The History of ABC's West Coast Television Studios Part 2 of 2 By
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2008 Annual Report
5 YEARS OF EXCELLENCE FEATURED ARTICLES AND THE 2008 ANNUAL REPORT Benjamin Franklin’s Shoe PAGE 4 A Road Rich with Milestones PAGE 10 Today and Tomorrow: 2008 Annual Report PAGE 16 2008 Financials PAGE 22 FEATUREMAILBOX ONE 2 NATIONAL CONSTITUTION CENTER 5 Years of Excellence LETTER FROM THE EDITORS Dear Friends: Exceptional. That is the only word that can fully describe the remarkable strides the National Constitution Center has made in the past five years. Since opening its doors on July 4, 2003, it has developed into one of the most esteemed institutions for the ongoing study, discussion and celebration of the United States’ most cherished document. We’re pleased to present a celebration of the Center’s first five years and the 2008 Annual Report. In the following pages you will read about the Center’s earliest days and the milestones it has experienced. You will learn about the moving exhibitions it has developed and presented over the years. You will look back at the many robust public conversations led by national figures that have occurred on site, and you will be introduced to a new and innovative international initiative destined to carry the Center boldly into the future. It has been a true pleasure to work for this venerable institution, informing and inspiring We the People. We both look forward to witnessing the Center’s future achievements and we are honored that the next chapter of this story will be written by the Center’s new Chairman, President Bill Clinton. Sincerely, President George H. W. Bush Joseph M. -
Senior Women's Performances of Sexuality
“DUSTY MUFFINS”: SENIOR WOMEN’S PERFORMANCES OF SEXUALITY A Thesis by EVLEEN MICHELLE NASIR Submitted to the Office of Graduate Studies of Texas A&M University in partial fulfillment of the requirements for the degree of MASTER OF ARTS August 2012 Major Subject: Performance Studies “Dusty Muffins”: Senior Women’s Performances of Sexuality Copyright 2012 Evleen Michelle Nasir “DUSTY MUFFINS”: SENIOR WOMEN’S PERFORMANCES OF SEXUALITY A Thesis by EVLEEN MICHELLE NASIR Submitted to the Office of Graduate Studies of Texas A&M University in partial fulfillment of the requirements for the degree of MASTER OF ARTS Approved by: Chair of Committee, Kirsten Pullen Committee Members, Judith Hamera Harry Berger Alfred Bendixen Head of Department, Judith Hamera August 2012 Major Subject: Performance Studies iii ABSTRACT “Dusty Muffins”: Senior Women’s Performance of Sexuality. (August 2012) Evleen Michelle Nasir, B.A., Texas A&M University Chair of Advisory Committee: Dr. Kirsten Pullen There is a discursive formation of incapability that surrounds senior women’s sexuality. Senior women are incapable of reproduction, mastering their bodies, or arousing sexual desire in themselves or others. The senior actresses’ I explore in the case studies below insert their performances of self and their everyday lives into the large and complicated discourse of sex, producing a counter-narrative to sexually inactive senior women. Their performances actively embody their sexuality outside the frame of a character. This thesis examines how senior actresses’ performances of sexuality extend a discourse of sexuality imposed on older woman by mass media. These women are the public face of senior women’s sexual agency. -
Baby Snooks: Why, Daddy?
baby_snooks_4pg.qxd:4 pg. Booklet 8/18/09 2:51 PM Page 1 Track 7: Baby Buggy - July 2, 1942 – Daddy thinks that he’ll be able to use the old baby buggy to transport the twins, but the Baby Snooks: vehicle will need a few modifications. (9:48) CD 4 Why, Daddy? Track 1: The Camp Report: September 3, 1942 – Daddy welcomes Snooks back after her stay at summer camp, and is Program Guide by Ivan G. Shreve, Jr. looking forward to reading her camp report…but, first bedtime. (8:07) During the Golden Age of Radio, audiences were treated to a “brat triumvirate.” The best- known of the radio brats was wisenheimer Charlie McCarthy, who along with partner (read: Track 2: Baby Snooks Goes to a Movie - September 24, 1942 – ventriloquist) Edgar Bergen entertained audiences for nearly twenty years with the ultra-popular Going to the movies is a pleasure for some…but, since Daddy The Chase & Sanborn Hour . In the 1940s, comedian Red Skelton introduced demon-on- has to take Snooks and the twins it’s akin to walking the last wheels “Junior, the mean widdle kid” on his Raleigh Cigarette Program . Hanley Stafford as the long-suffering mile. (8:51) “Daddy” with Brice as Snooks. The last member of this trio of incorrigibles was Baby Snooks, played by famed musical Track 3: Gozinta - October 1, 1942 – Daddy is suffering from a case of insomnia, so Snooks comedy star Fanny Brice. Brice began her show business career at the age of twelve, earning takes advantage of his sleepless state to con him into helping her with her homework. -
View / Open Bratslavsky Oregon 0171A 10830
FROM EPHEMERAL TO LEGITIMATE: AN INQUIRY INTO TELEVISION’S MATERIAL TRACES IN ARCHIVAL SPACES, 1950s -1970s by LAUREN MICHELLE BRATSLAVSKY A DISSERTATION Presented to the School of Journalism and Communication and the Graduate School of the University of Oregon in partial fulfillment of the requirements for the degree of Doctor of Philosophy September 2013 DISSERTATION APPROVAL PAGE Student: Lauren Michelle Bratslavsky Title: From Ephemeral to Legitimate: An Inquiry into Television’s Material Traces in Archival Spaces, 1950s -1970s This dissertation has been accepted and approved in partial fulfillment of the requirements for the Doctor of Philosophy degree in the School of Journalism and Communication by: Dr. Janet Wasko Chairperson Dr. Carol Stabile Core Member Dr. Julianne Newton Core Member Dr. Daniel Pope Institutional Representative and Kimberly Andrews Espy Vice President for Research and Innovation; Dean of the Graduate School Original approval signatures are on file with the University of Oregon Graduate School. Degree awarded September 2013 ii © 2013 Lauren M. Bratslavsky This work is licensed under a Creative Commons Attribution-NonCommercial-NoDerivs (United States) License. iii DISSERTATION ABSTRACT Lauren Michelle Bratslavsky Doctor of Philosophy School of Journalism and Communication September 2013 Title: From Ephemeral to Legitimate: An Inquiry into Television’s Material Traces in Archival Spaces, 1950s -1970s The dissertation offers a historical inquiry about how television’s material traces entered archival spaces. Material traces refer to both the moving image products and the assortment of documentation about the processes of television as industrial and creative endeavors. By identifying the development of television-specific archives and collecting areas in the 1950s to the 1970s, the dissertation contributes to television studies, specifically pointing out how television materials were conceived as cultural and historical materials “worthy” of preservation and academic study. -
Media Ownership Rules
05-Sadler.qxd 2/3/2005 12:47 PM Page 101 5 MEDIA OWNERSHIP RULES It is the purpose of this Act, among other things, to maintain control of the United States over all the channels of interstate and foreign radio transmission, and to provide for the use of such channels, but not the ownership thereof, by persons for limited periods of time, under licenses granted by Federal author- ity, and no such license shall be construed to create any right, beyond the terms, conditions, and periods of the license. —Section 301, Communications Act of 1934 he Communications Act of 1934 reestablished the point that the public airwaves were “scarce.” They were considered a limited and precious resource and T therefore would be subject to government rules and regulations. As the Supreme Court would state in 1943,“The radio spectrum simply is not large enough to accommodate everybody. There is a fixed natural limitation upon the number of stations that can operate without interfering with one another.”1 In reality, the airwaves are infinite, but the govern- ment has made a limited number of positions available for use. In the 1930s, the broadcast industry grew steadily, and the FCC had to grapple with the issue of broadcast station ownership. The FCC felt that a diversity of viewpoints on the airwaves served the public interest and was best achieved through diversity in station ownership. Therefore, to prevent individuals or companies from controlling too many broadcast stations in one area or across the country, the FCC eventually instituted ownership rules. These rules limit how many broadcast stations a person can own in a single market or nationwide. -
He KMBC-ÍM Radio TEAM
l\NUARY 3, 1955 35c PER COPY stu. esen 3o.loe -qv TTaMxg4i431 BItOADi S SSaeb: iiSZ£ (009'I0) 01 Ff : t?t /?I 9b£S IIJUY.a¡:, SUUl.; l: Ii-i od 301 :1 uoTloas steTaa Rae.zgtZ IS-SN AlTs.aantur: aTe AVSí1 T E IdEC. 211111 111111ip. he KMBC-ÍM Radio TEAM IN THIS ISSUE: St `7i ,ytLICOTNE OSE YN in the 'Mont Network Plans AICNISON ` MAISHAIS N CITY ive -Film Innovation .TOrEKA KANSAS Heart of Americ ENE. SEDALIA. Page 27 S CLINEON WARSAW EMROEIA RUTILE KMBC of Kansas City serves 83 coun- 'eer -Wine Air Time ties in western Missouri and eastern. Kansas. Four counties (Jackson and surveyed by NARTB Clay In Missouri, Johnson and Wyan- dotte in Kansas) comprise the greater Kansas City metropolitan trading Page 28 Half- millivolt area, ranked 15th nationally in retail sales. A bonus to KMBC, KFRM, serv- daytime ing the state of Kansas, puts your selling message into the high -income contours homes of Kansas, sixth richest agri- Jdio's Impact Cited cultural state. New Presentation Whether you judge radio effectiveness by coverage pattern, Page 30 audience rating or actual cash register results, you'll find that FREE & the Team leads the parade in every category. PETERS, ñtvC. Two Major Probes \Exclusive National It pays to go first -class when you go into the great Heart of Face New Senate Representatives America market. Get with the KMBC -KFRM Radio Team Page 44 and get real pulling power! See your Free & Peters Colonel for choice availabilities. st SATURE SECTION The KMBC - KFRM Radio TEAM -1 in the ;Begins on Page 35 of KANSAS fir the STATE CITY of KANSAS Heart of America Basic CBS Radio DON DAVIS Vice President JOHN SCHILLING Vice President and General Manager GEORGE HIGGINS Year Vice President and Sally Manager EWSWEEKLY Ir and for tels s )F RADIO AND TV KMBC -TV, the BIG TOP TV JIj,i, Station in the Heart of America sú,\.rw. -
The Don Lee-Columbia System
THE DON LEE-COLUMBIA SYSTEM: By Mike Adams 111 Sutter Street was not the only network broadcast address during the thirties. The other was 1000 Van Ness Avenue, the Don Lee Cadillac Building, headquarters for KFRC and the Don Lee-Columbia Network. It was there that another radio legend was born. Don Lee was a prominent Los Angeles automobile dealer, who had owned all the Cadillac and LaSalle dealerships in the State of California for over 20 years. After making a substantial fortune in the auto business, he decided to try his hand at broadcasting.1 In 1926, he purchased KFRC in San Francisco from the City of Paris department store. The following year he bought KHJ in Los Angeles and connected the two stations by telephone line to establish the Don Lee Broadcasting System. From the beginning, Lee spared no expense to make these two stations among the finest in the nation, as a 1929 article from Broadcast Weekly attests: Both KHJ and KFRC have large complete staffs of artists, singers and entertainers, with each station having its own Don Lee Symphony Orchestra, dance band and organ, plus all of the musical instruments that can be used successful in broadcasting. It is no idle boast that either KHJ or KFRC could operate continuously without going outside their own staffs for talent, and yet give a variety with an appeal to every type of audience.[2] In 1929, CBS still had no affiliates west of the Rockies, and this was making it difficult for the network to compete with its larger rival, NBC. -
What Should We Ask For?
7/12/2015 What Should We Ask For? A sermon by the Rev. Dr. Thee Smith Proper 10 – Year B The king said to the girl . "Whatever you ask me, I will give you, even half of my kingdom." She went out and said to her mother, "What should I ask for?" Mark 6:22-24 Today we hear a similar invitation from our King; King Jesus. Listen as he offers again to give ‘whatever we ask in his name,’ just as he so generously offered us in John 14:13); even offering us his kingdom of the beloved community. The only pertinent question for us is, ‘What should we ask for?’ Like the young girl in today’s gospel we get to ask, ‘What should we ask for?’ And providentially our epistle appointed for today provides a checklist of answers to that question. But more about that later! Before we go there I’m going to take a minute to build a little suspense here. It’s about a humorous expression that connects to today’s gospel. You’ve likely heard it before. But I’ve been unable to find an origin for it. Whenever a source for something like this eludes me in my college courses I like to ask my students to research it for me. Maybe, if it catches your interest too, you’ll indulge me and see what you can find. I’ve found a couple of celebrities who have used it in their work: the author Ron Hall and Atlanta comedian, Jeff Foxworthy; also some musicians who include it in their lyrics. -
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. -
The Philadelphia Sound This Is the Fourth Article in a Series Highlighting ASA’S 50S, and 60S
VOLUME 33 JULY/AUGUST 2005 NUMBER 6 2005 ASA Annual Meeting . Our 100th Meeting! The Philadelphia Sound This is the fourth article in a series highlighting ASA’s 50s, and 60s. The city was home to more African-American sound than they had upcoming 2005 centennial meeting in Philadelphia. jazz musicians than perhaps any city, previously heard in the California- save New York. Musicians found each centric “cool” jazz movement, East by Jerome Hodos, Franklin and Marshall protected, fertile enclave in which other gigs and played together—John Coast jazz musicians in the mid-1950s College, and David Grazian, cultural production can germinate. Coltrane, for example, played in both created a roots-oriented jazz—called University of Pennsylvania Musical innovation has relied on the Jimmy Heath’s and Jimmy Smith’s hard bop—that incorporated significant vitality of largely segregated community bands, and later hired local talents elements from blues and black church Since World War II, music has been institutions such as the black church. For Jimmy Garrison and McCoy Tyner for music. Philadelphia was a main center Philadelphia’s public face to the world. instance, rhythm-and-blues pioneer his own classic quartet. In search of a for hard bop, home to crucial performers While fulfilling their duties as unofficial Solomon Burke long led his own more urban, gritty, and what was like Clifford Brown, Benny Golson, John representatives of the “City of Brotherly congregation in the city. (Another thought of as a more authentically See Philadelphia, page 7 Love”, local musicians worked to codify example: the white, teen pop of the late and symbolize the state of the city’s 1950s was made popular via Dick black community through a succession Clark’s TV show American Bandstand, of distinct musical styles. -
ALEXANDER F. FULLER Art Director 222 Desmond Dr
ALEXANDER F. FULLER Art Director 222 Desmond Dr. Schaumburg, IL 60193 c. 323.972.7404 [email protected] Member "Art Directors Guild" Local #800 I.A.T.S.E. (dual card holder Art Director/ Senior Set Designer) Carnegie Mellon University, BFA Drama Design/ Production 1992 Certificate in Project Management, UCLA 2005 Project Management Professional, Project Management Institute 2006 PRODUCTION DESIGNER HE NAMED ME MALALA (*Emmy Nom.) Zeno Documentary Partners, LLC 2014 ART DIRECTOR LEGACIES (Season 1-3) Orange Cone Productions, Inc (WB) 2018-21 THE ORIGINALS (Season 2-5) Bonanza Productions, Inc (WB) 2014-18 MACGYVER (episode 115-121) Eye Productions (CBS) 2016-17 BAD TEACHER (episodes 1-3) Remote Broadcast Inc (Sony) 2013 BLOODLINE (Pilot) NBC Universal 2013 MONDAY MORNINGS (Pilot and Season 1) TNT 2012 CHUCK (Season 5) Warner Brothers Television 2011 THE DEFENDERS (Pilot and Season 1) CBS Television 2010-11 NUMB3RS (Season 3-6) CBS Paramount 2006-10 PRINCESS PROTECTION PROGRAM (MOW) Disney Channel 2008 SPYING ON MYSELF No Studio Entertainment 2005 3RD AUNNUAL BET AWARDS Cossette Productions 2003 HBO SKETCH PAD II Sketch Pad Televison 2003 ABC’s 50th ANNIVERSARY SHOW Don Mischer Productions, Inc. 2003 50th ANNUAL GRAMMY AWARDS (*Emmy Nom.) Cossette Productions 2003 45th ANNUAL GOLDEN GLOBE AWARDS Dick Clark Productions 2002 GO FOR IT! (39 episodes) No Studio Entertainment 2001-02 NEXT BIG STAR Scott Sternberg Productions 2001 RUDE AWAKENING (3rd season) Hudson Productions 2000 KATHY GRIFFEN “CUP OF HOT TALK” Production Partners Inc. -
'A Bridge Home' for L.A.'S Homeless Duran to Become Weho Mayor
WWW.BEVERLYPRESS.COM INSIDE • Ellis Act protest on Hayworth. pg. 3 • L.A. party house Sunny, with ordinance takes highs in the effect. pg. 6 low 80s Volume 28 No. 16 Serving the West Hollywood, Hancock Park, Beverly Hills and Wilshire Communities April 19, 2018 Durann to become WeHo mayor The councilman will n‘A Bridge Home’ for L.A.’s homeless enter his fourth mayoral Garcetti’s State of term; D’Amico will be the City proposes mayor pro tempore shelters in each of the 15 council districts West Hollywood Councilman The Los Angeles City Council on John Duran will become the city’s April 17 declared an emergency mayor next month, and shelter crisis, clearing the way for Councilman John D’Amico the implementation of a plan by Mayor city’s mayor pro tempore. Eric Garcetti to fund temporary The City Council approved their shelters in each of the 15 council nominations at its April 15 meet- districts. ing, and scheduled the installation The declaration came on the ceremony for May 21 at 6 p.m. John Duran same day that Garcetti signed the Duran has served on the City Interim Motel Conversion Council since 2001, and will enter Ordinance and the Permanent his fourth term as mayor. The city month, he said he also wants to Supportive Housing Ordinance, rotates the positions of mayor and make sure the stays rooted in its which will enable the city to create photo courtesy of Mayor Eric Garcetti’s office mayor pro tempore each year past. more affordable permanent housing among the five council members.