This fascinating selection of photographs illustrates the ‘golden years’ of radio when pirates ruled the airwaves.

Now that the FCC has changed the laws governing pirate radio and video stations, more and more people across the country are starting broadcasts from their homes. Of course transmitting equipment is very expensive, but now you can build your own transmitters for a fraction of the cost of purchasing. By reading about and building the over thirty projects in Pirate Radio and Video, you can construct your own station with a minimum investment for maximum learning. With projects for UHF, VHF, AM and FM transmitters, this book covers the gamut of popular bands and outputs. Not only will you learn how to build your own transmitters, but also how to troubleshoot problems, test outcomes and even synthesize several types of equipment into a powerful and unique system. Written with the electronics hobbyist in mind, each project includes basic diagrams, complete instructions as well as advice on how to make each project work best for you. The list of projects includes over several different FM radio transmitters, AM radio transmitters, microwave transmitters, shortwave transmitters, UHF video transmitters, VHF video transmitters as well as nearly a dozen special projects for test equipment and system set-ups. If you are interested in setting up your own radio or television broadcasting system, you will need a copy of this book to do it! - Learn how to build your own UHF, VHF, AM and FM transmitters, saving thousands of dollars over buying equipment at a specialty store - Start broadcasting your own video or radio signals from your self-built station - Experience the fun and learning that radio and video production and broadcasting gives the whole family

“A superb account of the rise of modern broadcasting.” —Financial Times When the pirate operator Oliver Smedley shot and killed his rival Reg Calvert in Smedley’s country cottage on June 21, 1966, it was a turning point for the outlaw radio stations dotting the coastal waters of England. Situated on ships and offshore forts like Shivering Sands, these stations blasted away at the high-minded BBC’s broadcast monopoly with the new beats of the Stones and DJs like Screaming Lord Sutch. For free-market ideologues like Smedley, the pirate stations were entrepreneurial efforts to undermine the growing British welfare state as embodied by the BBC. The worlds of high table and underground collide in this riveting history.

London's Pirate Pioneers tells the story of the capital's pirate radio stations and the people who helped change the British broadcasting system. From the early hobbyist operations of the 1960s to the big commercial enterprises of the 1980s. From suburban bedrooms to open fields to urban tower blocks. From hippies to soul boys to ravers. The book weaves together a year-by-year account of the developments in London's radio with the stories of the key stations. It explores the political, social, musical and technological changes that were to influence each stage in their evolution. Photos from every era take you behind the scenes to see the DJs and engineers at work and the book gathers together flyers and promos from many of the leading stations. Stephen Hebditch was editor of TX / Radio Today, the most popular pirate radio magazine in eighties London, and has continued documenting the pirates at amfm.org.uk.

This comprehensive, meticulously researched work offers a rare glimpse into the dark and secretive world of pirate radio in London, revealing the ambition and greed of some of those involved, as well as the duplicity and deceit deployed to destroy others who got in their way.

Since radio's invention, some Canadians have been concerned about the increasingly commercialized and centralized nature of medium. Sometimes working alone, more often in teams, and always illegally, these activists represent islands of resistance within the ocean of homogenous frequencies, pirating radio signals for personal, political and artistic expression. In the first book published on the subject, Islands of Resistance gives you a view from the crowsnest of the phenomenon of pirate radio in Canada. Here is a collection of seventeen activist manifestos, artistic treatises of intent, historical essays on the development of radio and its regulatory bodies, sociological examination of pirate radio's application in new social movements, and personal anecdotes from behind the eyepatch. Just as the new media ostensibly renders the old obsolete, Islands of Resistance unveils the existence of a thriving clandestine counterculture. An invaluable addition to an unscrutinized subject in Canadian media studies, Islands of Resistance appeals to the anarchist, anti–authoritarian impulses in all of us. Visit the Islands of Resistance website for more about the book and to hear audio clips of pirate radio.

Radio Caroline was the world's most famous pirate radio station during its heyday in the 1960s and '70s, but did the thousands of people tuning in realise just what battles went on behind the scenes? Financed by respected city money men, this is a story of human endeavour and risk, international politics, business success and financial failures. A story of innovation, technical challenges, changing attitudes, unimaginable battles with nature, disasters, frustrations, challenging authority and the promotion of love and peace while, at times, harmony was far from evident behind the scenes. For one person to tell the full Radio Caroline story is impossible, but there are many who have been involved over the years whose memories and experiences bring this modern day adventure story of fighting overwhelming odds to life. Featuring many rare photographs and unpublished interviews with the 'pirates' who were there, Ray Clark, once a Radio Caroline disc jockey himself, tells the captivating story of the boat that rocked!

In this media history of the Caribbean, Alejandra Bronfman traces how technology, culture, and politics developed in a region that was "wired" earlier and more widely than many other parts of the Americas. Haiti, Cuba, and Jamaica acquired radio and broadcasting in the early stages of the global expansion of telecommunications technologies. Imperial histories helped forge these material connections through which the United States, Great Britain, and the islands created a virtual laboratory for experiments in audiopolitics and listening practices. As radio became an established medium worldwide, it burgeoned in the Caribbean because the region was a hub for intense foreign and domestic commercial and military activities. Attending to everyday life, infrastructure, and sounded histories during the waxing of an American empire and the waning of British influence in the Caribbean, Bronfman does not allow the notion of empire to stand solely for domination. By the time of the Cold War, broadcasting had become a ubiquitous phenomenon that rendered sound and voice central to political mobilization in the Caribbean nations throwing off what remained of their imperial tethers.