Posts Tagged ‘broadcasting’
“We will meet; and there we may rehearse most obscenely and courageously”*…
How did a group of crows become a murder? Or a group of starlings a murmuration? The truth is lost to history, but one theory is that many of the English language’s elaborate nouns of assemblage were concocted by a prioress for a 1486 gentleman’s guide called the Book of St. Albans, and mostly meant to show the user’s erudition and wit. Which is still what they do…
Everything that one could want to know about “Nouns of Assemblage.”
* Shakespeare, A Midsummer Night’s Dream, (Bottom, Act 1, Scene 2)
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As we come together, we might recall that it was on this date in 1910 that Dr Lee De Forest, the American inventor of the vacuum tube, conducted the first public demonstration of radio as we know it, broadcasting a live performance of Enrico Caruso from the Metropolitan Opera– a broadcast audible only by the small number of electronics hobbyists who had radio receivers. (He’d tried a “quiet experiment,” broadcasting part of Tosca the prior night.) De Forest started regular nightly concerts in 1915, increasing interest in radio receivers, which at the time depended on the vacuum tubes manufactured by De Forest’s company.
While DeForest pioneered the commercialization of radio, Italian electrical engineer and inventor Guglielmo Marconi is traditionally recognized as its creator for his 1896 invention, which transmitted signals over more than a mile. By 1905, ships often used radios to communicate with stations on shore. Marconi’s work earned him a share of the 1909 Nobel Prize in Physics; DeForest got rich… It prefigured, in a metaphorical way the relationship between Philo Farnsworth and David Sarnoff in the development of television.
Indeed, appropriately enough, it was on this same date 18 years later, in 1928, that the first experimental television sets– with 1.5 square inch screens– were installed in three homes in Schenectady, NY.
“The study of man is the study of his extensions”*…
The magic lantern was invented in the 1600’s, probably by Christiaan Huygens, a Dutch scientist. It was the earliest form of slide projector and has a long and fascinating history. The first magic lanterns were illuminated by candles, but as technology evolved they were lit by increasingly powerful means.
The name “magic lantern” comes from the experience of the early audiences who saw devils and angels mysteriously appear on the wall, as if by magic. Even in the earliest period, performances contained images that moved—created with moving pieces of glass.
By the 18th century the lantern was a common form of entertainment and education in Europe. The earliest known “lanthorn show” in the U. S. was in Salem, Massachusetts, on December 3, 1743, “for the Entertainment of the Curious.” But the source of light for lanterns in this period—usually oil lamps—was still weak, and as a consequence the audiences were small.
In the mid 19th century, two new forms of illumination were developed which led to an explosion of lantern use. “Limelight” was created by heating a piece of limestone in burning gas until it became incandescent. It was dangerous, but produced a light that was strong enough to project an image before thousands of people, leading to large shows by professional showmen…
All about the entertainment sensation of its time at the web site of The Magic Lantern Society. [TotH to friend and colleague RW]
And for a peek at the transition from the static images of the magic lantern to film-as-we-know-it, see “Putting Magic in the Magic Lantern.”
[image above: source]
* Edward T. Hall, Beyond Culture
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We we watch with wonder, we might recall that it was on this date in 1926 that The NBC Radio Network, the first network in the U.S., was launched. Carl Schlegel of the Metropolitan Opera opened the four-hour inaugural broadcast, which also featured Will Rogers and Mary Garden; it included a remote link from KYW in Chicago and was carried by twenty-two eastern and midwestern stations, located as far west as WDAF in Kansas City, Missouri.
NBC has been formed from assets already held by its parent, Radio Corporation of America (RCA) and other assets acquired from AT&T (which had been, up to that point, a pioneer in radio technology). Crucially, as part of the reassignment permissions granted by the government, NBC was allowed to sell advertising.
NBC’s network grew quickly; two months later, on January 1, 1927, it was split into the Red and Blue networks. And it quickly attracted competition: the Columbia Broadcasting System (CBS) in 1927 and the Mutual Broadcasting System in 1934. In 1942 the government required NBC to divest one of its networks; it sold off NBC Blue, which became The American Broadcasting Company (ABC).
“Now everybody’s sampling”*…
Long-time readers will know of your correspondent’s fascination with the world’s fascination with “The Final Countdown” (Original music video here.) See, for example, here, mashed up brilliantly with “Smells Like Teen Spirit” and here, performed on the Kazookelele.)
Today, another entry: Pawel Zadrozniak a.k.a. “Silent” has programmed the electronic orchestra of sixty-four floppy drives, eight hard disks and two scanners contained in his wonderful Floppotron to play an incredible, if not slightly eerie version the classic…
Via Laughing Squid.
* Missy Elliot
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As we get down, we might recall that it was on this date in 1967 that the UK’s first national pop radio station, BBC Radio 1 was launched in the UK. It was an effort by the BBC to take over from the very successful pirate radio stations forced off-air by the Government. Former pirate DJ Tony Blackburn (from Radio Caroline) was the first presenter on air; The Move’s “Flowers In The Rain,” the first record to be played.
“But if thought corrupts language, language can also corrupt thought”*…
A view for the 1950s…
Interviewing Governor Rockefeller recently on Station WMCA, Barry Gray, the discless jockey, felt the need to ask his guest a certain question. He also felt a clear obligation to put the inquiry in radio-televese, the semi-official language of men who promote conversation on the air. Though it is more or less required, this language is a flexible one, leaving a good deal to the user’s imagination. ‘Governor,’ Mr. Gray said, after pausing to review the possibilities of the patois, ‘how do you see your future in a Pennsylvania Avenue sense?’ I thought it was a splendid gambit. Another broadcaster might have said ‘How do you see yourself in the electoral-college picture?’ or ‘How do you project yourself Chief Executive-wise?’ The Gray formula had the special flavor, the colorful two-rings-from-the-bull’s-eye quality, that I have associated with the work of this interviewer ever since I began to follow it, several years ago. For the record, Governor Rockefeller replied, ‘I could be happier where I am.’ He might have meant Albany, he might have meant the WMCA studio. As you see, radio-televese is not only a limber language, it is contagious.
The salient characteristic of remarks made in radio-televese is that they never coincide exactly with primary meanings or accepted forms. For instance, Mr. Gray, a leader in the postwar development of the lingo, has a way of taking a trenchant thought or a strong locution and placing it somewhere to the right or left of where it would seem to belong. ‘Is this your first trip to the mainland? How do you feel about statehood?,’ I have heard him ask a guest from the Philippines on one of his shows (the program runs, at present, from 11:05 P.M. to 1 A.M.). On the topic of Puerto Ricans in New York, he has said, ‘How can we make these people welcome and not upset the décor of the city?’ …
Artie Shaw, a musician, in describing the art of another performer to Mr. Gray, said, ‘He has a certain thing known as “presence” — when he’s onstage, you can see him.’ Another guest declared that the success of a mutual friend was ‘owing to a combination of luck and a combination of skill.’ ‘You can say that again,’ Mr. Gray agreed, and I believe that the guest did so, a little later. The same eloquence and the same off-centerism can be found today in the speech of a wide variety of radio and television regulars. ‘Parallels are odious,’ Marty Glickman, a sports announcer, has stated. ‘The matter has reached a semi-head,’ a senator — I couldn’t be sure which one-said at a recent televised Congressional hearing. ‘I hear you were shot down over the Netherlands while flying,’ a video reporter said to Senator Howard Cannon, a war veteran, on a Channel 2 program last winter. …
Perhaps the most startling aspect of radio-televese is its power to move freely in time, space, and syntax, transposing past and future, beginnings and endings, subjects and objects. This phase of the language has sometimes been called backward English, and sometimes, with a bow to the game of billiards, reverse English. Dorothy Kilgallen, a television panelist [above], was wallowing in the freedom of the language on the night she said, ‘It strikes me as funny, don’t you?’ So was Dizzy Dean when he said, ‘Don’t fail to miss tomorrow’s doubleheader.’ Tommy Loughran, a boxing announcer, was exploring the area of the displaced ego when he told his audience, ‘It won’t take him [the referee] long before I think he should stop it.’ …
Ted Husing was on the threshold of outright mysticism when he reported, about a boxer who was cuffing his adversary smartly around, ‘There’s a lot more authority in Joe’s punches than perhaps he would like his opponent to suspect!’ It is in the time dimension, however, that radio-televese scores its most remarkable effects. Dizzy Dean’s ‘The Yankees, as I told you later … ‘ gives the idea. The insecurity of man is demonstrated regularly on the air by phrases like ‘Texas, the former birthplace of President Eisenhower’ and ‘Mickey Mantle, a former native of Spavinaw, Oklahoma.’ I’m indebted to Dan Parker, sportswriter and philologist, for a particularly strong example of time adjustment from the sayings of Vic Marsillo, a boxing manager who occasionally speaks on radio and television: ‘Now, Jack, whaddya say we reminisce a little about tomorrow’s fight?’ These quotations show what can be done in the way of outguessing man’s greatest enemy, but I think that all of them are excelled by a line of Mr. Gray’s, spoken four or five years ago: ‘What will our future forefathers say?’
From John Lardner’s “Thoughts on Radio-Televese” in The 50s: The Story of a Decade, via the always-worthy Delanceyplace.com.
* George Orwell, 1984
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As we cover our ears, we might send transformative birthday greetings to Publius Ovidius Naso; he was born on this date in 43 BCE. With his older contemporaries Virgil and Horace, Ovid was one of the three canonical poets of the Golden Age of Latin literature. His poetry was much imitated in late antiquity and in the Middle Ages, and has had a tremendous influence on Western arts and culture; for example, his love elegies (Amores and Ars Amatoria) are the ur-model of love poetry. But his impact was surely greatest with the Metamorphoses, an epic poem in 15 books of hexameter that catalogues transformations in Greek and Roman mythology from the emergence of the cosmos to the deification of Julius Caesar; it remains a key source document of classical mythology– and a great read.
The first taste I had for books came to me from my pleasure in the fables of the Metamorphoses of Ovid. For at about seven or eight years of age I would steal away from any other pleasure to read them, inasmuch as this language was my mother tongue, and it was the easiest book I knew and the best suited by its content to my tender age.
– Montaigne
Ettore Ferrari’s 1887 statue commemorating Ovid
“If you want to use television to teach somebody, you must first teach them how to use television”*…
One day in the mid-1970s, my mother received an offer she couldn’t refuse. She’d been contacted at random by a now-defunct television rating service (not Nielsen, which still records the nation’s tastes): Would our household like to participate in a socially important project?
Justice and fairness were my mother’s favorite concepts; freebies, her ultimate weakness. That meant yes, we did want to participate. The rating service promised that our viewing habits would help shape the national television landscape. Presuming our superiority was a habit my mother had long indulged, and she believed we could lead the way for the nation—by providing an example of responsible viewership and even saving some underdog programs with our attention. Having married an underdog, and being in the process of mothering several, she decided that covert boosterism of one show or another within our general viewing patterns would provide moral satisfaction and a sound contribution.
But her motives were not entirely noble…
You’ll laugh; you’ll cry… but mostly you’ll laugh: How to be the top-rated television-viewing family in America– “Our Imaginary Brother Only Watches PBS.”
* Umberto Eco
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As we game the ratings, we might recall that it was on this date in 1954 that The Miss America Pageant was televised for the first time. The winner, Lee Meriwether, went, immediately after passing on her tiara, to The Today Show (as a “Today Girl”). She subsequently appeared on TV series ranging from Leave It To Beaver and Dr. Kildare to The Fugitive and Barnaby Jones. She also appeared in a number of films, probably most notably as the replacement for Julie Newmar as “Catwoman” in the 1966 Batman movie spun off of the successful TV series of the time.
Trading one tiara for another…
“Good taste is the first refuge of the non-creative. It is the last ditch stand of the artist”*…
Filmmaker Samantha Horley recently posted an image of this set of “Guidelines,” which she found among her father’s effects, on her Facebook page. Horley told me that her aunt worked at the BBC as a secretary in the 1960s and 1970s; she thinks the page originally came from her aunt’s papers.
The BBC’s press office told me, over email, that the page looks like it came from The BBC Variety Programmes Policy Guide For Writers and Producers, published in 1948. Although the BBC spokesperson couldn’t confirm this theory, I think this sheet was probably printed up for the amusement of employees in the more free-and-easy 1970s.The BBC reprinted the entire document as a book in the late 1990s; it’s now out of print, but here is a version in PDF. The longer document includes provisions that are less overtly amusing than this section but are interesting nonetheless, offering guidelines on libel and slander, religious and political references, and jokes about physical and mental disability.
Under the heading “American Material and ‘Americanisms,'” the anonymous authors of the handbook observed that “American idiom and slang” were often found in scripts and that “dance band singers for the most part elect to adopt pseudo American accents.” This “spurious Americanisation” should be avoided, the handbook urged, since it was “unwelcome to the great majority of listeners and … seldom complimentary to the Americans.”
Via the invaluable Rebecca Onion and her blog, The Vault.
* Marshall McLuhan
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As we mind our P’s and Q’s, we might recall that it was on this date in 1782 that Donatien Alphonse François, Marquis de Sade, escaped from prison… only to be quickly apprehended. The French aristocrat, revolutionary politician, philosopher, author, and libertine spent much of his adult life behind bars. In 1778, de Sade had been imprisoned by order of the king: ostensibly his offense was licentious behavior; but historians note that his mother-in-law, at whose urging the king acted, believed that the young Marquis was spending her daughter’s money too quickly. (There were also accusations of an affair with his wife’s sister… and it may have further motivated the mother-in-law that her daughter was rumored to be complicit in de Sade’s sexual escapades.) In any case, it was in the Bastille that he battled boredom by writing– among other things, The 120 Days of Sodom.
He was freed from prison in 1790, and ingratiated himself with the new Republic (calling himself “Citizen Sade”). de Sade began writing again, anonymously publishing works including Justine and Juliette… until, in 1801, Napoleon ordered his arrest (again for indecency and blasphemy). de Sade spent two years in prison, until his family had him declared insane, and moved him to the asylum at Charenton (the scene of Peter Weiss’s remarkable play Marat/Sade), where he died in 1814.
