DOCSLIB.ORG

He Went from H Nov R High T Hollywood

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
He Went from H Nov R High T Hollywood 'Tuesaay, Jufy 21, 1998 Section of 'Ifi.e Sa[em :ll[ews He went from H nov r High t Hollywood an of nearly every segment of Pad: II the profession - motion pic­ By Lois Firestone tures, radio, television, mer­ HE SMALL TOWN BOY chandising and concert tours. T from Hanoverton arrived But in 1932, he was a novice. in Hollywood a few months He'd had some amateur experi- - before his 25th birthday and ence - president of the drama found a job as a swingshift club at Hanover School, the operator in a security service. lead actor in the senior class When he talked about the play at Lisbon High School and early days of his. 57 years in the a veteran of campus variety · entertainment industry, Art shows at Bethany College in_ Rush said lightly, "I had both West Virginia. · feet firmly planted on the His first venture in the busi­ ground - I had to, because ness was to package and pro­ there were holes in my shoe.s." duce a radio program. The Nearly six decades later, Art show didn't sell, but while he was still in Hollywood, a veter- was recording at the RCA Vic­ tor Studios, he conceived an idea which would revolutionize the radio industry. RCA was destroying the costly Vitaphone recordings Roy Rogers and Art Rush tape the opening for one of R'?y' s feature fil~ on the Roy Rogers­ _ presses which had provided Dale Evans Happy Trails Theater aired on the Nashville Network m the 1980s. sound for motion pictures before the "sound of film" tech­ Benny Goodman Orchestra. America, which owned Univer­ nique had been perfected. Five years later, William S. sal Studios. Paley hired Art as managing At his own agency, he man­ Workers were cutting up the director of Columbia Manage­ aged Nelson Eddy for 22 years, presses with acetylene torches ment of California - the name and discovered and launched into scrap metal to sell to Art gave to it - which was a _ careers, including Mario Lanza, Japan. subsidiary ofthe Columbia Kathryn Crosby, and Alan Those outmoded Vitaphone Broadcasting system. Ladd. He packaged and pro­ presses could be utilized, Art Eight of the company's con­ duced the Red Ryder radio thought, to prerecord radio cert agencies were merged with series which aired ort NBC and shows - his thought was to the CBS Artists Bureau, making the Brave Eagle television use the machines to make large it one of the world's largest - series on CBS. electrical transcription disks. talenl: agencies. Over 200 artists Art and RoyRogers-met in It took a month of working of motion pictures, radio, the early 1930s. Like Art, he for nothing to prove to RCA records and concerts were on · was an Ohioan, born Leonard officials that the idea would the agency roster. Franklin Slye irr Cincinnati in work. At Columbia, he managed 1911. He was 18 when he came He was rewarded~ though. some of the world's greatest to California and b~gan playing Now barely past his 25th birth­ musical artists, among them in various music groups, the - day, he was named head of the Jackie Gleason, Buddy Clark, Hollywood Hillbillies, Rocky RCA Victor west coast Mountaineers, and Texas Art phones from his dressing operatibn. _ Mary Martin, Tito Gui.Zar, :room during a: Rogers rodeo Yehudi Menuhin, Vladimir Outlaws. At RCA Victor he produced. Roy and two other western - at Madison Square Garden records and albums for dozens Horowitz, Eugene Ormandy, in Manhattan in the 1970s. Paul Robeson, Orson Welles, singers, Bob Nolan and Tim of entertainers, including Nel­ Spencer formed the Sons of the Art kept the bronze statue son Eddy,Jeanette MacDonald, Enzio Pinza, and Lauritz Melchoir. Pioneers in 1934. Roy changed ''Tumbling Tumbleweeds" Roy gave him on his office Perry Como, Jose Iturbi, his named from Slye to Dick were synonymous with the desk for years. Art's _sons Lawrence Tibbett, Betty Hut­ When Art left in 1939 to form Weston and finally to Roy Sons of the Pioneers. The Sons gave the b:ronie to the Roy ton, Frank Sinatra, Lily Pons, the Art Rush Inc. talent agency, Rog~rs. - were inaugurated into the Rogers Museum to be dis­ Glenn Miller, Paul Whiteman, the Columbia business was Art signed the trio, and made Maurice Chevalier,. Tommy __ _ played in the special section sold tci one of the industry them and their signature songs See Rush, page 4 which honors Art Rush. Dorsey, Dinah Shore, and the titans, Music Corporation of famous. "Cool Waters" and Country Music Hall of Fame in 1980, followed by Roy.eight years later. Art took charge of the 100 feature films Roy made in the ensuing years. His television production, The Roy Rogers Show ran from October 1951 to . September 1964. Art marketed and merchan­ dised over 400 products with Roy Rogers Restaurants, .coor­ dinated the-Rogers' Thousand Trails Inc. 93,000-member net­ work of 43 recreational vehicle · Art, Dale and Roy at the Rogers Museum in Victorville, parks in the United States. He­ Calif,. The 32,000 square-foot building is built like a fort and handled the Happy Trails contains a collection of Rogers memorabilia, executive offices Resort in Arizona and other and the Happy Trails Shop - and a special section honoring Roy-Dale Evans operations. Art's contributions to their lives. In 1986, Roy, Dale. Evans and Art flew to Knoxville, Tenn. where Roy and Daletaped new Placed under contract with openings and closings in color Metro-Goldwyn-Mayer, her at Cinetel Productions for the first role there was with Robert nashville Cable Network. Taylor in "Society Doctor." She Dale's feature motion pictures · starred in MGM's first techni­ were seen weekly and three color feature, "Gypsy.Nights.''- times on Saturdays on the Roy Knowing Art wanted to meet Rogers-Dale Evans Happy her, Nelson Eddy arranged a Trails Theater on the Nashville party for Mary Jo and invited Network. him. They were married five · When the Pacific Pioneer months later, on Oct. 28, 1935. Broadcasters honored Art in Mary Jo retired from show November 1982 on his 50th business, but kept her hand in year in show business, it was by composing music and lyrics. Dale Evans who presented Art Several were published by the with the Diamond Circle Five million children were Roy Rogers Riders Club members Paramount-Roy Rogers Music Award, saying, "This goes tb a w~o watched Roy and Trigger in theaters Saturdays. Roy and Co. and Famous Music'of New member who has helped hun­ Tngger came on the screen, Trigger bowed his head as Roy ·York. · dreds, and we do mean hun­ ~ec~~ed the cowboy prayer, and then Roy turned the "meet­ The couple had two sons, Dr. dreds, of talented artists reach ml? over to. the theat~r manager who ran a Rogers feature. William A, Rush of San Jose, A studio still of Mary Jo the success they deserve." Tngger was m every film and TV show until he died in 1965 · Calif., a general surgeon artd Rush when she starred in The collaboration continued at the age of 33. Roy's dog, Bullet appeared in almost as former Air Force jet pilot; and "Gypsy Night," MGM's first until Art's death,. and made many films as Trigger. Robert Nelson Rush, a Burbank technicolor movie. both wealthy men. The lasting we would both have missed so the-Sixth at the Apple Blossom teacher. friendship enriched their lives ·· Festival in Winchester, Va. That Mary Jo passed away in much." Arbaugh-Pearce• immeasurably. Art commented Art had followed the career ·· same year she represented the 1988, and Art died a few on the handshake they of Mary Jo Matthews, a Man­ state of West Virginia at the months later, in January 1989. His sister Helen died in 1987, f"" eeni.~efl exchanged, marking .the only nington,_W. Va._girl, to the cel­ Rhododendron Festival in vr Funeral contract either ever needed luloid world of Hollywood.. Asheville, N. C. his brother Malcolm in 1989 Home when they embarked Off th~ir He'd read about her when he After graduation she headed and his other brother, Clarence passed away in 1990. · long journey: "There had to be was at Bethany and she was a for Broadway where she .RAY J. GAEENISEN 332-4401 a hand larger than ours student at West Virginia appeared in several musicals, Elizabeth Trough still lives in OWNER involved in that one, because University.. including "Bandwagon," "Gay Hanoverton, remembering the PERSONAL RECORDS She was crowned beauty . Divorcee," "Flyfug High" and wonderful growing-up years in & PLANNING BOOK queen at West Virginia Univer-. "Let 'Em Eat Cake." the family of William and Eli­ Because y.our last wishes sity three consecutive years, Mary Jo was signed by Col:-· zabeth Rush; and missing are so important ·them, and the sister and ~1 representing Kappa Kappa umbia Pictures for her first . ·,-~ Gamma Sorority: During her movie role and was geatured in brothers with whom she never ·:1. This FREE senior year at the college, she "20th Century" :with Carole lost touch and remained close 1· Record throughout their lifetimes. reigned as Queen Shenandoah Lombard and John Barrymore. Book Allows . Now taking reservations for You To: ~Ye emears llf Fall and Winter Celebrations ~ . .. ;J_ -~~~ •Fill In Vital Information rl"'} A histoncal ;ournal '.~ JULY 20: Jan Peters was named • Pre-Plan Your Funeral it· Published every ~ president of Salem Rotary Club. Shangri-La • Select The Funeral You Wish ;-t,; '.Tuesday ~~~ 21: by the Salem News ·;'ti JULY Tiffany Toot was • Relieve Your Family Of Worry .
Load more

Recommended publications
  • Dear Friends, in Keeping with the Nostalgic Themes with Which We
    Dear friends, In keeping with the nostalgic themes with which we normally open these Activity Pages, I thought I’d tell you a story about young love – its excitement, its promise, and its almost inevitable woes. It’s a true story, one from my own past. And it begins at Roller City, a roller skating rink located, in those distant days, on Alameda Avenue just west of Federal Boulevard in Denver, Colorado. It was a balmy Friday night when I first spied my Cinderella – a lovely, lithe thing with a cute smile, pink ribbons in her blonde hair, and very “girly” bons bons of matching color hanging on the front of her white roller skates. It might have been love at first sight but certainly by the time we skated hand in hand under the multi-colored lights in a romantic “couples skate,” I was a goner. Indeed, I fell more madly in love than I had at any other time in my whole life. I was 10 years old. I drop in that fact because it proved to be the relevant point in the impending tragedy of unrequited love. For you see, it turned out there was an unbridgeable gap in our ages. I was just getting ready to go into the 4th grade whereas I learned she was going into the 5th grade! Yipes! I had fallen for an older woman! How could I break it to her? And how would I deal with the rejection I knew must follow? I was in a terrible jam and so…and I’m not proud of it…I made up a lie.
    [Show full text]
  • The English Listing
    THE CROSBY 78's ZYXWVUTSRQPONMLKJIHGFEDCBAthe English listing Members may recall that we issued a THE questionnaire in 1990 seeking views and comments on what we should be providing in CROSBY BING. We are progressively attempting to fulfil 7 8 's these wishes and we now address one major ENGLISH request - a listing of the 78s issued in the UK. LISTING The first time this listing was issued in this form was in the ICC's 1974 booklet and this was updated in 1982in a publication issued by John Bassett's Crosby Collectors Society. The joint compilers were Jim Hayes, Colin Pugh and Bert Bishop. John has kindly given us permission to reproduce part of his publication in BING. This is a complete listing of very English-issued lO-inch and 12-inch 78 rpm shellac record featuring Sing Crosby. In all there are 601 discs on 10different labels. The sheet music used to illustrate some of the titles and the photos of the record labels have been p ro v id e d b y Don and Peter Haizeldon to whom we extend grateful thanks. NUMBERSITITLES LISTING OF ENGLISH 78"s ARIEl GRAND RECORD. THE 110-Inchl 4364 Susiannainon-Bing BRUNSWICK 112-inchl 1 0 5 Gems from "George White's Scandals", Parts 1 & 2 0 1 0 5 ditto 1 0 7 Lawd, you made the night too long/non-Bing 0 1 0 7 ditto 1 1 6 S I. L o u is blues/non-Bing _ 0 1 3 4 Pennies from heaven medley/Pennies from heaven THECROSBYCOLLECTORSSOCIETY BRUNSWICK 110-inchl 1 1 5 5 Just one more chance/Were you sincere? 0 1 6 0 8 Home on the range/The last round-up 0 1 1 5 5 ditto 0 1 6 1 5 Shadow waltz/I've got to sing a torch
    [Show full text]
  • Extensions of Remarks E2017 EXTENSIONS of REMARKS
    November 18, 2004 CONGRESSIONAL RECORD — Extensions of Remarks E2017 EXTENSIONS OF REMARKS ILLEGAL IMMIGRATION—FRIEND half years after his inauguration, growth hurts the United States. The conclusion OR FOE? averaged less than 1 percent (Faux 2). From made, from extensive research in specific there, NAFTA concentrated economic areas, is Mexican illegal immigration is a growth along Mexico’s northern border by detriment to the United States. But, the rea- HON. THOMAS G. TANCREDO opening factories called maquiladoras, which sons why illegal immigration hurts the OF COLORADO processed and assembled goods for the boom- United States still need to be addressed. IN THE HOUSE OF REPRESENTATIVES ing U.S. consumer market, thereby doubling First, many discussions of immigration Wednesday, November 17, 2004 Mexican employment (Faux 3). But after the fails to take into account the attitude to- U.S. economy slowed down in 2000, employ- wards immigration in the sending countries. Mr. TANCREDO. Mr. Speaker, a friend of ment in maquiladoras decreased (Faux 3). For example, the Mexican media and polit- mine recently sent me an essay that his Since then, hope that NAFTA would enable ical elite portray the United States nega- granddaughter drafted for her college English Mexican prosperity had vanished. Therefore, tively, and therefore dissention between the composition course on the issue of illegal im- Mexican workers who could not support two countries in regards to immigration is migration. I was thoroughly impressed upon themselves in Mexico turned to the United amplified. Second, manipulation of Amer- reading the article, written by a Ms. Karen States for greater opportunities.
    [Show full text]
  • Sons of the Pioneers Charity Benefit Concert
    SONS OF THE PIONEERS CHARITY BENEFIT CONCERT The legendary Sons of the Pioneers will be appearing in concert on Saturday evening, November 3, at 6:30 p.m. at the Victor Valley College Performing Arts Center, in Victorville, California. This special charity performance will benefit the abused children served by the Happy Trails Children’s Foundation in Apple Valley, California. For decades, the Sons of the Pioneers have musically painted unforgettable images of the West; horses, cattle, cowboys, trails, tall timber, canyons and prairies. Their original songs like “Tumbling Tumbleweeds” and “Cool Water” are classics forever entwined into the lore and mystique of the American West. Both songs have been inducted into the Grammy Hall of Fame. The Sons of the Pioneers are the most highly awarded singing group of all time. Among their many prestigious awards, they have been inducted into the Country Music Hall of Fame, the Western Music Association Hall of Fame, the Nashville Songwriters Hall of Fame and the National Cowboy Hall of Fame – Hall of Great Western Performers, for their legacy of works in literature, music, film and television that reflect the significant stories of the American West. The Smithsonian Institute named them as “National Treasures.” The Sons of the Pioneers history began in the fall of 1933 when a young man from Duck Run, Ohio, Leonard Slye, then only 22 years of age and living in Southern California, contacted two of his friends, Bob Nolan and Tim Spencer, to form a musical group. They worked long and hard to develop a unique close harmony sound that has had an enduring influence on American music to this day.
    [Show full text]
  • Chapter Outline
    CHAPTER SIX: “IN THE MOOD”: THE SWING ERA, 1935–1945 Chapter Outline I. Swing Music and American Culture A. The Swing Era: 1935–45 1. Beginning in 1935, a new style of jazz-inspired music called “swing” transformed American popular music. 2. Initially developed in the late 1920s by black dance bands in New York, Chicago, and Kansas City 3. The word “swing” (like “jazz,” “blues,” and “rock ’n’ roll”) derives from African American English. a) First used as a verb for the fluid, rocking rhythmic momentum created by well-played music, the term was used by extension to refer to an emotional state characterized by a sense of freedom, vitality, and enjoyment. b) References to “swing” and “swinging” are common in the titles and lyrics of jazz records made during the 1920s and early 1930s. c) Around 1935, the music industry began to use “swing” as a proper noun—the name of a defined musical genre. 4. Between 1935 and 1945, hundreds of large dance orchestras directed by celebrity bandleaders dominated the national hit parade: 1 CHAPTER SIX: “IN THE MOOD”: THE SWING ERA, 1935–1945 a) Benny Goodman b) Tommy Dorsey c) Duke Ellington d) Count Basie e) Glenn Miller 5. These big bands appeared nightly on radio, their performances transmitted coast to coast from hotels and ballrooms in the big cities. 6. Their music was featured on jukeboxes. 7. Many of the bands crisscrossed the country in buses, playing for dances and concerts at local dance halls, theaters, and colleges. 8. The big bands were essentially a big-city phenomenon, a symbol of sophistication and modernity.
    [Show full text]
  • Ronald Davis Oral History Collection on the Performing Arts
    Oral History Collection on the Performing Arts in America Southern Methodist University The Southern Methodist University Oral History Program was begun in 1972 and is part of the University’s DeGolyer Institute for American Studies. The goal is to gather primary source material for future writers and cultural historians on all branches of the performing arts- opera, ballet, the concert stage, theatre, films, radio, television, burlesque, vaudeville, popular music, jazz, the circus, and miscellaneous amateur and local productions. The Collection is particularly strong, however, in the areas of motion pictures and popular music and includes interviews with celebrated performers as well as a wide variety of behind-the-scenes personnel, several of whom are now deceased. Most interviews are biographical in nature although some are focused exclusively on a single topic of historical importance. The Program aims at balancing national developments with examples from local history. Interviews with members of the Dallas Little Theatre, therefore, serve to illustrate a nation-wide movement, while film exhibition across the country is exemplified by the Interstate Theater Circuit of Texas. The interviews have all been conducted by trained historians, who attempt to view artistic achievements against a broad social and cultural backdrop. Many of the persons interviewed, because of educational limitations or various extenuating circumstances, would never write down their experiences, and therefore valuable information on our nation’s cultural heritage would be lost if it were not for the S.M.U. Oral History Program. Interviewees are selected on the strength of (1) their contribution to the performing arts in America, (2) their unique position in a given art form, and (3) availability.
    [Show full text]
  • May 1999-Vol. VII, No.2 TTABLEABLE OFOF CCONTENTONTENTSS MAGAZINE COMMITTEE OFFICER in CHARGE J
    May 1999-Vol. VII, No.2 TTABLEABLE OFOF CCONTENTONTENTSS MAGAZINE COMMITTEE OFFICER IN CHARGE J. Grover Kelley A Message From the President ............................................................ 1 CHAIRMAN Features Bill Booher VICE CHAIRMAN The 1999 Show Wrap....................................................................... 2 Bill Bludworth Meet Sawyer Brown’s Mark Miller ................................................... 4 EDITORIAL BOARD Teresa Ehrman Hosting the World ............................................................................ 6 Kenneth C. Moursund Jr. A Tribute to the Outgoing Chairman of the Board ........................ 8 Peter A. Ruman Marshall R. Smith III Farewell to America’s Original Singing Cowboy ............................ 10 Constance White Todd Zucker Best Bet — Houston ......................................................................... 12 COPY EDITOR Outgoing Vice Presidents’ Profiles................................................... 14 Larry Levy Committee Spotlights PHOTO EDITOR Charlotte Howard Steer Auction .................................................................................... 16 REPORTERS Transportation .................................................................................. 17 Nancy Burch Gina Covell Show News and Updates John Crapitto Third-Year Committee Chairmen Profiles ...................................... 18 Sue Cruver Cheryl Dorsett-Kennedy Rodeo Round-Up ............................................................................. 21 Stephanie
    [Show full text]
  • Western Music Association
    The Official Publication of the Western Music Association Marty Kosel John Kosel Joe Kosel Crosshairs Rick Huff’s Rhode Island Red Chisholm Trail WESTERN AIR WEIGHS IN 150th ANNIVERSARY PAGE 25 PAGE 30 PAGE 10 In This Issue 2017 Awards of Excellence Nomination Ballot Rex Allen Jr's new CD “This Is The Last Cowboy Song” contains the first single written by Dick Goodman ‘Call Of The Canyon’ shipping worldwide March 15th Founder Bill Wiley From The President... Officers Marvin O’Dell, President The most common question I’m asked when I Jerry Hall, Executive V.P. attempt to encourage western music artists to join the Robert Fee, V.P. General Counsel Western Music Association is: what does the WMA Joe Brown, Secretary do for me? Diana Raven, Treasurer Before answering that question, maybe it’s best Executive Director to state what the WMA does NOT do for member Marsha Short artists. The WMA does not book artists into venues. Board of Directors The organization does not promote individual artists Joe Brown Robert Fee or attempt to help anyone become a star. Like any Juni Fisher non-profit organization, the WMA does not work Belinda Gail Marvin O’Dell Jerry Hall WMA President for its members. The members of non-profitable, Rick Huff charitable organizations band and work together to Robert Lorbeer Marvin O’Dell advance the mission of the organization they have elected to join. In short, the Theresa O’Dell mission of the WMA is to “encourage and support the preservation, performance, 2017 Board Interns and composition of historic traditional and contemporary music and poetry of Judy James The West.” In other words, the mission is to advance western music and poetry Yvonne Mayer in the eyes and ears of a listening public.
    [Show full text]
  • Hooray for Hollywood the Sequel
    Hooray for Hollywood! The Sequel Music & Color; The Glamour Years Created for free use in the public domain American Philatelic Society ©2011 • www.stamps.org Financial support for the development of these album pages provided by Mystic Stamp Company America’s Leading Stamp Dealer and proud of its support of the American Philatelic Society www.MysticStamp.com, 800-433-7811 HoorayMusic & Color; for The GlamourHollywood! Years Movie Makers Walt Disney (1901–1966) Alfred Hitchcock (1899–1980) Scott 1355 Legends of Hollywood series • Scott 3226 The creator of Mickey Mouse and a host of other magical The master of the suspense film genre — which he is said cartoon characters began his professional career as an virtually to have invented — Hitchcock’s thrillers usually animator in the early 1920s with a friend, Ub Iwerks, and involved an ordinary person getting swept up in threatening with the financial backing of Walt’s brother Roy. With the events beyond his or her control and understanding. His first help of Walt and Roy’s wives, Lily and Edna, they produced U.S. film, Rebecca (1940) for David Selznick, won that year’s three cartoons featuring a mouse (who was almost named Oscar for Best Picture. He was voted Greatest Director of all Mortimer) in 1928, but it wasn’t until Disney added Time by Entertainment Weekly, whose list of 100 Greatest synchronized music to Steamboat Willie that their fortune was Films included four of his, more than any other director: made. Numerous popular short animated features followed, Psycho (1960, #11), Vertigo (1958, #19), North by Northwest including Flowers and Trees (1932), the first color cartoon (1959, #44), and Notorious (1946, #66).
    [Show full text]
  • ED 092 871 TITLE INSTITUTION PUB DATE AVAILABLE from DOCUMENT RESUME CS 001 095 Bibliography. Books for Children. 1974 Edition
    DOCUMENT RESUME ED 092 871 CS 001 095 TITLE Bibliography. Books for Children. 1974 Edition. INSTITUTION Association for Childhood Education International, Washington, D.C. PUB DATE 74 NOTE 112p. AVAILABLE FROM Association for Childhood Education International, 3615 Wisconsin Avenue, N.W., Washington, D.C. 20016 ($2.75, Orders under $5.00 must be prepaid by check payable to ACEI) EDRS PRICE MF-$0.75 HC Not Available from EDRS. PLUS POSTAGE DESCRIPTORS *Adolescent Literature; *Annotated Bibliographies; *Childrens Books; Childrens Literature; Folklore Books; Reading; *Reading Materials; *Reading Material Selection ABSTRACT The books selected for this bibliography were measured against commonly accepted literary standards. Fiction was considered in terms of important themes: substantial plots, effective style, valid management of time and place settings, and believable . characters whose personalities hold significance for children from preschoolers to 14-year-olds. Nonfiction was selected for its accuracy, its style, and the pertinency of its subject matter to the age level addressed, to objectively identified reading interests of children, and to curriculum relationships. The contents include: "Introduction"; "Awards and Their Symbols"; "Using the Bibliography"; "Picture and picture Story Books," which looks at ABC books, books with no or few words, fiction and folklore, and nonfiction; "Reading in Its Early Stages," which presents fiction and folklore and nonfiction; "For Middle and Older Children," which lists fiction, folklore, and nonfiction books; "Poetry and Verse," which lists anthologies and single writers; "Religion"; and "Story and Miscellany Collections," which is divided into the categories of general, seasons and holidays, reference books, directory of publishers, index of titles, and index of authors.
    [Show full text]
  • Open Cho YS Thesis.Pdf
    The Pennsylvania State University The Graduate School College of Communications COMPETITION AND PROGRAM TYPE DIVERSITY IN THE OVER-THE-AIR TELEVISION INDUSTRY, 1943-2005 A Thesis in Mass Communications by Young Shin Cho © 2007 Young Shin Cho Submitted in Partial Fulfillment of the Requirements for the Degree of Doctor of Philosophy August 2007 The thesis of Young-Shin Cho was reviewed and approved* by the following: Richard Taylor Palmer Chair of Telecommunications Studies and Law Thesis Advisor Chair of Committee Matt Jackson Associate Professor of Communications Krishna Jayakar Associate Professor of Communications Lynette Kvasny Assistant Professor of Information Sciences and Technology John S. Nichols Professor of Communications Associate Dean for Graduates Studies and Research *Signatures are on file in the Graduate School ABSTRACT Competition and diversity are touchstones in media policy, but the relationship between them is not clear despite a great number of studies because even studies dealing with their relationship, did not measure the intensity of competition. This paper investigates the relationship between market competition and program type diversity in the over-the-air television industry. Specifically, market competition is divided into intra-network competition and intra-media competition, i.e. terrestrial television vs. cable TV. Also this paper uses a comprehensive model of program types, with 281 program type categories, which have never been used in previous studies. The results show that program type diversity keeps decreasing over time and intra-network competition has a negative effect on program type diversity. Also, intra- network competition is a more important factor on program type diversity than inter- media competition.
    [Show full text]
  • Series 139 Playland Phonograph
    Westchester County Archives Series 139 2199 Saw Mill River Road Elmsford, New York 10523 Playland Phonograph Collection (914) 231-1500 1911‐1970 (bulk late 1920s‐1950s) Playland Phonograph Collection, 1911-1970, bulk late 1920s-1950s Series 139 Approximately 650 phonographs. Unarranged. Phonographs – both 10 and 12 inch – played from the Playland Music Tower and possibly the Playland Ice Casino. The collection includes classical music as well as popular tunes, including some Hawaiian-themed music. The collection is divided into five parts – a set of numbered records; numbered and unnumbered album collections; loose phonographs, and phonographs that were housed in their original album jackets. The album jackets have Braille identification tags because the disc jockey who worked at the Playland Music Tower was blind. There are two different indexes on note cards for the phonograph albums, but neither one appears to be complete or clear as to its exact use. Therefore, a new index has been completed by Archives’ volunteers. Please note: The Archives does not have playback equipment necessary to listen to the phonographs that make up this collection. The five subseries of this collection can be more fully described as follows: 1. A set of numbered records. These phonographs have individual number labels on them and run up through number 998. Each individual phonograph has 2 numbers on it – one for each side. However, the collection is not complete and there are only about 350 individual phonographs in this group. They were originally housed in 39 cardboard cases that held several individual phonographs. Due to the poor condition of these cases they were disposed during processing, although the case number was recorded.
    [Show full text]