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New York Times: Editor's ChoiceBrowsing Books SOMETHING IN THE AIR: Radio, Rock, and the Revolution That Shaped a Generation, by Marc Fisher. (Random House, $27.95.) A history of the development of radio after World War II. From the review, Jan. 28: In the late 1940s and early 1950s, broadcasting experts predicted that the advent of television would kill off radio. Many of them didn’t especially want it to survive, since it could only hold back the acceptance of TV. In fact, the radio those experts knew didn’t survive. By the mid-1950s, the national networks that had dominated since the ‘20s had all but evaporated, replaced by more than twice as many local stations. Television took over presenting broadcast drama and comedy, variety shows and in-depth news. Yet radio itself survived. Radio outstrips television as a means of conveying intimacy and, precisely because it doesn’t show but can only tell, may stir the active imagination more deeply. It’s cheaper to operate a radio station, and in those years broadcasting equipment was much more mobile, making it perfect for local presentations. With recorded music (before the advent of TV, most radio programming consisted of live performance), stations found a cheap programming source that attracted enough listeners to generate its lifeblood—advertising revenue—even after TV took hold. In “Something in the Air,” Marc Fisher takes the story from there, arguing that radio—those who programmed and performed on it, and the music they played—inspired his entire generation to come together: “We grew up dancing and dreaming to the same soundtrack, and we were therefore somehow united,” he writes. “Until the Great Unraveling of the late 1960s and early ‘70s, this shared pop culture was a meeting ground for our nation, a commons that we only years later realized we had lost.” It provides a history of the development of radio in the postwar era, but it works best when it backs away from the general and settles upon particular broadcasters who fascinate Fisher. He writes engagingly about the late-night giants Jean Shepherd and Bob Fass, the shock jock Tom Leykis, the National Public Radio co-founder Bill Siemering, the Long Island radio rebel Paul Sidney and the white R & B disc jockey Hunter Hancock. Fisher provides a good deal of useful information about satellite and Internet broadcasting, and there are solid discussions of the consequences of the Federal Communications Commission’s laissez-faire policy toward fairness and community service and on the Clinton administration’s successful efforts to change the rules that prevented large corporations from owning large blocks of stations. He writes a devastating account of one of the focus groups that many big-city stations use to pick their playlists, arguing that such questionable research (each recording is judged by a seven-second sample) leads to unimaginative programming. He also has the courage to defend payola: “Despite the ugly underside of the promotion business,” he writes, “the old payola had a desirable result: a wider variety of music got on the air.” The problem, in the end, is the vastness and mutability of the radio culture that developed in the half-century since TV took over as the family hearth. Fisher’s book is at its best when he lets himself speak about passions that are almost but not quite private: the importance of his first transistor radio; the way that radio and its successors blew musical winds of change into his life; the near magical effect of listening to someone who is committed not to playing good music or making political points but simply making good radio, whatever form it may take. In such moments, readers will find that they and Fisher have much to share—not as a generation, but simply as lovers of a medium that, however scorned and abused, retains its fascination. Review by Dave Marsh |