Public broadcasting has changed dramatically since its founding in 1967. The growing equation of marketplace efficiency with the public interest has, in Tom McCourt's analysis, undermined the value of public goods and services. In addition, political and cultural discourse is increasingly beset by fragmentation. Public radio provides an exemplary site to examine the prospects and problems of contemporary public life.

Beginning with a description of the events that led to the creation of National Public Radio, McCourt discusses the relationship between NPR and its affiliate stations and the ways in which struggles over funding and programming have affected public radio's agenda. He also examines how public radio incorporates the roles of public representatives into its operations and how its methods to determine the needs and interests of the public have changed across the systeM's history. The social, political, and economic pressures that have impacted the mission and practices of National Public Radio, McCourt asserts, are manifest in all areas of American life. Through extensive historical research, he examines whether American public broadcasters, as represented by NPR, have succeeded or failed to engender an enlightened, participatory democracy.

With the rising popularity of online music, the nature of the music industry and the role of the Internet are rapidly changing. Rather than buying records, tapes, or CDs_in other words, full-length collections of music_music shoppers can, as they have in earlier decades, purchase just one song at a time. It's akin to putting a coin into a diner jukebox_except the jukebox is in the sky, or, more accurately, out in cyberspace. But has increasing copyright protection gone too far in keeping the music from the masses? Digital Music Wars explores these transformations and the far-reaching implications of downloading music in an in-depth and insightful way. Focusing on recent legal, corporate, and technological developments, the authors show how the online music industry will establish the model for digital distribution, cultural access, and consumer privacy. Music lovers and savvy online shoppers will want to read this book, as will students and researchers interested in new media and the future of online culture.

When people think of hackers, they usually think of a lone wolf acting with the intent to garner personal data for identity theft and fraud. But what about the corporations and government entities that use hacking as a strategy for managing risk? Why Hackers Win asks the pivotal question of how and why the instrumental uses of invasive software by corporations and government agencies contribute to social change. Through a critical communication and media studies lens, the book focuses on the struggles of breaking and defending the "trusted systems" underlying our everyday use of technology. It compares the United States and the European Union, exploring how cybersecurity and hacking accelerate each other in digital capitalism, and how the competitive advantage that hackers can provide corporations and governments may actually afford new venues for commodity development and exchange. Presenting prominent case studies of communication law and policy, corporate hacks, and key players in the global cybersecurity market, the book proposes a political economic model of new markets for software vulnerabilities and exploits, and clearly illustrates the social functions of hacking.

With the rising popularity of online music, the nature of the music industry and the role of the Internet are rapidly changing. Rather than buying records, tapes, or CDs-in other words, full-length collections of music-music shoppers can, as they have in earlier decades, purchase just one song at a time. It's akin to putting a coin into a diner jukebox-except the jukebox is in the sky, or, more accurately, out in cyberspace. But has increasing copyright protection gone too far in keeping the music from the masses? Digital Music Wars explores these transformations and the far-reaching implications of downloading music in an in-depth and insightful way. Focusing on recent legal, corporate, and technological developments, the authors show how the online music industry will establish the model for digital distribution, cultural access, and consumer privacy. Music lovers and savvy online shoppers will want to read this book, as will students and researchers interested in new media and the future of online culture.

When people think of hackers, they usually think of a lone wolf acting with the intent to garner personal data for identity theft and fraud. But what about the corporations and government entities that use hacking as a strategy for managing risk? Why Hackers Win asks the pivotal question of how and why the instrumental uses of invasive software by corporations and government agencies contribute to social change. Through a critical communication and media studies lens, the book focuses on the struggles of breaking and defending the "trusted systems" underlying our everyday use of technology. It compares the United States and the European Union, exploring how cybersecurity and hacking accelerate each other in digital capitalism, and how the competitive advantage that hackers can provide corporations and governments may actually afford new venues for commodity development and exchange. Presenting prominent case studies of communication law and policy, corporate hacks, and key players in the global cybersecurity market, the book proposes a political economic model of new markets for software vulnerabilities and exploits, and clearly illustrates the social functions of hacking.