Heart Attack in Mexico: Spanish guitarist Paco de Lucia died at the age of 66 (21 Dec 1947 – 25 Febr 2014)

Paco de Lucia in Arles (France) before a show with John McLaughlin Español: El maestro Paco de Lucia antes el espectaculo en Arles con John McLaughlin (Photo credit: Wikipedia)

(CNN) — Legendary Spanish guitarist Paco de Lucia, who is credited with transforming the folk art of flamenco into a more vibrant modern sound, has died. He was 66.

The Gipsy Kings may have gone a long way toward making flamenco mainstream, but de Lucia paved the way.

A proponent of the New Flamenco style, de Lucia’s career is defined by crossover collaborations with guitarists such as Eric Clapton, John McLaughlin and Al Di Meola, and jazz pianist Chick Corea.

De Lucia was playing with family members on a beach in Cancun, Mexico, when he suddenly fell ill, according to the spokesman for his hometown, Algeciras, in southern Spain.

He died on the way to the hospital Tuesday in Mexico. Miguel Nunez, the Algeciras spokesman, said the preliminary cause of death appears to be a heart attack.

Algeciras, near the Strait of Gibraltar, plans to declare several days of official mourning.

(Source: 02/25/2014 – CNN)

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• Famed flamenco guitarist Paco de Lucia dies (wyff4.com)
• Legendary flamenco guitarist Paco de Lucia dies (voxxi.com)
• Renowned Spanish flamenco guitarist Paco de Lucia dies (dnaindia.com)
• Flamenco guitarist Paco de Lucia dies at 66 (arkansasonline.com)
• Renowned Spanish flamenco guitarist Paco de Lucia dies aged 66 (irishtimes.com)
• Renowned Spanish flamenco guitarist Paco De Lucia dies (cyprus-mail.com)
• Paco de Lucia, Renowned Flamenco Guitarist, Dies at 66 (nytimes.com)
• Spanish flamenco guitarist Paco de Lucia dies, aged 66 (digitalspy.co.uk)
• Flamenco guitarist Paco de Lucia dies (toledoblade.com)

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The trio with Paco De Lucia, John McLaughlin and Al di Meola  became world famous…

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We wish a 67th happy birthday to vocalist Pandit Ajay Pohankar

Maestro Pandit Ajay Pohankar (born 24th Febr 1947)

Hindustani vocalist Pandit Ajay Pohankar (born 24th Febr 1947) – Source: Facebook

Pt. Ajay Pohankar is one of the great Indian classical artist this country has produced. Ajay-ji was born in 1947 in an educated family that breathed and lived music.He has been singing the Kirana, Patiala and Gwalior Gharana gayaki-s and was trained by his mother and musicologist Dr. Susheela Pohankar… who is a double MA like Ajayji himself who has a Masters degree in English and Music.

Ajay-ji was a child prodigy and was introduced to classical music scene by none other than Ustad Amir Khan Saheb in 1958 at the age of ten (10) at the Calcutta music conference. At the same age he was the youngest artist to be featured in the Mecca of classical music conferences The Sawai Gandharva Festival wherein he sang with the likes of Ustad Salamat Nazakat, Hirabai Badodekar, Pt. Omkarnath Thakur, Begum Akhtar and Pt Bhimsen-ji. A feat, which is extremly rare in today’s generation of artists. Ajay-ji has since then been receiving love and affection from all these great artists who have heard him as a miracle in his younger years and as a living legend now.

Pandit Ajay Pohankar has been in the Indian music scene since last 50 years now, has done innumerable concerts in India and around the world and has been a trendsetter in his own right. His singing impresses primarily for its aesthetic beauty and then for its impeccable technique. His voice has reached and touched the hearts of millions of listeners around the world.

Ajayjis has performed in almost all conferences and major festivals in India in his long career of 5 decades like Harvallabh Festival (Jalandha)r, Pune’s Sawai Gandharva Ffest, Tansen Festival (Gwalior), Sankatmochan (Benares), Saptak and many more besides the prestigious tourism festivals and innumerable international concerts in some of the most prestigious venues of Africa, U.k and America.

Ajayji is one of the finest Thumri singers of the country. Being a Maharashtrian it was very difficult to imbibe the art but he has contributed to this genre unconditionally.

… receiving the Sangeet Natak Academy National Award for his contribution in Indian music on 29th May 2013 at the hands of the Honorable President of India Shri Pranab Mukherjee in Delhi (Source: Facebook)

Ajayji has to his credit many awards given to him by various organizations. The quality of his voice is considered one of the best in the country and has been used for many international c.d compilations as well. His voice not only is traditional but has immense capability to sing numerous genres of music, his latest milestone being India’s most famous fusion album along with his son Indian classical keyboardist his singing reached even the common man and left a mark in there minds for many years to come.

Ajayji is extreamly adaptable to new music styles and is always open about experimenting with new musicians and new genre of music. His gayaki has crossed the geographical and cultural boundaries since many years and his voice is liked by people and artists from around the world, making him one of the great artists of India. This is his 60th anniversary year and Ajayji is performing some special concerts around the world to mesmerize the audience that loves him. Truly a simple but most glittering gems of INDIAN CLASSICAL MUSIC Maestro Pt. Ajay Pohankar

(Source: 02/2014 – www.ajaypohankar.com (Official Website)

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Pt Ajay Pohankar sings Thumri (in Raga form Mishra Pahadi)…

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Pt Ajay Phoankar sings Ghazal…

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A – Raga CDs of the Month (02/2014): From Hawaii to South Asia – The Indian Classical Guitar (short version)

The promotion initiative IMC – India meets Classic presents the show “Raga CDs of the Month” with the topic “From Hawaii to South Asia – The Indian Classical Guitar“.

With the IMC programme in recent years (since 2006…) for Indian classical music we experienced instruments that come from the West ( see http://www.imcradio.net/archives ). Like the violin in the South Indian classical music, the hand-operated harmonium as an accompanying instrument and successor of the Sarangi (Indian fiddle) or the saxophone, as we know it from Jazz and the mandolin, a double-string instrument from Italy.
There are many reasons that explain the arrival of Western instruments in the collective of traditional Indian wind, string and percussion instruments. There existed the military orchestras of the British Empire, French missionaries in the 19th century, the chapels of the Maharajas or film scores from Mumbai as the Bollywood capital. The sound of these new instruments inspired musicians to experiment. With structural changes and special playing techniques they adapted to the particular interpretations and Indian style of Ragas and Ragams (North and South Indian classics).

dates of broadcasting…

23rd Febr 2014– 05:00 p.m. EST (11:00 pm CET) @ Radio FRO (A)
10th Febr 2014– 04:00 p.m. EST (10:00 pm CET) @ Radio RaSA (CH)
(Premiere: 25th May 2012 – 09:00 -11:00 pm CET @ radio multicult.fm)
InternetStream (Web & Mobile Radio) | PodCasting | broadcasting plan

The so called slide bar defines the height of the guitar tone by sliding on the free-swinging strings a lot more using a piece of iron, rather than to shorten or to extend by tapping the frets (on the guitar keyboard). Beside their own creations of slide bars there are various forms, materials and colours on the market. Until the 80s manufacturers experimented with new materials. Glas or pyrex, inorganic cobalt oxid, bone or porcelain can produce different timbres of sound.

different models of Indian Classical Guitars (Slide guitars) …

(from let to right: Hansa Veena, Chaturangi, Shankar Guitar, Mohan Veena, Swar Veena)

History conveys that in 1931 a young Hawaiians came to India with his guitar in the luggage. Tau Moe was his name. The importance of Tau Moe for the Indian slide guitar made him well known in India, more as in his homeland. First musicians in Indian West Bengal played songs on the Hawaiian guitar, performing compositions from the repertoire of the first Indian Nobel laureate Tagore Rabindranat (Rec.: With these lyrics and melodies of Tagore a separate vocal genre developed as ‘Rabindra Sangeet’).

In addition to introducing the Hawaiian guitar and playing techniques of by Tao Moe there exist another version of narration. It is said that Gabriel Davion introduced in India to play the guitar with a steel bar. Gabriel Davion was a sailor of Indian descent. He was allegedly abducted by Portuguese sailors in 1876 to Hawaii. Gabriel Davion had oriented himself probably to the slide technique of the Vichitra Vina and Gotuvadyam, two Indian instruments (lutes). Since the 11th century the slide technique is known in India.

A – Raga CDs des Monats (02/2014): Von Hawaii nach Südasien – Die indisch-klassische Gitarre (Kurzfassung)

Die Förderinitiative IMC – India meets Classic präsentiert Ihnen in der Sendung “Raga CDs des Monats” das Thema “Von Hawaii nach Südasien – Die indisch-klassische Gitarre“.

In dem Programmverlauf der letzten Jahre (seit 2006) zur indisch-klassischen Musik haben wir Instrumente kennengelernt, die aus dem Westen stammen (s. http://www.imcradio.net/archive ). Wie die Violine in der südindischen Klassik, das handbetriebene Harmonium als Begleitinstrument und Nachfolger der Sarangi, der indischen Fiddel – oder das Saxophon, wie wir es aus dem Jazz kennen und die Mandoline, ein doppelsaitiges Instrument aus Italien. Es gibt verschiedensten Gründe, die den Einzug der westlicher Instrumente erklären in das Sammelsurium der traditionell-indischen Blas-, Saiten- und Percussioninstrumente.
Da waren die Militärorchester des Britisch Empire, französische Missionare im 19. Jahrhundert, die Hofkapellen der Maharajas oder Filmmusiken aus Mumbai, der Bollywoodhauptstadt. Der Klang dieser neuen Instrumente inspirierte Musiker, zu experimentieren. Mit baulichen Veränderungen und besonderen Spieltechnicken adaptierte man sie für die besonderen Interpretationsstile der Ragas und Ragams in der nord- und südindischen Klassik.

Sendetermine…

23. Febr 2014 – 23:00 Uhr CET (05:00 p.m. EST) @ Radio FRO (A)
10. Februar 2014 – 22:00 Uhr CET (04:00 p.m. EST) @ Radio RaSA (CH)
(Premiere: 25. Mai 2012 – 21:00 -23:00 pm CET @ radio multicult.fm)
InternetStream (Web & Mobile Radio) | PodCasting | broadcasting plan

Mit der s.g. slide bar wird die Höhe des Gitarrentons definiert durch das Abgreifen, oder viel mehr durch das Gleiten mit einem Eisenstück über die freischwingenden Saiten, anstatt sie durch das Abgreifen an den Gitarrenbünden (frets) zu verkürzen oder zu verlängern. Neben Eigenanfertigungen gibt es auf dem Markt unterschiedlichste Aufführungen von slide bars in Form, Materialien und Farbe. Noch bis in die 80er Jahre experimentierten Hersteller mit neuen Materialien. Aus Glas oder Pyrex, aus anorganischem Kobaldoxid bis zu Knochen oder Porzellan können verschiedenste Klangfarben erzeugt werden.

Verschiedene Modelle der indisch-klassischen Gitarre (Slide-Gitarre)…

(v.l.n.r.: Hansa Veena, Chaturangi, Shankar-Gitarre, Mohan Veena, Swar Veena)

Die Geschichte überliefert, dass im Jahre 1931 ein junger Hawaianer nach Indien kam, mit seiner Gitarre im Gepäck. Tau Moe war sein Name. Die Bedeutung von Tau Moe für die indische Slide-Gitarre hat ihn in Indien bekannter werden lassen, als in seiner Heimat. Zuallererst wurden auf der Hawaii-Gitarre Lieder im indischen West-Bengal gespielt. Es waren Kompositionen aus dem Repertoire des ersten indischen Literaturnobelpreisträgers Rabindranat Tagore. Mit diesem Liedgut hat sich bis heute ein eigenes Gesangsgenre entwickelt, der Rabindra Sangeet.

Neben der Einführung und Spieltechnik der Hawaii-Gitarre durch Tao Moe gibt es eine weitere Version. Es wird erzählt, dass Gabriel Davion das Gitarrenspiel mit einer Steelbar in Indien einführte. Gabriel Davion war ein Seemann indischer Abstammung. Er soll von portugiesischen Seglern im Jahre 1876 nach Hawaii verschleppt worden sein. Gabriel Davion hat sich wohl für die Slide-Technik auch an Instrumenten orientiert: an der Vichitra Vina und dem Gotuvadyam, zwei indische Lauten. Bereits seit dem 11. Jahrhundert kennt man in Indien die Slidetechnik.

DE – Raga CDs des Monats (02/2014): Ein göttliches Instrument – Bambus von 14 Zoll Länge…

Die indische Flöte ist eines der ältesten Instrumente Indiens. Gedichte in Sanskrit und Hindi lobpreisen den Klang der Bansuri. Eines dieser Gedichte besagt: Als Lord Krishna auf der Flöte spielte, waren sogar die kleinen Kälber durch die göttliche Melodie so entzückt, dass sie aufhörten, Wasser aus dem Fluss Yamuna zu trinken und Milch aus dem Euter der Mutterkühe zu saugen. Selbst der Strom von Yamuna versiegte, so verzaubert war er von der Flötenmusik.

Mit der indischen Flöte und ihrem emotionalen Ausdruck verbindet man auch immer die Gottesliebe, eine Liebe ohne die Absicht für das persönliche Glück. Es ist Shringara-Bhava, sie wird symbolisiert zwischen Krishna und Radha, einer der Gopis, der Kuhirtenmädchen. Die Gopis gehören im Hinduismus zu dem intimsten Kreis der Gottesliebenden. Krishna ist die Verkörperung von Vishnu, in Darstellungen immer in Lila als Ganzkörperfarbe auch für Laien leicht zu erkennen.

Sendetermine…

20. Februar 2014 – 21:00 Uhr CET (03:00 EST) @ radio multicult.fm (DE)
(Premiere: 21.11.2011 – 23:00 Uhr MET @ Tide 96.0)
broadcasting plan | streaming (Internet Radio & Mobile Radio) | podCast

Es ist nicht genau überliefert, wann und wie die indische Bambusflöte entstanden ist. Kalidasa, ein Dichter in der Sanskrit-Sprache, hat eine Legende über die Entstehung der Bambusflöte geschaffen, ca. 650 Jahre nach Christi Geburt in seinem epischen Werk Kumarasambhava: “Eine Schwarze Biene soll ihren Stachel durch einen ranken Bambushalm gestochen haben. Als der Wind durch das Loch blies und Musik erklang, waren die kinara, musik-liebende Halbgötter davon so angetan, dass sie dieses Bambusstück abschnitten. Daraus fertigten Sie ein Instrument, die indische Bambusflöte.”
Im antiken, musikwissenschaftlichen Text Naradiya Shiksha aus 600 n.Chr. wird die Bambusflöte als eine Art Stimmgabel beschrieben, für das Rezitieren von Versen aus der Samaveda, eine der vedischen Schriften. In der mittelalterlichen Abhandlung Sangeet Ratnakara aus dem Jahre 1247 n.Chr. wird die indische Flöte in 15 verschiedenen Ausführungen beschrieben.

Für die indische Flöte gibt es eine Vielzahl von Bezeichnungen. Das führt man auf die häufige Beschreibung in Gedichten zurück, in denen Krishna und sein Flötenspiel beschrieben wird. Das Wort Bansuri stammt aus dem Sanskrit. Bans heisst Bambus und Swar ist eine musikalische Note. Die Bambusflöte wird auch Bansi, Venu, Murali, Algooz oder Vamshi genannt. Die Bansuri ist in ihrer Bauart als Querflöte angelegt, und kommt ursprünglich aus der indischen Volksmusik. Erst im 20. Jahrhundert hat sich die Bansuri in der indischen Klassik etabliert. Die Bansuri ist heute eine etablierte Vertreterin der nordindischen Klassik.  Auch in der südindischen Klassik hat die Bambusflöte Einzug gehalten. Hier bezeichnet man sie als Venu. Gegenüber der Bansuri besitzt die Venu zwei Grifflöcher mehr. Die Bansuri ist regulär mit sechs Grifflöchern ausgestattet, die Venu besitzt acht.

DE – Raga CDs of the Months (02/2014): The Divine Instrument – Bamboo of 14″

The Indian flute is one of the oldest instruments in India. Poems in Sanskrit and Hindi praise the sound of the bansuri. One of the poems reads: “When Lord Krishna is playing the flute, even the little calves were so charmed by the divine melody that they stopped to drink water from the river Yamuna and to suckle milk from the udder of the mother cows. Even the flow of Yamuna dried up as it was so enchanted by the flute music.

With the Indian flute and it’s emotional expression you always combine the love of God, a love without the intention for personal happiness. It is Shringara-bhava, it is symbolized between Krishna and Radha, one of the Gopis, the cow herd girls. The In Hinduism the Gopis belong to the most intimate circle of lovers of God. Krishna is the incarnation of Vishnu, in representations always easy to recognize in lilac as full body colour.

dates of broadcasting…

20th February 2014 – 03:00 pm EST (09:00 pm CET) @ radio multicult.fm (DE)
(Premiere: 21st Nov 2011 – 11:00 pm CET @ Tide 96.0 FM)
broadcasting plan | streaming (Internet Radio & Mobile Radio) | podCast

It is not reported exactly when and how the Indian bamboo flute came into existence. Kalidasa, a poet in the Sanskrit language, has created a legend about the origin of the bamboo flute, about 650 years (A.D.) in his epic work Kumarasambhava: “A black bee is said to have stung the sting by a shrouded bamboo blade. When the wind blew through the hole and music sounded, the kinara, music-loving demigods were so impressed that they cut this piece of bamboo. They made an instrument of it, the Indian bamboo flute was born.”

In the ancient musicological script Naradiya Shiksha (600 A.D.) the bamboo flute is described as a kind of tuning fork, for the recitation of verses  n from the Samaveda, which is one of the Vedic scriptures. In the medieval treatise Sangeet Ratnakara (1247 AD) the Indian flute is described in 15 different designs.

For the Indian flute there exist a variety of denominations. The different namings are lead back to the frequent description in poetry, where Krishna playing his flute is described. The word bansuri originates from Sanskrit. Bans means bamboo and Swar is a musical note. The bamboo flute is also called Bansi, Venu, Murali, Algooz or Vamshi. The bansuri is applied in its design as a transverse flute and is originally from the Indian folk music. Only in the 20th Century the Bansuri has been introduced in Indian classical music. The bansuri is now an established representative of the North Indian classical music. Also in the South Indian classics the bamboo flute has taken hold. Here it is called Venu. Compared with the bansuri the Venu has two holes more. The bansuri is equipped with six regular holes (+ blow hole), that Venu has eight.

DE – Raga CDs of the Months (02/2014): Morning Ragas (early + late)

The correct time of day and night for a performing ragas is one of the centre rules of the raga system. Early morning ragas are performed between 03:00 and 06:00 a.m. we present in part 1 (09:00-10:00 am CET) of our broadcasting.

Most of the morning ragas bases on the scales of the thaat system “bairav” (Bhairavi (Ahir, Ramkali, Bhupali, Jogiya Bhairav-Bahar …). Bairav means the emotional expression within the raga music to effect stability of mind and seriousity.

date of broadcasting …

16th Febr 2014 – 9:00-11:00 a.m. EST (3-5:00 p.m. CET) @ radio multicult.fm (Germany/Berlin)
(premiere: 22nd May 2006 – 03:00 p.m. @ Tide 96.0 FM)
broadcasting plan | streaming (Internet Radio & Mobile Radio) | podCast

Following part 1 we move forward in part 2 (10:00-11:00 am) in the time cycle with late morning ragas which are performed between 06:00 and 09:00 a.m.

In the thaat system and it’s 10 basic scales the morninga ragas are represented strongest. Following the four thaats Bhairav (e.g. Raag Aheer Bhairav), Bhairavi (e.g. Raag Bilaskani Todi), Asaravari and Todi (e.g. Raag Mian-Ki Todi or Gurjari Todi) a tremendous number of morning ragas has been created.

DE – Raga CDs des Monats (02/2014): Morgenragas (Früh- u. Spät-)

Ragas dürfen nur zu einer bestimmten Jahres-, Tages- o. Nachtzeiten gespielt werden. Der Frühmorgenraga wird zwischen 03:00 und 06:00 Uhr gespielt.

Den meisten Morgenragas liegt das Notenmaterial im Thaat-System “Bairav” (Bhairavi (Ahir, Ramkali, Bhupali, Jogiya Bhairav-Bahar …) zugrunde. Bairav steht als emotionaler Ausdruck in der Ragamusik für Stabilität des Geistes, und Ernsthaftigkeit.

Sendetermine…

16. Febr 2014 – 15:00-17:00 CEST (9-11:00 am EST) @ radio multicult.fm (DE/Berlin)
(Premiere: 24. April 2006 – 15:00 @ Tide 96.0 FM)
broadcasting plan | streaming (Internet Radio & Mobile Radio) | podCast

Dem Teil 1 (Frühmorgenragas) in der ersten Stunde (15:00-16:00) folgt Teil 2 (16:00-17:00) mit Spätmorgenragas.  Der (Spät-)Morgenraga wird zwischen 06:00 – 09:00 gespielt.

Im Thaatsystem mit den 10 Grundformen sind die Morgenragas am stärksten vertreten. Aus den vier Thaats Bhairav (z.B. Raag Aheer Bhairav), Bhairavi (z.B. Raag Bilaskani Todi, Asaravari und Todi (z.B. Raag Mian-Ki Todi o. Gurjari Todi) gehen eine Vielzahl von Morgenragas hervor.

We wish a happy birthday to Hindustani vocalist Vidyadhar Koparkar (02/14/1962)

Pandit Vidyadhar Koparkar (born on 14th Febr 1962) is a Hindustani classical singer. He has a Master’s degree in Engineering (Metallurgy) from the College of Engineering, Pune and runs a small-scale manufacturing plant.

Vijay Koparkar started taking singing lessons at the age of eight. Initially he learned from Madhusudan Patwardhan for eight years, followed by training under renowned artiste of yesteryear, Vasantrao Deshpande for five years and then under Pandit Jitendra Abhisheki for seven years.

-Surel Sabha- Pt. Vijay Koparkar , Evening Ragas on 9th Feb. 2014 Yashwantrao Chavan Natyagruha. Photographs by Neha Karnik (Source: Facebook)

Vijay Koparkar has been trained by gurus belonging to different gharanas (schools of music), and it reflects in his singing. He has received several honors including a scholarship given by Master Sudhir Phadke through ‘Surashree Pratishthan’ for six years from 1983 to 1990 and the ‘Pandit Ramkrishna Vaze Puraskar’ by Gandharva Mahamandal.

Vijay Koparkar has performed all over the world, including the USA, Canada, the Middle East, Paris and UK. He performed twice at the prestigious ‘Sawai Gandharva Music Festival’ held in Pune, India every year. He is a graded artiste at All India Radio and Indian Television.

Vijay Koparkar has been imparting music lessons for many years. Among his students, Hrishikesh Ranade, Prajakta Ranade and Yogita Godbole-Pathak have made their marks in the field of popular light music, while Pushkar Lele, Mandar Phatak and Mandar Gadgil are emerging young artists in the field of classical music.

(Source: 02/2014 – Wikipedia.org)

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Pandit Vijay Koparkar with Raga Sohini…

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13th Febr (annually): WORLD RADIO DAY 2014

13 February is World Radio Day — a day to celebrate radio as a medium; to improve international cooperation between broadcasters; and to encourage major networks and community radio alike to promote access to information, freedom of expression and gender equality over the airwaves.

As radio continues to evolve in the digital age, it remains the medium that reaches the widest audience worldwide. It is essential to furthering UNESCO’s commitment to promote gender equality and women’s empowerment.

Through World Radio Day celebrations around the world, UNESCO will promote gender equality by:

• Sensitizing radio station owners, executives, journalists, and governments to develop gender-related policies and strategies for radio
• Eliminating stereotypes and promoting multidimensional portrayal in radio
• Building radio skills for youth radio production, with a focus on young women as producers, hosts, reporters
• Promoting Safety of women radio journalists

We invite all countries to celebrate World Radio Day by planning activities in partnership with regional, national and international broadcasters, non-governmental organizations, the media and the public.

On 13 February, let’s celebrate women in radio and those who support them!

ARTICLES

• Gender Equality and Women’s Empowerment in Radio (Aveseh Asough – Journalist)
• Radio and Gender Equality (Martin Hadlow – Secretary-General)
• Asian Media Information and Communication Centre (AMIC))
• Who Will Cast the First Vote for Equality? (Ammu Joseph – Journalist) 

(Source: 02/2014 – Unesco)

Other related articles…

• Tune in for Radio Day today (nation.com.pk)
• RFE/RL Celebrates World Radio Day’s Efforts To Empower Women (rferl.org)
• World Radio Day: 5 Ways the radio is fighting poverty (one.org)
• World Radio Day 2014 (sarahtopa.wordpress.com)
• Radio Journalists to be considered for AGAHI Awards 2013 (pamirtimes.net)
• UN Secretary General Message on World Radio Day (sierraexpressmedia.com)
• Let The Information Flow On World Radio Day (mangosalute.com)
• Celebrating the airwaves (blogs.abc.net.au)

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