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.

The cocreator of the Washington Post’s “Made by History” blog reveals how the rise of conservative talk radio gave us a Republican Party incapable of governing and paved the way for Donald Trump. America’s long road to the Trump presidency began on August 1, 1988, when, desperate for content to save AM radio, top media executives stumbled on a new format that would turn the political world upside down. They little imagined that in the coming years their brainchild would polarize the country and make it nearly impossible to govern. Rush Limbaugh, an enormously talented former disc jockey—opinionated, brash, and unapologetically conservative—pioneered a pathbreaking infotainment program that captured the hearts of an audience no media executive knew existed. Limbaugh’s listeners yearned for a champion to punch back against those maligning their values. Within a decade, this format would grow from fifty-nine stations to over one thousand, keeping millions of Americans company as they commuted, worked, and shouted back at their radios. The concept pioneered by Limbaugh was quickly copied by cable news and digital media. Radio hosts form a deep bond with their audience, which gives them enormous political power. Unlike elected representatives, however, they must entertain their audience or watch their ratings fall. Talk radio boosted the Republican agenda in the 1990s, but two decades later, escalation in the battle for the airwaves pushed hosts toward ever more conservative, outrageous, and hyperbolic content. Donald Trump borrowed conservative radio hosts’ playbook and gave Republican base voters the kind of pugnacious candidate they had been demanding for decades. By 2016, a political force no one intended to create had completely transformed American politics.

Overview of public radio and television in the United States

When amateur enthusiasts began sending fuzzy signals from their garages and rooftops, radio broadcasting was born. Sensing the medium's potential, snake-oil salesmen and preachers took to the air, at once setting early standards for radio programming and making bedlam of the airwaves. Into the chaos stepped a young secretary of commerce, Herbert Hoover, whose passion for organization guided the technology's growth. When a charismatic bandleader named Rudy Vallee created the first on-air variety show and America elected its first true radio president, Franklin Delano Roosevelt, radio had arrived. Rudel tells the story of the boisterous years when radio took its place in the nation's living room and forever changed American politics, journalism, and entertainment.

The commonly accepted history of FM radio is one of the twentieth century’s iconic sagas of invention, heroism, and tragedy. Edwin Howard Armstrong created a system of wideband frequency-modulation radio in 1933. The Radio Corporation of America (RCA), convinced that Armstrong’s system threatened its AM empire, failed to develop the new technology and refused to pay Armstrong royalties. Armstrong sued the company at great personal cost. He died despondent, exhausted, and broke. But this account, according to Gary L. Frost, ignores the contributions of scores of other individuals who were involved in the decades-long struggle to realize the potential of FM radio. The first scholar to fully examine recently uncovered evidence from the Armstrong v. RCA lawsuit, Frost offers a thorough revision of the FM story. Frost’s balanced, contextualized approach provides a much-needed corrective to previous accounts. Navigating deftly through the details of a complicated story, he examines the motivations and interactions of the three communities most intimately involved in the development of the technology—Progressive-era amateur radio operators, RCA and Westinghouse engineers, and early FM broadcasters. In the process, Frost demonstrates the tension between competition and collaboration that goes hand in hand with the emergence and refinement of new technologies. Frost's study reconsiders both the social construction of FM radio and the process of technological evolution. Historians of technology, communication, and media will welcome this important reexamination of the canonic story of early FM radio.

From humble beginnings in a physics lab on the campus of Loyola University came the sounds of the first radio station in the lower Mississippi River Valley when WWL Radio signed on in 1922. The little station would grow into a national powerhouse, with its morning Dawnbusters show and nightly broadcasts from the Blue Room of the Roosevelt Hotel. The city's second oldest station, WSMB, with studios in the Maison Blanche Building, developed its own cast of favorites, including "Nut and Jeff." Later, in the city known as the birthplace of jazz, radio played a key role in popularizing early rock and roll. Disc jockeys at leading stations WTIX and WNOE helped develop the Crescent City sound, along with local personalities with colorful names like "Poppa Stoppa," "Jack the Cat," and "Dr. Daddy-O."

The macabre world of monsters, killers on the loose and revenge from beyond the grave existed not only in the movies, but also on the radio before television's dominance in American homes. One of many distinct genres born of early broadcasting, terror-inspiring radio thrilled millions. Nearly 80 such programs, many of enduring sophistication, aired every week in the late 1940s. This first full-length study of golden age horror radio focuses on six representative programs, starting with The Witch's Tale in 1931 and ending with The Mysterious Traveler in 1952. Each chapter is a critically and historically informed study of one series. The book ends with a look at the demise of horror radio and its enduring influence. Photographs are included.

Boston's radio history begins with pioneering station 1XE/WGI, one of America's first radio stations, and includes the first station to receive a commercial license, WBZ; the first FM radio network, W1XOJ and W1XER; and one of the first news networks, the Yankee News Service. Nationally known bandleaders like Joe Rines and Jacques Renard were first heard on Boston radio, as was one of the first weathercasters, E. B. Rideout. The city has been home to a number of legendary announcers, such as Bob and Ray,Arnie Ginsburg, Dick Summer, Dale Dorman, and Charles Laquidara; talk show giants like Jerry Williams and David Brudnoy; and sports talkers like Eddie Andelman and Glenn Ordway. Many Boston radio personalities, such as Curt Gowdy, "Big Brother" Bob Emery, Don Kent, and Louise Morgan, found fame on television but first established themselves on Boston's airwaves. Since 1920, Boston radio has remained vibrant, proving that live and local stations are as important as ever--Publisher.

"Jack Benny became one of the most influential entertainers of the 20th century--by being the top radio comedian, when the comics ruled radio, and radio was the most powerful and pervasive mass medium in the US. In 23 years of weekly radio broadcasts, by aiming all the insults at himself, Benny created Jack, the self-deprecating "Fall Guy" character. He indelibly shaped American humor as a space to enjoy the equal opportunities of easy camaraderie with his cast mates, and equal ego deflation. Benny was the master of comic timing, knowing just when to use silence to create suspense or to have a character leap into the dialogue to puncture Jack's pretentions. Jack Benny was also a canny entrepreneur, becoming one of the pioneering "showrunners" combining producer, writer and performer into one job. His modern style of radio humor eschewed stale jokes in favor informal repartee with comic hecklers like his valet Rochester (played by Eddie Anderson) and Mary Livingstone his offstage wife. These quirky characters bouncing off each other in humorous situations created the situation comedy. In this career study, we learn how Jack Benny found ingenious ways to sell his sponsors' products in comic commercials beloved by listeners, and how he dealt with the challenges of race relations, rigid gender ideals and an insurgent new media industry (TV). Jack Benny created classic comedy for a rapidly changing American culture, providing laughter that buoyed radio listeners from 1932's depths of the Great Depression, through World War II to the mid-1950s"--Provided by publisher.

Looks at the history of radio broadcasting as an aspect of American culture, and discusses social tensions, radio formats, and the roles of African Americans and women