The Jack Benny Program Episode Guide
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An Analysis of Hegemonic Social Structures in "Friends"
"I'LL BE THERE FOR YOU" IF YOU ARE JUST LIKE ME: AN ANALYSIS OF HEGEMONIC SOCIAL STRUCTURES IN "FRIENDS" Lisa Marie Marshall A Dissertation Submitted to the Graduate College of Bowling Green State University in partial fulfillment of the requirements for the degree of DOCTOR OF PHILOSOPHY August 2007 Committee: Katherine A. Bradshaw, Advisor Audrey E. Ellenwood Graduate Faculty Representative James C. Foust Lynda Dee Dixon © 2007 Lisa Marshall All Rights Reserved iii ABSTRACT Katherine A. Bradshaw, Advisor The purpose of this dissertation is to analyze the dominant ideologies and hegemonic social constructs the television series Friends communicates in regard to friendship practices, gender roles, racial representations, and social class in order to suggest relationships between the series and social patterns in the broader culture. This dissertation describes the importance of studying television content and its relationship to media culture and social influence. The analysis included a quantitative content analysis of friendship maintenance, and a qualitative textual analysis of alternative families, gender, race, and class representations. The analysis found the characters displayed actions of selectivity, only accepting a small group of friends in their social circle based on friendship, gender, race, and social class distinctions as the six characters formed a culture that no one else was allowed to enter. iv ACKNOWLEDGMENTS This project stems from countless years of watching and appreciating television. When I was in college, a good friend told me about a series that featured six young people who discussed their lives over countless cups of coffee. Even though the series was in its seventh year at the time, I did not start to watch the show until that season. -
ESO Highnotes November 2020
HighNotes is brought to you by the Evanston Symphony Orchestra for the senior members of our community who must of necessity isolate more because of COVID-!9. The current pandemic has also affected all of us here at the ESO, and we understand full well the frustration of not being able to visit with family and friends or sing in soul-renewing choirs or do simple, familiar things like choosing this apple instead of that one at the grocery store. We of course miss making music together, which is especially difficult because Musical Notes and Activities for Seniors this fall marks the ESO’s 75th anniversary – our Diamond Jubilee. While we had a fabulous season of programs planned, we haven’t from the Evanston Symphony Orchestra been able to perform in a live concert since February so have had to push the hold button on all live performances for the time being. th However, we’re making plans to celebrate our long, lively, award- Happy 75 Anniversary, ESO! 2 winning history in the spring. Until then, we’ll continue to bring you music and musical activities in these issues of HighNotes – or for Aaron Copland An American Voice 4 as long as the City of Evanston asks us to do so! O’Connor Appalachian Waltz 6 HighNotes always has articles on a specific musical theme plus a variety of puzzles and some really bad jokes and puns. For this issue we’re focusing on “Americana,” which seems appropriate for Gershwin Porgy and Bess 7 November, when we come together as a country to exercise our constitutional right and duty to vote for candidates of our choice Bernstein West Side Story 8 and then to gather with our family and friends for Thanksgiving and completely spoil a magnificent meal by arguing about politics… ☺ Tate Music of Native Americans 9 But no politics here, thank you! “Bygones” features things that were big in our childhoods, but have now all but disappeared. -
Jazz and Radio in the United States: Mediation, Genre, and Patronage
Jazz and Radio in the United States: Mediation, Genre, and Patronage Aaron Joseph Johnson Submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy in the Graduate School of Arts and Sciences COLUMBIA UNIVERSITY 2014 © 2014 Aaron Joseph Johnson All rights reserved ABSTRACT Jazz and Radio in the United States: Mediation, Genre, and Patronage Aaron Joseph Johnson This dissertation is a study of jazz on American radio. The dissertation's meta-subjects are mediation, classification, and patronage in the presentation of music via distribution channels capable of reaching widespread audiences. The dissertation also addresses questions of race in the representation of jazz on radio. A central claim of the dissertation is that a given direction in jazz radio programming reflects the ideological, aesthetic, and political imperatives of a given broadcasting entity. I further argue that this ideological deployment of jazz can appear as conservative or progressive programming philosophies, and that these tendencies reflect discursive struggles over the identity of jazz. The first chapter, "Jazz on Noncommercial Radio," describes in some detail the current (circa 2013) taxonomy of American jazz radio. The remaining chapters are case studies of different aspects of jazz radio in the United States. Chapter 2, "Jazz is on the Left End of the Dial," presents considerable detail to the way the music is positioned on specific noncommercial stations. Chapter 3, "Duke Ellington and Radio," uses Ellington's multifaceted radio career (1925-1953) as radio bandleader, radio celebrity, and celebrity DJ to examine the medium's shifting relationship with jazz and black American creative ambition. -
OSHER LIFELONG LEARNING INSTITUTE Spring Seminar Schedule March 12 – May 4, 2018 Online Registration Begins February 5, 2018
MBA Program OSHER LIFELONG LEARNING INSTITUTE Spring Seminar Schedule March 12 – May 4, 2018 Online Registration Begins February 5, 2018 Celebrating 22 Years of Lifelong Learning! OSHER LIFELONG LEARNING INSTITUTE Celebrating 23 Years of Lifelong Learning! CONTENTS About Us UDOLLI Information 3-5 Index by Topic 6-7 Program Information 47 Moderators 51 What We’re Offering Seminars 8-49 Seminar Calendar 59 Join Us! Membership Information 56 How to Register 58 Directions and Map 60-61 Registration Form 63 2 WELCOME TO THE OSHER OSHER LIFELONG LEARNING LIFELONG LEARNING INSTITUTE INSTITUTE AT THE UNIVERSITY OF DAYTON The University of Dayton Osher Lifelong Learning Institute (UDOLLI) began 23 years ago as the University of Dayton Institute for Learning in Retirement or UDILR. Since 2004, we have been proud members of the Osher Lifelong Learning Network, a group of more than 100 institutes across the country dedicated to meeting the needs of adult learners over 50 years of age who wish to gather for the joy of learning and personal fulfillment. OUR MISSION STATEMENT The purpose of the Osher Lifelong Learning Institute at the University of Dayton is to offer adults 50 years or better a wide variety of seminars based on the peer-learning concept and designed to be intellectually stimulating in an informal and noncompetitive environment. We are a vibrant community We are adults with wide-ranging interests in art, current events, health and fitness, history, literature, music, religion, and science. A curriculum committee works with the Executive Director of Special Programs and Continuing Education to select our curriculum on the basis of member requests, the expertise of moderators, variety, and balance. -
LEO ARNAUD (1904-1991), TROMBONIST, COMPOSER, FILM Tviusician
INFORMATION TO USERS This manuscript has been reproduced from the microfilm master. UMI films the text directly from the original or copy submitted. Thus, some thesis and dissert.~tion copies are in typewriter face, while others may be from any type of computer printer. The quality of this reproduction is dependent upon the quality of the copy submitted. Broken or indistinct print, colored or poor quality illustrations and photographs, print bleedthrough, substandard margins, and improper alignment can adversely affect reproduction. In the unlikely event that the author did not send UMI a complete manuscript and there are missing pages, these will be noted. Also, if unauthorized copyright material had to be removed, a note will indicate the deletion. Oversize materials (e.g., maps, drawings, charts) are reproduced by sectioning the original, beginning at the upper left-hand corner and continuing from left to right in equal sections with small overlaps. Each original is also photographed in one exposure and is included in reduced form at the back of the book. Photographs included in the original manuscript have been reproduced xerographically in this copy. Higher quality 6" x 9" black and white photographic prints are available for any photographs or illustrations appearing in this copy for an additional charge. Contact UMI directly to order. UMI A Bell & Howell Information Company 300 North Zeeb Road, Ann Arbor MI 48106-1346 USA 313n61-4700 800/521-0600 LEO ARNAUD (1904-1991), TROMBONIST, COMPOSER, FILM tviUSICIAN: A BIOGRAPHICAL SKETCH AND CATALOGUE OF MUSICAL WORKS AND FILMS by Michael L. Kolstad A Dissertation Submitted to the the Faculty of the Graduate School at The University of North Carolina at Greensboro in Partial Fulfillment of the Requirements for the Degree Doctor of Musical Arts Greensboro 1996 Approved by UMI Number: 9705293 Copyright 1996 by Kolstad, Michael L. -
Jack Benny Program 1953 Sep-Dec.Pdf
-'^:AD-IH TO THE COMMERCIAL Bv JACK BENRY Affi} TAG DI'.iEOTLYBY JACK BENNY IdAS RELEASED FflCM a>)C SOS ANGELES, BECAUSE OF TV PROGRAM BEING SEEN AT 10 P1S-LOS ANGELES TIME, RY ;KU1 016+2-1 0 1 PROGRAM $`1 REVISID SCRIPT 11~7 it /15 IJrOGC/CUSf' AbIERICAN''16SACC~O COMP~ LUCK? STRII~ TfIE JACK SRPIPIY PROGHAM SurIDas, SEPTEMW 13, 1953 CES 4 :00-4 :30 PM PDT (TRANSCRI3ED Sr PT . 9, 1953) KT R1'Y;tJ1 018410 2 THE .TA.CK BF~NNY PROGRAM AMIIdTCPN TOBACCO CO . "SEPTEMBER 13, 1953 (Transcribed September 9, 1953) OPENING COM[uIERCIAL : WILSON : The Jack Benny program . transcribed ar.d presented by Lucky Strike! (Pause) You know, friends . smoking enjoyment is all a matter of taste! And the fact of the matter is . ~ ' COLLINS ; Luckies taste better CHORUS : Cleaner, fresher, smoother COLISNS : Luckies taste better CHCRUS ; Cleaner, fresher, smoother For Lucky Strike means fine tobacco Richer tasting fine tobacco COLLINS ; Luckies taste better CHORUS : Cleaner, fresher, smoother Lucky Strike . Lucky StriKe WITSON : This is Don Wilson . You know, your enjoyment of a I cigarette depends on its taste . That's true, friends . Smoking enjoyment is all a matter of taste . And the fact of the matter,is -- Luckies taste better . cleaner, fresher, smoother . Now there are two mighty good reasons for that . The first one you already know . iS/MFT, :.ucky 1 Strike means fine tobacco . light, naturally mi':d, good-tasting tobacco . And second, Luckies are made to taste better -- made round and firm and fully packed to draw freely and smoke evenly . -
Jack Benny Program 1954 Jan-Mar.Pdf
PROGRAM #17 FGVISED SCRIPT THA AMERICAN TOBACCO COMPANY_ 7.UCISY °TRII{E THE JArK BENNY p RCGRAM OiRVDAY,,,,_SAMLARY~;,1954 ^B° 4 :0_0 ° &, .30 PM PS'P (TRAN50RIE1ED DEC-wMBF~'R 23, 1953) (=17 ' X 0 9 C71 84 5? 'PEsE AMG7iI0AN TO&1CC0 CObII'ANY "TI-IF JACg 3EP7NY _rAC_GRAM" #17 7 :00 - i :30 PM EST JANUARY 3 . 1994 SUMIAY WILSON : THE JAC={'3ENNY PRCGRA[4 . .Transcribed anrl presented by LL"CR~' SLRIISE! COLS.INS : Luckies taste better : CF_ORUS : Cleaner, Fresher, Smoocner! COLLINS : Luckies taste better! C YiORUS : Cieener, Fresher, Smootner! For Lucky Strike means fine tobacco Richer-tasting fine tobacco COLLINS : Luckies taste better! CHORUS : Cleaner, Fresher, Smootiner! Lucky Strike : Lucky Strike : WILSON : This ia Don Wilson. Friends, -.;nereos no doubt =_bout 1t . Smoking enjoytt;nt is all a matter of taste . And the fact of the matter is I l uckies taste better, Cleaner., Fresher, Smoother . Now, freshness is particularly important, for if a ci g arette isn't truly fresh, it oan ' t possibly give you the an j oviwnc it should . That ' s why every pack of Luckies is extra tightly sealed -- to bring you Luckies' better taste in all its netural frestmess . Yes, Luckies do taste better because -- f irst LS/P+ E T - Lucky 3trike meana iine tobacco . Then, too, Luckies taste better because they ' re made better, ., made round and firm and fully _.acked, to draw freely and smoke evenly . Mo,s_" I ) HT .'s6 0 1 CI 18457 4 . 4fENING COWk.RCL1L (CO :VTINIIED) tif1L50N : (GOSFPIM7ED) So, £rierAs, smoke the cigarette that has better teste ur"nen it ' s niade, and then brings you all that better tssce '_n a fresh cigarette . -
The Audiences and Fan Memories of I Love Lucy, the Dick Van Dyke Show, and All in the Family
Viewers Like You: The Audiences and Fan Memories of I Love Lucy, The Dick Van Dyke Show, and All in the Family Mollie Galchus Department of History, Barnard College April 22, 2015 Professor Thai Jones Senior Thesis Seminar 1 Table of Contents Acknowledgements..........................................................................................................................3 Introduction......................................................................................................................................4 Chapter 1: I Love Lucy: Widespread Hysteria and the Uniform Audience...................................20 Chapter 2: The Dick Van Dyke Show: Intelligent Comedy for the Sophisticated Audience.........45 Chapter 3: All in the Family: The Season of Relevance and Targeted Audiences........................68 Conclusion: Fan Memories of the Sitcoms Since Their Original Runs.........................................85 Bibliography................................................................................................................................109 2 Acknowledgments First, I’d like to thank my thesis advisor, Thai Jones, for guiding me through the process of writing this thesis, starting with his list of suggestions, back in September, of the first few secondary sources I ended up reading for this project, and for suggesting the angle of the relationship between the audience and the sitcoms. I’d also like to thank my fellow classmates in the senior thesis seminar for their input throughout the year. Thanks also -
Jack Benny Program 1950 Sep-Oct.Pdf
A T r) •t rl r~Q -0 1 10 PROGRAM #1 REVISED SCRIPT AMERICAN TOBACCO COMPANY LUCBY STRIKE THE JACK BENNY PROGRAM B D SUNDAY, SE.PTIIVSMAS 10, ROA1950 CASTCBS 4 : 00 -4 : 30 PM CDT , . ._•.~ ~ .u . .F 2t'm~~.v.:+:....... .~__ _ . AT'14 11 .t t~rl9 9 '2 19 THE JACK &MiNY PROGRAM SEPTEIeM 10, 1950 OPEPtI1VG CODOMCIAL RIGGS : (CHANT -- 65 to 68 -- SOLD Ar~RICAN) SHP.RBUTT : THE JACK BENNY PROGRAM . presented by LUCKl.' STRIKE . CHORUS : Be Happy -- Go Lucky Be Happy -- Go Lucky Strike Be Happy -- Go Lucky Go Lucky Strike today! (SHORT CLOSE) ORCH : (SHORT VAMP) MAN : To pick the mildest cigarette You donTt need sleight of hand . Taste Luckies' magic mildness, then They'll be your favorite brand! ORCH : (SHORT VAMP) GIRL : I wash and scrub, and cook and sew And still I sing a song -- Because I never work alone . I've Lucky Strike along ; CHORUS : Be happy - - Go Lucky Be Happy -- Go Lucky Strike Be Happy -- Go Lucky Go Lucky Strike toda9 : (SHORT CLOSE) (CONTID NE$T PAGE) THE JACK BENIVY PROGRAM SEPTEMBER 10,1950 OPENING COMMERCIAL ( CoiVT tD) SHARBUTT : (FRIENDLY AN.D SP IRZTED ) Eri j oy your c igare tte . En j oy truly fine tobacco that combines both perfect mildness and rich taste in one great cigarette -- Lucky Strike! For only fine tobacco gives you both real mildness and rich taste . And, LS/MFT -- Lucky Strike means fine tobacco . So friends, Be Happy -- Go Lucky! Try a carton of Lucky Strike! CHORUS : Be Happy -- Go Luck,F Be Happy -- Go Luck,y Strike Be Happy -- Go Lucks- Go Lucky Strike today ; (LONG CLOSE) , -1- (FIRST ROUTINE) (AFTER CONUIPRCIAL, MUSIC UP AND DOWN) DON : THE LUCKY STRIKE PROGRAM, STARRING JACK BENNY .WITH 'MARY LIVINGSTONE, PHIL HARRIS, ROCHESTER, DENNIS DAY, AND YOURS TRULY" DON WILSOiV . -
American Heritage Center
UNIVERSITY OF WYOMING AMERICAN HERITAGE CENTER GUIDE TO ENTERTAINMENT INDUSTRY RESOURCES Child actress Mary Jane Irving with Bessie Barriscale and Ben Alexander in the 1918 silent film Heart of Rachel. Mary Jane Irving papers, American Heritage Center. Compiled by D. Claudia Thompson and Shaun A. Hayes 2009 PREFACE When the University of Wyoming began collecting the papers of national entertainment figures in the 1970s, it was one of only a handful of repositories actively engaged in the field. Business and industry, science, family history, even print literature were all recognized as legitimate fields of study while prejudice remained against mere entertainment as a source of scholarship. There are two arguments to be made against this narrow vision. In the first place, entertainment is very much an industry. It employs thousands. It requires vast capital expenditure, and it lives or dies on profit. In the second place, popular culture is more universal than any other field. Each individual’s experience is unique, but one common thread running throughout humanity is the desire to be taken out of ourselves, to share with our neighbors some story of humor or adventure. This is the basis for entertainment. The Entertainment Industry collections at the American Heritage Center focus on the twentieth century. During the twentieth century, entertainment in the United States changed radically due to advances in communications technology. The development of radio made it possible for the first time for people on both coasts to listen to a performance simultaneously. The delivery of entertainment thus became immensely cheaper and, at the same time, the fame of individual performers grew. -
Lucille Ball and the Vaudeville Heritage of Early American Television Comedy
View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by Northumbria Research Link Citation: White, Rosie (2016) Funny peculiar: Lucille Ball and the vaudeville heritage of early American television comedy. Social Semiotics, 26 (3). pp. 298-310. ISSN 1035-0330 Published by: Taylor & Francis URL: http://dx.doi.org/10.1080/10350330.2015.1134826 <http://dx.doi.org/10.1080/10350330.2015.1134826> This version was downloaded from Northumbria Research Link: http://nrl.northumbria.ac.uk/25818/ Northumbria University has developed Northumbria Research Link (NRL) to enable users to access the University’s research output. Copyright © and moral rights for items on NRL are retained by the individual author(s) and/or other copyright owners. Single copies of full items can be reproduced, displayed or performed, and given to third parties in any format or medium for personal research or study, educational, or not-for-profit purposes without prior permission or charge, provided the authors, title and full bibliographic details are given, as well as a hyperlink and/or URL to the original metadata page. The content must not be changed in any way. Full items must not be sold commercially in any format or medium without formal permission of the copyright holder. The full policy is available online: http://nrl.northumbria.ac.uk/policies.html This document may differ from the final, published version of the research and has been made available online in accordance with publisher policies. To read and/or cite from the published -
Myers, Allison.Pdf
FROM ALEICHEM TO ALLEN: THE JEWISH COMEDIAN IN POPULAR CULTURE by Allison Myers A thesis submitted to the Faculty of the University of Delaware in partial fulfillment of the requirements for the degree of Bachelor of Arts in English with Distinction. Spring 2010 Copyright 2010 Allison Myers All Rights Reserved FROM ALEICHEM TO ALLEN: THE JEWISH COMEDIAN IN POPULAR CULTURE by Allison Myers Approved: ______________________________________________________________________________________ Elaine Safer, Ph.D. Professor in charge of thesis on behalf of the Advisory Committee Approved: ______________________________________________________________________________________ Ben Yagoda, M.A. Committee member from the Department of English Approved: ______________________________________________________________________________________ John Montaño, Ph.D. Committee member from the Board of Senior Thesis Readers Approved: ______________________________________________________________________________________ Ismat Shah, Ph.D. Chair of the University Committee on Student and Faculty Honors ACKNOWLEDGMENTS I would like to express utmost gratitude to my thesis advisor, Elaine Safer, for all the guidance she has given and for all the jokes she has told me over the course of writing my thesis. I also extend my thanks to Ben Yagoda and John Montaño, my thesis committee, for guiding me in this process. It is because of University of Delaware’s incredible Undergraduate Research Program that I was able to pursue my interests and turn it into a body of work, so I owe the department, and specifically Meg Meiman, many thanks. Finally, I am grateful for every fellow researcher, family member and friend who has lent me a book, suggested a comedian, or just listened to me ramble on about the value of studying Jewish humor. iii TABLE OF CONTENTS Abstract .................................................................................................................................................................