<P> Big bands maintained a presence on American television, particularly through the late - night talk show, which has historically used big bands as house accompaniment . Typically the most prominent shows with the earliest time slots and largest audiences have bigger bands with horn sections while those in later time slots go with smaller, leaner ensembles . </P> <P> During the 1930s, Earl Hines and his band broadcast from the Grand Terrace in Chicago every night across America . In Kansas City and across the Southwest, an earthier, bluesier style was developed by such bandleaders as Bennie Moten and, later, by Jay McShann and Jesse Stone . Big band remotes on the major radio networks spread the music from ballrooms and clubs across the country during the 1930s and 1940s, with remote broadcasts from jazz clubs continuing into the 1950s on NBC's Monitor . Radio increased the fame of Benny Goodman, the "Pied Piper of Swing". Others challenged him, and battle of the bands became a regular feature of theater performances . </P> <P> Gloria Parker had a radio program on which she conducted the largest all - girl orchestra led by a female . She led her Swingphony while playing marimba . Phil Spitalny, a native of Ukraine, led a 22 - piece female orchestra known as Phil Spitalny and His Hour of Charm Orchestra, named for his radio show, The Hour of Charm, during the 1930s and 1940s . Other female bands were led by trumpeter B.A. Rolfe, Anna Mae Winburn, and Ina Ray Hutton . </P> <P> Big Bands began to appear in movies in the 1930s through the 1960s, though cameos by bandleaders were often stiff and incidental to the plot . Fictionalized biographical films of Glenn Miller, Gene Krupa, and Benny Goodman were made in the 1950s . </P>

Which statements are true about big band arrangements