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Everybody loves TV themes - from the silly "Mr. Ed" and "The Addams Family" to the intense "Mission: Impossible" and "Peter Gunn" to the atmospheric "Hill Street Blues" and "The X-Files". But few people know how this music is made, or the stories of the men and women who have worked tirelessly (and often anonymously) to create it. This book offers the complete story of this important musical style, giving it the serious, and colorfully anecdotal, history it deserves. Divided into chapters on each genre, Burlingame provides the real stories of the composers who worked behind the scenes to create the memorable music we all love. Among those who have written and performed for television include many famous musicians - like jazz pianists Dave Brubeck and Duke Ellington, arranger/producer Quincy Jones, film music giant John Williams, Broadway composer Richard Rodgers, and classical composer Morton Gould. Illustrated throughout with rare photos of the composers at work, this is a fascinating story of how a new genre of musical artistry was created.
Bonanza aired on NBC from September 12, 1959, to January 16, 1973, playing to 480,000,000 viewers in over 97 countries. It was the second longest running western series, surpassed only by Gunsmoke, and continues to provide wholesome entertainment to old and new fans via syndication. This book provides an in-depth chronicle of the series and its stars. A history of the show from its inception to the current made-for-television movies is provided, and an episode guide includes a synopsis of each show and lists such details as the main characters of each episode and the actors who portrayed them, the dates they stayed with the show, date and time of original broadcast, writer, director, producer, executive producer, and supporting cast. Also provided are character sketches for each of the major recurring characters, career biographies of Lorne Green, Pernell Roberts, Dan Blocker, and Michael Landon, brief biographical sketches of the supporting cast, a discography of recordings of the Bonanza theme and recordings of the four major stars, and information on Bonanza television movies.
From re-runs of 'TV classics' like The Avengers or Starsky and Hutch, to soundtracks, club nights and film remakes such as Mission Impossible II, the action series is enjoying a popular revival. Yet little attention has been paid to the history, nature and enduring appeal of the action series, and its place in popular culture, past and present. Action TV traces the development of the action series from its genesis in the 1950s. From The Saint to Knigh t Rider, contributors explore the key shows which defined the genre, addressing issues of audiences and consumption, gender and sexuality, fashion and popular culture. They examine the institutional and cultural factors influencing the action series, and relate shifts in the genre to other forms of popular culture including film, pop music, fashion and popular literature. Chapters include: * Of leather suits and kinky boots: The Avengers, style and popular culture * 'Who loves ya, baby?': Kojak, action and the great society *'A lone crusader in a dangerous world': heroics of science and technology in Knight Rider * Angels in chains? feminism, femininity and consumer culture in Charlie's Angels * 'Who's the cat that won't cop out?' Black masculinity in American action shows of the sixties and seventies
Music in Television is a collection of essays examining television’s production of meaning through music in terms of historical contexts, institutional frameworks, broadcast practices, technologies, and aesthetics. It presents the reader with overviews of major genres and issues, as well as specific case studies of important television programs and events. With contributions from a wide range of scholars, the essays range from historical-analytical surveys of TV sound and genre designations to studies of the music in individual programs, including South Park and Dr. Who.
Since the beginning of network television, many shows have been preceded by an announcement or theme song that served various purposes. In the 1950s and ’60s, it was common for announcers to declare that a program had been “brought to you by” a sponsor who paid for the privilege of introducing a show. Other programs, such as The Twilight Zone, Star Trek, and The Odd Couple,provided a brief encapsulation of the show’s subject matter, a practice that has continued for recent shows like Alias, Battlestar Galactica, Person of Interest, and the various editions of Law & Order. In Television Introductions: Narrated TV Program Openings since 1949, Vincent Terrace has assembled openings for more than nine hundred television shows from the past seven decades. The only documented history of narrated television program introductions, this volume is arranged by type of programming, such as comedy, drama, Western, game show, soap opera, and children’s show. In addition to quoting the opening material, entries provide information about each show’s network history and years of broadcast. Many entries include descriptions of the show, the names of announcers, and a list of main cast members, as well as a sponsor pitch exactly as spoken. Openings for programs with multiple introductions like The Adventures of Ozzie and Harriet and Charlie’s Angels are also included. For programs that featured new guest stars every episode—such as game shows and variety programs—Terrace has selected a representative introduction. In addition to the theme song credits found in the main text, there are also appendixes of theme songs and their composers and/or singers, as well as a listing of commercial releases (on DVD, VHS, CD, and LP) of shows and their soundtracks. A comprehensive resource for researchers and pop culture aficionados alike, Television Introductions provides a fascinating look at this neglected part of TV history.
Printed versions of instrumental film scores can be quite difficult to find, and in many cases the arrangements cited in this book are the only available printed manifestations. The text presents virtually every major film composer, including Max Steiner, Erich Wolfgang Korngold, Bernard Hermann, Jerry Goldsmith, and John Williams."
The Emmy-nominated star of the classic 1950s sitcom I Married Joan, Joan Davis (1912-1961) was also radio's highest paid comedienne in the 1940s--and she displayed her unique brand of knockabout comedy in more than forty films. This book provides a complete account of her career, including a filmography with critical commentary, and the most detailed episode logs ever compiled for her radio and television programs. A biographical chapter offers never-before-published information about her family background, marriage to vaudeville comedian Si Wills and relationships with other men, and her tragic early death.
Westerns have featured prominently in films almost since motion pictures were first produced at the end of the nineteenth century and when televisions invaded American homes in the late 1940s and early '50s, Western programs filled the small screen landscape. Throughout the 1950s and well into the 1960s, these shows dominated television with such long-running successes as Bonanza, Wagon Train, and Maverick. And though the genre has fallen on hard times over the years, it has never died, as Hollywood continues to produce films, mini-series, and shows that keep the west alive. In Television Westerns: Six Decades of Sagebrush Sheriffs, Scalawags, and Sidewinders, Alvin H. Marill looks at the genre as it was represented from the beginning of television—from the twenty-year run of Gunsmoke to the brutal revisionist take of Deadwood. This volume encompasses all manifestations of the Western, including such series as Rawhide, The Virginian, and The Wild, Wild West, as well as movies-of the-week, mini-series, failed pilots, animated programs, documentaries, and even Western-themed episodes of non-Western series that provided their own spin on the genre.
America’s First Network TV Censor: The Work of NBC’s Stockton Helffrichis a unique examination of early television censorship, centered around the papers of Stockton Helffrich, the first manager of the censorship department at NBC. Set against the backdrop of postwar America and contextualized by myriad primary sources including original interviews and unpublished material, Helffrich’s reports illustrate how early censorship of advertising, language, and depictions of sex, violence, and race shaped the new medium. While other books have cited Helffrich’s reports, none have considered them as a body of work, complemented by the details of Helffrich’s life and the era in which he lived. America’s First Network TV Censor explores the ways in which Helffrich’s personal history and social class influenced his perception of his role as NBC-TV censor and his tendency to ignore certain political and cultural taboos while embracing others. Author Robert Pondillo considers Helffrich’s life in broadcasting before and after the Second World War, and his censorial work in the context of 1950s American culture and emerging network television. Pondillo discusses the ways that cultural phenomena, including the arrival of the mid-twentieth-century religious boom, McCarthyism, the dawn of the Civil Rights era, and the social upheaval over sex, music, and youth, contributed to a general sense that the country was morally adrift and ripe for communist takeover. Five often-censored subjects—advertising, language, and depictions of sex, violence, and race—are explored in detail, exposing the surprising complexity and nuance of early media censorship. Questions of whether too many sadistic westerns would coarsen America’s children, how to talk about homosexuality without using the word “homosexuality,” and how best to advertise toilet paper without offending people were on Helffrich’s mind; his answers to these questions helped shape the broadcast media we know today.