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Radio Cultures examines the manifold ways in which radio has influenced the nation’s social and cultural environment since its inception nearly a century ago. Written by leading scholars in the field, chapters address a wide range of topics, including how this powerful medium has impacted and affected non-mainstream segments of the population throughout its history and how these repressed and neglected groups have employed radio to counter and overcome discrimination and bias. The use of the audio medium for political, economic, and religious purposes is comprehensively probed and analyzed in this insightful and innovative volume.

Radio Cultures examines the manifold ways in which radio has influenced the nation’s social and cultural environment since its inception nearly a century ago. Written by leading scholars in the field, chapters address a wide range of topics, including how this powerful medium has impacted and affected non-mainstream segments of the population throughout its history and how these repressed and neglected groups have employed radio to counter and overcome discrimination and bias. The use of the audio medium for political, economic, and religious purposes is comprehensively probed and analyzed in this insightful and innovative volume.

Offers a collection of mini-essays originally read over National Public Radio that address everyday issues and experiences ranging from summer camp to the mysteries of the universe

In Fireside Politics, Douglas B. Craig provides the first detailed and complete examination of radio's changing role in American political culture between 1920 and 1940―the medium's golden age, when it commanded huge national audiences without competition from television. Craig follows the evolution of radio into a commercialized, networked, and regulated industry, and ultimately into an essential tool for winning political campaigns and shaping American identity in the interwar period. Finally, he draws thoughtful comparisons of the American experience of radio broadcasting and political culture with those of Australia, Britain, and Canada.

In an innovative cultural history of Argentine movies and radio in the decades before Peronism, Matthew B. Karush demonstrates that competition with jazz and Hollywood cinema shaped Argentina's domestic cultural production in crucial ways, as Argentine producers tried to elevate their offerings to appeal to consumers seduced by North American modernity. At the same time, the transnational marketplace encouraged these producers to compete by marketing "authentic" Argentine culture. Domestic filmmakers, radio and recording entrepreneurs, lyricists, musicians, actors, and screenwriters borrowed heavily from a rich tradition of popular melodrama. Although the resulting mass culture trafficked in conformism and consumerist titillation, it also disseminated versions of national identity that celebrated the virtue and dignity of the poor, while denigrating the wealthy as greedy and mean-spirited. This anti-elitism has been overlooked by historians, who have depicted radio and cinema as instruments of social cohesion and middle-class formation. Analyzing tango and folk songs, film comedies and dramas, radio soap operas, and other genres, Karush argues that the Argentine culture industries generated polarizing images and narratives that provided much of the discursive raw material from which Juan and Eva Perón built their mass movement.

As an artifact of culture, the portable radio is an unusual but perfect subject for investigation by archaeologist Schiffer. Seeing the history of everyday objects as the history of the life of a people, he shows how the portable radio has reflected changes in American society as surely as clay pots have for ancient cultures.

In Fireside Politics, Douglas B. Craig provides the first detailed and complete examination of radio's changing role in American political culture between 1920 and 1940―the medium's golden age, when it commanded huge national audiences without competition from television. Craig follows the evolution of radio into a commercialized, networked, and regulated industry, and ultimately into an essential tool for winning political campaigns and shaping American identity in the interwar period. Finally, he draws thoughtful comparisons of the American experience of radio broadcasting and political culture with those of Australia, Britain, and Canada.

Blending cultural, religious, and media history, Tona Hangen offers a richly detailed look into the world of religious radio. She uses recordings, sermons, fan mail, and other sources to tell the stories of the determined broadcasters and devoted listeners who, together, transformed American radio evangelism from an on-air novelty in the 1920s into a profitable and wide-reaching industry by the 1950s.Hangen traces the careers of three of the most successful Protestant radio evangelists--Paul Rader, Aimee Semple McPherson, and Charles Fuller--and examines the strategies they used to bring their messages to listeners across the nation. Initially shut out of network radio and free airtime, both of which were available only to mainstream Protestant and Catholic groups, evangelical broadcasters gained access to the airwaves with paid-time programming. By the mid-twentieth century millions of Americans regularly tuned in to evangelical programming, making it one of the medium's most distinctive and durable genres. The voluntary contributions of these listeners in turn helped bankroll religious radio's remarkable growth. Revealing the entwined development of evangelical religion and modern mass media, Hangen demonstrates that the history of one is incomplete without the history of the other; both are essential to understanding American culture in the twentieth century.

Sauls (radio, television, and film, U. of North Texas-Denton) provides a cultural overview of college radio combined with a practical guide to running a college radio station successfully. Includes resources for college radio station operators, managers, staff, and student volunteers. Annotation c. Book News, Inc., Portland, OR (booknews.com)

"man who completed the transfer was Oliver Lodge"

NOT an ex-library book. Book with pictorial cdover4. 221 pages.

This fascinating exploration of a work that was the epitome of German literary modernism illuminates in chilling detail the death of the Weimar Republic's left-leaning culture of innovation and experimentation. Peter Jelavich examines Alfred Döblin's Berlin Alexanderplatz (1929), a novel that questioned the autonomy and coherence of the human personality in the modern metropolis, and traces the radical discrepancies that came with its adaptation into a radio play (1930) and a film (1931). Jelavich explains these discrepancies by examining not only the varying demands of genre and technology but also the political and economic contexts of the media―in particular, the censorship practices in German radio and film. His analysis culminates in a richly textured discussion of the complex factors that led to the demise of Weimar culture, as Nazi intimidation and the economic strains of the Depression induced producers to depoliticize their works. Jelavich's book becomes a cautionary tale about how fear of outspoken right-wing politicians can curtail and eliminate the arts as a critical counterforce to politics―all in the name of entertainment.

This fascinating exploration of a work that was the epitome of German literary modernism illuminates in chilling detail the death of the Weimar Republic's left-leaning culture of innovation and experimentation. Peter Jelavich examines Alfred Döblin's Berlin Alexanderplatz (1929), a novel that questioned the autonomy and coherence of the human personality in the modern metropolis, and traces the radical discrepancies that came with its adaptation into a radio play (1930) and a film (1931). Jelavich explains these discrepancies by examining not only the varying demands of genre and technology but also the political and economic contexts of the media—in particular, the censorship practices in German radio and film. His analysis culminates in a richly textured discussion of the complex factors that led to the demise of Weimar culture, as Nazi intimidation and the economic strains of the Depression induced producers to depoliticize their works. Jelavich's book becomes a cautionary tale about how fear of outspoken right-wing politicians can curtail and eliminate the arts as a critical counterforce to politics—all in the name of entertainment.

This fascinating exploration of a work that was the epitome of German literary modernism illuminates in chilling detail the death of the Weimar Republic's left-leaning culture of innovation and experimentation. Peter Jelavich examines Alfred Döblin's Berlin Alexanderplatz (1929), a novel that questioned the autonomy and coherence of the human personality in the modern metropolis, and traces the radical discrepancies that came with its adaptation into a radio play (1930) and a film (1931). Jelavich explains these discrepancies by examining not only the varying demands of genre and technology but also the political and economic contexts of the media—in particular, the censorship practices in German radio and film. His analysis culminates in a richly textured discussion of the complex factors that led to the demise of Weimar culture, as Nazi intimidation and the economic strains of the Depression induced producers to depoliticize their works. Jelavich's book becomes a cautionary tale about how fear of outspoken right-wing politicians can curtail and eliminate the arts as a critical counterforce to politics—all in the name of entertainment.

Orson Welles’s greatest breakthrough into the popular consciousness occurred in 1938, three years before Citizen Kane, when his War of the Worlds radio broadcast succeeded so spectacularly that terrified listeners believed they were hearing a genuine report of an alien invasion—a landmark in the history of radio’s powerful relationship with its audience. In Radio’s America, Bruce Lenthall documents the enormous impact radio had on the lives of Depression-era Americans and charts the formative years of our modern mass culture. Many Americans became alienated from their government and economy in the twentieth century, and Lenthall explains that radio’s appeal came from its capability to personalize an increasingly impersonal public arena. His depictions of such figures as proto-Fascist Charles Coughlin and medical quack John Brinkley offer penetrating insight into radio’s use as a persuasive tool, and Lenthall’s book is unique in its exploration of how ordinary Americans made radio a part of their lives. Television inherited radio’s cultural role, and as the voting tallies for American Idol attest, broadcasting continues to occupy a powerfully intimate place in American life. Radio’s America reveals how the connections between power and mass media began.

Evangelical Christianity--the faith professed by one in four Americans--exerts an enormous influence in American society. Believed by some to have originated as a reaction to the social revolution of the 1960s, evangelicalism as a distinct subculture in fact dates to the advent of radio. The evangelical faithful flocked to the airwaves, developing a nationwide mass culture as listeners across denominational lines heard the same popular preachers and music. Evangelicals left behind the fundamentalism of the early 20th century as broadcast ministries laid the foundation for the culturally engaged New Christian Right of the late 20th century. This historical ethnography presents the era's major radio evangelists and songwriters in the own words, drawing on their writings and recordings, as well as songbooks, liner notes and "song story" anthologies of the period.

Evangelical Christianity--the faith professed by one in four Americans--exerts an enormous influence in American society. Believed by some to have originated as a reaction to the social revolution of the 1960s, evangelicalism as a distinct subculture in fact dates to the advent of radio. The evangelical faithful flocked to the airwaves, developing a nationwide mass culture as listeners across denominational lines heard the same popular preachers and music. Evangelicals left behind the fundamentalism of the early 20th century as broadcast ministries laid the foundation for the culturally engaged New Christian Right of the late 20th century. This historical ethnography presents the era's major radio evangelists and songwriters in the own words, drawing on their writings and recordings, as well as songbooks, liner notes and "song story" anthologies of the period.

Book is in NEW condition. 1.65

The World War II era represented the golden age of radio as a broadcast medium in the United States; it also witnessed a rise in African American activism against racial segregation and discrimination, especially as they were practiced by the federal government itself. In Broadcasting Freedom, Barbara Savage links these cultural and political forces by showing how African American activists, public officials, intellectuals, and artists sought to access and use radio to influence a national debate about racial inequality. Drawing on a rich and previously unexamined body of national public affairs programming about African Americans and race relations, Savage uses these radio shows to demonstrate the emergence of a new national discourse about race and ethnicity, racial hatred and injustice, and the contributions of racial and immigrant populations to the development of the United States. These programs, she says, challenged the nation to reconcile its professed egalitarian ideals with its unjust treatment of black Americans and other minorities. This examination of radio's treatment of race as a national political issue also provides important evidence that the campaigns for racial justice in the 1940s served as an essential, and still overlooked, precursor to the civil rights campaigns of the 1950s and 1960s, Savage argues. The next battleground would be in the South--and on television.

As an artifact of culture, the portable radio is an unusual but perfect subject for investigation by archaeologist Schiffer. Seeing the history of everyday objects as the history of the life of a people, he shows how the portable radio has reflected changes in American society as surely as clay pots have for ancient cultures.