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When American radio broadcasting began in the early 1920s there was a consensus among middle-class opinion makers that the airwaves must never be used for advertising. Even the national advertising industry agreed that the miraculous new medium was destined for higher cultural purposes. And yet, within a decade American broadcasting had become commercialized and has remained so ever since. Much recent scholarship treats this unsought commercialization as a coup, imposed from above by mercenary corporations indifferent to higher public ideals. Such research has focused primarily on metropolitan stations operated by the likes of AT&T, Westinghouse, and General Electric. In American Babel, Clifford J. Doerksen provides a colorful alternative social history centered on an overlooked class of pioneer broadcaster—the independent radio stations. Doerksen reveals that these "little" stations often commanded large and loyal working-class audiences who did not share the middle-class aversion to broadcast advertising. In urban settings, the independent stations broadcast jazz and burlesque entertainment and plugged popular songs for Tin Pan Alley publishers. In the countryside, independent stations known as "farmer stations" broadcast "hillbilly music" and old-time religion. All were unabashed in their promotional practices and paved the way toward commercialization with their innovations in programming, on-air style, advertising methods, and direct appeal to target audiences. Corporate broadcasters, who aspired to cultural gentility, were initially hostile to the populist style of the independents but ultimately followed suit in the 1930s. Drawing on a rich array of archives and contemporary print sources, each chapter of American Babel looks at a particular station and the personalities behind the microphone. Doerksen presents this group of independents as an intensely colorful, perpetually interesting lot and weaves their stories into an expansive social and cultural narrative to explain more fully the rise of the commercial network system of the 1930s.
Abstracts of dissertations and monographs in microform.
This book examines schoolrooms and their material contents to reveal insights into the evolution of education and the translation of educational theories and cultural ideals into practice. School attendance is nearly universal in our society, yet very little is known about the history of the classrooms we occupy and the objects we encounter and use in our educational lives. Why are our school classrooms designed as they are? When was the blackboard invented? When did computers start appearing in schools? Through analysis of classrooms and objects within them, The Schoolroom: A Social History of Teaching and Learning details the history of American education, describing how architects, in collaboration with educators, have shaped learning spaces in response to curricular and pedagogical changes, population shifts, cultural expectations, and concern for children's health and well-being. It illustrates connections between form and function, showing how a well-designed school building can encourage learning, and reveals little-known histories of ubiquitous educational objects such as blackboards, desks, and computers.
Winner of the 2017 Outstanding Book Award from the Popular Communication Division of the International Communication Association (ICA) Nearly as soon as television began to enter American homes in the late 1940s, social activists recognized that it was a powerful tool for shaping the nation’s views. By targeting broadcast regulations and laws, both liberal and conservative activist groups have sought to influence what America sees on the small screen. Public Interests describes the impressive battles that these media activists fought and charts how they tried to change the face of American television. Allison Perlman looks behind the scenes to track the strategies employed by several key groups of media reformers, from civil rights organizations like the NAACP to conservative groups like the Parents Television Council. While some of these campaigns were designed to improve the representation of certain marginalized groups in television programming, as Perlman reveals, they all strove for more systemic reforms, from early efforts to create educational channels to more recent attempts to preserve a space for Spanish-language broadcasting. Public Interests fills in a key piece of the history of American social reform movements, revealing pressure groups’ deep investments in influencing both television programming and broadcasting policy. Vividly illustrating the resilience, flexibility, and diversity of media activist campaigns from the 1950s onward, the book offers valuable lessons that can be applied to current battles over the airwaves.