Why have radio and television never been granted the same First Amendment freedoms that we have always accorded the printed word? In this fascinating work, Lucas A. Powe, Jr., examines the strange paradox governing our treatment of the two types of media. This title is part of UC Press's Voices Revived program, which commemorates University of California Press's mission to seek out and cultivate the brightest minds and give them voice, reach, and impact. Drawing on a backlist dating to 1893, Voices Revived makes high-quality, peer-reviewed scholarship accessible once again using print-on-demand technology. This title was originally published in 1987.

Wartime British writers took to the airwaves to reshape the nation and the Empire Writing the Radio War positions the Second World War as a critical moment in the history of cultural mediation in Britain. Through chapters focusing on the middlebrow radicalism of J.B. Priestley, ground-breaking works by Louis MacNeice and James Hanley at the BBC Features Department, frontline reporting by Denis Johnston, and the emergence of a West Indian literary identity in the broadcasts of Una Marson, Writing the Radio War explores how these writers capitalised on the particularities of the sonic medium to communicate their visions of wartime and postwar Britain and its empire. By combining literary aesthetics with the acoustics of space, accent, and dialect, writers created aural communities that at times converged, and at times contended, with official wartime versions of Britain and Britishness. Key Features Merges the fields of sound studies, radio studies, and Second World War literary studies through considerations of both major and marginalized figures of wartime broadcasting Brings substantial but underused archival material (from the BBC Written Archives Centre, the Harry Ransom Humanities Research Center, the British Library, and other archives) to bear on the cultural importance of radio during the war Foregrounds the role of radio in bridging literary movements from the highbrow to the middlebrow, and from the regional to the imperial Draws on Listener Research Reports, listener correspondence, newspaper coverage, and surveys by Mass Observation and the Wartime Social Survey in order to capture listeners' responses to wartime broadcasting in general as well as specific programs Fills a gap in accounts of literary radio broadcasting, between Todd Avery's Radio Modernism (which ends at 1939) and postwar accounts of the Third Programme (by Humphrey Carpenter and Kate Whitehead) and individual writer-broadcasters

Wartime British writers took to the airwaves to reshape the nation and the Empire'Writing the Radio War' positions the Second World War as a critical moment in the history of cultural mediation in Britain. Through chapters focusing on the middlebrow radicalism of J.B. Priestley, ground-breaking works by Louis MacNeice and James Hanley at the BBC Features Department, frontline reporting by Denis Johnston, and the emergence of a West Indian literary identity in the broadcasts of Una Marson, 'Writing the Radio War' explores how these writers capitalised on the particularities of the sonic medium to communicate their visions of wartime and postwar Britain and its empire. By combining literary aesthetics with the acoustics of space, accent, and dialect, writers created aural communities that at times converged, and at times contended, with official wartime versions of Britain and Britishness.Key FeaturesMerges the fields of sound studies, radio studies, and Second World War literary studies through considerations of both major and marginalized figures of wartime broadcastingBrings substantial but underused archival material (from the BBC Written Archives Centre, the Harry Ransom Humanities Research Center, the British Library, and other archives) to bear on the cultural importance of radio during the warForegrounds the role of radio in bridging literary movements from the highbrow to the middlebrow, and from the regional to the imperialDraws on Listener Research Reports, listener correspondence, newspaper coverage, and surveys by Mass Observation and the Wartime Social Survey in order to capture listeners' responses to wartime broadcasting in general as well as specific programsFills a gap in accounts of literary radio broadcasting, between Todd Avery's Radio Modernism (which ends at 1939) and postwar accounts of the Third Programme (by Humphrey Carpenter and Kate Whitehead) and individual writer-broadcasters

Wie kaum ein anderes Genre steht die Entwicklung und Ausdifferenzierung von Talkshows fur den oekonomischen, inhaltlichen und prasentativen Wandel, den das deutsche Fernsehen seit der Dualisierung der Rundfunklandschaft durchlebt. Zugleich spiegeln Talkshows tiefergehende kulturelle, mediale und politische Veranderungen moderner Gesellschaften wider, wie sie in der alltaglichen Vermischung von Privatem und OEffentlichem, von Unterhaltsamen und Informativem, von Sensationellem und Trivialem und letztlich auch von Politischem und Unpolitischem zum Ausdruck kommen. Hier zieht der Sammelband eine umfassende Zwischenbilanz.

Despite the growth of digital media, traditional FM radio airplay still remains the essential way for musicians to achieve commercial success. Climbing the Charts examines how songs rise, or fail to rise, up the radio airplay charts. Looking at the relationships between record labels, tastemakers, and the public, Gabriel Rossman develops a clear picture of the roles of key players and the gatekeeping mechanisms in the commercial music industry. Along the way, he explores its massive inequalities, debunks many popular misconceptions about radio stations' abilities to dictate hits, and shows how a song diffuses throughout the nation to become a massive success. Contrary to the common belief that Clear Channel sees every sparrow that falls, Rossman demonstrates that corporate radio chains neither micromanage the routine decision of when to start playing a new single nor make top-down decisions to blacklist such politically inconvenient artists as the Dixie Chicks. Neither do stations imitate either ordinary peers or the so-called kingmaker radio stations who are wrongly believed to be able to make or break a single. Instead, Rossman shows that hits spread rapidly across radio because they clearly conform to an identifiable style or genre. Radio stations respond to these songs, and major labels put their money behind them through extensive marketing and promotion efforts, including the illegal yet time-honored practice of payoffs known within the industry as payola. Climbing the Charts provides a fresh take on the music industry and a model for understanding the diffusion of innovation.

During World War II, jazz embodied everything that was appealing about a democratic society as envisioned by the Western Allied powers. Labelled 'degenerate' by Hitler's cultural apparatus, jazz was adopted by the Allies to win the hearts and minds of the German public. It was also used by the Nazi Minister for Propaganda, Joseph Goebbels, to deliver a message of Nazi cultural and military superiority. When Goebbels co-opted young German and foreign musicians into 'Charlie and his Orchestra' and broadcast their anti-Allied lyrics across the English Channel, jazz took centre stage in the propaganda war that accompanied World War II on the ground. The Jazz War is based on the largely unheard oral testimony of the personalities behind the German and British wartime radio broadcasts, and chronicles the evolving relationship between jazz music and the Axis and Allied war efforts. Studdert shows how jazz both helped and hindered the Allied cause as Nazi soldiers secretly tuned in to British radio shows while London party-goers danced the night away in demimonde `bottle parties', leading them to be branded a `menace' in Parliament. This book will appeal to students of the history of jazz, broadcasting, cultural studies, and the history of World War II.

Hugh Aitken describes a critical period in the history of radio, when continuous wave technology first made reliable long-distance wireless communication possible and opened up opportunities for broadcasting voice and music.

Originally published in 1985.

The Princeton Legacy Library uses the latest print-on-demand technology to again make available previously out-of-print books from the distinguished backlist of Princeton University Press. These paperback editions preserve the original texts of these important books while presenting them in durable paperback editions. The goal of the Princeton Legacy Library is to vastly increase access to the rich scholarly heritage found in the thousands of books published by Princeton University Press since its founding in 1905.

Fleeing the Nazis, Theodor W. Adorno lived in New York City as a refugee from 1938 until 1941. During these years, he was intensively involved in a study of how the recently developed techniques for the nation-wide transmission of music over radio were transforming the perception of music itself. This broad ranging radio research was conceived as nothing less than an investigation, partly empirical, of Walter Benjamin's speculative claims for the emancipatory potential of art in the age of its mechanical reproduction. The results of Adorno's project set him decisively at odds with Benjamin's theses and at the same time became the body of thinking that formed the basis for Adornos own aesthetics in his Philosophy of New Music.

"Current of Music" is the title that Adorno himself gave to this research project. For complex reasons, however, Adorno was not able to bring the several thousands of pages of this massive study, most of it written in English, to a final form prior to leaving New York for California, where he would immediately begin work with Max Horkheimer on the Dialectic of Enlightenment. Robert Hullot-Kentor, the distinguished Adorno scholar, reconstructed Adorno's project for the Adorno Archive in Germany and provides a lengthy and informative introduction to the fragmentary texts collected in this volume.

"Current of Music" will be widely discussed for the light it throws on the development of Adorno's thought, on his complex relationship with Walter Benjamin, but most of all for the important perspectives it provides on questions of popular culture, the music of industrial entertainment, the history of radio and the social dimensions of the reproduction of art.

Radio Hitler follows the life of Deutschlandsender, the Nazi equivalent of BBC Radio 4, and its sister stations that transmitted to Germany and the world at large. Using first-hand interviews, archives, diaries, letters and memoirs, this book examines what Nazi radio was and what it stood for. Detailed here is the vast 'fake news' effort, which bombarded audiences in the Middle East, Africa, the United States and Great Britain. A light is also shone on the home service stations that, with their monumental announcements including Stalingrad, the assassination attempt on Hitler and the invasion of France, provided the soundtrack to everyday life in Nazi Germany. Details of entertainment shows and programmes designed to lift morale on the Home Front are abundant and offer a fresh insight into the psyche of the nation. The book also looks at Nazi attempts to develop television throughout Germany and in occupied France. A rich cast of characters is featured throughout, including Ernst Himmler, brother of Heinrich, who worked as technical chief at Deutschlandsender, and Lord Haw-Haw, the infamous British mouthpiece of the Nazi propaganda machine. Nathan Morley had unlimited access to former Reich radio studios and transmitter sites in Hamburg, Berlin, and Vienna, as well as to a vast archive of recordings and transcripts. The result is a fascinating and revealing portrait of propaganda, communication and media in Nazi Germany.

Convenient, entertaining, and provocative, talk radio today is unapologetically ideological. Focusing on Rush Limbaugh -- the medium's most influential talk show -- "Rushed to Judgment" systematically examines the politics of persuasion at play on our nation's radio airwaves and asks a series of important questions. Does listening to talk radio change the way people think about politics, or are listeners' attitudes a function of the self-selecting nature of the audience? Does talk radio enhance understanding of public issues or serve as a breeding ground for misunderstanding? Can talk radio serve as an agent of deliberative democracy, spurring Americans to open, public debate? Or will talk radio only aggravate the divisive partisanship many Americans decry in poll after poll? The time is ripe to evaluate the effects of a medium whose influence has yet to be fully reckoned with.