INSTRUCTOR's MANUAL for the BROADCAST

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INSTRUCTOR’S MANUAL for THE BROADCAST CENTURY 5e by Michael C. Keith and Robert Hilliard

Manual by Larry Miller

INTRODUCTION: USING THE INSTRUCTOR'S MANUAL

Overview Letting THE BROADCAST CENTURY work for you: Range of Student Ability and Interest: The First Class Sets the Tone Using THE BROADCAST Century’s Special Features

COURSE ORGANIZATION, by chapters

Overview Review and Discussion topics Class Activity Quizzes

TESTING AND GRADING

Topics for written text reviews, in-class discussion Projects Research papers Weekly quizzes Midterm and Final Exams

APPENDICES:

A. Sample Syllabi

OVERVIEW

The Broadcast Century is a popular history of the most influential and innovative industry of the 20th century. The story of broadcasting is told in a direct and informal style, blending personal insight and authoritative scholarship to fully capture the many facets of this dynamic industry. The book vividly depicts the events, people, programs, and companies that made television and radio dominant forms of communication.

The ability of radio and television to educate, enlighten and stimulate the contemporary mind is perhaps the most important of all modern technological developments. The Broadcast Century places the communication revolution in a comprehensive chronological context, allowing readers to fully grasp the media's profound impact on the political, social, and economic spheres.

Numerous personal retrospectives from broadcast pioneers, including Garrison Keillor, Julia Child, Norman Corwin, and Steve Allen, add an intimate dimension to this eminently readable narrative. Also included is a current events timeline, which runs throughout the entire length of the book. Featured in the timeline are milestones in radio and television development as well as world events, allowing readers to place the progress of media in a larger historical perspective. Over two hundred illustrations and photographs are provided that reflect the changes and growth of radio and television. This edition will include an updated chapter that presents the upcoming developments for the new century and their probable impact on broadcasting.

Experienced instructors know the advantage of exchanging teaching tips and materials with colleagues. They are quick to seek suggestions to remedy a class presentation that doesn't quite click or to seek a fresh approach to often-taught material that seems to be getting stale. An Instructor's Manual is like another colleague, offering them selected bibliographies, homework assignments, discussion questions, and class activities, as well as prepared quizzes and tests. Instructors new to a course are sometimes less comfortable asking for assistance, so an Instructor's Manual can become for them an invaluable tool. Besides what appeals to experienced instructors, the Manual also provides model course syllabi, chapter outlines, a discussion of student ability ranges and how to accommodate those differences, as well as suggestions on how to use all the special teaching aids provided in The Broadcast Century- 4e. This Instructor's Manual is provided by the publisher as an extra aid to those instructors who have chosen The Broadcast Century as their text. The material in the Manual may be duplicated in whole or in part for use of students assigned The Broadcast Century as their classroom text.

If you are using the .pdf version of this manual, the suggested method is as follows: you can either print out the desired page as is for a quiz, exercise or assignment directly from the manual, or use the Adobe Acrobat Reader TEXT tool to copy and paste the page into your favorite word processing application, where you can then edit it and print it out. The Acrobat reader is available as a free download from the Adobe website.

The first section, The Range of Student Ability and Interest, begins with a discussion of the wide range of student ability and interest levels encountered in today's two-year and four-year colleges. Specific methods and procedures are recommended for sustaining an interesting, productive pace, while still accommodating the needs of less prepared students.

The next section, The First Class Sets the Tone, reinforces what experienced instructors have learned, that student motivation and instructor credibility are established at the outset of a course.

Using the Text's Special Features is one of the most useful sections, since it highlights the teaching aids incorporated into The Broadcast Century. The numerous excerpts from industry experts can be used several ways to enhance class discussion, prompt productive research, and continually remind the students that this course deals with reality not abstract theory. Finally, the visuals are explained as an integral part of the text's educational content, providing valuable information more compactly and more clearly than possible in the written text. These visuals are to be treated as part of the text assignment, not as a mere adjunct. They will be the source of several in-class and outside assignments.

The Course Organization section provides a general outline by chapter as the basis for the course; the appendix has sample syllabi for various communications courses, including Broadcast History, Radio History or Television History.

Chapter Outlines treats each text chapter in detail, providing a chapter outline, discussion generators, class activities, a chapter quiz, projects and suggested outside assignments. The discussion topics and class activities are intended to provide alternatives to and supplements to the class lecture. The chapter quizzes can be used as preparation checks or can be combined as unit tests. The projects and assignments are typical reinforcement exercises and research projects to aid student retention of key concepts.

The section on Testing and Grading briefly covers test question generation for those unfamiliar with The Broadcast Century or new to the teaching field.

Range of Student Ability and Interest: With most high school graduates now encouraged to pursue a college education, the range of preparedness levels of entering freshmen is quite wide. The consequent pressure on instructors of introductory level courses to accommodate many diverse learning strategies, experiential backgrounds, and aptitude levels in a single class grouping is extreme. Seeking a "least common denominator" as a target audience is no longer feasible, with today's increased percentage of academically under prepared, learning skills deficient, and learning disabled students populating the average classroom. Instead, multi-sensory and collaborative learning strategies are proving successful.

© 2010 Elsevier, Inc. All rights reserved. A multi-sensory approach is based on contemporary learning theory and research which recognizes that few students learn effectively in a purely lecture forum. A student's primary learning mode can be visual, auditory, tactile, or some combination of these three. Therefore, key material should be presented in all three modes when possible; hence, The Broadcast Century's inclusion of numerous visuals to complement the printed text. Whenever feasible, the instructor should provide tactile demonstrations of key concepts and procedures within the class setting.

Collaborative learning employs the buddy system for shared learning experiences. It involves assigning small teams of students (3-4) to a particular project, carefully mixing leaders with more passive learners. Often the less academically proficient students are sufficiently articulate to assume leadership roles, while the brighter students are quieter but will control the group's progress. Students learn quite readily and without self- consciousness from other students, allowing the collaborative learning experiences to supplement the instructor's presentations. By working with each group throughout the semester, the instructor also breaks down any resistance a student may have to approaching the instructor for extra assistance.

Academically under-prepared students have inadequate background courses to prepare them for the work to be covered. These students can use the Feature Boxes, and Suggested Further Reading listings to clarify concepts and research needed background. Class presentations can also provide a background context for each new or complex concept being presented. Students deficient in basic learning skills (i.e., reading, writing, reasoning, articulating, and/or computing) are of more concern to instructors who wish to sustain a productive pace and challenge their better students. These students may have the aptitude to succeed in college-level courses, but they lack the information processing skills to master the course material. Surprisingly, small adaptations in teaching methods can accommodate their basic needs without disrupting the normal pacing of the course.

Skills deficient students can benefit from the instructor previewing all reading assignments, which involves explaining the purpose of the assignment and pointing out the key concepts or data to be studied. This is most effective when provided in a written handout or when presented on the chalkboard. These students also need organizational reinforcement; hence, the inclusion of chapter outlines in the Manual to be handed out or presented on overhead transparencies. Simply having this in front of them clarifies relationships among pieces of information and provides sequencing clues so they can anticipate where the class presentation will lead. Skills deficient students also need frequent assessment (e.g. chapter quizzes) to provide concrete feedback on their progress and to prompt them to continually review what they have already learned. Assessment coupled with teacher motivation generally keeps these students involved in the classes and heightens their Interest. In fact, many of these students overcome their deficits through practice and become outstanding achievers.

The learning disabled are the final group of students that deserve classroom attention. By definition, these students possess average to above-average intelligence. They simply cannot process information in a traditional manner and come to college with a set of

© 2010 Elsevier, Inc. All rights reserved. compensatory strategies that, if the instructor allows, will permit them to excel. These students are protected under the federal handicapped student laws, and their requests should be treated accordingly. They usually require no more than untimed exams, audio tapes of texts, the opportunity to type test responses because of writing difficulties, or perhaps a student reader.

College instructors in today's introductory level classes are faced with a much more diverse student population than as little as ten years ago. Adaptations in teaching methods and materials presentation are the necessary result.

Course Organization The most common communications courses for which The Broadcast Century has been adopted are Introduction to Broadcasting and Broadcast History. Both are typically freshman/sophomore level courses and are often prerequisites to more advanced courses.

The Broadcast Century takes an historical or topical perspective of broadcast media, tracing the origins, evolution, setbacks, and resurgence of AM and rise to dominance of FM radio in the United States, and the development and evolution of television broadcasting and cable. Each aspect of The Broadcast Century is first given a historical context before the current state of the art is explained. The intent is to provide adequate perspective on the medium for specialized study in such courses as Radio or Television History.

THE FIRST CLASS SETS THE TONE

In some courses, instructors waste the first class by handing out a syllabus, assigning the texts and first readings, checking the class roster, and then dismissing the class. The pretext is that the students have not read any of the text yet, so they are not yet ready to learn. This suggests to the students that the instructor may not be enthused about the course or that there is not a pressing amount of material to be covered. Instead, it is better to use the first class to set a professional tone and encourage the enthusiasm of the students. The first class must include the housekeeping aspects listed above, but it should also be an entertaining, upbeat introduction into the course material. The instructor should provide enough personal background to establish his credentials for teaching the course and to establish himself as a caring, approachable individual. Making the students comfortable and earning their respect are the best ways to insure their interest and cooperation throughout the semester.

The Timeline which continues through the text along the top of each page gives the students an additional historical perspective, as well as a point-of-departure for lectures.

The Further Reading bibliography has been carefully selected to match the difficulty level of the course and the educational level of the students. This provides a diverse and thorough coverage of all of the principal topics contained in the text. The college library should have most of these available for the students, both as collateral readings and as resources for any research projects that may be assigned. Some instructors have found it useful to have small groups of students collectively summarize and present a report on selected readings for each chapter. This type of collaborative learning assignment allows the instructor to match stronger and weaker students in a shared learning experience.

The quotations and feature boxes from the industry experts are a primary strength of The Broadcast Century. Besides demonstrating to the students that the course deals with the realities of the media, not just theories, the quotations lend credence to the instructor's presentation -- much like the use of multiple guest speakers. These excerpts from industry professionals can become springboards for discussion or can lead to research of broadcast media as sources of comparison. The bottom line for anyone intending a career in communications is flexibility. The medium is continually changing, never static, and those wishing to advance their careers must be ready for changes in operating principles and technology. The input of so many industry professionals underscores the variety and vitality of the medium.

Finally, the large number of visuals provided in The Broadcast Century is intended to graphically portray the complexity of the media. Many instructors currently using the text enlarge selected visuals for classroom use as overhead transparencies.

One of the best features of The Broadcast Century is that it is logically laid out in chronological sequence. The chapters take you and your students through the decades, noting the highlights of each period, supported by the timeline that runs through the text. This timeline can, in and of itself, serve as a teaching and learning tool by looking into contemporaneous events, and exploring other events not included in the basic line. However, for those instructors who would rather not be tied to a chronological sequence, it is a simple matter of rearranging the chapter sequence to fit one's particular syllabus.

In addition to the manual, instructors are invited to visit the companion website, prepared by Fritz Messere of SUNY Oswego, which can be linked to via the Focal Press website.

Overview; Ancients to the 21st Century; The First decade: 1900 to 1909: the Wireless Arrives; The Second Decade- 1910 to 1919: Toward the Radio Music Box; a history of scientific discoveries leading to the development of radio broadcast technology; a history of the events leading to the need for wireless communications; the early pioneers in the development of broadcast technology.

Activities • Utilize available videos, followed by discussions. • Assign online research topics. • Give Quiz in class; discuss correct answers. • Discuss timeline events and their relevance to radio. • Discuss the sinking of the Titanic and the role radio played. • Assign online research topics.

Questions for Review: Write answers to the following questions on an answer sheet. Identify the discoveries and inventions of the following; review the chapter and write an answer sheet. 1 Samuel F. B. Morse: 2 Alexander Graham Bell 3 James Clerk Maxwell 4 Heinrich Hertz 5 Guglielmo Marconi 6 Nikola Tesla 7 John A. Fleming 8 Lee De Forest 9 Reginald Fessendon 10 Edwin Armstrong

1. Samuel F. B. Morse: __ a. Developed regenerative circuit to increase amplification __ b. First successful demonstration of wireless telegraph __ c. Invented the electromagnetic telegraph __ d. Invented the telephone

2. Alexander Graham Bell __ a. Invented the electromagnetic telegraph __ b. Invented the telephone __ c. Invented alternating current __ d. Projected first radio wave

3. James Clerk Maxwell __ a. Predicted existence of radio waves __ b. First voice transmission __ c. Invented alternating current __ d. Projected first radio waves

4. Heinrich Hertz __ a. Developed first diode tube __ b. Projected first radio waves __ c. Predicted existence of radio waves __ d. First voice transmission

5. Guglielmo Marconi __ a. Projected first radio waves __ b. Developed the Audion tube __ c. Develops regenerative circuit to increase amplification __ d. First successful demonstration of wireless telegraph

© 2010 Elsevier, Inc. All rights reserved. 6. Nikola Tesla __ a. First successful demonstration of wireless telegraph __ b. Developed first diode tube __ c. Predicted existence of radio waves __ d. Invented alternating current 7. John A. Fleming __ a. Developed first diode tube __ b. Reports on sinking of the Titanic __ c. Predicted existence of radio waves __ d. First voice transmission

8. Lee De Forest __ a. Projected first radio waves __ b. Developed the Audion tube __ c. Develops regenerative circuit to increase amplification __ d. First successful demonstration of wireless telegraph

9. Reginald Fessendon __ a. Developed first diode tube __ b. Reports on sinking of the Titanic __ c. Predicted existence of radio waves __ d. First voice transmission

10. Edwin Armstrong __ a. Develops regenerative circuit to increase amplification __ b. First successful demonstration of wireless telegraph __ c. Invented the electromagnetic telegraph __ d. First man on the moon

1 c. Invented the electromagnetic telegraph 2 b. Invented the telephone 3 a. Predicted existence of radio waves 4 b. Projected first radio waves 5 d. First successful demonstration of wireless telegraph 6 d. Invented alternating current 7 a. Developed first diode tube 8 b. Developed the Audion tube 9 d. First voice transmission 10 a. Develops regenerative circuit to increase amplification

Overview The first broadcasts of voice transmissions; the first regularly scheduled broadcasts on KDKA; the big corporations: RCA, Westinghouse, GE; Regulation; in 1922, the first commercial airs on WEAF; the earliest innovations of radio programming: drama, comedy, music and adventure; the founding of the first major radio networks. transatlantic broadcast; early networks called “chain” broadcasting; licensing fees for musical performances; “toll” broadcasting; NBC formed in 1926; Federal Radio Commission formed in 1927; assignment of frequencies and power; establishment of requirement that stations “operate in the public interest”; CBS formed in 1927; Amos ‘n Andy debuts in 1929; NAB formed to protect rights of broadcasters

Activities • Video: “Empire of the Air” (May be presented in parts over the next several sessions) • Research early broadcast law and regulations. • Research early broadcast law and regulations.

Questions for Review: Write answers to the following questions on an answer sheet. On 11/2/1920, What radio station began regularly scheduled programs? This pioneer radio station was owned by what corporation? In order to avoid a debilitating fight, what three companies joined forces? The first broadcast license was issued by the department of Commerce to which station, in 1921? In 1922, the first commercial aired on what station? At first, radio stations depended on advertising what products rather than commercials? The first transatlantic broadcast took place on October 1, 1922 from where to where? In 1922, all stations broadcast on what assigned channels? Originally, assigned station call letters consisted of how many letters? The first interconnected broadcasts from WEAF in New York were called? In 1923, both AT&T and RCA claimed patent infringement on radio transmitters and receivers; this was investigated by what agency? Creative artists complained that their works were being used without compensation; they were represented by whom? At the Second National Radio Conference, radio stations were divided, according to transmitter power, into how many groups? At the Third National Radio Conference in 1924, radio stations were allocated according to what guidelines? In 1926, RCA, GE and Westinghouse established which radio network? The Radio Act of 1927 established which government regulatory agency? The 1927 Radio Act established what policy? The new 1927 regulatory agency used its authority to regulate what factors? The second radio network, formed in 1927 was? In 1929, Freeman Gosden and Charles Correll created what popular radio series?

2. This pioneer radio station was owned by: __ a. NBC __ b. AT&T __ c. GE __ d. Westinghouse

3. In order to avoid a debilitating fight, what three companies joined forces: (! 3) __ a. GE __ b. Westinghouse __ c. AT&T __ d. RCA

4. The first broadcast license went to which station, in 1921? __ a. KDKA __ b. WBZ __ c. WJZ __ d. WJX

5. In 1922, the first commercial aired on what station? __ a. KDKA __ b. WBZ __ c. WEAF __ d. WJZ

6. At first, radio stations depended on advertising their own products such as radio receivers rather than commercials: __ a. True __ b. False

7. The first transatlantic broadcast took place on October 1, 1922 from where to where? ______to ______

8. In 1922, all stations broadcast: __ a. on “chain” networks. __ b. on the same frequency- 360 meters. __ c. on a wide variety of unregulated frequencies __ d. on broadcast quality transmission lines.

10. The first interconnected broadcasts from WEAF in New York were called: __ a. group transmissions __ b. chain broadcasting __ c. networks __ d. cable transmissions

11. Both AT&T and RCA claimed patent infringement on radio equipment; this was investigated by: __ a. FCC __ b. FTC __ c. FAT __ d. FRC

12. Creative artists complained that their works were being used by radio stations without compensation; they were represented by: __ a. AFTRA __ b. ASCAP __ c. BMI __ d. NAB

13. At the Second National Radio Conference, radio stations were divided, according to transmitter power, into how many groups? Answer: ______

14. At the Third National Radio Conference in 1924, stations were allocated according to: __ a. amplitude __ b. wavelength __ c. transmitter power __ d. frequency in kilowatts

15. In 1926, RCA, GE and Westinghouse established the first radio network: __ a. CBS __ b. ABC __ c. Mutual __ d. NBC

17. The 1927 Radio Act established what policy? __ a. the equal time rule __ b. the requirement that stations operate in the public interest __ c. that radio stations broadcast news, weather and sports __ d. that radio stations limit the number of commercials in an hour

18. The new 1927 regulatory agency used its authority to regulate which of the following: __ a. religious charlatans __ b. patent-medicine hucksters __ c. fortune tellers __ d. all of the above

19. The second radio network, formed in 1927 was: __ a. CBS __ b. ABC __ c. Mutual __ d. PBS

20. In 1929, Freeman Gosden and Charles Correll created what popular radio series? __ a. The Chase and Sanborn Choral Orchestra __ b. Amos and Andy __ c. The Smith Brothers- Trade and Mark __ d. The Johnson and Johnson Program

1. a. KDKA 2. d. Westinghouse 3. a GE, c AT&T, d RCA 4. b. WBZ 5. c. WEAF 6. a. True 7. London to WOR New York 8. b. on the same frequency- 360 meters. 9. b. False 10. b. chain broadcasting 11. b. FTC 12. b. ASCAP 13. 3 14. d. frequency in kilowatts 15. d. NBC 16. c. the FRC 17. the requirement that stations operate in the public interest 18. d. all of the above: religious charlatans, patent-medicine hucksters, fortune tellers 19. CBS 20. b. Amos and Andy

Overview Radio sets increase to 40% of homes; Regularly scheduled news introduced; Anti-trust suits filed; first patents for FM; Comedy dominates airwaves; first “DJ” record shows; FDR’s Fireside chats; FCC created; Davis amendment repealed; crash of the Hindenburg aired; Orson Welles airs “the War of the Worlds”; first FM stations are licensed; TV makes its debut; A new “Radio Code” that set standards for children’s programs

Activities Listen to old radio shows Video: continue Empire of the Air; other videos including crash of the Hindenburg Pass around old radio scripts; form teams and assign shows Research FCC history

Questions for Review: Write answers to the following questions on an answer sheet. In 1930. what percentage of American homes had radios? In 1930, regularly scheduled “hard news” was introduced: which network, and who was the reporter/commentator? The US government filed an antitrust suit against what group of “patent allies”? Who applied for the first 4 patents that would lead to the development of FM radio? By 1932, what kind of radio programs dominated the airwaves? Radio station KFWB in Los Angeles began broadcasting a program of recorded music; what was the program title and who was the host? 1933: What was the “press-Radio War’, and what 3 news services were involved? Which US President initiated radio broadcasts known as ‘fireside chats”? What new government agency was created in 1934 to regulate radio? The National Association of Broadcasters was generally __ in favor of __ opposed to the FCC. In addition to the 3 networks (NBC Red and Blue; CBS), a new network was formed by 4 stations; it would become know as The Hooper rating service used what survey method? In 1935, a reporter who would become broadcasting’s most famous news and documentary personality joined CBS; his name In 1936, the Davis Amendment to the 1927 Radio Act was repealed; what had it provided for? What major news story was accidentally recorded in a disc-recorder in 1937? The “War of the Worlds” was broadcast on Hallowe’en eve in 1938. Identify the network, the director, the name of the radio theater group, and the author who wrote the original story? In 1939, TV made its debut at what major event? A new “Radio Code” that set standards for children’s programs, the number of commercials, coverage of controversial issues and fairness in news reporting was issued by the __ FCC __ NAB

1. In 1930. what percentage of American homes had radios? a. __ 20% b. __ 30% c. __ 40% d. __ 50%

2. In 1930, regularly scheduled “hard news” was introduced: which network, and who was the reporter? a. __ CBS: Edward R. Murrow b. __ NBC Blue network: Lowell Thomas c. __ ABC: Walter Cronkite d. __ Mutual: Walter Winchell

3. The US government filed an antitrust suit against what group of “patent allies”? (Check all correct answers) a. __ RCA b. __ GE c. __ AT&T d. __ Westinghouse

4. Who applied for the first 4 patents that would lead to the development of FM radio? a. __ Lee de Forrest b. __ Edwin Armstrong c. __ Philo Farnsworth d. __ H.V. Kaltenborn

5. By 1932, what kind of radio programs dominated the airwaves? __ a. Drama __ b. Comedy __ c. News __ d. Action

6. Radio station KFWB in Los Angeles began broadcasting a program of recorded music; what was the program title and who was the host? a. __ Dick Clark- American Bandstand b. __ Don McNeil: The Breakfast Club c. __ Snooky Lanson: Your Hit Parade d. __ Al Jarvis: Make Believe Ballroom

7. The press radio war meant that UP, AP and INS tried to do what? a. __ keep radio networks from using their services. b. __ refuse to provide audio sound cuts c. __ attack and burn down radio stations d. __ fire reporters who gave news to radio stations

© 2010 Elsevier, Inc. All rights reserved. 8. Which US President initiated radio broadcasts known as ‘fireside chats”? a. __ Herbert Hoover b. __ Woodrow Wilson c. __ Franklin D. Roosevelt d. __ Harry Truman

9. What new government agency was created in 1934 to regulate radio? a. __ the FCC b. __ the FRC c. __ the FAA d. __ the FTC

10. The National Association of Broadcasters (NAB) was generally __ in favor of __ opposed to the FCC.

11. In addition to the 3 existing networks, a new network was formed by 4 stations; it became known as: a. __ Mutual b. __ NBC Red c. __ CBS d. __ ABC

12. The Hooper rating service used what survey method? __ a. telephone calls __ b. personal interviews __ c. mail-in surveys __ d. a “black box”

13. In 1935, a reporter who would become broadcasting’s most famous news and documentary personality joined CBS; his name: a. __ Charles Collingwood b. __ Edward R. Murrow c. __ Bob Hope d. __ Major Bowes

14. In 1936, the Davis Amendment to the 1927 Radio Act was repealed; what had it provided for? a. __ Equal time for political programs. b. __ Heavy fines for obscenities. c.__ Equal growth of radio stations in geographic areas by zones and states. d. __ Simulcasting of AM and FM stations.

© 2010 Elsevier, Inc. All rights reserved. 15. What major news story was accidentally recorded in a disc-recorder in 1937? a. __ The crash of the Hindenburg b. __ The sinking of the Titanic c. __ Lindberg flew to Paris d. __ Hitler invades Poland

16. The “War of the Worlds” was broadcast on Hallowe’en eve in 1938. Identify the network, the director, the name of the radio theater group, and the author who wrote the original story? ______

17. The first FM stations were licensed by the FCC; how many channels? Commercial or educational? ______

18. In 1939, TV made its debut at what major event? a. __ The inauguration of FDR. b. __ The New York World’s Fair. c. __ The Pottsdam Conference. d. __ The crash of the Hindenburg.

19. Fm radio became comprised of mostly educational stations initially because of what FCC ruling? ______

20. A new “Radio Code” that set standards for children’s programs, the number of commercials, coverage of controversial issues and fairness in news reporting was issued by the __ FCC __ NAB

1. c. 40% 2. b. NBC Blue network: Lowell Thomas 3. ALL: RCA: GE, AT&T, and Westinghouse 4. b. Edwin Armstrong 5. b. Comedy 6. d. Make Believe Ballroom; Al Jarvis 7. a. __ keep radio networks from using their services. 8. c. Franklin D. Roosevelt 9. a. FCC- the Federal Communications Commission! 10. Opposed to 11. a. Mutual 12. a. telephone calls 13. b. Edward R Murrow 14. a. Equal growth of radio stations in geographic areas by zones and states. 15. a. The crash of the Hindenburg. 16. CBS, Orson Welles, Mercury theater of the Air; HG Wells 17. 25: noncommercial educational 18. b. The New York World’s Fair. 19. a. Educational stations were barred from applying for AM radio licenses. 20. b. NAB

Overview The continuing growth of radio; the development of FM; WW II news begins to dominate the airwaves; the war causes restrictions on growth of broadcast technology; FCC writes new regulations for radio networks “chain broadcasting”; FCC issues first commercial TV authorization; the Mayflower decision bans editorializing; OWI established; Voice of America and Armed Forces Radio begun; Cox committee attacks FCC; Postwar boom in radio advertising; FM moves to a new band to accommodate TV; broadcasters begin to acquire German-developed magnetic tape recording; “Blue Book” reiterates public service responsibilities; postwar years see expansion of TV, FM; News continues as strong draw to radio; Bing Crosby pioneers use of tape recording; CBS broadcasts World Series for first time; in 1949, Mayflower decision reversed, allowing editorializing, leading to the Fairness Doctrine; The Lone Ranger is among the first to make the transition to TV.

Activities • Show videos of WW II, relating to the new use of radio as a news medium. • Listen to radio shows from the period. • Continue to dramatize actual radio scripts from the period. • Show video of early TV shows- Milton Berle, Ed Wynn, Ed Sullivan, etc. • Questions for Review: Write answers to the following questions on an answer sheet. In 1940, FM underwent what new developments? Which radio network took the lead in war coverage from Europe, featuring Edward R. Murrow, Eric Sevareid, Howard K. Smith, Robert Trout and Charles Collingwood? What major event in 1941 caused all the major networks to cut in to their regular programming with news? A new network, which became ABC, was created from which existing network? The “Mayflower ruling” stated what policy? In 1942, the war effort was aided by what new agency? The Defense Communications Board took what measures affecting the manufacture and sales of radio and TV receivers? The American Federation of Musicians took what action regarding music played on the radio? What new technologies were developed as a result of the war? In 1944. what kind of programming dominated radio? In 1944, the FCC relocated FM frequencies to the present range of 88 to 108 MHz; this had what effect? Who built the first magnetic tape recorder? In 1946, the FCC’s “Blue Book” covered regulations regarding what policies? In 1946, 63% of the public primarily got their news from which source? Which popular entertainer brought about improvements in tape technology by pre- recording his radio show?

1. In 1940, FM underwent which of the following developments? __ a. the FCC established new rules for FM __ b. an FM broadcasters association lobbied for more spectrum space __ c. FM was authorized for TV sound. __ d. all of the above

2. Which radio network took the lead in war coverage from Europe, featuring Edward R. Murrow, Eric Sevareid, Howard K. Smith, Robert Trout and Charles Collingwood? __ a. NBC __ b. MBS __ c. CBS __ d. ABC

3. What major event in December 1941 caused all the major networks to cut in to their regular programming with news? __ a. The crash of the Hindenburg __ b. The sinking of the Titanic __ c. The Japanese attack on Pearl Harbor __ d. Those danged Martians

4. In early 1941, an FCC report on monopolies determined that: __ a. NBC’s owning of two networks constituted an unacceptable monopoly. __ b. a merger of CBS with NBC would be approved. __ c. CBS would have to give up either its Red or Blue network. __ d. Mutual would be forced to merge with one of the other networks.

5. In 1943, a new network, which became ABC, was created from which existing network? __ a. NBC’s Red network __ b. MBS __ c. CBS __ d. NBC’s Blue Network

6. The “Mayflower ruling” stated what policy? __ a. Radio stations could not play records and pretend that it was live. __ b. Radio stations were encouraged to air editorials __ c. Radio stations were not permitted to broadcast pro-war programming. __ d. Radio Stations were forbidden to editorialize.

7. In 1942, the war effort was aided by an new agency, the: __ a. NAB __ b. OWI __ c. FBI __ d. Office of War censorship

© 2010 Elsevier, Inc. All rights reserved. 8. The Defense Communications Board took what measures affecting the manufacture and sales of radio and TV receivers? __ a. Encouraged the increase of manufacture. __ b. Ordered the distribution of free radio and TV sets. __ c. Ordered the cessation of all manufacture. __ d. Created Armed Forces Radio for the troops overseas.

9. The American Federation of Musicians took what action regarding music played on the radio? __ a. Called a strike, forbidding AFM members from making recordings . __ b. Forbade AFM members from playing live on the radio. __ c. Forced the Draft Board to issue exemptions for musicians. __ d. Agreed not to demand fees for AFM members.

10. In 1943, the congressional “Cox” committee took what action? __ a. Nationalized the broadcasting industry to aid the war effort. __ b. Accused the FCC of being unpatriotic, aiding subversives, and corruption. __ c. Accused the radio networks of being unpatriotic, aiding subversives, and corruption. __ d. Forced NBC to sell its Blue network.

11. What new technologies were developed as a result of the war? __ a. Radar __ b. Recording on wire and tape __ c. Miniaturized equipment __ d. All of the above

12. In 1944. what kind of programming dominated radio? __ a. Music __ b. News __ c. Drama __ d. Comedy

13. In 1944, the FCC relocated FM frequencies to the present range of 88 to 108 MHz; this had what effect? __ a. It made all existing Fm receivers obsolete. __ b. It was more technically desirable. __ c. It interfered with TV frequencies. __ d. It gave FM fewer channels.

14. Following the surrender of Japan, President Roosevelt made a victory speech on all the major networks on August 9th. __ True __ False

16. In 1946, the FCC’s “Blue Book” covered regulations regarding: __ a. TV channel allocations __ b. FM frequencies __ c. public service responsibilities __ d. AFM “platter turners”

17. In 1946, 63% of the public primarily got their news from which source: ______

18. Which popular entertainer brought about improvements in tape technology by pre- recording his radio show? __ a. Red Skelton __ b. Bob Hope __ c. Bing Crosby __ d. Jack Benny

19. In 1948. there were ______channels available for TV in the VHF band. ______

20. In 1949, the “Mayflower” decision was reversed, which had what effect? __ a. Stations could editorialize __ b. TV stations could run quiz shows __ c. Radio shows like the Lone Ranger could be shown on TV __ d. Color TV transmissions were authorized.

1. d. all of the above 2. c. CBS 3. c. The Japanese attack on Pearl Harbor 4. a. NBC’s owning of two networks constituted an unacceptable monopoly. 5. d. NBC’s Blue Network 6. d. Radio Stations were forbidden to editorialize. 7. b. OWI 8. c. Ordered the cessation of all manufacture. 9. a. Called a strike, forbidding AFM members from making recordings . 10. b. Accused the FCC of being unpatriotic, aiding subversives, and corruption. 11. d. All of the above radar, wire and tape recording, miniaturization 12. a. Music 13. a. It made all existing FM receivers obsolete. 14. __ False died April 12, 1945 15. b. Nazi Germany 16. c. public service responsibilities 17. d. Radio 18. c. Bing Crosby 19. b. 13 20. a. Stations could editorialize

Overview McCarthyism and blacklisting; many popular radio shows move to TV; color TV debuts; first pay-per-view TV; Edward R. Murrow moves to TV with “See it Now”; I Love Lucy first “sitcom”; UHF established; first noncommercial TV station; music and news replace programming moved to TV; Murrow brings down McCarthy; Top 40 radio invented; FCC authorizes FM stereo; video tape introduced; quiz show scandals; payola scandals hit DJs; transistors lead to lightweight portable radios;

Activities • Show videos of early TV shows. • Discuss development of Top 40 radio and other music formats • Show videos and discuss McCarthyism and blacklisting. • Play audio samples of 50s Top 40 DJ shows.

Questions for Review: Write answers to the following questions on an answer sheet.

“Blacklisting” had what effect on the entertainment industry during the 50s? The blacklist officially ended in 1952 when John Henry Faulk won his lawsuit against whom? The first TV network to broadcast in color was ______, however, the system that was eventually approved by the FCC was developed by ______. What was the FCC “Rule of Sevens”? Senator Joseph McCarthy was brought down by a TV report by which commentator? As radio lost audience to TV, radio stations turned to what kind of programming? Edwin Armstrong’s fight for FM radio led him to take what action? Todd Storz and Bill Stewart introduced what new radio programming innovation? What was one of the key selling points for radio in the 50s? “Payola” was defined as what kind of activity?

1. “Blacklisting” in the entertainment industry during the 50s: __ a. caught a lot of dangerous communist spies __ b. prevented African-Americans from performing __ c. relied on unproven accusations and innuendo __ d. didn’t have any real effect on radio or TV 2. The blacklist officially ended in 1952 when John Henry Faulk won his lawsuit against AWARE: __ True __ False 3. The first TV network to broadcast in color was ______, however, the system that was eventually approved by the FCC was developed by ______. 4. What was the FCC “Rule of Sevens”? 5. Senator Joseph McCarthy was brought down by a TV report by: __ a. Walter Cronkite __ b. Arthur Godfrey __ c. Edward R. Murrow __ d. Mike Wallace 6 As radio lost audience to TV, radio stations turned to what kind of programming? _. _ a. DJ shows. __ b. Sports __ c. Quiz shows __ d. News and public affairs 7. Edwin Armstrong’s fight for FM radio led him to: __ a. expand the FM band __ b. get his own radio show __ c. manufacture FM receivers __ d. jump out of a window 8. Todd Storz and Bill Stewart introduced what new radio programming innovation? __ a. Live play-by-play sports __ b. The “Top 40” radio format __ c. AM/Fm simulcasting __ d. Non-commercial public broadcasting. 9. One of the key selling points for radio in the 50s was: __ a. you didn’t have to look at pictures __ b. radio was less regulated __ c. radios were portable __ d. radio had fewer commercials

10. “Payola” was defined as: __ a. getting regular pay raises based on ratings __ b. free plugs for products or services __ c. bribes paid to DJs for playing certain records __ d. paying for equal time for political broadcasts

1. c. relied on unproven accusations and innuendo 2. False 3. CBS; RCA 4. limited ownership to 7 TV, Am and Fm stations 5. c. Edward R. Murrow 6. a. DJ shows. 7. d. jump out of a window 8. b. The “Top 40” radio format 9. c. radios were portable 10. c. bribes paid to DJs for playing certain records

Overview FCC implementation of public interest provisions; first TV presidential debate- Nixon/Kennedy; 87 percent of homes have TV; Olympics aired for first time; KFAX in L.A. first all-news radio; tape cartridges introduced on radio; Japan begins manufacturing TV sets; Newton Minow establishes Educational Broadcasting branch at FCC; FCC authorizes FM stereo; Kennedy signs “All-channel Receiver Act” for TV; first federal grants for educational broadcasting; first communications satellite Telstar in 1962; FCC puts a freeze on new AM stations; TV coverage of Kennedy assassination; Fairness doctrine challenged in Red Lion case; FCC forces AM stations to stop simulcasting on FM; first TV news reports from Vietnam; TV competition from cable and video taping; FCC rules that equal time must be available for anti-smoking ads; beginnings of FM “underground” radio in 1967; Smothers Brothers show canceled over political controversy; Pay-tv authorized; moon landings on TV; PBS network established by CPB.

Activities • Video: "Rock Jocks: The FM Revolution": A documentary on FM alternative radio: Travisty productions- • Plus: more videos and in-class discussion on the 60s cultural and political developments; 60s TV shows, • Vietnam coverage • Audio: research airchecks from 60s FM radio.

Questions for Review: Write answers to the following questions on an answer sheet.

The 60s saw conscientious implementation of the “public Interest” provisions of the 1934 Communications act: what is one reason why? Nixon did not do well in the first televised presidential debates because? In 1960, what new technology for playing produced material was introduced? What was the first station to change its format to ALL NEWS in 1960? The next new innovation for FM in 1961 was the authorization of what technology? FM development got another boost in 1962 when the FCC passed what new regulation? In 1964 the FCC implemented another policy affecting AM and FM radio: How was the Fairness Doctrine applied to cigarette advertising in 1967? In 1967, the first “underground” free-form progressive rock radio station was: In 1967, The CPB was established, which formed PBS for TV and ______for radio.

1. The 60s saw conscientious implementation of the “public Interest” provisions of the 1934 Communications act: what is one reason why?

2. Nixon did not do well in the first televised presidential debates because: __ a. He couldn’t answer the questions __ b. He looked unshaven and tired. __ c. He was too conservative. __ d. He was involved in the Watergate scandal.

3. In 1960, what new technology for playing produced material was introduced: __ a. reel-to-reel rape recorders __ b. tape cassettes __ c. mini-discs __ d. tape cartridges

4. The first station to change format to ALL NEWS in 1960 was __ a. KABC __ b. WABC __ c. KFAX __ d. KMPX

5. The next new innovation for FM in 1961 was the authorization of __ a. AM Stereo __ b. All Talk/News formats __ c. FM Stereo __ d. UHF

6. FM development got another boost in 1962 when the FCC did what? __ a. put a freeze on new AM stations __ b. authorized FM News/Talk __ c. banned tobacco ads __ d. created a “vast wasteland” on TV

7. In 1964 the FCC implemented another policy affecting AM and FM radio: __ a. AM Talk/News formats authorized __ b. forced FM stations to carry original programming 50% of the time __ c. authorized FM News/Talk __ d. authorized AM to carry FM programs 50% of the time

8. How was the Fairness Doctrine applied to cigarette advertising in 1967? __ a. stations had to present equal time for anti-smoking viewpoints __ b. tobacco ads were banned from TV and radio __ c. equal time must be made available for alcohol ads __ d. cigarette advertising was not affected

10. In 1967, The CPB was established, which formed PBS for TV and ______for radio: __ a. Progressive FM __ b. National Public Radio __ c. Underground radio __ d. College radio stations

© 2010 Elsevier, Inc. All rights reserved. Ch 6: Answer Sheet 1. Liberal Pres, Kennedy; reaction to oppressive 50s 2. b. He looked unshaven and tired. 3. d. tape cartridges 4. c. KFAX 5. c. FM Stereo 6. a. put a freeze on new AM stations 7. b. forced FM stations to carry original programming 50% of the time 8. a. stations had to present equal time for anti-smoking viewpoints 9. d. KMPX 10. b. National Public Radio

Overview Nixon establishes OTP; FCC institutes EEO rules, approves Prime Time Access rule; bars networks from “finsyn”, authorizes pay-TV; FTC acts against fraudulent advertising; 95% of households have TV; courts overturn FCC ban on the sale of time to alternative viewpoints; FCC enacts Ascertainment of Community Needs rule; live international TV coverage by satellite; Surgeon general’s report on TV violence; Justice department files antitrust suits against 3 TV networks; first videodisc, video game, prerecorded videocassettes, pay cable, HBO, cable rules issued; Vietnam war ends; Watergate; first Black-owned TV station; Supreme court rules that Copyright Act doesn’t apply to cable; FCC approves cross-ownership rule; Saturday Night Live debuts; introduction of ENG by CBS; FCC creates Family Viewing Time- ruled unconstitutional; Sony Betamax introduced; WTBS distributed by satellite to cable systems; FCC repeals 1941 radio rules; NATRA and NABOB formed by Black broadcasters; PBS first to use satellite distribution; WBAI obscenity case “7 Dirty Words” goes to Supreme Court.

Activities • Videos: End of Vietnam war, Watergate, Saturday Night Live • Discussion topics: growth of cable, new technology. • Research FCC rulings, beginnings of deregulation.

Questions for Review: Write answers to the following questions on an answer sheet.

Believing that the media was biased against him, what step did President Nixon take in 1970? The FCC instituted EEO rules: what did that mean to radio stations? The FCC cracked down on monopolies and instituted the “duopoly” rule; define it. By the end of 1970, what percentage of the radio sets were FM? The FCC had banned the sale of air time to alternative viewpoints on controversial issues; how did the courts rule on the ban? What was the Community Ascertainments Needs rule? Was the FCC able to successfully ban songs with “drug lyrics”? 1972: a third of all listeners tuned into FM; what format did more AM stations switch to? 1975: what was the FCC’s “cross-ownership” rule? In 1978, a case went to the Supreme Court regarding indecency and obscenity; what was the station and the comedy routine that was broadcast?

1. Believing that the media was biased against him, what step did President Nixon take in 1970? a. __ Created the Office of telecommunications Policy b. __ Threatened license renewals c. __ Threatened PBS d. __ All of the above

2. The FCC instituted EEO rules: what did that mean to radio stations? a. __ Screening commercials for racial bias b. __ Establishing new guidelines for editorial news policies c. __ Firing women and minorities d. __ Filing annual reports on employment and affirmative action

3. The FCC cracked down on monopolies and instituted the “duopoly” rule; define it. a. __ Reduced the number of TV stations that could be owned by newspapers. b. __ Prohibited an AM, FM or TV station from acquiring another station in the same market. c. __ Prevented a corporation from owning more than 2 of each AM FM and TV. d. __ Prohibited TV companies from owning both UHF and VHF stations in the same market.

4. By the end of 1970, what percentage of the radio sets were FM? a. __ 30% b. __ 40% c. __ 50% d. __ 60%

5. The FCC had banned the sale of air time to alternative viewpoints on controversial issues; how did the courts rule on the ban? a. __ Overturned it b. __ Supported and extended the ban. c. __ Made no changes. d. __ Ruled that alternative viewpoints must be given free airtime.

6. What was the Community Ascertainment Needs rule? a. __ Report on advertisers in the community. b. __ Report on the number of local news stories broadcast annually. c. __ Report on the number of local PSAs aired annually. d. __ Report annually on the 10 most significant issues in their community.

© 2010 Elsevier, Inc. All rights reserved. 7. Was the FCC able to successfully ban songs with “drug lyrics”? a. __ No- they issued a warning. b. __ Yes- they set fines of $10,00 per incident. c. __ No- they couldn’t find any songs with drug lyrics. d. __ Yes- they banned all commercials for “drugs” such as Nyquil.

8. 1972: a third of all listeners tuned into FM; what format did more AM stations switch to? a. __ Foreign language b. __ News and talk c. __ Big Band and Beautiful Music. d. __ Religious

9. 1975: what was the FCC’s “cross-ownership” rule? a.__ Prohibited TV companies from owning both UHF and VHF stations in the same market. b. __ Prohibited an AM, FM or TV station from acquiring another station in the same market. c. __ Prevented a corporation from owning more than 2 of each AM FM and TV. d. __ Barred joint ownership of newspaper, TV and radio station in the same market

10. In 1978, a case went to the Supreme Court regarding indecency and obscenity; what was the station and the comedy routine that was broadcast? ______

1. d. All of the above 2. d. Filing annual reports on employment and affirmative action 3. b. Prohibited an AM, FM or TV station from acquiring another station in the same market. 4. d. 60% 5. a. Overturned it 6. d. Report annually on the 10 most significant issues in their community. 7. a. No- they issued a warning. 8. b. News and Talk 9. d. Barred joint ownership of newspaper, TV and radio station in the same market 10. WBAI- NY: George Carlin “7 Dirty Words You Can’t Say on TV”

Overview

Introduction of cable, satellite, fiber optics, HDTV, digital broadcasting introduced; 98% of households have TV; Closed-captioning introduced; FCC changes “clear channel’ rules; FCC deregulates: PSA requirements, commercial time limits, renewals simplified, 3rd class operator’s licenses abolished, ascertainments dropped, program log requirements rescinded, PBS stations allowed to show underwriters’ logos and identify products; license periods extended for radio and TV; TV coverage of trials allowed; ‘82- FCC removes limits on commercial time for TV, abolishes trafficking rule, weakens equal time rules; NAB codes abolished; ABC, NBC , CBS radio feeds go to satellite; FCC changes ownership limit from 7-7-7 to 12-12-12; Media conglomeration begins with purchase of TV networks; must-carry cable rules changed; Networks losing prime-time audiences to cable, VCRs; FCC abolishes the Fairness Doctrine; massive FCC deregulation done by 1987; FCC’s HDTV committee meets; AM-FM non-duplication rule eliminated; Time-Warner merger; FCC fines some stations for indecency, allows violations of duopoly rules.

Activities • Class discussion of review questions • Discuss Timeline. • Discuss and compare new innovations in technology • Research FCC changes in regulations. • View videos: popular programs, news, historical events. • Questions for Review: Write answers to the following questions on an answer sheet.

What were some of the technological advancements made in the 1980s? Define “infotainment”. In 1980, what 3 TV stations had their licenses rescinded by the FCC, and why? In 1981, what acts of deregulation immediately took place under the new Reagan- influenced FCC? In 1982, the “trafficking” rule was abolished; what did it regulate? In 1984, the limits on multiple ownership were changed to what new guidelines? What ruling was made regarding the “Fairness Doctrine” in 1986? In radio formats, specialized formats lost listeners, TOP 40 radio returned, relabeled as : In spite of deregulation, in what aspect of broadcasting did the FCC increase regulation? In 1988, what changes were made in the FCC’s “non duplication” rule, and what effect did this have?

1. What were some of the technological advancements made in the 1980s? ______

2. Define “infotainment”. a. __ News about entertainers b. __ Containment of controversial news stories. c. __ Information disguised as news. d. __ News as entertainment

3. In 1980, what 3 TV stations had their licenses rescinded by the FCC, due to misconduct by RKO- General tire co.? ______

4. In 1981, what were some of the acts of deregulation which immediately took place under the new Reagan-influenced FCC? ______

5. In 1982, the “trafficking” rule was abolished; what had it regulated? a. __ It imposed a 3-year limit on reselling a station. b. __ It removed all limits on reselling a station. c. __ It limited traffic reports on radio and TV. d. __ It abolished trafficking.

6. In 1984, the limits on multiple ownership were changed to what new guidelines? a. __ 7-7-7 b. __ 10-10-10 c. __ 20-20-20 d. __ 12-12-12

7. What ruling was made regarding the “Fairness Doctrine” in 1986? a. __ It must be implemented at all times b. __ It must not be implemented during elections c. __ It was ruled that it was not required; the FCC did not have to implement it. d. __ It was ruled that equal time provisions were unconstitutional.

8. In radio formats, TOP 40 radio returned, re-labeled as : a. __ Progressive Rock/ AOR b. __ CHR Contemporary Hit Radio c. __ Adult Contemporary- AC d. __ News/ Talk

© 2010 Elsevier, Inc. All rights reserved. 9. In spite of deregulation, in what aspect of broadcasting did the FCC increase regulation? a. __ Imposed stricter limits on cross-ownership b. __ Keeping of Program and Operating logs c. __ Commercial time on radio and TV. d. __ Indecency and obscenity, leading to the rules for “safe harbor” midnight to 6 am.

10. In 1988, what changes were made in the FCC’s “nonduplication “rule, and what effect did this have for radio broadcasters? a.__ Dropped the rule, which enabled AM stations to carry FM programming without limitation. b. __ Required AM stations to carry a percentage of co-owned and operated FM stations. c. __ This made recording and rebroadcasting of radio programs illegal. d. __ This had no effect whatsoever.

1. Cable, satellites, fiber optics, HDTV, digital broadcasting, digital compact discs. 2. d. News as entertainment 3. WOR Newark, KHJ, Los Angeles, and WNAC Boston: misconduct by RKO- General tire co. 4. PSA requirements discontinued; allowed to exceed 18 minutes of commercial per hour; applications for renewal shortened; 3rd class licenses abolished, ascertainments dropped; program log requirements rescinded, PBS stations allowed to use logos and identify products of underwriters. 5. a. It imposed a 3-year limit on reselling a station. 6. d. 12-12-12 7. c. It was ruled that it was not required, and that the FCC did not have to implement it. 8. b. CHR Contemporary Hit Radio 9. d. Indecency and obscenity, leading to the rules for “safe harbor” midnight to 6 am. 10. a. Dropped the rule, which enabled AM stations to carry FM programming without limitation.

Overview 1996 Telecommunications Act eliminates virtually all the rules; 1991-cable in 60% of homes; News services all use satellite systems; Syndex rule reenacted; unrestricted commercial time limits lead to “infomercials; Congress enacts Children’s TV entertainment Act of 1990; TV sets required to be closed-caption capable; FCC establishes “safe harbor” for indecency; FCC rules that stations must charge lowest unit cost for paid political ads; Veep attacks Murphy Brown; Olympics on pay per view; FCC increases enforcement of indecency fines; Cable TV Consumer Protection and Competition Act of 1992; policy eliminates caps on cable rates; Arbitron stops rating TV; More big corporate mergers; Internet established, grows; cable rates deregulated; license renewals became automatic; Seagrams advertises hard liquor; cross-ownership of media expands; HDTV advances; Internet escapes regulation of content, grows; US Court of Appeals rules FCC’s EEO recruitment rules unconstitutional; FCC authorizes ownership of 2 TV and up to 6 radio stations in a market.

Activities • Assign online research on corporate media ownership. • Review ‘96 Telecom Act • Debate pros and cons of deregulation. • Discuss chapter review. • Videos on topics, programming, social issues.

Questions for Review: Write answers to the following questions on an answer sheet. What was the single most important FCC Act of the decade? What effect did this Act have on Radio? The “safe harbor’, a time period set aside for indecent program content, underwent a number of changes during the 90s- what was the final ruling? In 1991, the FCC set what rule for the rates charged for paid political advertising? In 1991, Vice President Dan Quayle attacked Murphy Brown for giving birth to a child out of wedlock, as a single working mother. Who was Murphy Brown? In 1992, how much was the total in fines paid by Infinity broadcasting for alleged indecency violations on the Howard Stern show? 1992: the FCC increased the number of multiple ownership of radio stations from what to what numbers? Congress cut it back to what limits? What was the FCC limit changed to in 1994? The 1996 Telecom act eliminated the limits on multiple ownership, what were some of the other rule changes that affected broadcasting? In 1997, what were the top 3 radio formats? By the end 1999, Clear Channel had acquired how many radio stations?

1. What was the single most important FCC Act of the decade? a. __ ACT act regulating children’s TV. b. __ 1996 Telecommunications Act c. __ The Fairness Doctrine d. __ the “safe harbor” rule for indecency.

2. What effect did this Act have on Radio? a. __ Very little- it mostly applied to TV. b. __ Limited the number of stations a corporation could own. c. __ Removed most of the remaining regulatory rules from the 1934 Act. d. __ Enforced “must carry” rules for cable TV.

3. The “safe harbor’, a time period set aside for indecent program content, underwent a number of changes during the 90s- what was the final ruling? a. __ 6 am to 10 am b. __ 10 am to 6 pm c. __ 6 pm to midnight d. __ 10 pm to 6 am

4. In 1991, the FCC set what rule for the rates charged for paid political advertising? a. __ The lowest unit cost. b. __ The highest unit cost c. __ The same rate as news sponsorships. d. __ No charge- free air time for political ads.

5. In 1991, Vice President Dan Quayle attacked Murphy Brown for giving birth to a child out of wedlock, as a single working mother. Who was Murphy Brown? a. __ Quayle’s opponent for the office of Vice President. b. __ The Speaker of the House. c. __ She was a fictional TV character. d. __ A TV evangelist

6. In 1992, how much was the total in fines paid by Infinity broadcasting for alleged indecency violations on the Howard Stern show? a. __ $50 per dirty word. b. __ Not nearly enough: only $12,000. c. __ Over $2 million for that year. d. __ 1st $105,000, then a total of $600,000.

© 2010 Elsevier, Inc. All rights reserved. 7. 1992: the FCC increased the number of multiple ownership of AM and FM radio stations; what was the FCC limit changed to in 1994? a. __ 12/12 b. __ 30/30 c. __ 18/18 d. __ 20/20

8. The 1996 Telecom act eliminated the limits on multiple ownership, what were some of the other rule changes that affected broadcasting?

9. In 1997, what were the top 3 radio formats? ______

10. By the end 1999, Clear Channel had acquired how many radio stations? a. __ 120 b. __ 535 c. __ 830 d. __ 1,236

© 2010 Elsevier, Inc. All rights reserved. CH. 9: Answer Sheet 1. b. 1996 Telecommunications Act 2. c. Removed most of the remaining regulatory rules from the 1934 Act. 3. d. 10 p.m. to 6 am 4. a. The lowest unit cost. 5. She was a fictional TV character. 6. d. 1st $105,000, then a total of $600,000. 7. d. 20/20 8. Common ownership of broadcast and cable systems; license terms extended to 8 years; TELCOS were permitted to deliver video signals, renewal of radio licenses made automatic; cable rates deregulated. 9. 1- Country, 2- AC, 3- Talk-News 10. 830

Overview Media conglomerates eliminate thousands of jobs; FCC discards few remaining restrictions on media monopolies; six multinational companies controlled 90% of the television programming and advertising; The FCC issues rules for all-digital radio service; FCC issues in 2001 a new statement of what is or is not indecent; broadcast television prime time continues to lose viewers as cable viewing surpasses them in total viewers; Clear Channel Communications was the largest media group, with 1,216 stations in 190 markets in 2003; Congress blocks a proposed FCC auction of spectrum space; FCC mandates digital tuners in all television sets by 2007; “The Dixie Chicks,” had their songs banned by many stations; Telemundo and Univision both launched Spanish language shows produced in the U.S. rather than in Latin America or Spain; FCC rules that U2 singer Bono’s on-air use of the “f” word didn’t violate indecency rules; calls for new legislation included extending the fine for each indecent broadcast incident from $7,500 to $27,500 and revocation of license after three infractions; FCC gives TV stations that had not yet converted to DTV/digital just six more months to comply under threat of license revocation; Progress Media planned to buy stations in major markets for an Air America Network and institute liberal talk shows.

Activities • Present research of media corporate conglomerates • Videos on media ownership issues. • Form discussion group, debate pros and cons. • Discuss Text reviews

Questions for Review: Write answers to the following questions on an answer sheet. The conglomeration of the media had what effect on jobs? The FCC, under a new chair, Michael Powell, brought significant changes to the media industry in the first few years of the new century. What two companies began sending radio programs into homes and car by satellite? An NAB survey showed that 43% of American homes were likely to buy what new medium? What was the incident that caused Infinity Radio’s “Opie and Anthony” to be fired? Of Clear Channel, Cumulus Media, Citadel Broadcasting, Infinity Broadcasting, or Entercom, who owned the most stations? Radio conglomeration was criticized, with mergers having put two-thirds of all radio revenue into the hands of how many radio groups.? What highly popular singing group, whose members criticized the administration’s war on Iraq, had their songs banned by many stations? The FCC found that U2 singer Bono’s on-air use of the “f” word was in violation or not? To counter the right-wing dominance of talk media, a new group, Progress Media, announced in late 2003 that it planned to buy stations in major markets for an Air America Network and institute liberal talk shows. Who were among the first hosts signed?

1. The conglomeration of the media had what effect on jobs? a. __ No measurable effect. b. __ An increase in jobs c. __ Many on-air jobs were outsourced to other countries. d. __ Thousands of jobs were lost.

2. The FCC, under a new chair, Michael Powell, brought what significant changes to the media industry in the first few years of the new century? ______

3. What two companies began sending radio programs into homes and car by satellite? ______

4. An NAB survey showed that 43% of American homes were likely to buy: a. __ a new car with satellite radio installed. b. __ a digital TV set by 2005. c. __ the necessary computer equipment to broadcast on the internet. d. __ movies on V

5. Infinity Radio’s “Opie and Anthony” were fired from their syndicated radio show for airing: a. __ a fake news report that Boston Mayor Tom Menino was dead. b. __ reports that al Gore had won the Presidential election. c. __ two people having sex in St. Patrick’s Cathedral in New York. d. __ U-2 singer Bono yelling the “f” word.

6. Of Cumulus Media, Citadel Broadcasting, Infinity Broadcasting, Entercom, who owned the most stations?______

7. Radio conglomeration was criticized, with mergers having put two-thirds of all radio revenue into the hands of just ______radio groups.

8. What highly popular singing group, whose members criticized the administration’s war on Iraq, had their songs banned by many stations? a. __ U-2 b. __ The Clash c. __ The Dixie Chicks d. __ Crosby, Stills and Nash

© 2010 Elsevier, Inc. All rights reserved. 9. The FCC found that U2 singer Bono’s on-air use of the “f” word: a. __ was really brilliant. b. __ didn’t violate indecency rules c. __ was in violation of indecency rules d. __ was reason to revoke his visa.

10. Progress Media announced plans to institute liberal talk shows on the Air America Network; among the first hosts signed was: a. __ film maker Michael Moore b. __ consumer advocate Ralph Nader c. __ film star Jane Fonda d. __ comedian Al Franken

1. d. Thousands of jobs were lost. 2. Deregulation of ownership rules; stricter enforcement of obscenity and indecency rules. 3. XM and Sirius 4. b. __ a digital TV set by 2005. 5. c. two people having sex in St. Patrick’s Cathedral in New York. 6. Clear Channel Communications was the largest, with 1,216 stations 7. 10 8. c. The Dixie Chicks 9. b. didn’t violate indecency rules 10. d. comedian Al Franken

Topics for written text reviews, in-class discussion: The Overview is a list of key points in the text, which can serve as a general study guide, or developed into lecture notes by the instructor. There are additional points in the text which may be added to the list.

Activities and Projects: The suggested weekly projects and activities reflecting the text material are fairly standard for each chapter. Some instuctors prefer to use more A/V support, others less. Projects should include a balance of both group and individual work. Your college library can order specific videos for you, and may already have many in stock.

The list of Questions for Review can be handed out as a weekly assignment for text review. This is a excellent method for developing critical thinking, analysis and writing skills. By copying and editing the list of topics, the instructor can focus on fewer subjects, or add additional subjects to the list. This can also serve as a basis for in-class discussions.

Research Papers: As an additional on-going project, it is suggested that students be assigned a research paper or project for the course. The topics may be an historical analysis of the developments of a particular time period or decade; an examination of the development of a particular technology, such as television or FM radio. Current topics such as the corporate ownership of the media, FCC censorship, or new technology such as satellite radio or the internet are also suitable for research papers and projects. The individual research papers can be assigned and evaluated by the usual means. But it should be noted that group research and presentations may also be assigned, either in place of, or to augment the individual research. A typical group project might be to research information about group ownership of radio or TV stations in your market, and then prepare a class presentation, highlighting the media corporation (such as Time- Warner, Disney, Viacom, etc), the broadcast group (such as Clear Channel, Entercom, Infinity, etc.) and the individual local stations owned by the group.

Weekly quizzes: each chapter comes with a set of quiz questions; these are primarily multiple choice, with a few true/false or fill-in-the-blanks. These can be copied and handed out as is, or copied into a document and edited. Answer sheets are provided. These can be done in-class or as take home reviews.

These quizzes have been created by using File Maker Pro 7.0, and those instructors who are familiar with this application can download an copy of the original FMP database from www.focalpress.com. This will enable you to organize the quizzes yourself, add questions, select question types. This database also serves as a handy means to organize your Midterm and Final Exams. Please go to the Focal Press website; click on the title “The Broadcast Century”, then click on the link for the Test Bank.

We have included several sample syllabi to consider for utilizing The Broadcast Century. The first is by co-author Dr. Michael Keith, as us used in his course at Boston College, and by Larry Miller at the New England Institute of Art. The second is by Fritz Messere of SUNY Oswego The Third is by of Dr. Barbara Selznick for a Survey of Media History course. We will add other examples as they become available.

PURPOSE OF THE COURSE

The impact of radio and television has been felt around the world. It has altered the way we think and behave. No other form of mass communication has so affected our view of one another and our immediate and global communities. Now on the threshold of revolutionary changes in telecommunications systems as the result of dramatic technological innovations (digital, satellite, fiber optics, interactivity, etc.), the age of broadcasting is about to give way to the new electronic superhighway. This course is an assessment of the major issues and events which have informed 20th century broadcast media. Topics will be examined within the context of their relationship to society and culture. Dates for Oral Presentations will be incorporated into Weeks Five through Ten. This course schedule is subject to modification as deemed appropriate by instructor. Students will be advised in advance of any changes.

GRADING POLICY

Grades will be determined in the following manner: Class participation & Short Papers 20%. Research Paper 30%. Oral Presentation 20%. Midterm & Final Examination 30%. (15% each)

Research Paper: A 18-20 page paper is required. This paper must examine the influence and impact of electronic media on some element of our society and culture. It must be thoroughly documented and provide information that comprehensively reveals all aspects of its subject. Oral Presentation: A 10 minute oral presentation of your research paper (10 minutes of lecture and 5 minutes of questions and answers). Students are responsible for all assigned readings, lectures, papers, presentations, and handouts, since it is from these sources that final exam questions will be drawn.

COURSE SCHEDULE

Week One: Introduction to class/Pass out syllabus Lecture From Print and Proscenium Arch to Airwaves--Gutenberg and Marconi. Read: Hilliard/Keith, Ch 1.

Week Two: Lecture: Birth of an Industry--Redesigning the Living room. Read: Hilliard/Keith, Ch 2. Video: Empire of the Air

Week Three: Lecture: The Entertaining Depression--Radio Rallies the Nation. Read: Hilliard/ Keith, Ch 3.

Week Five: Lecture: The Enfant Terrible--The Nation's New Altar. Read: Hilliard/Keith, Ch 5. Video: 1950's documentary.

Week Six: Lecture: Broadcasting and Blacklisting--A Decade of Shame. Read: Hilliard/Keith, Ch 5 and Handouts. Video: McCarthy Hearings and Murrow Program.

Week Seven: Lecture: Murder and the Wasteland--TV and the Loss of Innocence. Read: Hilliard/Keith, Ch 6. Video: JFK assassination coverage footage.

MIDTERM EXAM (Date to be announced)

Week Eight: Lecture: The Visible Underground--Awakening, Rebellion, and the Armchair War. Read: Hilliard/Keith, Ch 6 and Handouts. Video: Television -- a PBS documentary.

Week Nine: Lecture: One Small Step--Window to the Moon. Read: Hilliard/Keith, Ch 6 and Handouts. Video: Moonlanding video.

Week Ten: Lecture: A Nation of Idiots and Sony clones--The Bleak, the Bland, and the 1970's. Read: Hilliard/Keith, ch. 7.

Week Eleven: Lecture: Wiring the Wireless--The Changing Picture. Read: Hilliard/Keith, Ch 8.

Week Twelve Lecture: Bits, Bytes, and Broadcasting--Demise In the Airwaves. Read: Hilliard/Keith, Ch 9.

Week Thirteen Lecture: A New Media Order--The Electronic SuperHighway. Read: Handouts.

Week Fourteen Lecture: 2001--A Virtual Reality: Society and the Newest Altar. Read: Handouts.

FINAL EXAMINATION (Date to be announced)

I. Course number and Credit: Brc 200, 3 semester hours

II. Course Title: Social History of American Radio and Television

III. Course Description: This course will provide an overview of the historical significance of radio and television in American life. The class examines the formation of the electronic mass media and its role as a reflector and shaper of social, political, and cultural elements of life in American society.

IV. Required Text: Hilliard, Robert and Keith, Michael. (2001) The Broadcast Century and Beyond: A Biography of American Broadcasting.. Boston, MA. Focal Press. Social History of American Radio and TV Website: http://www.oswego.edu/~messere/Brc200.html

V. Course Objectives: This course will provide students with: an introduction to the background and history of the growth of American radio and television. an understanding of the relationship of information, advertising, censorship and programming in American broadcasting. an understanding of the nexus between political, social and economic forces that helped to created American broadcasting an opportunity to research a person or program in broadcast history

VI. Method of Instruction: Lecture and class discussion. Audio and video playback will provide the student with examples of broadcasting programming and cultural shaping events of the twentieth century.

VII. Means of Evaluation: Three hourly exams, one historical paper and website, a radio listening assignment.

Assessment:

Hourly Exams 40% Historical Paper 30% Listening Assignment 15% Historical Webpage 15% TOTAL 100% minus attendance penalty

© 2010 Elsevier, Inc. All rights reserved. Use of the Brc 200 Website: The BRC 200 website has been designed to enhance your understanding of the social history of American broadcasting. You will need to read and link to the sites to gain a better perspective of American society during this time of study. EACH EXAM will contain a percentage of questions related to website.

BRC 200 Social History of Radio and Television Fritz Messere

BC= Broadcast Century Web= readings and links from Website: http://www.oswego.edu/~messere/Brc200.html

Readings / Assignment Schedule

Week # Tuesday Thursday

1 No Reading Web – In the Beginning

2 BC Ch. 1 Empire of the Air

3 Monday schedule Web – Roaring 20s

4 BC Ch 2

5 Web – Terrible 30s BC Ch 3

6 Test One Web – Furious 40s

7 BC Ch 4 Radio Assignment Due

8 Web – Fearful 50s

9 BC Ch 5

10 Web – Soaring 60s BC Ch 6

11 Test Two Web – Shifting 70s

12 BC – Ch 7 Web – Techno-edged 80s

13 BC Ch 8 TBA

14 Web – Cyber 90s BC Ch 9 / Research Paper Due

16 ------FINALS WEEK------

Readings and Media Resources assigned during the semester:

Dancetime! Segment 2, 20th Century [video recording]:500 years of social dance / Dance Through Time. (Summary: This second of two segments features dance forms, period costumes and dance music from twentieth century America from the "animal dances" of the 1910's through the hip hop of the 1990's. We’ll look at each decade as we cover the appropriate time in our study.)

Radio History [video recording] / producer, David P. Stone (Films for the Humanities & Sciences, c1997., produced in cooperation with the College Division of the McGraw- Hill Companies, Inc. and Knowledge TV. (Summary: Details the history of radio to the present time.)

Broadcasting's Forgotten Father [video recording] : the Charles Herrold story / produced in association with station KTEH. (Los Altos, Calif. : Electronics Museum of the Perham Foundation, c1994.) (Summary: Video of Charles Herrold)

The Great Depression. The Great Shake-up [video recording] / produced by Tower Productions for the History Channel. (Summary: In the first years of the Great Depression, banks and businesses failed in record numbers as America struggled to come to grips with the disaster.

The Great Depression. Desperate Measures [video recording] / produced by Tower Productions for the History Channel. (New York, N.Y. : A&E Television Networks ; Distributed by New Video Group, c1998.) (Summary: One of the Depression's lowest points came in 1932 when 25,000 World War I veterans marched to Washington and camped along the Potomac River, demanding payment of a promised bonus. Meanwhile, Huey Long, galvanized the poor with his firebrand personality and revolutionary ideas.)

The Broadcast Television Industry [video recording] (Films for the Humanities & Sciences, c1997., Jones International, Ltd. ; produced in cooperation with the College Division of the McGraw-Hill Companies, Inc. and Knowledge TV.) (Summary: Discusses how television broadcasting has evolved from a networks monopoly into a multichannel universe through the rise of cable television and new technologies.)

The Rage Within and The Road to the Sixties [video recording] Halberstam, David / produced by Nancy Button. (New York : The History Channel, A&E Home Video ;

© 2010 Elsevier, Inc. All rights reserved. distributed by New Video, 1997.) (Summary: "The rage within" shows how America in the fifties is finally forced to examine issues of racial discrimination. "The road to the sixties" shows American involvement with fast cars, fast food, and the space race, as the country hurtles toward the next decade.)

Television History [video recording](Films for the Humanities & Sciences, c1997., Jones International ; produced in cooperation with the College Division of the McGraw- Hill Companies, Inc. and Knowledge TV.) (Summary: Details the history of television to the present time.)

The Propaganda Wars [video recording]: Japan vs. the U.S. / Produced by Weller/Grossman Productions in association with Forsher Films and Arts & Entertainment Network. (New York : Arts and Entertainment Home Video, c1994.) (Summary: Documentary on the way the warring nations of Japan and the United States used the media to influence public opinion, and rally their troops during World War II. Incorporates archival footage, and interviews with several historians. Frank Capra talks about his war-time films.)

The Adventures of Rocky and Bullwinkle. Volume 8 [video recording] : Norman Moosewell / Ward Productions, Inc. (Burbank, CA : Buena Vista Home Video, [1991].) (Summary: Cartoon with emphasis on satire of the 1960s)

Jack Benny/Milton Berle [video recording] (Newark, NJ : Parade Video : distributed by PPI, c1990.) (Summary: Episodes from "The Buick Berle Show" and "The Jack Benny Program." The Berle Show is a wonderful example of live variety television from the 1950s)

Jimmy Durante/ Groucho Marx [video recording] (Newark, NJ : Parade Video : distributed by PPI, c1990.) (Summary: Includes excerpts from Jimmy Durante's and Groucho Marx's television programs. Also includes old television commercials.)

Red Skelton/Ernie Kovacs [video recording] (Newark, NJ : Parade, c1990) (Summary: Includes excerpts of Red Skelton's and Ernie Kovacs' television programs. Also includes old television commercials.)

The Outer Limits [video recording] : The borderland / Daystar-Villa Di Stefano U A. (Culver City, Calif. : MGM/UA Home Video, c1990.) (Summary: From 1963 TV series, Hoping to make spiritual contact with his dead son, a wealthy industrialist holds a séance and is eventually driven to fund his own experiments in prying open the door to the "borderland.")

The Reel World of News [video recording] / produced and directed by David Grubin ; writers, Ronald Blumer, Bill Moyers ; created and developed by The Corporation for

© 2010 Elsevier, Inc. All rights reserved. Entertainment and Learning, Inc. and Bill Moyers. (Washington, D.C. : PBS Video, c1988.) (Summary: Looks at newsreels, a unique 20th century institution. For over 50 years newsreels informed and entertained whole generations until their demise in the mid- 1960's with the advance of televised nightly newscasts.)

Smoke in the Eye [video recording] (a coproduction of the Canadian Broadcasting Corporation and WGBH/Frontline. ([Alexandria, VA] : PBS Video, c1996.) (Summary: "Frontline investigates the war between network news and the tobacco industry in the wake of the $10 billion libel suit against ABC and the controversial decision by CBS not to allow 60 Minutes to air an explosive interview with a tobacco company whistle blower")

Picture Power, [video recording] (a co-production of WGBH Boston and BBC ; written, produced and directed by James A. DeVinney. (Burlington, VT : WGBH Boston Video, c1999.) (Summary: Whether hailed as savior or sinner, television helped shape America in the second half of the 20th century. Picture power reveals how the small screen became hugely influential politically, economically and socially.)

Color Adjustment [video recording] (producer, director, writer, Marlon T. Riggs ; producer, Vivian Kleiman. (San Francisco, CA : California Newsreel, [1991?]) (Summary: Analyzes the evolution of television's earlier, unflattering portrayal of blacks from 1948 until 1988 where they are depicted as prosperous, having achieved the American dream, a portrayal that is inconsistent with reality.)

The Edward R. Murrow Collection: Harvest of Shame (Videotape, Ambrose Video Publishing (*AMBVP)) (Summary: Classic 1960 documentary expose, narrated by Murrow, of the degradation and exploitation of millions of migrant farm workers in the United States. More recent evaluations of the situation can be found in The Migrants: 1980 (50565) and New Harvest, Old Shame (61735). Produced by David Lowe for the CBS Reports series.)

The Edward R. Murrow Collection: The McCarthy Years (Videotape, Ambrose Video Publishing (*AMBVP)) (Summary: Clips from Murrow's series of broadcasts about Senator Joseph McCarthy, who spearheaded America's witch hunts and blacklisting of alleged Communists during the 1950s. Murrow showed McCarthy's abuses of power, and his open questioning of McCarthy's techniques had significant impact, signaling the emergence of television news as an influential force in American life.)

Big Dream, Small Screen (PBS Video) (Summary: Tells the little-known story of Philo T. Farnsworth, who in 1921 at the age of fourteen had a vision: While looking back at the furrows he had plowed in an Idaho potato field, Fransworth imagined the lines on a television screen and the first seeds of an invention were sown. Reveals that although Farnsworth would fulfill his dream of

© 2010 Elsevier, Inc. All rights reserved. harnessing the electron to transmit images and would exhibit his television well in advance of his chief competitor, his developments in the field of broadcasting would lead to a bitter, consuming patent battle with a corporate giant and would ultimately ruin his life.)

The Quiz Show Scandal (PBS Video) (Summary: Portrays the darker side of television's wildly popular quiz shows of the 1950s. A congressional investigation revealed that many of the shows were fraudulent, that certain contestants were supplied with answers beforehand and were coached to appear convincing on air. Conveys the shock experienced by viewers and the damage to a TV industry that was still in its formative years.)

This Is Marshall McLuhan: The Medium Is the Massage (McGraw-Hill) (Summary: Examines the impact of electronic media on society. Communications theorist Marshall McLuhan (1911-1981) looks at popular music, business, education, drugs, fashion, art, and sociological trends, and analyzes the ways media affect these areas of life and resulting human behavior.)

Vietnam: A Television History, 11 — Home Front, U.S.A. (Films Incorporated) (Summary: Follows the gradual decay of public consensus over the war and the slow widening of the credibility gap that separated Americans from their leaders. Documents the domestic upheaval caused by the war: waves of antiwar demonstrations, the violence and dissension of the 1968 Democratic National Convention in Chicago, Nixon's and Agnew's attacks on the press, the shooting of students at Kent State, and the soul- searching of Americans in the heartland.)

Television Show Segments include:

I Love Lucy The Johnny Carson Show The Ed Sullivan Show All in the Family Bonanza The Rifle Man Gunsmoke Three’s Company Family Ties Murphy Brown Kojak Perry Mason Twilight Zone The Honeymooners The Cosby Show The Outer Limits

WRVO Playhouse: Old Time Radio Segments (WRVO Playhouse available via streaming at http://www.wrvo.fm)

ADVERTISING The Emergence of Advertising in America 1850-1920 (American Memory Project, Library of Congress) http://memory.loc.gov/ammem/award98/ncdhtml/eaahome.html

WPA POSTERS By the People, For the People. Posters of the WPA (American Memory Project, Library of Congress) http://memory.loc.gov/ammem/wpaposters/wpahome.html

INVENTING ENTERTAINMENT Motion Pictures and Sound Recordings of the Edison Companies (American Memory Project, Library of Congress) http://memory.loc.gov/ammem/edhtml/edhome.html

AMERICAN FOLK MUSIC Music from the Dust Bowl (American Memory Project, Library of Congress) http://memory.loc.gov/ammem/afctshtml/tshome.html

THE GOLDEN AGE OF JAZZ Photographs of the Golden Age of Jazz (American Memory Project, Library of Congress) http://memory.loc.gov/ammem/wghtml/wghome.html

THE RECORDING INDUSTRY Emile Berliner and the Birth of the Recording Industry http://memory.loc.gov/ammem/berlhtml/berlhome.html

Please follow the instructions and remind yourself of the due dates for this assignment. Purpose of the Assignment: To give students an opportunity to hear radio dramas produced during the golden age of radio. This experience will give students an opportunity to evaluate the sound medium as a medium for drama and an appreciation for the radio programming produced during the ‘golden age of radio.’ Nature of the Assignment: Students will listen to one radio drama as broadcast on WRVO-FM 89.9 MHZ. Students are encouraged to tape the broadcast for repeated listening. Students will then complete a short evaluation of the program and provide some personal perspective on the listening assignment. You can look at the schedule for radio dramas by going to http://www.wrvo.org Click on the link labeled ‘PLAYHOUSE’ Click on the link labeled ‘YESTERDAY YEARS’ Find the September schedule and choose from one of the following: The New Adventures of Sherlock Holmes Lux Radio Theater The Shadow Gangbusters X-minus one Select the program that you will listening to and be ready to give me that information on Wednesday, September 26th. Listen to (and if possible tape) the program that you’ve picked. Write a short two page analysis of the program using guidelines provided by me. When is the assignment due: The assignment will be completed by October 17th.

Brc 200 is designed to provide you with an historical perspective about the twentieth century through the development of the electronic media. Radio and television reflected the society that created it; as society’s values changed, so too did the media. Your task here is to evaluate the production during the days when radio was a medium for dramatic entertainment. It is likely that you won’t really ‘get into’ listening to radio drama since you’ve grown up during a time when high quality images are supplied through television and movies. But, through this listening assignment, you may have a better understanding of how your grandparents entertained themselves during evenings and free time.

Perhaps you’ve taped the program, as I’ve suggested in class. Did the announcer tell you the date of the original broadcast? What was it and what network carry the show? Who sponsored the program? Does this tell you anything about the audience who might have listened to the program? (E.g. who is the audience?)

Now, listen carefully and think about the following:

1. Who are the main characters? How do we identify with these characters? 2. What is the basic plot? What happens to whom and why? Is the plot engaging or does it seem completely unrealistic? Are listeners likely to suspend disbelief? 3. Is plot or is characterization of primary importance here? 4. How is music used to support the telling of the story? 5. How are sound effects used to support the production? 6. Was the program presented in a particular generic form? (E.G. would you characterize this production as dramatic, melodramatic, comedic, realistic or fantastic or some other generic form?) 7. What is the program length? Did it appear that the dramatic action of the play developed or heightens as the production moved toward the commercial break? (You may not be able to note this depending on how the play was recorded and preserved.)

When you’ve completed your analysis of the components of the production (as noted above), you’ll be ready to write your paper. The paper should be approximately 2 pages in length. Take the first page to summarize the plot and describe your impressions about the play based on the questions I’ve outlined above in section two. Don’t bother wasting time in your introductory paragraph writing things like:

"In this assignment I was asked to pick a drama and listen to ……and I picked…." (Bad writing)

This is a short paper and I already know what I’ve asked you to do. So, begin right away with a good thesis sentence like:

"Radio drama was the staple entertainment for millions of Americans in the __1930s___ (e.g. time when aired). Dramas such as ______(your drama) provided

(DON’T USE THE ABOVE PARAGRAPH. COME UP WITH YOUR OWN INTRODUCTION.)

After a paragraph or two summarizing the plot, continue to discuss the various parts of section two that are appropriate to your drama. This may take you another few paragraphs.

Starting about page two, I would like you to continue your analysis by providing some interpretation of the meaning of the text and performance from your perspective. This form of analysis is called "Reader-Response Criticism." (We could call it Listener- Response Criticism since you are listening to the text.) This is your opportunity to provide some unique analysis of the program through your interpretation of the broadcast.

"What does this mean I’m suppose to do?" you ask? In the study of media, scholars generally assume that the stories that the media tell can give us insights (meaning) to society and social movements, language, and the generally accepted conventions of the time. There are no right or wrong meanings because it is the listener who supplies the meaning. In listening to your program, can you identify some of these insights?

For example, look at the images that the media has served us during the last two weeks since the World Trade Center disaster. We’ve seen many images of patriotism, flag waving, along with scenes of a terrible disaster. Do these images convey a nation in mourning? Do these images convey the idea of a nation that is united? What you think about these images is your ‘response’ to the messages sent.

Similarly, when listening to this radio drama do you get impressions of society during the era of network radio as being strict and formal? Do you think women were treated differently in this earlier society (less freedoms, subservient to men, weak and afraid or strong and dominant)? Was the play aired during the Second World War and did it convey apprehension about the fighting abroad? Was the play wholly unreal, taking place outside American society? Did the drama make you reflect on a relationship between people or between a person and his/her environment?

This drama was probably entertainment and I doubt that you’ll need to look for lots of hidden meanings. And, this is a short paper, so you won’t have to provide extended analysis. But, I think you’ll find it useful to think about the drama as a reflector about a different time and place for America. Perhaps some of these insights will give you a useful perspective of what America was like in another era.

If you want to know more about Reader Response Criticism look at the following sites: http://www.cnr.edu/home/bmcmanus/readercrit.html http://bcs.bedfordstmartins.com/virtualit/poetry/critical_define/crit_reader.html

© 2010 Elsevier, Inc. All rights reserved. 3- Here is an example of how The Broadcast Century can be integrated as a second text into a Media course, courtesy of Dr. Barbara Selznick, Arizona State University

Survey of Media History Media Arts 201

COURSE DESCRIPTION

COURSE OVERVIEW This course provides an overview of the history of the film, radio and television media from the 19th century through the present. We will examine the development of radio, television and film as art forms, industries and components of our social structure. Topics to be considered include the rise of narrative in motion pictures, the transformation of radio into a broadcast medium and the growth of television as a social force. Although we will spend some time discussing international media, the course emphasizes radio, television and film in the U.S..

There are two books required for this class: The Oxford History of World Cinema (FH) edited by Geoffrey Nowell-Smith and The Broadcast Century and Beyond (BC), 3rd edition, by Robert Hillard and Michael Keith. These books are available at the university bookstore. Additional readings may be on electronic reserve (password mar201

COURSE OBJECTIVES This course is designed to develop: ß An understanding of the aesthetic, social, industrial and technological history of film, television and radio ß An understanding of the connection between media history and media today ß The skills required to read, think and view media texts critically ß The ability to research and write about issues related to the media ß The ability to discuss ideas related to the media ß The knowledge base necessary for advanced courses in Media Arts

COURSE REQUIREMENTS The requirements for the class include: ß Two Research Assignments o Movie advertisement search: 60 points o Sources and Citations search:100 points ß Web Board participation: 100 points ß Three exams: 100 points (exam 1); 150 points (exam 2); 200 points (final exam) ß Final Paper: 200 points The assignment for a 5-7 page typed research paper will be discussed in class. You will be required to hand in a paper proposal and a bibliography for approval. ß Class participation: 90 points

© 2010 Elsevier, Inc. All rights reserved. RESEARCH ASSIGNMENTS The following assignments are designed to encourage you to think about techniques for gathering historical research. These assignments are due in class on the dates indicated and will not be accepted late.

MOVIE ADVERTISEMENT SEARCH – DUE (Date) Find a movie advertisement from any major popular periodical (newspaper or magazine) for a film released on (or within a week of) your birthday from at least 30 years before you were born (the advertisement should have ran at least 30 years before you were born – do not use ads from more recent rereleases of movies). You should hand in the following pages stapled or clipped together:

ß A photocopy of the advertisement (it should not be a print-out from the Internet or from a collected volume; you must go to the periodical and find the advertisement) . ß A typed, double spaced essay of no more than one (1) page relating your experiences trying to find this ad. ß A typed, double spaced essay of no more than three pages considering what kind of information this advertisement offers someone interested in doing historical research about film (DO NOT WRITE A SUMMARY OF THE ADVERTISEMENT OR TALK ABOUT THE FILM ITSELF BUT DISCUSS THE AD AS AN HISTORICAL ARTIFACT).

Movie Advertisement Search Grade Breakdown: 60 points Finding ad and including photocopy – 10 point Clear and interesting discussion of your experience – 15 points Clear and interesting consideration of the ad’s historical potential – 25 points Style – 10 points

SOURCES AND CITATIONS ASSIGNMENT – ( DUE DATE) Focusing on a media corporation (a company that produces, distributes or exhibits media), track down information that would help you write a research paper about its history. You may want to think about ways to use this assignment to do some preliminary research for your final paper. You should hand in the following pages stapled or clipped together: ß Photocopies of a trade magazine article, a popular article, an academic journal essay, a print out of a useful page from an Internet site, and a copy of the first page of a useful book chapter. These articles must not necessarily be histories of the company but could be any article that gives you information about the company in the past (a movie review, a trade article about the company's financing or its business practices in an earlier time, an academic essay or book chapter on the social context in which the company was operating, etc.) ß A typed, double spaced essay of no more than three (3) pages discussing what information you were able to find in each of the different sources and what these benefits or drawbacks of these sources may be.

Sources and Citations Assignment Grade Breakdown: 100 points Analysis of sources – 30 points Finding insightful and interesting sources – 40 points Formatting citations properly – 20 points Style – 10 points

EXAMS Each exam will be a combination of short answer and essay. Your grade for the exam will be based on your ability to express your understanding of the material from lectures, reading, discussions and screenings.

FINAL PAPER Your final research paper (approximately 5-7 typed pages with proper MLA STYLE citations and a bibliography) is due ( Date) AT THE BEGINNING OF CLASS (in other words, not at the end of class). Before turning in your final paper you will hand in:

ß Paper proposal and thesis statement– ( DUE DATE) In one or two TYPED paragraphs, explain your paper: what you are writing about and how you will go about researching this topic. Be sure to narrow your idea to a manageable paper topic (for example, the "star system" is not a narrow topic; "whether the star system limited the opportunities for actresses to play a range of parts" is a good start – though you may narrow this even further, to perhaps focus on one particular actress, as you do research). You must also include a typed thesis statement. This statement should indicate what you are trying to prove. You must be specific (“The star system was important/good/bad/harmful” is not a specific thesis; while, “The star system helped studios market stars by allowing the studios to determine the roles that they played” is specific and interesting – especially if you then use examples of a specific actress).

ß Preliminary ANNOTATED bibliography and first paragraph– ( DUE DATE) This bibliography should include AT LEAST five sources formatted in the MLA style. As this is a research paper, it is important that you have a range of source materials to help you develop and support your thesis. Look for books, internet sites, academic journals, popular periodicals, etc. As this is an ANNOTATED BIBLIOGRAPHY, for each properly formatted reference you must include a brief paragraph (about 6 sentences) that summarizes the source and explains its usefulness for supporting your thesis.

YOU ARE STRONGLY ENCOURAGED TO COME UP WITH AN ORIGINAL TOPIC FOR YOUR RESEARCH PAPER; A TOPIC – PERTAINING TO THE HISTORY OF RADIO, TELEVISION OR FILM – THAT YOU FIND INTERESTING AND WANT TO LEARN ABOUT. However, if you are having difficulties coming up

Final Paper Grade Breakdown: 200 points Paper proposal - 10 points (5 points for description, 5 points for thesis statement) Bibliography - 40 points (25 points for bibliography, 15 points for first paragraph) Content: Presentation of clear and interesting thesis statement - 20 points Support of thesis through research - 40 points Support of thesis through your own analysis of research - 40 points Style: Clear and interesting writing style with a proper use of grammar and correct spelling - 30 points Properly formatted paper - 5 points Correct use of citations and properly formatted work cited page - 15 points

CLASS PARTICIPATION

Class Participation Grade Breakdown: 90 points Attendance – 30 points Participation in discussions in a constructive manner – 40 points Quizzes – 20

CLASS SCHEDULE

Week 1 Introduction Motion Picture Aesthetics: Silent Cinema Read: Oxford History of World Cinema (WC) pp.6-23 : Silent Cinema (continued) Screen: Rear Window (Hitchcock, 1954, 112 min.); Early silent films Read: WC pp.23-42; 183-192

Week 2 German Expressionism Read: WC pp.135-151 German Expressionism (continued) Screen: Nosferatu (Murnau, 1922, 75 min.)

© 2010 Elsevier, Inc. All rights reserved. Week 3 Soviet Montage Read: WC pp.159-174 MOVIE ADVERTISEMENT SEARCH DUE Soviet Montage/Italian Neorealism Read: WC pp.344-361 Italian Neorealism (continued) Screen: The Bicycle Thief (de Sica, 1948, 93 min.)

Week 4 Technological Innovation and Film Aesthetics – VISIONS OF LIGHT? I’M OUT Read: WC pp.211-219; 259-267; 483-490 Motion Picture Industry and Content: Movies and Audiences Read: WC pp.43-62 Screen: Singin’ in the Rain (Donen and Kelly, 1952)

Week 5 Classical Hollywood Studio System Read: WC pp.220-234 Classical Hollywood Studio System (continued) Read: WC pp.276-285; 443-451 Exam #1

Week 6 Film and Censorship Read: WC pp.235-248; 333-343 : Censorship (continued) Read: WC pp.490-496 Screen: She Done Him Wrong (Le Baron, 1933, 66 min.); Legacy of the Hollywood Blacklist (Chaikin, 60 min)

Week 7 Gender in Film Read: WC pp.516-526 PAPER PROPOSALS AND THESIS STATEMENTS DUE Gender in Film (continued)/Race in Film Read: WC pp.497-509 Race in Film (continued) Screen: I Like it Like That (Martin, 1994, 104 min.)

© 2010 Elsevier, Inc. All rights reserved. Week 8 The Discourses of Cinema: Art Cinema and the Auteur Read: WC pp.436-443 Art Cinema (continued) Read: WC pp.567-575 Screen: La Jetée (Marker, 1962, 28 min.); Wild Strawberries (Bergman, 1957, 90 min.)

Week 9 Art Cinema and National Cinemas Read: WC pp.427-435; 740-749 SOURCES AND CITATIONS ASSIGNMENT DUE National Cinemas (continued) Reading: WC pp.374-382; 614-632 Screen: Germany Pale Mother (Sanders-Brahms, 1980, 123 min.)

Week 10 Independent Cinema Read: WC pp.451-460 Independent Cinema (continued) Read: WC pp.475-483 ANNOTATED BIBLIOGRAPHY AND FIRST PARAGRAPH DUE Screen: "War of the Worlds" (60 min.); Annie Hall (Allen, 1977, 93 min.)

Week 11 Intro: Radio and Content Read: The Broadcast Century (BC) "In the Beginning," "1920s" Industrial Context of Radio Read: BC "1930s," "1940s" EXAM #2

Week 12 Intro: Television and Industrial Context Read: BC "1950s" Television Aesthetics: Live v. Filmed Read: "Days of Wine and Roses" (Frankenheimer, 1958, 90 min.); "The Untouchables" (60 min.) Read: WC pp.466-475; BC "1960s"

Week 13 Television Aesthetics: Live v. Filmed (continued) Television and Social Issues

© 2010 Elsevier, Inc. All rights reserved. Read: BC "1970s," "1980s" Television and Social Issues (continued) Screen: "All in the Family" (30 min.), "Good Times," (30 min.), "The Mary Tyler Moore Show" (30 min.)

Week 14 Intro: Non-narrative Media and Aesthetics: Documentary Read: WC pp.86-95; 322-333; 527-537 Screen: Cinema Verite (Wintonick, 1999) FINAL PAPERS DUE

Week 15 Non-narrative (continued): Experimental Media Read: WC pp.95-105; 537-551 Postmodernism Read: Hill (on reserve) Screen: The Icicle Thief (Nichetti, 1989, 90min.); The Myth of Liberal Media (1998, 60 min.)

Week 16 Conglomeration Read: BC "1990s"; Telecommunications Act of 1996 Globalization Read: BC "2000"