When the Levee Breaks: The Origin of On-Demand Content
N听……的结尾 帝国的 天空, 亚历山大 Rose’s soaring history of Germany’s Zeppelin company and the race to achieve transoceanic passenger flight, he finally gets to the part of the story that everybody knows: the hydrogen leak that caused the massive 兴登堡 airship to descend in flames over a New Jersey airfield, killing 35 passengers and crew members and gravely injuring nearly 60 more.
小时f灾难过后，无线电 记者她bert Morrison and recording engineer Charlie Nehlsen rushed to de生活r the only existing audio recording of the tumult surrounding the airship's demise—including Morrison's second-by-second commentary on the 灾难 as it unfolded—to their station managers at WLS在芝加哥，谁 拒绝播放. In 1937广播网络被禁 回放 记录 广播音频，基于 the prevailing assumption that radio listeners were only interested in hearing 生活 news broadcasts and 生活 performances.
The WLS managers eventually relented and played short excerpts of the recording the follow荷兰国际集团(ing)早上. NBC followed suit later in the day. "These were the only occasions on which Morrison's as-it-happens reports were ever played on the radio," Rose writes, "but they marked the first time
这些录音 a breaking news event were 过广播.” Radio was never the same again.
Nearly a century later, most of 我们已经看到 新闻影片 的 兴登堡 灾难 paired with Morrison's poignant "Oh, the humanity!”叙事，它是 certainly rendered no less stunning by not being 生活. Here in the streaming world, of course, we have our own preconceived notions of 需要什么 to be 生活 and what doesn’t, as well as a prevailing sense that when 生活 is possible, 生活 is preferable—or even necessary.
The radio industry's delayed recognition that there was a willing audience for the one-of-a-种Morrison-Nehlsen 兴登堡 磁带和 the broadcast-standards floodgates that opened in their wake—reminds us that it's often the con帐篷，不是住的还是住的 VOD, that separates a successful launch from a lead balloon.
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