The "live era" or "golden age"of television drama originating from New York, 1946 through 1951, was an exciting time of creative and commercial accomplishment. This is a complete history and reference guide to the live dramas that aired during those six years. Extensive coverage is given to the NBC anthologies Kraft Television Theatre and Philco Television Playhouse, and the CBS anthologies Ford Theater and Studio One, as well as to "he competitors"--the 28 new anthologies that appeared in the prime time schedule during 1950 and 1951. Appendices comprehensively list the day-by-day program logs for BBC, CBS and NBC dramas from 1946 through 1951.

But soon, seduced by the myth of Hollywood and the reality of Warner Brothers, he made his movie debut, in 1938, in Four Daughters and immediately established himself as an earthy, rebellious and electrifying presence on the screen - in retrospect, the James Dean of the Depression era.

This volume, arranged alphabetically by original author, provides basic information about stage and screen productions based upon the novels of 40 women writers before 1900. Each entry includes the novel and its publication date, the published texts or dramatizations based upon the book, and the performances of the piece in live theater and film versions, including the location, dates, and playwright or screenwriter (if there was one). For some of the performances the author includes a brief annotation listing the actors and describing the production.

This book chronicles the radio appearances of all prominent classic horror movie stars--Boris Karloff, Bela Lugosi, Peter Lorre, Vincent Price, and two dozen more, including "scream queens" like Fay Wray. It contains script excerpts from radio shows as well as material from narrated albums and music singles. Each star's appearances are listed by show and air date, with descriptions of the subject matter.

A sweeping biography of one of the most influential and successful business-women in American history, BECOMING ELIZABETH ARDEN opens the Red Door to a world of wealth, glamor, and the profitable business of beauty Elizabeth Arden was a household name on six continents and a millionaire several times over before her death in 1966. Arden counted British royalty and social elites from the overlapping worlds of New York, Hollywood, London, and Paris among her clients. She revolutionized skin care and cosmetics, making it acceptable for all women to embrace glamour and wear makeup—not just actresses and prostitutes. She created a successful international business empire before women gained the vote and at a time when virtually no woman owned or ran a national company. She developed the first luxury spa and insisted on a holistic understanding of health and beauty. Unconventional and driven, Arden fervently believed that every woman could be beautiful. Acclaimed biographer Stacy Cordery does full justice to one of America’s greatest entrepreneurs. Canadian-born Florence Nightingale Graham turned herself into Elizabeth Arden, using her uncanny sense of the possible to take full advantage of everything New York City offered, building her company and becoming one with her brand. In an astounding rags-to-riches tale, Elizabeth Arden came to personify sophistication and refinement. Her hard work and innovation made makeup, fitness, and style not only acceptable but de rigueur. Arden prospered throughout the Depression, reimagined women’s needs during two World Wars, and by pioneering new approaches to marketing and advertising, ushered beauty into the modern era. Cordery delivers a compelling picture of a modern CEO whose career provides a model for aspiring businesses to this day.

More than 700 uncredited scriptwriters who created the memorable characters and thrilling stories of radio's Golden Age receive due recognition in this reference work. For some, radio was a stepping stone on the way to greater achievements in film or television, on the stage or in literature. For others, it was the culmination of a life spent writing newspaper copy. Established authors dabbled in radio as a new medium, while working writers saw it as another opportunity to earn a paycheck. When these men and women came to broadcasting, they crafted a body of work still appreciated by modern listeners.