Simon J. Potter
- Published in print:
- 2012
- Published Online:
- September 2012
- ISBN:
- 9780199568963
- eISBN:
- 9780191741821
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780199568963.003.0003
- Subject:
- History, British and Irish Modern History, Cultural History
During the early 1930s, governments created more powerful public broadcasting authorities in Canada, Australia, and New Zealand, including the Canadian Radio Broadcasting Commission (CRBC), the ...
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During the early 1930s, governments created more powerful public broadcasting authorities in Canada, Australia, and New Zealand, including the Canadian Radio Broadcasting Commission (CRBC), the Australian Broadcasting Commission (ABC), and the New Zealand Broadcasting Board (NZBB). In Canada, the Canadian Radio League (CRL) enlisted the help of the BBC to make the case for public broadcasting. However, the world economic depression hampered plans to develop broadcasting, both on a national basis in these countries, and on an imperial footing. The BBC's underfunded Empire Service did little to link up the British world, despite attempts to use sport and the monarchy to generate interest in its broadcasts. BBC recorded programmes or transcriptions similarly met with a mixed response, and the BBC for its part seemed unenthusiastic about taking reciprocal programmes from the dominions. BBC attempts to operate overseas on a rigorously public-service basis compounded its problemsLess
During the early 1930s, governments created more powerful public broadcasting authorities in Canada, Australia, and New Zealand, including the Canadian Radio Broadcasting Commission (CRBC), the Australian Broadcasting Commission (ABC), and the New Zealand Broadcasting Board (NZBB). In Canada, the Canadian Radio League (CRL) enlisted the help of the BBC to make the case for public broadcasting. However, the world economic depression hampered plans to develop broadcasting, both on a national basis in these countries, and on an imperial footing. The BBC's underfunded Empire Service did little to link up the British world, despite attempts to use sport and the monarchy to generate interest in its broadcasts. BBC recorded programmes or transcriptions similarly met with a mixed response, and the BBC for its part seemed unenthusiastic about taking reciprocal programmes from the dominions. BBC attempts to operate overseas on a rigorously public-service basis compounded its problems
Simon J. Potter
- Published in print:
- 2012
- Published Online:
- September 2012
- ISBN:
- 9780199568963
- eISBN:
- 9780191741821
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780199568963.003.0004
- Subject:
- History, British and Irish Modern History, Cultural History
During the later 1930s the BBC made more progress with its imperial mission, expanding its domestic monopoly of broadcasting into a monopoly over broadcasting to the empire from Britain. ...
More
During the later 1930s the BBC made more progress with its imperial mission, expanding its domestic monopoly of broadcasting into a monopoly over broadcasting to the empire from Britain. Collaborative relations with other public broadcasting authorities in the British world improved, particularly following the establishment of the South African Broadcasting Corporation (SABC), the Canadian Broadcasting Corporation (CBC), and New Zealand's National Broadcasting Service (NBS). More broadcasting officers travelled overseas, and more resources were devoted to the Empire Service. Alongside coverage of sport and royalty, the BBC now provided talks, music, and comedy. Empire Day and Christmas Day remained important fixtures. However, accents were a problem for the BBC, provoking criticism of the Corporation's elite, metropolitan voice. The BBC also began to consider the role of broadcasting in the dependent colonies and in Britain's informal empire, and played a role in the founding of All India Radio (AIR) and other colonial broadcasting authorities.Less
During the later 1930s the BBC made more progress with its imperial mission, expanding its domestic monopoly of broadcasting into a monopoly over broadcasting to the empire from Britain. Collaborative relations with other public broadcasting authorities in the British world improved, particularly following the establishment of the South African Broadcasting Corporation (SABC), the Canadian Broadcasting Corporation (CBC), and New Zealand's National Broadcasting Service (NBS). More broadcasting officers travelled overseas, and more resources were devoted to the Empire Service. Alongside coverage of sport and royalty, the BBC now provided talks, music, and comedy. Empire Day and Christmas Day remained important fixtures. However, accents were a problem for the BBC, provoking criticism of the Corporation's elite, metropolitan voice. The BBC also began to consider the role of broadcasting in the dependent colonies and in Britain's informal empire, and played a role in the founding of All India Radio (AIR) and other colonial broadcasting authorities.
Kathryn H. Fuller-Seeley
- Published in print:
- 2017
- Published Online:
- May 2018
- ISBN:
- 9780520295049
- eISBN:
- 9780520967946
- Item type:
- book
- Publisher:
- University of California Press
- DOI:
- 10.1525/california/9780520295049.001.0001
- Subject:
- Film, Television and Radio, Radio
Jack Benny became one of the most influential entertainers of the 20th century - by being the top radio comedian, when the comics ruled radio, and radio was the most powerful and pervasive mass ...
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Jack Benny became one of the most influential entertainers of the 20th century - by being the top radio comedian, when the comics ruled radio, and radio was the most powerful and pervasive mass medium in the US. In 23 years of weekly radio broadcasts, by aiming all the insults at himself, Benny created Jack, the self-deprecating “Fall Guy” character. He indelibly shaped American humor as a space to enjoy the equal opportunities of easy camaraderie with his cast mates, and equal ego deflation. Benny was the master of comic timing, knowing just when to use silence to create suspense or to have a character leap into the dialogue to puncture Jack’s pretentions. Jack Benny was also a canny entrepreneur, becoming one of the pioneering “showrunners” combining producer, writer and performer into one job. His modern style of radio humor eschewed stale jokes in favor informal repartee with comic hecklers like his valet Rochester (played by Eddie Anderson) and Mary Livingstone his offstage wife. These quirky characters bouncing off each other in humorous situations created the situation comedy. In this career study, we learn how Jack Benny found ingenious ways to sell his sponsors’ products in comic commercials beloved by listeners, and how he dealt with the challenges of race relations, rigid gender ideals and an insurgent new media industry (TV). Jack Benny created classic comedy for a rapidly changing American culture, providing laughter that buoyed radio listeners from 1932’s depths of the Great Depression, through World War II to the mid-1950s.Less
Jack Benny became one of the most influential entertainers of the 20th century - by being the top radio comedian, when the comics ruled radio, and radio was the most powerful and pervasive mass medium in the US. In 23 years of weekly radio broadcasts, by aiming all the insults at himself, Benny created Jack, the self-deprecating “Fall Guy” character. He indelibly shaped American humor as a space to enjoy the equal opportunities of easy camaraderie with his cast mates, and equal ego deflation. Benny was the master of comic timing, knowing just when to use silence to create suspense or to have a character leap into the dialogue to puncture Jack’s pretentions. Jack Benny was also a canny entrepreneur, becoming one of the pioneering “showrunners” combining producer, writer and performer into one job. His modern style of radio humor eschewed stale jokes in favor informal repartee with comic hecklers like his valet Rochester (played by Eddie Anderson) and Mary Livingstone his offstage wife. These quirky characters bouncing off each other in humorous situations created the situation comedy. In this career study, we learn how Jack Benny found ingenious ways to sell his sponsors’ products in comic commercials beloved by listeners, and how he dealt with the challenges of race relations, rigid gender ideals and an insurgent new media industry (TV). Jack Benny created classic comedy for a rapidly changing American culture, providing laughter that buoyed radio listeners from 1932’s depths of the Great Depression, through World War II to the mid-1950s.
John Caughie
- Published in print:
- 2000
- Published Online:
- October 2011
- ISBN:
- 9780198742197
- eISBN:
- 9780191694981
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780198742197.003.0002
- Subject:
- Literature, Film, Media, and Cultural Studies
This chapter discusses the transition of the British Broadcasting Company into the British Broadcasting Corporation—a move that shifted the network giant from being a private enterprise into a public ...
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This chapter discusses the transition of the British Broadcasting Company into the British Broadcasting Corporation—a move that shifted the network giant from being a private enterprise into a public firm. The BBC’s role in reconciling the national interests of the public with the interests of the national government is also tackled in this chapter. The company’s monopoly of public media was somehow salvaged by the BBC’s promotion of public interest via public service. The beginnings and the struggles of the British Documentary Movement is also discussed in this chapter.Less
This chapter discusses the transition of the British Broadcasting Company into the British Broadcasting Corporation—a move that shifted the network giant from being a private enterprise into a public firm. The BBC’s role in reconciling the national interests of the public with the interests of the national government is also tackled in this chapter. The company’s monopoly of public media was somehow salvaged by the BBC’s promotion of public interest via public service. The beginnings and the struggles of the British Documentary Movement is also discussed in this chapter.
Pierluigi Petrobelli and Roger Parker
- Published in print:
- 2008
- Published Online:
- January 2012
- ISBN:
- 9780197264348
- eISBN:
- 9780191734250
- Item type:
- chapter
- Publisher:
- British Academy
- DOI:
- 10.5871/bacad/9780197264348.003.0005
- Subject:
- History, Historiography
Julian Medford Budden (1924–2007), a Fellow of the British Academy, was the finest scholar of nineteenth-century Italian opera of his generation. He will be remembered for his achievements as a ...
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Julian Medford Budden (1924–2007), a Fellow of the British Academy, was the finest scholar of nineteenth-century Italian opera of his generation. He will be remembered for his achievements as a producer at the British Broadcasting Corporation (BBC), for his broadcasts and reviews, and above all for his books on Giuseppe Verdi and Giacomo Puccini. Indeed, his passing leaves a huge gap in the field of opera studies. Budden was born in Hoylake, near Liverpool, on April 9, 1924, the only child of Lionel Budden and Maud Budden. In 1951 he started at the BBC, where he remained for his entire working life. Budden's first post was as a clerk and script editor; he then rose through the ranks to become a producer, Chief Producer of Opera, and finally External Services Music Organizer. Two aspects of Budden's background were likely to have been fundamental to his scholarly achievement: his exposure to Classics at Oxford University and his career in BBC Radio.Less
Julian Medford Budden (1924–2007), a Fellow of the British Academy, was the finest scholar of nineteenth-century Italian opera of his generation. He will be remembered for his achievements as a producer at the British Broadcasting Corporation (BBC), for his broadcasts and reviews, and above all for his books on Giuseppe Verdi and Giacomo Puccini. Indeed, his passing leaves a huge gap in the field of opera studies. Budden was born in Hoylake, near Liverpool, on April 9, 1924, the only child of Lionel Budden and Maud Budden. In 1951 he started at the BBC, where he remained for his entire working life. Budden's first post was as a clerk and script editor; he then rose through the ranks to become a producer, Chief Producer of Opera, and finally External Services Music Organizer. Two aspects of Budden's background were likely to have been fundamental to his scholarly achievement: his exposure to Classics at Oxford University and his career in BBC Radio.
Asa Briggs
- Published in print:
- 1995
- Published Online:
- October 2011
- ISBN:
- 9780192129307
- eISBN:
- 9780191670015
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780192129307.003.0001
- Subject:
- History, British and Irish Modern History, Cultural History
In January 1927 the British Broadcasting Corporation (BBC) assumed the responsibilities of the four-year-old British Broadcasting Company. This chapter discusses the personalities and their ...
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In January 1927 the British Broadcasting Corporation (BBC) assumed the responsibilities of the four-year-old British Broadcasting Company. This chapter discusses the personalities and their performance and the official policies of the BBC in its initial period. Sir John Reith as the first Director-General of the BBC played an important role in its success. The wireless was adopted as a crucial component of the institutional apparatus of the BBC. The BBC created a niche image for itself during the 1930s as a great British institution. The chapter also briefly covers wireless and television sets of this contemporaneous time. Moreover, it also provides an introduction to the other chapters in the book.Less
In January 1927 the British Broadcasting Corporation (BBC) assumed the responsibilities of the four-year-old British Broadcasting Company. This chapter discusses the personalities and their performance and the official policies of the BBC in its initial period. Sir John Reith as the first Director-General of the BBC played an important role in its success. The wireless was adopted as a crucial component of the institutional apparatus of the BBC. The BBC created a niche image for itself during the 1930s as a great British institution. The chapter also briefly covers wireless and television sets of this contemporaneous time. Moreover, it also provides an introduction to the other chapters in the book.
Christina L. Baade
- Published in print:
- 2011
- Published Online:
- January 2012
- ISBN:
- 9780195372014
- eISBN:
- 9780199918287
- Item type:
- book
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780195372014.001.0001
- Subject:
- Music, History, Western, Popular
This book examines how the British Broadcasting Corporation mobilized popular music to support the war effort on the home front and among the forces overseas. To an unprecedented degree, the wartime ...
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This book examines how the British Broadcasting Corporation mobilized popular music to support the war effort on the home front and among the forces overseas. To an unprecedented degree, the wartime BBC programmed popular music and studied its audiences in order to build national unity, boost morale, and increase industrial production. The BBC also used popular music and jazz to promote the wartime values of virile masculinity, greater public participation for women, Anglo-American friendship, and pride in a common British culture. At the same time that it developed special programming for women factory workers and male soldiers, however, the BBC also came into uneasy contact with the threats of (ef)feminized sentimentality, Americanization, and new representations of nonwhite, racialized “Others.” It responded by regulating and even censoring popular music repertories and performers while listeners, the press, and Parliament energetically debated its decisions. Throughout the war, broadcast performances by singers like Vera Lynn and Anne Shelton; bandleaders including Geraldo, Victor Silvester, Harry Parry, and Glenn Miller; and theater organists like Sandy Macpherson helped reshape and reframe prewar understandings of gender, race, class, and nationality for the nation at war. This book argues that, rather than providing the soundtrack for a unified “People’s War,” popular music broadcasting at the BBC exposed the divergent ideologies, tastes, and perspectives of the nation.Less
This book examines how the British Broadcasting Corporation mobilized popular music to support the war effort on the home front and among the forces overseas. To an unprecedented degree, the wartime BBC programmed popular music and studied its audiences in order to build national unity, boost morale, and increase industrial production. The BBC also used popular music and jazz to promote the wartime values of virile masculinity, greater public participation for women, Anglo-American friendship, and pride in a common British culture. At the same time that it developed special programming for women factory workers and male soldiers, however, the BBC also came into uneasy contact with the threats of (ef)feminized sentimentality, Americanization, and new representations of nonwhite, racialized “Others.” It responded by regulating and even censoring popular music repertories and performers while listeners, the press, and Parliament energetically debated its decisions. Throughout the war, broadcast performances by singers like Vera Lynn and Anne Shelton; bandleaders including Geraldo, Victor Silvester, Harry Parry, and Glenn Miller; and theater organists like Sandy Macpherson helped reshape and reframe prewar understandings of gender, race, class, and nationality for the nation at war. This book argues that, rather than providing the soundtrack for a unified “People’s War,” popular music broadcasting at the BBC exposed the divergent ideologies, tastes, and perspectives of the nation.
Simon J. Potter
- Published in print:
- 2012
- Published Online:
- September 2012
- ISBN:
- 9780199568963
- eISBN:
- 9780191741821
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780199568963.003.0005
- Subject:
- History, British and Irish Modern History, Cultural History
The BBC supported the imperial war effort both through its broadcasts to home listeners and through its transmissions to the empire. These activities were shaped by increased state intervention, with ...
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The BBC supported the imperial war effort both through its broadcasts to home listeners and through its transmissions to the empire. These activities were shaped by increased state intervention, with the Ministry of Information directing the BBC's London Transcriptions Service, and the Treasury providing a grant-in-aid for the Overseas Service (the former Empire Service). Listeners in the British world, and in the USA, were targeted at the expense of listeners in the dependent colonies. Broadcasting officers were seconded from the dominions to help improve the Overseas Service, and dominion accents were heard more frequently in BBC broadcasts. The BBC also sent its own representatives overseas. Plans for an Empire Broadcasting Network failed to make much progress, but the first Commonwealth Broadcasting Conference was held on the eve of peace. To counter increased penetration of the British world by American broadcasts, the BBC supplied more entertainment transcriptions to overseas subscribers.Less
The BBC supported the imperial war effort both through its broadcasts to home listeners and through its transmissions to the empire. These activities were shaped by increased state intervention, with the Ministry of Information directing the BBC's London Transcriptions Service, and the Treasury providing a grant-in-aid for the Overseas Service (the former Empire Service). Listeners in the British world, and in the USA, were targeted at the expense of listeners in the dependent colonies. Broadcasting officers were seconded from the dominions to help improve the Overseas Service, and dominion accents were heard more frequently in BBC broadcasts. The BBC also sent its own representatives overseas. Plans for an Empire Broadcasting Network failed to make much progress, but the first Commonwealth Broadcasting Conference was held on the eve of peace. To counter increased penetration of the British world by American broadcasts, the BBC supplied more entertainment transcriptions to overseas subscribers.
Simon J. Potter
- Published in print:
- 2012
- Published Online:
- September 2012
- ISBN:
- 9780199568963
- eISBN:
- 9780191741821
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780199568963.003.0006
- Subject:
- History, British and Irish Modern History, Cultural History
After the war, senior BBC officers sought to use broadcasting to restore the status quo, returning to their domestic mission of cultural uplift, and their imperial mission of supporting British ...
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After the war, senior BBC officers sought to use broadcasting to restore the status quo, returning to their domestic mission of cultural uplift, and their imperial mission of supporting British influence overseas. The BBC remained a major presence on short wave and, although rebroadcasting by organisations like the New Zealand Broadcasting Service (NZBS) declined, use of government-subsidized BBC transcriptions increased substantially. Connections with the British world were cultivated, with improved coverage of rugby and cricket, flagship comedies such as the Goon Show, and the broadcasting of ‘media events’ including the Coronation of 1953 and the Royal Tour of 1953/4. Cooperation among public broadcasting authorities continued to be organised on a non-commercial, public-service basis. Contemporaries also assumed that radio would help encourage economic and social ‘development’ in the dependent colonies, and could be used as a tool of counterinsurgency, to suppress resistance to colonial rule.Less
After the war, senior BBC officers sought to use broadcasting to restore the status quo, returning to their domestic mission of cultural uplift, and their imperial mission of supporting British influence overseas. The BBC remained a major presence on short wave and, although rebroadcasting by organisations like the New Zealand Broadcasting Service (NZBS) declined, use of government-subsidized BBC transcriptions increased substantially. Connections with the British world were cultivated, with improved coverage of rugby and cricket, flagship comedies such as the Goon Show, and the broadcasting of ‘media events’ including the Coronation of 1953 and the Royal Tour of 1953/4. Cooperation among public broadcasting authorities continued to be organised on a non-commercial, public-service basis. Contemporaries also assumed that radio would help encourage economic and social ‘development’ in the dependent colonies, and could be used as a tool of counterinsurgency, to suppress resistance to colonial rule.
Simon J. Potter
- Published in print:
- 2012
- Published Online:
- September 2012
- ISBN:
- 9780199568963
- eISBN:
- 9780191741821
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780199568963.003.0008
- Subject:
- History, British and Irish Modern History, Cultural History
As Director-General, Hugh Carleton Greene encouraged the BBC to become more adventurous at home and more commercial overseas. Experimentation and commercialization made the BBC a more dynamic ...
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As Director-General, Hugh Carleton Greene encouraged the BBC to become more adventurous at home and more commercial overseas. Experimentation and commercialization made the BBC a more dynamic presence in the Commonwealth, but undermined the power of public broadcasting to resist Americanization. This chapter explores the role played by broadcasting in the broader British adjustment to the loss of empire. As decolonization proceeded apace, and more African and Asian countries entered the Commonwealth, the idea of using broadcasting to connect up the British diaspora died. Although the BBC continued to broadcast to the Commonwealth (the short-wave World Service was supplemented by the use of new cable and satellite communications technologies), and to export programmes in increasing quantity, its overseas operations were stripped of their imperial and Britannic purpose. Connections with organisations like the New Zealand Broadcasting Corporation (NZBC) remained, but were presented in terms of international rather than imperial cooperation.Less
As Director-General, Hugh Carleton Greene encouraged the BBC to become more adventurous at home and more commercial overseas. Experimentation and commercialization made the BBC a more dynamic presence in the Commonwealth, but undermined the power of public broadcasting to resist Americanization. This chapter explores the role played by broadcasting in the broader British adjustment to the loss of empire. As decolonization proceeded apace, and more African and Asian countries entered the Commonwealth, the idea of using broadcasting to connect up the British diaspora died. Although the BBC continued to broadcast to the Commonwealth (the short-wave World Service was supplemented by the use of new cable and satellite communications technologies), and to export programmes in increasing quantity, its overseas operations were stripped of their imperial and Britannic purpose. Connections with organisations like the New Zealand Broadcasting Corporation (NZBC) remained, but were presented in terms of international rather than imperial cooperation.
Gwen Terry
- Published in print:
- 2011
- Published Online:
- May 2012
- ISBN:
- 9780520268463
- eISBN:
- 9780520949782
- Item type:
- chapter
- Publisher:
- University of California Press
- DOI:
- 10.1525/california/9780520268463.003.0041
- Subject:
- Music, History, American
The National Broadcasting Corporation (NBC) maintained a staff of 175 musicians and Clark was to be the first Negro musician in the group. Although apprehensive, Clark was proud to be representing ...
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The National Broadcasting Corporation (NBC) maintained a staff of 175 musicians and Clark was to be the first Negro musician in the group. Although apprehensive, Clark was proud to be representing his race. Clark describes NBC as a great band, in which he was immediately propelled into the world of “first-call musicians.” The band had a lot of work in hand and was most sought after by the contractors for television commercials, radio work, and recording sessions. Clark even hired a hired a service called Radio Registry to keep up with his hectic schedule. As a part of NBC, Clark was making a truckload of money, working with a truckload of stellar musicians at the commercial dates. Clark describes his association with the NBS as a great experience.Less
The National Broadcasting Corporation (NBC) maintained a staff of 175 musicians and Clark was to be the first Negro musician in the group. Although apprehensive, Clark was proud to be representing his race. Clark describes NBC as a great band, in which he was immediately propelled into the world of “first-call musicians.” The band had a lot of work in hand and was most sought after by the contractors for television commercials, radio work, and recording sessions. Clark even hired a hired a service called Radio Registry to keep up with his hectic schedule. As a part of NBC, Clark was making a truckload of money, working with a truckload of stellar musicians at the commercial dates. Clark describes his association with the NBS as a great experience.
Gwen Terry
- Published in print:
- 2011
- Published Online:
- May 2012
- ISBN:
- 9780520268463
- eISBN:
- 9780520949782
- Item type:
- chapter
- Publisher:
- University of California Press
- DOI:
- 10.1525/california/9780520268463.003.0042
- Subject:
- Music, History, American
Jim and Andy's was a popular restaurant and bar near where the National Broadcasting Corporation (NBC) was situated, where music contractors hung out a lot, therefore, musicians too. It had the ...
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Jim and Andy's was a popular restaurant and bar near where the National Broadcasting Corporation (NBC) was situated, where music contractors hung out a lot, therefore, musicians too. It had the hippest jukebox in town, with the number of selections somewhere between one hundred fifty and two hundred songs, and used to play continuously. It was also a place for great connections. The musicians who hung out there, described as top-shelf musicians, were capable of doing whatever was asked of them. Eventually, Rockefeller bought the property where Jim's place was. So Jim bought another place and moved. As Clark indicates, Jim and Andy's was a “home away from home” for the band.Less
Jim and Andy's was a popular restaurant and bar near where the National Broadcasting Corporation (NBC) was situated, where music contractors hung out a lot, therefore, musicians too. It had the hippest jukebox in town, with the number of selections somewhere between one hundred fifty and two hundred songs, and used to play continuously. It was also a place for great connections. The musicians who hung out there, described as top-shelf musicians, were capable of doing whatever was asked of them. Eventually, Rockefeller bought the property where Jim's place was. So Jim bought another place and moved. As Clark indicates, Jim and Andy's was a “home away from home” for the band.
Gwen Terry
- Published in print:
- 2011
- Published Online:
- May 2012
- ISBN:
- 9780520268463
- eISBN:
- 9780520949782
- Item type:
- chapter
- Publisher:
- University of California Press
- DOI:
- 10.1525/california/9780520268463.003.0043
- Subject:
- Music, History, American
While working with the National Broadcasting Corporation (NBC), Clark was able to manage to take out time to work at his favorite jazz clubs. There was a buzz around the show that they had to hire ...
More
While working with the National Broadcasting Corporation (NBC), Clark was able to manage to take out time to work at his favorite jazz clubs. There was a buzz around the show that they had to hire another Negro. Clark was handed the responsibility of finding a person who was suitable to the band's needs. Racism had to play its part and Clark lived up for the opportunities of his race. He referred Snooky Young to the band. Clark retaliated when Snooky was not accepted by the band and almost left the band. However, both, himself and Snooky was retained in the band. As Clark states, it was the first time that he was making some serious money, enough to build a house for himself and his wife.Less
While working with the National Broadcasting Corporation (NBC), Clark was able to manage to take out time to work at his favorite jazz clubs. There was a buzz around the show that they had to hire another Negro. Clark was handed the responsibility of finding a person who was suitable to the band's needs. Racism had to play its part and Clark lived up for the opportunities of his race. He referred Snooky Young to the band. Clark retaliated when Snooky was not accepted by the band and almost left the band. However, both, himself and Snooky was retained in the band. As Clark states, it was the first time that he was making some serious money, enough to build a house for himself and his wife.
Colin Shaw
- Published in print:
- 1999
- Published Online:
- October 2011
- ISBN:
- 9780198159377
- eISBN:
- 9780191673603
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780198159377.003.0005
- Subject:
- Literature, Film, Media, and Cultural Studies
To every new generation, sex comes as a revelation which it firmly believes to be unique. The claim to uniqueness of the revelation to the 1960s generation could be more justifiable than most, at ...
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To every new generation, sex comes as a revelation which it firmly believes to be unique. The claim to uniqueness of the revelation to the 1960s generation could be more justifiable than most, at least for the extent of its reverberations. It was a time of awakening, of a changing of attitudes in Britain and the United States more profound than any which had occurred for a long time before. British broadcasting was also in a process of change in the 1960s. To read the report of the Pilkington Committee, published in 1962, the furore about sexual explicitness on television which was to develop not long afterwards would appear to have been largely unexpected. The word ‘sex’ did not appear at all in the Committee's appraisal of BBC (British Broadcasting Corporation) Television's output.Less
To every new generation, sex comes as a revelation which it firmly believes to be unique. The claim to uniqueness of the revelation to the 1960s generation could be more justifiable than most, at least for the extent of its reverberations. It was a time of awakening, of a changing of attitudes in Britain and the United States more profound than any which had occurred for a long time before. British broadcasting was also in a process of change in the 1960s. To read the report of the Pilkington Committee, published in 1962, the furore about sexual explicitness on television which was to develop not long afterwards would appear to have been largely unexpected. The word ‘sex’ did not appear at all in the Committee's appraisal of BBC (British Broadcasting Corporation) Television's output.
Michael Tracey
- Published in print:
- 1998
- Published Online:
- October 2011
- ISBN:
- 9780198159254
- eISBN:
- 9780191673573
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780198159254.003.0007
- Subject:
- Literature, Film, Media, and Cultural Studies
The creation of the conditions under which radio broadcasting could assume its role in the programme of re-education and democratisation required the removal of government controls, the improvement ...
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The creation of the conditions under which radio broadcasting could assume its role in the programme of re-education and democratisation required the removal of government controls, the improvement of efficiency, and the development of administrative machinery that would be independent, stable, confident, and responsible, and strong enough to prevent any attempt to re-establish government domination. To achieve these ends, the Occupation established three specific objectives. In a memorandum of December 1945, SCAP (Supreme Commander of the Allied Powers) outlined the plans for NHK reorganisation. General Douglas MacArthur established ‘an institution of public service’, an advisory committee of 15 to 20 Japanese citizens of both sexes from all parts of Japan ‘to advise the President of the Broadcasting Corporation of Japan’. This committee would represent the professional, business, educational, cultural, religious, labour, and farming elements of national life.Less
The creation of the conditions under which radio broadcasting could assume its role in the programme of re-education and democratisation required the removal of government controls, the improvement of efficiency, and the development of administrative machinery that would be independent, stable, confident, and responsible, and strong enough to prevent any attempt to re-establish government domination. To achieve these ends, the Occupation established three specific objectives. In a memorandum of December 1945, SCAP (Supreme Commander of the Allied Powers) outlined the plans for NHK reorganisation. General Douglas MacArthur established ‘an institution of public service’, an advisory committee of 15 to 20 Japanese citizens of both sexes from all parts of Japan ‘to advise the President of the Broadcasting Corporation of Japan’. This committee would represent the professional, business, educational, cultural, religious, labour, and farming elements of national life.
John Caughie
- Published in print:
- 2000
- Published Online:
- October 2011
- ISBN:
- 9780198742197
- eISBN:
- 9780191694981
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780198742197.003.0003
- Subject:
- Literature, Film, Media, and Cultural Studies
The period between 1965 and 1975 is considered to be the golden age of the British Broadcasting Corporation’s television drama. The 1960s and the 1970s marked the shift in values and culture of ...
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The period between 1965 and 1975 is considered to be the golden age of the British Broadcasting Corporation’s television drama. The 1960s and the 1970s marked the shift in values and culture of British television. During these times, the established traditions were questioned and rewritten and the tastefulness of TV programs altered. The boundaries of creativity were also transgressed in this era of British television. This chapter highlights several television dramas and a number of plays which tested the boundaries of British programming and contributed to its eventual development.Less
The period between 1965 and 1975 is considered to be the golden age of the British Broadcasting Corporation’s television drama. The 1960s and the 1970s marked the shift in values and culture of British television. During these times, the established traditions were questioned and rewritten and the tastefulness of TV programs altered. The boundaries of creativity were also transgressed in this era of British television. This chapter highlights several television dramas and a number of plays which tested the boundaries of British programming and contributed to its eventual development.
Neil J. Sullivan
- Published in print:
- 2008
- Published Online:
- October 2011
- ISBN:
- 9780195331837
- eISBN:
- 9780199851607
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780195331837.003.0005
- Subject:
- History, American History: 20th Century
This chapter examines Jacob Ruppert's sale of the New York Yankees and the Yankee Stadium. On January 25, 1945, Del Webb and Dan Topping, together with Larry McPhail purchased the Yankees and the ...
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This chapter examines Jacob Ruppert's sale of the New York Yankees and the Yankee Stadium. On January 25, 1945, Del Webb and Dan Topping, together with Larry McPhail purchased the Yankees and the stadium for $2.8 million. McPhail was bought in 1947. The new owners experienced some of the same problems encountered by Ruppert. The Webb and Topping era covered a time when the World War I generation of stadiums were largely abandoned as obsolete. In 1964, they sold the franchise to Columbia Broadcasting System (CBS).Less
This chapter examines Jacob Ruppert's sale of the New York Yankees and the Yankee Stadium. On January 25, 1945, Del Webb and Dan Topping, together with Larry McPhail purchased the Yankees and the stadium for $2.8 million. McPhail was bought in 1947. The new owners experienced some of the same problems encountered by Ruppert. The Webb and Topping era covered a time when the World War I generation of stadiums were largely abandoned as obsolete. In 1964, they sold the franchise to Columbia Broadcasting System (CBS).
Neil J. Sullivan
- Published in print:
- 2008
- Published Online:
- October 2011
- ISBN:
- 9780195331837
- eISBN:
- 9780199851607
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780195331837.003.0007
- Subject:
- History, American History: 20th Century
This chapter examines the history of the Columbia Broadcasting System's (CBS) deal for the renovation of the Yankee Stadium during the 1970s. New York Yankees President Michael Burke made known his ...
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This chapter examines the history of the Columbia Broadcasting System's (CBS) deal for the renovation of the Yankee Stadium during the 1970s. New York Yankees President Michael Burke made known his concerns about the condition of the stadium to New York City Mayor John Lindsay. These concerns included inadequate parking and traffic congestion. In mid-1972, Lindsay had devised a plan for the city to purchase the stadium, renovate it to address Burke's concerns and lease it to the Yankees.Less
This chapter examines the history of the Columbia Broadcasting System's (CBS) deal for the renovation of the Yankee Stadium during the 1970s. New York Yankees President Michael Burke made known his concerns about the condition of the stadium to New York City Mayor John Lindsay. These concerns included inadequate parking and traffic congestion. In mid-1972, Lindsay had devised a plan for the city to purchase the stadium, renovate it to address Burke's concerns and lease it to the Yankees.
Neil J. Sullivan
- Published in print:
- 2008
- Published Online:
- October 2011
- ISBN:
- 9780195331837
- eISBN:
- 9780199851607
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780195331837.003.0008
- Subject:
- History, American History: 20th Century
This chapter examines the history of Columbia Broadcasting System's (CBS) sale of the New York Yankees franchise to the twelve-member syndicate headed by Mike Burke and George Steinbrenner for $10 ...
More
This chapter examines the history of Columbia Broadcasting System's (CBS) sale of the New York Yankees franchise to the twelve-member syndicate headed by Mike Burke and George Steinbrenner for $10 million in cash in January 1973. Though the sale was about $4 million lower than the price when CBS purchased the franchise in 1964, analyst Red Smith explained that CBS broke even on the deal. The opening of the renovated stadium on April 15, 1976 signalled the resurgence of the Yankees to a championship team.Less
This chapter examines the history of Columbia Broadcasting System's (CBS) sale of the New York Yankees franchise to the twelve-member syndicate headed by Mike Burke and George Steinbrenner for $10 million in cash in January 1973. Though the sale was about $4 million lower than the price when CBS purchased the franchise in 1964, analyst Red Smith explained that CBS broke even on the deal. The opening of the renovated stadium on April 15, 1976 signalled the resurgence of the Yankees to a championship team.
Robert Savage
- Published in print:
- 2015
- Published Online:
- January 2016
- ISBN:
- 9780719087332
- eISBN:
- 9781781708804
- Item type:
- book
- Publisher:
- Manchester University Press
- DOI:
- 10.7228/manchester/9780719087332.001.0001
- Subject:
- Film, Television and Radio, Television
This book explores how news and information about the conflict in Northern Ireland was disseminated through the most accessible, powerful and popular form of media: television. It focuses on the BBC ...
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This book explores how news and information about the conflict in Northern Ireland was disseminated through the most accessible, powerful and popular form of media: television. It focuses on the BBC and considers how its broadcasts complicated ‘the Troubles’ by challenging decisions, policies and tactics developed by governments trying to defeat a stubborn insurgency that threatened national security. The BBC’s Irish Troubles explores the incessant wrangling between political elites, civil servants, military officials, broadcasting authorities and journalists about what should and should not be featured on the regional and national networks of BBC television. In many cases the anxiety and controversy created by these political skirmishes challenged the ability of the medium to accurately inform citizens of important events taking place within the United Kingdom, thereby undermining the BBC’s role as a public service provider. The crisis in Northern Ireland tested the integrity and independence of the BBC, one of the most trusted and respected media outlets in the world. Throughout the conflict, the BBC was attacked, threatened and bullied, by a variety of actors but did its best to stand its ground and maintain editorial independence and journalistic credibility. In spite of the infamous broadcasting restrictions put in place in 1988, professional staff remained determined to provide the public with informed news and information about the crisis. Senior broadcasting officials pushed back against awkward government efforts to silence voices that, although unpalatable, were critical to comprehending and eventually resolving a long and bloody conflict.Less
This book explores how news and information about the conflict in Northern Ireland was disseminated through the most accessible, powerful and popular form of media: television. It focuses on the BBC and considers how its broadcasts complicated ‘the Troubles’ by challenging decisions, policies and tactics developed by governments trying to defeat a stubborn insurgency that threatened national security. The BBC’s Irish Troubles explores the incessant wrangling between political elites, civil servants, military officials, broadcasting authorities and journalists about what should and should not be featured on the regional and national networks of BBC television. In many cases the anxiety and controversy created by these political skirmishes challenged the ability of the medium to accurately inform citizens of important events taking place within the United Kingdom, thereby undermining the BBC’s role as a public service provider. The crisis in Northern Ireland tested the integrity and independence of the BBC, one of the most trusted and respected media outlets in the world. Throughout the conflict, the BBC was attacked, threatened and bullied, by a variety of actors but did its best to stand its ground and maintain editorial independence and journalistic credibility. In spite of the infamous broadcasting restrictions put in place in 1988, professional staff remained determined to provide the public with informed news and information about the crisis. Senior broadcasting officials pushed back against awkward government efforts to silence voices that, although unpalatable, were critical to comprehending and eventually resolving a long and bloody conflict.
