Radio and political power found each other almost immediately. By the early 1930s, radio had become the most powerful tool of political communication in history, capable of delivering a leader's voice, unfiltered and unedited, to every home in a nation. Its consequences ranged from the inspiring to the catastrophic.

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Radio's relationship with news was contested from the beginning. Newspapers, sensing a competitor, initially refused to supply wire service stories to radio broadcasters and campaigned to restrict broadcast news. Radio journalists had to develop new forms of reporting suited to the spoken word and the live transmission.

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If drama gave radio its artistic prestige, comedy gave it its heart. The great radio comedians became national institutions, their shows scheduling pillars around which American and British family life organized itself. On Thursday nights in the 1940s, streets were reportedly empty across the United States as families stayed home to hear Jack Benny.

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The 1930s and 1940s represent the zenith of radio as a storytelling medium. With no pictures to rely on, radio drama developed an art form unique to itself: a theater of the mind in which the listener's imagination was the ultimate special effects department.

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The transition from wireless telegraphy—point-to-point communication between trained operators—to broadcasting—the transmission of information to a general public—was not a technological shift so much as a conceptual one. It required someone to imagine a fundamentally different use for the same equipment.

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Before there was radio as a medium of culture, there was radio as a problem of physics. The story begins not with Marconi or Tesla, but with a series of scientific breakthroughs in electricity and magnetism that made wireless transmission conceivable.

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