Writing for Television, Radio, and New Media by Robert L. Hilliard pointed out that Martin Block developed the concept of a radio announcer playing records separated by comment and commercials yet conveying the feeling that the performances were live in the studio. “The Make Believe Ballroom” which debuted in 1935 on WNEW, 1130 on the dial, in New York, N.Y. continued for more than fifty years.
I encourage you to watch a segment about Block and “The Make Believe Ballroom.” Google “1988 CBS Sunday Make Believe Ballroom Story WNEW.”
On our college’s radio station, I’m following Block’s concept as I host “EMCC Radio’s Top 10 Countdown,” presented every two hours. Our show sounds live with crystal clear introductions from students Madi Davis, Mason Honnoll, and me. Madi features a song she projects will enter the Top 10 and Mason plays a song that was number one precisely 50 years ago, or 25, 20, 10, etc.
.1. Based on the preceding paragraph, what’s the number of songs featured on EMCC Radio’s countdown.
A. 13
B. 12
C. 11
D. 10
.2. croon (KROON)
A. to pontificate
B. to come across as unflappable
C. hubris
D. to sing in an evenly modulated, slightly exaggerated manner
No. 1, of course is B.
In her article titled Swing Time, Marilyn Zuckerman writes, “A Saturday night in 1941 and I was a sixteen-year old girl, alone, listening to Martin Block, host of the Make Believe Ballroom radio show, from Meadowbrook, N.J. Frank Sinatra or Dick Haymes crooned songs drowning in sentiment, all those war ballads filled with yearning for when The Boys Come Home Again.” No. 2 is D.
.3. redolent (RED-uh-lunt)
A. glowing with red
B. when someone is yearning
C. ensuring safety
D. evocative, giving a suggestion
The article pointed out that the show was a restorative filled with songs redolent with loneliness and hopes for the future. No. 3 is D.
.4. bellwether (BELL-weh-ther)
A. one who takes the lead or initiative
B. an indicator of trends
C. atmosphere
D. None of the above
An April 8, 1987 New York Times article said that Ballroom has been a bellwether of mainstream, traditional pop music for half a century, from its beginnings with Block to its curatorship of William B. Williams. No. 4 is A and B.
