How Deregulation Gave Us FM Radio, HBO, and the iPhone

The FCC is designed to protect incumbents, enrich politicians, and screw consumers, says economist Thomas Hazlett.

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"We've gone to a modern [broadcast] system that has a lot of places where stuff can happen without permission," says Thomas W. Hazlett, who's the FCC's former chief economist, a professor at Clemson University, and author of the new book The Political Spectrum: The Tumultuous Liberation of Wireless Technology, from Herbert Hoover to the Smartphone. "And we have seen that the smartphone revolution and some other great stuff in the wireless space has really burgeoned...That comes from deregulation."

So-called net neutrality rules are designed to solve a non-existent problem and threaten to restrict consumer choice, Hazlett tells Reason's Nick Gillespie. "The travesty is there's already a regulatory scheme [to address anti-competitive behavior]—it's called antitrust law."

Greater autonomy and consumer freedom led to the development of cable television, the smartphone revolution, and the modern internet. While we've come a long way from the old days of mother-may-I pleading with the FCC to grant licenses for new technology, Hazlett says, "there's a lot farther to go and there's a lot of stuff out there that's being suppressed."

He points to the history of radio and television. Herbert Hoover and Lyndon Johnson exercised extraordinary control over spectrum allocation, which they used for their own political and financial gain. With liberalization, we now have hundreds of hours of varied television programming as compared to the big three broadcast networks of the '60s, an abundance of choices in smartphone providers and networks as compared to the Ma Bell monopoly, and more to come.

Hazlett also discusses his views on current FCC Chairman Ajit Pai, how the FCC delayed the arrival of cable television to protect incumbent broadcasters, and "the most infamous statement ever made by an FCC regulator" in a 1981 Q&A with Reason magazine.

Interview by Nick Gillespie. Edited by Justin Monticello. Cameras by Todd Krainin and Mark McDaniel. Music by RW Smith ().