, "One Time", was released to radio while Bieber was still recording his debut album. The song reached number 12 on the Canadian Hot 100 during its first week of release in July 2009, and later peaked at number 17 on the Billboard Hot 100. During fall 2009 it had success in international markets. The song was certified Platinum in Canada and the US and Gold in Australia and New Zealand. Bieber's first release, an extended play entitled ''My World'', was released on November 17, 2009. The album's second single, "One Less Lonely Girl", and two promo singles, "Love Me", and "Favorite Girl", were released exclusively on the iTunes store and charted within the top forty of the Billboard Hot 100. "One Less Lonely Girl" was later also released to radio and peaked within the top fifteen in Canada and the US, being certified Gold in the latter. ''My World'' was eventually certified Platinum in the US and Double Platinum in both Canada and the UK. To promote the album, Bieber performed on several live shows such as mtvU's VMA 09 Tour, European program ''The Dome'', YTV's ''The Next Star'', ''The Today Show'', ''The Wendy Williams Show'', ''Lopez Tonight'', ''The Ellen DeGeneres Show'', ''It's On with Alexa Chung'', ''Good Morning America'', ''Chelsea Lately'', and BET's ''106 & Park'' with Rihanna. Bieber also guest starred in an episode of ''True Jackson, VP'' in late 2009.

Bieber performed Stevie Wonder's "Someday at Christmas" for U.S. President Barack Obama and first lady Michelle Obama at the White House for ''Christmas in Washington'', which was broadcast on December 20, 2009, on U.S. television broadcaster TNT. Bieber was also one of the performers at Dick Clark's New Year's Rockin' Eve with Ryan Seacrest on December 31, 2009. Bieber was a presenter at the 52nd Grammy Awards on January 31, 2010. He was invited to be a vocalist for the remake of We Are The World (a song written by Michael Jackson and Lionel Richie) for its 25th anniversary to benefit Haiti after the earthquake. Bieber sings the opening line, which was sung by Lionel Richie in the original version. On March 12, 2010, a version of K'naan's "Wavin' Flag" recorded by a collective of Canadian musicians known as Young Artists for Haiti was released. Bieber is featured in the song, performing the closing lines.

"Baby", the lead single from his debut album, ''My World 2.0'', which features Ludacris, was released in January 2010 and became his biggest hit thus far, charting at number five in the U.S. and reaching the top ten in seven other countries. Two promo singles "Never Let You Go", and "U Smile" were top thirty hits on the U.S. Hot 100, and top twenty hits in Canada. According to review aggregator Metacritic, the album has received "generally favorable reviews". It debuted at number one on the U.S. ''Billboard'' 200, making Bieber the youngest solo male act to top the chart since Stevie Wonder in 1963. ''My World 2.0'' also debuted at number one on the Canadian Albums Chart, Irish Albums Chart, and Australian Albums Chart, and the New Zealand Albums Chart and reached the top ten of fifteen other countries. To promote the album, Bieber appeared on several live programs including ''The View'', the 2010 Kids Choice Awards, ''Nightline'', ''The Late Show with David Letterman'', ''The Dome'' and ''106 and Park''. Bieber collaborated with Sean Kingston on his single "Eenie Meenie" which also appeared on Bieber's debut album. The song reached the top ten in the United Kingdom and Australia, and the top-twenty of most other markets. thumb|left|Bieber performing at the Conseco Fieldhouse, in August 2010 On April 10, 2010, Bieber was the musical guest on ''Saturday Night Live''. On July 4, 2010, Bieber performed at the Macy's Fourth of July Fireworks Spectacular in New York City. The second single from ''My World 2.0'', "Somebody to Love", was released in April 2010, and a remix was released featuring Bieber's mentor Usher. The single reached number ten in Canada, number fifteen in the United States, and the top twenty in multiple international countries.

On June 23, 2010, Bieber went on his first official headlining tour, the My World Tour, starting in Hartford, Connecticut, to promote ''My World'' and ''My World 2.0''. In July 2010, it was reported that Bieber was the most searched for celebrity on the Internet. That same month his music video, "Baby", surpassed Lady Gaga's "Bad Romance" to become the most viewed, and most disliked YouTube video ever. In September 2010, it was reported that Bieber accounted for three percent of all traffic on Twitter, according to an employee of the social-networking site.

Bieber began recording his second album in July 2010 in New York City. At this point, because of puberty, his voice was deeper than it was when he recorded his first album. In April 2010, the singer discussing his vocals remarked, "It cracks. Like every teenage boy, I'm dealing with it and I have the best vocal coach in the world. [...] Some of the notes I hit on "Baby" I can't hit anymore. We have to lower the key when I sing live." British singer/songwriter Taio Cruz confirmed in July 2010 that he is writing songs for Bieber's next album. Hip hop producer Dr. Dre produced two songs with Bieber in July 2010 but it is unknown if they were made for the album, which is currently due for a 2011 release. Bieber guest-starred in the season premiere of the CBS crime drama ''CSI: Crime Scene Investigation'', aired on September 23, 2010. He played a "troubled teen who is faced with a difficult decision regarding his only brother". Bieber was also in a subsequent episode which aired on February 17, 2011, in which his character is killed. Bieber performed a medley of "U Smile", "Baby", and "Somebody to Love" and briefly played the drums at the 2010 MTV Video Music Awards on September 12, 2010. Bieber announced in October 2010 that he would release an acoustic album, called ''My Worlds Acoustic''. It was released on Black Friday in the United States and featured acoustic versions of songs from his previous albums, and accompanied the release of a completely new song titled "Pray".

2011–present: ''Never Say Never'' film, ''Under the Mistletoe'' and ''Believe''

A 3-D part-biopic, part-concert film starring Bieber entitled ''Justin Bieber: Never Say Never'', was released February 11, 2011, directed by ''Step Up 3D'' director Jon Chu. It topped the box office with an estimated grossing of $12.4 million on its opening day from 3,105 theaters. It grossed $30.3 million for the weekend and was narrowly beaten by the romantic comedy ''Just Go With It'', which grossed $31 million. ''Never Say Never'' is said to have exceeded industry expectations, nearly matching the $31.1 million grossed by Miley Cyrus's 2008 3-D concert film, Hannah Montana & Miley Cyrus: Best of Both Worlds Concert, which holds the record for the top debut for a music-documentary. The film is accompanied by his second remix album, ''Never Say Never – The Remixes'', released February 14, 2011, and features remixes of songs from his debut album, with guest appearances from Miley Cyrus, Chris Brown, and Kanye West, among others.

On February 27, 2011, Bieber attended the 2011 Vanity Fair Oscar Party with American actress and singer Selena Gomez, confirming several months of media speculation about a romantic relationship between the pair. The relationship has since continued to garner significant media attention.

In June 2011, Bieber was ranked number 2 on the Forbes list of Best-Paid Celebrities under 30. He is the youngest star and 1 of 7 musicians on the list raking in with $53 million earned in a 12 month period. On November 1, 2011, Bieber released ''Under the Mistletoe'', his second studio album. It debuted at number one on the ''Billboard'' 200, selling 210,000 copies in its first week of release. Bieber is currently recording his third studio album entitled ''Believe''. Kanye West and Drake are confirmed to be featured on the album.

Image

''The Observer'' newspaper in the UK published a report indicating that Justin Bieber is more influential in the social networking sphere than Barack Obama or The Dalai Lama. According to Jan Hoffman of ''The New York Times'', part of Bieber's appeal stems from his YouTube channel. Long before he released his EP, ''My World'', in mid-November, the YouTube videos attracted millions of views. Braun recognized the appeal. Prior to flying him to Atlanta, Braun wanted to "build him up more on YouTube first" and had Bieber record more home videos for the channel. "I said: 'Justin, sing like there’s no one in the room. But let's not use expensive cameras.' We'll give it to kids, let them do the work, so that they feel like it's theirs", recalled Braun. Bieber continues to upload videos to the same channel and has opened a Twitter account, from which he interacts with fans regularly; his account was reported in November 2010 to have over 6 million followers. Since then he has been consistently gaining followers at an average of 24,000 per day. The accounts also serve marketing purposes; for example, Bieber's music video for "One Time" only began selling quickly after it was uploaded to YouTube. Usher comments that while he and Bieber were both signed at the same age, "I had the chance to ramp up my success, where this has happened to Bieber abruptly." As a result, Usher, Braun, Bieber's bodyguard Kenny, and other adults surrounding Bieber constantly coach him on handling fame and his public image. After signing Bieber, Usher appointed one of his former assistants, Ryan Good, to be Bieber's road manager and stylist. Good, once nicknamed Bieber's "swagger coach", created a "streetwise look" for the singer which consisted of baseball caps, hoodies, dog chains and flashy sneakers. Amy Kaufman of ''The Los Angeles Times'' comments, "Though a product of a middle-class suburban upbringing in Stratford, Ontario, Bieber's manner of dress and speech ("Wassup man, how you doin'?" or "It's like, you know, whateva' ") suggest he's mimicking his favorite rappers."

Bieber is often featured in teen magazines such as ''Tiger Beat'', and has been labeled as a "teen hearthrob". Bieber has released a collection of nail varnishes to raise awareness for charity. Wax statues of Bieber are on display at Madame Tussauds wax museums in New York, Amsterdam and London. His change of hairstyle in 2010, and the consequent alterations to Bieber products, led to it being called 'the most expensive musical haircut of all time; one company spent $100,000 to fix its dolls for the 2011 Christmas season.

Personal views

Bieber is a Christian, and said he has a relationship with Jesus, talks to him and that "he's the reason I'm here".

Bieber's comments in a February 2011 profile in ''Rolling Stone'' sparked controversy. Asked whether a person should wait until marriage to have sex, Bieber responded, "I don't think you should have sex with anyone unless you love them." Asked about his opinion on abortion, Bieber said he does not "believe in abortion" and that it is "like killing a baby". When asked about abortion in cases of rape, he said, "Well, I think that's really sad, but everything happens for a reason. I don't know how that would be a reason. I guess I haven't been in that position, so I wouldn't be able to judge that." In the same interview, Bieber talked about homosexuality, stating that "It's everyone's own decision to do that. It doesn’t affect me and shouldn't affect anyone else", and ''Rolling Stone'' commented, "It is not clear whether he intended to label homosexuality as a lifestyle choice." However, Bieber has also contributed to the It Gets Better Project, a project started in response to the suicide of Billy Lucas, a teenager who was the target of anti-gay bullying.

Bieber has said he is not interested in obtaining United States citizenship, praising Canada as being "the best country in the world", citing its health care system as an example.

Criticism

Bieber has been criticized for looking and sounding younger than his age, his teen-pop music, image, and frequent media attention. He has been a frequent target of Internet bloggers and message board posters, notably by users of Internet message board 4chan and users of YouTube. Nick Collins of ''The Daily Telegraph'' speculated that "Bieber's character also appears to strike a particularly sour note with his Internet critics, with many remarks commenting on his youthful appearance, his teen-pop songs, his image as a heart-throb to young teenage girls and his manner of speech".

Discography

''My World 2.0'' (2010)

''Under the Mistletoe'' (2011)

''Believe'' (2012)

Tour

2009: Urban Behavior Tour

2010–2011: My World Tour

Filmography

rowspan="4" ''Extreme Makeover: Home Edition'' Himself

Year !! Title !! Role !! Notes
rowspan="2"	2009	''True Jackson, VP''	>rowspan="3"| Guest star
''My Date With...''
	Silent Library (MTV series)>Silent Library''
''School Gyrls (film)	School Gyrls''	Cameo
''Saturday Night Live''
''CSI: Crime Scene Investigation''	Jason McCann
''Hubworld''	Guest star
''The X Factor (UK)''	Performer
rowspan="9"	2011	|	Guest star
''CSI: Crime Scene Investigation''	Jason McCann
''Khloé & Lamar''	|Episode:The Father In Law (uncredited) Himself playing the NBA Celebrity All Star Game
''Saturday Night Live''
''Justin Bieber: Never Say Never''	Himself
''Dancing With The Stars''	Guest star
''So Random!''	Himself
''Disney Parks Christmas Day Parade''	Guest star
''The X Factor (UK)''	Performer

Awards and nominations

References

Further reading

External links

Category:1994 births Category:Canadian child singers Category:Canadian Christians Category:Canadian dance musicians Category:Canadian expatriate musicians in the United States Category:Canadian Internet personalities Category:Canadian male singers Category:Canadian people of French descent Category:Canadian people of German descent Category:Canadian pop singers Category:Canadian rhythm and blues singers Category:Child pop musicians Category:Hip hop singers Category:Island Records artists Category:Musicians from Ontario Category:People from Stratford, Ontario Category:Living people

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Coordinates	40°42′15.0″N73°55′4.0″N
Name	Eric Dolphy
Background	non_vocal_instrumentalist
Birth name	Eric Allan Dolphy
Born	June 20, 1928Los Angeles, California
Died	June 29, 1964 Berlin, Germany
Instrument	Alto saxophone, flute, bass clarinet, soprano clarinet, piccolo
Genre	Jazz, avant-garde jazz
Occupation	Bandleader, composer, sideman
Years active	1949–1964
Label	VerveImpulse!PrestigeBlue NoteMercury |
Associated acts	Charles Mingus, John Coltrane, Booker Little
Notable instruments	Bass clarinet, alto saxophone, flute }}

Eric Allan Dolphy (June 20, 1928 – June 29, 1964) was an American jazz alto saxophonist, flutist, and bass clarinetist. He also played, on a few occasions the clarinet and baritone saxophone. Dolphy was one of several multi-instrumentalists to gain prominence in the 1960s. He was also the first important bass clarinet soloist in jazz, and among the earliest significant flute soloists. His improvisational style was characterized by the use of wide intervals, in addition to using an array of extended techniques to reproduce human- and animal-like effects which almost literally made his instruments speak. Although Dolphy's work is sometimes classified as free jazz, his compositions and solos were often rooted in conventional (if highly abstracted) tonal bebop harmony and melodic lines that suggest the influences of modern classical composers Béla Bartók and Igor Stravinsky.

Biography

Early life

Dolphy was born in Los Angeles and was educated at Los Angeles City College. He performed locally for several years, most notably as a member of bebop big bands led by Gerald Wilson and Roy Porter. On early recordings, he occasionally played soprano clarinet and baritone saxophone, as well as his main instrument, the alto saxophone. Dolphy finally had his big break as a member of Chico Hamilton's quintet. With the group he became known to a wider audience and was able to tour extensively through 1959, when he parted ways with Hamilton and moved to New York City.

Early partnerships

John Coltrane had gained an audience and critical notice with Miles Davis's quintet. Although Coltrane's quintets with Dolphy (including the Village Vanguard and ''Africa/Brass'' sessions) are now legendary, they provoked ''Down Beat'' magazine to brand Coltrane and Dolphy's music as 'anti-jazz'. Coltrane later said of this criticism: "they made it appear that we didn't even know the first thing about music (...) it hurt me to see [Dolphy] get hurt in this thing."

The initial release of Coltrane's stay at the Vanguard selected three tracks, only one of which featured Dolphy. After being issued haphazardly over the next 30 years, a comprehensive box set featuring all of the recorded music from the Vanguard was released by Impulse! in 1997. ''The Complete 1961 Village Vanguard Recordings'' carried over 15 tracks featuring Dolphy on alto saxophone and bass clarinet, adding a new dimension to these already classic recordings. A later Pablo box set from Coltrane's European tours of the early 1960s collected more recordings with Dolphy for the buying public.

During this period, Dolphy also played in a number of challenging settings, notably in key recordings by Ornette Coleman (''Free Jazz: A Collective Improvisation''), arranger Oliver Nelson (''The Blues and the Abstract Truth'' and ''Straight Ahead'') and George Russell (''Ezz-thetics''), but also with Gunther Schuller, Max Roach and Abbey Lincoln, multi-instrumentalist Ken McIntyre, and bassist Ron Carter among others.

As a leader

Dolphy's recording career as a leader began with the Prestige label. His association with the label spanned across 13 albums recorded from April 1960 to September 1961, though he was not the leader for all of the sessions. Fantasy eventually released a 9-CD box set containing all of Dolphy's recorded output for Prestige.

Dolphy's first two albums as leader were ''Outward Bound'' and ''Out There''. The first, more accessible and rooted more in the style of bop than some later releases, was recorded at Rudy Van Gelder's studio in New Jersey with hard-bop trumpeter Freddie Hubbard. However the album still offered up challenging performances, which at least partly accounts for the record label's choice to include "out" in the title. ''Out There'' is closer to the third stream music which would also form part of Dolphy's legacy, and reminiscent also of the instrumentation of the Hamilton group with Ron Carter on cello and Dolphy on bass clarinet, clarinet and flute as well as saxophones.

''Far Cry'' was also recorded for Prestige in 1960 and represented his first pairing with trumpeter Booker Little, a like-minded spirit with whom he would make a set of legendary live recordings at the Five Spot in New York before Little's death at the age of 23.

Dolphy would record several unaccompanied cuts on saxophone, which at the time had been done only by Coleman Hawkins and Sonny Rollins before him. The album ''Far Cry'' contains one of his more memorable performances on the Gross-Lawrence standard "Tenderly" on alto saxophone, but it was his subsequent tour of Europe that quickly set high standards for solo performance with his exhilarating bass clarinet renditions of Billie Holiday's "God Bless The Child". Numerous recordings were made of live performances by Dolphy on this tour, in Copenhagen, Uppsala and other cities, and these have been issued by many sometimes dubious record labels, drifting in and out of print ever since.

20th century classical music also played a significant role in Dolphy's musical career. He performed Edgard Varèse's ''Density 21.5'' for solo flute at the Ojai Music Festival in 1962 and participated in Gunther Schuller's Third Stream efforts of the 1960s.

In July 1963, Dolphy and producer Alan Douglas arranged recording sessions for which his sidemen were among the leading emerging musicians of the day. The results were his ''Iron Man'' and ''Conversations'' LPs. Around this time Dolphy's pianist was occasionally the young Herbie Hancock, this group was recorded at the ''Illinois Concert'' and others.

In 1964, Dolphy signed with Blue Note Records and recorded ''Out to Lunch!'' with Freddie Hubbard, Bobby Hutcherson, Richard Davis and Tony Williams. This album was deeply rooted in the avant garde, and Dolphy's solos are as dissonant and unpredictable as anything he ever recorded. ''Out to Lunch'', his last major studio recording, is often considered his magnum opus.

Final months

After ''Out to Lunch!'' and an appearance as a sideman on Andrew Hill's ''Point of Departure'', Dolphy left to tour Europe with Charles Mingus' sextet in early 1964. (Dolphy also played with Mingus in 1960, as heard on the ''Charles Mingus Presents Charles Mingus'' and ''Mingus at Antibes'' albums). From there he intended to settle in Europe with his fiancée, who was working on the ballet scene in Paris. The Mingus band for this tour was extensively recorded, including on the ''Cornell 1964'' album and is one of Mingus' strongest line-ups, including Dolphy and pianist Jaki Byard. After leaving Mingus, he performed with and recorded a few sides with various European bands, including the mis-named ''Last Date'' with Misha Mengelberg and Han Bennink, and was preparing to join Albert Ayler for a recording.

Eric Dolphy died accidentally in Berlin on June 28, 1964. The circumstances of his passing are disputed. The liner notes to the ''Complete Prestige Recordings'' boxset say that Dolphy "collapsed in his hotel room in Berlin and when brought to the hospital he was diagnosed as being in a diabetic coma. After being administered a shot of insulin (apparently a type stronger than what was then available in the US) he lapsed into insulin shock and died." A later documentary and liner note disputes this, saying Dolphy collapsed on stage in Berlin and was brought to a hospital. The attending hospital physicians had no idea that Dolphy was a diabetic and decided on a stereotypical view of jazz musicians related to substance abuse, that he had overdosed on drugs. He was left in a hospital bed for the drugs to run their course.

Dolphy was posthumously inducted into the ''Down Beat'' magazine Hall of Fame in 1964. Coltrane paid tribute to Dolphy in an interview: "Whatever I'd say would be an understatement. I can only say my life was made much better by knowing him. He was one of the greatest people I've ever known, as a man, a friend, and a musician." Dolphy's mother, Sadie, who had fond memories of her son practicing in the studio by her house, gave instruments that Dolphy had bought in France but never played to Coltrane, who subsequently played the flute and bass clarinet on several albums before his own death in 1967. Dolphy was engaged to be married to Joyce Mordecai, a classically-trained dancer.

Influence

Dolphy's musical presence was hugely influential to a who's who of young jazz musicians who would become legends in their own right. Dolphy worked intermittently with Ron Carter and Freddie Hubbard throughout his career, and in later years he hired Herbie Hancock, Bobby Hutcherson and Woody Shaw to work in his live and studio bands. ''Out to Lunch!'' featured yet another young lion who had just begun working with Dolphy in drummer Tony Williams, just as his participation on the ''Point of Departure'' session brought his influence into contact with up and coming tenor man Joe Henderson.

Carter, Hancock and Williams would go on to become one of the quintessential rhythm sections of the decade, both together on their own albums and as the backbone of the second great quintet of Miles Davis. This part of the second great quintet is an ironic footnote for Davis, who was not fond of Dolphy's music (in a 1964 ''Down Beat'' Blindfold Test, Miles famously quipped, "The next time I see [Dolphy] I'm going to step on his foot.") yet absorbed a rhythm section who had all worked under Dolphy and created a band whose brand of "out" was unsurprisingly very similar to Dolphy's.

In addition, his work with jazz and rock producer Alan Douglas allowed Dolphy's style to posthumously spread to musicians in the jazz fusion and rock environments, most notably with artists John McLaughlin and Jimi Hendrix. Frank Zappa, a highly influential composer who drew his inspiration from a variety of musical styles and idioms, paid tribute to Dolphy's style in the instrumental "The Eric Dolphy Memorial Barbecue" (on the 1970 album ''Weasels Ripped My Flesh'').

Discography

As leader

;Prestige Records

''Status'' (1960)

''Dash One'' (1960)

''Outward Bound'' (1960)

''Looking Ahead'' (1960)

''Fire Waltz'' (1960)

''Out There'' (1960)

''The Caribe with the Latin Jazz Quintet'' (1960)

''Magic'' (1960)

''Far Cry'' (1960)

''Eric Dolphy'' (1960)

''Here and There'' (1961)

''The Great Concert of Eric Dolphy'' [live] (1961)

''Live! at the Five Spot, Vols. 1 & 2'' (1961) with Mal Waldron and Booker Little

''Eric Dolphy in Europe, Vols. 1-3'' [live] (1961)

''Copenhagen Concert'' [live] (1961)

''Quartet 1961'' (1961)

''Eric Dolphy Quintet featuring Herbie Hancock: Complete Recordings'' (1962)

;Blue Note

''Other Aspects'' (1960)

''The Illinois Concert'' (1963)

''Out to Lunch!'' (1964)

;Other labels

''Hot & Cool Latin'' (1959)

''Wherever I Go'' (1959)

''Candid Dolphy'' (1960)

''Softly, As in a Morning Sunrise'' (1961)

''Berlin Concerts'' [live] (1962)

''Vintage Dolphy'' (1962)

''Iron Man'' (1963)

''Conversations'' (1963) (also known as ''Jitterbug Waltz'')

''Last Date'' (1964)

''Naima'' (1964)

''Unrealized Tapes'' (1964)

As sideman

With Ornette Coleman

''Free Jazz: A Collective Improvisation'' (1960)

With John Coltrane

''Olé Coltrane'' (1961)

''Africa/Brass'' (1961)

''Live! at the Village Vanguard'' (1961)

''Impressions'' (One Track, "India") (1963)

With Phil Diaz

''The Latin Jazz Quintet'' (United Artists, 1961)

With Chico Hamilton

''Chico Hamilton Quintet with Strings Attached'' (1958)

''The Original Ellington Suite'' (1958)

''Gongs East!'' (1958)

''That Hamilton Man'' (1959)(also released as ''Truth'')

With Andrew Hill

''Point of Departure'' (1964)

With John Lewis

''The Sextet of Orchestra U.S.A.'' (1964)

''John Lewis Presents Jazz Abstractions'' (1960)

With Abbey Lincoln

''Straight Ahead'' (Candid, 1961)

With Booker Little

''Out Front'' (1960)

With Ken McIntyre

''Looking Ahead'' (1960)

With Charles Mingus

''Pre-Bird'' [aka ''Mingus Revisited''] (1960)

'Mingus!' (1960)

''Charles Mingus Presents Charles Mingus'' (1960)

''Mingus at Antibes'' (1960)

''Mingus Mingus Mingus Mingus Mingus'' (1963)

''Town Hall Concert'' (1964)

''The Great Concert of Charles Mingus'' (1964)

''Revenge!'' (1964)

''Charles Mingus Sextet with Eric Dolphy: Cornell 1964'' (1964)

With Oliver Nelson

''Screamin' the Blues (1960)

''The Blues and the Abstract Truth'' (1961)

''Straight Ahead'' (1961)

With Max Roach

''Percussion Bitter Sweet'' (1961)

With George Russell

''Ezz-thetics'' (1961)

With Mal Waldron

''The Quest'' (New Jazz, 1961)

References

Further reading

Vladimir Simosko & Barry Tepperman: ''Eric Dolphy: A Musical Biography and Discography'', Da Capo Press, New York, 1979, ISBN 0-306-80107-8

Guillaume Belhomme: ''Eric Dolphy'', Le mot et le reste, Marseille, 2008, ISBN : 9782915378535

External links

A Dolphy website and instructions for mailing list

Session and discography

Category:1928 births Category:1964 deaths Category:Avant-garde jazz musicians Category:African American musicians Category:American expatriates Category:American jazz flautists Category:American jazz alto saxophonists Category:American jazz composers Category:American jazz clarinetists Category:American multi-instrumentalists Category:American jazz bass clarinetists Category:Deaths from diabetes Category:Musicians from California Category:People from Los Angeles, California Category:Prestige Records artists Category:Blue Note Records artists Category:Bass clarinetists

ca:Eric Dolphy cs:Eric Dolphy da:Eric Dolphy de:Eric Dolphy es:Eric Dolphy eo:Eric Dolphy fa:اریک دلفی fr:Eric Dolphy it:Eric Dolphy he:אריק דולפי nl:Eric Dolphy ja:エリック・ドルフィー pl:Eric Dolphy pt:Eric Dolphy ru:Долфи, Эрик fi:Eric Dolphy

Coordinates	40°42′15.0″N73°55′4.0″N
Name	Rabih Abou-Khalil
Background	non_vocal_instrumentalist
Birth date	August 17, 1957
Origin	Beirut, Lebanon
Instrument	Oud, flute
Genre	Jazz
Label	Enja Records
Occupation	Musician, composer, bandleader
Years active	1980–present }}

Rabih Abou-Khalil (, born August 17, 1957 in Lebanon) is an oud player and composer.

Life

Rabih Abou-Khalil grew up in Beirut and moved to Munich, Germany during the civil war in 1978. He lives part-time in Munich and part-time in the South of France with his wife and two children.

Music

From early on, he learnt to play the oud, a fretless string instrument, similar to the European lute. He studied in the Beirut conservatory from oud virtuoso Georges Farah. After moving to Germany, he studied classical flute at the Academy of Music in Munich under Walther Theurer.

He has often blended traditional Arab music with jazz, rock and classical music, and has earned praise such as "a world musician years before the phrase became a label—makes the hot, staccato Middle Eastern flavour and the seamless grooves of jazz mingle as if they were always meant to." Together with Anouar Brahem he has helped highlight the oud as a vehicle of eclectic "world jazz". Abou-Khalil's oud playing style has often been likened to jazz guitar: "Abou-Khalil spins more oud notes in 10 seconds than most jazz guitarists do in their short commercial lifespans."

Abou-Khalil's music uses elements from Arab music traditions, together with many jazz, rock and classical references, particularly to the school of Ornette Coleman and Don Cherry, which itself broke ground in terms of introducing new global influences. Other influences include Frank Zappa, Bela Bartok, and such unexpected musicians like the Mighty Sparrow and Lord Kitchener from Trinidad. Jazz elements are present in most of his recorded work, for instance in the use of the acoustic pizzicato bass, generally played by recognized jazz musicians like Steve Swallow and Glen Moore. At the Beijing Jazz Festival of 2003 he performed to great acclaim accompanied by tuba and clarinet as well as the percussion he has always favoured.

Albums

In his first CD release for the ECM company, ''Nafas'', (1988) largely traditional Arabic elements are to the fore, although a combination of drums of different national origin signals the eclecticism to come. In ''Al-Jadida'' and ''Blue Camel,'' (1992) the former with alto saxophonist Sonny Fortune and the latter with alto saxophonist Charlie Mariano and flugelhorn player Kenny Wheeler, Turkish influence comes to the fore, in the form of complex time signatures (like 11/4 for the composition "Sahara"). Classical Turkish metres like 10/8 (phrased as 3+2+2+3), are found widely in Abou-Khalil's opus ("Nightfall" on ''Between Dusk and Dawn,'' "Ziriab" on ''Blue Camel,'' "After Dinner" on ''Tarab'', and "On a Bus " on ''Yara''). In recent years mixtures of these metres have emerged, setting new standards in complexity while retaining freshness, wit and the jazz value of swing.

''Nafas'' and ''Tarab'' make use of the ney, the Turkish end-blown flute. 1995's ''Arabian Waltz'' featured Abou-Khalil's compositions for string quartet (performed by the Balanescu Quartet), along with oud, tuba (or serpent), and frame drums.

''Morton's Foot'' (2004) brings in Luciano Biondini on accordion and Sardinian singer Gavino Murgia whose base vocals evoke Tibetan throat singing to create a bizarre, exotic blend of European and Eastern traditions.

''Journey to the Centre of an Egg'' (2005) features a trio of oud, piano (Joachim Kühn, who doubles on alto saxophone) and drums.

Live performances have made heavy use of digital vocalisation devices, and the end of these innovations is not in sight. Abou-Khalil and his associates are arguably creating a new international platform for improvised music, comparable to John McLaughlin and his associates in Shakti.

Visions of Music

Rabih Abou-Khalil hosted the television series ''Visions of Music''. This 13-part documentary series produced by EuroArts Entertainment set out to explore the blending of jazz with traditional music (Caribbean salsa, Brazilian samba, Argentine tango, French musette, Spanish flamenco, Jewish klezmer, New Orleans R&B and Mississippi blues, as well as West African, South African, Indian and Middle Eastern music) through historical footage and interviews of musicians (by Abou-Khalil). The music of the TV-series was released on the album ''Visions of Music - World Jazz'' by Enja Records in 1998.

Humor

Humor is a very important ingredient in Abou-Khalil's art and live performances. For instance, the song ''Dr. Gieler's Wiener Schnitzel'' (Morton's Foot, 2004) is inspired by an alleged Austrian dentist who settles in Abu-Dhabi to open a restaurant where his Wiener schnitzel soon establishes a reputation for healing the blind and deaf. The restaurant, however, is banned and closed by the authorities which forces Dr. Gieler back to Austria where he is now selling ties to businessmen. Various compositions are inspired by such humorous stories, common to many is the absurdity of "commuting between cultures".

CD cover design

Rabih Abou-Khalil's CDs are conspicuous for their high quality covers depicting Arabic non-figurative art, some designed by the author himself.

Major/recent collaborators

Howard Levy (harmonica)

Glen Velez (frame drums, percussions)

Milton Cardona (conga)

Sonny Fortune (alto saxophone)

Glen Moore (bass)

Steve Swallow (bass)

Gabriele Mirabassi (clarinet)

Luciano Biondini (accordion)

Michel Godard (tuba)

Mark Nauseef (percussion)

Gavino Murgia (vocals, tenor saxophone)

Jarrod Cagwin (drums)

Selim Kusur (vocals, nay)

Setrak Sarkissian (darabukka)

Joachim Kühn (piano, alto saxophone)

Ramesh Shotham (Indian percussion)

Alexander Balanescu (violin)

Nabil Khaiat (percussion)

Charlie Mariano (alto saxophone)

Gevorg Dabagyan (duduk)

Kenny Wheeler (Flugelhorn)

ARTE Quartett (saxophone quartet)

Discography

''Compositions & Improvisations'' (MMP, 1981)

''Bitter Harvest'' (MMP, 1984)

''Between Dusk and Dawn'' (MMP, 1987; Enja Records, 1993)

''Bukra'' (MMP, 1988; Enja Records, 1994)

''Nafas'' (ECM, 1988)

''Roots & Sprouts'' (MMP/Enja Records, 1990)

''World Music Orchestra: East West Suite'' (Granit Records, 1990)

''Al-Jadida'' (Enja Records, 1990)

''Blue Camel'' (Enja Records, 1992)

''Tarab'' (Enja Records, 1992)

''The Sultan's Picnic'' (Enja Records, 1994)

''Arabian Waltz'' (Enja Records, 1996)

''Odd Times'' (Enja Records, 1997)

''Yara'' (Enja Records, 1998)

''The Cactus of Knowledge'' (Enja Records, 2001)

''Il Sospiro'' (Enja Records, 2002)

''Morton's Foot'' (Enja Records, 2004)

''Journey to the Centre of an Egg'' (Enja Records, 2005)

''Songs for Sad Women'' (Enja Records, 2007)

''Em Portugues'' (Enja Records, 2008)

''Selection'' (Enja Records, 2009)

''Trouble in Jerusalem'' (Enja Records, 2010)

As guest musician

Chris Karrer: Dervish Kish (Schneeball/Indigo, 1990/91)

Michael Riessler: Heloise (Wergo, 1992)

Charlie Mariano & Friends: Seventy (veraBra records, 1993)

Glen Moore: Nude Bass Ascending (Intuition, 1996/97)

Ramesh Shotam: Madras Special (Permission Music, 2002)

Other

Jakob Wertheim & Rabih Abou-Khalil: KopfKino (cassette, Ohrbuch-Verlag, 1988)

The Jazz Club Highlights (DVD, TDK JAZZ CLUB, 1990)

Rabih Abou-Khalil presents Visions of Music - World Jazz (accompanying TV series, Enja Records, 1999)

References

External links

The Official myspace.com Page

Official website

Rabih Abou-Khalil page at ENJA Records

Rabih Abou Khalil at All About Jazz

RABIH ABOU-KHALIL - LIST OF ISSUED RECORDS compiled by Johann Haidenbauer

Rabih Abou-Khalil

Fotos Rabih Abou Khalil & Termites at work - 2007 jazzit

Portrait of Rabih About-Khalil on Qantara.de by Lewis Gropp

Category:1957 births Category:Living people Category:ECM artists Category:Lebanese musicians Category:Oud players Category:People from Beirut Category:Lebanese artists

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