Radio Between the two World Wars the radio started becoming more and more important; as well in education (e.g. Walter Benjamin and Bertolt Brecht) as for propaganda. By hearing unconsciously, without listening, while concentrating on something else, it is easy to spread ideas and emotions. This fact was taken advantage of. The German Minister for Propaganda, Josef Goebbels, imagined the radio to be the most effective tool for propaganda. In fact the radio turned out to be a method to reach all generations at the same time, even the illiterates. By sending propaganda music and interrupting programs for the latest news, mostly good ones, the radio became popular. Radio Moscow, which started working in 1922, tried to intervene in innerstate-affairs in Britain as well as in other countries. The radio was supposed to push ahead the idea of communism.

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Challenges for Copyright by ICT: Copyright Owners The main concern of copyright owners as the (in terms of income generation) profiteers of intellectual property protection is the facilitation of pirate activities in digital environments. Reproduction and Distribution Unlike copies of works made using analog copiers (photocopy machines, video recorders etc.) digital information can be reproduced extremely fast, at low cost and without any loss in quality. Since each copy is a perfect copy, no quality-related limits inhibit pirates from making as many copies as they please, and recipients of these copies have no incentive to return to authorized sources to get another qualitatively equal product. Additionally the costs of making one extra copy of intellectual property online are insignificant, as are the distribution costs if the copy is moved to the end user over the Internet. Control and Manipulation In cross-border, global data networks it is almost impossible to control the exploitation of protected works. Particularly the use of anonymous remailers and other existing technologies complicates the persecution of pirates. Also digital files are especially vulnerable to manipulation, of the work itself, and of the (in some cases) therein-embedded copyright management information.

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