In this interdisciplinary study of the laws and policies associated with commercial radio and television, Thomas Streeter reverses the usual take on broadcasting and markets by showing that government regulation creates rather than intervenes in the market. Analyzing the processes by which commercial media are organized, Streeter asks how it is possible to take the practice of broadcasting—the reproduction of disembodied sounds and pictures for dissemination to vast unseen audiences—and constitute it as something that can be bought, owned, and sold. With an impressive command of broadcast history, as well as critical and cultural studies of the media, Streeter shows that liberal marketplace principles—ideas of individuality, property, public interest, and markets—have come into contradiction with themselves. Commercial broadcasting is dependent on government privileges, and Streeter provides a searching critique of the political choices of corporate liberalism that shape our landscape of cultural property and electronic intangibles.

In this interdisciplinary study of the laws and policies associated with commercial radio and television, Thomas Streeter reverses the usual take on broadcasting and markets by showing that government regulation creates rather than intervenes in the market. Analyzing the processes by which commercial media are organized, Streeter asks how it is possible to take the practice of broadcasting—the reproduction of disembodied sounds and pictures for dissemination to vast unseen audiences—and constitute it as something that can be bought, owned, and sold. With an impressive command of broadcast history, as well as critical and cultural studies of the media, Streeter shows that liberal marketplace principles—ideas of individuality, property, public interest, and markets—have come into contradiction with themselves. Commercial broadcasting is dependent on government privileges, and Streeter provides a searching critique of the political choices of corporate liberalism that shape our landscape of cultural property and electronic intangibles.

In Selling Air Power, Steve Call provides the first comprehensive study of the efforts of post-war air power advocates to harness popular culture in support of their agenda. In the 1940s and much of the 1950s, hardly a month went by without at least one blatantly pro-air power article appearing in general interest magazines. Public fascination with flight helped create and sustain exaggerated expectations for air power in the minds of both its official proponents and the American public. Articles in the Saturday Evening Post, Reader's Digest, and Life trumpeted the secure future assured by American air superiority. Military figures like Henry H. "Hap" Arnold and Curtis E. LeMay, radio-television personalities such as Arthur Godfrey, cartoon figures like Steve Canyon, and actors like Jimmy Stewart played key roles in the unfolding campaign. Movies like Twelve O'Clock High!, The Court-Martial of Billy Mitchell, and A Gathering of Eagles projected onto the public imagination vivid images confirming what was coming to be the accepted wisdom: that America's safety against the Soviet threat could best be guaranteed by air power, coupled with nuclear capability. But as the Cold War continued and the specter of the mushroom cloud grew more prominent in American minds, another, more sinister interpretation began to take hold. Call chronicles the shift away from the heroic, patriotic posture of the years just after World War II, toward the threatening, even bizarre imagery of books and movies like Catch-22, On the Beach, and Dr. Strangelove. Call's careful analysis goes beyond the public relations campaigns to probe the intellectual climate that shaped them and gave them power. Selling Air Power adds a critical layer of understanding to studies in military and aviation history, as well as American popular culture.

From “a marvelous new voice” (Rebecca Makkai), these “extraordinarily imaginative” (Sigrid Nunez), “revelatory” (Nicole Krauss), “superb” (Kiran Desai) stories transcend borders as they render the intimate lives of people striving for connection. WINNER OF THE AJL JEWISH FICTION AWARD • FINALIST FOR THE WINGATE PRIZE The Man Who Sold Air in the Holy Land announces the arrival of a natural-born storyteller of immense talent. Warm, poignant, delightfully whimsical, Omer Friedlander’s gorgeously immersive and imaginative stories take you to the narrow limestone alleyways of Jerusalem, the desolate beauty of the Negev Desert, and the sprawling orange groves of Jaffa, with characters that spring to vivid life. A divorced con artist and his daughter sell empty bottles of “holy air” to credulous tourists; a Lebanese Scheherazade enchants three young soldiers in a bombed-out Beirut radio station; a boy daringly “rooftops” at night, climbing steel cranes in scuffed sneakers even as he reimagines the bravery of a Polish-Jewish dancer during the Holocaust; an Israeli volunteer at a West Bank checkpoint mourns the death of her son, a soldier killed in Gaza. These stories render the intimate lives of people striving for connection. They are fairy tales turned on their head by the stakes of real life, where moments of fragile intimacy mix with comedy and notes of the absurd. Told in prose of astonishing vividness that also demonstrates remarkable control and restraint, they have a universal appeal to the heart.

Imagine if one man devised a way to gain control of one vital resource no one can live without. What would you do then?

In Selling Air Power, Steve Call provides the first comprehensive study of the efforts of post-war air power advocates to harness popular culture in support of their agenda. In the 1940s and much of the 1950s, hardly a month went by without at least one blatantly pro–air power article appearing in general interest magazines. Public fascination with flight helped create and sustain exaggerated expectations for air power in the minds of both its official proponents and the American public. Articles in the Saturday Evening Post, Reader's Digest, and Life trumpeted the secure future assured by American air superiority. Military figures like Henry H. "Hap" Arnold and Curtis E. LeMay, radio-television personalities such as Arthur Godfrey, cartoon figures like Steve Canyon, and actors like Jimmy Stewart played key roles in the unfolding campaign. Movies like Twelve O'Clock High!, The Court-Martial of Billy Mitchell, and A Gathering of Eagles projected onto the public imagination vivid images confirming what was coming to be the accepted wisdom: that America's safety against the Soviet threat could best be guaranteed by air power, coupled with nuclear capability. But as the Cold War continued and the specter of the mushroom cloud grew more prominent in American minds, another, more sinister interpretation began to take hold. Call chronicles the shift away from the heroic, patriotic posture of the years just after World War II, toward the threatening, even bizarre imagery of books and movies like Catch-22, On the Beach, and Dr. Strangelove. Call's careful analysis goes beyond the public relations campaigns to probe the intellectual climate that shaped them and gave them power. Selling Air Power adds a critical layer of understanding to studies in military and aviation history, as well as American popular culture.