Editing Hello Americans
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"The best good-will propaganda is to sell South America to North America," Welles wrote coordinator [[Nelson Rockefeller]].<ref>[[Simon Callow|Callow, Simon]], ''Orson Welles: Hello Americans''. New York: [[Viking Press|Viking Penguin]] 2006 {{ISBN|0-670-87256-3}} page 159</ref> Welles drew upon the research amassed earlier in 1942 for ''[[It's All True (film)|It's All True]]'', the film project he had embarked upon also at the request of Rockefeller, who was a major [[RKO Pictures]] stockholder and Welles admirer as well as Coordinator of Inter-American Affairs. It was hoped that the dramatizations would counteract German and Italian propaganda and build solidarity among American republics in the hemisphere.<ref>[[Frank Brady (writer)|Brady, Frank]], ''Citizen Welles: A Biography of Orson Welles''. New York: Charles Scribner's Sons, 1989 {{ISBN|0-385-26759-2}} pages 334 and 351</ref> |
"The best good-will propaganda is to sell South America to North America," Welles wrote coordinator [[Nelson Rockefeller]].<ref>[[Simon Callow|Callow, Simon]], ''Orson Welles: Hello Americans''. New York: [[Viking Press|Viking Penguin]] 2006 {{ISBN|0-670-87256-3}} page 159</ref> Welles drew upon the research amassed earlier in 1942 for ''[[It's All True (film)|It's All True]]'', the film project he had embarked upon also at the request of Rockefeller, who was a major [[RKO Pictures]] stockholder and Welles admirer as well as Coordinator of Inter-American Affairs. It was hoped that the dramatizations would counteract German and Italian propaganda and build solidarity among American republics in the hemisphere.<ref>[[Frank Brady (writer)|Brady, Frank]], ''Citizen Welles: A Biography of Orson Welles''. New York: Charles Scribner's Sons, 1989 {{ISBN|0-385-26759-2}} pages 334 and 351</ref> |
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"It belongs to a period when hemispheric unity was a crucial matter and many programs were being devoted to the common heritage of the Americas," broadcasting historian [[Erik Barnouw]] wrote of a contemporaneous project Welles created — a radio play called ''Admiral of the Ocean Sea'',<ref name="Barnouw">[[Erik Barnouw|Barnouw, Erik]] (ed.), ''Radio Drama in Action |
"It belongs to a period when hemispheric unity was a crucial matter and many programs were being devoted to the common heritage of the Americas," broadcasting historian [[Erik Barnouw]] wrote of a contemporaneous project Welles created — a radio play called ''Admiral of the Ocean Sea'',<ref name="Barnouw">[[Erik Barnouw|Barnouw, Erik]] (ed.), ''Radio Drama in Action''. New York: [[Farrar & Rinehart]], 1945. Written by Orson Welles in collaboration with Robert Meltzer and [[Norris Houghton]], the radio play ''Columbus Day'' appears on pp. 4–13.</ref>{{Rp|3|date=June 2014}} broadcast on ''[[Cavalcade of America]]'' October 12, 1942:<ref name="Rosenbaum"/>{{Rp|373|date=June 2014}} |
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<blockquote>Many such programs were being translated into Spanish and Portuguese and broadcast to Latin America, to counteract many years of successful Axis propaganda to that area. The Axis, trying to stir Latin America against Anglo-America, had constantly emphasized the differences between the two. It became the job of American radio to emphasize their common experience and essential unity.<ref name="Barnouw"/>{{Rp|3|date=June 2014}}</blockquote> |
<blockquote>Many such programs were being translated into Spanish and Portuguese and broadcast to Latin America, to counteract many years of successful Axis propaganda to that area. The Axis, trying to stir Latin America against Anglo-America, had constantly emphasized the differences between the two. It became the job of American radio to emphasize their common experience and essential unity.<ref name="Barnouw"/>{{Rp|3|date=June 2014}}</blockquote> |