Historian Sara Eskridge examines television’s rural comedy boom in the 1960s and the political, social, and economic factors that made these shows a perfect fit for CBS. The network, nicknamed the Communist Broadcasting System during the Red Scare of the 1940s, saw its image hurt again in the 1950s with the quiz show scandals and a campaign against violence in westerns. When a rival network introduced rural-themed programs to cater to the growing southern market, CBS latched onto the trend and soon reestablished itself as the Country Broadcasting System. Its rural comedies dominated the ratings throughout the decade, attracting viewers from all parts of the country. With fascinating discussions of The Andy Griffith Show, The Beverly Hillbillies, Petticoat Junction, and other shows, Eskridge reveals how the southern image was used to both entertain and reassure Americans in the turbulent 1960s.

Historian Sara Eskridge examines television’s rural comedy boom in the 1960s and the political, social, and economic factors that made these shows a perfect fit for CBS. The network, nicknamed the Communist Broadcasting System during the Red Scare of the 1940s, saw its image hurt again in the 1950s with the quiz show scandals and a campaign against violence in westerns. When a rival network introduced rural-themed programs to cater to the growing southern market, CBS latched onto the trend and soon reestablished itself as the Country Broadcasting System. Its rural comedies dominated the ratings throughout the decade, attracting viewers from all parts of the country. With fascinating discussions of The Andy Griffith Show, The Beverly Hillbillies, Petticoat Junction, and other shows, Eskridge reveals how the southern image was used to both entertain and reassure Americans in the turbulent 1960s.

From a spring cake topper to festive winter wrapping paper, craft your way through the year by mixing painting with other art mediums. Paint, Make, Create showcases seasonal, multi-craft projects all woven together by painting. Designed for all abilities, the twenty engaging activities will guide you through the seasons and include working with clay, printing, collaging, sewing and embroidery with a fun and modern painterly twist. Including a comprehensive guide to getting started with painting, Paint, Make, Create will help you develop an understanding of types of paints, surfaces, color palettes and mixing your own colors while also arming you with the tools and confidence to create your own original pieces. Drawing on author Becki’s vast experience in the creative world, alongside each project’s step by step guide are helpful hints and tips, perfect for beginners wanting to experiment with paints. Your creativity will flourish with each contemporary craft project, from creating painterly table settings for Summer gatherings right through to painting Christmas gifts and decorations.

“It’s good to see Si Siman and the Ozark Jubilee get their due in Broadcasting the Ozarks.” —Willie Nelson Broadcasting the Ozarks explores the vibrant country music scene that emerged in Springfield, Missouri, in the 1930s and thrived for half a century. Central to this history is the Ozark Jubilee (1955–60), the first regularly broadcast live country music show on network television. Dubbed the “king of the televised barn dances,” the show introduced the Ozarks to viewers across America and put Springfield in the running with Nashville for dominance of the country music industry—with the Jubilee’s producer, Si Siman, at the helm. Siman’s life story is almost as remarkable as the show he produced. He was booking Tommy Dorsey, Ella Fitzgerald, and Glenn Miller during the mid-1930s while still a high school student and produced nationally syndicated country music radio shows in the decades that followed. Siman was a promotional genius with an ear for talent, a persuasive gift for gab, and the energy and persistence to make things happen for many future Country Music Hall of Famers, including Chet Atkins, Porter Wagoner, the Browns, and Brenda Lee. Following the Jubilee’s five-year run, Siman had a hand in some of the greatest hits of the twentieth century as a music publisher, collaborating with such songwriters as rockabilly legend and fellow Springfieldian Ronnie Self, who wrote Brenda Lee’s signature hit, “I’m Sorry,” and Wayne Carson, who wrote Willie Nelson’s “Always on My Mind.” Although Siman had numerous opportunities to find success in bigger cities, he chose to do it all from his hometown in the Ozarks.

Offering further evidence of his astounding range as a novelist, the bestselling author of The Colony of Unrequited Dreams and The Navigator of New York crafts a hilarious and moving paean to the dawn of the television age. Henry Prendergast grew up on television—not merely watching it, but starring in the wildly popular children’s show “Rumpus Room.” Cast in the roles of Bee Good and Bee Bad by his mother Audrey, the show’s creator, Henry came of age along with the new medium—one that would soon propel his family out Toronto’s middle-class life and into the tabloids. Henry’s father Peter, a would-be novelist, refuses to have any part in his wife’s burgeoning television empire, but commits himself instead to the task of being a walking, talking—mostly scathing—reminder of the family’s “humble beginnings.” Then, on the heels of Rumpus Room, Audrey dreams up The Philo Farnsworth Show, loosely based on the life story of the young teen credited with inventing the tube and starring Henry in the lead role. Rapidly amassing a cult-like following of “Philosophers,” the show challenges the Prendergasts anew. Forced into increasing isolation by a fervent media, they must work harder than ever to not let success get the best of them.