ated weekly magazines, but splashes of color were few and far between. Information, not entertainment, was the keynote of the day, at least in newspapers. Seymour-Ure sums up the tone of the media establishment this way:
In the press, "taste" was largely a matter of editorial discretion. Four-letter words and topless girls were taboo. Tasteful, airbrushed nudes appeared in light monthly magazines such as Liliput and Men Only (Seymour-Ure 2).
By 1995, the media landscape of the UK had been radically transformed. Television was ubiquitous, with two-thirds of all homes having at least two TVs. There were four national "terrestrial" channels, reinforced by multichannel international satellite TV and virtually round-the-clock programming. Many newspapers routinely featured color art; the newsstands "were a blaze of glossy color," says Ure (4). Some tabloids were distinguished by the latest gossip and nude photography. Special-interest weeklies and monthlies numbered in the hundreds; only women's homemaking magazines, once prominent in the UK media establishment, had declined in popularity. Although as Eldridge, et al., point out, there is "a long tradition of complaint against the influence of popular media and entertainment forms in Britain" (10), in the 1950s and 1960s the perception was growing tha
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