Pub Date : 2005-05-01DOI: 10.1207/S15506843JRS1201_7
Tony R. DeMars
This article reveals how Spanish-language radio started in San Antonio, Texas—as blocks of time bought by Hispanics interested in providing music to San Antonio's Spanish-speaking residents. In particular, this study recognizes the contributions of San Antonio radio pioneer Manuel Davila and his role in starting Spanish-language radio and the Tejano format, drawing from a combination of on-site observation at Davila's station, personal interviews, and the collection of historical data. The article also lays a foundation for critically analyzing the political economy and hegemonic process of maintenance of economic and cultural power possible in the early days of radio broadcasting to compare it to the current corporately dominated marketplace.
{"title":"Buying Time to Start Spanish-Language Radio in San Antonio: Manuel Davila and the Beginning of Tejano Programming","authors":"Tony R. DeMars","doi":"10.1207/S15506843JRS1201_7","DOIUrl":"https://doi.org/10.1207/S15506843JRS1201_7","url":null,"abstract":"This article reveals how Spanish-language radio started in San Antonio, Texas—as blocks of time bought by Hispanics interested in providing music to San Antonio's Spanish-speaking residents. In particular, this study recognizes the contributions of San Antonio radio pioneer Manuel Davila and his role in starting Spanish-language radio and the Tejano format, drawing from a combination of on-site observation at Davila's station, personal interviews, and the collection of historical data. The article also lays a foundation for critically analyzing the political economy and hegemonic process of maintenance of economic and cultural power possible in the early days of radio broadcasting to compare it to the current corporately dominated marketplace.","PeriodicalId":331997,"journal":{"name":"Journal of Radio Studies","volume":"37 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2005-05-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"123984488","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2005-05-01DOI: 10.1207/S15506843JRS1201_4
D. W. Mazzocco
This article describes the process of establishing the National Recovery Administration (NRA) codes in U.S. broadcasting beginning in January 1933. The National Association of Broadcasters (NAB) fortified its dominant position in shaping federal broadcast oversight during the first New Deal period (1933–1935). As it championed economic recovery efforts, the NAB largely favored President Roosevelt, a long-time supporter of radio broadcasting. Radio industry control through 1935 continued to tilt toward national broadcasters over lower-power station owners as it became clear that the medium could serve as the most efficient means for a U.S. political, economic, and/or defense mobilization.
{"title":"Radio's New Deal: The NRA and U.S. Broadcasting, 1933–1935","authors":"D. W. Mazzocco","doi":"10.1207/S15506843JRS1201_4","DOIUrl":"https://doi.org/10.1207/S15506843JRS1201_4","url":null,"abstract":"This article describes the process of establishing the National Recovery Administration (NRA) codes in U.S. broadcasting beginning in January 1933. The National Association of Broadcasters (NAB) fortified its dominant position in shaping federal broadcast oversight during the first New Deal period (1933–1935). As it championed economic recovery efforts, the NAB largely favored President Roosevelt, a long-time supporter of radio broadcasting. Radio industry control through 1935 continued to tilt toward national broadcasters over lower-power station owners as it became clear that the medium could serve as the most efficient means for a U.S. political, economic, and/or defense mobilization.","PeriodicalId":331997,"journal":{"name":"Journal of Radio Studies","volume":"39 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2005-05-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"125881898","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2005-05-01DOI: 10.1207/s15506843jrs1201_1
Douglas A. Ferguson
{"title":"Editor's Introduction","authors":"Douglas A. Ferguson","doi":"10.1207/s15506843jrs1201_1","DOIUrl":"https://doi.org/10.1207/s15506843jrs1201_1","url":null,"abstract":"","PeriodicalId":331997,"journal":{"name":"Journal of Radio Studies","volume":"21 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2005-05-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"127823323","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2005-05-01DOI: 10.1207/s15506843jrs1201_11
D. Skinner
Adding another dimension to current histories of Canadian broadcasting, this article illustrates how the private and public elements of the system worked together—in a complex and contradictory fashion—to capitalize on the development of early radio broadcasting in Canada. It also illustrates how transnational relations of production not only framed the field of broadcasting but also extended into the heart of its organization and development and how, both directly and indirectly, the public sector worked to subsidize and promote the development of private broadcasters.
{"title":"Divided Loyalties: The Early Development of Canada's \"Single\" Broadcasting System","authors":"D. Skinner","doi":"10.1207/s15506843jrs1201_11","DOIUrl":"https://doi.org/10.1207/s15506843jrs1201_11","url":null,"abstract":"Adding another dimension to current histories of Canadian broadcasting, this article illustrates how the private and public elements of the system worked together—in a complex and contradictory fashion—to capitalize on the development of early radio broadcasting in Canada. It also illustrates how transnational relations of production not only framed the field of broadcasting but also extended into the heart of its organization and development and how, both directly and indirectly, the public sector worked to subsidize and promote the development of private broadcasters.","PeriodicalId":331997,"journal":{"name":"Journal of Radio Studies","volume":"1 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2005-05-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"122972989","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2005-05-01DOI: 10.1207/s15506843jrs1201_14
Bradley L. Nason
They weren’t household names like many of the characters they created, but Frank and Anne Hummert were to radio’s Golden Age what FDR was to the political milieu of that era. In Frank and Anne Hummert’s Radio Factory: The Programs and Personalities of Broadcasting’s Most Prolific Producers, author Jim Cox writes that without their “tactical influence throughout most of that period ... the resulting void would have been filled in mixed but irrefutably different ways. The couple’s impact on the medium was little short of gargantuan” (p. 9). A radio factory is an apt description of their production empire. According to Cox, the Hummerts had their hands in no fewer than 125 programs. And although they are largely credited with establishing the daytime soap opera genre, they also produced music and variety shows, juvenile adventure serials, crime detective mysteries, and even a game show. At their peak of power, they controlled between 25 and 30 hours of network time weekly. So, why, outside of the circle of media historians—a review of Gerald Nachman’s Raised on Radio called them “fascinating sideline characters”—are they largely forgotten today? Cox attributes it in part to “their preferred reclusive lifestyle” (p. 150) but also to their methodical, at times harsh, entrepreneurial approach to producing radio programming: “mass production, low costs, standardization, and specialization” (p. 36). The couple met in Chicago in 1927, where Frank was a vice president and head copywriter in a well-known advertising agency that would later add his name. A former newspaper reporter, Anne became his assistant and, despite an age difference of almost 20 years, they married in the mid-1930s. It is during this period that, according to Cox, Frank Hummert concludes that daytime radio could do better than “cooking tips, beauty secrets and personal advice” (p. 22). Although Irna Phillips is credited with airing the first soap opera, Painted Dreams, on a Chicago station on October 20, 1930, it is the Hummerts who infuse the genre “with a visibility that gave it instant recognition” (p. 125). Radio Factory is most effective when it offers the detail and anecdotes characteristic of the author’s previous books on radio’s Golden Age. Cox describes how the “Hummerts’ personal excesses and idiosyncrasies” (p. 110) many times ended up in their story lines. The protagonist of the long-running The Romance of Helen Trent, Cox writes, “remained utterly chaste. Yet housewives who themselves smoked three packs a day were probably convinced that any woman who smoked or drank on [the program] had low ethics and loose morals” (pp. 112–113). One writer was
{"title":"Book Review of Jim Cox's Frank and Anne Hummert's Radio Factory: The Programs and Personalities of Broadcasting's Most Prolific Producers","authors":"Bradley L. Nason","doi":"10.1207/s15506843jrs1201_14","DOIUrl":"https://doi.org/10.1207/s15506843jrs1201_14","url":null,"abstract":"They weren’t household names like many of the characters they created, but Frank and Anne Hummert were to radio’s Golden Age what FDR was to the political milieu of that era. In Frank and Anne Hummert’s Radio Factory: The Programs and Personalities of Broadcasting’s Most Prolific Producers, author Jim Cox writes that without their “tactical influence throughout most of that period ... the resulting void would have been filled in mixed but irrefutably different ways. The couple’s impact on the medium was little short of gargantuan” (p. 9). A radio factory is an apt description of their production empire. According to Cox, the Hummerts had their hands in no fewer than 125 programs. And although they are largely credited with establishing the daytime soap opera genre, they also produced music and variety shows, juvenile adventure serials, crime detective mysteries, and even a game show. At their peak of power, they controlled between 25 and 30 hours of network time weekly. So, why, outside of the circle of media historians—a review of Gerald Nachman’s Raised on Radio called them “fascinating sideline characters”—are they largely forgotten today? Cox attributes it in part to “their preferred reclusive lifestyle” (p. 150) but also to their methodical, at times harsh, entrepreneurial approach to producing radio programming: “mass production, low costs, standardization, and specialization” (p. 36). The couple met in Chicago in 1927, where Frank was a vice president and head copywriter in a well-known advertising agency that would later add his name. A former newspaper reporter, Anne became his assistant and, despite an age difference of almost 20 years, they married in the mid-1930s. It is during this period that, according to Cox, Frank Hummert concludes that daytime radio could do better than “cooking tips, beauty secrets and personal advice” (p. 22). Although Irna Phillips is credited with airing the first soap opera, Painted Dreams, on a Chicago station on October 20, 1930, it is the Hummerts who infuse the genre “with a visibility that gave it instant recognition” (p. 125). Radio Factory is most effective when it offers the detail and anecdotes characteristic of the author’s previous books on radio’s Golden Age. Cox describes how the “Hummerts’ personal excesses and idiosyncrasies” (p. 110) many times ended up in their story lines. The protagonist of the long-running The Romance of Helen Trent, Cox writes, “remained utterly chaste. Yet housewives who themselves smoked three packs a day were probably convinced that any woman who smoked or drank on [the program] had low ethics and loose morals” (pp. 112–113). One writer was","PeriodicalId":331997,"journal":{"name":"Journal of Radio Studies","volume":"17 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2005-05-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"116847813","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2005-05-01DOI: 10.1207/S15506843JRS1201_5
Julian Williams
The Birmingham civil rights movement, under the leadership of Fred Shuttlesworth, challenged a social system based on segregation and White supremacy. This study explores the degree to which Birmingham radio stations covered the struggle for freedom and equality. Mainstream stations did little in the way of coverage. Announcers at Black-oriented stations, under pressure from White owners to avoid controversy, reluctantly followed the status quo. However, a brilliant programming strategy at the leading Black station in the market encouraged civic participation, facilitated the flow of information about civil rights activities, and ultimately led the way to positive social change.
{"title":"Black Radio and Civil Rights: Birmingham, 1956–1963","authors":"Julian Williams","doi":"10.1207/S15506843JRS1201_5","DOIUrl":"https://doi.org/10.1207/S15506843JRS1201_5","url":null,"abstract":"The Birmingham civil rights movement, under the leadership of Fred Shuttlesworth, challenged a social system based on segregation and White supremacy. This study explores the degree to which Birmingham radio stations covered the struggle for freedom and equality. Mainstream stations did little in the way of coverage. Announcers at Black-oriented stations, under pressure from White owners to avoid controversy, reluctantly followed the status quo. However, a brilliant programming strategy at the leading Black station in the market encouraged civic participation, facilitated the flow of information about civil rights activities, and ultimately led the way to positive social change.","PeriodicalId":331997,"journal":{"name":"Journal of Radio Studies","volume":"1 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2005-05-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"131626366","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2005-05-01DOI: 10.1207/S15506843JRS1201_8
Anne F. MacLennan
Canadian historical literature of early radio broadcasting focuses largely on policy and formation of two successive public networks: the Canadian Radio Broadcasting Commission (CRBC) and the Canadian Broadcasting Corporation (CBC). This literature rests fundamentally on the assumption that the CRBC and CBC were formed to counter the threat of American cultural domination. This study is based on a stratified random sample of radio schedules selected from Vancouver, Montreal, and Halifax newspapers. This content analysis of radio schedules demonstrates an overall trend of greater U.S. programming within Canadian radio station schedules coinciding with the introduction of programs produced in the United States by the CBC.
{"title":"American Network Broadcasting, the CBC, and Canadian Radio Stations During the 1930s: A Content Analysis","authors":"Anne F. MacLennan","doi":"10.1207/S15506843JRS1201_8","DOIUrl":"https://doi.org/10.1207/S15506843JRS1201_8","url":null,"abstract":"Canadian historical literature of early radio broadcasting focuses largely on policy and formation of two successive public networks: the Canadian Radio Broadcasting Commission (CRBC) and the Canadian Broadcasting Corporation (CBC). This literature rests fundamentally on the assumption that the CRBC and CBC were formed to counter the threat of American cultural domination. This study is based on a stratified random sample of radio schedules selected from Vancouver, Montreal, and Halifax newspapers. This content analysis of radio schedules demonstrates an overall trend of greater U.S. programming within Canadian radio station schedules coinciding with the introduction of programs produced in the United States by the CBC.","PeriodicalId":331997,"journal":{"name":"Journal of Radio Studies","volume":"30 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2005-05-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"129232868","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2005-05-01DOI: 10.1207/s15506843jrs1201_10
Pierre C. Bélanger, Philippe Andrecheck
As the custodian of the public space, the Canadian Broadcasting Corporation (CBC) has a mandated responsibility to develop, promote, and preserve the public sphere by actively contributing to the flow and exchange of cultural expression while reflecting the demographic and cultural diversities of Canada. This article sets out to explore the question: To what extent does CBC's Radio 3.com qualify as a civic youth media? The goal of this article is to understand the evolution and applications of civic youth media in order to assess the value of civic-minded ideals against what is being done by the CBC on the Internet to reach the younger members of the Canadian public.
{"title":"CBC's Electronic Radio 3: Connecting With the Elusive Youth","authors":"Pierre C. Bélanger, Philippe Andrecheck","doi":"10.1207/s15506843jrs1201_10","DOIUrl":"https://doi.org/10.1207/s15506843jrs1201_10","url":null,"abstract":"As the custodian of the public space, the Canadian Broadcasting Corporation (CBC) has a mandated responsibility to develop, promote, and preserve the public sphere by actively contributing to the flow and exchange of cultural expression while reflecting the demographic and cultural diversities of Canada. This article sets out to explore the question: To what extent does CBC's Radio 3.com qualify as a civic youth media? The goal of this article is to understand the evolution and applications of civic youth media in order to assess the value of civic-minded ideals against what is being done by the CBC on the Internet to reach the younger members of the Canadian public.","PeriodicalId":331997,"journal":{"name":"Journal of Radio Studies","volume":"51 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2005-05-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"130273952","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2005-05-01DOI: 10.1207/S15506843JRS1201_15
Michael Brown
The Coon–Sanders Nighthawks characterized the popular bands that developed between World War I and the Depression. The band started in Kansas City, Missouri, and according to Edmiston, “Its music was gay, saucy, and bustling; its musicians were carefree and extravagant” (p. 1). The band started when Carleton Coon and Joe Sanders organized a jazz orchestra to play hotels and dances in Kansas City after World War I, eventually becoming the Coon–Sanders Novelty Singing Orchestra. In 1922 they started playing regularly on WDAF, a radio station owned by the Kansas City Star. Their program started about midnight with little guarantee of an audience. While on the radio Carleton Coon said, “Anybody idiotic enough to stay up late to hear radio must be a real nighthawk” (p. 84). The comment drew a number of responses from listeners, and the name “nighthawk” was adopted as the new name of the Coon–Sanders orchestra. In addition, the listeners of the program called themselves nighthawks and began to organize into an informal club. By 1923 the program was heard across a large part of the nation, including Hawaii, and there were over 35,000 members of the Nighthawk Club. The book is organized chronologically to follow the lives of Coon and Sanders through a relative short period of time. Chapter 1 presents their early childhood lives, whereas the remaining six chapters concentrate on the band’s success beginning in 1919 through the death of Coon in 1932. This book does not center radio in the story; it is about the Coon–Sanders musical experience. However, de-centering radio does not diminish the significance it held in establishing a nationwide interest in the Coon–Sanders Nighthawks. At one point Leo Fitzpatrick, the announcer for the Coon–Sanders show, appeared on WSB radio owned by the Atlanta Journal. The night Fitzpatrick appeared, WDAF broadcast its regular Coon–Sanders show then switched off its transmitters so Kansas City listeners could tune into WSB and listen to Fitzpatrick initiate an Atlanta audience into the Nighthawk Club. This is an example of the interesting insights about radio that the book provides, in this case about how early radio stations cooperated to promote each other’s talent as well as to promote the larger importance of broadcasting as a new medium. Later the Coon–Sanders Nighthawks enjoyed a popular tour that included stops in Georgia and Chicago; in Chicago, where the group was featured on Westinghouse’s KYW radio. Eventually the Nighthawks became one of the top bands in Chicago and played on WGN. This book would appeal to those scholars interested in the relationship between radio, popular music, and the music industry. The time period is at the beginning of radio broadcasting, and the book provides a unique view of early broadcasting. What is of particular interest to radio scholars is how the band’s story and success is so closely tied to its appearance and popularity on radio. Because the primary story is about the
{"title":"Book Review of Fred W. Edmiston's The Coon–Sanders Nighthawks","authors":"Michael Brown","doi":"10.1207/S15506843JRS1201_15","DOIUrl":"https://doi.org/10.1207/S15506843JRS1201_15","url":null,"abstract":"The Coon–Sanders Nighthawks characterized the popular bands that developed between World War I and the Depression. The band started in Kansas City, Missouri, and according to Edmiston, “Its music was gay, saucy, and bustling; its musicians were carefree and extravagant” (p. 1). The band started when Carleton Coon and Joe Sanders organized a jazz orchestra to play hotels and dances in Kansas City after World War I, eventually becoming the Coon–Sanders Novelty Singing Orchestra. In 1922 they started playing regularly on WDAF, a radio station owned by the Kansas City Star. Their program started about midnight with little guarantee of an audience. While on the radio Carleton Coon said, “Anybody idiotic enough to stay up late to hear radio must be a real nighthawk” (p. 84). The comment drew a number of responses from listeners, and the name “nighthawk” was adopted as the new name of the Coon–Sanders orchestra. In addition, the listeners of the program called themselves nighthawks and began to organize into an informal club. By 1923 the program was heard across a large part of the nation, including Hawaii, and there were over 35,000 members of the Nighthawk Club. The book is organized chronologically to follow the lives of Coon and Sanders through a relative short period of time. Chapter 1 presents their early childhood lives, whereas the remaining six chapters concentrate on the band’s success beginning in 1919 through the death of Coon in 1932. This book does not center radio in the story; it is about the Coon–Sanders musical experience. However, de-centering radio does not diminish the significance it held in establishing a nationwide interest in the Coon–Sanders Nighthawks. At one point Leo Fitzpatrick, the announcer for the Coon–Sanders show, appeared on WSB radio owned by the Atlanta Journal. The night Fitzpatrick appeared, WDAF broadcast its regular Coon–Sanders show then switched off its transmitters so Kansas City listeners could tune into WSB and listen to Fitzpatrick initiate an Atlanta audience into the Nighthawk Club. This is an example of the interesting insights about radio that the book provides, in this case about how early radio stations cooperated to promote each other’s talent as well as to promote the larger importance of broadcasting as a new medium. Later the Coon–Sanders Nighthawks enjoyed a popular tour that included stops in Georgia and Chicago; in Chicago, where the group was featured on Westinghouse’s KYW radio. Eventually the Nighthawks became one of the top bands in Chicago and played on WGN. This book would appeal to those scholars interested in the relationship between radio, popular music, and the music industry. The time period is at the beginning of radio broadcasting, and the book provides a unique view of early broadcasting. What is of particular interest to radio scholars is how the band’s story and success is so closely tied to its appearance and popularity on radio. Because the primary story is about the","PeriodicalId":331997,"journal":{"name":"Journal of Radio Studies","volume":"1 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2005-05-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"128943863","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2005-05-01DOI: 10.1207/s15506843jrs1201_6
Noah Arceneaux
Numerous radio historians have studied the significance and influence of Amos 'n' Andy during broadcasting's formative years, but scant attention has been paid to other programs that were similarly inspired by the traditions of blackface minstrelsy. This study traces the history of radio minstrelsy as a distinct genre and outlines its influence on other forms of programming using evidence drawn from trade publications and newspaper articles, the previous literature on early radio, and surviving audio recordings. The study also examines "hillbilly" shows from radio's early years, which drew from a similar performance tradition.
{"title":"Blackface Broadcasting in the Early Days of Radio","authors":"Noah Arceneaux","doi":"10.1207/s15506843jrs1201_6","DOIUrl":"https://doi.org/10.1207/s15506843jrs1201_6","url":null,"abstract":"Numerous radio historians have studied the significance and influence of Amos 'n' Andy during broadcasting's formative years, but scant attention has been paid to other programs that were similarly inspired by the traditions of blackface minstrelsy. This study traces the history of radio minstrelsy as a distinct genre and outlines its influence on other forms of programming using evidence drawn from trade publications and newspaper articles, the previous literature on early radio, and surviving audio recordings. The study also examines \"hillbilly\" shows from radio's early years, which drew from a similar performance tradition.","PeriodicalId":331997,"journal":{"name":"Journal of Radio Studies","volume":"32 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2005-05-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"134623923","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
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