Category:1946 radio programme debuts
Pages in category "1946 radio programme debuts"
The following 25 pages are in this category, out of 25 total. This list may not reflect recent changes (learn more).
The following 25 pages are in this category, out of 25 total. This list may not reflect recent changes (learn more).
1. Sad Sack – Sad Sack is an American comic strip and comic book character created by Sgt. George Baker during World War II, set in the United States Army, Sad Sack depicted an otherwise unnamed, lowly private experiencing some of the absurdities and humiliations of military life. The title was a shortening of the military slang sad sack of shit. The phrase has come to mean a person or inept soldier. Originally drawn in pantomime by Baker, The Sad Sack debuted June 1942 as a strip in the first issue of Yank. It proved popular, and a collection of Bakers wartime Sad Sack strips was published by Simon & Schuster, Inc. in 1944, with a follow-up. A non-profit organization of The Council on Books in Wartime, it was #719 in the series of Armed Service editions, after the war ended, The Sad Sack ran in newspaper syndication in the United States until 1957. Baker then sold the rights to Harvey Comics, which produced a number of commercial spin-offs. Harvey Comics published original Sad Sack stories in the Sad Sack Comics comic book series, Harvey also published the one-shot comic The Sad Sack Comes Home in 1951. The spin-off Sad Sack Navy, Gobs n Gals had the supporting character Gabby Gob, the army camp where most of the action took place was usually named Camp Calamity, but was sometimes called Camp Browbeat. The Harvey Comics and newspaper strip were aimed at younger readers than Bakers wartime originals, in the newspaper strip, the pantomime style was abandoned in favor of a more conventional comic-story format. In the mid-1950s, Harvey Comics and Baker brought in Paul McCarthy to draw the Sad Sack titles, followed by Fred Rhoads, Jack OBrien, others who periodically drew for the titles include Warren Kremer and Ken Selig. Baker retained editorial control and continued to illustrate the covers of Sad Sack comics until his death in 1975, la Prensa, a Mexican publisher, released the Spanish language editions of the Sad Sack comics under the title Tristán Tristón. In addition to Sad Sack strips, other strips within each Tristán Tristón issue included Tristána Tristóna, the latter two strips were often only one page and used as filler. Other filler strips included Firulais and Chiquilladas, in late 2000, Alan Harvey sued Steve Geppi, charging that Geppi had plundered Harveys warehouses in the mid-1980s, specifically of original art from Harveys Sad Sack comic books. The suit was settled in late 2002, at the time of the settlement, the settlement agreement allowed Geppi to keep the art, with no money changing hands. The rights to Sad Sack are still owned by Alan Harvey, private Sad Sack made an appearance with Bob Hope and Betty Grable on the April 29,1944 episode of G. I. The voice Blanc used was a stuttering delivery similar to Porky Pig, the character as voiced by Blanc appeared in multiple other broadcasts of G. I
2. Academy Award (radio) – Academy Award was a CBS radio anthology series which presented 30-minute adaptations of plays, novels or films. The programs title is listed in one source as Academy Award Theater, with that as a guideline, any drama could be presented as long as the cast included at least one Oscar-nominated performer. For example, Robert Nathans 1940 novel Portrait of Jennie was not released as a film until 1949, david O. Selznick, having acquired the rights to Nathans novel in 1944, was spending much time and money in his efforts to bring it to the screen. The program initially aired on Saturdays at 7pm through June, then moved to Wednesdays at 10pm, frank Wilson scripted the 30-minute adaptations for producer-director Dee Englebach, and Leith Stevens provided the music. Frank Wilson was the script writer, the sound effects crew included Gene Twombly, Jay Roth, Clark Casey and Berne Surrey. The series began March 30,1946, with Bette Davis, Anne Revere, on that first show, Jean Hersholt spoke as president of the Academy of Motion Picture Arts and Sciences, welcoming the E. R. Squibb & Sons pharmaceutical company as the programs sponsor. This eventually became a factor in Squibbs decision to cancel the series after only 39 weeks, however, of the 39 episodes, only six actors recreated their own Oscar-winning roles, Fay Bainter, Bette Davis, Paul Lukas, Victor McLaglen, Paul Muni and Ginger Rogers. The series ended December 18,1946, with Margaret OBrien and one of the series frequent supporting players, Jeff Chandler in Lost Angel
3. Adventure Parade – Adventure Parade was a 15-minute daily radio anthology series which was broadcast on Mutual from 1946 to 1949, produced and directed by Robert and Jessica Maxwell. The show opened with announcer George Hogan calling, Adventurers attention, with liberal doses of action and adventure, the program adapted such classics of literature as Moby-Dick, The Last of the Mohicans, and Swiss Family Robinson, with each tale lasting about a week. A WMIK Radio-Gram for January 17,1949 noted, An hour of entertainment for the kids, also there is Superman, Captain Midnight and Tom Mix. Radio Life magazine stated that host-storyteller John Drake brought compelling suspense to the program, Drake did all the voices in each serialized drama while organist John Gart provided background music. Adventure Parade, The Bells of Lieden Sing Adventure Parade, The Bells of Lieden Sing Radio-Grams, Adventure Parade schedule
4. The Adventures of Sam Spade – The Adventures of Sam Spade, Detective was a radio series based loosely on the private detective character Sam Spade, created by writer Dashiell Hammett for The Maltese Falcon. The show ran for 13 episodes on ABC in 1946, for 157 episodes on CBS in 1946-1949, the series starred Howard Duff as Sam Spade and Lurene Tuttle as his secretary Effie, and took a considerably more tongue-in-cheek approach to the character than the novel or movie. The series was overseen by producer/director William Spier. In 1947, scriptwriters Jason James and Bob Tallman received an Edgar Award for Best Radio Drama from the Mystery Writers of America. Before the series, Sam Spade had been played in radio adaptations of The Maltese Falcon by both Edward G. Robinson and by Humphrey Bogart, both on CBS. Dashiell Hammetts name was removed from the series in the late 1940s because he was being investigated for involvement with the Communist Party. Later, when Howard Duffs name appeared in the Red Channels book, he was not invited to play the role when the series made the switch to NBC in 1950. In 1961 Broadcasting reported that Four Star Productions planned to film a Sam Spade television pilot with Peter Falk in the title role, the Radio Adventures of Sam Spade. ISBN 978-0-9703310-7-6 Tom Heathwood interviews Martin Grams, Jr
5. Columbia Workshop – Columbia Workshop was a radio series that aired on the Columbia Broadcasting System from 1936 to 1943, returning in 1946-47. The series began as the idea of Irving Reis, Reis had begun his radio career as an engineer and developed a fascination with the possibilities of the relatively new medium. His idea was to use experimental modes of narrative to enhance the way a narrative was conveyed over the radio, Reis had isolated attempts to experiment on the radio, Before the Columbia Workshops debut, he had directed at least a few radio dramas. As a sustaining program, the Workshop served as a symbol to prove to the public that CBS was concerned with educating and serving the public, early shows on the Workshop exemplified Reiss penchant for experimentation through narrative and technical means. The second program, Broadway Evening followed a couple as they meandered down Broadway during an evening, a subsequent show had at least 30 characters functioning within a half-hour drama. Among the technical demonstrations were sound effects, the use of various kinds of microphones to achieve various aural effects, Reis called upon others to try their hand in writing new or adapting existing material for the experimental nature of the Workshop. Orson Welles did an adaptation of Shakespeares Hamlet, as well as a 30-minute condensation of Macbeth. Irwin Shaw contributed one show, and Stephen Vincent Benét adapted several of his short stories, Reis also experimented with readings and dramatizations of poetry, including works by Samuel Taylor Coleridge, John Masefield and Edgar Allan Poe. One of the most notable presentations of Reiss tenure was Archibald MacLeishs original radio play, Reis recognized music as an important part of radio presentation. Among the most significant musical contributions Reis made was appointing Bernard Herrmann music director of the Workshop, Herrmann had previously worked on CBS primarily as a conductor. He had composed his first radio drama for the Workshop, but it was only after his second program, thereafter Herrmann composed many radio shows himself, also conducting the music of others and even proposing a show entirely devoted to music composed for the Workshop. On the broadcast of December 23,1937, it was announced that William N. Robson had succeeded Irving Reis as director of the Columbia Workshop, Reis moved to Hollywood and continued his career in the film industry. Though the Workshop continued some experimentation, Robson placed greater emphasis on good dramatic adaptations, Robson was not averse to experimentation. His San Quentin Prison Break, originally broadcast prior to the Workshop on January 16,1935 was based on an actual incident, to achieve a sense of realism, the dramatization was a combination news report or documentary. Unlike most radio dramas, there was no narrator involved and this was later rebroadcast as part of the Workshop on September 10,1936. Under Robsons aegis, the Workshop was able to broadcast a number of notable shows, known more as a film director, Pare Lorentz wrote and directed Ecce Homo, a story concerning the relationship of man and technology. Both Irwin Shaw and Archibald MacLeish were invited back to write, the Workshop extended its experimental mode by preceding the new MacLeish play, Air Raid with a broadcast of its rehearsal. Stephen Vincent Benèt continued to write for the Workshop, and author Wilbur Daniel Steele made his own adaptations of his previously written short stories, arch Oboler, known for Lights Out
6. Woman's Hour – Womans Hour is a radio magazine programme broadcast on BBC Radio 4 in the United Kingdom. Created by Norman Collins and originally presented by Alan Ivimey, Womans Hour was first broadcast on 7 October 1946 on the BBCs Light Programme, janet Quigley, who was also involved with the birth of the UK radio programme, Today has been credited with virtually creating the programme. The programme was transferred to its current home in 1973, over the years it has been presented by Joan Griffiths, Violet Carson, Olive Shapley, Jean Metcalfe, Marjorie Anderson, Judith Chalmers, Sue MacGregor, Jenni Murray, Martha Kearney, and Jane Garvey. Fill-in presenters have included Sheila McClennon, Carolyn Quinn, Jane Little, Ritula Shah, Oona King, Amanda Platell, on 1 January 2005, the show became Mans Hour for one day only, on which it was presented by Channel 4 News anchor Jon Snow. On 18 July 2010, after 64 years of Womans Hour, as of 2013, the programme had 3.9 million listeners, 14% of whom were men. In 2006 it had 2.7 million listeners, 4% of whom were men. In April 2014, as part of its 60th anniversary, the programme was guest edited over a week by J. K. Rowling, Kelly Holmes, Naomi Alderman, Doreen Lawrence, and Lauren Laverne. In September 2015, the programme hosted Womans Hour Takeover with a week of guest editors, including Kim Cattrall, Nimko Ali, Rachel Treweek, late Night Womans Hour, a spinoff series, was launched in 2015, presented by Lauren Laverne. The series airs in an 11pm timeslot and each takes a single topic for discussion. In its current format, the first 45 minutes of the programme consist of reports, interviews and debates on health, education, cultural and political topics aimed at women, the last 15 minutes feature short-run drama serials, which periodically change. One of the most popular of these are the recurring Ladies of Letters serials, starring Prunella Scales, before 1998 the last quarter of an hour was dedicated to readings. Womans Hour has been broadcast at 10am Monday to Friday since James Boyles revision of the Radio 4 schedules in April 1998, between September 1991 and April 1998 it was broadcast at 10. 30am, having previously gone out for many years in an early afternoon slot. The programmes move to a morning slot was unpopular among some listeners who, for family or other reasons, michael Green, the then controller of Radio 4, made his decision the previous year and considered the elimination of the programme title. Weekend Womans Hour is broadcast on Saturday afternoons at 4 pm, additionally, episodes are made available as a podcast following the broadcast of each programme. From the early 1970s, specially composed pieces were used, several of which were provided by the BBC Radiophonic Workshop, the programme maintains links with Womens Aid and the Fawcett Society, a campaign group that promotes using the media to secure political change on womens behalf. Womans Hour at BBC Programmes Womans Hour RSS feed