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FY14 Tappin' Study Guide
Student Matinee Series Maurice Hines is Tappin’ Thru Life Study Guide Created by Miller Grove High School Drama Class of Joyce Scott As part of the Alliance Theatre Institute for Educators and Teaching Artists’ Dramaturgy by Students Under the guidance of Teaching Artist Barry Stewart Mann Maurice Hines is Tappin’ Thru Life was produced at the Arena Theatre in Washington, DC, from Nov. 15 to Dec. 29, 2013 The Alliance Theatre Production runs from April 2 to May 4, 2014 The production will travel to Beverly Hills, California from May 9-24, 2014, and to the Cleveland Playhouse from May 30 to June 29, 2014. Reviews Keith Loria, on theatermania.com, called the show “a tender glimpse into the Hineses’ rise to fame and a touching tribute to a brother.” Benjamin Tomchik wrote in Broadway World, that the show “seems determined not only to love the audience, but to entertain them, and it succeeds at doing just that! While Tappin' Thru Life does have some flaws, it's hard to find anyone who isn't won over by Hines showmanship, humor, timing and above all else, talent.” In The Washington Post, Nelson Pressley wrote, “’Tappin’ is basically a breezy, personable concert. The show doesn’t flinch from hard-core nostalgia; the heart-on-his-sleeve Hines is too sentimental for that. It’s frankly schmaltzy, and it’s barely written — it zips through selected moments of Hines’s life, creating a mood more than telling a story. it’s a pleasure to be in the company of a shameless, ebullient vaudeville heart.” Maurice Hines Is . -
Guide to Ella Fitzgerald Papers
Guide to Ella Fitzgerald Papers NMAH.AC.0584 Reuben Jackson and Wendy Shay 2015 Archives Center, National Museum of American History P.O. Box 37012 Suite 1100, MRC 601 Washington, D.C. 20013-7012 [email protected] http://americanhistory.si.edu/archives Table of Contents Collection Overview ........................................................................................................ 1 Administrative Information .............................................................................................. 1 Arrangement..................................................................................................................... 3 Biographical / Historical.................................................................................................... 2 Scope and Contents........................................................................................................ 3 Names and Subjects ...................................................................................................... 4 Container Listing ............................................................................................................. 5 Series 1: Music Manuscripts and Sheet Music, 1919 - 1973................................... 5 Series 2: Photographs, 1939-1990........................................................................ 21 Series 3: Scripts, 1957-1981.................................................................................. 64 Series 4: Correspondence, 1960-1996................................................................. -
“White Christmas”—Bing Crosby (1942) Added to the National Registry: 2002 Essay by Cary O’Dell
“White Christmas”—Bing Crosby (1942) Added to the National Registry: 2002 Essay by Cary O’Dell Crosby’s 1945 holiday album Original release label “Holiday Inn” movie poster With the possible exception of “Silent Night,” no other song is more identified with the holiday season than “White Christmas.” And no singer is more identified with it than its originator, Bing Crosby. And, perhaps, rightfully so. Surely no other Christmas tune has ever had the commercial or cultural impact as this song or sold as many copies--50 million by most estimates, making it the best-selling record in history. Irving Berlin wrote “White Christmas” in 1940. Legends differ as to where and how though. Some say he wrote it poolside at the Biltmore Hotel in Phoenix, Arizona, a reasonable theory considering the song’s wishing for wintery weather. Some though say that’s just a good story. Furthermore, some histories say Berlin knew from the beginning that the song was going to be a massive hit but another account says when he brought it to producer-director Mark Sandrich, Berlin unassumingly described it as only “an amusing little number.” Likewise, Bing Crosby himself is said to have found the song only merely adequate at first. Regardless, everyone agrees that it was in 1942, when Sandrich was readying a Christmas- themed motion picture “Holiday Inn,” that the song made its debut. The film starred Fred Astaire and Bing Crosby and it needed a holiday song to be sung by Crosby and his leading lady, Marjorie Reynolds (whose vocals were dubbed). Enter “White Christmas.” Though the film would not be seen for many months, millions of Americans got to hear it on Christmas night, 1941, when Crosby sang it alone on his top-rated radio show “The Kraft Music Hall.” On May 29, 1942, he recorded it during the sessions for the “Holiday Inn” album issued that year. -
Montana Labor News (Butte, Mont.), 1944-08-03
THE MONTANA LABOR NEWS August 3, 1944 Page Two I M Amo# * Andy 6:00 National Pur Shop Now is the time for statesmanship. a J0 KmU MaranJ Music 6:15 Pay ’n* Save STEAKS and CHICKEN Our Specialty EDDIE'S LOUNGE 8 «S National Speaker« I jo Schwarts' Soldier» of Ifco Proos Temptingly Served THE MONTANA LABOR NEWS These next months will reveal the men of 6 45 Youth Courageous THE CASINO 7 30 Alan Young Show A PLACE WHERE UNION PUBLalSHJCD EVERT THURSDAY AT l'é -tARRlF- ’ ai8 moral stature who will speak out fear 9 >0 Now» mn 7 30 Mr LMatriot Attorney 5 Miles South of Butte on Harrison Arw. 10:00 Mr Smith Goes to Town 8 00 Kay Kyaer Catering to Private Parties MEN MEET A Fearless Champion #f Hainan tLgnts De' .ed to the lessly to the people on the basic needs of 1# 30 Three Sons Trio • 00 OhoaterflaUl WINES and LIQUORS Interest and VoictLai' Hit Demsudv <>• • IS Texaco New» Phone 70229 for Reservations Trade Ln.ori Movement. America. Men who will bring ns all back SATURDAY, AUGUST 5 9 30 Beat the Band for B * W I E A SYLVAIN, Prop 1853 llArriaoti Arena# 10 00 Ur and Mrs North foe WoodfeueT« to the unchanging moral standards that 7 30 Pay W m»UMicxi V » Texaco New* 10:30 Bob Reese Orchestra made America a democracy. Men who 1 11 Radio Classified H#adlla### w 8:30 Babe Ruth won’t be swayed by pressure, by fear of 8:45 Program Previews 9:00 On Stage Everybody ECLIPSE STORES insecurity, or by appeals to self-interest. -
Whn.. -.1010 Weaf .660Wnyc
WMCA .570WJZ 760 WHN.. -.1010 WEAF .660WNYC.... .810 WEVD ...1300 WOR 710 WABC -.860 1VQXR... 1550 NEWS BROADCASTS Music Appreciation Hour: Dr. Walter Damrosch, ConductorWJZ, 2-3. Morning 6 :011-WHN WOR, R'NYC Philadelphia Orchestra, Eugene Ormandy, ConductingWOR, 3:15-4. :30-WEAF, WJZ, 8 :15-W ABC Brian Aherne: Joan Fontaine, in "Friendship Bridge" Talks to England- WA BC :30-WMCA, WHN :55-WOR 8 :45-WNYC, WJZ Vs/MCA, 4-4:15. 7 :00-WMCA :55-WQXR Deer and Moose Hunt, Described From Canadian WoodsWJZ, 7-7:15. : 15-W RN 9 :00-WE,AF, WABC 7 :25-WQXR 9 :30-WOR Kate Smith Variety: Raymond Massey, in "The Man Without a Coun- 7 :30-WEAF, R'EVD 9 :45-W HN try"WABC, 8-8:55. 7 :45-WABC II) :00-WMCA Dedication of New WEAF Transmitter: Niles Trammell, President of :55-WJZ 11 :00-WOR, WNYC NBC; Concert Orchestra and OthersWEAF, 8:30-9. 8 :00-WEAF, WJZ, 11 :30-WMCA A De noon Alexander's Mediation Board: Edwin S. Friendly, Colonel John R. Kirk-12 :00-WOR. WEVD, 2 :00-WNYC patrick, Rev. Dr. Ralph Emerson DavisWHN, 9-10. WABC.WHN,WQXR2 :15-WHN Play: "I'll Tell My Husband," With Mary AstorWEAF, 9:30-10. 12 :15-WMCA. 2 :45-WOR 12 :25-WJZ 3 :30-WM CA, WQXR Winnebago Indian Tribe, on Robert Ripley's ProgramWABC, 10-10:30. 12 :30-WOR 3 :45-WNYC 12 :45-WEAF 3 :55-WA BC "Receding Horizons"Dr. Ray L. Wilbur, Dr. Robert G. Sproul, Dr. -
Restoring Historical Understandings of the “Public Interest” Standard of American Broadcasting: an Exploration of the Fairness Doctrine
International Journal of Communication 7 (2013), 89–109 1932–8036/20130005 Restoring Historical Understandings of the “Public Interest” Standard of American Broadcasting: An Exploration of the Fairness Doctrine CHRISTINA LEFEVRE–GONZALEZ University of Colorado, Boulder The “public interest” standard is a phrase that American broadcast regulation has not clearly defined throughout its history. Media scholars have attempted to locate the “true” meaning of the public interest standard by historicizing its use through broad analyses of broadcast regulation, but this approach has provided inadequate frameworks for understanding how the public interest standard has informed broadcast policy. By centering its historical analysis on the Fairness Doctrine, this article uncovers four dominant definitions for the public interest standard: first, as an enforcer of structure and efficiency of the spectrum; second, as part of the trusteeship of licensed broadcasters; third, for social justice and reform; and fourth, for the tastes and preferences of the public. The “public interest” is a phrase that, in the words of Richard Weaver (1953), possesses a “charismatic” quality. Political scientist Frank Sorauf (1957) described the concept as reflecting “the highest standard of governmental action, the measure of the greatest wisdom or morality in government” (p. 616). Some scholars believe that this idyllic phrase, an important rhetorical feature of American broadcast policy, possesses an indiscernible meaning that is susceptible to political will. Legal scholars Krattenmaker and Powe (1994) describe the standard as “either an empty concept or one that is infinitely manipulable” (p. 143). Zlotlow (2004) argues that the poorly defined standard “was both an empty concept and infinitely manipulable” (p. -
(Butte, Mont.), 1949-02-10
February 10, 1949 MONTANA LABOR NEWS F-ge Two tic Party is far from friendly toward the s>. a Democra u HIGHLIGHTS IN STATE LEGISLATURE THE MONTANA LABOR NEWS working people. j kxlf program schedule Revenue Committee Asks More Time leral funds dullarfor-dollar. in build- It was pointed out that immediately after the | With Sunday, Feb. 6 as the deadline, mjhe°highways PL'ULISHED EVKHY THURSDAY at U’.T ‘LLM'.’J’t SwwwvCTmmsggannWrmHHMBBWtMHHWroOOBWWBBHBWHPHWBMtnnnnBB committee has three BY THE SILVER BOW TRAPES & LABOR Cot Nc votes were counted, certain of the newspaper , for introducing bills, the majority floor! |JC,-ore th'e House. They would 10; 00—Blondle Show ,MOUNTAIN standard TTU1) leader urged members to get busy n „asoline taxes, deisel fuel A Frnrlr«« ( hai nplon of 11 nn IllBbfB Hex otrd to thf columnists who have never missed an oppor* ■ 10; 15—Bloadle Show In trrrsti md 1 dlrlnu ihr I )»• id* **f the Sunday 10 30—10 30 Club I they were proposing new legislation. , amcnd the gas tax refund I rede Union Moi r icnt tunin to lie about the Unions, commenced cook- ■.al Radio Pulpit 10 45—10 30 Club I The Revenue & Taxation committee j taxes 8:00—Na* 11 00—Rocky Mountain News 8 30—S an ,i Melody Time further time in ;u 1 m • up reasons why the Taft-Hartley Bill should 1 11 15—Legislative Highlights asked the « I 9 ; 00—Ix.tt .allouai Favorites House for and Music 11 30— NBC Orchestra the legalized gam- 40"4.Py®} wn out of the window They are still ' 9; 10—Won 12 00—Sign Off j which to report on Six Per Cent Bill Approved SK. -
The Maine Broadcaster Local History Collections
Portland Public Library Portland Public Library Digital Commons The Maine Broadcaster Local History Collections 10-1947 The Maine Broadcaster : October 1947 (Vol. 3, No. 10) Maine Broadcasting System (WCSH Portland, ME) Follow this and additional works at: https://digitalcommons.portlandlibrary.com/mainebroadcaster TBE BROADCASTING~!·~~ MAINE BROADCASTER: SYSTEM\. AJllliat e PUBLISHED AS AN AID TO BETTER RADIO LISTENING Vol. III , N o. 10 P ortln.ncl, Maine, October, 1947 Price, F ive Cents HOUR-LONG PLAYS ON NBC's FORD THEATRE MeBs To Offer No Crime Or Mystery Programs Howard Lindsay Frill Foothall ;; Before 9.30 P.M. On NBC Coverage Emcee-Narrator The · :iona l~ .Broadcasting Com be broadcast over the NBC network The Maine Broadcasting System and pany convention, meeting in Atlantic before 9:30 p. m .. ." Of New Series ~BC will offer a full schedule of the City, N. )., this past month, unani It is important co reiterate now, The hou.r-long Ford Theater starts nution's top football games this fall mously"'<ndoprcd a propos:il that, ef for the information of the general Sundny, Oct. 5, 011 WSCH, vVRDO with Saturday afternoon play-by-play fective ·1an. 1, 1948, "no series of public, some of the policies of NBC: and \.VLBZ with the noted playwdght broadcasts. The fi.rst important game detective, crime or mystery cype 1. No program will be broadcast prnducer-actor, H oward Lindsay, w; of the season-the Minnesota-Wash programs" will be broadcast over which glorifies or justifies crime, master of ceremonies and narrator. It ington conrest-al.ready has been aired NBC before 9: 30 p. -
Lessons from FCC Regulation of Radio Broadcasting Thomas W
Michigan Technology Law Review Volume 4 | Issue 1 1998 "Chilling" the Internet? Lessons from FCC Regulation of Radio Broadcasting Thomas W. Hazlett University of California, Davis David W. Sosa University of California, Davis Follow this and additional works at: https://repository.law.umich.edu/mttlr Part of the Communications Law Commons, First Amendment Commons, Internet Law Commons, and the Legislation Commons Recommended Citation Thomas W. Hazlett & aD vid W. Sosa, "Chilling" the Internet? Lessons from FCC Regulation of Radio Broadcasting , 4 Mich. Telecomm. & Tech. L. Rev. 35 (1998). Available at: https://repository.law.umich.edu/mttlr/vol4/iss1/2 This Article is brought to you for free and open access by the Journals at University of Michigan Law School Scholarship Repository. It has been accepted for inclusion in Michigan Technology Law Review by an authorized editor of University of Michigan Law School Scholarship Repository. For more information, please contact [email protected]. "CHILLING" THE INTERNET? LESSONS FROM FCC REGULATION OF RADIO BROADCASTING Thomas W. Hazlett and David W. Sosa* Cite As: Thomas W. Hazlett and David W. Sosa, "Chilling" the Internet? Lessonsfrom FCCRegulation of Radio Broadcasting, 4 MICH. TELECOmm. TECH. L. REv. 35 (1998) available at <http:/www.mttlr.org/volfour/hazlett.pdf>. ExEcuTIvE SUMMARY ...................................................................... 35 I. INTRODUCTION .......................................................................... 36 II. CONTENT REGULATION IN BROADCASTING ............................... 41 Im. CONTENT REGULATION PRE-"FAIRNEsS" ........................44 IV. RED LION: THE REST OF THE STORY ........................................ 45 V. NIXON'S "CHILL" .................................................................... 47 VI. EXTENDING THE "CHILL" BEYOND WASHINGTON POLITICS ......... 50 VII. THE FCC LIFTS RADIO REGULATION, 1979-87 ........................ 51 VIII. DID THE FAIRNESS DOCTRINE "WARM" OR "CHILI'? ............ -
La Cultura Italiana
LA CULTURA ITALIANA PERRY COMO (1912-2001) This month’s essay looks at the life of another Italian-American popular music artist of the post-World War II era. Famous for his relaxed vocals, cardigan sweaters, and television Christ- mas specials, he was the charming Italian-American whose name became synonymous with “mellow” as he performed through seven decades, starting in the 1930s. His idol, Bing Crosby, once called him “the man who invented casual.” PIERINO RONALD “PERRY” COMO was born on May 12, 1912 in Canonsburg, Pennsylvania. (This month would have been his 107th birthday, and, coincidentally, the 18th anniversary of his death). He was the seventh of 13 children and the first Ameri- can-born child of Pietro Como and Lucia Travaglini, who had both immigrated to the United States in 1910 from Palena, a small town in the Province of Chieti in the Abruzzo region of Italy. (He used to point out to people that he was the seventh son of a seventh son and that this was a good omen in Italian culture). Like many children of Italian immigrants (including my own father), Perry did not begin speaking English until he entered school, since the Comos spoke only Italian at home. Pietro had bought a second-hand organ for $3 soon after they had arrived in America. As soon as Perry was able to toddle, he would head to the instrument, pump the bellows, and play by ear music he had heard. Pietro worked in the Standard Tin Plate factory in Canonsburg, a small town in the coal-mining region that was located 18 miles southwest of Pittsburgh. -
Nat King Cole
Nat King Cole Background information Birth name Nathaniel Adams Coles Also known as Nat Cole Born March 17, 1919 Montgomery, Alabama, U.S. Died February 15, 1965 (aged 45) Santa Monica, California, U.S. Genres Vocal jazz, swing, traditional pop Occupation(s) Vocalist, pianist Instruments Piano, vocals, organ Years active 1935–1965 Labels Capitol Associated acts Natalie Cole, Frank Sinatra, Dean Martin Nathaniel Adams Coles (March 17, 1919 – February 15, 1965), known professionally as Nat King Cole, was an American singer who first came to prominence as a leading jazz pianist. He was widely noted for his soft, baritone voice, which he used to perform in big band and jazz genres and which he used to become a major force in popular music for 3 decades producing many hit songs for Cole. Cole was one of the first African Americans to host a national television variety show, The Nat King Cole Show, and has maintained worldwide popularity since his death from lung cancer in February 1965. Early life Nathaniel Adams Coles was born in Montgomery, Alabama, on March 17, 1919. Cole had three brothers: Eddie, Ike, and Freddy, and a half-sister, Joyce Coles. Ike and Freddy would later pursue careers in music as well. When Cole was four years old, he and his family moved to Chicago, Illinois, where his father, Edward Coles, became a Baptist minister. Cole learned to play the organ from his mother, Perlina Coles, the church organist. His first performance was of "Yes! We Have No Bananas" at age four. He began formal lessons at 12, eventually learning not only jazz and gospel music, but also Western classical music, performing, as he said, "from Johann Sebastian Bach to Sergei Rachmaninoff". -
DIRECTORY of BROADCASTING STATIONS of the UNITED STATES Non -Commerciai Station
DIRECTORY OF BROADCASTING STATIONS OF THE UNITED STATES Non -Commerciai Station. D -Day. N- Night. ST- Shares Time. SH- Specified Hours. U- Unlimited. CP- Conofruclion Permit Issued. LS -Local Sunset. L- Limited Time with Dominant Station. SA- Special Aulhoritalion. (Data corrected to January I, 1944) MASSACHUSETTS- (Continued) Name of Licensee Chief Owner or Executive Program Director Representatives Call Frequency Power Headquarters Address General Manager Mdsg. or Promotion Mgr. Transe. Library City Letters In Kilocycles In Watts Telephone Number Network Commercial Manager Chief Engineer News Service EOSTON 12 WEEI 590 5,000 Columbia Broadcasting System Inc. CBS CBS -H. E. Fellows K. F. Horton Radio Sales 182 Tremont St. H. E. Fellows G. H. Cunningham World Hubbard 2323 K. F. Horton W. J. Stiles Associated AP, UP LOS rON 16 WHDH 850 5,000 Matheson Radio Co. Inc. Blue Ralph G. Matheson George M. Watson Jr. Spot Sales 62 Boylston St. Ralph G. Matheson George M. Watson Jr. World Hancock 0900 Ralph G. Matheson Ralph G. Matheson Associated Thesaurus AP BOSTON 15 WMEX 1610 5,000 Northern Corp. Lt. John E. Reilly, USN John Kiley, acting McGillvra 70 Brookline Ave. William S. Pote MacGregor Commonwealth 8900 William S. Pote Alfred J. Pote INS BOSTON 15 WNAC 1260 5,000 Yankee Network Inc. MBS William F. O'Neil Herbert Rice Petry 21 Brookline Ave. Yankee John Shepard 3d James Powers Standard Commonwealth 0800 Linea Travers Irving B. Robinson Associated Linea Travers AP BOSTON 16 WORL 950 1,000 -D Bestg. Service Organization Inc. Harold A. Lafount Robert N. Perry 216 Tremont St.