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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name	Ella Fitzgerald
background	solo_singer
birth name	Ella Jane Fitzgerald
alias	First Lady of Song, Lady Ella
born	April 25, 1917Newport News, Virginia, U.S.
Origin	Yonkers, New York
died	June 15, 1996Beverly Hills, California, U.S.
genre	Swing, traditional pop, vocal jazz
instrument	PianoVocals
occupation	Vocalist
years active	1934–1993
label	Capitol, Decca, Pablo, Reprise, Verve
website	EllaFitzgerald.com }}

Ella Jane Fitzgerald (April 25, 1917 – June 15, 1996), also known as the "First Lady of Song" and "Lady Ella," was an American jazz and song vocalist. With a vocal range spanning three octaves (Db3 to Db6), she was noted for her purity of tone, impeccable diction, phrasing and intonation, and a "horn-like" improvisational ability, particularly in her scat singing.

She is considered to be a notable interpreter of the Great American Songbook. Over the course of her 59 year recording career, she was the winner of 13 Grammy Awards and was awarded the National Medal of Arts by Ronald Reagan and the Presidential Medal of Freedom by George H. W. Bush.

Early life

Fitzgerald was born in Newport News, Virginia, the child of a common-law marriage between William and Temperance "Tempie" Fitzgerald. The pair separated soon after her birth and she and her mother went to Yonkers, N.Y, where they eventually moved in with Tempie's longtime boyfriend Joseph Da Silva. Fitzgerald's half-sister, Frances Da Silva, was born in 1923.

In her youth Fitzgerald wanted to be a dancer, although she loved listening to jazz recordings by Louis Armstrong, Bing Crosby and The Boswell Sisters. She idolized the lead singer Connee Boswell, later saying, "My mother brought home one of her records, and I fell in love with it....I tried so hard to sound just like her."

In 1932, her mother died from a heart attack. Following this trauma, Fitzgerald's grades dropped dramatically and she frequently skipped school. Abused by her stepfather, she was first taken in by an aunt and at one point worked as a lookout at a bordello and also with a Mafia-affiliated numbers runner. When the authorities caught up with her, she was first placed in the Colored Orphan Asylum in Riverdale, the Bronx. However, when the orphanage proved too crowded she was moved to the New York Training School for Girls in Hudson, New York, a state reformatory. Eventually she escaped and for a time was homeless.

She made her singing debut at 17 on November 21, 1934 at the Apollo Theater. in Harlem, New York. She pulled in a weekly audience at the Apollo and won the opportunity to compete in one of the earliest of its famous "Amateur Nights". She had originally intended to go on stage and dance but, intimidated by the Edwards Sisters, a local dance duo, she opted to sing instead in the style of Connee Boswell. She sang Boswell's "Judy" and "The Object of My Affection," a song recorded by the Boswell Sisters, and won the first prize of US$25.00.

Later life

Fitzgerald married at least twice, and there is evidence that she may have married a third time. In 1941 she married Benny Kornegay, a convicted drug dealer and local dockworker. The marriage was annulled after two years.

Her second marriage, in December 1947, was to the famous bass player Ray Brown, whom she had met while on tour with Dizzy Gillespie's band a year earlier. Together they adopted a child born to Fitzgerald's half-sister, Frances, whom they christened Ray Brown, Jr. With Fitzgerald and Brown often busy touring and recording, the child was largely raised by her aunt, Virginia. Fitzgerald and Brown divorced in 1953, bowing to the various career pressures both were experiencing at the time, though they would continue to perform together.

In July 1957, Reuters reported that Fitzgerald had secretly married Thor Einar Larsen, a young Norwegian, in Oslo. She had even gone as far as furnishing an apartment in Oslo, but the affair was quickly forgotten when Larsen was sentenced to five months hard labor in Sweden for stealing money from a young woman to whom he had previously been engaged.

Fitzgerald was also notoriously shy. Trumpet player Mario Bauza, who played behind Fitzgerald in her early years with Chick Webb, remembered that "she didn’t hang out much. When she got into the band, she was dedicated to her music….She was a lonely girl around New York, just kept herself to herself, for the gig." When, later in her career, the Society of Singers named an award after her, Fitzgerald explained, "I don't want to say the wrong thing, which I always do. I think I do better when I sing."

Already visually impaired by the effects of diabetes, Fitzgerald had both her legs amputated in 1993. In 1996 she died of the disease in Beverly Hills, California at the age of 79. She is buried in the Inglewood Park Cemetery in Inglewood, California. The career history and archival material from Ella's long career are housed in the Archives Center at the Smithsonian's National Museum of American History while her personal music arrangements are at The Library of Congress. Her extensive cookbook collection was donated to the Schlesinger Library at Harvard University while her published sheet music collection is at the Schoenberg Library at UCLA.

Career

Big-band singing

In January 1935, Fitzgerald won the chance to perform for a week with the Tiny Bradshaw band at the Harlem Opera House. She met drummer and bandleader Chick Webb here. Webb had already hired singer Charlie Linton to work with the band and was, ''The New York Times'' later wrote, "reluctant to sign her....because she was gawky and unkempt, a ''diamond in the rough.''" Webb offered her the opportunity to test with his band when they played a dance at Yale University.

She began singing regularly with Webb's Orchestra through 1935 at Harlem's Savoy Ballroom. Fitzgerald recorded several hit songs with them, including "Love and Kisses" and "(If You Can't Sing It) You'll Have to Swing It (Mr. Paganini)". But it was her 1938 version of the nursery rhyme, "A-Tisket, A-Tasket", a song she co-wrote, that brought her wide public acclaim.

Chick Webb died on June 16, 1939, and his band was renamed "Ella Fitzgerald and her Famous Orchestra" with Ella taking on the role of bandleader. Fitzgerald recorded nearly 150 sides during her time with the orchestra, most of which, like "A-Tisket, A-Tasket," were "novelties and disposable pop fluff."

The Decca years

In 1942, Fitzgerald left the band to begin a solo career. Now signed to the Decca label, she had several popular hits while recording with such artists as the Ink Spots, Louis Jordan, and the Delta Rhythm Boys.

With Decca's Milt Gabler as her manager, she began working regularly for the jazz impresario Norman Granz, and appeared regularly in his Jazz at the Philharmonic (JATP) concerts. Fitzgerald's relationship with Granz was further cemented when he became her manager, although it would be nearly a decade before he could record her on one of his many record labels.

With the demise of the Swing era and the decline of the great touring big bands, a major change in jazz music occurred. The advent of bebop led to new developments in Fitzgerald's vocal style, influenced by her work with Dizzy Gillespie's big band. It was in this period that Fitzgerald started including scat singing as a major part of her performance repertoire. While singing with Gillespie, Fitzgerald recalled, "I just tried to do [with my voice] what I heard the horns in the band doing."

Her 1945 scat recording of Flying Home (arranged by Vic Schoen) would later be described by ''The New York Times'' as "one of the most influential vocal jazz records of the decade....Where other singers, most notably Louis Armstrong, had tried similar improvisation, no one before Miss Fitzgerald employed the technique with such dazzling inventiveness." Her bebop recording of "Oh, Lady be Good!" (1947) was similarly popular and increased her reputation as one of the leading jazz vocalists.

Perhaps responding to criticism and under pressure from Granz, who felt that Fitzgerald was given unsuitable material to record during this period, her last years on the Decca label saw Fitzgerald recording a series of duets with pianist Ellis Larkins, released in 1950 as ''Ella Sings Gershwin''.

Move to Verve and mainstream success

Fitzgerald was still performing at Granz's JATP concerts by 1955. Fitzgerald left Decca and Granz, now her manager, created Verve Records around her.

Fitzgerald later described the period as strategically crucial, saying, "I had gotten to the point where I was only singing be-bop. I thought be-bop was 'it,' and that all I had to do was go some place and sing bop. But it finally got to the point where I had no place to sing. I realized then that there was more to music than bop. Norman....felt that I should do other things, so he produced ''The Cole Porter Songbook'' with me. It was a turning point in my life."

''Ella Fitzgerald Sings the Cole Porter Songbook'', released in 1956, was the first of eight multi-album Songbook sets Fitzgerald would record for Verve at irregular intervals from 1956 to 1964. The composers and lyricists spotlighted on each set, taken together, represent the greatest part of the cultural canon known as the ''Great American Songbook''. Fitzgerald's song selections ranged from standards to rarities and represented an attempt by Fitzgerald to cross over into a non-jazz audience. ''Ella Fitzgerald Sings the Duke Ellington Songbook'' was the only Songbook on which the composer she interpreted played with her. Duke Ellington and his longtime collaborator Billy Strayhorn both appeared on exactly half the set's 38 tracks and wrote two new pieces of music for the album: "The E and D Blues" and a four-movement musical portrait of Fitzgerald (the only Songbook track on which Fitzgerald does not sing).

The Songbook series ended up becoming the singer's most critically acclaimed and commercially successful work, and probably her most significant offering to American culture. ''The New York Times'' wrote in 1996, "These albums were among the first pop records to devote such serious attention to individual songwriters, and they were instrumental in establishing the pop album as a vehicle for serious musical exploration."

A few days after Fitzgerald's death, ''New York Times'' columnist Frank Rich wrote that in the Songbook series Fitzgerald "performed a cultural transaction as extraordinary as Elvis's contemporaneous integration of white and African-American soul. Here was a black woman popularizing urban songs often written by immigrant Jews to a national audience of predominantly white Christians." Frank Sinatra was moved out of respect for Fitzgerald to block Capitol Records from re-releasing his own recordings in a similar, single composer vein.

Ella Fitzgerald also recorded albums exclusively devoted to the songs of Porter and Gershwin in 1972 and 1983; the albums being, respectively, ''Ella Loves Cole'' and ''Nice Work If You Can Get It''. A later collection devoted to a single composer was released during her time with Pablo Records, ''Ella Abraça Jobim'', featuring the songs of Antonio Carlos Jobim.

While recording the Songbooks and the occasional studio album, Fitzgerald toured 40 to 45 weeks per year in the United States and internationally, under the tutelage of Norman Granz. Granz helped solidify her position as one of the leading live jazz performers.

In the mid-1950s, Fitzgerald became the first African-American to perform at the Mocambo, after Marilyn Monroe had lobbied the owner for the booking. The booking was instrumental in Fitzgerald's career. The incident was turned into a play by Bonnie Greer in 2005.

There are several live albums on Verve that are highly regarded by critics. ''Ella at the Opera House'' shows a typical JATP set from Fitzgerald. ''Ella in Rome'' and ''Twelve Nights In Hollywood'' display her vocal jazz canon. ''Ella in Berlin'' is still one of her best selling albums; it includes a Grammy-winning performance of "Mack the Knife" in which she forgets the lyrics, but improvises magnificently to compensate.

Voice

As Will Friedwald noted

Unlike any other singer you could name, Fitzgerald has the most amazing asset in the very sound of her voice: it's easily one of the most beautiful and sonically perfect sounds known to man. Even if she couldn't do anything with it, the instrument that Fitzgerald starts with is dulcet and pure and breathtakingly beautiful. As Henry Pleasants has observed, she has a wider range than most opera singers, and many of the latter, including Dietrich Fischer-Dieskau, are among her biggest fans. And the intonation that goes with the voice is, to put it conservatively, God-like. Fitzgerald simply exists in tune, and she hits every note that there is without the slightest trace of effort. Other singers tend to sound like they're trying to reach up to a note - Fitzgerald always sounds like she's already there. If anything, she's descending from her heavenly perch and swooping down to whatever pitch she wants.

Henry Pleasants, an American classical-music critic, wrote this about her:

She has a lovely voice, one of the warmest and most radiant in its natural range that I have heard in a lifetime of listening to singers in every category. She has an impeccable and ultimately sophisticated rhythmic sense, and flawless intonation. Her harmonic sensibility is extraordinary. She is endlessly inventive.. . it is not so much what she does, or even the way she does it, it's what she does not do. What she does not do, putting it simply as possible, is anything wrong. There is simply nothing in performance to which one would take exception.. . Everything seems to be just right. One would not want it any other way. Nor can one, for a moment imagine it any other way.

Ella Fitzgerald had an extraordinary vocal range. A mezzo-soprano (who sang much lower than most classical contraltos), she had a range of “2 octaves and a sixth from a low D or D flat to a high B flat and possibly higher”.

In 1993, Fitzgerald established the Charitable Foundation that bears her name: The Ella Fitzgerald Charitable Foundation, which continues to help the disadvantaged through grants and donation of new books to at-risk children.

Film and television

In her most notable screen role, Fitzgerald played the part of singer Maggie Jackson in Jack Webb's 1955 jazz film ''Pete Kelly's Blues''. The film costarred Janet Leigh and singer Peggy Lee. Even though she had already worked in the movies (she had sung briefly in the 1942 Abbott and Costello film ''Ride 'Em Cowboy''), she was "delighted" when Norman Granz negotiated the role for her, and, "at the time....considered her role in the Warner Brothers movie the biggest thing ever to have happened to her." Amid ''The New York Times''' pan of the film when it opened in August 1955, the reviewer wrote, "About five minutes (out of ninety-five) suggest the picture this might have been. Take the ingenious prologue...Or take the fleeting scenes when the wonderful Ella Fitzgerald, allotted a few spoken lines, fills the screen and sound track with her strong mobile features and voice."

Similar to another African-American jazz singer, Lena Horne, Fitzgerald's race precluded major big-screen success. After ''Pete Kelly's Blues'', she appeared in sporadic movie cameos, in ''St. Louis Blues'' (1958), and ''Let No Man Write My Epitaph'' (1960). Much later, she appeared in the 1980s television drama ''The White Shadow''.

She also made numerous guest appearances on television shows, singing on ''The Pat Boone Chevy Showroom'', ''The Frank Sinatra Show'', and alongside Nat King Cole, Dean Martin, Mel Tormé and many others. Perhaps her most unusual and intriguing performance was of the 'Three Little Maids' song from Gilbert and Sullivan's comic operetta ''The Mikado'' alongside Joan Sutherland and Dinah Shore on Shore's weekly variety series in 1963. Fitzgerald also made a one-off appearance alongside Sarah Vaughan and Pearl Bailey on a 1979 television special honoring Bailey. In 1980, she performed a medley of standards in a duet with Karen Carpenter on the Carpenters' television program, ''Music, Music, Music''.

Fitzgerald also appeared in TV commercials, her most memorable being an ad for Memorex. In the commercials, she sang a note that shattered a glass while being recorded on a Memorex cassette tape. The tape was played back and the recording also broke the glass, asking "Is it live, or is it Memorex?" She also starred in a number of commercials for Kentucky Fried Chicken, singing and scatting to the fast-food chain's longtime slogan, "We do chicken right!"

Her final commercial campaign was for American Express, in which she was photographed by Annie Leibovitz.

Discography

Collaborations

Fitzgerald's most famous collaborations were with the trumpeter Louis Armstrong, the guitarist Joe Pass, and the bandleaders Count Basie and Duke Ellington.

Fitzgerald recorded three Verve studio albums with Armstrong, two albums of standards (1956's ''Ella and Louis'' and 1957's ''Ella and Louis Again''), and a third album featured music from the Gershwin musical ''Porgy and Bess''. Fitzgerald also recorded a number of sides with Armstrong for Decca in the early 1950s.

Fitzgerald is sometimes referred to as the quintessential swing singer, and her meetings with Count Basie are highly regarded by critics. Fitzgerald features on one track on Basie's 1957 album ''One O'Clock Jump'', while her 1963 album ''Ella and Basie!'' is remembered as one of her greatest recordings. With the 'New Testament' Basie band in full swing, and arrangements written by a young Quincy Jones, this album proved a respite from the 'Songbook' recordings and constant touring that Fitzgerald was engaged in during this period. Fitzgerald and Basie also collaborated on the 1972 album ''Jazz at Santa Monica Civic '72'', and on the 1979 albums ''Digital III at Montreux'', ''A Classy Pair'' and ''A Perfect Match''.

Fitzgerald and Joe Pass recorded four albums together toward the end of Fitzgerald's career. She recorded several albums with piano accompaniment, but a guitar proved the perfect melodic foil for her. Fitzgerald and Pass appeared together on the albums ''Take Love Easy'' (1973), ''Easy Living'' (1986), ''Speak Love'' (1983) and ''Fitzgerald and Pass... Again'' (1976).

Fitzgerald and Duke Ellington recorded two live albums, and two studio albums. Her ''Duke Ellington Songbook'' placed Ellington firmly in the canon known as the Great American Songbook, and the 1960s saw Fitzgerald and the 'Duke' meet on the Côte d'Azur for the 1966 album ''Ella and Duke at the Cote D'Azur'', and in Sweden for ''The Stockholm Concert, 1966''. Their 1965 album ''Ella at Duke's Place'' is also extremely well received.

Fitzgerald had a number of famous jazz musicians and soloists as sidemen over her long career. The trumpeters Roy Eldridge and Dizzy Gillespie, the guitarist Herb Ellis, and the pianists Tommy Flanagan, Oscar Peterson, Lou Levy, Paul Smith, Jimmy Rowles, and Ellis Larkins all worked with Ella mostly in live, small group settings.

Possibly Fitzgerald's greatest unrealized collaboration (in terms of popular music) was a studio or live album with Frank Sinatra. The two appeared on the same stage only periodically over the years, in television specials in 1958 and 1959, and again on 1967's ''A Man and His Music + Ella + Jobim'', a show that also featured Antonio Carlos Jobim. Pianist Paul Smith has said, "Ella loved working with [Frank]. Sinatra gave her his dressing room on ''A Man and His Music'' and couldn’t do enough for her." When asked, Norman Granz would cite "complex contractual reasons" for the fact that the two artists never recorded together. Fitzgerald's appearance with Sinatra and Count Basie in June 1974 for a series of concerts at Caesar's Palace, Las Vegas was seen as an important incentive for Sinatra to return from his self-imposed retirement of the early 1970s. The shows were a great success, and September 1975 saw them gross $1,000,000 in two weeks on Broadway, in a triumvirate with the Count Basie Orchestra.

Awards, citations and honors

Fitzgerald won thirteen Grammy awards, including one for Lifetime Achievement in 1967. Other major awards and honors she received during her career were the Kennedy Center for the Performing Arts Medal of Honor Award, National Medal of Art, first Society of Singers Lifetime Achievement Award, named "Ella" in her honor, Presidential Medal of Freedom, and the George and Ira Gershwin Award for Lifetime Musical Achievement, UCLA Spring Sing.

Ella Fitzgerald was a quiet but ardent supporter of many charities and non-profit organizations, including the American Heart Association and the United Negro College Fund. In 1993, she established the "Ella Fitzgerald Charitable Foundation" which continues to fund programs that perpetuate Ella's ideals.

Tributes

In 1997, Newport News, Virginia created a music festival with Christopher Newport University to honor Ella Fitzgerald in her birth city. The Ella Fitzgerald Music Festival is designed to teach the region's youth of the musical legacy of Fitzgerald and jazz. Past performers at the week-long festival include: Diana Krall, Arturo Sandoval, Jean Carne, Phil Woods, Aretha Franklin, Freda Payne, Cassandra Wilson, Ethel Ennis, David Sanborn, Jane Monheit, Dianne Reeves, Dee Dee Bridgewater, Ramsey Lewis, Patti Austin, and Ann Hampton Callaway

Ann Hampton Callaway, Dee Dee Bridgewater, and Patti Austin have all recorded albums in tribute to Fitzgerald. Callaway's album ''To Ella with Love'' (1996) features fourteen jazz standards made popular by Fitzgerald, and the album also features the trumpeter Wynton Marsalis. Bridgewater's album ''Dear Ella'' (1997) featured many musicians that were closely associated with Fitzgerald during her career, including the pianist Lou Levy, the trumpeter Benny Powell, and Fitzgerald's second husband, the double bassist Ray Brown. Bridgewater's following album, ''Live at Yoshi's'', was recorded live on April 25, 1998, what would have been Fitzgerald's 81st birthday. Patti Austin's album, ''For Ella'' (2002) features 11 songs most immediately associated with Fitzgerald, and a twelfth song, "Hearing Ella Sing" is Austin's tribute to Fitzgerald. The album was nominated for a Grammy. In 2007 ''We All Love Ella'', was released, a tribute album recorded for the 90th anniversary of Fitzgerald's birth. It featured artists such as Michael Bublé, Natalie Cole, Chaka Khan, Gladys Knight, Diana Krall, k.d. lang, Queen Latifah, Ledisi, Dianne Reeves, Linda Ronstadt, and Lizz Wright, collating songs most readily associated with the "First Lady of Song".

The folk singer Odetta's album ''To Ella'' (1998) is dedicated to Fitzgerald, but features no songs associated with her. Fitzgerald's long serving accompanist Tommy Flanagan affectionately remembered Fitzgerald on his album ''Lady be Good...For Ella'' (1994).

Fitzgerald is also referred to on the 1987 song "Ella, elle l'a" by French singer France Gall and the Belgian singer Kate Ryan, the 1976 Stevie Wonder hit "Sir Duke" from his album ''Songs in the Key of Life'', and the song "I Love Being Here With You", written by Peggy Lee and Bill Schluger. Sinatra's 1986 recording of "Mack the Knife" from his album ''L.A. Is My Lady'' (1984) includes a homage to some of the song's previous performers, including 'Lady Ella' herself. She is also honored in the song "First Lady" by Canadian artist Nikki Yanofsky.

In 2008, the Downing-Gross Cultural Arts Center in Newport News named its brand new 276-seat theater the Ella Fitzgerald Theater. The theater is located several blocks away from her birthplace on Marshall Avenue. The Grand Opening performers (October 11 & 12, 2008) were Roberta Flack and Queen Esther Marrow.

USPS stamp and Yonkers statue

There is a statue of Fitzgerald in Yonkers, the city in which she grew up. It is located southeast of the main entrance to the Amtrak/Metro-North Railroad station. On January 10, 2007, the United States Postal Service announced that Fitzgerald would be honored with her own 39-cent postage stamp. The stamp was released in April 2007 as part of the Postal Service's Black Heritage series.

Filmography

! Year	! Film	! Role	! Notes and awards
	''Ride 'Em Cowboy''	Ruby
		Maggie Jackson
		Singer
	''Let No Man Write My Epitaph''	Flora

References

Further reading

Nicholson, Stuart. (1996) ''Ella Fitzgerald''. Gollancz. ISBN 0-575-40032-3

Gourse, Leslie. (1998) ''The Ella Fitzgerald Companion: Seven Decades of Commentary''. Music Sales Ltd. ISBN 0-02-864625-8

Johnson, J. Wilfred. (2001) ''Ella Fitzgerald: A Complete Annotated Discography''. McFarland & Co Inc. ISBN 0-7864-0906-1

External links

The official website of the Ella Fitzgerald Charitable Foundation

Ella Fitzgerald Complete Discography

Ella Fitzgerald: Twelve Essential Performances by Stuart Nicholson (Jazz.com).

Ella Fitzgerald at the Library of Congress

Official Web Site of Ella Fitzgerald

Ella Fitzgerald, The Official Ed Sullivan Show Website

Redsugar's Ella page

'Remembering Ella' by Phillip D. Atteberry

Todd's Ella Fitzgerald Lyrics Page

Ella Swings Gently - The Ella Fitzgerald Pages

Ella Fitzgerald Tribute CD Video Footage

New York Times article on Ella's early years

Listen to Big Band Serenade podcast, episode 6 Includes complete NBC remote broadcast of "Ella Fitzgerald & her Orchestra" from the Roseland Ballroom (or download)

Category:1917 births Category:1996 deaths Category:African American singers Category:African American female singers Category:American amputees Category:American female singers Category:American gospel singers Category:American jazz singers Category:American singers Category:American singer-songwriters Category:Bandleaders Category:Blind people Category:Burials at Inglewood Park Cemetery Category:Capitol Records artists Category:Deaths from diabetes Category:Decca Records artists Category:George Peabody Medal winners Category:Grammy Award winners Category:Torch singers Category:Grammy Lifetime Achievement Award winners Category:Kennedy Center honorees Category:Musicians from Virginia Category:Pablo Records artists Category:People from Newport News, Virginia Category:People from Yonkers, New York Category:Presidential Medal of Freedom recipients Category:Swing singers Category:Traditional pop music singers Category:United States National Medal of Arts recipients Category:Vaudeville performers Category:Verve Records artists Category:Scat singers Category:Women in jazz

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name	Tom Dice
background	solo_singer
birth name	Tom Eeckhout
birth date	November 25, 1989
origin	Eeklo, Belgium
instrument	Guitar
genre	Pop, Acoustic
occupation	Singer-songwriter
years active	2008–present
label	SonicAngel
associated acts	The Dice
website	Tom Dice }}

Tom Dice (born Tom Eeckhout in Eeklo on 25 November 1989) is a Belgian singer-songwriter, who finished second in the Flemish version of ''The X Factor'' in 2008. Dice represented Belgium in the Eurovision Song Contest 2010 final on 29 May in Oslo. Tom Dice ended up in sixth, one of Flanders best placements ever in the contest. Dice was also the first Belgian act to qualify for the final since the introduction of the semifinals in Eurovision.

Youth and ''X Factor''

Dice learned to play the guitar as a child, began songwriting in his early teens and at the age of 15 joined band The Dice, using Tom Eeckhout Dice as his stage name. In 2008 he entered the Flemish ''X Factor'' and, with Maurice Engelen as his vocal coach, finished runner-up to Dirk De Smet.

Following ''X Factor'', Dice became the first signing to new label SonicAngel, and in June 2009, now under the name of Tom Dice, released his first single, an acoustic cover of Leona Lewis' ''Bleeding Love''. The single went on to reach number 7 on the Flemish singles chart during a 14-week chart run. Dice received a nomination in the 2009 TMF Awards in the category "Best New Artist", losing out to Jasper Erkens.

In May 2009, Dice began working, again with Engelen, on his debut album, which was originally scheduled for an October 2009 release, but has yet to be issued.

Eurovision Song Contest 2010

On 25 November 2009, Dice was chosen by the Flemish broadcaster Vlaamse Radio- en Televisieomroep (VRT) to represent Belgium at the Eurovision Song Contest 2010 in Oslo, Norway. His distinctive voice and TV experience were cited among the factors behind his selection. Reaction in Belgium to the announcement that Dice had been chosen by internal means was mixed, with some feeling that an open and public selection involving different artists would have been preferable.

The chosen song "Me and My Guitar" was unveiled on 7 March 2010, and was co-written by Ashley Hicklin, Jeroen Swinnen and Dice himself. The song went to number 1 in Belgium, both on the iTunes chart and on the official Flemish and Walloon charts; it also reached number 7 in Luxembourg. Dice performed the song in the first semi-final in Oslo on 25 May 2010 and qualified for the final, in first place, making him the first Belgian act to do so in 6 years. Tom Dice finished in sixth place, one of Belgium's best placements in the contest.

Discography

Albums

{|class="wikitable" style="text-align:center;" border="1" |+ List of albums, with selected chart positions and certifications ! scope="col" rowspan="2" style="width:8em;"| Title ! scope="col" rowspan="2" style="width:16em;"| Album details ! scope="col" colspan="9"| Peak chart positions |- ! scope="col" style="width:3em;font-size:85%;"| BEL(FLA) ! scope="col" style="width:3em;font-size:85%;"| BEL(WAL) |- ! scope="row" | ''Teardrops'' |

Released: 30 April 2010

Genre: Pop music

Label: Sonic Angel

Format: CD, Digital download

| 1 || 57 |}

Singles

{|class="wikitable plainrowheaders" style="text-align:center;" border="1" |+ List of singles, with selected chart positions and certifications, showing year released and album name ! scope="col" rowspan="2"| Title ! scope="col" rowspan="2"| Year ! scope="col" colspan="10"| Peak chart positions ! scope="col" rowspan="2" style="width:12em;"| Certifications ! scope="col" rowspan="2"| Album |- ! scope="col" style="width:3em;font-size:85%;"|BEL(VL)

! scope="col" style="width:3em;font-size:85%;"|BEL(WA)

! scope="col" style="width:3em;font-size:85%;"|DEN

! scope="col" style="width:3em;font-size:85%;"|FRA

! scope="col" style="width:3em;font-size:85%;"|GER

! scope="col" style="width:3em;font-size:85%;"|NL

! scope="col" style="width:3em;font-size:85%;"|IRE

! scope="col" style="width:3em;font-size:85%;"|SWE

! scope="col" style="width:3em;font-size:85%;"|UK

! scope="col" style="width:3em;font-size:85%;"|SWI |- |2009 ! scope="row"| "Bleeding Love" | 7 || — || — || — || — || — || — || — || — || — |align=left| |rowspan="4"| ''Teardrops'' |- |rowspan="2"|2010 ! scope="row"| "Me and My Guitar" | 1 || 1 || 39 || 68 || 20 || 30 || 20 || 24 || 85 || 32 |align=left| BEL: Gold |- ! scope="row"| "Lucy" | 21 || — || — || — || — || — || — || — || — || — |align=left| |- |2011 ! scope="row"| "A Thousand Years" | 44 || — || — || — || — || — || — || — || — || — |align=left| |}

As featured artist

{|class="wikitable plainrowheaders" style="text-align:center;" border="1" |+ ! scope="col" rowspan="2"| Title ! scope="col" rowspan="2"| Year ! scope="col" colspan="4"| Peak Chart positions ! scope="col" rowspan="2"| Album |- ! scope="col" style="width:3em;font-size:85%;"|FRA ! scope="col" style="width:3em;font-size:85%;"|BEL (FLA) ! scope="col" style="width:3em;font-size:85%;"|BEL (WAL) ! scope="col" style="width:3em;font-size:85%;"|SWI |- |rowspan="2"| 2011 ! scope="row"| "Il nous faut" (duet with Elisa Tovati) | 6 || 1 || 1 || 37 |''Le syndrome de Peter Pan'' (Elisa Tovati album) |- ! scope="row"| "Sunlight" (DJ Antoine feat. Tom Dice) | — || — || — || 10 |''2011'' (DJ Antoine album) |}

References

External links

Official website (Dutch)

Recordlabel SonicAngel

The Dice Myspace page

Category:1989 births Category:Belgian Eurovision Song Contest entrants Category:Belgian male singers Category:Belgian pop singers Category:Eurovision Song Contest entrants of 2010 Category:Living people Category:People from East Flanders Category:The X Factor contestants

az:Tom Days bg:Том Дайс ca:Tom Dice cy:Tom Dice da:Tom Dice de:Tom Dice es:Tom Dice fr:Tom Dice hr:Tom Dice it:Tom Dice lv:Toms Dīss nl:Tom Dice no:Tom Dice nn:Tom Dice pl:Tom Dice pt:Tom Dice ro:Tom Dice ru:Том Дайс sq:Tom Dice fi:Tom Dice sv:Tom Dice tr:Tom Dice uk:Том Дайс

name	Thierry Amiel
background	solo_singer
instrument	vocals
origin	France
genre	Pop
years active	2003–present
label	RCA (Sony BMG)
website	thierryamiel.com }}

Thierry Amiel (born 18 October 1982) is a French singer and songwriter from Marseille, France. He rose to fame after coming in second place to Jonatan Cerrada on the first edition of the French 'Pop Idol', À la Recherche de la Nouvelle Star.

Biography

Thierry grew up in Auriol, a town in Bouches-du-Rhône. Keen on music from a young age, in 2001 he quit his studies in Psychology and tried unsuccessfully for both ''Rêve d'un soir'' and ''Popstars 2''. His break came in 2003 when he competed in ''A La Recherche De La Nouvelle Star'', losing narrowly in the final round. Shortly afterwards, his first album ''Paradoxes'', along with his first single, ''Les Mots Bleus'', were released, ''Paradoxes'' coming 3rd in the top 50 albums of its opening week. After three years, Thierry released his second album on the 20 November 2006, titled eponymously ''Thierry Amiel''. The album gained 16th place in the top selling albums of France, with the single ''Cœur Sacré'' peaking at 6th place in top singles.

On 1 September 2007, Thierry competed in the Sopot Festival 2007 in Poland, representing France; his rivals were other music stars like: Sophie Ellis-Bextor, September, The Cloud Room and Monrose.

Recently, Thierry was chosen to play the lead role of Adam, in the musical comedy, ''Adam and Eve, the Second Chance'', by Pascal Obispo. The comedy is scheduled for performances beginning January 31, 2012, at the Palais des Sports in Paris.

Discography

Albums

13 October 2003: ''Paradoxes'' (#3 FR)

20 November 2006: ''Thierry Amiel'' (#16 FR)

24 May 2010: ''Où vont les histoires?''

Singles

20 August 2003 : ''Les mots bleus'' (#5 FR)

25 November 2003 : ''Je regarde là-haut'' (#47 FR)

18 May 2004 : ''Un jour arrive''

18 September 2006: ''Cœur Sacré'' (#6 FR)

17 June 2007: ''De là haut''

5 November 2007: ''L'amour en face''

23 November 2009: ''Où vont les histoires ?''

Music Videos

Les mots blues

Je regarde là-haut

Un jour arrive

Cœur Sacré

De là haut (Version Alternative)

Où vont les histoires? (TV Version)

Où vont les histoires?

External links

Official Site, in French

Sources

Category:1982 births Category:Living people Category:French pop singers Category:French-language singers Category:Idol series runners-up Category:Nouvelle Star participants

de:Thierry Amiel es:Thierry Amiel eo:Thierry Amiel fr:Thierry Amiel ja:ティエリ・アミエル pl:Thierry Amiel ro:Thierry Amiel

honorific-prefix	His Worship
name	Sean Finn
honorific-suffix	LL.M
order	Mayor of Saint-Lambert
term start	2006
term end	2009
predecessor	Part of city of Longueuil (2002-2005)Guy Boissy (1994-2001)
successor	Philippe Brunet
birth date	August 03, 1958
birth place	Verdun, Quebec
alma mater	Université de Montréal (LL.B, 1981)University of Toronto (LL.M, 1983)
profession	Businessman
footnotes	}}

Sean Finn (born August 3, 1958 in Montreal) is a Canadian politician and businessman. He currently serves as the Executive Vice-President, Corporate Services and Chief Legal Officer at Canadian National Railway's head office in Montreal.

From 2005-2009, he was the mayor of the city of Saint-Lambert, Quebec. On Wednesday September 9, 2009, Sean Finn announced that he would not be seeking re-election as mayor of Saint-Lambert.

Personal life

The son of an Irish immigrant, Sean Finn was raised in the Montreal neighbourhood of Verdun.

References

External links

Biography of Mayor Sean Finn

Saint-Lambert City Council

City of Saint-Lambert

Category:Canadian National Railway executives Category:Mayors of places in Quebec Category:1958 births Category:Living people Category:People from Montreal Category:Anglophone Quebec people Category:People from Saint-Lambert, Quebec Category:Canadian people of Irish descent