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He KMBC-ÍM Radio TEAM
l\NUARY 3, 1955 35c PER COPY stu. esen 3o.loe -qv TTaMxg4i431 BItOADi S SSaeb: iiSZ£ (009'I0) 01 Ff : t?t /?I 9b£S IIJUY.a¡:, SUUl.; l: Ii-i od 301 :1 uoTloas steTaa Rae.zgtZ IS-SN AlTs.aantur: aTe AVSí1 T E IdEC. 211111 111111ip. he KMBC-ÍM Radio TEAM IN THIS ISSUE: St `7i ,ytLICOTNE OSE YN in the 'Mont Network Plans AICNISON ` MAISHAIS N CITY ive -Film Innovation .TOrEKA KANSAS Heart of Americ ENE. SEDALIA. Page 27 S CLINEON WARSAW EMROEIA RUTILE KMBC of Kansas City serves 83 coun- 'eer -Wine Air Time ties in western Missouri and eastern. Kansas. Four counties (Jackson and surveyed by NARTB Clay In Missouri, Johnson and Wyan- dotte in Kansas) comprise the greater Kansas City metropolitan trading Page 28 Half- millivolt area, ranked 15th nationally in retail sales. A bonus to KMBC, KFRM, serv- daytime ing the state of Kansas, puts your selling message into the high -income contours homes of Kansas, sixth richest agri- Jdio's Impact Cited cultural state. New Presentation Whether you judge radio effectiveness by coverage pattern, Page 30 audience rating or actual cash register results, you'll find that FREE & the Team leads the parade in every category. PETERS, ñtvC. Two Major Probes \Exclusive National It pays to go first -class when you go into the great Heart of Face New Senate Representatives America market. Get with the KMBC -KFRM Radio Team Page 44 and get real pulling power! See your Free & Peters Colonel for choice availabilities. st SATURE SECTION The KMBC - KFRM Radio TEAM -1 in the ;Begins on Page 35 of KANSAS fir the STATE CITY of KANSAS Heart of America Basic CBS Radio DON DAVIS Vice President JOHN SCHILLING Vice President and General Manager GEORGE HIGGINS Year Vice President and Sally Manager EWSWEEKLY Ir and for tels s )F RADIO AND TV KMBC -TV, the BIG TOP TV JIj,i, Station in the Heart of America sú,\.rw. -
Jazz and Radio in the United States: Mediation, Genre, and Patronage
Jazz and Radio in the United States: Mediation, Genre, and Patronage Aaron Joseph Johnson Submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy in the Graduate School of Arts and Sciences COLUMBIA UNIVERSITY 2014 © 2014 Aaron Joseph Johnson All rights reserved ABSTRACT Jazz and Radio in the United States: Mediation, Genre, and Patronage Aaron Joseph Johnson This dissertation is a study of jazz on American radio. The dissertation's meta-subjects are mediation, classification, and patronage in the presentation of music via distribution channels capable of reaching widespread audiences. The dissertation also addresses questions of race in the representation of jazz on radio. A central claim of the dissertation is that a given direction in jazz radio programming reflects the ideological, aesthetic, and political imperatives of a given broadcasting entity. I further argue that this ideological deployment of jazz can appear as conservative or progressive programming philosophies, and that these tendencies reflect discursive struggles over the identity of jazz. The first chapter, "Jazz on Noncommercial Radio," describes in some detail the current (circa 2013) taxonomy of American jazz radio. The remaining chapters are case studies of different aspects of jazz radio in the United States. Chapter 2, "Jazz is on the Left End of the Dial," presents considerable detail to the way the music is positioned on specific noncommercial stations. Chapter 3, "Duke Ellington and Radio," uses Ellington's multifaceted radio career (1925-1953) as radio bandleader, radio celebrity, and celebrity DJ to examine the medium's shifting relationship with jazz and black American creative ambition. -
Season 5 Article
N.B. IT IS RECOMMENDED THAT THE READER USE 2-PAGE VIEW (BOOK FORMAT WITH SCROLLING ENABLED) IN ACROBAT READER OR BROWSER. “EVEN’ING IT OUT – A NEW PERSPECTIVE ON THE LAST TWO YEARS OF “THE TWILIGHT ZONE” Television Series (minus ‘THE’)” A Study in Three Parts by Andrew Ramage © 2019, The Twilight Zone Museum. All rights reserved. Preface With some hesitation at CBS, Cayuga Productions continued Twilight Zone for what would be its last season, with a thirty-six episode pipeline – a larger count than had been seen since its first year. Producer Bert Granet, who began producing in the previous season, was soon replaced by William Froug as he moved on to other projects. The fifth season has always been considered the weakest and, as one reviewer stated, “undisputably the worst.” Harsh criticism. The lopsidedness of Seasons 4 and 5 – with a smattering of episodes that egregiously deviated from the TZ mold, made for a series much-changed from the one everyone had come to know. A possible reason for this was an abundance of rather disdainful or at least less-likeable characters. Most were simply too hard to warm up to, or at the very least, identify with. But it wasn’t just TZ that was changing. Television was no longer as new a medium. “It was a period of great ferment,” said George Clayton Johnson. By 1963, the idyllic world of the 1950s was disappearing by the day. More grittily realistic and reality-based TV shows were imminent, as per the viewing audience’s demand and it was only a matter of time before the curtain came down on the kinds of shows everyone grew to love in the 50s. -
A Critical Ideological Analysis of Mass Mediated Language
Western Michigan University ScholarWorks at WMU Master's Theses Graduate College 8-2006 Democracy, Hegemony, and Consent: A Critical Ideological Analysis of Mass Mediated Language Michael Alan Glassco Follow this and additional works at: https://scholarworks.wmich.edu/masters_theses Part of the Mass Communication Commons Recommended Citation Glassco, Michael Alan, "Democracy, Hegemony, and Consent: A Critical Ideological Analysis of Mass Mediated Language" (2006). Master's Theses. 4187. https://scholarworks.wmich.edu/masters_theses/4187 This Masters Thesis-Open Access is brought to you for free and open access by the Graduate College at ScholarWorks at WMU. It has been accepted for inclusion in Master's Theses by an authorized administrator of ScholarWorks at WMU. For more information, please contact [email protected]. DEMOCRACY, HEGEMONY, AND CONSENT: A CRITICAL IDEOLOGICAL ANALYSIS OF MASS MEDIA TED LANGUAGE by Michael Alan Glassco A Thesis Submitted to the Faculty of the Graduate College in partial fulfillment'of the requirements for the Degreeof Master of Arts School of Communication WesternMichigan University Kalamazoo, Michigan August 2006 © 2006 Michael Alan Glassco· DEMOCRACY,HEGEMONY, AND CONSENT: A CRITICAL IDEOLOGICAL ANALYSIS OF MASS MEDIATED LANGUAGE Michael Alan Glassco, M.A. WesternMichigan University, 2006 Accepting and incorporating mediated political discourse into our everyday lives without conscious attention to the language used perpetuates the underlying ideological assumptions of power guiding such discourse. The consequences of such overreaching power are manifestin the public sphere as a hegemonic system in which freemarket capitalism is portrayed as democratic and necessaryto serve the needs of the public. This thesis focusesspecifically on two versions of the Society of ProfessionalJournalist Codes of Ethics 1987 and 1996, thought to influencethe output of news organizations. -
AJC Objectives • Are the Objectives of the Ajcs Radio and Television
RADIO AND TELEVISION DIVISION - AJC Objectives • are The objectives of the AJCs radio and television program lac to reach the millions of radio and television audiences with its pro-democratic human relations message in order to develop a wider acceptance of good human relations and to lay the basis of social action that would lead to the extension of civil rights to the disadvantaged groups in the country and the elimination of dis- crimination. ' * ~" '••'" ' " '. •''•.. • * . • ,. \ Techniques Used ' * ' The content of the radio and television programs covered a wide range of subjects - civil rights, genocide, DPs, matters of interest in American Jewish life, Israel, and Jewish religious holidays and observances. There was frequent use of themes dealing with pro-democratic materials on prejudice and discrimination. The focus has been increasing on specific action goals such as FEPC and DP legislation, and ratification of the Genocide Convention. The methods used were either the straight program on the subject with name speakers or the salting in of AJC materials into popular programs and thru fact sheets for all types of serious programs. The presentation of these shows involved many types of organizations cooperating with the AJC as well as direct contact with radio stations' program managers, commentators, and other radio personalities. Among the organizations whose sponsorship of programs was obtained by the AJC were the National Conference of Christians and Jews, YWCA, Department of Justice, NYC Mayor's Committee on Unity, Girls Clubs of America, Public Education Association, American Heritage Foundation, Girl Scouts of America, and the National Social Welfare Assembly. Where the subject matter of the programs dealt with Jewish ceremonial and holy days, the AJC sponsored these programs directly, otherwise, the AJC was not publicly involved. -
THE LADY EVE / 1941 (As Três Noites De Eva)
CINEMATECA PORTUGUESA-MUSEU DO CINEMA DUPLOS E GÉMEOS 2 de outubro de 2020 THE LADY EVE / 1941 (As Três Noites de Eva) um filme de Preston Sturges Realização: Preston Sturges / Argumento: Preston Sturges, baseado num conto de Moncton Hoffe / Fotografia: Victor Milner / Direcção Artística: Hans Dreier e Ernst Fegté / Guarda- Roupa: Edith Head com a colaboração de Edna Shotwhell (mulheres) e Richard Bachler (homens), Música: Leo Shuken e Charles D. Bradshaw / Direcção Musical: Sigmond Krumgold / Som: Harry Lindgren e Dom Johnson / Montagem: Stuart Gilmore / Interpretação: Barbara Stanwyck (Jean-Eve), Henry Fonda (Charles Pike), Charles Coburn (“Coronel” Harrington), Eugene Pallette (Mr. Pike, o pai de Charles), William Demarest (Muggsy), Eric Blore (Sir Alfred McGleman Keith, também conhecido por “Pearly”), Melville Cooper (Gerald), Martha O’Driscoll (Martha), Janet Beecher (Mrs Pike), etc. Produção: Paul Jones para a Paramount / Produtor Executivo: William LeBaron / Cópia: 35mm, preto e branco, legendada em espanhol e electronicamente em português, 90 minutos / Estreia Mundial: Hollywood, 21 de Março de 1941 / Estreia em Portugal: Cinema Eden, a 28 de Novembro de 1941. Aviso: A cópia, proveniente do circuito comercial, tem “saltos” em algumas passagens de bobine. Pelo facto as nossas desculpas. _____________________________ Preston Sturges (1898-1959) tem sido um realizador de décadas pares décadas ímpares, ou seja tanto foi levado aos céus (um dos maiores cineasta americanos) como reduzido à mediania (“o sobrevalorizado Preston Sturges”). Sturges, com uma história pessoal bastante atípica entre as celebridades de Hollywood (família rica e “colunável”, educação em França, na Alemanha e na Suíça, inventor de um “bâton” à prova de beijos) assentou na capital do cinema apenas aos 35 anos, em 1933. -
U. S. Radio Stations As of June 30, 1922 the Following List of U. S. Radio
U. S. Radio Stations as of June 30, 1922 The following list of U. S. radio stations was taken from the official Department of Commerce publication of June, 1922. Stations generally operated on 360 meters (833 kHz) at this time. Thanks to Barry Mishkind for supplying the original document. Call City State Licensee KDKA East Pittsburgh PA Westinghouse Electric & Manufacturing Co. KDN San Francisco CA Leo J. Meyberg Co. KDPT San Diego CA Southern Electrical Co. KDYL Salt Lake City UT Telegram Publishing Co. KDYM San Diego CA Savoy Theater KDYN Redwood City CA Great Western Radio Corp. KDYO San Diego CA Carlson & Simpson KDYQ Portland OR Oregon Institute of Technology KDYR Pasadena CA Pasadena Star-News Publishing Co. KDYS Great Falls MT The Tribune KDYU Klamath Falls OR Herald Publishing Co. KDYV Salt Lake City UT Cope & Cornwell Co. KDYW Phoenix AZ Smith Hughes & Co. KDYX Honolulu HI Star Bulletin KDYY Denver CO Rocky Mountain Radio Corp. KDZA Tucson AZ Arizona Daily Star KDZB Bakersfield CA Frank E. Siefert KDZD Los Angeles CA W. R. Mitchell KDZE Seattle WA The Rhodes Co. KDZF Los Angeles CA Automobile Club of Southern California KDZG San Francisco CA Cyrus Peirce & Co. KDZH Fresno CA Fresno Evening Herald KDZI Wenatchee WA Electric Supply Co. KDZJ Eugene OR Excelsior Radio Co. KDZK Reno NV Nevada Machinery & Electric Co. KDZL Ogden UT Rocky Mountain Radio Corp. KDZM Centralia WA E. A. Hollingworth KDZP Los Angeles CA Newbery Electric Corp. KDZQ Denver CO Motor Generator Co. KDZR Bellingham WA Bellingham Publishing Co. KDZW San Francisco CA Claude W. -
Sweating for Democracy: Working-Class Media and the Struggle for Hegemonic Jewishness, 1919-1941 by Brian Craig Dolber Dissertat
SWEATING FOR DEMOCRACY: WORKING-CLASS MEDIA AND THE STRUGGLE FOR HEGEMONIC JEWISHNESS, 1919-1941 BY BRIAN CRAIG DOLBER DISSERTATION Submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy in Communication in the Graduate College of the University of Illinois at Urbana-Champaign, 2011 Urbana, Illinois Doctoral Committe: Professor Robert W. McChesney, Chair Professor James R. Barrett Professor John C. Nerone Associate Professor Inger Lisbeth Stole ii Abstract Using the framework of political economy of media, this dissertation examines the history of the Jewish working class counterpublic in the United States during the interwar period and its relationships to the broader public sphere. Between 1919 and 1941, organic intellectuals, such as B.C. Vladeck, J.B.S. Hardman, Fannia Cohn, and Morris Novik, employed strategies to maintain the Yiddish-language newspaper the Forward, worker education programs, and radio station WEVD. These forms of media and cultural production were shaped by internal conflicts and struggles within the counterpublic, as well as evolving practices and ideas around advertising, public relations, and democracy. Vladeck, Hardman, Cohn and Novik all helped to extend Yiddish socialist culture through the reactionary 1920s while laying the groundwork for an American working class culture represented by the CIO in the 1930s, and a broad consensus around a commercial media system by the postwar period. This history demonstrates the challenges, conflicts, and contradictions that emerge in media production within counterpublics, and posits that other similar case studies are necessary in order develop enlightened strategies to democratize our contemporary media system. iii Acknowledgments While this dissertation is the product of many years of labor on my part, I can not imagine having completed it without the support and inspiration of so many people. -
Jack Oakie & Victoria Horne-Oakie Films
JACK OAKIE & VICTORIA HORNE-OAKIE FILMS AVAILABLE FOR RESEARCH VIEWING To arrange onsite research viewing access, please visit the Archive Research & Study Center (ARSC) in Powell Library (room 46) or e-mail us at [email protected]. Jack Oakie Films Close Harmony (1929). Directors, John Cromwell, A. Edward Sutherland. Writers, Percy Heath, John V. A. Weaver, Elsie Janis, Gene Markey. Cast, Charles "Buddy" Rogers, Nancy Carroll, Harry Green, Jack Oakie. Marjorie, a song-and-dance girl in the stage show of a palatial movie theater, becomes interested in Al West, a warehouse clerk who has put together an unusual jazz band, and uses her influence to get him a place on one of the programs. Study Copy: DVD3375 M The Wild Party (1929). Director, Dorothy Arzner. Writers, Samuel Hopkins Adams, E. Lloyd Sheldon. Cast, Clara Bow, Fredric March, Marceline Day, Jack Oakie. Wild girls at a college pay more attention to parties than their classes. But when one party girl, Stella Ames, goes too far at a local bar and gets in trouble, her professor has to rescue her. Study Copy: VA11193 M Street Girl (1929). Director, Wesley Ruggles. Writer, Jane Murfin. Cast, Betty Compson, John Harron, Ned Sparks, Jack Oakie. A homeless and destitute violinist joins a combo to bring it success, but has problems with her love life. Study Copy: VA8220 M Let’s Go Native (1930). Director, Leo McCarey. Writers, George Marion Jr., Percy Heath. Cast, Jack Oakie, Jeanette MacDonald, Richard “Skeets” Gallagher. In this comical island musical, assorted passengers (most from a performing troupe bound for Buenos Aires) from a sunken cruise ship end up marooned on an island inhabited by a hoofer and his dancing natives. -
Lbc July07.Pdf
It’s a busy year for birthdays: John Wayne, FROM THE Laurence Olivier, Barbara Stanwyck, Fay Wray, Burgess Meredith, Katharine Hepburn, Gene BOOTH Autry, and Rosalind Russell, among others, would have turned 100 this year. We’re celebrating by NOT slavishly following the mob of classic-movie stations that will be running King Kong and His Girl Friday and Git Along Little Dogies in ’round-the- from the booth clock birthday bashes. Instead, we’re doing what we do best: dig through the vaults for unheralded gems and seldom-screened classics. So instead of Fay Wray screaming and John Wayne shooting, we have Walter Huston saving America (again!) in Gabriel Over the White House, Henry Fonda winning World War II in The Immortal Sergeant, Judy Garland and Mickey Rooney putting on a show (again!) in Strike Up the Band, and Judy Holliday foreseeing American Idol’s cult of instant celebrity in It Should Happen to You. And, for a change of pace, we’ve got giant grasshoppers, giant scorpions, giant creatures from Venus, and one tiny, tiny man in a handful of 1950s sci-fi classics scattered throughout the season. (Speaking of anniversaries, if you blinked, you probably missed the 35th anniversary of this very theater back in May. Happy birthday to us.) Program by Michael King (MK) and Michael W. Phillips, Jr. (MP) CHRISTMAS IN JULY | 1940 july 7, 2007 Director: Preston Sturges Striking while the iron was hot, America’s foremost cinematic satirist rushed his second feature as director intro production before his debut had even opened. Preston Sturges was eager to make use of a story he had been kicking around Universal for a decade: a regular go-getter (Dick Powell) is duped into thinking he’s won $25,000 in an advertising slogan contest with his asinine entry. -
XV:4) Preston Sturges the MIRACLE of MORGAN's CREEK (1944
September 18, 2007 (XV:4) Preston Sturges THE MIRACLE OF MORGAN’S CREEK (1944) 99 minutes Eddie Bracken...Norval Jones Betty Hutton...Trudy Kockenlocker Diana Lynn...Emmy Kockenlocker William Demarest...Const. Kockenlocker Porter Hall...Justice of the Peace Emory Parnell...Mr. Tuerck Al Bridge...Mr. Johnson Julius Tannen...Mr. Rafferty Victor Potel...Newspaper editor Brian Donlevy...Gov. McGinty Akim Tamiroff...The Boss Directed and written by Preston Sturges Written by Preston Sturges Produced by Buddy G. DeSylva and Preston Sturges Cinematography by John F. Seitz Costume Design by Edith Head Makeup Department Wally Westmore Selected for the National Film Registry by the National Film Preservation Board, 2001 Preston Sturges (29 August 1898, Chicago—6 August 1959, New York, heart attack) is the first Hollywood director to get the double credit, “written and directed by.” His only Oscar, in fact, was for the screenplay of The Great McGinty 1941. (He received best screenplay nominations for Hail the Conquering Hero and The Miracle of Morgan’s Creek, both in 1944. He split the vote with himself and the award went to Lamar Trotti for Wilson, a film no one has heard of since). He wrote 45 screenplays and directed 15, among which were The French they Are a Funny Race (1955), The Beautiful Blonde from Bashful Bend (1949), Unfaithfully Yours (1948), The Sin of Harold Diddlebock (1947), The Great Moment (1944), Hail the Conquering Hero (1944), The Palm Beach Story (1942), Sullivan’s Travel’s (1941), The Lady Eve (1941), Christmas in July (1940), and The Great McGinty (1940). He won a best screenplay Oscar for The Great McGinty and was nominated for The Miracle of Morgan’s Creek and Hail the Conquering Hero. -
Bensman, Marvin R.; Walker, Dennis Sources of Broadcast Audio
DOCUMENT RESUME ED 109 724 CS 5,01 094 AUTHOR Bensman, Marvin R.; Walker, Dennis TITLE Sources of Broadcast Audio Programming. PUB DATE 75 NOTE 332p. EDRS PRICE MF-$0.76 HC-$17.13 PLUS POSTAGE DESCRIPTORS *Broadcast Industry; Instructional Materials; *Phonograph Records; *gadio; Resource Materials IDENTIFIERS *DiscographieS _ABSTRACT This publication'is the result of a search conducted for sources of,recordings of old radio programs. Section 1 consists of an annotated list of broadcast programs available on commercial phonograph records. Section 2 consists of an annotated listing of associations concerned with the preservation of recorded broadcast material, organizations which sell programs, newsletters and publications by individuals who collect and trade old radio prograts, and institutions which ha *e collections which are available to some degree for research and teaching purposes. Section 3 is a computerized- catalog of over 100 private collections which was devised to locate specific programs as well as to give some idea of the depth of the material available from such sources. (TS) ****************************************************4i***************** Documents acquired by ERIC Include manyinformal unpublished * materials not available from other sources. ERIC wakes everyeffort * * to obtain the best copy available. nevertheless, items ofmarginal * * reproducibility are often encountered and this affects thequality * * of the microfiche and hardcopy reproductions ERIC makesavailable * * via the ERIC Document Reproduction Service