An announcer is a person who makes "announcements" in an audio medium or a physical location. Some announcers work in television production, radio or filmmaking providing narrations, news updates, station identification, or an introduction of a product in television commercials or a guest on a talk show. Music television announcers were called video jockeys. Announcers are voice actors who read prepared scripts, but in some cases, they have to ad-lib commentary on the air when presenting news, weather and television commercials. Announcers are involved in writing the screenplay or scripts when one is required. Sometimes announcers interview guests and moderate panels or discussions; some provide commentary for the audience during sporting events known as sports announcers and other events. Announcers perform a variety of tasks including presenting news, weather and music. Other duties include interviewing guests, making public appearances at promotional events, announcing station programming information.
Announcers are sometimes responsible for operating studio equipment and producing/selling advertisements. It is becoming more common to use social media networking sites to keep listeners up to date. In 2010, the median salary of an announcer in the United States was $27,010. Television and radio announcers have a bachelor’s degree in communications, broadcasting, or journalism. Radio announcers are known as disc jockeys. While some read from scripts, others ad-lib; these DJs’ tasks consist of on-air interviewing, taking/responding to listener requests, running contests, making remarks about various subjects like the weather, traffic and other news. Most radio announcers announce the artists and titles of songs, but don’t choose what song airs on the radio. Many stations have a management teams. Today radio stations have DJs update the station’s website with music, guest interviews, show schedules, photos. Public address announcers work including sporting venues, they will give the attendees information about performing acts, players, infractions, or the results of the event.
Announcers may be specialized according to sport. A baseball announcer may introduce the next batter or recap the previous half-inning. Public address announcers may be notable due to their longevity, or tenure with a popular team or venue; some announcers in horse racing, may be known for television or radio work. Announcer's test Continuity announcer Sportscaster News presenter List of American public address announcers List of Japanese announcers
John Carradine was an American actor, best known for his roles in horror films and Shakespearean theatre. A member of Cecil B. DeMille's stock company and John Ford's company, he was one of the most prolific character actors in Hollywood history, he was married four times, had five children, was the patriarch of the Carradine family, including four of his sons and four of his grandchildren who are or were actors. Carradine was born in the Greenwich Village neighborhood of Manhattan, New York City, the son of William Reed Carradine, a correspondent for the Associated Press, his wife, Dr. Genevieve Winnifred Richmond, a surgeon. William Carradine was the son of evangelical author Beverly Carradine; the family lived in New York. William Carradine died from tuberculosis. Carradine's mother married "a Philadelphia paper manufacturer named Peck, who thought the way to bring up someone else's boy was to beat him every day just on general principle." Carradine attended the Christ Church School in Kingston and the Episcopal Academy in Merion Station, where he developed his diction and his memory skills from portions of the Episcopal Book of Common Prayer as a punishment.
Carradine's son, claimed his father ran away when he was 14 years old. He returned, as he studied sculpture at Philadelphia's Graphic Arts Institute. Carradine lived with his maternal uncle, Peter Richmond, in New York City for a while, working in the film archives of the public library. David said that while still a teenager, his father went to Richmond, Virginia, to serve as an apprentice to Daniel Chester French, the sculptor who created the statue of Abraham Lincoln for the Lincoln Memorial in Washington, DC, he traveled for a time. "If the sitter was satisfied, the price was $2.50," he once said. "It cost him nothing. I made as high as $10 to $15 a day." During this time, he was arrested for vagrancy. While in jail, Carradine was beaten; this contributed to "the look that would become world famous."David Carradine said, "My dad told me that he saw a production of Shakespeare's The Merchant of Venice when he was 11 years old and decided right what he wanted to do with his life". He made his stage debut in 1925 in New Orleans in a production of Camille and worked for a time in a New Orleans Shakespeare company.
Carradine joined a tent repertory theater under the management of R. D. MaClean, who became his mentor. In 1927, he took a job escorting a shipment of bananas from Dallas, Texas, to Los Angeles, where he picked up some theater work under the name of Peter Richmond, in homage to his uncle, he became friends with John Barrymore, began working for Cecil B. DeMille as a set designer. Carradine, did not have the job long. "DeMille noticed the lack of Roman columns in my sketches," Carradine said. "I lasted two weeks." Once DeMille heard his baritone voice, however, he hired him to do voice-overs. Carradine said, "the great Cecil B. DeMille saw an apparition – me – pass him by, reciting the gravedigger's lines from'Hamlet', he instructed me to report to him the following day." He became a member of DeMille's stock company and his voice was heard in several DeMille pictures, including The Sign of the Cross. Carradine's first film credit was Tol'able David, but he claimed to have done 70 pictures before getting billing.
Carradine claimed to have tested, as an unknown – along with well-known leading men Conrad Veidt, William Courtenay, Paul Muni, Ian Keith – for the title role in Dracula, but the historical record does not support the claim. The part went to Bela Lugosi. Carradine would play the Count in the 1940s Universal Studios Dracula sequels House of Frankenstein and House of Dracula. Carradine claimed to have tested for the monster role in Frankenstein, though again, no account exists other than his own that he did so. By 1933, he was being credited as John Peter Richmond in honor of his friend, John Barrymore, he adopted the stage name "John Carradine" in 1935, took the name as his own two years later. By 1936, Carradine had become a member of John Ford's stock company and appeared in The Prisoner of Shark Island. In total, he made 11 pictures with Ford, including his first important role, as Preacher Casy in The Grapes of Wrath, which starred Henry Fonda. Other Ford films in which Carradine appeared include The Man Who Shot Liberty Valance and Stagecoach, both with John Wayne.
He portrayed the Biblical hero Aaron in DeMille's The Ten Commandments, he dominated Hitler's Madman as Reinhard Heydrich. Carradine did considerable stage work, much of which provided his only opportunity to work in a classic drama context, he toured with his own Shakespearean company in the 1940s, playing Macbeth. His Broadway roles included Ferdinand in a 1946 production of John Webster's The Duchess of Malfi, the Ragpicker in a 13-month run of Jean Giraudoux's The Madwoman of Chaillot, Lycus in a 15-month run of A Funny Thing Happened on the Way to the Forum, DeLacey in the expensive one-night flop Frankenstein in 1981, he toured in road companies of such shows as Tobacco Road and Cat on a Hot Tin Roof, in which he was properly emaciated as the cancer-ridden Big Daddy, a part, he said, which Tennessee Williams wrote for him. Carradine claimed to have appeared in more than 450 movies, his count is closer to fact if theatrical movies, made-for-TV movies, television programs are included. He played eccentric, insane, or d
Marguerite Chapman was an American actress. Born in Chatham, New York, she was working as a telephone switchboard operator in White Plains, New York when her good looks brought about the opportunity to pursue a career in modeling. Signed by the John Robert Powers Agency in New York City, she was subsequently discovered by Howard Hughes, who gave her a screen test. Persuaded to go to Hollywood in late 1939, she signed with 20th Century Fox, was under contract to Warner Brothers in 1941, with Columbia from 1942 to 1948, she made her film debut in 1940. In 1942, her big break came with Republic Pictures when she was cast in the leading female role in the twelve-part adventure film serial Spy Smasher, a production, ranked among the best serials made. Chapman soon began receiving more leading roles and appeared opposite important stars such as Edward G. Robinson and George Sanders. With America's entry in World War II, she entertained the troops, worked for the War bond drive and at the Hollywood Canteen.
She starred in the famous pro-Soviet war film Counter-Attack, released in 1945. During the 1950s, Chapman continued to perform in secondary film roles, notably in Billy Wilder's 1955 hit The Seven Year Itch. However, with the advent of television, she kept busy into the early 1960s with guest appearances in a number different shows including Rawhide, Perry Mason, Four Star Playhouse. Outside of acting, Chapman was a painter whose work was featured at the Beverly Hills Art League Gallery, she was a Democrat who supported the campaign of Adlai Stevenson during the 1952 presidential election. Chapman was asked to audition for the role of "Old Rose" Dawson-Calvert in the 1997 James Cameron epic Titanic but was prevented by poor health. For her contribution on television, Marguerite Chapman has a star on the Hollywood Walk of Fame at 6284 Hollywood Boulevard. Marguerite Chapman died August 31, 1999, aged 81, was interred in Holy Cross Cemetery, in Culver City, California, her funeral was held on September 4, 1999, at St. Charles Borromeo Catholic Church in North Hollywood, where she was a member.
Marguerite Chapman on IMDb Marguerite Chapman at Find a Grave Photographs and literature Photos of Marguerite Chapman in 1940's films by Ned Scott Marguerite Chapman at aenigma
Patricia Barry was an American stage and television actress. Although Barry has numerous credits performing in stage productions and in films, the majority of her work was in television between 1950 and 2005, when she appeared in over 100 series either in supporting roles or as a guest star; the daughter of a physician, Barry was born in Iowa. She attended Stephens College in Columbia, where she received her academic and practical training in acting in the school's drama department, administered by the distinguished Broadway actress and teacher Maude Adams. After Barry's graduation from college, she gained some professional experience on stage in 1944 before winning a Rita Hayworth look-alike contest; the resulting publicity from that contest led to Barry being signed to a Hollywood movie contract with Warner Brothers. Barry's theatrical debut came in summer theater at New Hampshire, her credits on Broadway include The Pink Goodbye Again. She starred in productions in Los Angeles and Flagstaff, Arizona.
Barry's performances in Hollywood productions began in 1946 with her involvement in five Warner Brothers films released that year. However, she received a screen credit–as Patricia White–in only one of those five, in The Beast with Five Fingers.. From 1947 to 1950, Barry gained additional acting experience in 16 other movies with Paramount Pictures, Columbia, RKO, Gene Autry Productions; as before, when credited for her performances in those films, she continued to be recognized by her maiden name. However, following her marriage to producer Philip Barry Jr. in 1950, she began to use her married name professionally. She returned to film work including Safe at Home!, Send Me No Flowers, Dear Heart. Following those performances, she appeared in a few other theatrical releases in the coming decades, but the vast majority of her work continued to be on television; some of her other films during that latter stage of her career include The Marriage of a Young Stockbroker, The End of August, Twilight Zone: The Movie, For Keeps, City Rhythms, Sea of Love.
In 2014, just two years before her death and 25 years after her role in Sea of Love, Barry appeared in Delusional, her final film. For over 50 years, Barry was a popular supporting character and guest star on "the small screen," appearing in scores of television series and made-for-television movies, her first role on television was in 1950, in The Philco-Goodyear Television Playhouse presentation "The Life of Vincent Van Gogh," with Everett Sloane playing the artist. For the remainder of the 1950s and throughout the 1960s, she performed in nearly every genre of television programming, including contemporary televised plays, situation comedies and detective series, courtroom dramas, suspense and science-fiction series, she was cast as high-class, avaricious femme fatales, although she demonstrated in many series her abilities to perform a wide range of other characters. The following is only a small selection of the television series in which Barry appeared: The Alcoa Hour, Playhouse 90, The Third Man, Yancy Derringer, Maverick, The Rifleman, The Millionaire, 77 Sunset Strip, Gunsmoke, The Donna Reed Show, My Three Sons, Bachelor Father, Laramie, Alfred Hitchcock Presents, Going My Way, Route 66, Perry Mason, The Twilight Zone, Harris Against the World, The Felony Squad, Judd for the Defense, CBS Playhouse, The High Chaparral, Mannix.
As Barry's career extended into the 1970s and beyond the 1990s, she continued her frequent guest roles on an array of top-rated weekly television series, such as Columbo. E.. Barry performed in a dozen made-for-television movies and became a recurring character on several major daily daytime dramas or "soap operas," playing Addie Horton Williams on Days of Our Lives, Sally Gleason on Guiding Light, Isabelle Alden on Loving, Peg English on All My Children, her performance on the February 28, 2005, episode of All My Children was Barry's last acting appearance broadcast on television. During her prolific television career, Barry received three Emmy Award nominations for her performances: in 1957 for her role as a dying socialite in "Dark Victory" on Matinee Theater. Outside of her acting career, Barry supported and served in a variety of educational foundations, professional organizations, women's advocacy groups, she was a charter member and past president of Women in Film, a Los Angeles-based organization established in 1973 to promote equal opportunities for women in the film industry and to supporting the work of women not only in films but "in all other forms of global media."
With regard to expanding support for female directors, actors and writers, Barry helped to promote the establishment of other WIF chapters throughout the United States and in the 1990s, in other countries through the creation of Women in Film and Television International. In addition to her work on behalf of WIF, Barry was the founding president of the American Film Institute Associates and served on boards and committees for Stephens College, the National Academy of Television Arts & Sciences, the Screen Actors Guild, the Academy of Motion Picture Arts & Sciences, the John Tracy Clinic, a diagnostic and educational center that provides
Black and white
Black-and-white images combine black and white in a continuous spectrum, producing a range of shades of gray. The history of various visual media has begun with black and white, as technology improved, altered to color. However, there are exceptions to this rule, including black-and-white fine art photography and in motion pictures, many art films. Most early forms of motion pictures or film were white; some color film processes, including hand coloring were experimented with, in limited use, from the earliest days of motion pictures. The switch from most films being in black-and-white to most being in color was gradual, taking place from the 1930s to the 1960s; when most film studios had the capability to make color films, the technology's popularity was limited, as using the Technicolor process was expensive and cumbersome. For many years, it was not possible for films in color to render realistic hues, thus its use was restricted to historical films and cartoons until the 1950s, while many directors preferred to use black-and-white stock.
For the years 1940–1966, a separate Academy Award for Best Art Direction was given for black-and-white movies along with one for color. The earliest television broadcasts were transmitted in black-and-white, received and displayed by black-and-white only television sets. Scottish inventor John Logie Baird demonstrated the world's first color television transmission on July 3, 1928 using a mechanical process; some color broadcasts in the U. S. began in the 1950s, with color becoming common in western industrialized nations during the late 1960s. In the United States, the Federal Communications Commission settled on a color NTSC standard in 1953, the NBC network began broadcasting a limited color television schedule in January 1954. Color television became more widespread in the U. S. between 1963 and 1967, when major networks like CBS and ABC joined NBC in broadcasting full color schedules. Some TV stations in the US were still broadcasting in B&W until the late 80s to early 90s, depending on network.
Canada began airing color television in 1966 while the United Kingdom began to use an different color system from July 1967 known as PAL. The Republic of Ireland followed in 1970. Australia experimented with color television in 1967 but continued to broadcast in black-and-white until 1975, New Zealand experimented with color broadcasting in 1973 but didn't convert until 1975. In China, black-and-white television sets were the norm until as late as the 1990s, color TVs not outselling them until about 1989. In 1969, Japanese electronics manufacturers standardized the first format for industrial/non-broadcast videotape recorders called EIAJ-1, which offered only black-and-white video recording and playback. While used professionally now, many consumer camcorders have the ability to record in black-and-white. Throughout the 19th century, most photography was monochrome photography: images were either black-and-white or shades of sepia. Personal and commercial photographs might be hand tinted. Colour photography was rare and expensive and again containing inaccurate hues.
Color photography became more common from the mid-20th century. However, black-and-white photography has continued to be a popular medium for art photography, as shown in the picture by the well-known photographer Ansel Adams; this can take the form of black-and-white film or digital conversion to grayscale, with optional digital image editing manipulation to enhance the results. For amateur use certain companies such as Kodak manufactured black-and-white disposable cameras until 2009. Certain films are produced today which give black-and-white images using the ubiquitous C41 color process. Printing is an ancient art, color printing has been possible in some ways from the time colored inks were produced. In the modern era, for financial and other practical reasons, black-and-white printing has been common through the 20th century. However, with the technology of the 21st century, home color printers, which can produce color photographs, are common and inexpensive, a technology unimaginable in the mid-20th century.
Most American newspapers were black-and-white until the early 1980s. Some claim. In the UK, color was only introduced from the mid-1980s. Today, many newspapers restrict color photographs to the front and other prominent pages since mass-producing photographs in black-and-white is less expensive than color. Daily comic strips in newspapers were traditionally black-and-white with color reserved for Sunday strips.:Color printing is more expensive. Sometimes color is reserved for the cover. Magazines such as Jet magazine were either all or black-and-white until the end of the 2000s when it became all-color. Manga are published in black-and-white although now it is part of its image. Many school yearbooks are still or in black-and-white; the Wizard of Oz is in color when Dorothy is in Oz, but in black-and-white when she is in Kansas, although the latter scenes were in sepia when the film was released. The British film A Matter of Life and Death depicts the other world in black-and-white, earthly events in color.
Wim Wenders's film Wings of Desire uses sepia-tone black-and-white f
Martin Henry Balsam was an American character actor. He is best known for a number of renowned film roles, including detective Milton Arbogast in Alfred Hitchcock's Psycho, Arnold Burns in A Thousand Clowns, Juror #1 in 12 Angry Men, Mr. Green in The Taking of Pelham One Two Three, as well as for his role as Murray Klein in the television sitcom Archie Bunker's Place. Martin Henry Balsam was born in the Bronx borough of New York City, to Russian Jewish parents and Albert Balsam, a manufacturer of women's sportswear, he attended DeWitt Clinton High School. He studied at the Dramatic Workshop of The New School in New York with the German director Erwin Piscator and served in the United States Army Air Forces during World War II. Martin Balsam made his professional debut in August 1941 in a production of The Play's the Thing in Locust Valley. During World War II, he served as a sergeant radio operator in a B-24 in the China-Burma-India theater of operations. In early 1948, he was selected by Elia Kazan to be a member in the formed Actors Studio.
Balsam went on to perform in several episodes of the studio's dramatic television anthology series, broadcast between September 1948 and 1950. He appeared in many other television drama series, including Decoy with Beverly Garland, The Twilight Zone, as a psychologist in the pilot episode, Five Fingers, Target: The Corruptors!, The Eleventh Hour, Breaking Point, Alfred Hitchcock Presents, The Fugitive, Mr. Broadway, as a retired U. N. C. L. E. Agent in The Man from U. N. C. L. E. Episode, "The Odd Man Affair", guest-starred in the two-part Murder, She Wrote episode, "Death Stalks the Big Top", he appeared in the Route 66 episode, "Somehow It Gets To Be Tomorrow". Balsam appeared in such films as On the Waterfront, 12 Angry Men, Time Limit, Breakfast at Tiffany's, The Carpetbaggers, Seven Days in May, The Anderson Tapes, Catch-22, Tora! Tora! Tora!, Little Big Man, The Taking of Pelham One Two Three, All the President's Men, Murder on the Orient Express, The Delta Force, The Goodbye People. In 1960, he appeared in one of his best-remembered roles as Detective Arbogast in Alfred Hitchcock's Psycho.
Along with Gregory Peck and Robert Mitchum, Martin Balsam appeared in both the original Cape Fear, the 1991 Martin Scorsese remake. He won an Academy Award for Best Supporting Actor for his role as Arnold Burns in A Thousand Clowns. In 1968, he won a Tony Award for his appearance in the 1967 Broadway production of You Know I Can't Hear You When the Water's Running. Balsam played Washington Post editor Howard Simons in All the President's Men, a film that became a popular Mystery Science Theater 3000 episode, the Joe Don Baker police drama Mitchell, he played Dr. Rudy Wells when the Martin Caidin novel Cyborg was adapted as a TV-movie pilot for The Six Million Dollar Man, though he did not reprise the role for the subsequent series, he appeared as a spokesman/hostage in the TV movie Raid on Entebbe and as a detective in the TVM Contract on Cherry Street. He appeared on an episode of Quincy ME. Balsam starred as Murray Klein on the All in the Family spin-off Archie Bunker's Place for two seasons and returned for a guest appearance in the show's fourth and final season.
He filled in for Charles Nelson Reilly on Match Game for one question when Reilly was late for a taping. Balsam performed the original voice of the HAL 9000 computer in 2001: A Space Odyssey. After his lines were recorded, director Stanley Kubrick decided "Marty just sounded a little bit too colloquially American," and hired Douglas Rain to perform the role for the released film. In 1951, Balsam married actress Pearl Somner, they divorced three years later. His second wife was actress Joyce Van Patten; this marriage produced one daughter, Talia Balsam. He married his third wife, Irene Miller, in 1963, they had two children and Zoe Balsam, divorced in 1987. On February 13, 1996, Balsam died of a sudden stroke in his hotel room while vacationing in Rome, Italy, he was 76 years old. He is interred in Emerson, New Jersey. National Board of Review – Best Supporting Actor – The Carpetbaggers Tony Awards – Best Actor in a Play – You Know I Can't Hear You When the Water's Running Golden Globe Awards – Best Supporting Actor – Summer Wishes, Winter Dreams BAFTA Awards – Best Supporting Actor – The Taking of Pelham One Two Three Best Supporting Actor – All the President's Men Primetime Emmy Awards – Outstanding Supporting Actor in a Miniseries or a Movie – Raid on Entebbe Martin Balsam on IMDb Martin Balsam at the Internet Broadway Database Martin Balsam at Find a Grave Martin Balsam at the Internet Off-Broadway Database Martin Balsam at the TCM Movie Database Martin Balsam at AllMovie
Robert Walter Quarry was an American actor, known for several prominent horror film roles. Quarry was born in Santa Rosa, the son of Mable and Paul Quarry, a doctor, his grandmother was an actress. He left school at the age of 14 to pursue a career in radio. During World War II in November 1943, Quarry joined the United States Army, where he formed a theatrical troupe. After the war he acted again, first for RKO and for MGM, his films include Count Yorga, its sequel The Return of Count Yorga, Dr. Phibes Rises Again, in which he played alchemist Dr. Biederbeck pitted against Vincent Price's Phibes in a race to find the mythical elixir of eternal life. Price did not care for his co-star — once, when Quarry was singing in his dressing room during the making of Dr Phibes Rises Again, he said to Price, "You didn't know I could sing did you?" and Price replied: "Well I knew you couldn't act" — the duo were also paired in Madhouse. American International Pictures had plans for Quarry to succeed Price, signing him to a long term contract, but the decline in the company's fortunes, combined with old-style horror films falling out of fashion, meant that it never happened.
Quarry did make further horror film appearances, as the hippy guru vampire Khorda in 1973's The Deathmaster, as a gangster in the 1974 zombie movie Sugar Hill. Quarry made several guest appearances including two in 1965 on Perry Mason, he appeared on an episode of The Rockford Files. He played disfigured gunrunner Commander Corliss in the Buck Rogers in the 25th Century episode "Return of the Fighting 69th", he played in two episodes of The Lone Ranger. In 1980 he was in an automobile accident, it resulted in serious facial injuries. He was mugged in Hollywood shortly thereafter. In 1987, Quarry returned to film with Cyclone directed by Fred Olen Ray. Quarry would be cast in over 20 of Ray's films in the remainder of his career. Quarry died on February 20, 2009 at the Motion Picture & Television Country House and Hospital in Woodland Hills, aged 83. Robert Quarry on IMDb Robert Quarry at AllMovie Robert Quarry at the Internet Broadway Database