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Autor: Grafiati

Data publikacji: 25 lipca 2024

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1

Michael, Barson, i Marx Brothers, red. Flywheel, Shyster, and Flywheel: The Marx Brothers' last radio show. New York: Pantheon, 1988.

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2

1963-, Friederici Peter, i Nabhan Gary Paul, red. Earth notes: Exploring the Southwest's Canyon Country from the airwaves : from the popular KNAU public radio show. Grand Canyon, AZ: Grand Canyon Association, 2005.

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3

Wilmut, Roger. The Goon Show companion: A history and goonography. London: Robson Books, 1992.

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4

Billips, Connie J. Lux presents Hollywood: A show-by-show history of the Lux radio theatre and the Lux video theatre, 1934-1957. Jefferson, N.C: McFarland & Co., 1995.

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5

Williams, Robyn. This is the Science show. Sydney, NSW: Published by ABC Books for the Australian Broadcasting Corporation, 1995.

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6

Russell, Paul. Ryan on the radio. Dublin: Gill and Macmillan, 1991.

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7

Norma, Farnes, red. The Goons: The story. London: Virgin, 1997.

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8

Milligan, Spike. The Lost Goon Shows. London: Penguin, 1988.

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9

The lost Goon shows. London: Robson Books, 1987.

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10

Liz, Fell, i Wenzel Carolin, red. The Coming out show: Twenty years of feminist ABC radio. Sydney, NSW: ABC Book, 1995.

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11

Coraúcci, Carlos. Um show de rádio: A vida de Estevam Sangirardi. São Paulo, SP: A Girafa, 2006.

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12

Hickerson, Jay. The new, revised ultimate history of network radio programming and guide to all circulating shows. Wyd. 3. Hamden, CT: J. Hickerson, 1996.

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13

Barson, Michael. Flywheel, Shyster, and Flywheel: The Marx Brothers' lost radio show. New York: Pantheon, 1988.

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14

Michael, Perry. From the top: Brief transmissions from Tent show radio. Madison: Wisconsin Historical Society Press, 2013.

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15

Anderson, Arthur. Let's pretend: A history of radio's best loved children's show by a longtime cast member. Jefferson, N.C: McFarland, 1994.

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16

Morse, Carlton E. The One man's family album: An inside look at radio's longest running show. Woodside, Calif: Seven Stones Press, 1988.

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17

Mayo, Simon. Further confessions: More secrets from the Radio I FM breakfast show confessional. London: Marshall Pickering, 1992.

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18

Mayo, Simon. The very worst of confessions: More appalling misdeeds from the Radio 1 FM breakfast show. London: Marshall Pickering, 1993.

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19

91.9 KGLT (Radio station : Bozeman, Mont.), red. The Montana Medicine Show's genuine Montana history. Helena, Montana: Riverbend Publishing, 2014.

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20

N.U. (Organization). Lembaga Kajian dan Pengembangan Sumberdaya Manusia., red. Transkrip talk show Program Pengembangan Islam Pluralis: Puasa dan visi emansipatoris : Radio Asy-Syafi'iyah. [Jakarta?]: Kerjasama Lakpesdam NU [dan] the Asia Foundation, 2001.

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21

Ryan, Gerry. Would the real Gerry Ryan please stand up. Dublin: Penguin Ireland, 2008.

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22

Ryan, Gerry. Would the real Gerry Ryan please stand up. Dublin: Penguin Ireland, 2008.

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23

Gorban, Alina, Sari Cohen i Hagar Wertheim. On the air: Graphic stories based on the popular radio show This American Life. [Tel Aviv]: [s.n.], 2010.

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24

McLean, Stuart. Time now for the Vinyl Cafe story exchange. Toronto, Ontario, Canada: Penguin, an imprint of Penguin Canada Books Inc., a Penguin Random House Company, 2014.

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25

McLean, Stuart. Time now for the Vinyl Cafe story exchange. Toronto, Ontario, Canada: Viking, 2013.

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26

Tom, Price. Fibber McGee's closet: The ultimate log of performances by Fibber McGee and Molly, 1917-1987 : a celebration of the 52nd anniversary of Fibber McGee and Molly and Jim's 70 years in show business. Monterey, Calif: T.A. Price, 1987.

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27

Took, Barry. Round the Horne: (the complete and utter history) : based on the BBC radio show Round the Horne created by Barry Took and Marty Feldman. London: Boxtree, 1998.

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28

Finucane, Marian. Marian Finucane: The Saturday interview, 2005-2011. Dublin: Wolfhound Press, 2011.

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29

Bowen, Gail. The shadow killer. Victoria, B.C: Raven Books, 2011.

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30

Lamb, Richard A. Rick Lamb's horse smarts for the busy rider: Insights in small bites from the horse show minute radio program. Guilford: Lyons Press, 2005.

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31

Scott, Elaine. Ramona: Behind the scenes of a television show. New York: Morrow Junior Books, 1988.

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32

Olbermann, Keith. The big show: Inside ESPN's SportsCenter. New York: Pocket Books, 1997.

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33

Vaughn, Carrie. Kitty's house of horrors. New York: Grand Central Pub., 2010.

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34

Goodman, Amy. The silenced majority: Stories of uprisings, occupations, resistance, and hope. Chicago, Ill: Haymarket Books, 2012.

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35

The Now Show. Orion Publishing Group, 2010.

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36

(Performer), Steve Punt, i Hugh Dennis (Performer), red. The Now Show (BBC Radio Collection). BBC Audiobooks, 2002.

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37

(Performer), Steve Punt, i Hugh Dennis (Performer), red. The Now Show (BBC Radio Collection). BBC Audiobooks, 2002.

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38

Carson, Leigh Ellen. Star Radio Show: A Christmas Program. Author Solutions, LLC, 2022.

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39

SCIENCE SHOW II. Thomas Nelson, 1986.

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40

Milligan, Spike. The Lost "Goon" Shows. Robson Books Ltd, 1993.

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41

Maslon, Laurence. The Majestic Theater of the Air. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780199832538.003.0004.

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The advent of radio in the early 1920s allowed for the music of Broadway to penetrate even more households with dance bands, variety shows, and interview programs that exploited the rarified atmosphere of Broadway. In the 1920s, personalities such as Eddie Cantor and Rudy Vallee hawked not only the sponsors’ products, but the latest hit songs of Broadway. Songwriters, such as George Gershwin, as well as Rodgers and Hart, wrote original material for radio and appearing on the air as acclaimed celebrities. The Hit Parade program also codified the hit-making potential of Broadway songs. By the 1940s, Frank Sinatra brought the music of Broadway to avid listeners and used the “bully pulpit” of several popular radio series to disseminate the content and context of Broadway.

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42

Bodroghkozy, Aniko. Propaganda Tool for Racial Progress? University of Illinois Press, 2017. http://dx.doi.org/10.5406/illinois/9780252036682.003.0002.

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This chapter examines early discourses on the relationship between television and the developing black freedom movement, with particular emphasis on optimistic hopes that television could be a progressive tool for African American advancement and racial justice. Unlike radio, early network television appeared to take seriously obligations to present African Americans in respectful ways. In the early 1950s, for example, NBC's politically progressive chief censor worked to eradicate offensive black stereotypes from programming by scrubbing references to “darkies,” images of Stepin Fetchit–style characters. This chapter first considers the National Association for the Advancement of Colored People's protest against the Amos 'n' Andy and response to the Beulah radio shows before discussing the role of entertainment television in the pre-civil rights period. It looks at the ABC program The Beulah Show. While Beulah exemplifies early television's initial foray into the arena of race relations and black representation, this chapter argues that it did not give viewers a concept of black and white on equal terms.

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43

Mayo, Simon, i Matt. The Very Worst Of...confessions: More Appealing Misdeeds from the Radio 1FM Breakfast Show. HarperCollins Publishers, 1993.

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44

Schulz, Clair. Tuning in the Great Gildersleeve: The Episodes and Cast of Radio's First Spinoff Show, 1941-1957. McFarland & Company, Incorporated Publishers, 2013.

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45

Leonardo, Micaela di. Black Radio/Black Resistance: The Life and Times of the Tom Joyner Morning Show. Oxford University Press, Incorporated, 2019.

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46

Mayo, Simon, i Matt. Further Confessions. HarperCollins Publishers, 1992.

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47

Would The Real Gerry Ryan Please Stand Up. London: Penguin Group UK, 2010.

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48

Rollins, Henry. Fanatic!: Songs Lists and Notes from the Harmony In My Head Radio Show. 2.13.61, 2006.

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49

Westengard, Laura, i Aaron Barlow, red. The 25 Sitcoms That Changed Television. ABC-CLIO, LLC, 2017. http://dx.doi.org/10.5040/9798400605789.

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This book spotlights the 25 most important sitcoms to ever air on American television—shows that made generations laugh, challenged our ideas regarding gender, family, race, marital roles, and sexual identity, and now serve as time capsules of U.S. history. What was the role of The Jeffersons in changing views regarding race and equality in America in the 1970s? How did The Golden Girls affect how society views older people? Was The Office an accurate (if exaggerated) depiction of the idiosyncrasies of being employees in a modern workplace? How did the writers of The Simpsons make it acceptable to air political satire through the vehicle of an animated cartoon ostensibly for kids? Readers of this book will see how television situation comedies have consistently held up a mirror for American audiences to see themselves—and the reflections have not always been positive or purely comedic. The introduction discusses the history of sitcoms in America, identifying their origins in radio shows and explaining how sitcom programming evolved to influence the social and cultural norms of our society. The shows are addressed chronologically, in sections delineated by decade. Each entry presents background information on the show, including the dates it aired, key cast members, and the network; explains why the show represents a notable turning point in American television; and provides an analysis of each sitcom that considers how the content was received by the American public and the lasting effects on the family unit, gender roles, culture for young adults, and minority and LGBT rights. The book also draws connections between important sitcoms and other shows that were influenced by or strikingly similar to these trendsetting programs. Lastly, a section of selections for further reading points readers to additional resources.

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50

Laird, Tracey. Country Music and Television. Redaktor Travis D. Stimeling. Oxford University Press, 2017. http://dx.doi.org/10.1093/oxfordhb/9780190248178.013.28.

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The country music variety show Hee Haw simultaneously hearkened back to radio era precedents and embraced cutting edge production and editing techniques. This chapter situates Hee Haw’s 1969 debut among earliest examples of televised country music that merely added visual components to radio formats, followed by sitcoms like the Andy Griffith Show or Beverly Hillbillies that used country music for added color and bumpkin humor. Hee Haw embraced a rapid-fire, nonnarrative, “postmodern” aesthetic directly inspired by its predecessor, Laugh-In. Distinct from contemporary variety programs hosted by Johnny Cash or Glen Campbell, Hee-Haw taped in a studio with no live audience and efficiently pieced together its season via computerized, time-coded editing. Perpetuating comedic hillbilly stereotypes yet with a winking, tongue-in-cheek sense of sophistication, Hee Haw was purged from the CBS network in 1971 and continued production of new seasons via syndication until 1992.

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