DOCSLIB.ORG

Groping in the Dark : an Early History of WHAS Radio

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Groping in the Dark : an Early History of WHAS Radio University of Louisville ThinkIR: The University of Louisville's Institutional Repository Electronic Theses and Dissertations 5-2012 Groping in the dark : an early history of WHAS radio. William A. Cummings 1982- University of Louisville Follow this and additional works at: https://ir.library.louisville.edu/etd Recommended Citation Cummings, William A. 1982-, "Groping in the dark : an early history of WHAS radio." (2012). Electronic Theses and Dissertations. Paper 298. https://doi.org/10.18297/etd/298 This Master's Thesis is brought to you for free and open access by ThinkIR: The University of Louisville's Institutional Repository. It has been accepted for inclusion in Electronic Theses and Dissertations by an authorized administrator of ThinkIR: The University of Louisville's Institutional Repository. This title appears here courtesy of the author, who has retained all other copyrights. For more information, please contact [email protected]. GROPING IN THE DARK: AN EARLY HISTORY OF WHAS RADIO By William A. Cummings B.A. University of Louisville, 2007 A Thesis Submitted to the Faculty of the College of Arts and Sciences of the University of Louisville in Partial Fulfillment of the Requirements for the Degree of Master of Arts Department of History University of Louisville Louisville, Kentucky May 2012 Copyright 2012 by William A. Cummings All Rights Reserved GROPING IN THE DARK: AN EARLY HISTORY OF WHAS RADIO By William A. Cummings B.A., University of Louisville, 2007 A Thesis Approved on April 5, 2012 by the following Thesis Committee: Thomas C. Mackey, Thesis Director Christine Ehrick Kyle Barnett ii DEDICATION This thesis is dedicated to the memory of my grandfather, Horace Nobles. I miss you every day. 111 ACKNOWLEDGMENTS I would like to thank my thesis director, Dr. Thomas Mackey for acknowledging I needed direction and guidance before I realized it myself. I would also like to thank my other committee members, Dr. Christine Ehrick and Dr. Kyle Barnett for their enthusiasm, comments, and constructive criticism over these last few months. This project owes a great deal to Dr. Terry Birdwhistell of the University of Kentucky, whose research surfaces throughout. Dr. Birdwhistell was kind enough to lend his time to speak with me and to assist me in accessing a great deal of research material. Finally, I would like to thank my friends and family who seemed to take my anxiety over the past three years in stride and more often than not had more faith in my abilities than I did. Your patience and support have meant the world to me. IV ABSTRACT GROPING IN THE DARK: AN EARLY HISTORY OF WHAS RADIO William A. Cummings May 12, 2012 As the historiography on radio broadcasting continues to grow and forces examination from the macro-level to the micro-level, station histories are becoming increasingly important. The story of WHAS highlights the evolution of a nationally­ celebrated, innovative radio station dedicated to the service of its community. However, this thesis argues that WHAS radio's arrival as a viable commercial business distorted the initial trajectories its forefathers intended for the medium thereby diluting its nobler aspects. A technological tool with the unprecedented power and influence -- to enlighten and enhance the daily lives of millions through education, the high art of classical music and opera, exposure to politics, and instant news updates, all filtered through a sense of duty to its listeners -- saw its grand ambitions watered down by the allure of increased profits sacrificing originality and imagination for accessible, light-entertainment programming generated from a handful of single sources. v TABLE OF CONTENTS PAGE ACKNOWLEDGMENTS ............................................................ .iv ABSTRACT .............................................................................. v INTRODUCTION ........................................................................ 1 CHAPTER ONE: "GROPING IN THE DARK" .................................... 36 CHAPTER TWO: "THE TONGUE-LESS SILENCE OF THE DREAMLESS DUSK" ..................................................................................... 74 CHAPTER THREE: "THE CALM AND UNIMPASSIONED VOICE" ......... 111 CHAPTER FOUR: "LET US ADJUST OUR METHODS TO MEET THE PUBLIC INTEREST" ..................................... , .......... , ................... 154 CONCLUSION: NEARING THE APEX ............................................. 185 REFERENCES ........................................................................... 196 CURRICULUM VITAE .................... , ........................................... 207 VI INTRODUCTION At 7:30 P.M., on July 18, 1922, "This is WHAS, the radio-telephone broadcasting station of the Courier-Journal and The Louisville Times in Louisville, Kentucky" ripped through the hot, humid Ohio Valley air establishing station WHAS as the first major broadcasting station for Kentucky, Indiana - indeed as one of the first stations for a significant portion of the Midwestern United States and beyond. Perched atop the newspaper offices of the Courier-Journal and The Louisville Times, in the Fireproof Storage Company building at the comer of Third and Liberty Streets, WHAS's founder, Robert Worth Bingham, envisioned the station reaching "the farthest confines of the state, where a man can string an aerial from his cabin to the nearest pine tree, and setting before the fire, have a pew in church, a seat at the opera, or a desk at the university." I In rising to meet these expectations however -- as many radio stations that survived the tumultuous decade of the 1920s would -- WHAS struggled with what radio historian David Goodman calls "the endemic creative tension between American radio's entertainment and its educational and civic purposes." Goodman's work attempts a counter-narrative of the development of the American system of broadcasting arguing 1 Quoted in Francis M. Nash, Towers Over Kentucky: A History ofRadio and Television in the Bluegrass State (Lexington: Host Communications, Inc., 1995), 13-14. Nash's work does not include a bibliography and this author's research has not revealed the original source of the quote. It appears in variation throughout decades of Courier-Journal coverage however, never in this exact order. 1 that radio, in particular radio in the United States, had a "civic legitimation and a commercial function, which meant it was always attempting to change ideas and behavior, striving to create active and informed listeners, as well as to entertain.,,2 By the end of the decade, this tension had increased with the development of the national networks whose corporately-sponsored syndicated programs exploited the medium's commercial potential to the detriment of its unique ability to educate and inform. American intellectuals feared syndicated programming would produce "a mass society - homogenized and centralized with little regard for individuals.,,3 These fears compounded in the face of emerging cross-media conglomerates which invoked suspicions of monopoly over the control and distribution of information. Media historian Michael Stamm argues that newspapers, such as Louisville's Courier-Journal and The Louisville Times, entered into radio broadcasting to "create a new kind of media corporation that utilized multiple media to circulate information and generate profits." Going further, Stamm states those "multimedia corporations were central to the legal and political processes structuring the American public sphere in the twentieth century.,,4 With the realization of its immense profitability in the 1930s, the dilution of radio broadcasting in the United States from a civic-minded tool of cultural uplift to an outlet of entertainment was complete. In light of the above observations this work argues that, while a component of a regional media empire caught up in the heady early idealism of radio, station WHAS 2 David Goodman, Radio's Civic Ambition: American Broadcasting and Democracy in the 1930s (New York: Oxford University Press, 2011), xv. 3 Bruce Lenthall, "Critical Reception: Public Intellectuals Decry Depression-era Radio, Mass Culture, and Modern America," in Radio Reader: Essays in the Cultural History ofRadio, ed. Michelle Hilmes and Jason Loviglio (New York: Routledge, 2002),41. 4 Michael Stamm, Sound Business: Newspapers, Radio, and the Politics of New Media (Philadelphia: University of Pennsylvania Press, 2011), 3. 2 made a valiant effort to maintain a civic responsibility to its listeners as radio evolved from utopian utility to a viable and lucrative commercial business. This work demonstrates that despite operation under the flagship newspapers of the Bingham empire, WHAS grew as its own separate entity under the exclusive supervision and guidance of original station manager, Credo Harris, and how such esteemed ownership and management ensured WHAS emerged on the other end of radio broadcasting's turbulent first decade. As a testament to the Bingham family's commitment to public service, not only did the family publishing fortune guarantee WHAS's survival, it promised a continual source of financial reinvestment in the medium's rapidly developing technology, even in the face of recurrent monetary losses. This commitment enabled increases in transmitting power, better facilities, and equipment which allowed the station to reach beyond Kentucky's farthest confines and serve broad swaths of a diverse listenership. Finally, this work suggests that through its 1927 affiliation with the National
Load more

Recommended publications
  • Broadcast Applications 9/30/2013
    Federal Communications Commission 445 Twelfth Street SW PUBLIC NOTICE Washington, D.C. 20554 News media information 202 / 418-0500 Recorded listing of releases and texts 202 / 418-2222 REPORT NO. 28084 Broadcast Applications 9/30/2013 STATE FILE NUMBER E/P CALL LETTERS APPLICANT AND LOCATION N A T U R E O F A P P L I C A T I O N AM STATION APPLICATIONS FOR ASSIGNMENT OF LICENSE ACCEPTED FOR FILING MA BAL-20130822AER WBEC 2714 GAMMA BROADCASTING, LLC Voluntary Assignment of License, as amended E 1420 KHZ MA , PITTSFIELD From: GAMMA BROADCASTING, LLC To: GREG REED Form 314 MA BAL-20130822AES WUPE 71436 GAMMA BROADCASTING, LLC Voluntary Assignment of License, as amended E 1110 KHZ MA , PITTSFIELD From: GAMMA BROADCASTING, LLC To: GREG REED Form 314 CLASS A TV APPLICATIONS FOR ASSIGNMENT OF LICENSE ACCEPTED FOR FILING GA BALTVA-20130925ANZ WBFL-CA 48763 NEW AGE MEDIA OF Voluntary Assignment of License TALLAHASSEE LICENSE, LLC E CHAN-13 From: NEW AGE MEDIA OF TALLAHASSEE, LLC GA , VALDOSTA To: TALLAHASSEE (WTLH-TV) LICENSEE, INC. Form 314 GA BALTTA-20130925AOA WBVJ-LP 23487 NEW AGE MEDIA OF Voluntary Assignment of License TALLAHASSEE LICENSE, LLC E CHAN-35 From: NEW AGE MEDIA OF TALLAHASSEE, LLC GA , VALDOSTA To: TALLAHASSEE (WTLH-TV) LICENSEE, INC. Form 314 FL BALTTA-20130925AOE WYME-CA 7726 NEW AGE MEDIA OF Voluntary Assignment of License GAINESVILLE LICENSE, LLC E CHAN-45 From: NEW AGE MEDIA OF GAINESVILLE LICENSE, LLC FL , GAINESVILLE To: WGFL LICENSEE, LLC Form 314 Page 1 of 53 Federal Communications Commission 445 Twelfth Street SW PUBLIC NOTICE Washington, D.C.
    [Show full text]
  • Comprehensive Emergency Management Plan
    CCOOMMPPRREEHHEENNSSIIVVEE EEMMEERRGGEENNCCYY MMAANNAAGGEEMMEENNTT PPLLAANN Clallam County, Washington Clallam County Sheriff’s Office Emergency Management Unit www.clallam.net/EmergencyManagement/ Volume I – Basic Plan 2016 CLALLAM COUNTY COMPREHENSIVE EMERGENCY MANAGEMENT PLAN (CEMP) December 2016 (revised) Clallam County Comprehensive Emergency Management Plan FORWARD This Comprehensive Emergency Management Plan (CEMP) for Clallam County is one of many efforts to prepare people in Clallam County for emergencies, and is formatted to be consistent with the National Response Framework and the Washington State Comprehensive Emergency Management Plan in order to standardize plans throughout the state and to provide interoperability between local, state, and federal levels of government. This CEMP is written to address the specific concerns and needs of unincorporated Clallam County and its government. It is anticipated that each City, Tribe, and agency in Clallam County has designated Emergency Management staff that prepare for, take mitigation actions against, respond to, and recover from an emergency or disaster event according to its own plans. However, when the emergency demands exceed available resources, County staff support them in coordinating assistance from other local, state and federal emergency management agencies. The Hazardous Materials Emergency Response Addenda and ESF 10 to the CEMP are written in cooperation with the Local Emergency Planning Council (LEPC) of Clallam County. The Addenda expands the CEMP to meet the special planning requirements of SARA Title III and the National Response Team Criteria for Review of Hazmat Emergency Plans. The potential for rapid escalation, the limited resources available in a small community like Clallam County, and variables present in a situation which involves hazardous materials, present a challenge to any single response agency, so it is suggested that other agencies participate in promulgation of that section.
    [Show full text]
  • BETS-5 Issue 1 November 1, 1996
    BETS-5 Issue 1 November 1, 1996 Spectrum Management Broadcasting Equipment Technical Standard Technical Standards and Requirements for AM Broadcasting Transmitters Aussi disponible en français - NTMR-5 Purpose This document contains the technical standards and requirements for the issuance of a Technical Acceptance Certificate (TAC) for AM broadcasting transmitters. A certificate issued for equipment classified as type approved or as technically acceptable before the coming into force of these technical standards and requirements is considered to be a valid and subsisting TAC. A Technical Acceptance Certificate is not required for equipment manufactured or imported solely for re-export, prototyping, demonstration, exhibition or testing purposes. i Table of Contents Page 1. General ...............................................................1 2. Testing and Labelling ..................................................1 3. Standard Test Conditions ..............................................2 4. Transmitting Equipment Standards .....................................3 5. Equipment Requirements ..............................................4 6. RF Carrier Performance Standards .................................... 5 6.1 Power Output Rating .................................................5 6.2 Modulation Capability ................................................5 6.3 Carrier Frequency Stability ............................................6 6.4 Carrier Level Shift ...................................................7 6.5 Spurious Emissions
    [Show full text]
  • History of Radio Broadcasting in Montana
    University of Montana ScholarWorks at University of Montana Graduate Student Theses, Dissertations, & Professional Papers Graduate School 1963 History of radio broadcasting in Montana Ron P. Richards The University of Montana Follow this and additional works at: https://scholarworks.umt.edu/etd Let us know how access to this document benefits ou.y Recommended Citation Richards, Ron P., "History of radio broadcasting in Montana" (1963). Graduate Student Theses, Dissertations, & Professional Papers. 5869. https://scholarworks.umt.edu/etd/5869 This Thesis is brought to you for free and open access by the Graduate School at ScholarWorks at University of Montana. It has been accepted for inclusion in Graduate Student Theses, Dissertations, & Professional Papers by an authorized administrator of ScholarWorks at University of Montana. For more information, please contact [email protected]. THE HISTORY OF RADIO BROADCASTING IN MONTANA ty RON P. RICHARDS B. A. in Journalism Montana State University, 1959 Presented in partial fulfillment of the requirements for the degree of Master of Arts in Journalism MONTANA STATE UNIVERSITY 1963 Approved by: Chairman, Board of Examiners Dean, Graduate School Date Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. UMI Number; EP36670 All rights reserved INFORMATION TO ALL USERS The quality of this reproduction is dependent upon the quality of the copy submitted. In the unlikely event that the author did not send a complete manuscript and there are missing pages, these will be noted. Also, if material had to be removed, a note will indicate the deletion. UMT Oiuartation PVUithing UMI EP36670 Published by ProQuest LLC (2013).
    [Show full text]
  • The-Golden-Web-Barnouw.Pdf
    THE GOLDEN WE; A HISTORY OF BROADCASTING IN THE UNITED STA TES 1933-195 r_ ERIK BARNOUW s 11*. !,f THE GOLDEN WEB A History of Broadcasting in the United States Volume II, 1933 -1953 ERIK BARNOUW The giant broadcasting networks are the "golden web" of the title of this continuation of Mr. Bamouw's definitive history of Amer- ican broadcasting. By 1933, when the vol- ume opens, the National Broadcasting Com- pany was established as a country -wide network, and the Columbia Broadcasting System was beginning to challenge it. By 1953, at the volume's close, a new giant, television, had begun to dominate the in- dustry, a business colossus. Mr. Barnouw vividly evokes an era during which radio touched almost every Ameri- can's life: when Franklin D. Roosevelt's "fireside chats" helped the nation pull through the Depression and unite for World War II; other political voices -Mayor La Guardia, Pappy O'Daniel, Father Coughlin, Huey Long -were heard in the land; and overseas news -broadcasting hit its stride with on-the -scene reports of Vienna's fall and the Munich Crisis. The author's descrip- tion of the growth of news broadcasting, through the influence of correspondents like Edward R. Murrow, H. V. Kaltenborn, William L. Shirer, and Eric Sevareid, is particularly illuminating. Here are behind- the -scenes struggles for power -the higher the stakes the more im- placable- between such giants of the radio world as David Sarnoff and William S. Paley; the growing stranglehold of the ad- vertising agencies on radio programming; and the full story of Edwin Armstrong's suit against RCA over FM, with its tragic after- math.
    [Show full text]
  • M a R C H 1 9 3 9 Posed Radio Talk
    \\'v) kr \VA1\Ao, 1° 9I thia 9d444e JOLLY JOE KELLEY PAN AMERICAN SLO 'N' EZY CORWIN RIDDELL HE "JAM PANTRY" FOUR PICTURE PAGES CAMERA CONTEST SONG OF THE MONTH and scores of other interest- ing stories and pictures left: Lost John, star cf the WSB Crossroad Frolics THE ONLY MAGAZINE PUBLISHED EXCLU- SIVELY FOR RURAL LISTENERS Vol, 2, No. 2 Ten Cents M A R C H 1 9 3 9 posed radio talk. He is well within his rights to close his facilities to any speaker who refuses to 1939 MARCH 1939 submit it. He is well within his rights to refuse to SUN MON broadcast a speech plainly calculated or likely to TUE WED THU FRI SAT stir up religious prejudice and strife. Such action is merely an act of good stewardship, I 2 3 4 distinctly in the public interest, and is not an abridg- IO ment of the right of free speech. The situation 5 6 7 8 9 II parallels the example once given by the late Justice 16 17 18 Oliver Wendell Holmes of the United States Su- 12 13 14 15 preme Court, where he declared that free speech did not give a man the right to yell "fire" in a crowded 19 20 21 22 23 24 25 theatre. 31 The responsibility to accept or to reject broadcast 26 27 28 29 30 material is one placed squarely on the shoulders of the American broadcaster. It is up to him to evalu- ate what is and what is not in the public interest.
    [Show full text]
  • The Survival of American Silent Feature Films: 1912–1929 by David Pierce September 2013
    The Survival of American Silent Feature Films: 1912–1929 by David Pierce September 2013 COUNCIL ON LIBRARY AND INFORMATION RESOURCES AND THE LIBRARY OF CONGRESS The Survival of American Silent Feature Films: 1912–1929 by David Pierce September 2013 Mr. Pierce has also created a da tabase of location information on the archival film holdings identified in the course of his research. See www.loc.gov/film. Commissioned for and sponsored by the National Film Preservation Board Council on Library and Information Resources and The Library of Congress Washington, D.C. The National Film Preservation Board The National Film Preservation Board was established at the Library of Congress by the National Film Preservation Act of 1988, and most recently reauthorized by the U.S. Congress in 2008. Among the provisions of the law is a mandate to “undertake studies and investigations of film preservation activities as needed, including the efficacy of new technologies, and recommend solutions to- im prove these practices.” More information about the National Film Preservation Board can be found at http://www.loc.gov/film/. ISBN 978-1-932326-39-0 CLIR Publication No. 158 Copublished by: Council on Library and Information Resources The Library of Congress 1707 L Street NW, Suite 650 and 101 Independence Avenue, SE Washington, DC 20036 Washington, DC 20540 Web site at http://www.clir.org Web site at http://www.loc.gov Additional copies are available for $30 each. Orders may be placed through CLIR’s Web site. This publication is also available online at no charge at http://www.clir.org/pubs/reports/pub158.
    [Show full text]
  • To Code at Home? Orget the Year
    TO CODE AT HOME? orget the year. Voltair processor-induced questions about PPM encod- ing may be the biggest radio story of the last decade. Moving from di- Fary ratings to meter technology in 2007 was intended to remove much of the ambiguity from radio’s audience report card – at least in the top 50 markets. Programmers were confident in the technology and quickly adopted its les- sons, one of the most dramatic being listen- THE YEar’s ers’ aversion to talk. Spoken word formats saw declines and music format morning shows began upping their song count. And then Voltair came along. Introduced in mid-2014 by Telos, the TOP $15,000 processor was aimed at a previously unknown gap in PPM’s audio watermark- StORIES ing encoding. In short, its developers claimed that programming that was quiet, marked by silence or weak in a certain frequency range did a poor job of carrying PPM code – and that their box “enhanced the detectability.” Better encod- ing, the thinking went, meant better ratings. Radio’s response was swift. By summer 2015, hundreds of the units were in use. Even PDs who didn’t have Voltair were taking notice. “You see meter counts jump and think it’s a fluky week, but the next week it goes even higher,” one programmer told Country Aircheck. “When 6+ numbers jump two shares, that’s your first clue.” With many convinced Voltair was doing exactly what it proposed, questions turned to years of decision making based not on programming content, but its audio characteristics. “Where it gets [hairy] is when we decide not to do artist interviews and stay away from any longer talk seg- ment regardless of how compelling,” consultant Becky Brenner said in July.
    [Show full text]
  • Glenn Miller 1939 the Year He Found the Sound
    GLENN MILLER 1939 THE YEAR HE FOUND THE SOUND Dedicated to the Glenn Miller Birthpace Society June 2019 Prepared by: Dennis M. Spragg Glenn Miller Archives Alton Glenn Miller (1904-1944) From Glenn Miller Declassified © 2017 Dennis M. Spragg Sound Roots Glenn Miller was one of the foremost popular music celebrities of the twentieth century. The creative musician and successful businessman was remarkably intuitive and organized, but far from perfect. His instincts were uncanny, although like any human being, he made mistakes. His record sales, radio popularity, and box-office success at theaters and dance halls across the nation were unsurpassed. He had not come to fame and fortune without struggle and was often judgmental and stubborn. He had remarkable insight into public taste and was not afraid to take risks. To understand Miller is to appreciate his ideals and authenticity, essential characteristics of a prominent man who came from virtually nothing. He sincerely believed he owed something to the nation he loved and the fellow countrymen who bought his records. The third child of Lewis Elmer Miller and Mattie Lou Cavender, Alton Glen Miller was born March 1, 1904, at 601 South 16th Street in Clarinda, a small farming community tucked in the southwest corner of Iowa. Miller’s middle name changed to Glenn several years later in Nebraska. His father was an itinerant carpenter, and his mother taught school. His older brother, Elmer Deane, was a dentist. In 1906 Miller’s father took his family to the harsh sand hills of Tryon, Nebraska, near North Platte. The family moved to Hershey, Nebraska, in the fall of 1912 and returned to North Platte in July 1913, where Glenn’s younger siblings John Herbert and Emma Irene were born.
    [Show full text]
  • SIGNS on the Early Days of Radio and Television
    TEXAS SIGNS ON The Early Days of Radio and Television Richard Schroeder Texas AÒM University Press College Station www.americanradiohistory.com Copyright CI 1998 by Richard Schroeder Manufactured in the United States of America All rights reserved First edition The paper used in this book meets the minimum requirements of the American National Standard for Permanence of Paper for Printed Library Materials, Z39.48 -1984. Binding materials have been chosen for durability. Library of Congress Cataloging -in- Publication Data Schroeder, Richard (Morton Richard) Texas signs on ; the early days of radio and television / Richard Schroeder. - ist ed. P. cm. - (Centennial series of the Association of Former Students, Texas A &M University ; no. 75) Includes bibliographical references and index. ISBN o-89o96 -813 -6 (alk. paper) t. Broadcasting-Texas- History. I. Title. II. Series. PN1990.6U5536 5998 384.54 o9764 -dcz1 97-46657 CIP www.americanradiohistory.com Texas Signs On Number Seventy-five: The Centennial Series of the Association of Former Students, Texas Ae'rM University www.americanradiohistory.com www.americanradiohistory.com To my mother Doris Elizabeth Stallard Schroeder www.americanradiohistory.com www.americanradiohistory.com Contents List of Illustrations ix Preface x1 Acknowledgments xv CHAPTERS i. Pre -Regulation Broadcasting: The Beginnings to 1927 3 z. Regulations Come to Broadcasting: 1928 to 1939 59 3. The War and Television: 1941 to 195o 118 4. The Expansion of Television and the Coming of Color: 195o to 196o 182 Notes 213 Bibliography 231 Index 241 www.americanradiohistory.com www.americanradiohistory.com Illustrations J. Frank Thompson's radios, 1921 II KFDM studio, 192os 17 W A.
    [Show full text]
  • Blunderful-World-Of-Bloopers.Pdf
    o More than Kermit Schafer's 1,000 BEQ01416. BLlfdel 400 pages Indexed More than 100 cartoons WÖLof Foreword by Mike Douglas Contains the com- plete contents of The Best of Boo Ittli Bloopers All Time Great Bloopers Super Duper Bloopers and the best of Pardon My Blooper Prize Bloopers Blooper Parade Blooper Blackouts Blooper Blow Ups Super Bloopers SILVER ANNIVERSARY EDITION 25 years of Radio & TV Bloópers A TREASURY OF BROADCASTING'S MOST HILARIOUS AWARD WINNING BONERS Kermit Schafer, the international authority on lip -slip- pers, is a veteran New York radio, TV, film and recording Producer Kermit producer. Several Schafer presents his Blooper record al- Bloopy Award, the sym- bums and books bol of human error in have been best- broadcasting. sellers. His other Blooper projects include "Blooperama," a night club and lecture show featuring audio and video tape and film; TV specials; a full - length "Pardon My Blooper" movie and "The Blooper Game" a TV quiz program. His forthcoming autobiography is entitled "I Never Make Misteaks." Another Schafer project is the establish- ment of a Blooper Hall of Fame. In between his many trips to England, where he has in- troduced his Blooper works, he lectures on college campuses. Also formed is the Blooper Snooper Club, where members who submit Bloopers be- come eligible for prizes. Fans who wish club information or would like to submit material can write to: Kermit Schafer Blooper Enterprises Inc. Box 43 -1925 South Miami, Florida 33143 (Left) Producer Kermit on My Blooper" movie opening. (Right) The million -seller gold Blooper record.
    [Show full text]
  • INSTITUTION Congress of the US, Washington, DC. House Committee
    DOCUMENT RESUME ED 303 136 IR 013 589 TITLE Commercialization of Children's Television. Hearings on H.R. 3288, H.R. 3966, and H.R. 4125: Bills To Require the FCC To Reinstate Restrictions on Advertising during Children's Television, To Enforce the Obligation of Broadcasters To Meet the Educational Needs of the Child Audience, and for Other Purposes, before the Subcommittee on Telecommunications and Finance of the Committee on Energy and Commerce, House of Representatives, One Hundredth Congress (September 15, 1987 and March 17, 1988). INSTITUTION Congress of the U.S., Washington, DC. House Committee on Energy and Commerce. PUB DATE 88 NOTE 354p.; Serial No. 100-93. Portions contain small print. AVAILABLE FROM Superintendent of Documents, Congressional Sales Office, U.S. Government Printing Office, Washington, DC 20402. PUB TYPE Legal/Legislative/Regulatory Materials (090) -- Viewpoints (120) -- Reports - Evaluative/Feasibility (142) EDRS PRICE MFO1 /PC15 Plus Postage. DESCRIPTORS *Advertising; *Childrens Television; *Commercial Television; *Federal Legislation; Hearings; Policy Formation; *Programing (Broadcast); *Television Commercials; Television Research; Toys IDENTIFIERS Congress 100th; Federal Communications Commission ABSTRACT This report provides transcripts of two hearings held 6 months apart before a subcommittee of the House of Representatives on three bills which would require the Federal Communications Commission to reinstate restrictions on advertising on children's television programs. The texts of the bills under consideration, H.R. 3288, H.R. 3966, and H.R. 4125 are also provided. Testimony and statements were presented by:(1) Representative Terry L. Bruce of Illinois; (2) Peggy Charren, Action for Children's Television; (3) Robert Chase, National Education Association; (4) John Claster, Claster Television; (5) William Dietz, Tufts New England Medical Center; (6) Wallace Jorgenson, National Association of Broadcasters; (7) Dale L.
    [Show full text]