1. The History of Radio and Television (Part 1) From Principles of Electronic Media (Davie & Upshaw, 2006)

2. The History of Radio Principle #1 In the United States, government may fund electronic-media experiments, but it’s up to business to apply the results.

3. The History of Radio  The 1800s: Earliest Broadcasting  Maxwell (Theorized the existence of electromagnetic waves as “luminous ether.”)  Bell (Transmitting sounds by telegraph in 1877.)  Hertz (Invented the “spark-gap detector” which verified the existence of electromagnetic waves.)  Marconi (Invented radio in 1895. First radio company in London, 1897.)

4. The History of Radio Principle #2 The key to telecommunications is that electromagnetic energy can be transmitted between two points.

5. Novelty Stage MARCONI

6. Marconi’s Invention (Dramatization)Dramatization HAD IMPLICATIONS FOR SHIP TO SHORE TRAVELSHIP TO SHORE

7. Tesla

8. POPOV

9. Novelty Stage POPOV POPOV (Dramatization)

10. Tele = far offTelegraph Graph= writingTelephone Phone= soundPhonograph W I R E L E S S T E L E G R A P H

11. Novelty Stage 5. Reginald Fessenden  Wireless telephony:  transmitted voice and sound

12. Novelty Stage 6. Lee De Forest  Wireless telephony: amplified sound

13. Novelty Stage

15. Entrepreneurial Stage

16.  Ship-to-shore communication

17. Entrepreneurial Stage  David Sarnoff and the Titanic

21. The History of Radio 1900-1930: The Industry Gets Started  Who Was First? (KDKA in 1920).  RCA’s Risk (Sarnoff, NBC, 1922 World Series).  CBS’s Move (New York Philharmonic and Philadelphia Symphony orchestras join with the Columbia Phonograph Company).  William S. Paley (the “Tiffany Network”).

22. The History of Radio Principle #3 The early stage of media development is a process to which many people contribute.

23. The History of Radio  Communications Act of 1934: Federal law bringing most telecommunications under oversight of one agency and board of commissioners.

29. Entrepreneurial Stage "I remember it was 10 or 11 o'clock at night and all at once, this voice appears. And I remember letting out a yelp or a shout of some sort and my dad, who had just gotten out of the bath, came in wrapped in a towel to make sure... that something hadn't happened to me. I said, 'Dad, look, I hear this fellow talking.'"

33. The History of Radio 1930-1945: Pivotal Historical Period  “During the Great Depression that had descended in 1929, with more than one-third of the work force jobless, a growing number of Americans tuned in their radios for relief and psychological support.  Franklin D. Roosevelt’s “fireside chats”

34. Radio: a DEMOCRATIC medium  Education  Religion  Workers  Businesses (jewelry stores)  Entertainment  News (VIDEO “Radio Network Broadcasting”)

36. Tufts University, 1922

41.  Education

44. Mass Medium Stage  KDKA, Pittsburgh, 1920. First commercial radio station  First ads, 1922

45. The History of Radio 1930-1945: Pivotal Historical Period War of the Worlds  “Actor Orson Wells narrated a 1938 Halloween tale of Martians landing in New Jersey, based on H.G. Welles’ War of the Worlds. The show’s disclaimer failed to register with Americans already primed for disaster on the eve of world war.”

46. The History of Radio Principle #4 History shows that broadcasting’s nature is to follow social trends, leading them only rarely.

47. The History of Radio Principle #5 A heady “golden age” of explosive growth in the mid- twentieth century is a constant and influential reference point in broadcasting.

50. Radio Rules  Radio Act of 1912: required a license  Radio Act of 1927: Establishes FRC and standard of operating in the “public interest, convenience, or necessity” (PICON)  Communications Act of 1934:  Establishes FCC, keeps PICON standard.  Congress endorses commercial radio.

51. COMMERCIAL RADIO DISPUTED “Can’t something be done about the tremendous quantity of rotten advertising coming over the radios?PLEASE! I know beyond all doubt that a very very large majority of people of this country do not want the time we are getting as entertainment...I will say that I have heard it discussed in many sections, many even going to the extent of trying to arrange community boycotts of products advertised over the radio” --1931

52. Radio Culture: 1930s golden age of radio  People across America were sharing the same stories (creating consensus narratives)  E.g., Inner Sanctum  Amos N’ Andy  Roosevelt fireside chats  War of the Worlds

58. Hindenburg Disaster, 1937 (video)

59. Clear Channels  WSM 650 (Nashville)  WFAN660 (New York)  WMAQ 670 (Chicago)  WLW 700 (Cincinnati)  WOR 710 (New York)  WGN 720 (Chicago)  WSB 750 (Atlanta)  WJR 760 (Detroit)  WABC 770 (New York)  WBBM 780 (Chicago)  WBAP 820 (Fort Worth)

60. Clear Channels  WCCO 830 (Minneapolis)  WHAS 840 (Louisville)  WWL 870 (New Orleans)  WCBS 880 (New York)  WLS 890 (Chicago)  WBZ1030 (Boston)  WHO 1040 (Des Moines)  WWWE 1100 (Cleveland)  WHAM 1180 (Rochester)  WOAI 1200 (San Antonio)  WGMP 1210 (Philadelphia)  KIRO 710 (Seattle)

61. Clear Channels  KFI 640 (Los Angeles)  KDKA 1020 (Pittsburgh)  KMOX 1120 (St. Louis)  KSL 1160 (Salt Lake City) Why the “W” and the “K”??

62. Radio Culture  Radio’s survival in the wake of TV  Format radio Todd Storz,Omaha, Top 40 format Radio Deejays/Payola

63. Radio Culture today News/Talk, 18% Adult Contemporary, 14% CHR, 11% Hispanic, 10.2% Urban, 9.9% Country, 9% Rock, 8.2% Oldies, 5.7% Other, 14% There evolved a variety of formats: each one geared to a SPECIFIC target audience

64. Radio OWNERSHIP FCC OWNERSHIP CONSTRAINTS  1950-80: 7 AM, 7 FM, 7 TV Stations  Late 1980s: 20 AM, 20 FM, 12 TV Stations  1996 Telecommunication Act: You can’t reach 35% of national audience  2003: You can’t reach 45% FCC used to enforce BROADCAST DIVERSITY (NOT ANYMORE)

65. Radio ownership  Clear Channel owns:  Over 1,190 stations  Premiere Radio network (syndicates programs to 6,500 other stations  240 international stations  40 TV stations  Largest Billboard/outdoor sign business  Largest live event promoter  SFX (talent and sports star agency)  Broadway, Cable, network, films

66. The History of Radio 1945-1960: The “Golden” Age  AM Radio – Still Thriving  78 and 33 1/3 RPM Records  Transistors Make Radios Smaller  Formats – Rotating Blocks to “Top 40”

67. The History of Radio 1960-1980: Radio’s Transformation  FM Increases Popularity  April 1961: FCC approval of Zenith-GE standards for FM broadcasting. The FCC mandates that stations needed to generate new content for FM bands.

68. The History of Radio 1960-1980: Radio’s Transformation  Public Radio Act of 1967  “After the adoption of the Public Broadcasting Act of 1967, the FCC licensed more than 1,500 radio stations as “noncommercial educational”…. Many of these stations would receive federal money distributed through the Corporation for Public Broadcasting – a fact that annoyed commercial broadcasters envious of such subsidies.”

69. The History of Radio 1980-Present: Radio Challenges  Talk Radio  A Chance to Talk Back  Personalities  Relaxed Rules on Ownership  1980 Deregulation  More Stations per Owner  Localism and Profits  Satellite Radio

70. The History of Radio The Digital Future  Radio  Digital Broadcasts  Internet Streaming

71. Terms  Electromagnetic Wave: Wave produced by accelerating an electric charge, manipulating the charge by changing the intensity of nearby electric or magnetic fields.  Spark-gap detector: (Hertz) Device that revealed electromagnetic radiation by making a spark jump a gap, emitting waves that triggered another jump some distance away.

72. Terms  Hertz: A cycle of a radio wave (e.g. kiloHertz = 1,000 waves per second).  Broadcasting: Originally from agriculture (distribution of seed); redefined by the Communications Act of 1934 as dissemination of radio communications to the public.

73. Terms  Crystal Set: Early radio receiver that makes use of a silicon crystal connected to a wire coil, antenna, and headset. Used primarily by early radio “hobbyists.”  Call letters: Broadcast station letters of identification. Stations west of the Mississippi River have call letters beginning with K; those east of the river begin with W.

74. Terms  Frequencies: Means for counting electromagnetic waves by counting the number of times per second they pass a particular point.  Network: Group of radio or television stations (affiliates) connected by contract to a central source of programming.

75. Terms  AM: Amplitude modulation; a way of adjusting radio waves to carry sound by changing their height and depth but not their width.  FM: Frequency modulation: a way of adjusting radio waves to carry sound by changing their width.

76. Terms  Spectrum: The array of electromagnetic “airwaves” (identified by wavelength) that broadcasters harness to transmit radio signals.

77. Terms  Transistor: (William Shockley) Wafer-thin silicon crystal that amplified radio signals. Transistors replaced tubes and let to the portable radio and later digital revolution. Transistors have special importance in terms of their role in “personalizing” electronic media. Before transistor radio, families gathered around large radio sets and listened to the same content.

78. Radio OWNERSHIP FCC OWNERSHIP CONSTRAINTS  1950-80: 7 AM, 7 FM, 7 TV Stations  Late 1980s: 20 AM, 20 FM, 12 TV Stations  1996 Telecommunication Act: You can’t reach 35% of national audience  2003: You can’t reach 45% FCC used to enforce BROADCAST DIVERSITY (NOT ANYMORE)

79. Radio ownership  Clear Channel owns:  Over 1,190 stations  Premiere Radio network (syndicates programs to 6,500 other stations  240 international stations  40 TV stations  Largest Billboard/outdoor sign business  Largest live event promoter  SFX (talent and sports star agency)  Broadway, Cable, network, films

80. Radio ownership Empire of the air/video (7:40)

81. Radio Culture  Pirate Radio/Low Power FM  National Public Radio  PBS: 1968  NPR: 1970 NPR  BBC BBC  Satellite Radio: XM and Sirius (merge is on the cusp of approval)  Zune, etc.

82. Radio Culture Internet radio services PANDORA Last.fm Launchcast Launchcast (yahoo) RhapsodyRhapsody (Realnetwork) Guideposts Pitchfork Emusic

83. If Pandora and other customizable services take off (and so far that’s a big if), they could shift the balance of power not just in how music is consumed, but in how it is made. “You now have music fans that are completely enabled as editorial voices,” said Michael Nash, senior vice president for digital strategy and business development at Warner Music Group, one of the four major music conglomerates. “You can’t fool those people. You can’t put out an album with one good single on it. Those days are over.”

84. But if fans become their own gatekeepers, the emerging question is what sort they will be. Will they use services like Pandora to refine their choices so narrowly that they close themselves off to new surprises? Or will they use the services to seek out mass shared experiences in an increasingly atomized music world?