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15 of the Most Iconic Fads from the Fifties
15 of the most iconic fads from the fifties: Car hops were THE way to get your hamburger and milkshake Hula hoops DA haircuts—yup, it stands for duck’s ass—the hair was slicked back along the sides of the head Poodle skirts are one of the most iconic fashion fads of the fifties. Invented by fashion designer Juli Lynne Charlot. Sock hops were informal dances usually held in high school gymnasiums, featuring the new Devil’s music—rock ‘n roll Saddle shoes, These casual Oxford shoes have a saddle-shaped decorative panel in the middle. Coonskin caps a major craze among young boys - a tribute to boyhood heroes of the era like Davy Crockett and Daniel Boone. Telephone booth stuffing ; college students crammed themselves into a phone booth. Drive-in movies capitalized on a fortuitous merging of the booming car culture Letterman jackets and letter sweaters: high school/college girls wanted to show off they were dating a jock. Conical bras Marilyn Monroe, Jayne Mansfield, and Jane Russell were largely responsible for igniting the fad. Cateye glasses:the accessory of choice for many young women. Jell-O molds people took a serious interest in encapsulating various foods in gelatin. Fuzzy dice During WWII, fighter pilots hung them in their cockpits for good luck. Sideburns: a classic element of the greaser look, along with DA haircuts, bomber jackets, and fitted T-shirts with sleeves rolled up, Weeks Reached #1 Artist Single @ #1 7-Jan-50 Gene Autry "Rudolph, The Red-nosed Reindeer" 1 14-Jan-50 The Andrews Sisters "I Can Dream, Can't I" 4 11-Feb-50 -
Junior Mints and Their Bigger Than Bite-Size Role in Complicating Product Placement Assumptions
Salve Regina University Digital Commons @ Salve Regina Pell Scholars and Senior Theses Salve's Dissertations and Theses 5-2010 Junior Mints and Their Bigger Than Bite-Size Role in Complicating Product Placement Assumptions Stephanie Savage Salve Regina University, [email protected] Follow this and additional works at: https://digitalcommons.salve.edu/pell_theses Part of the Advertising and Promotion Management Commons, and the Marketing Commons Savage, Stephanie, "Junior Mints and Their Bigger Than Bite-Size Role in Complicating Product Placement Assumptions" (2010). Pell Scholars and Senior Theses. 54. https://digitalcommons.salve.edu/pell_theses/54 This Article is brought to you for free and open access by the Salve's Dissertations and Theses at Digital Commons @ Salve Regina. It has been accepted for inclusion in Pell Scholars and Senior Theses by an authorized administrator of Digital Commons @ Salve Regina. For more information, please contact [email protected]. Savage 1 “Who’s gonna turn down a Junior Mint? It’s chocolate, it’s peppermint ─it’s delicious!” While this may sound like your typical television commercial, you can thank Jerry Seinfeld and his butter fingers for what is actually one of the most renowned lines in television history. As part of a 1993 episode of Seinfeld , subsequently known as “The Junior Mint,” these infamous words have certainly gained a bit more attention than the show’s writers had originally bargained for. In fact, those of you who were annoyed by last year’s focus on a McDonald’s McFlurry on NBC’s 30 Rock may want to take up your beef with Seinfeld’s producers for supposedly showing marketers the way to the future ("Brand Practice: Product Integration Is as Old as Hollywood Itself"). -
Guide to Women's History Resources at the American Heritage Center
GUIDE TO WOMEN'S HISTORY RESOURCES AT THE AMERICAN HERITAGE CENTER "'You know out in Wyoming we have had woman suffrage for fifty years and there is no such thing as an anti-suffrage man in our state -- much less a woman.'" Grace Raymond Hebard, quoted in the New York Tribune, May 2, 1920. Compiled By Jennifer King, Mark L. Shelstad, Carol Bowers, and D. C. Thompson 2006 Edited By Robyn Goforth (2009), Tyler Eastman (2012) PREFACE The American Heritage Center holdings include a wealth of material on women's issues as well as numerous collections from women who gained prominence in national and regional affairs. The AHC, part of the University of Wyoming (the only university in the "Equality State") continues a long tradition of collecting significant materials in these areas. The first great collector of materials at the University, Dr. Grace Raymond Hebard, was herself an important figure in the national suffrage movement, as materials in her collection indicate. Hebard's successors continued such accessions, even at times when many other repositories were focusing their attentions on "the great men." For instance, they collected diaries of Oregon Trail travelers and accounts of life when Wyoming was even more of a frontier than it is today. Another woman, Lola Homsher, was the first formally designated University archivist and her efforts to gain materials from and about women accelerated during the service of Dean Krakel, Dr. Gene Gressley, and present director Dr. Michael Devine. As a result of this work, the AHC collections now contain the papers of pioneering women in the fields of journalism, film, environmental activism, literature, and politics, among other endeavors. -
TV Club Newsletter; April 4-10, 1953
COVERING THE TV BEAT: GOVERNMENT RESTRICTIONS ON COLOR TV ARE BEING LIFTED. How- ever, this doesn't bring color on your screen any closer. Color TV will arrive after extensive four-month field tests of the system recently developed through the pooled research of major set manufacturers; after the FCC studies and ap- proves the new method ; and after the many more months it will take to organize factory production of sets and to in- stall color telecasting equipment. TED MACK AND THE ORIGINAL AMATEUR HOUR RETURN to your TV screen April 25 to be seen each Saturday from 8:30 - 9 p.m. It will replace the second half of THE ALL-STAR REVUE, which goes off. WHAM-TV and WBEN-TV have indicated that they will carry the show. THREE DIMENSIONAL TV is old stuff to the Atomic Energy Commission. Since 1950, a 3D TV system, developed in coop- eration with DuMont, has been in daily use at the AEC's Argonne National Laboratories near Chicago. It allows technicians to watch atomic doings closely without danger from radiation. TV WRESTLERS ARE PACKING THEM IN AT PHILADELPHIA'S MOVIE houses where they are billed as added stage attractions with simulated TV bouts. SET-MAKERS PREDICT that by the end of the year 24-inch sets will constitute 25% of production. FOREIGN INTRIGUE is being released for European TV distri- bution with one version in French and the other with Ger- man subtitles. "I LOVE LUCY", WILL PRESENT "RICKY JR.", the most celebrat- ed TV baby, in its forthcoming series now being filmed in Hollywood. -
The History of NBC New York Television Studios, 1935-1956"
`1 | P a g e "The History of NBC New York Television Studios, 1935-1956" Volume 1 of 2 By Bobby Ellerbee And Eyes Of A Generation.com Preface and Acknowledgement This is the first known chronological listing that details the conversions of NBC’s Radio City studios at 30 Rockefeller Plaza in New York City. Also included in this exclusive presentation by and for Eyes Of A Generation, are the outside performance theaters and their conversion dates to NBC Television theaters. This compilation gives us the clearest and most concise guide yet to the production and technical operations of television’s early days and the network that pioneered so much of the new medium. As you will see, many shows were done as “remotes” in NBC radio studios with in-house mobile camera units, and predate the official conversion date which signifies the studio now has its own control room and stage lighting. Eyes Of A Generation, would like to offer a huge thanks to the many past and present NBC people that helped, but most especially to Frank Merklein (NBC 1947-1961) Joel Spector (NBC 1965-2001), Dennis Degan (NBC 2003 to present), historian David Schwartz (GSN) and Gady Reinhold (CBS 1966 to present), for their first hand knowledge, photos and help. This presentation is presented as a public service by the world’s ultimate destination for television history…The Eyes Of A Generation. –Bobby Ellerbee http://www.eyesofageneration.com/ https://www.facebook.com/pages/Eyes-Of-A-Generationcom/189359747768249 `2 | P a g e "The History of NBC New York Television Studios, 1935-1956" Volume 1 of 2 Contents Please Note: Converted should be understood as the debut date of the facility as an exclusive TV studio, now equipped with its own control room. -
Norman Liebmann Papers
http://oac.cdlib.org/findaid/ark:/13030/c8h99bfn No online items Norman Liebmann Papers Finding aid created by Writers Guild Foundation Archive staff using RecordEXPRESS Writers Guild Foundation Archive 7000 West Third Street Los Angeles, California 90048 (323) 782-4680 [email protected] https://www.wgfoundation.org/archive/ 2019 Norman Liebmann Papers WGF-MS-066 1 Descriptive Summary Title: Norman Liebmann Papers Dates: 1958-1996 Collection Number: WGF-MS-066 Creator/Collector: Liebmann, Norman, 1928-2010 Extent: 28.5 linear feet, 21 record boxes and 2 archival boxes Repository: Writers Guild Foundation Archive Los Angeles, California 90048 Abstract: The Norman Liebmann Collection consists of produced and unproduced television scripts, feature films, book manuscripts, short stories, and plays written by Liebmann. The highlight of the collection relates to development materials, drawings, notes, correspondence, contracts, synopses, outlines, scripts and press clippings for the television series The Munsters, which Liebman co-developed. In addition, the collection contains jokes, sketches and scripts for late-night and variety luminaries Dean Martin, Jerry Lewis, Gene Rayburn, Gene Kelly and Johnny Carson and scripts for popular shows like Chico and the Man and Good Times. Additional materials include pitch documents, outlines and scripts for unproduced TV series and films. Additionally, this collection includes unpublished book manuscripts, short stories, and plays. Language of Material: English Access Available by appointment only. Most materials stored offsite. One week advance notice required for retrieval. Publication Rights The responsibility to secure copyright and publication permission rests with the researcher. Preferred Citation Norman Liebmann Papers. Writers Guild Foundation Archive Acquisition Information Donated by wife Shirley Liebmann on January 29, 2016. -
A Yiddish Guide to Jack Carter
A YIDDISH GUIDE TO JACK CARTER by Marjorie Gottlieb Wolfe Syosset, New York Comic, Jack Carter, passed away. His manic storytelling made him a comedy star in television’s infancy and helped sustain a show business career through eight decades. A spokesman, Jeff Sanderson, said the cause was respiratory failure. Although he fell short of the top tier of entertainers, he had countless appearances on talk shows and on comedy series. “nomen” (name) Jack Carter’s original surname was Chakrin. “tate-mame” (parents) Carter’s parents, Jewish immigrants from Russia, owned a candy store. He was born in Brighton Beach, Brooklyn. “zukhn” (to search) “People spend their lives searching for their one true love, their other half. I found mine in college, dancing in a fraternity house driveway. Lucky for me, she found me right back.” (quote) “khasene” (marriage) Carter was married three times: To Joan Mann, to Paula Stewart (the ex-wife of Burt Bacharach), and to Roxanne Stone. The latter were married in 1971, divorced in 1977, and remarried in 1992. He leaves behind his wife, Roxanne, two sons, Michael and Chase, and grand- children, Jake and Ava. “milkhome” (war) Carter was drafted during W. W. II, when he toured with the cast of Irving Berlin’s show, “This is the Army.” “zikh” (himself) Carter starred with Elvis Presley in the 1964 film, “Viva Las Vegas.” He played himself; The Horizontal Lieutenant, The Extraordinary Seaman,” and “The Funny Farm.” California Carter lived in California since 1970. He says, “The produce stores are like Cartier’s. The tomatoes are real gems.” “tummler” (noisemaker) A list of Borscht-Belt tummlers who made it to the big time includes Danny Kaye, Jan Pierce, Jan Murray, Tony Curtis, Jerry Lewis, Red Buttons, Phil Silvers, Moss Hart, Jack Albertson, Joey Adams, Phil Foster, and JACK CARTER. -
Introduction to the Complete Directory to Prime Time Network and Cable TV Shows
Broo_9780345497734_2p_fm_r1.qxp 7/31/07 10:32 AM Page ix INTRODUCTION In the following pages we present, in a sin- eral headings. For example, newscasts are gle volume, a lifetime (or several lifetimes) of summarized under News, movie series under television series, from the brash new medium Movies and sports coverage under Football, of the 1940s to the explosion of choice in the Boxing, Wrestling, etc. All other series are 2000s. More than 6,500 series can be found arranged by title in alphabetical order. There here, from I Love Lucy to Everybody Loves is a comprehensive index at the back to every Raymond, The Arthur Murray [Dance] Party cast member, plus appendixes showing an- to Dancing with the Stars, E/R to ER (both nual network schedules at a glance, the top with George Clooney!), Lost in Space to Lost 30 rated series each season, Emmy Awards on Earth to Lost Civilizations to simply Lost. and other information. Since the listings are alphabetical, Milton Network series are defined as those fed out Berle and The Mind of Mencia are next-door by broadcast or cable networks and seen si- neighbors, as are Gilligan’s Island and The multaneously across most of the country. Gilmore Girls. There’s also proof that good Broadcast networks covered are ABC, CBS, ideas don’t fade away, they just keep coming NBC, Fox, CW, MyNetworkTV, ION (for- back in new duds. American Idol, meet merly PAX) and the dear, departed DuMont, Arthur Godfrey’s Talent Scouts. UPN and WB. We both work, or have worked, in the TV Original cable series are listed in two dif- industry, care about its history, and have ferent ways. -
Mr. Television
ZXAUncle Miltie.finaledit 2/21/02 11:26 AM Page 2 MR. TELEVISION ncle Miltie would do gave his all.You had to love anything for a laugh. him. He insisted on it. He jumped onstage in Berle had been one of the outlandish costumes— guest hosts of the Texaco Star sometimes in drag. Theater when it began in the HeU would have pies and spring of 1948, and he took powder puffs and buckets of over as permanent host begin- water thrown into his face. ning with the fall premiere. He would fall over face down— He was an immediate hit— hard—or backward, like a piece literally the reason many families of wood. He would tell jokes decided to buy a television that ranged from the obvious set. He became known as to the ridiculous, and when “Mr.Television” because he a joke died, he would mug, dominated the small screen in cajole, milk, or beg the his era, but the moniker stuck audience until they laughed. because he was an innovator— As an entertainer, he wanted one of the first comedians to to please, so much so that he really understand how to use the medium. Early television audiences had never seen anything like Texaco Star Theater before, even if they had seen Berle on Broadway or the vaudeville stage. From the moment the Texaco Service Men launched into the opening jingle (“Oh, we’re the men from Texaco”) to the end of the show (when he sang his theme song,“Near You”),Uncle Miltie worked tirelessly to entertain, bringing 36 ZXAUncle Miltie.finaledit 2/21/02 11:26 AM Page 3 a frantic and infectious energy Berle away from NBC, Berle was a physical comic to the screen. -
The Audiences and Fan Memories of I Love Lucy, the Dick Van Dyke Show, and All in the Family
Viewers Like You: The Audiences and Fan Memories of I Love Lucy, The Dick Van Dyke Show, and All in the Family Mollie Galchus Department of History, Barnard College April 22, 2015 Professor Thai Jones Senior Thesis Seminar 1 Table of Contents Acknowledgements..........................................................................................................................3 Introduction......................................................................................................................................4 Chapter 1: I Love Lucy: Widespread Hysteria and the Uniform Audience...................................20 Chapter 2: The Dick Van Dyke Show: Intelligent Comedy for the Sophisticated Audience.........45 Chapter 3: All in the Family: The Season of Relevance and Targeted Audiences........................68 Conclusion: Fan Memories of the Sitcoms Since Their Original Runs.........................................85 Bibliography................................................................................................................................109 2 Acknowledgments First, I’d like to thank my thesis advisor, Thai Jones, for guiding me through the process of writing this thesis, starting with his list of suggestions, back in September, of the first few secondary sources I ended up reading for this project, and for suggesting the angle of the relationship between the audience and the sitcoms. I’d also like to thank my fellow classmates in the senior thesis seminar for their input throughout the year. Thanks also -
Women's Leadership in Primetime Television an Introductory Study
Women’s Leadership in Primetime Television An Introductory Study Natalie Greene Spring 2009 General University Honors Capstone Advisor: Karen O’Connor Greene 1 Women’s Leadership in Prime-time Television: An Introductory Study Introduction When television executives report their core audience, women always come out ahead. A 2007 Nielsen Media Research report showed that, with only two exceptions, every broadcast network channel had more female viewers than men. ABC’s female audience almost doubled its male audience during the 2007-08 season (Atkinson, 2008). 1 Women onscreen, however, seem to reflect a different reality, making up only 43% of characters in the prime-time 2007-08 season (Lauzen, 2008). 2 As studies going back as far as the 1970s show, women on screen not only fail to represent the proportional makeup of women in society, they also overwhelmingly show a stereotypically gendered version of women (McNeil, 1975; Signorielli and Bacue, 1999; United States Commission on Civil Rights, 1977). This paper aims to address the evolution of women’s leadership in prime-time network scripted television from 1950 to 2008. Because of the way that women have been traditionally marginalized in television, it is important to study the shows that have featured women as lead characters. Characters such as Lucy Ricardo ( I Love Lucy, 1951-1960) influenced later female leads such as Ann Marie ( That Girl, 1966-1971), Mary Richards ( The Mary Tyler Moore Show, 1970-1977) and Murphy Brown ( Murphy Brown, 1988-1998). Thus, along with an introduction to socialization theory and feminist television criticism, this paper covers a selection of some of the most influential female characters and women-centered shows of this period. -
Introduction Charlie Bertsch, Gillian Epstein, Annalee Newitz, and Jillian Sandell
The Personal is Professional on TV Introduction Charlie Bertsch, Gillian Epstein, Annalee Newitz, and Jillian Sandell One of the oldest TV rumors is still circulating today. Between 1950 and 51, Detroit's waterworks were mysteriously depleted every Tuesday shortly after 9:00 PM. This civic mystery was solved when the time slot in question was revealed to be directly after Texaco Star Theater, starring Milton "Mr. Televi sion" Berle. The show was so popular that the waterworks suffered from what amounted to a massive post-Berle bathroom break. Watching TV had affected the material infrastructure of a city, and not for the last time. This tale speaks to the vast (and sometimes disturbing) power that TV holds over Americans, particularly in the privacy of their own homes. Television is perhaps the most ubiquitous form of media in the United States, and for this reason its content is often the occasion for public hysteria, national bonding, and even, it would seem, the occasional group exodus to the bathroom. Although a typical TV show may seem harmless and fluffy enough, television's ability to exert control over everything from our private moments to our political opinions has led critics since the late 1940s to interrogate the role this medium plays in society. In its attempt to map the vast and contradictory landscape of broadcast television, TV studies has been loosely constituted out of a wide range of disciplines. Television theorists, heavily influenced by psychoanalytic and nar- rative/semiotic film theory, explore everything from the structure of credit sequences to fetishism in I Love Lucy (cf.