By James L. Baughman
Ever ask yourself how American tv got here to be the much-derided, advertising-heavy domestic to truth programming, formulaic state of affairs comedies, hapless males, and buxom, scantily clad ladies? may possibly it were anything diverse, focusing as a substitute on tradition, theater, and appearing arts?In similar Time, comparable Station, historian James L. Baughman takes readers backstage of early broadcasting, reading company machinations that made up our minds the way forward for tv. cut up into camps -- those that inspiration television may meet and probably bring up the expectancies of wealthier, better-educated post-war shoppers and people who believed luck intended mimicking the goods of motion picture homes and radio -- determination makers fought a conflict of principles that peaked within the Fifties, simply as television grew to become a significant side of lifestyle for many Americans.Baughman's engagingly written account of the short yet contentious debate indicates how the internal workings and outward activities of the key networks, advertisers, manufacturers, writers, and entertainers eventually made television the first discussion board for leisure and data. the story of television's founding years unearths a chain of selections that favorite advertisement good fortune over cultural aspiration.
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Extra resources for Same Time, Same Station: Creating American Television, 1948--1961
69 The networks’ sacriﬁce was calculated in other ways. Although enough advertisers entered radio to make the networks and most larger stations proﬁtable, much airtime remained unsold. The networks scheduled minority interest programs at less popular hours, later in the evenings or on Sunday afternoons. Even the great Toscanini had to per- 22 Same Time, Same Station form on Saturday nights, when audiences were smallest. 70 News programming was similarly more of an obligation than an opportunity.
National and regional controversies were to be eschewed. P&G forbade suicide and rape. All in all, P&G properties should respect moral certainties. ”94 “On television, what love there is, is always terribly connubial,” mused the host of CBS’s Seven Lively Arts. “Everyone is married. ”95 Stations sometimes objected to what they construed to be moral looseness. Older Hollywood ﬁlms produced before the implementation of the Production Code were occasionally rejected for telecast. ”96 The occasionally racy, cosmopolitan culture of New York in the 1950s presented its own challenges.
Tellingly, CBS News lacked its own studio from which to originate its reports from New York. This forever changed as both networks devoted hours to negotiations between German, French, and British leaders at Munich in September 1938. Because the special news- “The Mother of Television” 23 casts were unsponsored, both networks incurred large losses. 75 Such an investment created new sensations and expectations for listeners. ”76 Radio’s immediacy, its advantage in delivering updates long after a newspaper edition had been put out, helped as well.