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A television program (usually television programme outside North America), also called television show, is a segment of content intended for broadcast on television. It may be a one-time production or part of a periodically recurring series. A single program in a series is called an episode.

A television series that is intended to comprise a limited number of episodes is usually called a miniseries or serial. Series without a fixed length are usually divided into seasons or series, yearly or biannual installments of new episodes. While there is no defined length, US industry practice tends to favor longer seasons than those of some other countries.

A one-time broadcast may be called a "special", or particularly in the UK a "special episode". A television movie ("made-for-TV movie" or television film), is a film that is initially broadcast on television rather than released in cinemas or direct-to-video, although many successful TV movies are later released on DVD.

A program can be either recorded—as on video tape or other various electronic media forms—or considered live television.

Program content[link]

Television programming may be fictional (as in comedies and dramas), or non-fictional (as in documentary, news, and reality television). It may be topical (as in the case of a local newscast and some made-for-television movies), or historical (as in the case of many documentaries and fictional series). They could be primarily instructional or educational, or entertaining as is the case in situation comedy and game shows.

A drama program usually features a set of actors in a somewhat familiar setting. The program follows their lives and their adventures. With the exception of soap operas, many shows especially before the 1980s, remained static without story arcs, the main characters and the premise changed little. If some change happened to the characters lives during the episode, it was usually undone by the end. (Because of this, the episodes could be broadcast in any order.) Since the 1980s, there are many series that feature progressive change to the plot, the characters, or both.

Common television program periods include regular broadcasts (like news), series (usually seasonal and ongoing with a duration of only a few episodes to many seasons), or miniseries, which is an extended film, usually with a small predetermined number of episodes and a set plot and timeline. Miniseries usually range from about 3 to 10 hours in length. In the UK, the term "miniseries" is only usually used in reference to imported programmes, and such short-run series are usually called "serials".

Older American television shows began with a title sequence showing opening credits at the bottom lower third of the screen during the beginning, and included closing credits at the end of the show. However, beginning in the 1990s some shows began with a "cold open", followed by a title sequence and a commercial break. Many serial-type shows begin with a "Previously on..." (such as the series 24) introduction before the new episode. And, to save time, some shows omit the title sequence altogether, folding the names normally featured there into the opening credits. The title sequence has not been completely eliminated, however, as many major television series still use them.

While television series appearing on TV networks are usually commissioned by the networks themselves, their producers earn greater revenue when the program is sold into syndication. With the rise of the DVD home video format, box sets containing entire seasons or the complete run of a program have become a significant revenue source as well. Many of the prime-time comedy shows and Saturday morning cartoons were digitally remastered for United States television around mid-May 2008, as there are more original and reissued DVD sets of television programs containing either entire seasons or complete series to come. Typically, a DVD of a series or TV movie may contain extended or additional scenes not shown during the broadcast, scenes not allowed for broadcast (due to censorship rule), or additional background information/documentaries.

Television has changed throughout the years, from wholesome family sitcoms and dramas of years ago, to the reality shows of today. When watching television became popular in the mid-20th century, the whole family watched one set together. Also, many channels have deviated from their original programming focus throughout the years because of channel drift.

Most television networks throughout the world are 'commercial', dependent on selling advertising time or acquiring sponsors, broadcasting executives' main concern over their programming is on audience size or eyeballs. Once the number of 'free to air' stations was restricted by the availability of channel frequencies, but cable TV (outside the USA, satellite television) technology has allowed an expansion in the number of channels available to viewers (sometimes at premium rates) in a much more competitive environment.

Genres[link]

Scripted entertainment[link]

• Animated
• Award shows (partially scripted)
• Drama—which includes:
  • Action-adventure or Thriller
  • Comedy-drama
  • Family drama
  • Legal drama
  • Medical drama
  • Police procedural
  • Political drama
  • Science-fiction / Fantasy / Horror / Supernatural drama
  • Serial drama
  • Soap opera
  • Teen drama
• Miniseries and Television movies
• Comedy
  • Mockumentary
  • Satire
  • Sitcom
  • Sketch comedy

Unscripted entertainment[link]

• Game shows
• Reality
• Talk shows

Informational[link]

• Infomercials—paid advertising spots that are up to an hour long
• News programs
• Documentaries
• News magazines—dealing with current affairs

Development[link]

United States[link]

When a person or company decides to create a new series, they develop the show's elements, consisting of the concept, the characters, the crew, and cast. Then they offer ("pitch") it to the various networks in an attempt to find one interested enough to order a prototype first episode of the series, known as a pilot.

To create the pilot, the structure and team of the whole series must be put together. If the network likes the pilot, they pick up the show to air it the next season (usually Fall). Sometimes they save it for mid-season, or request rewrites and further review (known in the industry as Development hell). Other times, they pass entirely, forcing the show's creator to "shop it around" to other networks. Many shows never make it past the pilot stage.

If the show is picked up, the network orders a "run" of episodes—usually only 13 episodes at first, though a season typically consists of at least 22 episodes. (The last nine episodes are sometimes called the "back nine"—borrowing the colloquial golf term).

The show hires a stable of writers, who usually work in parallel: the first writer works on the first episode, the second on the second episode, etc. When all the writers have been used, episode assignment starts again with the first writer. On other shows, however, the writers work as a team. Sometimes they develop story ideas individually, and pitch them to the show's creator, who folds them together into a script and rewrites them.

United Kingdom[link]

In contrast to the US model illustrated above, the UK procedure is operated on a sometimes similar, but much smaller scale.

The method of "team writing" is employed on some longer dramatic series (usually running up to a maximum of around 13 episodes). The idea for such a programme may be generated "in-house" by one of the networks; it could originate from an independent production company; it sometimes is a product of both. For example, the BBC's long-running soap opera EastEnders is wholly a BBC production, whereas its popular drama Life on Mars was developed by Kudos in association with the broadcaster.

However, there are still a significant number of programmes (usually sitcoms) that are built around just one or two writers and a small, close-knit production team. These are "pitched" in the traditional way, but since the creator(s) handle all the writing requirements, there is a run of six or seven episodes per series once approval has been given. Many of the most popular British comedies have been made this way, including Monty Python's Flying Circus (albeit with an exclusive team of six writer-performers), Fawlty Towers, Blackadder and The Office.

Production[link]

The executive producer, often the show's creator, is in charge of running the show. They pick the crew and help cast the actors, approve and sometimes write series plots (some even write or direct major episodes). Various other producers help to ensure that the show runs smoothly.

As with filmmaking or other electronic media production, production of an individual episode can be divided into three parts. These are:

Pre-production[link]

Pre-production begins when a script is approved. A director is chosen to plan the episode's final look.

Pre-production tasks include storyboarding, construction of sets, props, and costumes, casting guest stars, budgeting, acquiring resources like lighting, special effects, stunts, etc. Once the show is planned, it must then be scheduled; scenes are often filmed out of sequence, guest actors or even regulars may only be available at certain times. Sometimes the principal photography of different episodes must be done at the same time, complicating the schedule (a guest star might shoot scenes from two episodes on the same afternoon). Complex scenes are translated from storyboard to animatics to further clarify the action. Scripts are adjusted to meet altering requirements.

Some shows have a small stable of directors, but also usually rely on outside directors. Given the time constraints of broadcasting, a single show might have two or three episodes in pre-production, one or two episodes in principal photography, and a few more in various stages of post-production. The task of directing is complex enough that a single director can usually not work on more than one episode or show at a time, hence the need for multiple directors.

Principal photography[link]

Principal photography is the actual filming of the episode. Director, actors and crew gather at a television studio or on location for filming or videoing a scene. A scene is further divided into shots, which should be planned during pre-production. Depending on scheduling, a scene may be shot in non-sequential order of the story. Conversations may be filmed twice from different camera angles, often using stand-ins, so one actor might perform all their lines in one set of shots, and then the other side of the conversation is filmed from the opposite perspective. To complete a production on time, a second unit may be filming a different scene on another set or location at the same time, using a different set of actors, an assistant director, and a second unit crew. A director of photography supervises the lighting of each shot to ensure consistency.

Post production[link]

Once principal photography is complete, producers coordinate tasks to begin the video editing. Visual and digital video effects are added to the film; this is often outsourced to companies specializing in these areas. Often music is performed with the conductor using the film as a time reference (other musical elements may be previously recorded). An editor cuts the various pieces of film together, adds the musical score and effects, determines scene transitions, and assembles the completed show.

Budgets and revenues[link]

In the United States, the average broadcast network drama costs $3 million an episode to produce, while cable dramas cost $2 million on average.^[1] The pilot episode may be more expensive than a regular episode. In 2004, Lost's two-hour pilot cost $10–$14 million, in 2008 Fringe's two-hour pilot cost $10 million, and in 2010, Boardwalk Empire was $18 million for the first episode. In 2011, Game of Thrones was $5–$10 million, Pan Am cost an estimated $10 million, while Terra Nova's two-hour pilot was between $10 to $20 million.^[2][3]

Deficit financing is the term used to describe how many scripted network television shows in the Unites States are financed. A studio finances the production cost of a show and a network pays a license fee to the studio for the right to air the show. This license fee does not cover the show's production costs, leading to the deficit. Although the studio does not make its money back in the original airing of the show, it retains ownership of the show. This ownership retention allows the studio to make its money back and earn a profit through syndication and DVD and Blu-ray disc sales. This system places most of the financial risk on the studios, however a show that is a hit in the syndication and home video markets can more than make up for the misses. Although the deficit financing system places minimal financial risk on the networks, they lose out on the future profits of big hits, since they are only licensing the shows.^[4]

Costs are recouped mainly by advertising revenues for broadcast networks and some cable channels, while other cable channels depend on subscription revenues. In general, advertisers, and consequently networks that depend on advertising revenues, are more interested in the number of viewers within the 18–49 age range than the total number of viewers.^[5][6] Advertisers are willing to pay more to advertise on shows successful with young adults because they watch less television and are harder to reach than older adults.^[7] According to Advertising Age, during the 2007–08 season, Grey's Anatomy was able to charge $419,000 per commercial, compared to only $248,000 for a commercial during CSI, despite CSI having almost five million more viewers on average.^[8] Due to its strength in young demos, Friends was able to charge almost three times as much for a commercial as Murder, She Wrote, even though the two series had similar total viewer numbers during the seasons they were on the air together.^[5] Glee and The Office drew fewer total viewers than NCIS during the 2009–10 season, but earned an average of $272,694 and $213,617 respectively, compared to $150,708 for NCIS.^[9]

Distribution[link]

After production, the show is turned over to the television network, which sends it out to its affiliate stations, which broadcast it in the specified broadcast programming time slot. If the Nielsen ratings are good, the show is kept alive as long as possible. If not, the show is usually canceled. The show's creators are then left to shop around remaining episodes, and the possibility of future episodes, to other networks. On especially successful series, the producers sometimes call a halt to a series on their own like Seinfeld, The Cosby Show, Corner Gas, and M*A*S*H and end it with a concluding episode, which sometimes is a big series finale.

On rare occasions, a series that has not attracted particularly high ratings and has been canceled can be given a reprieve if DVD sales have been particularly strong. This has happened in the cases of Family Guy in the US and Peep Show in the UK.

If the show is popular or lucrative, and a number of episodes (usually 100 episodes or more) are made, it goes into broadcast syndication (in the USA) where broadcast to the program rights are then resold.

[edit] Seasons/series

The terminology used to define a set of episodes produced by a television series varies from country to country.

North American usage[link]

The term "series", in North American usage, refers to a connected set of television program episodes that run under the same title, possibly spanning many seasons. A new series is often ordered (funded) for just the first 10 to 13 episodes, to gauge the audience interest. If it is "picked up", the season is completed to the regular 20 to 26 episodes. The term "midseason replacement" usually refers to an inexpensive short-run (10–13 episode) show designed to take the place of an original series that failed to garner an audience and has not been picked up. The term "series finale" can lead to confusion outside of North America. A series finale is the last show of the series before the show is no longer produced. (In the UK, it means the end of a season.)

In North America the term "television season" is used inconsistently. A "full season" typically runs from September through May, with a hiatus between December and February. This broadcast programming schedule typically includes 20 to 26 episodes. A full season is sometimes split into two separate units (confusingly also termed seasons) with one before and one after the hiatus. These smaller "seasons" usually contain half the number of episodes (10–13).^{[citation needed]}

Since the 2000s, these shorter seasons have been referred to as ".5" or half seasons, where the run of shows between September and December is labeled "Season N", and the second run between February and May labeled "Season N.5". This is typically done to increase DVD sales of the show.^{[citation needed]} Distributors release the first half of the season in stores just before the second half first airs to increase interest in the season's second half.^{[citation needed]} Examples of this include the 2004 incarnation of Battlestar Galactica, ABC's FlashForward, and ABC Family's Make It or Break It.

UK and Australia usage[link]

In the United Kingdom and other countries, these sets of episodes are referred to as a "series". In Australia, the broadcasting may be different to North American usage, however, the terms "series" and "season" are the same. For example, Battlestar Galactica has an original series as well as a remake, both are considered different series with their own number of individual seasons. It helps to avoid much confusion when talking about a TV Series.

Australian television does not follow "seasons" in the way that US television does. So there is no "Fall Season" or "Fall schedule", for example. For many years popular night time dramas in Australia would run much of the year, and would only go into recess over the summer period (December–February) where ratings are not taken. Therefore popular dramas would usually run February–November each year. This schedule was used in the 1970s for popular dramas including Number 96. Neighbours and other dramas continue this routine as of 2011. Australian situation comedy series usually have seasons of about 13 episodes, and might premiere at any month between February and November.

British shows have tended toward shorter series in recent years. For example, the first series of long-running science fiction show Doctor Who in 1963 featured forty-two 25-minute episodes, which had been reduced gradually to fourteen 25-minute episodes in 1989. The revival of Doctor Who has comprised thirteen 45-minute installments. However, there are some series in the UK that have a larger number of episodes, for example Waterloo Road started with 8–12 episodes but from series three onward, it increased to 20 episodes, and season seven will contain 30 episodes. Recently, American non-cable networks have also begun to experiment with shorter seasons for some programs, particularly reality shows such as Survivor. However, they often air two seasons per year, resulting in roughly the same number of episodes per year as a drama.

This is a reduction from the 1950s, in which many American shows (e.g., The Twilight Zone) had between 29 and 39 episodes per season. Actual storytelling time within a commercial television hour has also gradually reduced over the years, from 50 minutes out of every 60 to the current 44 (and even less on some networks), beginning in the early 21st century.

Japanese usage[link]

The Japanese have sometimes subdivided television series and dramas into kūru (クール^?), from the French term cours for course, which is a three-month period usually of 13 episodes. Each kūru generally has its own opening and ending image sequence and song, recordings of which are often sold. The number of episodes permitted per season ranges from three to 65. (See also Japanese television programs.)

[edit] Running time

In the United States, in general, dramas usually last 44 minutes (an hour with advertisements), while sitcoms last 22 (30 with advertisements). However, with the rise of cable networks, especially pay ones, series and episode lengths have been changing, with 55–60 minutes per episode, and shorter seasons overall.

See also[link]

• Category:Television schedules (by country and year)
• List of animated television series
• List of television programs by name in alphabetical order
• Lists of television programs
• Network programming (television)
• Radio programming
• Television advertisement

References[link]

External links[link]

• FCC

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Roy Rogers
Rogers performing at Knott's Berry Farm
Background information
Birth name	Leonard Franklin Slye
Born	(1911-11-05)November 5, 1911 Cincinnati, Ohio, USA
Died	July 6, 1998(1998-07-06) (aged 86) Apple Valley, California, USA
Genres	Country
Occupations	Actor, singer
Instruments	Vocals, guitar
Years active	1932–1998
Website	royrogers.com

Roy Rogers, born Leonard Franklin Slye (November 5, 1911 – July 6, 1998), was an American singer and cowboy actor, one of the most heavily marketed and merchandised stars of his era, as well as being the namesake of the Roy Rogers Restaurants franchised chain. He and his wife Dale Evans, his golden palomino, Trigger, and his German Shepherd dog, Bullet, were featured in more than 100 movies and The Roy Rogers Show. The show ran on radio for nine years before moving to television from 1951 through 1957. His productions usually featured a sidekick, often either Pat Brady (who drove a Jeep called "Nellybelle"), Andy Devine, or the crotchety George "Gabby" Hayes. Rogers's nickname was "King of the Cowboys". Evans's nickname was "Queen of the West."

Biography[link]

Early life[link]

This section needs additional citations for verification. Please help improve this article by adding citations to reliable sources. Unsourced material may be challenged and removed. (September 2010)

Leonard Franklin Slye was born to Andrew ("Andy") and Mattie (Womack) Slye in Cincinnati, Ohio, where his family lived in a tenement building on 2nd Street. (Riverfront Stadium was constructed at this location in 1970 and Leonard would later joke that he had been born at second base.) Dissatisfied with his job and city life, Andy Slye and his brother Will built a 12-by-50-foot houseboat from salvage lumber, and, in July 1912, the Slye family floated up the Ohio River towards Portsmouth, Ohio. Desiring a more stable existence in Portsmouth, the Slyes purchased land on which to build a home, but the flood of 1913 allowed them to move the houseboat to their property and continue living in it on dry land.

In 1919, the Slyes purchased a farm in Duck Run, located near Lucasville, Ohio about 12 miles north of Portsmouth. There they built a six-room home. Leonard's father soon realized that the farm alone would provide insufficient income for his family, so he took a job at a shoe factory in Portsmouth. He lived there during the week and returned home on the weekends, bearing gifts for the family following paydays. One notable gift was a horse on which Leonard learned the basics of horsemanship.

After completing the eighth grade, Leonard attended high school in McDermott, Ohio. When he was 17, his family returned to Cincinnati, where his father began work at another shoe factory. He soon decided on the necessity to help his family financially, so he quit high school, joined his father at the shoe factory, and began attending night school. After being ridiculed for falling asleep in class, however, he quit school and never returned.

Leonard and his father felt imprisoned by their factory jobs. In 1929, his older sister, Mary, moved to Lawndale, California with her husband. Father and son decided to quit their shoe factory jobs. The family packed their 1923 Dodge for a visit with Mary and stayed four months before returning to Ohio. Almost immediately afterward, Leonard had the opportunity to travel to California with Mary's father-in-law, and the rest of the family followed in the spring of 1930.

The Slyes rented a small house near Mary. Leonard and his father immediately found employment as truck drivers for a highway construction project. They reported to work one morning, however, to learn their employer had gone bankrupt. The economic hardship of the Great Depression had followed them west, and the Slyes soon found themselves among the economic refugees traveling from job to job picking fruit and living in worker campsites. (He would later read John Steinbeck's The Grapes of Wrath and marvel at its accuracy.) One day, Andy Slye was told of a shoe factory hiring in Los Angeles and asked Leonard to join him in applying there for work. Leonard, having seen the joy that his guitar and singing had brought to the destitute around the campfires, hesitantly told his father that he was going to pursue a living in music. With his father's blessing, he and cousin Stanley Slye went to Los Angeles and sought musical engagements as The Slye Brothers.

In 1932, Leonard, now known as "Len," met Lucille Ascolese while on tour. That same year, a palomino colt was foaled in Santa Cietro, CA, named "Golden Cloud", and later renamed "Trigger" in 1938 after he was acquired by Roy. In May 1933, Len, 21, proposed to Lucille, 19, via a radio broadcast. Len then went on tour with the "O-Bar-O Cowboys" and in June 1933 met Grace Arline Wilkins at a Roswell, New Mexico radio station. She traded Len a lemon pie for his singing "Swiss Yodel" over the air. By August 1934, Len and Lucille had separated as she was reportedly jealous and tired of being a musician's wife. Len and Lucille's divorce was granted on May 28, 1935, and became final on June 8, 1936. Having corresponded since their first meeting, Len and Grace Arline Wilkins were married in Roswell, New Mexico, on June 11, 1936.^[1]

In 1941, the couple adopted a girl, Cheryl Darlene. Two years later, Arline bore a daughter, Linda Lou.

Rogers and Arline had a son, Roy Jr. ("Dusty") in 1946, but Arline died of complications from the birth a few days afterward on November 3. Rogers had met Dale Evans in 1944 when she was cast in a movie with Rogers. Following Arline's death, Rogers and Evans soon fell in love, and Rogers proposed to her during a rodeo at Chicago Stadium. They married on New Year's Eve in 1947 at the Flying L Ranch in Davis, Oklahoma, where a few months earlier they had filmed Home in Oklahoma. Rogers and Evans remained married until Rogers's death in 1998.^[1]

Career[link]

Leonard Slye moved to California to become a singer. After four years of little success, he formed the Sons of the Pioneers with Bob Nolan and Tim Spencer, a Western cowboy music group, in 1934. The group hit it big with songs like "Cool Water" and "Tumbling Tumbleweeds". From his first film appearance in 1935, he worked steadily in western films, including a large supporting role as a singing cowboy while still billed as "Leonard Slye" in a Gene Autry movie. In 1938, when Autry temporarily walked out on his movie contract, Slye was immediately rechristened "Roy Rogers." Slye's stage name was suggested by Republic Picture's staff after Will Rogers and the shortening of Leroy. and assigned the lead in Under Western Stars. Rogers became a matinee idol and American legend. A competitor for Gene Autry as the nation's favorite singing cowboy was suddenly born. In addition to his own movies, Rogers played a supporting role in the John Wayne classic Dark Command (1940). Rogers became a major box office attraction.

Roy Rogers in The Carson City Kid

In the Motion Picture Herald Top Ten Money-Making Western Stars poll, Rogers was listed for 15 consecutive years from 1939 to 1954, holding first place from 1943 to 1954.^[2] He appeared in the similar Box Office poll from 1938 to 1955, holding first place from 1943 to 1952. (In the final three years of that poll he was second only to Randolph Scott.) ^[3] Although these two polls are really an indication only of the popularity of series stars, Rogers also appeared in the Top Ten Money Makers Poll of all films in 1945 and 1946.^[4]

Rogers was an idol for many children through his films and television shows. Most of his postwar films were in Trucolor during an era when almost all other B-movies were black-and-white. Some of his movies would segue into animal adventures, in which Rogers's horse Trigger would go off on his own for a while, with the camera following him.

With money from not only Rogers' films but his own public appearances going to Republic Pictures, Rogers brought a clause into a 1940 contract with the studio where he would have the right to his likeness, voice and name for merchandising.^[5] There were Roy Rogers action figures, cowboy adventure novels, and playsets, as well as a comic strip, a long-lived Dell Comics comic book series (Roy Rogers Comics) written by Gaylord Du Bois, and a variety of marketing successes. Roy Rogers was second only to Walt Disney in the amount of items featuring his name.^[6] The Sons of the Pioneers continued their popularity, and they have never stopped performing from the time Rogers started the group, replacing members as they retired or passed away (all original members are deceased). Although Rogers was no longer an active member, they often appeared as Rogers' backup group in films, radio, and television, and Rogers would occasionally appear with them in performances up until his death. In August 1950, Evans and Rogers had a daughter, Robin Elizabeth, who had Down Syndrome and died of complications with mumps shortly before her second birthday. Evans wrote about losing their daughter in her book Angel Unaware.

Rogers and the Sons of the Pioneers in the film, Rainbow Over Texas

Rogers and Evans were also well known as advocates for adoption and as founders and operators of children's charities. They adopted several children. Both were outspoken Christians. In Apple Valley, California, where they made their home, numerous streets and highways as well as civic buildings have been named after them in recognition of their efforts on behalf of homeless and handicapped children. Rogers was an active Freemason and a Shriner, and was noted for his support of their charities.

Rogers and Evans's famous theme song, "Happy Trails", was written by Evans; they sang it as a duet to sign off their television show. In the fall of 1962, the couple co-hosted a comedy-western-variety program, The Roy Rogers and Dale Evans Show, aired on ABC. It was cancelled after three months, losing in the ratings to The Jackie Gleason Show on CBS. He also made numerous cameo or guest appearances on other popular television shows, starring as himself or other cowboy-type characters, such as in an episode of Wonder Woman called "The Bushwackers".^[7] Rogers also owned a Hollywood production company which handled his own series. It also filmed other undertakings, including the 1955-1956 CBS western series Brave Eagle starring Keith Larsen as a young peaceful Cheyenne chief, Kim Winona as Morning Star, his romantic interest, and the Hopi Indian Anthony Numkena as Keena, Brave Eagle's foster son.

Rogers and Dale Evans at the 61st Academy Awards in 1989

In 1968 Rogers licensed his name to the Marriot corporation, which converted its Hot Shoppes locations to Roy Rogers Restaurants, with which Rogers otherwise had no involvement.

Rogers owned a Thoroughbred racehorse named Triggairo, who won 13 career races including the 1975 El Encino Stakes at Santa Anita Park.^[8]

Death[link]

When Rogers died of congestive heart failure on July 6, 1998, he was residing in Apple Valley, California. He was interred at Sunset Hills Cemetery ^[9] in Apple Valley, as was his wife, Dale Evans, three years later.^[10]

Homages and influence[link]

Rogers and Dale Evans at Knott's Berry Farm in the 1970s

For his contribution to the motion picture industry, Rogers has a star on the Hollywood Walk of Fame at 1752 Vine Street, a second star at 1733 Vine Street for his contribution to radio, and a third star at 1620 Vine Street for his contribution to the television industry. Rogers and Evans were inducted into the Western Performers Hall of Fame at the National Cowboy & Western Heritage Museum in Oklahoma City, Oklahoma, in 1976 and Rogers was inducted again as a member of the Sons of the Pioneers in 1995. Rogers was also twice elected to the Country Music Hall of Fame, first as a member of The Sons of the Pioneers in 1980 and as a soloist in 1988.

Rogers was mentioned in the Lyle Lovett single "If I Had A Boat", Elton John's 1973 album "Goodbye Yellow Brick Road" contained the escapist ballad "Roy Rogers", and Toby Keith's "Should've Been A Cowboy".

In the 1988 film Die Hard, the Bruce Willis character John McClane used the nom de guerre of "Roy", saying "I was always kinda partial to Roy Rogers actually".

American Dad character Roger uses "Roy Rogers" as a pseudonym in the episode "Roy Rogers McFreely".

Cheryl Rogers Barnett, a daughter of Roy Rogers and Dale Evans, has written with Frank Thompson; Cowboy Princess: Life with My Parents, Roy Rogers and Dale Evans'.^[11]

Filmography[link]

Discography[link]

Charted albums[link]

Charted singles[link]

• ^A"Hoppy, Gene and Me" also peaked at number 65 on the Billboard Hot 100^[12] and number 38 on the RPM Adult Contemporary Tracks chart in Canada.

Music videos[link]

Popular songs recorded by Rogers[link]

• "Don't Fence Me In"
• "Hold That Critter Down"
• "Little White Cross On The Hill"
• "One More Ride"
• "Ride Ranger Ride"
• "That Pioneer Mother Of Mine"
• "Tumbling Tumbleweeds"
• "Way Out There" (singing and yodeling)
• "Why, Oh Why, Did I Ever Leave Wyoming?"
• "Hold On Partner" (duet with Clint Black)

See also[link]

Wikimedia Commons has media related to: Roy Rogers

• Roy Rogers Restaurants
• Roy Rogers cocktail
• Earl W. Bascom, cowboy artist who worked with Roy Rogers

Notes[link]

References[link]

• Rogers, Roy; Evans, Dale; Stowers, Carlton (1979). Happy Trails: The Story of Roy Rogers and Dale Evans. Waco, Texas: Word Books. ISBN 0-8499-0086-7. 
• Enss, Chris; Kazanjian, Howard (2005). The Cowboy and the Senorita: A Biography of Roy Rogers and Dale Evans (1st ed.). Guilford, CT: TwoDot. ISBN 978-0-7627-3830-4. 
• Phillips, Robert W. (1995). Roy Rogers : A Biography. Jefferson, NC [u.a.]: McFarland. ISBN 0-89950-937-1. 
• Zwisohn, Laurence. (1998). "Roy Rogers". In The Encyclopedia of Country Music. Paul Kingsbury, Editor. New York: Oxford University Press. pp. 456–457.

External links[link]

• Roy Rogers at the Internet Movie Database
• Official family website
• Database and Cover gallery of Roy Rogers comic book appearances
• Roy Rogers Ranch
• Interview with Delores Chapman who had a bit part with Roy Rogers in North of the Great Divide
• Profile at Turner Classic Movies
• Roy Rogers at the Internet Broadway Database
• Country Music Hall of Fame and Museum
• Dusty Rhoads: Cowboy Bassist and vocalist who toured with Roy Rogers; original member of the Whippoorwills
• I Love Comix Archive: Roy Rogers
• The Ackerman Collection of Historical Photographs
• RFD-TV Trigger and Bullet Happy Trails Tour
• Public domain Roy Rogers media at Internet Archive
• "Roy & Dale 100th Anniversary"