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The production of scripted creative radio -- drama, comedy, and variety -- in the United States is usually associated with the classic radio network era, approximately 1927 -- 1962. Most historical narratives maintain that creative radio virtually disappeared in the early 1960s when television emerged to dominate broadcast entertainment, suggesting a natural and seamless transition from radio to television that erased radio as a creative form. This dissertation intervenes in the standard historical narrative by unearthing the buried history of creative radio's survival in U.S. from the 1960s to the present both as material commodity and as a thriving cultural practice. Applying a material culture framework to creative radio's history, supported by original interviews, previously unexplored archival materials, and industry research, I argue that radio's cultural role did not end as the last live transmissions faded, but that creative radio survived in material forms that circulated through communities of radio bootleggers and collectors, as well as through the industrial aftermarkets of syndication and repackaging as recorded commodities. From the Theater 5 and CBS Mystery Theater in the 1960s and '70s, through numerous "old time radio" shows around the country, to repackaged "radio classics," creative radio survived and thrived through the 1980s and 90s. Furthermore, creative radio's continued though marginal circulation played a crucial role in soundwork's revival in the digital era. As I demonstrate, this can be seen clearly in key programs of the current era like A Prairie Home Companion, This American Life and Serial. This dissertation contributes to media history, cultural studies, and sound studies by examining how the industrial practices and cultural understandings of what radio was and could be persisted in the U.S. media landscape from television's heyday to the post-network radio era
The production of scripted creative radio -- drama, comedy, and variety -- in the United States is usually associated with the classic radio network era, approximately 1927 -- 1962. Most historical narratives maintain that creative radio virtually disappeared in the early 1960s when television emerged to dominate broadcast entertainment, suggesting a natural and seamless transition from radio to television that erased radio as a creative form. This dissertation intervenes in the standard historical narrative by unearthing the buried history of creative radio's survival in U.S. from the 1960s to the present both as material commodity and as a thriving cultural practice. Applying a material culture framework to creative radio's history, supported by original interviews, previously unexplored archival materials, and industry research, I argue that radio's cultural role did not end as the last live transmissions faded, but that creative radio survived in material forms that circulated through communities of radio bootleggers and collectors, as well as through the industrial aftermarkets of syndication and repackaging as recorded commodities. From the Theater 5 and CBS Mystery Theater in the 1960s and '70s, through numerous "old time radio" shows around the country, to repackaged "radio classics," creative radio survived and thrived through the 1980s and 90s. Furthermore, creative radio's continued though marginal circulation played a crucial role in soundwork's revival in the digital era. As I demonstrate, this can be seen clearly in key programs of the current era like A Prairie Home Companion, This American Life and Serial. This dissertation contributes to media history, cultural studies, and sound studies by examining how the industrial practices and cultural understandings of what radio was and could be persisted in the U.S. media landscape from television's heyday to the post-network radio era.
Where do program ideas come from? How are concepts developed into saleable productions? Who do you talk to about getting a show produced? How do you schedule shows on the lineup? What do you do if a series is in trouble? The answers to these questions, and many more, can be found in this comprehensive, in-depth look at the roles and responsibilities of the electronic media programmer. Topics include: Network relationships with affiliates, the expanded market of syndication, sources of programming for stations and networks, research and its role in programming decisions, fundamental appeals to an audience and what qualities are tied to success, outside forces that influence programming, strategies for launching new programs or saving old ones. Includes real-life examples taken from the authors' experiences, and 250+ illustrations!
"Jack Benny became one of the most influential entertainers of the 20th century--by being the top radio comedian, when the comics ruled radio, and radio was the most powerful and pervasive mass medium in the US. In 23 years of weekly radio broadcasts, by aiming all the insults at himself, Benny created Jack, the self-deprecating "Fall Guy" character. He indelibly shaped American humor as a space to enjoy the equal opportunities of easy camaraderie with his cast mates, and equal ego deflation. Benny was the master of comic timing, knowing just when to use silence to create suspense or to have a character leap into the dialogue to puncture Jack's pretentions. Jack Benny was also a canny entrepreneur, becoming one of the pioneering "showrunners" combining producer, writer and performer into one job. His modern style of radio humor eschewed stale jokes in favor informal repartee with comic hecklers like his valet Rochester (played by Eddie Anderson) and Mary Livingstone his offstage wife. These quirky characters bouncing off each other in humorous situations created the situation comedy. In this career study, we learn how Jack Benny found ingenious ways to sell his sponsors' products in comic commercials beloved by listeners, and how he dealt with the challenges of race relations, rigid gender ideals and an insurgent new media industry (TV). Jack Benny created classic comedy for a rapidly changing American culture, providing laughter that buoyed radio listeners from 1932's depths of the Great Depression, through World War II to the mid-1950s"--Provided by publisher.
Vintage Radio, Television and Hi-Fi are highly popular 'modern antiques' - and offer the added challenge for restorers of the repair of classic valve-based circuits. This highly readable book encompasses all aspects of buying, collecting, restoring, repairing, sourcing parts, professional services, clubs and societies, etc. Covering the technical side as well as collecting, this book offers the most comprehensive coverage available. The first half of the book deals primarily with technical aspects of restoration, what components are needed and where they can be found. The second half of the book provides a wealth of useful information: names and addresses of clubs and societies, auctions and antique fairs; a professional services directory; how to get hold of service data. Armed with this book the enthusiast will be able to tackle the restoration of a vintage machine with confidence. A highly popular type of 'modern antique' Covers technical aspects of classic valve-based circuitry The most complete work for vintage audio and TV enthusiasts, dealers and repairers
Nestled in the heart of the Southern Willamette Valley, Eugene is known as the Emerald City, Silicon Shire, and TrackTown USA. Defined by the official motto “A Great City for the Arts and Outdoors,” Eugene is a place known for its high quality of life and a community of residents that thrive on finding a balance between work and play. In 100 Things to Do in Eugene Before You Die you’ll find a new adventure on every page, with seasonal events and detailed itineraries to serve as your own personal tour guide. This one-time home to both Olympic athlete Steve Prefontaine and American author Ken Kesey is full of surprises from eclectic parades to hazelnut farms and even vintage arcades. Whether you’re new to town or simply looking for new ways to get out and enjoy one of the region’s many rainy days, this book will help you create—and complete—your very own Eugene bucket list.
For more than two centuries, American journalism has played a seminal role not merely in recording this nation's history but also in shaping it. By looking at fourteen discrete events, from the 1760s through the 1990s, this book reveals that as the American news media report and comment on events of the day, they wield enormous impact on those events. Index. 27 photos & cartoons.
Of the many Cold War radio DJs who broadcast to the USSR, Seva Novgorodsev must be near the top of the list. A masterful BBC presenter, Seva was considered a sage of rock ‘n’ roll. His programs introduced forbidden western popular music and culture into the USSR, rendering him an “enemy voice” and ideological saboteur to the Central Committee of the Communist Party. Despite KGB threats and constant media pillorying, Seva remained on the air for 38 years, acquiring millions of listeners all across the breadth of the USSR and beyond. He became a cult phenomenon, dismantling the Soviet way of life in the hearts and minds of youth. This is the story of Russia’s first and best-known DJ.