" One Night on Television is Worth Weeks at the Paramount is a rich resource. The detailed descriptions of television musical performances and the analysis of such a wide range of archival sources provides a comprehensive account of the emerging practices and processes of television music in the U.S.A: this is valuable to any scholar interested in the history of television, popular music, and music on screen."-- Lauren Anderson , Screening the Past "[A] recollection and examination of what exactly went into the first days of that ground-breaking marriage between music and television, far before the first episode of 120 Minutes even aired. The book takes an impressively researched look at how much effort went into making sure this combination could even get off the ground, let alone explode into the massive fixture it is today, by focusing on the technological and developmental advancements of the late '40s and early '50s as it related to utilizing this particular form of media."-- Colin McGuire , PopMatters "Forman's deft analysis of historical materials amounts to a considerable contribution to our knowledge of postwar American popular culture, and the book's theoretical concerns bring television studies, American studies, and popular music studies into a productive dialogue."-- Jacob Smith , Journal of American Studies "In One Night on TV , Murray Forman offers an intelligent history of popular music's place on early TV.
In the process, he fills a significant gap in our understanding of early television in America. One Night on TV should be of value to all of those interested in television's most important moment."-- JamesL. Baughman , Business History Review "[A] fascinating and rich account. Forman's study is a welcome contribution to a neglected topic within both popular music and television history. The study offers astute insights on the period from 1930-1955, which are generated from his combination of industrial and cultural history with theoretical reflections and close analysis. [T]he study significantly redresses numerous orthodoxies in the respective histories of popular music and television."-- Carolyn Birdsall , Screen.