Active Radio


Book Description

In April 1949, KPFA in Berkeley, California went on the air. From the beginning, the station broadcast an utterly new combination of political commentary and cultural discussion that reflected founder Lewis Hill's vision of a radio station dedicated to creative expression and dissent. In this fascinating account, Jeff Land tells the heroic story of the Pacifica radio network, exploring not only its role in the culture and politics of the postwar world, but also the practical model it pioneered for liberatory alternatives to commercial mass media. A network of five stations (in Berkeley, Los Angeles, Houston, New York City, and Washington, D.C.), Pacifica has been a participant in nearly every progressive political movement of the past fifty years. The network has risked the loss of its licenses, had its transmitters bombed, seen its personnel arrested and jailed, and made errors of judgment and taste. Yet it has pioneered a number of media innovations, listener sponsorship and call-in radio among them. It has also made history: on Pacifica stations, Seymour Hersch broke the My Lai story; the FBI's illegal internal surveillance program was first publicly revealed; the Firesign Theater gave its first performance; and Bob Dylan's "Blowing in the Wind" made its public debut. Using tape archives of radio programs, interviews with participants, and unpublished material on Pacifica, Land chronicles the turmoils and triumphs of this radio network that served as a model for National Public Radio and the Public Broadcasting System. Rich in anecdote, Active Radio is both an engaging account of Pacifica's past and an assessment of its significance to postwar culture in the United States.







The History and Politics of Public Radio


Book Description

This book presents an absorbing study of how educational radio, which originated to broadcast weather forecasts to farmers, has become what the Pew Center calls the most trusted source of news for American liberals and a regular in the rogue's gallery of election-year conservative targets.The Nielsen Company reported in late 2019 that 272 million Americans listen to "traditional radio" each week, a number exceeding those who watch television, use a smartphone, or access the Internet. Yet almost from the start, radio has also been flayed as a noise box of inanity, a transmitter of low-brow entertainment, an instrument of cultural degradation promoting vapid popular music, and a medium whose ultimate purpose is to convince listeners to purchase the goods and services incessantly hawked by the advertisers who underwrite the programs and allegedly dictate content. At the same time, an alternative conception of radio existed as a vehicle for education and for cultural and intellectual (and even political) enlightenment. Most proponents of this perspective disdained advertising revenue and sought subsidies from foundations, wealthy patrons, or varying levels of government.The long, winding road of educational radio led eventually to the creation of National Public Radio (NPR), a fixture on the left of the dial that can be seen as either the consummation or corruption of the educational radio movement. Prized by many liberals, especially affluent whites, and disparaged by many conservatives, NPR has become a potent symbol of the political polarization and cultural chasm that now characterizes the American conversation.




Uneasy Listening


Book Description

"Uneasy listening tells the story of the epic battle over five listener-supported radio stations that rocked the American Left and raised difficult questions about public broadcasting in the United States that have yet to be answered"--P. [4] of cover.




The Sonic Color Line


Book Description

The unheard history of how race and racism are constructed from sound and maintained through the listening ear. Race is a visual phenomenon, the ability to see “difference.” At least that is what conventional wisdom has lead us to believe. Yet, The Sonic Color Line argues that American ideologies of white supremacy are just as dependent on what we hear—voices, musical taste, volume—as they are on skin color or hair texture. Reinforcing compelling new ideas about the relationship between race and sound with meticulous historical research, Jennifer Lynn Stoever helps us to better understand how sound and listening not only register the racial politics of our world, but actively produce them. Through analysis of the historical traces of sounds of African American performers, Stoever reveals a host of racialized aural representations operating at the level of the unseen—the sonic color line—and exposes the racialized listening practices she figures as “the listening ear.” Using an innovative multimedia archive spanning 100 years of American history (1845-1945) and several artistic genres—the slave narrative, opera, the novel, so-called “dialect stories,” folk and blues, early sound cinema, and radio drama—The Sonic Color Line explores how black thinkers conceived the cultural politics of listening at work during slavery, Reconstruction, and Jim Crow. By amplifying Harriet Jacobs, Frederick Douglass, Elizabeth Taylor Greenfield, Charles Chesnutt, The Fisk Jubilee Singers, Ann Petry, W.E.B. Du Bois, and Lena Horne as agents and theorists of sound, Stoever provides a new perspective on key canonical works in African American literary history. In the process, she radically revises the established historiography of sound studies. The Sonic Color Line sounds out how Americans have created, heard, and resisted “race,” so that we may hear our contemporary world differently.




The guardian angel


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The Atlantic Monthly


Book Description