DOCSLIB.ORG

JOHNGART When the Writer Was 17, He Was THEATRE Ties) Does Not Identify the Organist

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
JOHNGART When the Writer Was 17, He Was THEATRE Ties) Does Not Identify the Organist JOHNGART When the writer was 17, he was THEATRE ties) does not identify the organist. given an Excelsior accordion as a ORGANIST but described him thusly: "Our or­ Christmas present. Accompanying ganist. while only a youngster. has the "abdominal Steinway" was a • been complimented very highly by catalogue showing all the models. the Wurlitzer Co .. the makers of our plus a page of illustrated endorse­ RADIO organ. which by the way. is the ments including one of John Gart of ORGANIST finest organ made. They have offered New York. The years passed until him a huge sum to join their forces November 1972 when we were talk­ • as a demonstrator, but our contract ing with Dr. C.A.J. Parmentier. and with him prevents him from accept­ when he mentioned theatre organist TV ORGANIST ing - now." John Gart. the name was instantly In 1925, Mr. Gart began playing recalled as a top-flight accordionist. • in Loew's theatres as a full-time However. Mr. Gart was also an organist. The first was the 1800-seat excellent theatre organist, pianist VAUDEVILLE Loew's Sheridan on Sheridan Square and conductor, and we prevailed CONDUCTOR and 14th Street. Second was the upon him to supply us with informa­ 2600-seat Loew's 83rd St. in Man­ tion which could be incorporated • hattan. In 1927, he began a very into a feature biography for THE­ successful three-year run in the ATRE ORGAN. Thanks. Dr. Par­ ACCORDIONIST 3600-seat Metropolitan in Brooklyn mentier. for providing Mr. Gart's which had a 3-manual Moller. He Florida address. • then had a stint at the Capitol The­ John Gart was born in Poland in atre's Estey. 1905. "I started studying music COMPOSER By this time. Loew's was construct­ when I was six. I was partly inter­ ing its sumptuous movie palaces in­ ested in it and partly made to be • cluding five "Wonder Theatres" in interested in it! My father was an the New York metropolitan area. On opera singer. When attending con­ COMMERCIAL January 12. 1929, John Gart opened certs. the conductor would lift me JINGLE Loew's Valencia Theatre in Jamaica, onto the podium. put a baton in my WRITER Long Island. It had one of the "Won­ hand. and I'd wave it in time with der Mortons." a 4/23 organ. "How I the music. This gave me some feeling • loved it!" he says . about rhythm, etc." The inaugural program included Studying the violin for eight RETIREE the overture "Slavonic Rhapsody" months didn't inspire him to great by the Valencia Symphony Orchestra heights. However. he discovered the with Don Albert conducting; MGM piano, and at the age of seven, he by Lloyd E. Klos News Events and Fox Movietone was accepted at the Imperial Con­ News; Organ solo "The Voice of the servatory of Music in Moscow where organist and pianist with an orches­ Organ" with John Gart "at the con­ he studied piano and theory with tra which played for silent movies in sole of the mighty Robert Morton Boris Levinson and counterpoint the Coliseum Theatre in Bay Ridge. organ;" a stage presentation "My under Reinhold Gliere. At the age of Brooklyn. Since all the members of Mantilla"; 16 Chester Hale Girls. twelve, he toured Europe. accom­ the orchestra were Italian, and I un­ backed by Walt Roesner's Valencia panying a concert violinist and an derstood very little English anyway. Stage Band; the feature movie opera singer. the orchestra leader addressed us all White Shadows in the South Seas In 1922. he imigrated to the in Italian. I was unaware of this and with Monte Blue and Raquel Torres; United States and studied organ with thought it was mostly English! I and the Recessional with John Gart Dr. Clarence Dickinson at the Brick couldn't fathom why my American at the organ. You really got your Presbyterian Church on New York's friends couldn't understand me!" money's worth in those days! Fifth Avenue, and with theatre or­ After a year. he became the reg­ "The Robert Morton organ. as I ganist Herbert Sisson, who had ular organist at a Wurlitzer in the remember. had the most wonderful played the Strand, Rialto and Rivoli Park Theatre at Fifth Avenue and sound. In fact. I liked it better than in New York. All of Mr. Gart's the­ 44th Street. The September 29, 1924 a Wurlitzer then. It approximated atre experience would be in the issue of the Park Theatre Times. a very closely the sound of orchestral metropolitan New York area. pamphlet handed out to patrons, (a instruments in a very sonorous and "My first job was in 1923 as relief feature of theatre-going in the twen- pleasing fashion. 10 THEATRE ORGAN APRIL- MAY. 1977 "My wife, Mims, reminded me of Your Sunny Side Up' was sung for pened, but when they realized how a very interesting incident which oc­ closing as a film of planes in action much better they were received by cured while I was playing at the was flashed onto the screen. This was the audience, they'd ask me to do it Valencia in 1930. In those days, we a thoroughly enjoyable solo." again and again! used song slides on the screen. and In 1932, Mr. Gart played the 2868- "It was customary for the per­ occasionally I used a vocalist offstage seat Loew's Gates Theatre in Brook­ formers while in the middle of their who would sing a popular hit. lyn. He was a vaudeville conductor. act to ask the leader for an instru­ "One day. I got the idea of having led his own group "The Rhythm ment and make believe that the y a singer perform from the pipe Boys." and performed organ solos. didn't know how to hold it. then chamber. directly behind the shut­ "I remember being a very serious break out with great sounds. But ters. (Shades of a C. Sharpe Minor individual. and was very concerned when I handed a performer a violin presentation!) The vocalist. Sunny with my work at first. However. when without strings. or a trumpet without O'Brien. used a megaphone as P.A. I became a vaudeville leader. all hell a mouthpiece. the audience loved it!" systems hadn't come to the fore. The broke loose! I used to play all k.jnds By this time, the use of organs in effect was very successful. and I of pranks on the performers. such as theatres was steadily decreasing. received many good comments on it. breaking them up while they were and the consoles were being lowered One came from a lady who stopped singing. I'd wear a crazy wig. funny into the pits forever. Fortunately for me on the street. saying that she rec­ mustache or cross-eyed glasses! some organists, they were able to ognized me, and that she loved the Their first impulse was not to notice, continue in the infant medium of organ solos; in fact, she thought it but they soon wound up in convul­ radio. Some stations had pipe organs was wonderful to hear the organ sive laughter. and the audience loved in their studios which was a blessing. make sounds like a human voice it! Others had the newly developed with words!" "Sometimes, I'd play their number Hammond (after 1935) which was In 1931. he was selected to open several tones higher or lower and mobile, enabling the instrument to three big Loew's presentation houses they'd lose themselves and blush! At be shunted from one studio to the - Pitkin. Paradise and Kings. The first, they didn't know what hap- other. silents had gone. of course. He also served as organist and musical con­ John Gart at Loew 's Metropolitan console in 1927. Moller had already adapted its church org ans for theatre ductor at Loew·s 46th St. Theatre use by adding romant ic stops and traps . in Brooklvn. An item from the inaugural pro­ gram of Loew's Pitkin Theatre says: "John Gart. who will preside over the new $100.000 (sic) Morton organ, a prized feature at Loew's Pitkin The­ atre. is well known as organist of leading deluxe theatres. The console. mounted on a revolving and dis­ appearing elevator, is one of the finest instruments of its kind." In the days of the Wonder Theatres. the organist played a spotlight solo, and after the entire program, a re­ cessional. The Motion Picture Herald, dated November 21, 1931, gives us an idea of the type of organ presentations given after the demise of the silents: "John Gart at Brooklyn's 46th St. Theatre, presented an up-to-the­ minute and pleasingly entertaining organ solo entitled 'Flying High.' Opening with a special lyric to '99 out of a Hundred,' as airplane ef­ fects were heard. the 'trip to the moon' started. At this time. the song sung by the audience was 'Makin' Faces at the Man In the Moon.' For the 'visit to Mars,' 'Stardust' was played and sung. A timely lyric about 'Lindy' was then sung to the tune of 'Japanese Sandman,' with special lyrics about the Graf Zeppelin to the tune ·Augustine' following. 'Keep APRIL - MAY. 1977 group played anything from swing to rhumbas and made several transcrip­ tions for Musak. A vocalist who got her start with this aggregation was Dinah Shore. John also appeared in 1939 on the NBC program Tas(v Yeast Jesters. He played an Excelsior piano accor­ dion, Peg LaCentra sang, and there was a string bass and a guitar.
Load more

Recommended publications
  • Radio TV Mirror
    JANICE GILBERT The girl who gave away MIRRO $3,000,000! ARTHUR GODFREY BROOK BYRON BETTY LU ANN SIMMS ANN GROVE ! ^our new Lilt home permaTient will look , feel and stay like the loveliest naturally curly hair H.1 **r Does your wave look as soft and natural as the Lilt girl in our picture? No? Then think how much more beautiful you can be, when you change to Lilt with its superior ingredients. You'll be admired by men . envied by women ... a softer, more charming you. Because your Lilt will look, feel and stay like naturally curly hair. Watch admiring eyes light up, when you light up your life with a Lilt. $150 Choose the Lilt especially made for your type of hair! plus tax Procter £ Gambles new Wt guiJ. H Home Permanent tor hard-to-wave hair for normal hair for easy-to-wave hair for children's hair — . New, better way to reduce decay after eating sweets Always brush with ALL- NEW IPANA after eating ... as the Linders do . the way most dentists recommend. New Ipana with WD-9 destroys tooth-decay bacteria.' s -\V 77 If you eat sweet treats (like Stasia Linder of Massa- Follow Stasia Linder's lead and use new Ipana regularly pequa, N. Y., and her daughter Darryl), here's good news! after eatin g before decay bacteria can do their damage. You can do a far better job of preventing cavities by Even if you can't always brush after eating, no other brushing after eatin g . and using remarkable new Ipana tooth paste has ever been proved better for protecting Tooth Paste.
    [Show full text]
  • The Diamond of Psi Upsilon Mar 1951
    THE DIAMOND OF PSI UPSILON MARCH, 1951 VOLUME XXXVll NUMBER THREE Clayton ("Bud") Collyer, Delta Delta '31, Deacon and Emcee (See Psi U Personality of the Month) The Diamond of Psi Upsilon OFFICIAL PUBLICATION OF PSI UPSILON FRATERNITY Volume XXXVll March, 1951 Number 3 AN OPEN FORUiM FOR THE FREE DISCUSSION OF FRATERNITY MATTERS IN THIS ISSUE Page Psi U Personality of the Month 70 The 118th National Convention Program 71 Highlights in the Mu's History 72 The University of Minnesota 74 The Archives 76 The Psi Upsilon Scene 77 Psi U's in the Civil War 78 Psi U Lettermen 82 Pledges and Recent Initiates 83 The Chapters Speak 88 The Executive Council and Alumni Association, Officers and Mem bers 100 Roll of Chapters and Alumni Presidents Cover III General Information Cover IV EDITOR Edward C. Peattie, Phi '06 ALUMNI EDITOR David C. Keutgen, Lambda '42 ADVISORY COMMITTEE ON THE DIAMOND J. J. E. Hessey, Nu '13, Chairman Herbert J. Flagg, Theta Theta '12 Walter S. Robinson, Lambda '19 A. Northey Jones, Beta Beta '17 S. Spencer Scott, Phi '14 (ex-officio) LeRoy J. Weed, Theta '01 Oliver B. Merrill, Jr., Gamma '25 (ex-officio) Publication Office, 450 Ahnaip St., Menasha, Wis. Executive and Editorial Offices Room 510, 420 Lexington Ave., New York 17, N.Y. Life Subscription, $15; By Subscription, $1.00 per year; Single Copies, 50 cents Published in November, January, March and June by the Psi Upsilon Fraternity. Entered as Second Class Matter January 8, 1936, at the Post Office at Menasha, Wisconsin, under the Act of August 24, 1912.
    [Show full text]
  • MAY 4 Quadracci Powerhouse
    APRIL 8 – MAY 4 Quadracci Powerhouse By David Bar Katz | Directed by Mark Clements Judy Hansen, Executive Producer Milwaukee Repertory Theater presents The History of Invulnerabilty PLAY GUIDE • Play Guide written by Lindsey Hoel-Neds Education Assistant With contributions by Margaret Bridges Education Intern • Play Guide edited by Jenny Toutant Education Director MARK’S TAKE Leda Hoffmann “I’ve been hungry to produce History for several seasons. Literary Coordinator It requires particular technical skills, and we’ve now grown our capabilities such that we can successfully execute this Lisa Fulton intriguing exploration of the life of Jerry Siegel and his Director of Marketing & creation, Superman. I am excited to build, with my wonder- Communications ful creative team, a remarkable staging of this amazing play that will equally appeal to theater-lovers and lovers of comic • books and superheroes.”” -Mark Clements, Artistic Director Graphic Design by Eric Reda TABLE OF CONTENTS Synopsis ....................................................................3 Biography of Jerry Siegel. .5 Biography of Superman .....................................................5 Who’s Who in the Play .......................................................6 Mark Clements The Evolution of Superman. .7 Artistic Director The Golem Legend ..........................................................8 Chad Bauman The Übermensch ............................................................8 Managing Director Featured Artists: Jef Ouwens and Leslie Vaglica ...............................9
    [Show full text]
  • XXXI:4) Robert Montgomery, LADY in the LAKE (1947, 105 Min)
    September 22, 2015 (XXXI:4) Robert Montgomery, LADY IN THE LAKE (1947, 105 min) (The version of this handout on the website has color images and hot urls.) Directed by Robert Montgomery Written by Steve Fisher (screenplay) based on the novel by Raymond Chandler Produced by George Haight Music by David Snell and Maurice Goldman (uncredited) Cinematography by Paul Vogel Film Editing by Gene Ruggiero Art Direction by E. Preston Ames and Cedric Gibbons Special Effects by A. Arnold Gillespie Robert Montgomery ... Phillip Marlowe Audrey Totter ... Adrienne Fromsett Lloyd Nolan ... Lt. DeGarmot Tom Tully ... Capt. Kane Leon Ames ... Derace Kingsby Jayne Meadows ... Mildred Havelend Pink Horse, 1947 Lady in the Lake, 1945 They Were Expendable, Dick Simmons ... Chris Lavery 1941 Here Comes Mr. Jordan, 1939 Fast and Loose, 1938 Three Morris Ankrum ... Eugene Grayson Loves Has Nancy, 1937 Ever Since Eve, 1937 Night Must Fall, Lila Leeds ... Receptionist 1936 Petticoat Fever, 1935 Biography of a Bachelor Girl, 1934 William Roberts ... Artist Riptide, 1933 Night Flight, 1932 Faithless, 1931 The Man in Kathleen Lockhart ... Mrs. Grayson Possession, 1931 Shipmates, 1930 War Nurse, 1930 Our Blushing Ellay Mort ... Chrystal Kingsby Brides, 1930 The Big House, 1929 Their Own Desire, 1929 Three Eddie Acuff ... Ed, the Coroner (uncredited) Live Ghosts, 1929 The Single Standard. Robert Montgomery (director, actor) (b. May 21, 1904 in Steve Fisher (writer, screenplay) (b. August 29, 1912 in Marine Fishkill Landing, New York—d. September 27, 1981, age 77, in City, Michigan—d. March 27, age 67, in Canoga Park, California) Washington Heights, New York) was nominated for two Academy wrote for 98 various stories for film and television including Awards, once in 1942 for Best Actor in a Leading Role for Here Fantasy Island (TV Series, 11 episodes from 1978 - 1981), 1978 Comes Mr.
    [Show full text]
  • CATCH ME IF YOU CAN Written by Jeff Nathanson
    CATCH ME IF YOU CAN Written by Jeff Nathanson 1 INT. - GAME SHOW SET. - DAY 1 BLACK AND WHITE FOOTAGE FROM 1978 MUSIC UP: A simple GAME SHOW SET -- one long desk-that houses four "CELEBRITY PANELISTS," a small pulpit with attached microphone for the host, BUD COLLYER, who walks through the curtain to the delight of the audience. Bud bows and waves to the celebrities -- ORSON BEAN, KITTY CARLISLE, TOM POSTON, and PEGGY CASS. BUD COLLYER Hello, panel, and welcome everyone to another exciting day on "To Tell The Truth." Let's get the show started. THE CURTAIN STARTS TO RISE BRIGHT LIGHTS SHINE on the faces of THREE MEN who walk toward center stage. All thre n wear identical AIRLINE PILOT UNIFORMS, each with m; c ng blue blazers and caps. (cont' d) Gentleman, please state your names. PILOT #1 My name is Frank Abagnale Jr. THE PILOT IN THE MIDDLE steps forward. PILOT #2 My name is Frank Abagnale Jr. THE THIRD PILOT does the same. PILOT #3 My name is Frank Abagnale Jr. Bud smiles, grabs a piece of paper. BUD COLLYER Panel, listen to this one. (he starts to read) My name is Frank Abagnale Jr, and some people consider me the worlds greatest imposter. (CONTINUED) Debbie Zane - 2. 1 CONTINUED: 1 As Bud reads, the CAMERA SLOWLY PANS the faces of the three PILOTS. BUD COLLYER (cont'd) (READING) From 1964 to 1966 I successfully impersonated an airline pilot for Pan Am Airlines, and flew over two million miles for free. During that time I was also the Chief Resident Pediatrician at a Georgia hospital, the Assistant Attorney General for the state of Louisiana, and a Professor of American History at a prestigious University in France.
    [Show full text]
  • THE DARK PAGES the Newsletter for Film Noir Lovers Vol
    THE DARK PAGES The Newsletter for Film Noir Lovers Vol. 6, Number 1 SPECIAL SUPER-SIZED ISSUE!! January/February 2010 From Sheet to Celluloid: The Maltese Falcon by Karen Burroughs Hannsberry s I read The Maltese Falcon, by Dashiell Hammett, I decide on who will be the “fall guy” for the murders of Thursby Aactually found myself flipping more than once to check and Archer. As in the book, the film depicts Gutman giving Spade the copyright, certain that the book couldn’t have preceded the an envelope containing 10 one-thousand dollar bills as a payment 1941 film, so closely did the screenplay follow the words I was for the black bird, and Spade hands it over to Brigid for safe reading. But, to be sure, the Hammett novel was written in 1930, keeping. But when Brigid heads for the kitchen to make coffee and the 1941 film was the third of three features based on the and Gutman suggests that she leave the cash-filled envelope, he book. (The first, released in 1931, starred Ricardo Cortez and announces that it now only contains $900. Spade immediately Bebe Daniels, and the second, the 1936 film, Satan Met a Lady, deduces that Gutman palmed one of the bills and threatens to was a light comedy with Warren William and Bette Davis.) “frisk” him until the fat man admits that Spade is correct. But For my money, and for most noirists, the 94 version is the a far different scene played out in the book where, when the definitive adaptation. missing bill is announced, Spade ushers Brigid The 1941 film starred Humphrey Bogart into the bathroom and orders her to strip naked as private detective Sam Spade, along with to prove her innocence.
    [Show full text]
  • Radio TV Mirror
    EXTRA FEATURES Steve Allen Win Elliot Joan Caulfield TERRY O'SULLIVAN Search For Tomorrow MARY SHIPP Irma's New Friend the GODFREY and LA ROSA storied MIKE WALLACE I'll Buy That HER Pamper your beauty with new Camay! PETAL-SOFT SKIN GOES Wonderful for complexion and* bath! STRAIGHT TO HIS HEART! Here's wonderful news about complexion care ! Now Camay contains fine cold cream. And Camay alone among leading beauty soaps brings you this luxury ingredient. More delightful than ever before! Whether your skin is dry or oily, new Camay leaves it feeling exquisitely cleansed, won- derfully fresh. And Camay with cold cream brings new luxury to your Beauty Bath, too! You still get everything that's always made Camay a treasure . the softer com- plexion that's yours when you change to regular care and Camay, that velvety Camay lather, famous Camay mildness, and delicate fragrance yours only in Camay. LOOK FOR NEW CAMAY IN THE SAME FAMILIAR WRAPPER. It's at your store now— at no extra cost. And there's no finer beauty soap in all the world! NOW MORE THAN EVER THE SOAP OF BEAUTIFUL WOMEN Best way* to reduce tooth decay . stop bad breath NEW IPANA WITH ANTI-ENZYME WD-9 New Ipana's enzyme-fight- ing foam helps your child take good care of his teeth. ^*^5?' .it If excessive cavities bother your family, blame it on bacterial- "Using new Ipana with WD-9 regularly after meals is the best enzyme action. It is a principal cause of most tooth decay. So way to reduce decay and banish unpleasant mouth odor all day.
    [Show full text]
  • 1948-02-20, [P ]
    d Friday, February 20,1948 TOLEDO UNION JOURNAL Page Five “My Girl Tisa” Esther Williams ■y ■v Battling 7 lie Keys ''-n ‘ '■! / ' * HOLLYWOOD — Esther Williams is trying to dupli­ cate her speed in the swim­ ming pool on a typewriter. The amphibious Metro- Goldwyn-Mayer star, re­ Fortune Tn Jewels cently returned from a per­ Teen-Agers Find Hollywood sonal appearance tour in Screen-Tested AVith connection with the Tech­ Barbara Stanwyck nicolor musical, “This Time Land Of Opportunity HOLLYWOOD — A fortune For Keeps,” is battling a January 1 deadline. HOLLYWOOD—Hollywood is the teen-agers best booster. in jewels to be worn by Barbara % In no other field of professional activity do ambitious adol­ Stanwyck in Hal Wallis’ “Sorry, Scheduled for summer escents get so many opportunities of putting their talents to work release> Miss Williams’ with such profitable results in keeping the piggy bank full. The Wrong Humber” was screen- 41 / fy. Ok' AA-Aa^A^A book, “Or Would You tested at Paramount when a Rather Be A Fish?” must movie-makers have long made a jractice of keeping their talent reach publishers Doubleday, scouts on the lookout fo promis­ quarter of a million dollars in Doran and Company, be­ ing teen-age material for future T7i roiving Gurred diamonds and other precious stardom. stones were photographed. 0 "W'J fore the New Year. Petite Wanda Hendrix, whose A guide to swimming, A heavy squad of studio five feet, two inches hardly ta. the book covers all angles measure up to her large abilities % police was stationed on Stage 7 of the aquatic art.
    [Show full text]
  • 1949-02-11, [P ]
    Cho9* Variety of POLISH JlOME COOKED MEAL* EVERY DAY LIQUORSU WINES—BEER MIXED DRINKS Open Daily from 6:00 A. M SPECIAL SUNDAY DINNERS tok:3&.A M Friday, February 11, 1949 TOLEDO UNION JOURNAL Page Five Visiting Time IWewissaBid <a<»Ksip I BARBERSHOPPING I FINISHED '/> 11 TV 1 HOLLYWOOD — The “Bar- ( yQ O Pl ber Shop Quartet” number in CX k-/ X Xvl. geon, Johnson Top M e t r o-Goldwyn-Mayer’s “The! 7 Good Old Summertime,” has! wound up shooting, completing; w i the list of musical selections toi AlbStar ‘ Command Decision” be filmed. Judy Garland was z/- E<SCRE 0 featured in the number. I ^,4^ Releaaetf by WNU Feature*. For sheer thrills, mounting suspense and heart-gr:——g in­ O Give Lizabeth Scott a good tensity, there has never been a picture like “Command on,” death scene and she's happy. She Glamour. Inc the explosive, star-studded drama coming to the Valentine The­ didn’t like the one in “Dead atre. Reckoning” — “It was only a When you consider that the all-male cast of this new M-G-M three-line scene, and the dial­ offering is headed by such top ogue was terrible,” she explained film personalities, as Clark Ga­ at lunch the other day. “But I Iturbi Is Veteran ble, Walter Pidgeon, Van John­ have a five-line scene in “Bitter son, Brian Donlevy, John Hod- Victory,” and it was supervised In Films, After All iak, Charles Bickford and Ed­ by a famous doctor, so it’s abso­ HOLLYWOOD — When­ ward Arnold, you have an idea lutely authentic.” ever anyone congratulates of the importance attached by Jose Iturbi, who is one of M-G-M to its film version of the the headliners of “That Mid­ smach Broadway stage success.
    [Show full text]
  • The Development of Audience Participation Programs on Radio And
    Copyright by Patrick Brrett Welch 1956 THE DEVELOPMBHT OP AUDIENCE PARTICIPATION PROGRAMS ON RADIO AND TELEVISION NETWORKS THROUGH THE SEASON OP 19^6-$7 DISSERTATION Presented in Partial Pulfillment of the Requirements for the Degree Doctor of Philosophy in the Graduate School of The Ohio State University By PATRICK ERRETT WELCH, B. A., A. M, ******* The Ohio State University 1958 Approved by; Adviser Department of ^eeeh TABLE OF C0NTENT3 CHAPTER PAGE I. INTRODUCTION ............................ .. 1 The Audience Participation Program . • • 3 Types of Audience Participation Programs 7 Human Interest Programs ...... 7 Studio Quiz Programs ............... 8 Telephone Quiz Programs ......... 9 Stunt Programs .................. 10 Organization of tho Dissertation ..... 11 Major Sources of Information ....... 13 Previous Academic Studies .......... 15 Periodicals and Newspapers .......... .. 22 Trade Publications ........ 23 Previous Qualitative Research • • • . 21*. II. HISTORICAL DEVELOPMENT OP AUDIENCE PARTICIPATION PRO (SLAMS............... 27 Introduction of Audience Participation Types ......... .............. 30 Use of Audience Participation Programs In Radio Networks ..................... 32 Reasons for Extensive Use ...... 36 Reasons for Decline in Extensive Use . * 38 Use of Audience Participation Programs on TV Networks lf.3 ii Ill CHAPTER PAGE Reasons for Extensive Use ...... 1^3 The Shift from Nighttime to Daytime Programming ......................... i|4 Nighttime to Daytime on Radio Networks . 1^.6 Nighttime to Daytime on Television N e t w o r k s ........................... ii7 III. HUMAN INTEREST PROGRAMS ON RADIO NETWORKS . 1;9 Extent of Use of Human Interest Programs . ^2 General Popularity of Programs of the Type ..................... Human Interest Programs on Radio Networks. SS Individual Human Interest Programs • . • 57 Court of Human Relations ...... Si de-Walk Interviews ................ 59 We, The People ....................
    [Show full text]
  • Up, up and Across: Superman, the Second World War and the Historical Development of Transmedia Storytelling’
    Freeman, M. (2015) ‘Up, up and across: Superman, the Second World War and the historical development of transmedia storytelling’. Historical Journal of Film, Radio and Television, 35 (2): 215-239. This is an Accepted Manuscript of an article published by Taylor & Francis Group in Historical Journal of Film, Radio and Television on 08/08/2014 available online: http://www.tandfonline.com/10.1080/01439685.2014.941564 ResearchSPAce http://researchspace.bathspa.ac.uk/ This version is made available in accordance with publisher policies. Please cite only the published version using the reference above. Your access and use of this document is based on your acceptance of the ResearchSPAce Metadata and Data Policies, as well as applicable law:- https://researchspace.bathspa.ac.uk/policies.html Unless you accept the terms of these Policies in full, you do not have permission to download this document. This cover sheet may not be removed from the document. Please scroll down to view the document. Up, Up and Across: Superman, World War II, and the Historical Development of Transmedia Storytelling Abstract: Re-contextualising the industrial evolution of transmedia storytelling – itself typically branded a product of contemporary media convergence – this article examines the industrial role of transmedia storytelling during a period of Classical Hollywood. Exploring the roles of licensing, corporate authorship, and cross-industrial relations amidst the cultural context of World War II, the article draws on Superman and the expansions of the character’s storyworld across multiple media during the 1940s and 1950s to assess how the media of comics, radio, cinema, and television can be recognised during this period as convergent industry platforms where transmedia narratives unfolded.
    [Show full text]
  • Film Noir Database
    www.kingofthepeds.com © P.S. Marshall (2021) Film Noir Database This database has been created by author, P.S. Marshall, who has watched every single one of the movies below. The latest update of the database will be available on my website: www.kingofthepeds.com The following abbreviations are added after the titles and year of some movies: AFN – Alternative/Associated to/Noirish Film Noir BFN – British Film Noir COL – Film Noir in colour FFN – French Film Noir NN – Neo Noir PFN – Polish Film Noir www.kingofthepeds.com © P.S. Marshall (2021) TITLE DIRECTOR Actor 1 Actor 2 Actor 3 Actor 4 13 East Street (1952) AFN ROBERT S. BAKER Patrick Holt, Sandra Dorne Sonia Holm Robert Ayres 13 Rue Madeleine (1947) HENRY HATHAWAY James Cagney Annabella Richard Conte Frank Latimore 36 Hours (1953) BFN MONTGOMERY TULLY Dan Duryea Elsie Albiin Gudrun Ure Eric Pohlmann 5 Against the House (1955) PHIL KARLSON Guy Madison Kim Novak Brian Keith Alvy Moore 5 Steps to Danger (1957) HENRY S. KESLER Ruth Ronan Sterling Hayden Werner Kemperer Richard Gaines 711 Ocean Drive (1950) JOSEPH M. NEWMAN Edmond O'Brien Joanne Dru Otto Kruger Barry Kelley 99 River Street (1953) PHIL KARLSON John Payne Evelyn Keyes Brad Dexter Frank Faylen A Blueprint for Murder (1953) ANDREW L. STONE Joseph Cotten Jean Peters Gary Merrill Catherine McLeod A Bullet for Joey (1955) LEWIS ALLEN Edward G. Robinson George Raft Audrey Totter George Dolenz A Bullet is Waiting (1954) COL JOHN FARROW Rory Calhoun Jean Simmons Stephen McNally Brian Aherne A Cry in the Night (1956) FRANK TUTTLE Edmond O'Brien Brian Donlevy Natalie Wood Raymond Burr A Dangerous Profession (1949) TED TETZLAFF George Raft Ella Raines Pat O'Brien Bill Williams A Double Life (1947) GEORGE CUKOR Ronald Colman Edmond O'Brien Signe Hasso Shelley Winters A Kiss Before Dying (1956) COL GERD OSWALD Robert Wagner Jeffrey Hunter Virginia Leith Joanne Woodward A Lady Without Passport (1950) JOSEPH H.
    [Show full text]