By Jim Cox

The interval from 1925 to 1960 was once the heyday of the yank Radio cleaning soap Opera. as well as being a part of pop culture, the cleaning soap opera had vital advertisement elements to boot that weren't in simple terms with regards to their construction, but in addition to the determined have to promote items or perish. each side of this tale are traced during this finished compendium. The dictionary part, made from greater than 500 cross-referenced entries, presents short vignettes of the extra renowned and in addition much less recognized "soaps," between them again degree spouse, Our Gal Sunday, Pepper Young's kin and The Guiding mild. different entries evoke those that introduced those courses to existence: the actors, announcers, scriptwriters, networks, or even the sponsors. Nor are the elemental topics, the inventory characters and the gimmick, forgotten. The book's creation defines the cleaning soap opera, examines the span of the radio serial, stories its origins and its dying, and makes a speciality of the nature kinds that made up its denizens. The chronology outlines the interval and the bibliography deals extra studying. jointly, those parts make a complete reference paintings that researchers will locate precious lengthy into the long run.

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Extra info for The A to Z of American Radio Soap Operas (The a to Z Guide)

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AMOS ’N’ ANDY. One of the earliest antecedents of American soap opera, this comedy originating in 1926 over Chicago’s WGN as Sam ’n’ Henry established a model for serialized yarns featuring ongoing characters. Freeman Gosden and Charles Correll, speaking in African-American dialects, were radio pioneers. Much of the dialoguing listeners heard later—including pure soap opera in 1930— was based on their primal exchanges. This series aired from 19 30 • ANDERSONS, THE March 1928 through 22 May 1955—and by extension—The Amos ’n’ Andy Music Hall overlapped it and continued from 13 September 1954 through 25 November 1960.

Their vitriolic anger could not be contained as they phoned and wrote the chain giving them a piece of their minds, often in unprintable terms. Some protested that they would never turn their dials to CBS again. Of course, it was CBS that had long withstood the loss of advertisers and audiences in the wake of television, plus those pesky affiliates that grew more obstinate and threatening as time passed and pressure mounted. None of it mattered to the fuming protestors; through tears of anguish they only saw that they were losing some of the best friends—albeit mythical ones—invited into their homes for years.

For decades, it presented a surfeit of daytime serials including Easy Aces, Front Page Farrell, John’s Other Wife, Just Plain Bill, Mrs. Wiggs of the Cabbage Patch, Our Gal Sunday, Real Stories from Real Life, The Romance of Helen Trent, and more under the watchful eye of Air Features, which packaged the program and advertising copy. It also underwrote evening radio dramas for long spells including Mr. Keen, Tracer of Lost Persons, another Hummert feature. AMERICAN WOMEN. One of the few daytime dramas with feminine announcer–narrators (Eloise Kummer, Charlotte Manson), it encouraged females to volunteer for service in the war effort, presenting pa- AMOS ’N’ ANDY • 29 triotic stories about some of them.

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