HISTORY OF RADIO

The radio has been the first device to allow for mass communication. It has enabled
information to be transferred far and wide, not only nationally wide but internationally as
well. The development of the radio began in 1893 with Nikolai Tesla’s demonstration of
wireless radio communication in St. Louis, Missouri. His work laid the foundation for
those later scientists who worked to perfect the radio we now use. The man most
associated with the advent of the radio is Guglielmo Marconi, who in 1986 was awarded
the official patent for the radio by the British Government.

Old Time Radio

The early uses of the radio were mainly for maintaining contact between ships out a
sea. However, this initial radio was unable to transmit speech, and instead sent Morse
code messages back and forth between ships and stations on the land. During time of
distress, a sinking ship would use a radio messaged nearby vessels and stations on the
land to ask for aid. The radio saw a surge of use during the First World War. Both sides
used the radio to relay messages to troops and top officials as well as people not on the
battle front. At the end of the war, President Woodrow Wilson’s Fourteen Points was
sent to Germany via use of the radio. After the war’s end, with the growth of radio
receivers, broadcasting began in Europe and The United States.

Europe’s most famous broadcasting station, the British Broadcasting Company or BBC,
began following in 1922. In fact, Marconi was one of the founding members along with
other prominent leaders in the field of wireless manufacturers. Broadcasts began locally
in London, but by 1925 it has spread to most of the United Kingdom. The station aired
plays, classical music and variety programs. However, the newspaper industry
maintained a strong hold over the new. In 1926 this all changed due to a newspaper
strike in England. With no news being published it fell on the BBC to supply the
information for the public. In 1927 the BBC became the British Broadcasting
Corporation when it was granted it a Royal Charter. When the Second World War
began all the television stations shut down and it fell on the shoulders of the radio to
cover the war.

The Radio Act of 1912 required all land radio stations and ship stations to be staffed 24
hours a day, 7 days a week.

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Following the war radio saw its greatest advancements and a turn towards its more
modern form. The devastation of Britain made its citizens look for an outlet in radio
entertainment. People enjoyed listening to the music, plays and discussion that the BBC
played. During the 1960s with the expansion of radio to FM more programs were played
and local BBC stations opened up across England. Radio in Europe continued to
expand and in the 1990s new radio stations, like Radio 1, 4 and 5 began broadcasting
with genres like sports and comedy appealing to new audiences. As the BBC entered
into the new millennium its popularity continued to grow. Its broadcasts of “The Century
Speaks”, an oral history of the 20th century and a reading of “Harry Potter and the
Sorcerer’s Stone” helped to gain more listeners. In 2002 the BBC expanded to the
digital market and saw its greatest expansion as new stations like 1Xtra, 5 Live, Sports
Extra, 6 Music and BBC 7 were launched and World Service were made available to
domestic listeners. The history of radio broadcasting in the United States followed a
similar path.

Radio broadcasting in the United States started with the Westinghouse Company. The
company asked Frank Conrad, one of their engineers, to start regularly broadcasting of
music, while they would sell radios to pay for the service. Westinghouse applied for a
commercial radio license in 1920, and started their station KDKA, the first officially
government licensed radio station. The station’s first broadcast was the election returns
of the Harding-Cox presidential race. Westinghouse also took out ads in the newspaper
advertising radios for sale to the public. Soon, thousand of radio stations emerged that
played a wide variety of broadcasts and reached people across the country that had
bought or built their own receivers. The home building of receivers created a problem in
the market, since people could simply build their own radios rather than going out to buy
them and the government was forced to step in. To curb this a government-sanctioned
agreement created the Radio Corporation Agreements, RCA, was formed to manage
the patents for the technology of the receiver and transmitter. Companies like General
Electric and Westinghouse were allowed to make receivers while Western Electric was
allowed to build transmitters. Also in the agreements, AT&T was made the only station
that was allowed to engage in toll broadcasting and chain broadcasting. This paved the
way for the next step in radio development in America, radio advertising.

KDKA - The first offically licensed radio station in Pittsburgh, Pa.

WEAF, an AT&T station in New York broadcasted the first radio advertisement in 1923.
Even with the RCA agreements, other station began radio advertising. Most of the other
radio stations were owned by private businesses and were used exclusively to sell that
company’s products. The RCA agreements did create a problem though, it gave AT&T
a monopoly over toll broadcasting and therefore radio advertisements. To break the

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monopoly, NBC and CBS were created and became the first radio networks in the late
1920s era. Walter Cronkite and Edward R. Murrow became the first radio journalists,
and by the end of the decade the radio had become an important source for news in
America. In the next decade war in Europe again broke out and it fell on the radio to
cover it. The radio acted to pacify and assuage the worries of a confused and scared
public. More importantly the radio helped to pull together the nation’s moral and backing
of the war effort. With the end of the war in 1945 television saw its rise to prominence
and radio began to go on a slow but steady decline. But in the 1950’s thanks to Rock
and Roll the radio saw new life.

Following the Second World War the radio turned into its more recognizable for of
musical entertainment. AM stations played a top-40 time and temperature format, which
meant they played popular three minute songs in constant rotation. All programming
and music became aimed at a target audience of ages twelve to thirty five, newly
emerging “middle class”. The sixties and seventies also saw the rise of FM radio. The
new music that FM aired began to pose a threat to the old top-40 music AM stations still
played in rotation, and the growing music of the hippie and psychedelic generation took
over the FM airwaves. Through the 80s and 90s radio broadcasting continued to
expand. Thousands of more stations sprung up playing all different kinds of music,
world, pop, rock, jazz, classical, etc… However, in the 21st century the radio has
reached its greatest heights.
With the year 2000 the radio expanded into the satellite and internet markets. The need
for live DJ’s is dwindling since everything can be done via a computer all the editing and
broadcasting can be done using hard drive of a computer. Jobs that used to take hours
to do can now be done with the simple click of a mouse. Car companies have paired up
with satellite radio stations like XM radio to offer special deals on satellite radios which
offer every kind of music, news, and entertainment stations one could ask for.

XM Radio is a popular form of entertainment in the United States.

From a tiny receiver that could transmit only sounds to a complex device with satellites
in space and wireless systems in cars, the radio has seen tremendous development.
The purpose of the radio, however, has remained constant. From its inception the radio
was created to communicate messages in mass for. Whether it be strictly news stories
like in its early days, or binging new music to fans across the nation information is
always being shared via this device. In almost every country radios are present, and in
some it is a primary means for communication. Without its invention our world would be
vastly different, it offered the first true means of mass communication and allowed
leaders and people alike to impart valuable information to each other with the ease and
efficiency.

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Sentence (linguistics)
A sentence is a linguistic unit consisting of one or more words that are grammatically linked. A
sentence can include words grouped meaningfully to express a statement, question, exclamation,
request, command or suggestion.[1] A sentence is a set of words that in principle tells a complete
thought, although it may make little sense taken in isolation out of context. Typically a sentence
contains a subject and predicate. A sentence can also be defined purely in orthographic terms, as
a group of words starting with a capital letter and ending in a full stop.[2] For instance, the
opening of Charles Dickens' novel Bleak House begins with the following three sentences:

London. Michaelmas term lately over, and the Lord Chancellor sitting in Lincoln's Inn
Hall. Implacable November weather.

The first sentence involves one word, a proper noun. The second sentence has only a non-finite
verb (although using the definition given above, e.g. "Chancellor sitting in Lincoln's Inn Hall."
would be a sentence by itself). The third is a single nominal group. Only an orthographic
definition encompasses this variation.

As with all language expressions, sentences might contain function and content words and
contain properties distinct to natural language[clarification needed], such as characteristic intonation and
timing patterns.

Sentences are generally characterized in most languages by the inclusion of a finite verb, e.g.
"The quick brown fox jumps over the lazy dog".

Components of a sentence
Clauses

A clause typically contains at least a subject noun phrase and a finite verb. While the subject is
usually a noun phrase, other kinds of phrases (such as gerund phrases) work as well, and some
languages allow subjects to be omitted. There are two types of clauses: independent and
subordinate (dependent). An independent clause is a complete sentence in itself, although it
may not express a complete thought: for example, They did it. A subordinate clause is not a
complete sentence: for example, because I have no friends. See also copula for the consequences
of the verb to be on the theory of sentence structure.

A simple complete sentence consists of a single clause. Other complete sentences consist of two
or more clauses (see below).

Classification
By structure

One traditional scheme for classifying English sentences is by clause structure, the number and
types of clauses in the sentence with finite verbs.

 A simple sentence consists of a single independent clause with no dependent clauses.

 A compound sentence consists of multiple independent clauses with no dependent
clauses. These clauses are joined together using conjunctions, punctuation, or both.
 A complex sentence consists of one independent clause and at least one dependent clause.
 A complex-compound sentence (or compound-complex sentence) consists of multiple
independent clauses, at least one of which has at least one dependent clause.

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By purpose

Sentences can also be classified based on their purpose:

 A declarative sentence or declaration, the most common type, commonly makes a

statement: "I have to go to work."
 An interrogative sentence or question is commonly used to request information — "Do I
have to go to work?" — but sometimes not; see rhetorical question.
 An exclamatory sentence or exclamation is generally a more emphatic form of statement
expressing emotion: "I have to go to work!"
 An imperative sentence or command tells someone to do something (and if done strongly
may be considered both imperative and exclamatory): "Go to work." or "Go to work!"

Major and minor sentences

A major sentence is a regular sentence; it has a subject and a predicate. For example: "I have a
ball." In this sentence one can change the persons: "We have a ball." However, a minor sentence
is an irregular type of sentence. It does not contain a main clause. For example, "Mary!"
"Precisely so." "Next Tuesday evening after it gets dark.". Other examples of minor sentences
are headings (e.g. the heading of this entry), stereotyped expressions ("Hello!"), emotional
expressions ("Wow!"), proverbs, etc. These can also include nominal sentences like "The more,
the merrier". These mostly omit a main verb for the sake of conciseness, but may also do so in
order to intensify the meaning around the nouns: this type of sentence is often found in poetry
and catchphrases.[3]

Sentences that comprise a single word are called word sentences, and the words themselves
sentence words.[4]

Sentence length
After a slump in interest, sentence length came to be studied in the 1980s, mostly "with respect
to other syntactic phenomena".[5]

One definition of the average sentence length of a prose passage is the ratio of the number of
words to the number of sentences.[6] The textbook Mathematical linguistics, by András Kornai,
suggests that in "journalistic prose the median sentence length is above 15 words".[7] The average
length of a sentence generally serves as a measure of sentence difficulty or complexity. [8] In
general, as the average sentence length increases, the complexity of the sentences also increases.
[9]

Another definition of "sentence length" is the number of clauses in the sentence, while the
"clause length" is the number of phones.[10]

Research by Erik Schils and Pieter de Haan (by sampling five texts) showed that two adjacent
sentences are more likely to have similar lengths than two non-adjacent sentences, and almost
certainly have similar length when in a work of fiction. This countered the theory that "authors
may aim at an alternation of long and short sentence".[11] Sentence length, as well as word
difficulty, are both factors in the readability of a sentence.[12] However, other factors, such as the
presence of conjunctions, have been said to "facilitate comprehension considerably". [13]

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Alpabetong Filipino
Tinatalakay ng artikulong ito ang alpabetong Filipino, isang wikang Awstronesyo.

Ang Ortograpiya ng Wikang Pambansa

Noong Agosto 2007, ang Komisyon sa Wikang Filipino ay nagpalabas ng dokumento tungkol sa
palabaybayan ng wikang Filipino, na maaring bigyan ng komento.[1] Ito ay hango sa paggamit ng
mga titik ng alpabetong Filipino, at ang mga radikal na rebisyon na isinagwa noong taong 2001.

Noong Mayo 2008, inilabas ang KWF ang pinal na burador ng Gabay sa Ortograpiya ng Wikang
Filipino. Itinakwil nito ang mga radikal na rebisyon ng 2001 at mas binigyang-halaga ang status
quo, bagaman kinokodipika o ginagawa nang opisyal ang ilang mga aspeto nito.

What Should We Pray For?

January 1, 1995

 by John Piper
 Topic: Prayer

One way to answer this question is to look at what the early church prayed for. Here is a list
gathered from the New Testament. It can guide you in how you pray. I suggest that periodically
you pray through this list just to test whether your prayers are leaving out anything the New
Testament included. We don't have to pray all of these each time we pray. But over time it would
be good if our prayers had the breadth and depth of the New Testament prayers.

They called on God to exalt his name in the world.

Pray then like this: Our Father who art in heaven, Hallowed be thy name (Matthew 6:9).

They called on God to extend his kingdom in the world.

Thy kingdom come. Thy will be done, On earth as it is in heaven (Matthew 6:10 ).

They called on God that the gospel would run and triumph.

Finally, brethren, pray for us, that the word of the Lord may speed on and triumph, as it did
among you (2 Thessalonians 3:1).

They called on God for the fullness of the Holy Spirit.

If you then, who are evil, know how to give good gifts to your children, how much more will the
heavenly Father give the Holy Spirit to those who ask him! (Luke 11:13; cf. Ephesians 3:19).

They called on God to vindicate his people in their cause.

And will not God vindicate his elect, who cry to him day and night? Will he delay long over
them? (Luke 18:7).

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They called on God to save unbelievers.

Brethren, my heart's desire and prayer to God for them is that they may be saved (Romans 10:1).

They called on God to direct the use of the sword.

"Take the sword of the Spirit, which is the word of God, praying through all prayer and
supplication on every occasion . . ." (Ephesians 6:17-18)

They called on God for boldness in proclamation.

Pray at all times in the Spirit . . . and also for me, that utterance may be given me in opening my
mouth boldly to proclaim the mystery of the gospel (Ephesians 6:18-19)

And now, Lord, look upon their threats, and grant to thy servants to speak thy word with all
boldness (Acts 4:29).

They called on God for signs and wonders.

And now Lord . . . grant your servants to speak thy word with boldness . . . while you stretch out
your hand to heal, and signs and wonders are performed through the name of thy holy servant
Jesus (Acts 4:30).

Elijah was a man of like nature with ourselves and he prayed fervently that it might not rain, and
for three years and six months it did not rain on the earth. Then he prayed again and the heaven
gave rain, and the earth brought forth its fruit (James 5:17 -18).

They called on God for the healing of wounded comrades.

Let them pray over him, anointing him with oil in the name of the Lord, and the prayer of faith
will save the sick man and the Lord will raise him up (James 5:14-15).

They called on God for the healing of unbelievers.

It happened that the father of Publius lay sick with fever and dysentery; and Paul visited him and
prayed, and putting his hands on him healed him (Acts 28:8).

They called on God for the casting out of demons.

And he said to them, "This kind cannot be driven out by anything but prayer" (Mark 9:29)

They called on God for miraculous deliverances.

So Peter was kept in prison; but earnest prayer for him was made to God by the church . . . When
he realized [he had been freed], he went to the house of Mary, the mother of John whose other
name was Mark, where many were gathered together and were praying (Acts 12:5,12).

But about midnight Paul and Silas were praying and singing hymns to God, and the prisoners
were listening to them, and suddenly there was a great earthquake (Acts 16:25-26).

They called on God for the raising of the dead.

But Peter put them all outside and knelt down and prayed; then turning to the body he said,
"Tabitha, rise." And she opened her eyes, and when she saw Peter she sat up (Acts 9:40).

They called on God to supply his troops with necessities.

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Give us this day our daily bread (Matthew 6:11).

They called on God for strategic wisdom.

If any of you lacks wisdom, let him ask God, who gives to all men generously and without
reproaching, and it will be given him (James 1:5).

They called on God to establish leadership in the outposts.

And when they had appointed elders for them in every church, with prayer and fasting they
committed them to the Lord in whom they believed (Acts 14:23).

They called on God to send out reinforcements.

Pray therefore the Lord of the harvest to send out laborers into his harvest (Matthew 9:38).

While they were worshiping the Lord and fasting, the Holy Spirit said, "Set apart for me
Barnabas and Saul for the work to which I have called them." Then after fasting and praying they
laid their hands on them and sent them off (Acts 13:2-3).

They called on God for the success of other missionaries.

I appeal to you, brethren, by our Lord Jesus Christ and by the love of the Spirit, to strive together
with me in your prayers to God on my behalf, that I may be delivered from the unbelievers in
Judea, and that my service for Jerusalem may be acceptable to the saints, (Romans 15:30-31).

They called on God for unity and harmony in the ranks.

I do not pray for these only, but also for those who believe in me through their word, that they
may all be one; even as thou, Father, art in me, and I in thee, that they also may be in us, so that
the world may believe that thou hast sent me (John 17:20-21).

They called on God for the encouragement of togetherness.

[We are] praying earnestly night and day that we may see you face to face and supply what is
lacking in your faith? (1 Thessalonians 3:10).

They called on God for a mind of discernment.

And it is my prayer that your love may abound more and more in with knowledge and all
discernment, so that you may approve what is excellent, and may be pure and blameless for the
day of Christ (Philippians 1:9-10).

They called on God for a knowledge of his will.

And so, from the day we heard of it, we have not ceased to pray for you, asking that you may be
filled with the knowledge of his will in all spiritual wisdom and understanding (Colossians 1:9).

They called on God to know him better.

[We have not ceased to pray for you to be] increasing in the knowledge of God (Colossians
1:10 ; cf. Ephesians 1:17 ).

They called on God for power to comprehend the love of Christ.

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I bow my knees before the Father . . . that you may have power to comprehend with all the saints
what is the breadth and length and height and depth and to know the love of Christ which
surpasses knowledge (Ephesians 3:14,18).

They called on God for a deeper sense of assured hope.

I do not cease to give thanks for you, remembering you in my prayers . . . that you may know
what is the hope to which he has called you, what are the riches of his glorious inheritance in the
saints (Ephesians 1:16,18).

They called on God for strength and endurance.

[We have not ceased to pray for you to be] strengthened with all power, according to his glorious
might, for all endurance and patience with joy (Colossians 1:11 ; cf. Ephesians 3:16).

They called on God for deeper sense of his power within them.

I do not cease to give thanks for you, remembering you in my prayers . . . that you may know . . .
what is the immeasurable greatness of his power toward us who believe (Ephesians 1:16, 19).

They called on God that their faith not be destroyed.

I have prayed for you that your faith may not fail; and when you have turned again, strengthen
your brethren (Luke 22:32).

Watch at all times, praying that you may have strength to escape all these things that will take
place, and to stand before the Son of man (Luke 21:36).

They called on God for greater faith.

Immediately the father of the child cried out and said, "I believe; help my unbelief!" (Mark 9:24 ;
cf. Ephesians 3:17).

They called on God that they might not fall into temptation.

Lead us not into temptation (Matthew 6:13).

Watch and pray that you may not enter into temptation; the spirit indeed is willing, but the flesh
is weak (Matthew 26:41).

They called on God that he would complete their resolves.

To this end we always pray for you, that our God may make you worthy of his call, and may
fulfil every good resolve and work of faith by his power (2 Thessalonians 1:11).

They called on God that they would do good works.

[We have not ceased to pray for you that you] lead a life worthy of the Lord, fully pleasing to
him, bearing fruit in every good work (Colossians 1:10).

They called on God or forgiveness for their sins.

Forgive us our debts as we forgive our debtors (Matthew 6:12).

They called on God for protection from the evil one.

Deliver us from evil (Matthew 6:13).

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THE ART OF TOUCHING LIVES
At the Academy of Singapore Teachers, a new STAR is rising. The Singapore Teachers’
Academy for the aRts, or STAR for short, is helping Art and Music teachers to shine.
Academy Principal Mrs Rebecca Chew shares her vision of how arts education can help
our society grow and mature.

Q: What is the place of Art and Music in the school curriculum?

Let me talk more broadly about the role of arts education. When we talk about this, we’re really
talking about what touches lives. It’s about our psyche – our identity, our heritage, our
rootedness, and sense of place. It has to do with our personhood in a larger societal narrative.
And schools are the natural vehicles for developing this.

We often think of Art and Music subjects in silos. But teachers should not think about them
simply as subjects but as touching lives. And what’s the place of teachers in this larger narrative
in society? They are the critical success factors in the building of tomorrow.

Arts educators build social and cultural capital. What then, is the purpose and meaning of what
they conceive and carry out in the classrooms, and how does it fit into the larger landscape?

So it’s a clarion call to teachers to see their professional work and up-skilling themselves. This is
the continuing work of STAR. STAR develops the capability of Art and Music teachers by
providing structured extended learning opportunities in the specialized domains. We want to help
make the arts educators’ thinking visible and help them question their own assumptions, about
what they know and the role they play in that larger narrative.

Q: What can teachers do to develop themselves?

They can tap into STAR’s resources – register for the milestone programmes as arts educators,
“like” the very active Facebook page which has updates about events in the arts community, and
blog and share about their shared experiences, making teaching and learning both meaningful
and connected.

STAR helps teachers plug into the larger community of arts educators where they find greater
support and good critical friends for their teaching ideas and approaches. When people organize
themselves according to their specialized arts interests, they do it wholeheartedly. It’s
transformative renewal from within.

School leaders must value the Art and Music teachers in their midst, and
know that these people are very precious.

- Rebecca Chew, Singapore Teachers’ Academy for the aRts

You can differentiate the teacher–artist as opposed to the artist–teacher. The artist–teacher is
usually the artist, who may share foremost the studio practice experiences through workshops,
forums, or performances at events. The teacher–artist, on the other hand, is the educator. What
the teacher–artist does is first finding meaning in what is learned as a reflexive approach, and
then connecting the applied learning into meaningful approaches for the differentiated classroom.

So there is depth, and there’s also breadth. We’re going beyond community to building a
fraternity of arts teachers – that’s something more difficult to achieve.

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Q: How can schools encourage and support arts education?

School leaders must value the Art and Music teachers in their midst, and know that these people
are very precious. Their role cannot be underestimated because they bring collaborative practice,
critique, core studio habits into the teaching routines.

We’re talking about a total curriculum – Art and Music are respected as equal subject disciplines
as part of this total curriculum. It’s about understanding the transformation that arts education
can bring about.

School leaders are pivotal because they are the ones who can drive transformation and
innovation through the stewardship of these arts educators they have in their staff complement.
They can ensure sufficient resourcing, enable enlightened timetabling schedules to support studio
time, and deploy staff who have the skills required to enable sustainability of the values taught
within the rigour of these subject domains.

Q: From your experience at SOTA, what is the value or impact of such an education on the
students?

The first batch of students from SOTA graduated last year. And from what the parents tell us,
they are surprised to see how much their kids have grown and matured suddenly. There is a
strength of mind and inner resilience. Children are by nature very curious, but these students are
not afraid to ask questions or to probe deeper.

Perhaps these habits came from the way they were taught – through critiquing, spiralling
questioning, the many reiterations they have do for each piece of work. Some people call it
critical thinking, but I see it as more than that. They develop analytical and lateral thinking, and
they are able to take a position for themselves.

As an educator, you see these students you nurture applying their artistic skills to lived reality,
linking with the community. We had eight students who went to document 100 Acehnese
families’ stories of what the tsunami did to their families. These students returned to make
beautiful illustrated books to be sent back to the Aceh primary school, to help the community tell
the stories for those kids as a piece of their heritage story.

We need skilled teachers who are enlightened to see purpose and meaning, to see the
transformative role that Art and Music can play, and who encourage experimentation, expression
and discovery. Through what they do, they contribute a larger voice to that narrative, to our
heritage as a Singapore society.

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