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The Flintstones (1960-1966), About a “Modern Stone-Age Family,” Was The
Columbia Pictures) to develop a prime-time animated series. They worked out the concept of parodying current situation comedies, especially The Honeymooners and Father Knows Best, with the twist of setting them in a different historical era. Cartoonists Dan Gordon and Bill Benedict had the idea to use a Stone Age setting (although the Fleischer Studios pro- duced a similar series of Stone Age Cartoons back in 1940). The concept was bought by ABC, and premiered Sept. 30, 1960. Voiced by Alan Reed, Jr. (Fred Flintstone), Mel Blanc (Barney Rubble), Jean VanderPyl (Wilma Flintstone) and veteran actress Bea Benaderet (Betty Rubble), The Flintstones finished the season in the Nielsen ratings’ top 20, and won a number of industry awards, including the Golden Globe, and an [email protected] Emmy nomination for best comedy series of 1960-61. A clear appeal of the series lays in its parody of sitcom for- mula plots, and there are elements of satire in the way modern consumer conveniences are turned into sight gags. One of the show’s favorite gags was to have cameos by Stone Age versions of modern celebrities (Ann Margrock, Stony Curtis, etc.). The most popular gimmick was Wilma’s pregnancy, ending with the February 1963 “birth” of their little girl, Pebbles. The next season the Rubbles adopted Bamm-Bamm, a little boy of incredible strength and a one- word vocabulary. By the fifth and sixth seasons, the show began to use more storylines aimed at kids, with new neighbors the Grue- somes (a spin on The Munsters and The Addams Family), and magical space alien The Great Gazoo (Harvey Korman). -
Forecast Log
Forecast Log http://www.old-time.com/otrlogs2/forecast_mg.html FORECAST Is There a Sponsor in the House? Written by Martin Grams, Jr. The trial-and-error system being an old if frequently painful institution in the show business (else all stage plays would be hits, and all radio programs would have an Amos and Andy average in the Crossley ratings), the Columbia Broadcasting System’s Forecast series shrewdly dramatized the fact that there is no such phenomenon as a sure thing. For two particular seasons, the CBS people enlivened summer’s somewhat lethargic air waves with a schedule of experimental entertainments which, to tell the truth, aren’t experimental in the exact sense of the word, but have nevertheless a refreshing air about them, if only for the ideas they represented. The idea is that neither CBS nor anyone else knew, until they were produced, whether the programs were any good or not, though they were of course, hoping for the best. And, very sensibly, they made a game of it. Whereas the listener during the busy season was told to take what he got and, if possible, like it, Forecast invited criticism. Listening to the various episodes, one could not help but applaud for Marlene Dietrich in "The Thousand and One Nights," and convulsed with laughter as they listened to the amorous antics of "Mischa the Magnificent." (Mischa Auer, that is.) Whatever it was that made people bet on horse races or write letters to the editor, they could file an honest opinion about the programs and then sat back to await the verdict. -
Together Again Laughs Burns Rewrote the Act and for the BETSY WICKARD Next Forty Years Was Gracie Allen’S Straight Man
George Burns and Gracie Allen For Information Contact: Together Again laughs Burns rewrote the act and for the BETSY WICKARD next forty years was Gracie Allen’s straight man. Actress BETSY WICKARD Burns wrote “Lamb Chops”, the act that has performed in theaters propelled them to top billing in the and casinos throughout the vaudeville circuit with Gracie acting as the country. She was a silly, lightheaded foil. Burns and Allen made dancer/singer in The a string of one-reel comedies and then Branson Follies, The Palm Springs Follies, appeared the films “The Big Broadcast” and The Great American Follies, and Golden “A Damsel in Distress” with Fred Astaire. At Girls USA. She appeared in the feature films the same time the Burns and Allen radio Rocky V and Mannequin on the Move. She show became one of the most popular has appeared in numerous national programs of the time. On television, The commercials and print ads for major George Burns and Gracie Allen Show put corporations. She is now living in Florida faces to the radio characters audiences had and performing on the Condo Circuit. She is come to love. After Gracie Allen retired delighted to be portraying Gracie Allen in George Burns remained in show business. “Together Again.” At the age of 78 he won the Academy Award in “The Sunshine Boys” movie and PETER SALZER gained greater stardom as God in the “Oh George Burns and Gracie Allen God” series. George Burns entertained Actor/Writer PETER audiences to the ripe old age of 100 years. Together Again SALZER has created roles When Peter Salzer walks on stage in on stage and on screen “Together Again” audiences see George George Burns and Gracie Allen and has appeared in many television Burns come back to life. -
The Narrative Functions of Television Dreams by Cynthia A. Burkhead A
Dancing Dwarfs and Talking Fish: The Narrative Functions of Television Dreams By Cynthia A. Burkhead A Dissertation Submitted in Partial Fulfillment of the Requirements for the Ph.D. Department of English Middle Tennessee State University December, 2010 UMI Number: 3459290 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 Dissertation Publishing UMI 3459290 Copyright 2011 by ProQuest LLC. All rights reserved. This edition of the work is protected against unauthorized copying under Title 17, United States Code. ProQuest LLC 789 East Eisenhower Parkway P.O. Box 1346 Ann Arbor, Ml 48106-1346 DANCING DWARFS AND TALKING FISH: THE NARRATIVE FUNCTIONS OF TELEVISION DREAMS CYNTHIA BURKHEAD Approved: jr^QL^^lAo Qjrg/XA ^ Dr. David Lavery, Committee Chair c^&^^Ce~y Dr. Linda Badley, Reader A>& l-Lr 7i Dr./ Jill Hague, Rea J <7VM Dr. Tom Strawman, Chair, English Department Dr. Michael D. Allen, Dean, College of Graduate Studies DEDICATION First and foremost, I dedicate this work to my husband, John Burkhead, who lovingly carved for me the space and time that made this dissertation possible and then protected that space and time as fiercely as if it were his own. I dedicate this project also to my children, Joshua Scanlan, Daniel Scanlan, Stephen Burkhead, and Juliette Van Hoff, my son-in-law and daughter-in-law, and my grandchildren, Johnathan Burkhead and Olivia Van Hoff, who have all been so impressively patient during this process. -
June-July 1980
VOL. 4 NO. 3 FEATURES: CARL PALMER As a youngster, Carl Palmer exhibited tremendous drumming ability to audiences in his native England. Years later, he ex- hibited his ability to audiences world wide as one third of the legendary Emerson, Lake and Palmer. With the breakup of E.L.P., Palmer has expanded in new directions with the forma- tion of his own band, P.M. 12 BILL GOODWIN Bill Goodwin has played with a variety of musicians over the years, including Art Pepper, George Shearing, Mose Allison and currently with Phil Woods. Goodwin discusses the styles and demands of the various musicians he worked with. And though Goodwin is a renowned sideman, he is determined to branch out with some solo projects of his own. 22 DEREK PELLICCI Derek Pellicci of the successful Little River Band, speaks candidly about his responsibilities with the band versus his other love, session work. Pellicci is happiest creating under studio session pressure. The drummer also discusses the impor- tance of sound in regards to the drums and the care that must go into achieving the right sound. 28 THE GREAT JAZZ DRUMMERS: SHOP HOPPIN' AT DRUMS PART I 16 UNLIMITED 30 MD'S SECOND ANNUAL READERS POLL RESULTS 24 COLUMNS: EDITOR'S OVERVIEW 2 DRIVER'S SEAT Controlling the Band READER'S PLATFORM 5 by Mel Lewis 42 ASK A PRO 6 SHOP TALK Different Cymbals for Different Drummers IT'S QUESTIONABLE 8 by Bob Saydlowski, Jr 46 ROCK PERSPECTIVES SLIGHTLY OFFBEAT Odd Rock, Part 2 Pioneering Progressive Percussion by David Garibaldi 32 by Cheech Iero 50 JAZZ DRUMMER'S WORKSHOP DRUM -
Volume 88, Book 4 • January 7 - January 29, 2011 B:8.75 in T:8.5 In
B:5.75 in T:5.5 in Season 10-11 Volume 88, Book 4 • January 7 - January 29, 2011 B:8.75 in T:8.5 in T:8.5 beyond measure. Christopher Seaman, Music Director • Jeff Tyzik, Principal Pops Conductor Michael Butterman, Principal Conductor for Education and Outreach • The Louise and Henry Epstein Family Chair Arild Remmereit, Music Director-Designate Job #: J10-01085 Client/Product: RPO Initials Date w/changes Initials Date w/changes Ad Description: Bravo Cover Color: 4C Client Creative Director (Art) Art Director: Tim Live: N/A Traffic/Proofreader Creative Director (Copy) Copywriter: Matt Trim: 5.5 x 8.5 Production: Marianne Bleed: .125 Production Account Executive Mac Operator: Jennifer AE: Christan Copywriter Mac Supervisor Proof #: 1 Publication(s) & Issue Date(s): Art Director Mac Operator We applaud all great artists. Like a beautiful symphony, Stickley furniture design is timeless. COMPLIMENTARY DESIGN SERVICE 40 Eastview Park Mall, Victor, NY 14564 • 585.425.2302 StickleyAudi.com 2 rochesterPO.indd 1 9/10/10 4:44 PM ROCHESTERROCHESTER PHILPHILHARMONICHARMONIC ORCHES ORCHESTRATRA CHRISTOPHERCHRISTOPHER SESEAMAN,AMAN, MUSICMUSIC DIRE DIRECTORCTOR beyondbeyond measure. measure. BRBRAVO!AVO! TheThe official official magazinemagazine of thethe RochesterRochester PhilharmonicPhilharmonic OrOrchestrachestra We believe that COCONTENTSNTENTS our patrons are at the FrFromom thethe PrPresidentesident & & CEO CEO...............................................................................55 RochesterRochester PhilharmonicPhilharmonic OrOrchestrachestra...............................................76 -
Doherty, Thomas, Cold War, Cool Medium: Television, Mccarthyism
doherty_FM 8/21/03 3:20 PM Page i COLD WAR, COOL MEDIUM TELEVISION, McCARTHYISM, AND AMERICAN CULTURE doherty_FM 8/21/03 3:20 PM Page ii Film and Culture A series of Columbia University Press Edited by John Belton What Made Pistachio Nuts? Early Sound Comedy and the Vaudeville Aesthetic Henry Jenkins Showstoppers: Busby Berkeley and the Tradition of Spectacle Martin Rubin Projections of War: Hollywood, American Culture, and World War II Thomas Doherty Laughing Screaming: Modern Hollywood Horror and Comedy William Paul Laughing Hysterically: American Screen Comedy of the 1950s Ed Sikov Primitive Passions: Visuality, Sexuality, Ethnography, and Contemporary Chinese Cinema Rey Chow The Cinema of Max Ophuls: Magisterial Vision and the Figure of Woman Susan M. White Black Women as Cultural Readers Jacqueline Bobo Picturing Japaneseness: Monumental Style, National Identity, Japanese Film Darrell William Davis Attack of the Leading Ladies: Gender, Sexuality, and Spectatorship in Classic Horror Cinema Rhona J. Berenstein This Mad Masquerade: Stardom and Masculinity in the Jazz Age Gaylyn Studlar Sexual Politics and Narrative Film: Hollywood and Beyond Robin Wood The Sounds of Commerce: Marketing Popular Film Music Jeff Smith Orson Welles, Shakespeare, and Popular Culture Michael Anderegg Pre-Code Hollywood: Sex, Immorality, and Insurrection in American Cinema, ‒ Thomas Doherty Sound Technology and the American Cinema: Perception, Representation, Modernity James Lastra Melodrama and Modernity: Early Sensational Cinema and Its Contexts Ben Singer -
LUCY GETS the BALL ROLLING By
PUSHING THE BOUNDARIES OF HOUSEWIFERY: LUCY GETS THE BALL ROLLING by EUNICE A. OGLICE (Under the Direction of Dwight Brooks) ABSTRACT The 1950’s was an era that welcomed Lucy Ricardo into their homes. The comedy I Love Lucy premiered on Oct. 15, 1951, on CBS. This study seeks to demonstrate and illustrate how Lucy Ricardo battled patriarchy, which was common among TV sitcoms of the era. Primarily, this study aims to analyze Lucy Ricardo’s role as a woman who pushes the limits of patriarchy in I Love Lucy, by examining her dual roles of someone who defies patriarchy, yet show’s allegiance to it as well. A textual analysis of 14 I Love Lucy episodes will address the established mode of domesticity in I Love Lucy, as well as opportunities for challenges that Lucy takes advantage of. This study reveals a woman who denied her husband’s wishes to control her. Lucy stepped outside of the typical portrayal of married women who were supposed to submit to their husbands and follow their every wish. INDEX WORDS: I Love Lucy, Feminist theory, Patriarchy, Masculinity, Femininity, Sitcom, The 1950s, Housewifery, Ethnicity, American culture. PUSHING THE BOUNDARIES OF HOUSEWIFERY: LUCY GETS THE BALL ROLLING by EUNICE A. OGLICE B.S., The University of Tennessee, 2002 A Thesis Submitted to the Graduate Faculty of The University of Georgia in Partial Fulfillment of the Requirements for the Degree MASTER OF ARTS ATHENS, GEORGIA 2004 ©2004 Eunice A. Oglice All Rights Reserved PUSHING THE BOUNDARIES OF HOUSEWIFERY: LUCY GETS THE BALL ROLLING by EUNICE A. -
1950S Prescription Drug Commercial
1950S PRESCRIPTION DRUG COMMERCIAL David Mann 1. If annoying 21st century TV prescription drug ads were run as annoying 1950s TV ads (and taking into consideration 1950s morals and censorship). 2. CUT TO: TITLE CARD. "The George Burns and Gracie Allen Show." Theme music begins. HARRY VON ZELL (V.O) The George Burns and Gracie Allen Show, CUT TO: ADVERTISING FILM SNIPPET. Zoom in on floating box of Vialis tablets, as if resting on a gray table, light source from left. Box is tilted at 45 degree angle, pointing upward. Music swells. HARRY (V.O.) (CONT'D) Presented by Eli Pfeltzer, the makers of many fine prescription drug products, including VIALIS, the miracle pill for men. CUT TO: ADVERTISING CARD. "Eli Pfeltzer, Makers of VIALIS, the MIRACLE PILL for MEN." CUT TO: INT. THEATER STAGE - DAY Announcer Harry Von Zell is standing center stage in front of a live studio audience. Curtain is down and is behind Harry. Audience applause swells and terminates. Music fades and stops. HARRY Hi everybody. Looks at watch. HARRY (CONT'D) Our curtain's about to go up on George and Gracie, but first I want to let you in on a little secret. You've seen George get flustered at Gracie on many an occasion, and maybe you've asked yourself the question, "what keeps them together?" Audience laughter. 3. HARRY (chuckling) Well, I'm not going to answer that directly. George already has fired me three times this month. Audience laughter. HARRY (CONT'D) But instead I am going to tell you a story, a story about two women who meet while out shopping. -
Lambchops by Ron Hutchinson
Lambchops By Ron Hutchinson “Who the hell wants to hear actors talk?” --- Harry Warner, 1927 In 1925, when the brothers Warner decided to part- ner with Bell Laboratories to use the Vitaphone disk system to present movies with synchronized sound, talking wasn’t part of the plan. The brothers envi- sioned marketing their features with full orchestral scores and limited sound effects. Actors that talked from the screen were an afterthought. But a quick one. When they premiered “Don Juan” in 1926, it boasted a synchronized symphonic score with sound effects that enhanced the John Barrymore swashbuckler. There was no dialog in this otherwise silent film. The sound was on 16-inch shellac disks, turning at 33 1/3 rpm and synched to the picture. As long as the film didn’t break or the needle didn’t skip, everything matched. Audiences applauded, but were more impressed with the short subjects which preceded the feature. These WERE talking pictures, with opera stars, a ukulele player and Will Hays of the Motion Picture Producers Association actually speaking and singing in perfect synchronicity. The audience’s reaction to the shorts was not lost on the Warner Brothers. They Gracie Allen examines George Burns’ tie in a scene from “Lambchops.” quickly expanded Vitaphoning plans to begin pro- Courtesy Ron Hutchinson. duction of a series of talking and singing shorts with vaudeville, opera and Broadway stars. With their the first successful one after decades of technically second synchronized silent feature, “The Better ‘Ole” failed attempts. That year the studio ramped up pro- starring Charlie Chaplin’s half-brother Syd, the ac- duction of its short subjects, sometimes making companying synchronized shorts boasted top stars three a week to meet the increasing demand. -
Jews and Hollywood
From Shtetl to Stardom: Jews and Hollywood The Jewish Role in American Life An Annual Review of the Casden Institute for the Study of the Jewish Role in American Life From Shtetl to Stardom: Jews and Hollywood The Jewish Role in American Life An Annual Review of the Casden Institute for the Study of the Jewish Role in American Life Volume 14 Steven J. Ross, Editor Michael Renov and Vincent Brook, Guest Editors Lisa Ansell, Associate Editor Published by the Purdue University Press for the USC Casden Institute for the Study of the Jewish Role in American Life © 2017 University of Southern California Casden Institute for the Study of the Jewish Role in American Life. All rights reserved. Production Editor, Marilyn Lundberg Cover photo supplied by Thomas Wolf, www.foto.tw.de, as found on Wikimedia Commons. Front cover vector art supplied by aarows/iStock/Thinkstock. Cloth ISBN: 978-1-55753-763-8 ePDF ISBN: 978-1-61249-478-4 ePUB ISBN: 978-1-61249-479-1 KU ISBN: 978-1-55753-788-1 Published by Purdue University Press West Lafayette, Indiana www.thepress.purdue.edu [email protected] Printed in the United States of America. For subscription information, call 1-800-247-6553 Contents FOREWORD vii EDITORIAL INTRODUCTION ix Michael Renov and Vincent Brook, Guest Editors PART 1: HISTORIES CHAPTER 1 3 Vincent Brook Still an Empire of Their Own: How Jews Remain Atop a Reinvented Hollywood CHAPTER 2 23 Lawrence Baron and Joel Rosenberg, with a Coda by Vincent Brook The Ben Urwand Controversy: Exploring the Hollywood-Hitler Relationship PART 2: CASE STUDIES CHAPTER 3 49 Shaina Hammerman Dirty Jews: Amy Schumer and Other Vulgar Jewesses CHAPTER 4 73 Joshua Louis Moss “The Woman Thing and the Jew Thing”: Transsexuality, Transcomedy, and the Legacy of Subversive Jewishness in Transparent CHAPTER 5 99 Howard A. -
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.