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ADDITIONAL INTERESTING INFORMATION
Radio. In the United States, radio was so widely used for propaganda that it greatly exceeded the use of other media that was typically used against other nations. President Roosevelt's fireside chats are an excellent example of this use of radio. In February 1942, Norman Corwin's This is War series was broadcast throughout the country and, by shortwave, throughout the world. Other significant uses of radio overseas includes messages to the Italian Navy, which persuaded it to surrender. CBS Radio's counterpropaganda series Our Secret Weapon (1942–43), featuring writer Rex Stout representing Freedom House, monitored Axis shortwave radio propaganda broadcasts and rebutted the most entertaining lies of the week. In 1942–43 Orson Welles created two CBS Radio series that are regarded as significant contributions to the war effort. Hello Americans was produced under the auspices of the Office of the Coordinator of Inter-American Affairs to promote inter-American understanding and friendship during World War II. Ceiling Unlimited, sponsored by the Lockheed-Vega Corporation, was conceived to glorify the aviation industry and dramatize its role in World War II. The CBS international radio network continued to support the cultural diplomacy initiatives of the State Department and the Office of the Coordinator of Inter-American Affairs throughout the 1940s. Included in this effort were live broadcasts to North and South America of the show Viva America, featuring the journalistic expertise of Edmund A. Chester and the artistic talents of Alfredo Antonini, Terig Tucci and John Serry Sr. Since radio was often a "live' media, there were restrictions. Broadcasters were warned not to cut to a commercial with the line, "and now for some good news," and reporters were instructed not to describe bombings precisely enough so that the enemy could tell what they hit, for example, they were to state "the building next to the one I am standing on," not "the First National Bank." While audience participation and man-on-the-street programs were immensely popular, broadcasters realized there was no way to prevent enemy agents from being selected, and these were discontinued. Many broadcasters worked war themes into their programming to such an extent that they confused the targeted audiences. As a result, the Radio War Guide urged broadcasters to focus on selected themes. At first the Japanese population could not receive propaganda by radio because short-wave receivers were prohibited in Japan. However, the capture of Saipan not only shocked the Japanese because it was considered invincible, but allowed Americans to use medium-wave radio to reach the Japanese islands.