Swing (Feb-Dec 1952)

Record Details:

Title:
Swing
Date:
Feb-Dec 1952
Publisher:
Kansas City : WHB Broadcasting Co.
Volume:
Swing (Feb-Dec 1952)
Leaf #:
000483
Language:
English
Subjects:
Radio broadcasting -- Missouri -- Kansas City -- Periodicals, Radio broadcasting -- Kansas -- Periodicals","WHB-AM (Radio station : Kansas City, Mo.) -- Periodicals","Kansas City (Kan.) -- History -- Periodicals","Kansas City (Mo.) -- History -- Periodicals","Cook Paint and Varnish Co. -- Periodicals","WHB Broadcasting Company (Kansas City, Mo.) -- Periodicals.","Cook Paint and Varnish Co -- Periodicals","WHB Broadcasting Company (Kansas City, Mo.) -- Periodicals","Radio broadcasting",Kansas,"Kansas -- Kansas City","Missouri -- Kansas City
Collection:
Broadcasting & Recorded Sound
Format:
Periodicals
Contributor:
University of Maryland, College Park
Sponsor:
LYRASIS Members and Sloan Foundation
Coordinator:
Media History Digital Library
Description:
The official magazine of Kansas City's WHB radio station, SWING printed far more than the station's schedule (which, as the title SWING suggested, relied heavily on music). From 1945 to 1953, SWING offered readers something eclectic every month -- profiles of entertainers on one page, discussions of citizenship in the postwar world on the next, with write-ups of nightlife offerings in KC, Chicago, and New York mixed in. WHB spent decades lobbying the FCC for clear channel status; the magazine's ambitious scope may have been part of the station's attempt to legitimate itself. But it was SWING'S first editor, Jetta Carleton, who later wrote a celebrated novel, that gave the magazine its distinctive style. -- Eric Hoyt, 2015
Date Added:
June 13, 2024
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THE CREAM OF CROSBY 459 actors the opportunity to get away from the type that pictures have struck him with. Also, TV gives the performer a chance to be a lot more creative, to be more of an individual than movies ever did and for this the actor is profoundly grateful. Live television and its counterpart, filmed television before an audience, is the great' est challenge the actors ever had. They have responded miraculously. Actors who could never master a single page of dialogue without a half dozen fluffs now memorize fifteen pages — and never make a mistake. "Every night is opening night" is a line you'll hear again and again. And this opening night is a shot of adrenalin which keeps the actor going, which makes the long hours and hard work worthwhile. The big stars, whom the movie people have tried to keep out of television, are getting in fast. Name players like Kathryn Grayson and Betty Hutton have refused to sign movie contracts because they forbid their appearance on television. Dick Powell, Ronald Coleman and Joan Crawford are either in television or about to get in. Donald O'Connor, whose TV success has made him one of the hottest properties in "He was born on his mother's concert tour between the First and Second Movements of Tchaikovsky's Concerto in B Flat Minor." "I found the trouble in your pocket, you didn't mail the electric bill." pictures, is one of the first actors to insist on a clause in his picture contract giving him time to take off for television shows. Four years ago, the movie folk boasted : "We have the stars. Television will have to come to us." But it hasn't worked out that way. The stars are flocking to TV where the audience is. Nothing the movie studios can do will stop it. The Little People WE had got about five minutes away from my Hollywood hotel, the driver and I, when he handed me a script, his own. What did I think? It was, he admitted, rough. He wasn't really a writer. He just liked to play around with it, he said, but he thought this might be of interest to "Suspense." I read it and I said that, well, it needed work, quite a lot of work. "That's what they all tell me," he said somberly and fell back to driving the car which is his primary but not chosen occupation. A good many of the people in Hollyv.ood are not in their chosen occupations.