7Eatute at the Week Selling - Story About

Total Page:16

File Type:pdf, Size:1020Kb

7Eatute at the Week Selling - Story About for profitable Remember the 7eatute at the Week selling - story about... INVESTIGATE wIIMDNGT Announcer- producer Hurd (1) and news editor Ireland (r) with Garfield high school discussion group. "THE UNDIRECTED expression is now reaching out beyond Seattle of free speech by anyone ... who and western Washington high wishes to express an opinion." A schools into nearby Canada, de- noble objective of our democratic pends on how thoroughly the par- society, this, and the standard of ticipating students are not pre- Youth Views the News, a half -hour pared. weekly ad -lib discussion of cur- The principal of the school rent affairs heard Sunday morn- where the program is to be re- ings at 10 via tape- recorder on corded is warned in advance by KOMO Seattle. that grew into ... Effectiveness of the show, which (Continued on page 64) L J On -1911 19ccounts THE COMMERCIALS on a few type, the long distance telephone coast -to -coast sponsored pro- gets a play. grams a week might be enough for Born in Rich Hill, Mo., Nov. 18, the average agency man to handle, 1904, Innes was educated entirely but not Innes Harris, commercial in schools of his native state. He supervisor in the Hollywood office attended Drury College, Spring- of Young & Rubicam. field, for a year. Then in 1926 he No less than a dozen broadcasts became sports editor of the Spring- the streamlined car? per week bear the imprint of his field (Mo.) Republican for a year, three -man department. And this then joined the Phoenix (Ariz.) makes him just about the busiest Republic. That's just like the growth agency man on the West Coast. Innes entered radio in 1929 as of WWDC in the rich Wash- His responsibilities include the announcer -newscaster and publici- NBC Bob Hope ty man for WTAM ington market. It started show (Lever Bros: Cleveland. But aft- out small ... and grew ... Swan soap) ; CBS er a good 12 months Jack Carson show or so he moved to and grew into a fast- acting (General Foods - Westinghouse Elec- streamlined force for profit- Sanka) ; NBC Duf- tric Corp. in East fy's Tavern (Bris- Pittsburgh, h a n - able sales. If you want tol - Myers prod- dling publicity for power and drive behind ucts) ; NBC Adven- that firm for the tures of Ozzie & next few years. your radio advertising in Harriet (Interna- Beginning in 1930 tional Silver) ; ABC with radio publicity Washington, your best buy Meredith Willson and running is WWDC and WWDC -FM. show (General through commercial Foods - Jello) ; five writing, program Get the full story from your weekly ABC Gener- production and a va- Forjoe man today. al Electric House riety of other as- Party (electrical signments, young appliances); tran- Mr. Harris was on scribed Skippy Hol- the New York staff lywood & Theatre of Erwin, Wasey Represented by (Rosefield Packing INNES Co. for the next aosraT Co.-peanut butter) on 46 stations; four years. V" MEEKER WWDC CBS My Favorite Husband (Gen- He produced the CBS Bobby A S S O C I A T E 5 ilC eral Foods- Jello). Benson show, then the top kid's New York Chi co go AM FM -The D. C. Independent He's the most teletype conscious program of the day. Assignments San Francisco Los Angeles man in town, constantly in commu- also included Arthur Godfrey's - Represented Nationally by nication with the agency's New first network shows on CBS. In FORJOE & COMPANY York office checking on informa- addition he handled a variety of tion for commercials of these STEINMAN STATIONS shows. And when it's not the tele- (Continued on page 64) Page 10 January 3, 1949 BROADCASTING Telecasting .
Recommended publications
  • MGM 70 YEARS: REDISCOVERIES and CLASSICS June 24 - September 30, 1994
    The Museum of Modern Art For Immediate Release May 1994 MGM 70 YEARS: REDISCOVERIES AND CLASSICS June 24 - September 30, 1994 A retrospective celebrating the seventieth anniversary of Metro-Goldwyn- Mayer, the legendary Hollywood studio that defined screen glamour and elegance for the world, opens at The Museum of Modern Art on June 24, 1994. MGM 70 YEARS: REDISCOVERIES AND CLASSICS comprises 112 feature films produced by MGM from the 1920s to the present, including musicals, thrillers, comedies, and melodramas. On view through September 30, the exhibition highlights a number of classics, as well as lesser-known films by directors who deserve wider recognition. MGM's films are distinguished by a high artistic level, with a consistent polish and technical virtuosity unseen anywhere, and by a roster of the most famous stars in the world -- Joan Crawford, Clark Gable, Judy Garland, Greta Garbo, and Spencer Tracy. MGM also had under contract some of Hollywood's most talented directors, including Clarence Brown, George Cukor, Vincente Minnelli, and King Vidor, as well as outstanding cinematographers, production designers, costume designers, and editors. Exhibition highlights include Erich von Stroheim's Greed (1925), Victor Fleming's Gone Hith the Hind and The Wizard of Oz (both 1939), Stanley Kubrick's 2001: A Space Odyssey (1968), and Ridley Scott's Thelma & Louise (1991). Less familiar titles are Monta Bell's Pretty Ladies and Lights of Old Broadway (both 1925), Rex Ingram's The Garden of Allah (1927) and The Prisoner - more - 11 West 53 Street, New York, N.Y. 10019-5498 Tel: 212-708-9400 Cable: MODERNART Telex: 62370 MODART 2 of Zenda (1929), Fred Zinnemann's Eyes in the Night (1942) and Act of Violence (1949), and Anthony Mann's Border Incident (1949) and The Naked Spur (1953).
    [Show full text]
  • 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.
    [Show full text]
  • Bamcinématek Presents Under the Influence: Scorsese/Walsh, a 12
    BAMcinématek presents Under the Influence: Scorsese/Walsh, a 12-film series pairing Martin Scorsese works with their inspirations from Raoul Walsh’s seminal oeuvre, Mar 12—26 Opens with Walsh’s Regeneration, featuring live piano by acclaimed silent film accompanist Steve Sterner The Wall Street Journal is the title sponsor for BAMcinématek and BAM Rose Cinemas. Brooklyn, NY/Feb 12, 2014—From Wednesday, March 12 through Wednesday, March 26, BAMcinématek presents Under the Influence: Scorsese/Walsh, pairing six Scorsese classics with their inspirations from Raoul Walsh’s seminal oeuvre. The still-undervalued Walsh’s lean, mean portraits of gangsters, knack for evoking gritty urban locales, and assured handling of white- knuckle action provide a virtual template for modern-day maestro (and avowed Walsh admirer) Martin Scorsese’s work. Viewed side by side, the films of these two iconic auteurs reveal a fascinating and ongoing creative dialogue across the generations. One of the great action directors of the Hollywood studio era, Raoul Walsh was the swaggering, manly-man artist behind some of the best movies to star James Cagney, Humphrey Bogart, and Errol Flynn. ―Walsh’s explosive outcast characters were bigger than life,‖ said Martin Scorsese, whose own violent, masculine oeuvre is just as full of explosive outcasts. ―Their lust for life was insatiable, even as their actions precipitated their tragic destiny. The world was too small for them.‖ Walsh was ―probably Scorsese’s single most important influence,‖ wrote critic Dave Kehr (Moving Image Source), even if Scorsese’s debts to Michael Powell, Luchino Visconti, and other filmmakers have been more widely acknowledged over the years.
    [Show full text]
  • American Heritage Center
    UNIVERSITY OF WYOMING AMERICAN HERITAGE CENTER GUIDE TO ENTERTAINMENT INDUSTRY RESOURCES Child actress Mary Jane Irving with Bessie Barriscale and Ben Alexander in the 1918 silent film Heart of Rachel. Mary Jane Irving papers, American Heritage Center. Compiled by D. Claudia Thompson and Shaun A. Hayes 2009 PREFACE When the University of Wyoming began collecting the papers of national entertainment figures in the 1970s, it was one of only a handful of repositories actively engaged in the field. Business and industry, science, family history, even print literature were all recognized as legitimate fields of study while prejudice remained against mere entertainment as a source of scholarship. There are two arguments to be made against this narrow vision. In the first place, entertainment is very much an industry. It employs thousands. It requires vast capital expenditure, and it lives or dies on profit. In the second place, popular culture is more universal than any other field. Each individual’s experience is unique, but one common thread running throughout humanity is the desire to be taken out of ourselves, to share with our neighbors some story of humor or adventure. This is the basis for entertainment. The Entertainment Industry collections at the American Heritage Center focus on the twentieth century. During the twentieth century, entertainment in the United States changed radically due to advances in communications technology. The development of radio made it possible for the first time for people on both coasts to listen to a performance simultaneously. The delivery of entertainment thus became immensely cheaper and, at the same time, the fame of individual performers grew.
    [Show full text]
  • A Tribute to Michael Curtiz 1973
    Delta Kappa Alpha and the Division of Cinema of the University of Southern California present: tiz November-4 * Passage to Marseilles The Unsuspected Doctor X Mystery of the Wax Museum November 11 * Tenderloin 20,000 Years in Sing Sing Jimmy the Gent Angels with Dirty Faces November 18 * Virginia City Santa Fe Trail The Adventures of Robin Hood The Sea Hawk December 1 Casablanca t December 2 This is the Army Mission to Moscow Black Fury Yankee Doodle Dandy December 9 Mildred Pierce Life with Father Charge of the Light Brigade Dodge City December 16 Captain Blood The Private Lives of Elizabeth and Essex Night and Day I'll See You in My Dreams All performances will be held in room 108 of the Cinema Department. Matinees will start promptly at 1:00 p.m., evening shows at 7:30 p.m. A series of personal appearances by special guests is scheduled for 4:00 p.m. each Sunday. Because of limited seating capacity, admission will be on a first-come, first-served basis, with priority given to DKA members and USC cinema students. There is no admission charge. * If there are no conflicts in scheduling, these programs will be repeated in January. Dates will be announced. tThe gala performance of Casablanca will be held in room 133 of Founders Hall at 8:00 p.m., with special guests in attendance. Tickets for this event are free, but due to limited seating capacity, must be secured from the Cinema Department office (746-2235). A Mmt h"dific Uredrr by Arthur Knight This extended examination of the films of Michael Only in very recent years, with the abrupt demise of Curtiz is not only long overdue, but also altogether Hollywood's studio system, has it become possible to appropriate for a film school such as USC Cinema.
    [Show full text]
  • Communication I40 Introduction to Film Studies
    COMMUNICATION I40 INTRODUCTION TO FILM STUDIES Cat on a Hot Tin Roof (1958) Producedby LawrenceWeingarten for Metro-Goldwyn-Mayer.Directed by RichardBrooks. Written by Richard Brooks and JamesPoe, from the play by TennesseeWilliams. Photographedby William H. Daniels.Edited by Fenis Webster. Music by CharlesWolcott. With ElizabethTaylor (Maggie Pollitt), PaulNewman (Brick Pollitt), Burl Ives (Big Daddy Pollitt), JackCarson (Gooper Pollitt), Judith Anderson(Big Mama Pollitt), MadeleineSherwood (Mae Pollitt), Larry Gates (Dr. Baugh),Vaughn Taylor (DeaconDavis). An all-fired lot of high-poweredacting is done in Cat on a Hot Tin Roof,film versionof the TennesseeWilliams stageplay, which cameto the [Radio City] Music Hall yesterday.Burl lves, PaulNewman, Elizabeth Taylor, JudithAnderson, Jack Carsonand two or three more almostwork andyell themselvesto piecesmaking this dramaof strife within a new-rich Southernfamily a ferociousand fascinatingshow. And what a pack of trashypeople these accomplished actors perform! Sucha lot of grossand greedycharacters haven't gone pastsince Lillian Hellman's TheLittle Foxeswent that way. The whole time is spentby them in wrangling over a dying man's anticipatedestate or telling one anotherquite frankly what sort of so-and-so'sthey think the othersare. As a straightexercise in spewingvenom and flinging dirty linen on a line, this fine Metro-Coldwyn-Mayerproduction in color would be hardto beat.It is doneby superiortalents, under the driving directionof RichardBrooks, making eventhe driest scenesdrip poison with that strong,juicy Williams dialogue.And beforethe tubs full of pent-upfury, suspicionand hatred are drained, every major performer in the company has had a chanceto play at least one bang-up scene. The fattest and juiciest opportunities go to Mr.
    [Show full text]
  • Paramount Pictures
    Before we start with the individual studios, let’s cover one additional situation. It didn’t really belong in the last chapter because it is more of a research problem. But it is one that should be addressed. Many of the major studios submitted their primary production code numbers to the Library of Congress. These records are a tremendous help with one caveat. Almost all of the production codes submitted DID NOT INCLUDE THE LETTER PREFIX THAT WAS ASSIGNED BY SOME OF THE INDIVIDUAL STUDIOS. So, while the production code number would be the same, only some have letter prefixes. In several instances, there are different letter prefixes. The bottom line is that numbers recorded at the Library of Congress may require additional research. Columbia Pictures Columbia’s production codes are by far the most confusing and most difficult to use for identification. This may be an indication that Columbia was not quite certain how to effectively number and utilize production codes. - - Columbia started production codes for their 1926- 1927 season. The first film to have codes was False Alarm, which was issued a “C-1” production code. They produced 24 films that season, marking them “C -1” through “C-24.” The Library of Congress records show only the numbers 1-24, but the stills reflect the letter “C,” a dash (-) and the number. The next season (1927-1928), they produced 30 films, with the first one being The Blood Ship. Instead of issuing new production codes, they simply started over with their numbering, marking them “C-1” through “C-30.” The next season (1928-1929), they produced 31 films, starting with Court Martial.
    [Show full text]
  • The History of CBS Hollywood Television Studios
    1 The History of CBS Hollywood Television Studios By Bobby Ellerbee and Eyes Of A Generation.com Preface and Acknowledgement This is a unique look at the events that preceded the need for CBS television studios in Hollywood and, as in New York, the radio division is leading the way. This project is somewhat different than the prior reports on the New York studios of CBS and NBC, for two reasons. The first reason is that in that in those reports, television was brand new and being developed through the mechanical function to an electronic phenomenon. Most of that work occurred in and around their headquarters in New York. In this case, both CBS and NBC are at the mercy of geological and technological developments outside their own abilities…namely the Rocky Mountains and AT&T. The second reason has to do with the success of the network’s own stars. Their popularity on radio soon translated to public demand once “talking pictures” became possible. That led many New York based radio stars to Hollywood and, in a way, Mohammed had to come to the mountain. This story is told to the best of our abilities, as a great deal of the information on these facilities is now gone…like so many of the men and women who worked there. I’ve told this as concisely as possible, but some elements are dependent on the memories of those who were there many years ago, and from conclusions drawn from research. If you can add to this with facts or photos, please contact me as this is an ongoing project.
    [Show full text]
  • Film Noir Database
    www.kingofthepeds.com © P.S. Marshall (2021) Film Noir Database This database has been created by author, P.S. Marshall, who has watched every single one of the movies below. The latest update of the database will be available on my website: www.kingofthepeds.com The following abbreviations are added after the titles and year of some movies: AFN – Alternative/Associated to/Noirish Film Noir BFN – British Film Noir COL – Film Noir in colour FFN – French Film Noir NN – Neo Noir PFN – Polish Film Noir www.kingofthepeds.com © P.S. Marshall (2021) TITLE DIRECTOR Actor 1 Actor 2 Actor 3 Actor 4 13 East Street (1952) AFN ROBERT S. BAKER Patrick Holt, Sandra Dorne Sonia Holm Robert Ayres 13 Rue Madeleine (1947) HENRY HATHAWAY James Cagney Annabella Richard Conte Frank Latimore 36 Hours (1953) BFN MONTGOMERY TULLY Dan Duryea Elsie Albiin Gudrun Ure Eric Pohlmann 5 Against the House (1955) PHIL KARLSON Guy Madison Kim Novak Brian Keith Alvy Moore 5 Steps to Danger (1957) HENRY S. KESLER Ruth Ronan Sterling Hayden Werner Kemperer Richard Gaines 711 Ocean Drive (1950) JOSEPH M. NEWMAN Edmond O'Brien Joanne Dru Otto Kruger Barry Kelley 99 River Street (1953) PHIL KARLSON John Payne Evelyn Keyes Brad Dexter Frank Faylen A Blueprint for Murder (1953) ANDREW L. STONE Joseph Cotten Jean Peters Gary Merrill Catherine McLeod A Bullet for Joey (1955) LEWIS ALLEN Edward G. Robinson George Raft Audrey Totter George Dolenz A Bullet is Waiting (1954) COL JOHN FARROW Rory Calhoun Jean Simmons Stephen McNally Brian Aherne A Cry in the Night (1956) FRANK TUTTLE Edmond O'Brien Brian Donlevy Natalie Wood Raymond Burr A Dangerous Profession (1949) TED TETZLAFF George Raft Ella Raines Pat O'Brien Bill Williams A Double Life (1947) GEORGE CUKOR Ronald Colman Edmond O'Brien Signe Hasso Shelley Winters A Kiss Before Dying (1956) COL GERD OSWALD Robert Wagner Jeffrey Hunter Virginia Leith Joanne Woodward A Lady Without Passport (1950) JOSEPH H.
    [Show full text]
  • "Enhanced Filmography." Hitchcock's Appetites
    McKittrick, Casey. "Enhanced Filmography." Hitchcock’s Appetites: The corpulent plots of desire and dread. New York: Bloomsbury Academic, 2016. 176–192. Bloomsbury Collections. Web. 25 Sep. 2021. <http://dx.doi.org/10.5040/9781501311642.0013>. Downloaded from Bloomsbury Collections, www.bloomsburycollections.com, 25 September 2021, 17:41 UTC. Copyright © Casey McKittrick 2016. You may share this work for non-commercial purposes only, provided you give attribution to the copyright holder and the publisher, and provide a link to the Creative Commons licence. Enhanced Filmography 1) The Pleasure Garden (1925) Screenplay : Eliot Stannard, based on the novel The Pleasure Garden by Oliver Sandys Producer : Michael Balcon, Erich Pommer, Bavaria Film, Gainsborough Pictures, M ü nchner Lichtspielkunst AG (Emelka) Runtime : 75 minutes Cast : Virginia Valli, Carmelita Geraghty, Miles Mander, John Stuart, Ferdinand Martini, Florence Helminger During two intercut dinner table sequences, two couples sit with tea sets and small plates in front of them; the couple that is eating and drinking end up falling in love. 2) The Lodger (also titled The Lodger: A Story of the London Fog ) (1927) Screenplay : Eliot Stannard, Alfred Hitchcock (uncredited), based on the novel The Lodger and the play Who Is He? , both by Marie Belloc Lowndes Producer : Gainsborough Pictures, Carlyle Blackwell Productions, Michael Balcon, Carlyle Blackwell Runtime : 68 minutes Cast : Marie Ault, Arthur Chesney, June, Malcolm Keen, Ivor Novello When the Lodger (Ivor Novello) arrives at the Buntings ’ boardinghouse, he immediately requests some bread, butter, and a glass of milk. Hitchcock wanted to suggest that he was preserving his waifi sh fi gure. 3) Downhill ( When Boys Leave Home ) (1927) Screenplay : Constance Collier (play), Ivor Novello (play), Eliot Stannard (adaptation) Producer : Gainsborough Pictures, Michael Balcon, C.
    [Show full text]
  • MICHAEL CURTIZ: from HUNGARY to HOLLYWOOD Release
    The Museum of Modern Art For Immediate Release November 1992 MICHAEL CURTIZ: FROM HUNGARY TO HOLLYWOOD November 27, 1992 - January 23, 1993 A survey of more than fifty films by Michael Curtiz (1888-1962), one of cinema's most prolific directors from the studio era, opens on November 27, 1992, at The Museum of Modern Art. As Warner Bros, house director in the 1930s and 1940s, Curtiz symbolizes the crispness and energy that distinguished the Warners' style. On view through January 23, 1993, MICHAEL CURTIZ: FROM HUNGARY TO HOLLYWOOD explores the consistent quality and versatility of the filmmaker's work. The Hungarian-born Curtiz mastered virtually all genres and, during his twenty-seven-year career at Warner Bros., made every type of film from westerns and musicals to social dramas and comedies. A strong director of actors, he made stars of such disparate types as Errol Flynn, John Garfield, and Doris Day, and earned an Academy Award and a renewed career for Joan Crawford in Mildred Pierce (1945). Many of his films were popular critical and financial successes. Curtiz possessed an acute narrative sense, displayed in such remarkable films included in the exhibition as The Adventures of Robin Hood (1938), with Flynn and Olivia de Havilland; Casablanca (1942), for which Curtiz received an Academy Award for Best Director; Yankee Doodle Dandy (1942), the musical which won James Cagney an Academy Award; Mildred Pierce, the film noir portrait of an imperfect American family; Young Man with a Horn (1950), starring Kirk - more - 11 West 53 Street, New York, N.Y. 10019-5498 Tel: 212-708-9400 Cable: MODERNART Telex: 62370 MODART 2 Douglas as an obsessed jazz trumpeter and inspired by Bix Beiderbecke's life; and The Breaking Point (1950), based on Ernest Hemingway's To Have and Have Not, His early successes -- Cabin in the Cotton (1932), a melodrama about sharecroppers, and The Mystery of the Max Museum (1933), an early all-color horror film -- are also included in the exhibition.
    [Show full text]
  • A Sunday Tradition
    THE DAILY ASTORIAN • MONDAY, MAY 9, 2016 3A A Sunday tradition Photos by Linh DePledge/For The Daily Astorian The Astoria Sunday Market returned to downtown on Mother’s Day. Lion dancers treated the crowd. Connie Mork, of Seaside, shopped for plants. Cheryl and Dave Beers, with dog Charlie, displayed their delights. Lindsey Nicolas showed off her designs. More photos online at dailyastorian.com Policies: ‘Federal law is clear’ 102.3 KCRX & Continued from Page 1A including Connecticut, Massa- LGBT advocacy groups, advocacy group Basic Rights KAST-AM 1230 chusetts and New York. however, said they were grate- Oregon. “Providing a place present The Oregon Department of Lori Porter, a spokes- ful for the state’s thoughtful of privacy and safety ensures the Education recommendations woman for Beaverton-based recommendations. students can grow up to be an do not lay out punishments for Parents Rights in Education, “There are transgender stu- adult who can participate in all California Beach Boys districts that ignore the guide- said her group disagrees with dents throughout the state of aspects of life. They should Friday, May 27th at the lines, but federal regulators the education department’s Oregon,” said Andrea Zekis, have same opportunities as have warned schools in other reading of state and federal a policy director for LGBTQ everybody.” Liberty Theatre states that they could lose laws. funding if they discriminate “Federal law is clear,” the Tickets at the box offi ce and ticketswest.com against transgender students. group said in a statement,
    [Show full text]