About the book
When it first appeared in the 1930s, FM radio was a technological marvel, providing better sound and nearly eliminating the static that plagued AM stations. It took another forty years, however, for FM’s popularity to surpass that of AM. In Sounds of Change, Christopher Sterling and Michael Keith detail the history of FM, from its inception to its dominance (for now, at least) of the airwaves.
Initially, FM’s identity as a separate service was stifled, since most FM outlets were AM-owned and simply simulcast AM programming and advertising. A wartime hiatus followed by the rise of television precipitated the failure of hundreds of FM stations. As Sterling and Keith explain, the 1960s brought FCC regulations allowing stereo transmission and requiring FM programs to differ from those broadcast on co-owned AM stations. Forced nonduplication led some FM stations to branch out into experimental programming, which attracted the counterculture movement, minority groups, and noncommercial public and college radio. By 1979, mainstream commercial FM was finally reaching larger audiences than AM. The story of FM since 1980, the authors say, is the story of radio, especially in its many musical formats. But trouble looms. Sterling and Keith conclude by looking ahead to the age of digital radio — which includes satellite and internet stations as well as terrestrial stations — suggesting that FM’s decline will be partly a result of self-inflicted wounds — bland programming, excessive advertising, and little variety.
Editions of Sounds of Change
- Hardcover
- ISBN 9780807832158
- Paperback
- ISBN 9780807858882
- EBook
- ISBN 9798890880826
- EBook
- ISBN 9780807877555
Read an Excerpt
When it first appeared in the 1930s, FM radio was a technological marvel, providing better sound and nearly eliminating the static that plagued AM stations. It took another forty years, however, for FM’s popularity to surpass that of AM. In Sounds of Change, Christopher Sterling and Michael Keith detail the history of FM, from its inception to its dominance (for now, at least) of the airwaves.
Initially, FM’s identity as a separate service was stifled, since most FM outlets were AM-owned and simply simulcast AM programming and advertising. A wartime hiatus followed by the rise of television precipitated the failure of hundreds of FM stations. As Sterling and Keith explain, the 1960s brought FCC regulations allowing stereo transmission and requiring FM programs to differ from those broadcast on co-owned AM stations. Forced nonduplication led some FM stations to branch out into experimental programming, which attracted the counterculture movement, minority groups, and noncommercial public and college radio. By 1979, mainstream commercial FM was finally reaching larger audiences than AM. The story of FM since 1980, the authors say, is the story of radio, especially in its many musical formats. But trouble looms. Sterling and Keith conclude by looking ahead to the age of digital radio — which includes satellite and internet stations as well as terrestrial stations — suggesting that FM’s decline will be partly a result of self-inflicted wounds — bland programming, excessive advertising, and little variety.
Frequently Asked Questions
What is Sounds of Change about?
When it first appeared in the 1930s, FM radio was a technological marvel, providing better sound and nearly eliminating the static that plagued AM stations. It took another forty years, however, for FM’s popularity to surpass that of AM. In Sounds of Change, Christopher Sterling and Michael Keith detail the history of FM, from its inception to its dominance (for now, at least) of the airwaves.
Initially, FM’s identity as a separate service was stifled, since most FM outlets were AM-owned and simply simulcast AM programming and advertising. A wartime hiatus followed by the rise of television precipitated the failure of hundreds of FM stations. As Sterling and Keith explain, the 1960s brought FCC regulations allowing stereo transmission and requiring FM programs to differ from those broadcast on co-owned AM stations. Forced nonduplication led some FM stations to branch out into experimental programming, which attracted the counterculture movement, minority groups, and noncommercial public and college radio. By 1979, mainstream commercial FM was finally reaching larger audiences than AM. The story of FM since 1980, the authors say, is the story of radio, especially in its many musical formats. But trouble looms. Sterling and Keith conclude by looking ahead to the age of digital radio — which includes satellite and internet stations as well as terrestrial stations — suggesting that FM’s decline will be partly a result of self-inflicted wounds — bland programming, excessive advertising, and little variety.
What core themes, tropes, or subjects are explored in Sounds of Change?
Society and Social Sciences > Society and culture: general > Cultural and media studies > Media studies
Where can I read a sample of Sounds of Change?
You can read an official preview of the few pages here https://www.book2look.com/book/9780807832158
How long is Sounds of Change and how many pages does it have?
Sounds of Change has 336 page(s)
Who is/are the Author/s of the book Sounds of Change?
Christopher H. Sterling, Michael C. Keith
What are the ISBN numbers for the physical and digital editions?
Sounds of Change is available as hardcover(ISBN 9780807832158) and paperback(ISBN 9780807858882) and ebook(ISBN 9798890880826) and ebook(ISBN 9780807877555)
Where can I buy Sounds of Change online or support local independent bookshops?
You can buy Sounds of Change from below
Where can I buy Sounds of Change?