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A decade after the first Canadian telecasts in September 1952, TV had conquered the country. Why was the little screen so enthusiastically welcomed by Canadians? Was television in its early years more innovative, less commerical, and more Canadian than current than current offerings? In this study of what is often called the 'golden age' of television, Paul Rutherford has set out to dispel some cherished myths and to resurrect the memory of a noble experiment in the making of Canadian culture. He focuses on three key aspects of the story. The first is the development of the national service, including the critical acclaim won by Radio-Canada, the struggles of the CBC's English service to provide mass entertainment that could compete with the Hollywood product, and the effective challenge of private television to the whole dream of public broadcasting. The second deals with the wealth of made-in-Canada programming available to please and inform vviewers - even commercials receive close attention. Altogether, Rutherford argues, Canadian programming reflected as well as enhanced the prevailing values and assumptions of the mainstream. The final focus is on McLuhan's Question: What happens to society when a new medium of communications enters the picture? Rutherford's findings cast doubt upon the common presumptions about the awesome power of television. Television in Canada, Rutherford concludes, amounts to a failed revolution. It never realized the ambbitions of its masters or the fears of its critics. Its course was shaped not only by the will of the government, the power of commerce, and the empire of Hollywood, but also by the desires and habits of the viewers.
During the “golden age” of radio, from roughly the late 1920s until the late 1940s, advertising agencies were arguably the most important sources of radio entertainment. Most nationally broadcast programs on network radio were created, produced, written, and/or managed by advertising agencies: for example, J. Walter Thompson produced “Kraft Music Hall” for Kraft; Benton & Bowles oversaw “Show Boat” for Maxwell House Coffee; and Young & Rubicam managed “Town Hall Tonight” with comedian Fred Allen for Bristol-Myers. Yet this fact has disappeared from popular memory and receives little attention from media scholars and historians. By repositioning the advertising industry as a central agent in the development of broadcasting, author Cynthia B. Meyers challenges conventional views about the role of advertising in culture, the integration of media industries, and the role of commercialism in broadcasting history. Based largely on archival materials, A Word from Our Sponsor mines agency records from the J. Walter Thompson papers at Duke University, which include staff meeting transcriptions, memos, and account histories; agency records of BBDO, Benton & Bowles, Young & Rubicam, and N. W. Ayer; contemporaneous trade publications; and the voluminous correspondence between NBC and agency executives in the NBC Records at the Wisconsin Historical Society. Mediating between audiences’ desire for entertainment and advertisers’ desire for sales, admen combined “showmanship” with “salesmanship” to produce a uniquely American form of commercial culture. In recounting the history of this form, Meyers enriches and corrects our understanding not only of broadcasting history but also of advertising history, business history, and American cultural history from the 1920s to the 1940s.
"If there was a book like Brought to You By when I came into the advertising business, it would have saved me ten years of hard knocks. I plan to buy it by the box load and hand it out as my gift to any young person who expresses interest in getting into the advertising business." ?Jerry Della Femina, President, Jerry Della Femina & Partners "The most exciting and comprehensive explanation of how a single medium rose to be one of the most definitive forces in our culture." ?John Gerzema, Managing Director, Fallon NYC "A fun-filled journey of reminiscences for those of us old enough to remember the early days of TV advertising. Samuel also provides a powerful analogy that puts the roles of regulation, freedom, and the profit motive of the Internet in perspective." ?Paul J. Groncki, Ph.D., VP, Director of Marketing Research, J.P. Morgan "Incredibly thought-provoking for anyone interested in the shaping of our commercial culture." ?Megan Kent, Executive Director, Brand Planning, Bozell Worldwide "All scholars interested in how and why advertisers used commercials to advance a triumphant and optimistic American Way will find Brought to You By an exciting read." ?Lary May, Professor of American Studies, University of Minnesota "This important book examines and credits, warts and all, the undeniable engine behind our country's thirst for growth and belief in endless possibilities?the television commercial." ?Mark R. Morris, Chairman, Bates North America "For the general reader or the specialist seeking to understand the commercial roots of our experience economy, I cannot imagine a more perceptive guide." ?John F. Sherry, Jr., Professor of Marketing, Northwestern University "Fascinating reading, capturing a pivotal moment in the shaping of the most powerful generation in history, baby boomers." ?Benny Sommerfeld, Business Development Manager, Volvo Cars N.A.
An illuminating investigation into a class of enterprising women aspiring to “make it” in the social media economy but often finding only unpaid work Profound transformations in our digital society have brought many enterprising women to social media platforms—from blogs to YouTube to Instagram—in hopes of channeling their talents into fulfilling careers. In this eye-opening book, Brooke Erin Duffy draws much-needed attention to the gap between the handful who find lucrative careers and the rest, whose “passion projects” amount to free work for corporate brands. Drawing on interviews and fieldwork, Duffy offers fascinating insights into the work and lives of fashion bloggers, beauty vloggers, and designers. She connects the activities of these women to larger shifts in unpaid and gendered labor, offering a lens through which to understand, anticipate, and critique broader transformations in the creative economy. At a moment when social media offer the rousing assurance that anyone can “make it”—and stand out among freelancers, temps, and gig workers—Duffy asks us all to consider the stakes of not getting paid to do what you love.
Das Beste aus 50 Jahren Radiowerbung! "And Now A Few Laughs from Our Sponsor" gibt einen fundierten Einblick in die erfolgreichsten und unterhaltsamsten Radiowerbespots der letzen 50 Jahre. Präsentiert von Altmeister Larry Oakner. Umfangreiche Interviews mit Kundenbetreuern, Kunden, Produzenten und Schauspielern vermitteln nicht nur eine einzigartige Sichtweise über die Gestaltung humorvoller Radiowerbespots, sondern machen auch deutlich, worauf es bei einer unvergesslichen und effektiven Werbekampagne wirklich ankommt. Mit Begleit-CD. Sie enthält die Originalaufnahmen der im Buch besprochenen Werbesendungen. Dieses Buch zeigt jedem Werbeprofi, wie er 60 Sekunden Sendezeit optimal nutzt, um beim Verbraucher einen bleibenden Eindruck zu hinterlassen und ihn für sich zu gewinnen. "And Now A Few Laughs from Our Sponsor" unterscheidet sich massiv von Konkurrenzwerken, denn es enthält wichtige Lektionen, wie man die Aufmerksamkeit von Verbrauchern gewinnt. Dadurch wird es zur absoluten Pflichtlektüre für alle Fachleute im Bereich Radiowerbung und Copywriting. Demonstriert bedeutende Beispiele, in denen sich Werbung mit Parodie, Popkultur und Comedy verbindet. Ein neuer Band aus der ausgesprochen erfolgreichen 'Adweek'-Reihe.
When a 12-year-old boy tries to protect consumers from a dangerous drinking mug, he discovers he must challenge his father's advertising agency.
To today's radio listener, it is difficult to imagine the influence radio once held over the American people. Unlike movies or newspapers, radio both informed and entertained its audience without requiring them to participate. Part of its success depended upon the people who created the sound effects--a squeaking door, the approach of a horse, or a typewriter. The author did live sound effects during the "Golden Age" of radio. He provides many insights into the early days of the medium as it grappled with entertaining an audience based on a single sense (hearing). How the sounds were produced is fully covered as are the artists responsible for their production. Stories of successful effects production are balanced by embarrassing or funny failures. A list of artists and their shows is included.
Mary Vipond's approach is based on the idea that the development of radio broadcasting was a process that involved equipment manufacturers, broadcasters, and "audiences/customers." She charts the expansion of these three groups, surveys the development of advertising and networking as methods of financing, and analyses the evolution of programming. From 1922 to 1932, radio administration was the responsibility of the Radio Branch of the federal Department of Marine and Fisheries. Vipond discusses the regulatory policies of the branch. She completes her study with an analysis of the period from the formation of the Aird Royal Commission on Radio Broadcasting in 1928 to the passage of the Radio Broadcasting Act of 1932. Between 1922 and 1932, virtually all Canadian broadcasting was in the private sector. The campaign in the early 1930s to institute a broadcasting system oriented more toward public service and the promotion of a national identity was partially successful. Vipond reveals, however, that the act that in 1932 set up the Canadian Radio Broadcasting Commission, now the CBC, was much weaker than has generally been recognized. She argues that this weakness was a consequence of the fact that, over the course of the 1920s, broadcasters, listeners, and politicians alike had built up certain expectations of radio which could not easily be disregarded.