Norman Corwin and Radio: The Golden Years by R. Leroy Bannerman

By R. Leroy Bannerman

Norman Corwin is thought of as the main acclaimed artistic artist of radio’s Golden Age (mid Nineteen Thirties to past due 1940s). Corwin labored as a manufacturer for CBS at a time while radio used to be the center-piece of yankee kin life. His courses introduced excessive moments to the medium in the course of a interval while extraordinary creativity and international challenge formed its personality and conviction. Bannerman’s publication is greater than biography: it's also social history—the tale of community radio, its nice achievements and supreme decline. Many of Corwin’s courses are thought of radio classics. During international battle II his courses energized the folks and marshaled morale. We carry those Truths, commemorating the one hundred and fiftieth anniversary of the yankee invoice of Rights, was once broadcast 8 days after the assault on Pearl Harbor, and On a notice of Triumph, a VE-Day targeted for CBS, marked the historical end result of a momentous conflict. Bannerman’s paintings is a portrayal of a notable guy, who led an influential struggle for the paintings and integrity of broadcasting, who persevered unfounded accusations through the blacklisting interval of the McCarthy period, and who by way of his commitment complete major courses of ancient dimensions. 

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13 With only this to go on, Corwin awaited the day, which was April 25, 1938. Corwin was at the CBS studios by nine o'clock and discovered that no one had yet arrived; his apprehension soon dissolved, however. As the staff came in, they extended a warm welcome to the new man. He was assigned a small office and introduced to a tall, attractive young lady who was to assist him. Betsy Tuthill knew her way around the CBS control rooms. A sisterin-law of William N. Robson, one of the top producer-directors at the network, she once had been an assistant for both Robson and Irving Reis, the latter being the founder of the Columbia Workshop.

For permission to reuse this work, contact the University of Alabama Press. 28 • The City in Corwin's idea and invited him to audition, whereupon Corwin prepared a sample program and, during lunch hour one day, hurried over to the WQXR studios in the Hackscher Building, 57th and Fifth Avenue, to read for him. Sanger was impressed. Many offers had been received by the station to do poetry on the air, but to Sanger, this approach was novel and interesting. He scheduled the program, and two weeks later the series Poetic License began weekly broadcasts on WQXR, each Wednesday evening at 9:45.

He scheduled the program, and two weeks later the series Poetic License began weekly broadcasts on WQXR, each Wednesday evening at 9:45. It was fundamentally Rhymes and Cadences, without Kalman and the piano. Corwin, sometimes alone but frequently with friends, introduced a wide range of treatments, from takeoffs on nursery rhymes to lyrical themes like spring-and once, a poetic medley on inebriation. He wrote the programs at home and each Wednesday went to the studio for the broadcast. Remembering his Springfield experience, he felt confident in his writing and his delivery.

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