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เนื้อหาจัดทำโดย The WallBreakers and James Scully เนื้อหาพอดแคสต์ทั้งหมด รวมถึงตอน กราฟิก และคำอธิบายพอดแคสต์ได้รับการอัปโหลดและจัดหาให้โดยตรงจาก The WallBreakers and James Scully หรือพันธมิตรแพลตฟอร์มพอดแคสต์ของพวกเขา หากคุณเชื่อว่ามีบุคคลอื่นใช้งานที่มีลิขสิทธิ์ของคุณโดยไม่ได้รับอนุญาต คุณสามารถปฏิบัติตามขั้นตอนที่แสดงไว้ที่นี่ https://th.player.fm/legal
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Squid Game is back, and so is Player 456. In the gripping Season 2 premiere, Player 456 returns with a vengeance, leading a covert manhunt for the Recruiter. Hosts Phil Yu and Kiera Please dive into Gi-hun’s transformation from victim to vigilante, the Recruiter’s twisted philosophy on fairness, and the dark experiments that continue to haunt the Squid Game. Plus, we touch on the new characters, the enduring trauma of old ones, and Phil and Kiera go head-to-head in a game of Ddakjji. Finally, our resident mortician, Lauren Bowser is back to drop more truth bombs on all things death. SPOILER ALERT! Make sure you watch Squid Game Season 2 Episode 1 before listening on. Let the new games begin! IG - @SquidGameNetflix X (f.k.a. Twitter) - @SquidGame Check out more from Phil Yu @angryasianman , Kiera Please @kieraplease and Lauren Bowser @thebitchinmortician on IG Listen to more from Netflix Podcasts . Squid Game: The Official Podcast is produced by Netflix and The Mash-Up Americans.…
BW - EP159—007: NYC In January 1956 With Johnny Dollar—The Death Of A Beautiful Woman
Manage episode 461282138 series 2494501
เนื้อหาจัดทำโดย The WallBreakers and James Scully เนื้อหาพอดแคสต์ทั้งหมด รวมถึงตอน กราฟิก และคำอธิบายพอดแคสต์ได้รับการอัปโหลดและจัดหาให้โดยตรงจาก The WallBreakers and James Scully หรือพันธมิตรแพลตฟอร์มพอดแคสต์ของพวกเขา หากคุณเชื่อว่ามีบุคคลอื่นใช้งานที่มีลิขสิทธิ์ของคุณโดยไม่ได้รับอนุญาต คุณสามารถปฏิบัติตามขั้นตอนที่แสดงไว้ที่นี่ https://th.player.fm/legal
Support Breaking Walls at https://www.patreon.com/thewallbreakers Production was done for these serial episodes of Yours Truly Johnny Dollar in a single day. Bob Bailey was paid three-hundred-dollars per week. Adjusted for inflation, a single week’s work on Dollar paid a little less than thirty-five-hundred dollars. Between October of 1955 and November of 1956, fifty-five serials would air. To pen these scripts, Jack Johnstone tapped into his old writing mainstays.
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569 ตอน
BW - EP159—007: NYC In January 1956 With Johnny Dollar—The Death Of A Beautiful Woman
Breaking Walls: The Podcast on the History of American Network Radio Broadcasting
Manage episode 461282138 series 2494501
เนื้อหาจัดทำโดย The WallBreakers and James Scully เนื้อหาพอดแคสต์ทั้งหมด รวมถึงตอน กราฟิก และคำอธิบายพอดแคสต์ได้รับการอัปโหลดและจัดหาให้โดยตรงจาก The WallBreakers and James Scully หรือพันธมิตรแพลตฟอร์มพอดแคสต์ของพวกเขา หากคุณเชื่อว่ามีบุคคลอื่นใช้งานที่มีลิขสิทธิ์ของคุณโดยไม่ได้รับอนุญาต คุณสามารถปฏิบัติตามขั้นตอนที่แสดงไว้ที่นี่ https://th.player.fm/legal
Support Breaking Walls at https://www.patreon.com/thewallbreakers Production was done for these serial episodes of Yours Truly Johnny Dollar in a single day. Bob Bailey was paid three-hundred-dollars per week. Adjusted for inflation, a single week’s work on Dollar paid a little less than thirty-five-hundred dollars. Between October of 1955 and November of 1956, fifty-five serials would air. To pen these scripts, Jack Johnstone tapped into his old writing mainstays.
…
continue reading
569 ตอน
ทุกตอน
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Breaking Walls: The Podcast on the History of American Network Radio Broadcasting
Support Breaking Walls at https://www.patreon.com/thewallbreakers Well we’ve reached the end of our look at Yours Truly Johnny Dollar and New York City in January of 1956. It would be impossible to tell a complete story on either subject within one episode. For more info on the history of Yours Truly Johnny Dollar, please tune into Breaking Walls episode 102. As far as New York City goes, don’t worry we’ll be staying right here in the next episode of Breaking Walls. Next time on Breaking Walls, it’s February of 1950 and we’re following detective Danny Clover on his beat, from Times Square to Columbus Circle. It’s the gaudiest, the most violent, the lonesomest mile in the world.…
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Breaking Walls: The Podcast on the History of American Network Radio Broadcasting
Support Breaking Walls at https://www.patreon.com/thewallbreakers Despite a loyal audience, by January of 1956 it was clear that Yours Truly Johnny Dollar was failing to attract any kind of national sponsorship. The road to would have been difficult. Airing at 8:15PM weeknights on CBS radio, it was up against CBS’s own TV schedule, with Burns and Allen broadcast at 8PM eastern time on Mondays, The Phil Silvers Show on Tuesdays, Arthur Godfrey on Wednesdays, The Bob Cummings Show on Thursdays, and Mama on Fridays. The serial format was great for character development, but it also meant audiences needed to tune into all five parts to know what was going on. In April of 1956 Yours Truly Johnny Dollar was shifted to 9:15PM. By the summer CBS radio executives were looking to cut costs. Bob Bailey’s daughter Roberta remembered that time. CBS aired these five-part episodes until November 2nd, 1956. The show moved to Sunday afternoons where it enjoyed continuous airtime in a half-hour time slot. Bob Bailey became the actor most closely associated with the Dollar character, keeping the title role until November of 1960. It was then that CBS decided to move all remaining dramatic productions with the exception of Gunsmoke to New York. Neither Jack Johnstone or Bob Bailey would move with the production. The last Hollywood episode was appropriately entitled “The Empty Threat Matter.” It aired on November 27th, 1960. The trade papers made no mention of the production change. On December 4th, 1960, New York’s version of Yours Truly Johnny Dollar took to the air starring Bob Readick, son of New York radio legend Frank Readick. Former show director Jack Johnstone continued to write scripts, but Bob Readick had the unenviable task of following Bailey, who played Dollar in almost five-hundred episodes. Readick was replaced after just six months as of June 25th, 1961 by the final Johnny Dollar, Mandel Kramer. For Bob Bailey, the end of Dollar meant the end of his radio career.…
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Breaking Walls: The Podcast on the History of American Network Radio Broadcasting
Support Breaking Walls at https://www.patreon.com/thewallbreakers Lawrence Dobkin played several roles in “The Todd Matter,” including Bill Powers. He was a longtime member of AFRA. Roberta Bailey-Goodwin remembered many of the actors that appeared with her father on Johnny Dollar. Although not in this particular Dollar episode, Virginia Gregg was an oft-featured character actress and close friend of the Bailey family. Shirley Mitchell, by then a radio legend, voiced Melva Charles.…
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Breaking Walls: The Podcast on the History of American Network Radio Broadcasting
Support Breaking Walls at https://www.patreon.com/thewallbreakers Production was done for these serial episodes of Yours Truly Johnny Dollar in a single day. Bob Bailey was paid three-hundred-dollars per week. Adjusted for inflation, a single week’s work on Dollar paid a little less than thirty-five-hundred dollars. Between October of 1955 and November of 1956, fifty-five serials would air. To pen these scripts, Jack Johnstone tapped into his old writing mainstays.…
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Breaking Walls: The Podcast on the History of American Network Radio Broadcasting
1 BW - EP159—006: NYC In January 1956 With Johnny Dollar—Will Eisenhower Run For A Second Term 32:55
Support Breaking Walls at https://www.patreon.com/thewallbreakers It’s 6PM on Wednesday, January 11th, 1956. I’m at Colbee’s Restaurant on the ground floor of the CBS headquarters at 485 Madison Avenue. I’m about to have a bite to eat with the man you just heard, Mandel Kramer. Yesterday at Edwards Air Force Base in California, U.S. Air Force First Lt. Barty R. Brooks died in the crash of a F-100 Super Sabre. The accident was caught on film. Word from Memphis is that young singer Elvis Presley recorded a new song called “Heartbreak Hotel.” Today’s cover of The New York Daily News shows Grace Kelly in Monaco, but the interior pages talk about the rising problems in Vietnam. South Vietnam President Ngô Đình Diệm issued an ordinance giving his government almost unchecked power to deal with any opposition. Meanwhile, the Soviet Union has approved technical specifications for an R-13 submarine-launched missile. And earlier today, The 1956 Chevrolet Corvette was announced. It’ll cost three-thousand-one-hundred-twenty dollars. It features a new body, convertible top, optional power steering, optional hardtop, and rollup glass windows. The V6 option has been dropped in favor of either a two-hundred-ten or two-hundred-twenty horsepower V8 Engine. A 3-speed manual transmission is now standard. The main national news is the debate on whether or not President Dwight D. Eisenhower will seek a second term. After suffering a heart attack in September of 1955 Ike is still undeclared, meeting with an array of doctors to gauge whether the rigors of running for reelection will cause undue health issues. The United Press reported on Tuesday the 10th that sixty percent of the more than four hundred doctors polled felt that Dwight would be able to serve. Perhaps some insight into Ike’s psyche was gleaned when on Monday, January 9th, he once again took over full White House duties, including naming Bernard M. Shanley Appointments Secretary. Meanwhile, on NBC radio, Keys To The Capital is airing.…
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Breaking Walls: The Podcast on the History of American Network Radio Broadcasting
Support Breaking Walls at https://www.patreon.com/thewallbreakers The man you just heard is Hans Conried. Famous for both his dramatic and comedic portrayals on both radio and TV, By January of 1956 he’d been involved in radio for two decades. Here he is on the February 24th, 1956 episode of Yours Truly Johnny Dollar. By early 1956, those still involved in dramatic radio had advanced the medium’s production to a high art. Most radio drama still remaining was by then based in Hollywood, with much of the news programming based in New York. For Roberta Bailey-Goodwin, then a teenager, accompanying her father to weekly recordings was a family ritual and she got a firsthand look at the artists plying their craft. “The Todd Matter” was written by E. Jack Neuman under the pen name of John Dawson. Gloria Tierney's landlady, Ethel Stromberg, was voiced by Vivi Janiss. The surname Stromberg has multiple origins. In Swedish “strom” means river, while “berg” means mountain. In Germany it's a habitational name from places like Rhineland and means “flat mountain.” Barbara Fuller was Gloria Tierney. Frank Gerstle played Dan Mapes. Marvin Miller, famed for both announcing and acting, also played a small role in “The Todd Matter.”…
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Breaking Walls: The Podcast on the History of American Network Radio Broadcasting
1 BW - EP159—004: NYC In January 1956 With Johnny Dollar—Dollar Gets A Stolen Mink Coat Tipoff 21:14
Support Breaking Walls at https://www.patreon.com/thewallbreakers The weather on Monday January 9th, 1956 warmed throughout the day. It hit forty degrees Fahrenheit by nightfall. The front cover of The New York Daily News featured a photo of patrolman Ray Cusack, who rescued many children from a fire in Hempstead, New York. Dwight Eisenhower was still undecided on whether or not to seek a second term, while Democrat hopeful Adlai Stevenson claimed Ike’s recent State of the Union Address was merely a veiled State on the Republican party. Meanwhile the families of both US diplomats and UN officials fled from the Jordanian sector of Jerusalem after violent anti-western riots broke out for the second day in a row. If you turned on your radio at 8:15PM eastern time, you’d have heard a Boston Symphony concert on NBC, and Metropolitan Opera auditions on ABC. WOR aired True Detective, but if you wanted the best in radio detective fiction you’d have turned on CBS, where Bob Bailey was starring in Jack Johnstone’s production of Yours Truly Johnny Dollar, written by E. Jack Neuman. The prison where Vance served time is Sing Sing, originally opening in Ossining, New York in 1825. Among the executions in their electric chair were Julius and Ethel Rosenberg, on June 19th, 1953, for Soviet espionage. A good mink coat cost about twenty-five-hundred dollars in 1956. Both Orin Vance and Don Freed were voiced by Lawrence Dobkin. By 1956 Dobkin was a radio legend with experience in both New York and Hollywood. The Westin Hotel Chain was launched in 1930 by Severt W. Thurston and Frank Dupar as Western Hotels. They were the first hotel chain to introduce credit cards in 1946. Today the chain, called Westin since 1981, is owned and operated by Mariott. There are Westin Hotels in both the Times Square and Grand Central area. In January of 1956, 57th street was home to various art exhibitions like Kay Sage’s surrealist paintings at the Catherine Viviano gallery, a contemporary Greek Art exhibition at Sagittarius gallery, a European group show at the Matisse gallery, and art and artifacts of various Central African tribes at 57th and Lexington. The Sutton theater, also on 57th street, was showing The Night My Number Came Up starring Michael Redgrave and Sheila Sim. Gloria Tierney’s fictional apartment at 1231 East 57th is an impossibility. The address would put it in the East River.…
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Breaking Walls: The Podcast on the History of American Network Radio Broadcasting
Support Breaking Walls at https://www.patreon.com/thewallbreakers It’s a little after midnight on the morning of Monday January 9th. We’re at P.J. Clarke’s on the corner of 55th street and 3rd avenue, getting warm the best way we know how. The weather is nasty outside. It’s about fifteen degrees with freezing rain and gale force winds. Clarke’s is a bar from another time. It’s wonderfully trapped in nostalgia—all burnished wood and chased mirrors. Orson Welles is opening King Lear at The City Center to good reviews. The years in Europe did him well, but he’s happy to be back in New York. Welles is in the back with none other than Frank Sinatra. They’ve known each other since the 1930s, and since they both missed each other’s fortieth birthdays last year, we’re celebrating. Joining us is Jilly Rizzo and Bill Stern. The next round of drinks is on me. That’s Daniel Levazzo. He bought the bar from the Clarke family a few years ago. Hey Dan, three Jacks straight up, a negroni for Orson, and I’ll have Hendricks on the rocks. You want something? Hey Dan, let me borrow your phone, I’ve got to file my story. Hello Operator, give me CBS at 485 Madison Avenue please. (Beat) Yes I know what time it is. I’m a producer there. (Beat) Put me through. (Beat) Thank you. Some things never change. Hello Cindy, it's Scully. Is Ed Murrow still there? (Beat) Could you put me through to him? (Beat) Thank you. (Beat) Hey Ed, It’s James Scully. I’m glad I caught you. Bill Paley’s got you burning the midnight oil huh? (Beat) I did. Orson was good. I’m a P.J. Clarke’s with him and Sinatra right now. Bill Stern’s here too. You want to swing by? I’ll get Dan Levazzo to break out the moonshine. (Beat) With those two? We’ll be here a while. (Beat) Ha! Ok I’ll see you soon. Ed Murrow’s a good man. The gang will be happy to see him. Dan, Do me a favor, turn the TV up for a second. The Tonight Show with Steve Allen is just finishing on NBC-TV and there’s a little news item on the tube before programming signs off. Everyone is talking about Grace Kelly’s engagement to Prince Rainier III of Monaco. It was announced in Philadelphia on January 5th and their party is going to be at the Waldorf-Astoria Hotel here in New York. Grace and Rainier went their separate ways on Saturday. She’s going back to Hollywood to keep working on High Society. The only thing is, one of her co-stars is Sinatra, and he’ll be in no mood to fly to the coast tomorrow. That’s not the only talk of love and marriage going on around New York City. Look at that Sunday Daily News cover. Heiress Juliette Wehle stood up her husband-to-be on their wedding day. She supposedly slipped away at 2AM wearing just a negligee to elope with another man. Don’t worry, it’s not a roving producer from CBS. The twenty-year-old heiress later returned home, unmarried. Excuse me, I’m missing out on the fun. Oh, before I go, I should say that the story of a woman jilting one man for another is ironically a centerpiece in the upcoming plot within Yours Truly Johnny Dollar’s “The Todd Matter.” The first episode will air later tonight at 8:15PM over CBS radio. And remember, it stars Bob Bailey.…
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Breaking Walls: The Podcast on the History of American Network Radio Broadcasting
1 BW - EP159—002: NYC In January 1956 With Johnny Dollar—Orson Welles Returns To A Changing New York 8:29
Support Breaking Walls at https://www.patreon.com/thewallbreakers It’s a cold, rainy Sunday evening on January 8th, 1956. We’re heading south on Riverside Drive in Manhattan’s Upper West Side. On the air is NBC’s Monitor with a New World Today discussion about the differences in American life in the past twenty years. The United States is changing. Psychiatry is on the rise as the cold war rages onward. The internal Red Scare has subsided, but Secretary of State John Foster Dulles said this week that the U.S. won’t stop testing nuclear weapons, despite pleas from Pope Pius XII on Christmas Day. While nuclear fears are understandable, the U.S. government thinks the USSR’s presence in emerging nations means they can’t be trusted to follow suit and stop their own testing. In Ecuador today, five evangelical American Christian missionaries were speared to death by members of the Huaorani people after attempting to introduce Christianity to them. Meanwhile, Algeria is in the midst of a war for Independence between France and the Algerian National Liberation Front. It began in November of 1954 and by now it’s considered the world’s only active war of note. It’s a complex conflict characterized by guerrilla warfare and the use of torture. Gunsmoke is far and away radio’s highest-rated dramatic show. It airs on CBS Sunday evenings with a Saturday afternoon repeat broadcast. The combined rating of 6.5 means somewhere between six and seven million people are still tuning in from their homes. When factoring in car and transistor radios, nearly ten million people are listening. CBS remains the home for the top-rated prime-time shows. Our Miss Brooks is pulling a rating of 4.3, and both Edgar Bergen and Two For The Money are pulling a 3.9. Meanwhile, on daytime radio, CBS has the twelve highest-rated programs. So where am I heading? I’m a roving CBS producer. I’ve worked on both coasts, including with Norman MacDonell on Gunsmoke in Hollywood, but last year programming directors Guy Della Choppa and Howard Barnes sent me back home to New York. I’m heading to the City Center at 131 West 55th street. I’m to cover a preview of Shakespeare’s King Lear starring Orson Welles. It features Viveca Lindfors and Geraldine Fitzgerald and begins at 8:30PM. I helped with Welles’ Omnibus production of Lear on CBS-TV in October 1953. I had drinks with him last week. He kept raving about two things: Carl Perkins’ new hit, “Blue Suede Shoes,” and friend Jack Johnstone’s production of Yours Truly, Johnny Dollar. Johnstone directed Welles’ Almanac series from the west coast during World War II. I phoned Jack yesterday. He had this to say. Jack was sure to mention that this week’s upcoming Dollar story would take place in New York. If all goes well, Orson might be interested in returning to network radio in some capacity. Welles is once again a father. His daughter Beatrice was born last November 13th. He’s been looking for more stable projects and wants to get dinner after the performance. Lear doesn’t officially open until Thursday the 12th. The City Center was built as The Mecca Temple and opened in 1923. It’s part of a small section of galleries, apartments, and performing spaces, but development is possibly encroaching. Last April, The Mayor's Slum Clearance Committee, chaired by Robert Moses, was approved to designate the area just west in Lincoln Square for urban renewal. The residents, many of them Hispanic, have been protesting the decision, but Robert Moses usually gets his way.…
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Breaking Walls: The Podcast on the History of American Network Radio Broadcasting
Support Breaking Walls at https://www.patreon.com/thewallbreakers At a CBS radio meeting in September 1955 at 485 Madison Avenue, John Karole VP of Sales, predicted CBS’s time sold would be more than the other three networks combined. Radio affiliates were given a Segmented Selling Plan. The plan offered a five-minute segment for twenty-one hundred dollars. Frank Stanton, President of CBS, boasted that since the birth of radio advertising, more than eight billion dollars had been spent on commercials. Network radio advertising in 1955 was up and year-over-year revenue would finish four million dollars ahead of 1954, but privately, many of the local stations grumbled. CBS had recently instituted income-slashing one-year contracts and added a standard six-month cancellation clause, while cutting compensation by twenty percent. Eight million new radios were manufactured in 1955—forty-five percent more the previous year. Car radios were now standard and transistor sets were on the rise. It was estimated that mobile listening added anywhere from thirty to seventy percent to overall radio ratings. On-the-go ratings polls were still rudimentary, but Richard M. Mall in The Journal of Broadcasting speculated that the days of families listening together in the parlor were over. Five-minute newscasts now dominate the tops of most hours. CBS was selling news advertising at its highest rate in history and New York was CBS’ major news hub. CBS announced new evening radio programs with name-brand talent and The $64,000 Question would now be simulcast on both radio and TV. They were also increasing dramatic production. This included two evening strips at 8PM that would air five nights per week for fifteen minutes each night. One was a reboot of Yours Truly, Johnny Dollar. It was to star Gerald Mohr, who had just finished a successful run as Christopher Storm on TV’s Foreign Intrigue. Mohr recorded an audition on August 29th, 1955. Veteran radio director Jack Johnstone was brought in, but Mohr didn’t take the part. New auditions were held the next month. Each actor had twenty minutes to pitch themselves and audition with actress Lillian Buyeff. Amongst those who read were radio mainstays Paul Dubev, Larry Thor, Jack Moyes, Tony Barrett, Vic Perrin, and the man they selected, Bob Bailey. The rebooted Yours Truly Johnny Dollar debuted over CBS airwaves at 8:15PM eastern time on October 3rd, 1955. The new format offered seventy-five minutes of weekly time, allowing tremendous character development. It wasn’t long before letters were pouring into CBS. While the CBS sales team looked for national sponsorship, in early 1956 a new case took Johnny Dollar to New York City. Dollar would be in town between January 9th and 13th. Tonight, we’ll focus on Yours Truly, Johnny Dollar, stolen goods, and what was happening in New York that week in January, 1956.…
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Breaking Walls: The Podcast on the History of American Network Radio Broadcasting
Support Breaking Walls at https://www.patreon.com/thewallbreakers On the Sunday, December 31st, 1944 episode of The Jack Benny Program, it’s New Year’s Eve and Jack resolves to be friends with Fred Allen in 1945. For more information on Jack Benny in 1944, including how and why he changed sponsors, please tune into Breaking Walls Episode 151 which covers Benny’s 1944 in great detail.…
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Breaking Walls: The Podcast on the History of American Network Radio Broadcasting
Support Breaking Walls at https://www.patreon.com/thewallbreakers At 9PM on Monday, December 25th, 1944, The Whistler, broadcast from KNX, went on the air over CBS’ regional West Coast Network. The Whistler’s narration acted as a modern version of the Greek chorus, omnisciently taunting the characters. The narrator proved so popular that it was adapted into eight film noirs by Columbia Pictures between 1944 and 1948. Whistler radio dramas were usually told through the perspective of the guilty person. His or her guilt is never in doubt, and there’s always a strange twist at the end. Since it was Christmas Night, this episode “Christmas Bonus,” instead has a positive twist at the end for the main character.…
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Breaking Walls: The Podcast on the History of American Network Radio Broadcasting
Support Breaking Walls at https://www.patreon.com/thewallbreakers The General Mills sponsored Lone Ranger from WXYZ in Detroit first began airing on January 31st, 1933. The next year it became one of the cornerstone programs which led to the formation of the Mutual Broadcasting System. The show moved to the Blue Network in 1942 and would remain on the network after it became ABC in 1945. The Christmas Day, 1944 episode was entitled, “A Present for Janey.”…
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Breaking Walls: The Podcast on the History of American Network Radio Broadcasting
1 BW - EP158—008: Christmas Weekend 1944—The Elgin Christmas Special 1:58:37
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1:58:37Support Breaking Walls at https://www.patreon.com/thewallbreakers At 4PM eastern time on Christmas Day, CBS broadcast the third annual Elgin watches Christmas party for the men and women in the Armed Forces, guest-starring Jack Benny, George Burns, Gracie Allen, Bob Hope, Bing Crosby, Ginny Simms, and many others. It was hosted by Don Ameche and the announcer was Ken Carpenter. Don Ameche had been an integral part of The Chase and Sanborn Hour, earning a reputation from Edgar Bergen as one of the best comedic ad-libbers in the business. Elgin Watches was first incorporated in August 1864 as the National Watch Company. The founders eventually based their operations in the growing city of Elgin, Illinois and changed the company name. By the turn of the 20th century, it was one of the largest watch manufacturers in the world. During World War II all civilian manufacturing was halted and the company moved into the defense industry, manufacturing military watches, chronometers, fuzes for artillery shells, aircraft instruments, and cannon bearings. Their agency of record J. Walter Thompson confined radio sponsorship to their annual Thanksgiving and Christmas specials, which began in 1942.…
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Breaking Walls: The Podcast on the History of American Network Radio Broadcasting
The Cavalcade of America’s sponsor, The Du Pont Company, had profited from gunpowder during the first World War. Years of bad press led them to hire the ad agency Batten, Barton, Durstine, and Osborne. They wanted a brand perception change. The Cavalcade of America was the answer. In 1944 The Cavalcade of America was in the midst of a thirteen-year primetime run on NBC. Sponsored by Dupont, the program dramatized history and historical fiction, focusing intensely on the war at home and abroad. On Christmas night at 8PM, Walter Huston emceed a program called “America For Christmas” which took listeners around the country to showcase all the things that made different states in the United States so unique.…
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Breaking Walls: The Podcast on the History of American Network Radio Broadcasting
On the Sunday, December 24th 1944 episode of The Great Gildersleeve, Gildy overcomes depression and recent legal issues to have a wonderful celebration at his home. All the most-famous townspeople of Summerfield stopped by. This episode pulled a rating of 14.9. Roughly ten million people tuned in. For more information on the launch of The Great Gildersleeve and the show’s 1944, please tune into Breaking Walls Episode 149.…
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Breaking Walls: The Podcast on the History of American Network Radio Broadcasting
Support Breaking Walls at https://www.patreon.com/thewallbreakers On the Sunday, December 24th, 1944 episode of The Jack Benny Program, it’s Christmas Eve and Jack Benny is trimming the Christmas tree with Mary Livingstone and Rochester’s help. The gang drops by to exchange gifts too. For more information on Jack Benny in 1944, including how and why he changed sponsors, please tune into Breaking Walls Episode 151 which covers Benny’s 1944 in great detail.…
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Breaking Walls: The Podcast on the History of American Network Radio Broadcasting
Support Breaking Walls at https://www.patreon.com/thewallbreakers At 10PM eastern time on Friday December 22nd, 1944, Jimmy Durante and Garry Moore signed on over CBS with Georgia Gibbs and Roy Bargy’s orchestra. The show pulled a rating of 11.8 opposite Amos ‘n’ Andy on NBC. Roughly eight million people tuned in.…
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Breaking Walls: The Podcast on the History of American Network Radio Broadcasting
Support Breaking Walls at https://www.patreon.com/thewallbreakers Originally part of CBS’s experimental pilot summer series Forecast in 1940, Duffy’s Tavern had moved to the Blue Network in October of 1942, and then to NBC’s main network before the Blue Network was sold in September of 1944. Sponsored by Bristol Myers, it starred Ed Gardner as Archie, the manager of Duffy’s Tavern, “the eyesore of the east side, where the elite meet to eat.” Gardner’s heavily New York accented portrayal of Archie has inspired several characters in the years since. On Friday December 22nd, 1944 Monty Wooley guest-starred on the program. The episode pulled a rating of 13.4. Roughly nine million people tuned in.…
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Breaking Walls: The Podcast on the History of American Network Radio Broadcasting
Support Breaking Walls at https://www.patreon.com/thewallbreakers On Thursday December 21st, 1944 We Came This Way took to the air as part of NBC’s University of the Air. The series illustrated various struggles for freedom throughout history. This episode highlighted Gilbert du Motier, the Marquis de Lafayette who fought for the Continental Army under George Washington during the American Revolution, and was later one of the voices of reason during the French Revolution.…
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Breaking Walls: The Podcast on the History of American Network Radio Broadcasting
Support Breaking Walls at https://www.patreon.com/thewallbreakers On the Sunday, December 17th, 1944 episode of The Jack Benny Program, Jack meets Frank Sinatra in a pharmacy. For more information on Jack Benny in 1944, including how and why he changed sponsors, please tune into Breaking Walls Episode 151 which covers Benny’s 1944 in great detail. For more information on the life and career of Frank Sinatra, please tune into Breaking Walls Episode 85.…
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Breaking Walls: The Podcast on the History of American Network Radio Broadcasting
Support Breaking Walls at https://www.patreon.com/thewallbreakers By 1944 Rudy Vallée was one of the most famous American entertainers in history. Vallée spent much of early 1944 conducting the 11th Naval District Coast Guard Band, known as one of the best military units in the nation. He returned to civilian life, and to radio over NBC, on September 9th, 1944 with the launch of a new show, called Villa Vallée, and sponsored by Drene shampoo. It co-starred Monte Woolley. This 10:30PM eastern time episode pulled a rating of 12.3.…
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Breaking Walls: The Podcast on the History of American Network Radio Broadcasting
Support Breaking Walls at https://www.patreon.com/thewallbreakers On the Sunday, November 26th, 1944 episode of The Jack Benny Program, Jack and the gang discuss how they spent Thanksgiving. For more information on Jack Benny in 1944, including how and why he changed sponsors, please tune into Breaking Walls Episode 151 which covers Benny’s 1944 in great detail…
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Breaking Walls: The Podcast on the History of American Network Radio Broadcasting
Support Breaking Walls at https://www.patreon.com/thewallbreakers Although Bud Abbott and Lou Costello are remembered for their movies, they got their start toward national fame in radio. They’d met in 1929, when Costello was booked with a vaudeville act into a neighborhood theater. Abbott worked in the box office and soon found himself playing Costello’s straight man. In 1938 they appeared at Loew’s in New York, where they were seen by Ted Collins, architect of Kate Smith’s career. Their slaphappy style was perfect for radio, and their rise to frontline stardom was rapid. For two seasons, beginning Feb. 3rd, 1938, they were regulars on The Kate Smith Hour, while also appearing on Edgar Bergen’s Chase and Sanborn show. Signed by Universal in 1939, the duo pulled the studio out of financial trouble with a string of low-budget hits. NBC gave them a summer replacement show for Fred Allen in 1940. Then in the fall of 1942 they went on the air full-time for Camel Cigarettes. They were an immediate top-ten ratings hit, and became a Thursday night comedy staple. On Thanksgiving night in 1944 their 10PM NBC rating was 20.5, good for eighth overall on radio that week. More than sixteen million people tuned in.…
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Breaking Walls: The Podcast on the History of American Network Radio Broadcasting
Support Breaking Walls at https://www.patreon.com/thewallbreakers In November of 1944 Bing Crosby’s Kraft Music Hall was Thursday night’s highest-rated program. Airing at 9PM eastern time, singing with Bing was heard by more than eighteen million people as they wound down around the fire and radio. That evening’s first song was “Dance with a Dolly” and the guest was thirty-one year old opera soprano Risë Stevens.…
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Breaking Walls: The Podcast on the History of American Network Radio Broadcasting
Support Breaking Walls at https://www.patreon.com/thewallbreakers This program, originally airing on KPO San Francisco, was in conjunction with the 5th War Loan Drive. Thanksgiving 1944 was also called “War Bond Day.” It featured the likes of Rudy Vallée and others.
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Breaking Walls: The Podcast on the History of American Network Radio Broadcasting
Support Breaking Walls at https://www.patreon.com/thewallbreakers In November of 1944 Lum and Abner was airing as a weekday, fifteen minute serial. In New York the show aired over WJZ. The show was syndicated out of KECA in Los Angeles. KECA was the flagship station of the newly independent Blue Network, which would soon become ABC. Chester Lauck was Lum Edwards. Norris Goff was Abner Peabody. Set in the fictional hamlet of Pine Ridge, Arkansas, in real life Lauck and Goff disliked the term “hillbilly,” believing it mocked people unfairly. The biggest building in Pine Ridge was Dick Huddleston’s, who ran the general store and post office. Across the road was the blacksmith shop, run by Caleb Weehunt. Next door Mose Moots’ barbershop. Above the barbershop was the lodge hall, where the town council met and the Pine Ridge Silver Comet Band practiced. Next to the tonsorial emporium was Luke Spears’s Lunch Room. A short distance down the road from Luke’s place was the Jot ’Em Down Store, run by Lum Edwards and Abner Peabody. On Thanksgiving in 1944 Lum is suddenly lonely and alone because Abner is out of town. Lum is trying to find someone to spend his holiday with.…
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Breaking Walls: The Podcast on the History of American Network Radio Broadcasting
Support Breaking Walls at https://www.patreon.com/thewallbreakers Much ink has been spilled on Breaking Walls this year talking about Suspense. For more information on the series in 1944, please tune into Breaking Walls episode 154. The Thanksgiving 1944 episode was called “The Fountain Plays” starring Charles Laughton. It’s a story filled with murder, blackmail, and cover-up. The original tale was penned by Dorothy L. Sayers adapted by Robert L. Richards. Richards is famous for having written “The House in Cypress Canyon,” a noted Suspense classic. This is the first of twenty-nine weeks of Roma commercials featuring society figure and entertaining expert Elsa Maxwell. She offers her hard-earned wisdom about wine and other beverage selections. Maxwell was a gossip columnist and writer with occasional movie appearances, but known for her elaborate parties. She is credited with adding games to parties, such as scavenger hunts, to make them more interesting beyond the idle chatter of who was seen with whom or who was invited and who wasn’t. Maxwell rose from a lower middle class life in San Francisco to being the host of parties that included big stars and royalty. Elsa Maxwell does not play herself, instead she’s played by noted radio actress Lucille Meredith.…
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Breaking Walls: The Podcast on the History of American Network Radio Broadcasting
Support Breaking Walls at https://www.patreon.com/thewallbreakers Mail Call began airing on August 11th, 1942 over the Armed Forces Radio Service to entertain troops with songs, skits, and questions (via the mail) answered by celebrities in order to boost the morale of soldiers stationed far from their homes In 1944 Lt. Col. Thomas A.H. Lewis, commander of the Armed Forces Radio Service, wrote that "The initial production of the Armed Forces Radio Service was 'Mail Call,' a morale-building half hour which brought famed performers to the microphone to sing and gag in the best American manner." Lewis added, "To a fellow who has spent months guarding an outpost in the South Seas, Iceland or Africa a cheery greeting from a favorite comedian, a song hit direct from Broadway, or the beating rhythm of a hot band, mean a tie with the home to which he hopes soon to return.” The show was produced from AFRS’s California headquarters at 6011 Santa Monica Boulevard. On Thanksgiving Day in 1944, the program’s guests were Groucho Marx and Lionel Barrymore.…
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Breaking Walls: The Podcast on the History of American Network Radio Broadcasting
Support Breaking Walls at https://www.patreon.com/thewallbreakers Much ink has been spilled on Breaking Walls this year talking about Suspense. For more information on the series in 1944, please tune into Breaking Walls episode 154. On Thursday November 2nd, 1944, Van Johnson made his first appearance on “radio’s outstanding theater of thrills” in “The Singing Walls.” In this Cornell Woolrich story, a man is drugged by gangsters to be framed for a crime. All he can remember is that music seemed to be coming out of the walls that surround him. Van Johnson started on Broadway in the mid-1930s and was selected as the understudy for Gene Kelly in Pal Joey. Lucille Ball got him an audition in Hollywood. From then on he was a “boy next door” handsome Hollywood star. At the time of this Suspense appearance, radio columns were commenting about the frequency of his appearances on radio’s biggest programs. He was on all of the big comedy and variety shows as well as dramatic programs, often appearing on radio multiple times a week, sometimes daily, during this period of his career.…
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Breaking Walls: The Podcast on the History of American Network Radio Broadcasting
Support Breaking Walls at https://www.patreon.com/thewallbreakers In the fall of 1944 Fibber McGee and Molly were in the midst of their tenth season on the air. The comedic duo was part of NBC’s blockbuster Tuesday night comedy lineup. Between 1939 and 1949 their show was never ranked lower than third overall in the ratings. On Halloween night their rating was 25.6. More than twenty million people tuned in to hear Fibber McGee add duck hunting to the list of activities he is supposedly good at.…
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Breaking Walls: The Podcast on the History of American Network Radio Broadcasting
Support Breaking Walls at https://www.patreon.com/thewallbreakers By the fall of 1944, George Burns and Gracie Allen had been married for eighteen years and on radio for twelve. Their program had been officially titled The Burns And Allen Show in the fall of 1936, and they’d spent time at both NBC and CBS. With their ratings slipping in 1942, George Burns transformed their show from vaudeville-style banter into a situation comedy. It was the jolt the couple needed. In the fall of 1944 the couple was on for Lever Brothers and Swan Soap Tuesdays at 9PM eastern time from CBS. On Halloween night, Grace Allen had a make believe romance with actor Van Johnson. NBC dominated Tuesday’s ratings in most timeslots, but running opposite of The Burns and Allen Show on NBC was The Molle Mystery Theater. Burns and Allen won their timeslot, but the show would still move to Monday evenings in January of 1945.…
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Breaking Walls: The Podcast on the History of American Network Radio Broadcasting
Support Breaking Walls at https://www.patreon.com/thewallbreakers In October of 1944 Lum and Abner was airing as a weekday, fifteen minute serial. In New York the show aired over WJZ. The show was syndicated out of KECA in Los Angeles. KECA was the flagship station of the newly independent Blue Network, which would soon become ABC. Chester Lauck was Lum Edwards. Norris Goff was Abner Peabody. Set in the fictional hamlet of Pine Ridge, Arkansas, in real life Lauck and Goff disliked the term “hillbilly,” believing it mocked people unfairly. The biggest building in Pine Ridge was Dick Huddleston’s, who ran the general store and post office. Across the road was the blacksmith shop, run by Caleb Weehunt. Next door Mose Moots’ barbershop. Above the barbershop was the lodge hall, where the town council met and the Pine Ridge Silver Comet Band practiced. Next to the tonsorial emporium was Luke Spears’s Lunch Room. A short distance down the road from Luke’s place was the Jot ’Em Down Store, run by Lum Edwards and Abner Peabody. On Halloween in 1944 the duo discussed Halloween pranks.…
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Breaking Walls: The Podcast on the History of American Network Radio Broadcasting
Support Breaking Walls at https://www.patreon.com/thewallbreakers Despite its west-coast regional status for most of its days. The Whistler had one of radio’s best-known crime-show formats and one of the longest runs. The signature ranks with radio’s greatest, playing perfectly into the host’s “man of mystery” role. Like the Shadow and the Mysterious Traveler, the Whistler was a voice of fate, baiting the guilty with his smiling malevolence. Originally taking to the air May 16th, 1942 from CBS’s KNX studios in Los Angeles, The show opened with echoing footsteps and a lingering whistle, destined to become one of the all-time haunting melodies. The whistle got louder, then louder, finally blending with the orchestra in a high-pitched sting. When the Whistler spoke he said, “I am the Whistler, and I know many things, for I walk by night. I know many strange tales, many secrets hidden in the hearts of men and women who have stepped into the shadows. Yes, I know the nameless terrors of which they dare not speak.” The unstated theme that ran the distance was “this could happen to you.” The Whistler told stories of the everyday gone haywire, of common men driven to murder and then being tripped up in a cunning double-twist. These were not mysteries: the identity of the killer was never in doubt, from the first hint that the deed must be done until the moment when the killer trapped himself. The stories were told by the Whistler from the killer’s viewpoint, the narration done in the unusual second-person, present tense. In the earliest days, producer J. Donald Wilson sometimes had the Whistler engage in open dialogue with the characters, the host playing the conscience, arguing with the murderer and goading him to the inevitable doom. The final act was not played out, but was summarized by the Whistler in an epilogue as, like the Shadow, he laughed and sealed the killer’s fate with a few terse lines of plot twist. One of the first changes made by George Allen when he arrived as director in 1944 was to fully dramatize that closing turnabout. This was far more satisfying. The Whistler remained the great omniscient storyteller of the air, for the Shadow had long since become his own hero, and the Mysterious Traveler never packed quite the same punch. The voice was an unforgettable tenor, the message dripping with grim irony. “It all worked out so perfectly, didn't it, Roger,” he would coo, while listeners waited for the shoe to drop. This would come in “the strange ending to tonight’s story,” the little epilogue when the finger of fate struck, some fatal flaw of character or deficiency in the master plan that was so obvious that everyone had overlooked it. By October 30th, 1944 Signal Oil was sponsoring the program with the supporting cast being made up of Hollywood’s famous character actors, like Cathy and Elliott Lewis, Joseph Keams. Betty Lou Gerson, Wally Maher, John Brown, Hans Conried, Gerald Mohr, Lurene Tuttle, and Jeanette Nolan. Dorothy Roberts, whistled the notes. On that night The Whistler took to the air with “The Beloved Fraud.”…
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Breaking Walls: The Podcast on the History of American Network Radio Broadcasting
Support Breaking Walls at https://www.patreon.com/thewallbreakers The Hour of Charm, radio’s “most-celebrated all-girl orchestra” first took to the air on May 18th, 1934 over CBS. In the fall of 1944 it was airing on NBC for General Electric, Sundays at 10PM eastern time. The brainchild of Phil Spitalny, The Spitalnys had a deep musical heritage. Immigrants from Russia, they had settled in Cleveland, where Phil Spitalny and his brother Leopold played in local bands. By the time Phil was 30, Spitalny had directed a 50-piece symphony orchestra in Boston, had led bands in theaters, on radio, and in recording sessions, and had just completed a successful world tour. The Hour of Charm’s featured player was Evelyn Kaye Klein, billed as “Evelyn and Her Magic Violin.” The orchestra specialized in familiar music, played in a style described by Spitalny as a cross between popular and symphonic. All of the girls sang in chorus, some solo, and all were proficient on more than one instrument. Jan Baker could play a dozen instruments; she took on the tuba and mastered it when Spitalny could find no woman to play it even after a nationwide search. Spitalny’s hiring practices were influenced by voice and good looks, but musicianship was always his first consideration. “No performer is hired who can’t give a finished rendition of two sonatas and two concetti, who hasn’t the individual gifts of rhythm and melodic perception, who can’t read music fluently, and who hasn’t had a good deal of experience,” said his 1940 Current Biography entry. He was also looking for “sweetness and charm,” and it is doubtful that any other orchestra has ever been so stringently governed. The girls were not allowed to marry: they signed contracts to that effect, agreeing to stay single for two years. They wore uniform attire, with the exception of the three principals, Evelyn, Vivien, and Maxine. They wore evening gowns, with no jewelry, their hair styled in “long, soft bobs.” No one would weigh more than 122 pounds. Curbs were enforced on personal behavior, with Evelyn in charge of backstage disputes and Spitalny handling such professional matters as musical arrangements, themes, and dress. “Associations in the all-girl orchestra are much like sorority life,” wrote Evelyn in a 1942 Radio Life article. A committee of five was formed to pass judgment on all offstage matters, including dating. “Whenever a girl wants to go out, she goes to the committee and says, ‘I want a date with Mr. So-and-So.’ They ask her who the man is, what he does, and for references. If he passes muster, she gets her date. But if the committee feels that it would hurt the orchestra for a member to be seen with that man, the engagement doesn’t materialize.” Spitalny staunchly defended the musicianship of all his girls, and he once bet bandleader Abe Lyman $1,000 that they could outplay Lyman’s all-male group. The women had professional pride, said Spitalny: they didn’t have problems with alcohol, and, when the war broke out, his was the only band in the land that didn’t have trouble with the draft. He continued lecturing newcomers about the need to be good; they had to be better than their male counterparts to be taken seriously. If a man muffed a note, nobody cared; if a woman did, the attitude was “well, what can you expect?” The show opened and closed with hymns, especially during the war. The opening theme was “The American Hymn of Liberty,” the closer, often a favored hymn of someone in the service. This gave the show a serious, almost solemn air. The closing signature blended out of the theme and into the song We Must Be Vigilant, sung by the orchestra to the tune of American Patrol. Spitalny married Evelyn in June 1946. They lived in Miami, where Spitalny died in 1970.…
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Breaking Walls: The Podcast on the History of American Network Radio Broadcasting
Support Breaking Walls at https://www.patreon.com/thewallbreakers Created by Irving Brecher, the best-known incarnation of The Life of Riley came to the air Sunday January 16th, 1944 at 3PM eastern time over The Blue Network. It starred William Bendix as Chester A. Riley and was sponsored by The American Meat Institute. Riley was easily exasperated, but difficult to defeat. The difficulty increased by degrees with the flimsiness of Riley’s cause. Bendix was born on January 14th, 1906 in Manhattan, New York. He came out of the New Jersey Federal Theater project, a latecomer to the profession, beginning at thirty when the grocery store he was running went out of business. His film career began in 1942. He was often the hooligan with the heart of gold. Riley was his most famous character. It co-starred the previously heard Hans Conreid as Uncle Baxter with John Brown as both Riley’s friend Gillis and the undertaker, Digger O’Dell. Paula Winslowe was Riley’s long-suffering wife Peg. Sharon Douglas was Babs and Conrad Binyon played Junior. The Life of Riley proved popular enough that in June of 1944 it was moved to Sundays at 10PM. When the series returned for the fall, its October 1944 rating was 4.7. On Sunday, October 29th, 1944 Junior was dared by his friends to visit the haunted Sherman house. He ropes Riley into going with him. Jeanette Nolan guest-stars on the show as Mrs. Sherman, who isn’t a ghost, but is in fact a widow who lost her husband in the War and became a shut-in afterwards. Beginning in the fall of 1945 it moved to NBC where it was a mainstay for six seasons. It peaked in 1947-48 with a rating of 20.1, good for fourteenth overall that year. A TV version debuted in October of 1949, first with Jackie Gleason as Riley and later with William Bendix playing the familiar role for five years.…
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Breaking Walls: The Podcast on the History of American Network Radio Broadcasting
Support Breaking Walls at https://www.patreon.com/thewallbreakers Edgar Bergen came to the attention of American audiences on Rudy Vallée’s NBC Royal Gelatin Hour on December 17th, 1936. Five months later NBC gave Bergen his own show Sundays at 8PM. He was an instant smash hit. Don Ameche worked with Bergen in those years. He was emcee on December 12th, 1937 when Mae West was the guest for an innuendo heavy skit called “Adam and Eve.” Over the next six seasons his show was never rated lower than fourth. Twice it was the country’s top program. In October of 1944 Bergen’s rating was 22.5. Roughly eighteen million people tuned in on October 29th when the guest was Orson Welles for the first of back-to-back appearances on the show.…
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Breaking Walls: The Podcast on the History of American Network Radio Broadcasting
Support Breaking Walls at https://www.patreon.com/thewallbreakers On the October 29th, 1944 episode of The Jack Benny Program, an Allen's Alley spoof rekindles Benny's love/hate relationship with Fred Allen. This episode had a rating of 19.8. Roughly sixteen million people tuned in.
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Breaking Walls: The Podcast on the History of American Network Radio Broadcasting
Support Breaking Walls at https://www.patreon.com/thewallbreakers Well, we’re back where we started, but we’re not the same. I mentioned at the beginning of this episode that when you run on the treadmill to oblivion, you don’t always go where you want, but you get in shape doing it. When I began Breaking Walls ten years ago I envisioned it as a sit-down interview show. Over time it slowly morphed into on the scene reporting, and eventually a history of U.S. Network Radio Broadcasting. When I made this programming switch permanent in February of 2018 I didn’t know how long I’d be able to keep it up. In many ways these documentaries have been a means of teaching myself the business of broadcasting in order to use the past to inform the present. They’ve also been about teaching myself how to be a good writer, sound designer, and narrator. My life has undergone many changes in the past six and a half years. I now have paid work in the world of audio thanks to Breaking Walls. This paid work is encroaching upon my time and honestly, it’s paid. It needs to be a priority. This is a long-winded way of saying that I need to take a break from the treadmill. So, for the next three months Breaking Walls is undergoing a change. Don’t worry! I’m still going to put out new content. You’ll still see an episode 156 of Breaking Walls, which, incidentally, will feature shows from Halloween 1944. Rather than contain my narration and sound design as one giant documentary, they’ll be standalone radio shows with the usual information written into the description of each track. I’m also going to continue to post the Breaking Walls archives to Youtube, and post additional content on Patreon.com/TheWallBreakers. On Patreon the next episode will drop early as one giant playlist of shows. I’ve been on the fence about how and when to pause. Eighty months is a long time to run on any treadmill without a break. Given that this was the tenth anniversary of the launch of Breaking Walls, I feel like it’s a good time to give myself that break. You never know, when you close one door — even temporarily like this is — what good things can come in through a window or a side. My plan is to come back to documentary-style episodes of Breaking Walls on January 1st, 2025. (Half Pause) The reading material used in today’s episode was: • On The Air — By John Dunning • Gleason's Second Honeymoon — By Pete Hammil • The Great One: The Life and Legend of Jackie Gleason — By William A. Henry • Network Radio Ratings — By Jim Ramsburg As well as articles and features from • Broadcasting Magazine • Ephemeral New York • The Library of Congress • Naval History and Heritage Command • The New York Times • The Sydney Morning Herald (Half Pause) On the interview front: • Don Ameche spoke with Chuck Schaden. Hear this full chat at Speakingofradio.com. • Mel Allen and Edgar Bergen spoke to Dick Bertel and Ed Corcoran for WTIC’s The Golden Age of Radio. Hear these interviews at Goldenage-WTIC.org • Norman Corwin spoke with John Dunning for his 71KNUS program from Denver. • Bob Hope spoke with Dick Cavett • Gene Tierney spoke with Mike Douglas • Fred Allen spoke with Tex McCrary and Jinx Falkenburg (Half Pause) I’d like to thank Chuck Schaden, the late Dick Bertel, the late John Dunning, and SPERDVAC. Without these people and their tremendous work I’d never have been able to do a single episode of Breaking Walls. I’d also like to thank Dr. Joseph Webb for opening the door for me into this world.…
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Breaking Walls: The Podcast on the History of American Network Radio Broadcasting
1 BW - EP155—012: New York And The 1944 Radio World—Fred Allen Christmas Night on Information Please 29:48
Support Breaking Walls at https://www.patreon.com/thewallbreakers On Christmas night, 1944, Fred Allen was one of the guests on Information Please when the show aired on NBC at 9:30PM. The Christmas broadcast came from the St. Albans Naval Hospital in Queens. The hospital was commissioned in 1943 on the site of a golf course. At its peak it housed more than forty-five hundred patients. After the war, the hospital workload increased, but in the spring of 1973, the Navy decommissioned the hospital and turned it over to the Veterans’ Administration. More recently it evolved into the Veterans Administration St. Albans Primary and Extended Care Facility. A portion of the hospital site became Roy Wilkins Park in the 1980s.…
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Breaking Walls: The Podcast on the History of American Network Radio Broadcasting
Support Breaking Walls at https://www.patreon.com/thewallbreakers What you’re about to hear is the Sunday, December 24th, 1944 at 3PM WMCA broadcast of New World A’ Coming. It’s a Christmas musical show. For more info on New World A’ Coming, please tune into the previous act on this series within this episode of Breaking Walls.…
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Breaking Walls: The Podcast on the History of American Network Radio Broadcasting
1 BW - EP155—010: New York and the 1944 Radio World—Orson Welles & Edgar Bergen Go To NYC in 1995 41:05
Support Breaking Walls at https://www.patreon.com/thewallbreakers Edgar Bergen came to the attention of American audiences on Rudy Vallée’s NBC Royal Gelatin Hour on December 17th, 1936. How could ventriloquism work on radio? Perhaps Rudy Vallée himself put it best the night Bergen debuted. Five months later NBC gave Bergen his own show Sundays at 8PM. He was an instant smash hit. Don Ameche worked with Bergen in those years. He was emcee on December 12th, 1937 when Mae West was the guest for an innuendo heavy skit called “Adam and Eve.” Over the next six seasons his show was never rated lower than fourth. Twice it was the country’s top program. In November of 1944 Bergen’s rating was 22.7. Roughly eighteen million people tuned in on November 5th when the guest was Orson Welles for the second of back-to-back appearances on the show.…
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Breaking Walls: The Podcast on the History of American Network Radio Broadcasting
Support Breaking Walls at https://www.patreon.com/thewallbreakers Jubilee first took to the air on October 9th, 1942 transcribed by the Special Services Division of the War Department, then by the Armed Forces Radio Service. It featured Jazz and Swing bands and filled an important gap in the musical history of radio, gearing itself towards African American men stationed overseas. Jubilee luminaries included Fletcher Henderson, Duke Ellington, Count Basie, Lena Horne, Ethel Waters, and Ella Fitzgerald. Most of the shows were recorded before live audiences in Los Angeles. This particular episode featured bandleaders known for their New York flavor, like Claude Hopkins. Songstress Ida James was emcee. Mel Allen, later the famed voice of the New York Yankees, announced.…
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Breaking Walls: The Podcast on the History of American Network Radio Broadcasting
1 BW - EP155—008: New York And The 1944 Radio World—The Eternal Light & The Founding Of Temple Emanuel 29:36
Support Breaking Walls at https://www.patreon.com/thewallbreakers In October 1944, in conjunction with the Jewish Theological Seminary, NBC began one of the longest-running religious programs in radio history. It was called The Eternal Light. The dramatized stories from ancient Judaea, along with contemporary works like The Diary of Anne Frank. It was produced by Milton Krents. Many top New York radio actors appeared. NBC donated the air time and the Seminary paid for the show's production. As part of this second episode, which aired on Sunday, October 15th, 1944, listeners heard about the founding of Temple Emanuel, the first reform Jewish synagogue in New York. It was formed in 1845 in a rented hall near Grand and Clinton Streets in Manhattan's Lower East Side. By 1944 the congregation had moved to its current location, at 1 East 65th Street, just off Fifth Avenue, on Manhattan’s Upper East Side.…
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Breaking Walls: The Podcast on the History of American Network Radio Broadcasting
1 BW - EP155—007: New York And The 1944 Radio World—Duffy's Tavern With Brooklynite Gene Tierney 34:36
Support Breaking Walls at https://www.patreon.com/thewallbreakers The woman you just heard is Gene Tierney. She was born on November 19th, 1920 in Brooklyn, New York. Raised in Connecticut, she excelled in poetry, took up student acting, and eventually spent two years attending school in Switzerland, where she learned to speak French. On a family trip to the West Coast, she visited Warner Bros. studios, where her cousin Gordon Hollingshead worked as a producer. Director Anatole Litvak, taken by her beauty, convinced Gene to take a screen test. Warner Brothers wanted to sign her, but her father convinced her to stay home, enter society, and become a theater actress. She studied acting in Greenwich Village and soon found herself getting increasing roles on Broadway along with reviews about her acting prowess and natural beauty. Eventually Gene’s father set up a company to fund her acting interests. She met Howard Hughes, who became a lifelong friend. In 1940 she starred as Patricia Stanley on Broadway in The Male Animal. Features in Life, Harper's Bazaar, and Vogue soon followed. Darryl Zanuck, head of 20th Century Fox, saw her both acting and later dancing at The Stork Club, and signed her to a contract. She debuted later that year in a supporting role, opposite Henry Fonda, in Fritz Lang's western, The Return of Frank James. By 1944 she’d made eleven films. That Autumn she wrapped up filming of Laura opposite Dana Andrews, Clifton Webb, and Vincent Price. Before its premiere in November she guest-starred on Duffy’s Tavern on Friday, September 22nd. The brainchild of star Ed Gardner, Duffy’s Tavern debuted as part of CBS’s Forecast pilot series in 1940. It was hailed by critics as the most-original comedy of 1941. The fictitious bar was allegedly located in Manhattan on 3rd avenue and 23rd street. It was the “eyesore of the East side” where the “elite meet to eat.” Duffy never made an appearance, but his frequent phone calls were a constant source of anxiety. Gardner’s heavily New York-accented Archie has inspired several characters in the years since, like Moe in The Simpsons. Eddie Green was Eddie, Marvin Miller announced, Sandra Gould was Miss Duffy, and Charlie Cantor was Finnegan. In September 1944 the show moved to NBC. This was the season’s second episode. It pulled a rating of 11.3. Roughly nine million people tuned in.…
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Breaking Walls: The Podcast on the History of American Network Radio Broadcasting
Support Breaking Walls at https://www.patreon.com/thewallbreakers John Herbert “Jackie” Gleason was born on February 26th, 1916, on Chauncey Street in Bedford–Stuyvesant, Brooklyn. The younger of two children, his brother Clement died from meningitis at fourteen in 1919. Six years later his father left the family. Gleason’s mother Mae got a job as a subway attendant for the Brooklyn–Manhattan Transit Corporation. Jackie spent his youth hustling pool and performing in class plays. He quit high school and took a job to perform at local theaters, putting on acts with friends, and then emceed at the Folly Theater. When Jackie was nineteen in 1935 his mother died from complications of sepsis. He worked his way up to a job at Manhattan’s Club 18. Jack Warner saw him, signing Gleason to a contract for two-hundred-fifty dollars per-week. Jackie married dancer Genevieve Halford on September 20th, 1936. The couple had two children: Geraldine, born in 1940, and Linda, born in 1942. Classified as 4-F and rejected for military service, by the summer of 1944 a twenty-eight year-old Gleason had appeared in films opposite Ann Sheridan, Humphrey Bogart, Edward G. Robinson, and Betty Grable. He also became known for hosting all-night parties in his hotel suite. His hotel soundproofed his apartment out of consideration for its other guests. NBC, seeing something in the brash, outspoken Brooklynite, added him to Double Feature, co-starring Les Tremayne and Alfred Drake, Sunday nights at 10:30PM. Rebranded The Les Tremayne-Jackie Gleason Show, he debuted this episode on August 13th, 1944. Edgar Bergen was the special guest. This is that debut. The show would air until October 22nd.…
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Breaking Walls: The Podcast on the History of American Network Radio Broadcasting
Support Breaking Walls at https://www.patreon.com/thewallbreakers Broadcast over WMCA in New York, New World A’ Coming was based on the work of journalist Roi Ottley. Ottley was a journalist for The Amsterdam News from 1931 to 1937 before joining The New York City Writers' Project as an editor. In 1943 Ottley published New World A-Coming: Inside Black America, which described life for African Americans in Harlem in the 1920s and 1930s. The book won the Life in America prize and a Peabody Award. Ottley became the national CIO War Relief Committee publicity director in 1943 and was commissioned as a lieutenant in the US Army in 1944. Meanwhile his book was adapted for this radio series over WMCA, which pushed for equal rights and better racial communication. The frequent narrator was boxer and actor Canada Lee. On Sunday June 4th, 1944 at 3PM eastern time, in honor of Harlem Week, New World A’ Coming broadcast a story called “Life in the Ghetto” to draw attention to the kind of social plights African Americans had to deal with in New York. Two days after this broadcast the Normandy Invasion began. Roi Ottley would cover that event as well as the hanging of Mussolini the following year.…
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Breaking Walls: The Podcast on the History of American Network Radio Broadcasting
1 BW - EP155—004: New York And The 1944 Radio World—Orson Welles In New York: A Tapestry For Radio 28:40
Support Breaking Walls at https://www.patreon.com/thewallbreakers The man you just heard is Norman Corwin. The piece of his, which Orson Welles is narrating, that you’ve heard thus far throughout this episode of Breaking Walls, is “New York: A Tapestry For Radio.” The first broadcast of this piece originally aired on May 16th, 1944 as part of a City Trilogy within CBS’ Columbia Presents Corwin. That version had Martin Gabel as narrator. One year later it was rebroadcast with Welles taking over for Mr. Gabel. By 1944 Norman Corwin had free rein over his productions. In six years he’d gone from a network rookie to the most-lauded creator on the air. He was now the poet-laureate of radio, a nickname which would stick with him the rest of his life. One of his favorite people to work with was Orson Welles. I’ve recently covered Norman Corwin in great detail within episode 153 of Breaking Walls. For more info, please tune into that. In the meantime, here’s the rest of “New York: A Tapestry for Radio.”…
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Breaking Walls: The Podcast on the History of American Network Radio Broadcasting
Support Breaking Walls at https://www.patreon.com/thewallbreakers It’s February 1944 and we’re in the U.S. Fleet Post Office at 80 Varick Street. 80 Varick Street is in the Hudson Square area of Manhattan just north of Canal Street and southeast of the Holland Tunnel to New Jersey. The street itself is named for Richard Varick, an early New York lawmaker, landowner, and mayor from 1789 to 1801. The Fleet Post Office was established on July 1st, 1943. Previously, mail addressed to naval personnel serving overseas was handled by Navy mailmen at the Morgan Annex of the New York General Post Office. When CBS’ World News Today signed on Sunday February 20th, 1944 at 2:30PM eastern time, the allied forces had just begun “Big Week,” a six-day strategic bombing campaign against the Third Reich. By the time it ended on February 25th, German cities Rostock and Augsburg had been bombed, as well as several Dutch cities near the German border. The Germans also lost more than three-hundred-fifty aircrafts, and most importantly, more than one-hundred pilots. Lieutenant. A. E. Newton is in charge of this post office, but with forces in the European Theater growing larger by the day, it was already obvious this post-office has reached max capacity. Space was being acquired on Pier 51 of the Hudson River to handle the expected increase of letters and parcels to fighting servicemen. Here’s Bill Slocum Jr. at the Fleet Post Office discussing how V-Mail works. In September 1944 the Parcel Post Section was moved to Pier 51. The Fleet Post Office continued until the end of the War. By January 1946, with many troops home, most of its functions had been moved back to the General Post Office. World News Today’s sponsor, The Admiral Corporation, was originally known as the Transformer Corporation of America. By 1929 it was the biggest supplier of radio parts in the world. Bankruptcy ensued, but in 1936 owner Ross D. Siragusa purchased the right to change the name to Admiral Corporation America Inc. They began sponsoring World News Today in 1942. For a longer look at the news from this week, tune into Breaking Walls episode 148. Meanwhile, as the weather warmed on April 6th, 1944 the U.S. celebrated “Army Day,” while Al Trace and His Silly Symphonists took to the air over Mutual Broadcasting from the Plantation Room in the Dixie Hotel. The Dixie Hotel opened on West 43rd street between 7th and 8th avenue in 1930. It featured one-thousand rooms and a bus terminal which occupied the entire ground floor. Buses arriving at the terminal would drive onto a turntable, which would then rotate to the proper slip. Two sets of doors, one on either side of the terminal, led from the loading area to the waiting room. The waiting room had a cafe, newsstand, ticket booths, and elevators leading to the hotel's lobby. The hotel was developed by the Uris Buildings Corporation, which announced plans for the site in September 1928. A year after it opened it was foreclosed on. The Bowery Savings Bank ran it until in 1942, when the Dixie became part of the Carter Hotels chain. That year the Dixie Lounge Bar opened on the first floor. Decorated in a Southern Colonial style, it could be accessed from the lobby, the dining room, and directly from the street. The nightclub, along with the adjacent Plantation Room restaurant, fit five-hundred people. The Bus depot became redundant when the Port Authority Bus Terminal opened nearby in 1950. It was closed in 1957. Carter attempted to rehabilitate the hotel several times, even renaming it The Carter Hotel in 1976. They sold it the next year. New Yorkers knew this hotel as one of the worst in the city. It was closed in 2014.…
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Breaking Walls: The Podcast on the History of American Network Radio Broadcasting
1 BW - EP155—002: New York And The 1944 Radio World—Bob Hope, Joan Leslie & Dennis Day In Central Park 16:09
Support Breaking Walls at https://www.patreon.com/thewallbreakers Our first stop is January, 1944. We’re at Central Park. By 1944 Central Park, nearly one-hundred years old, was in the midst of renewal. Parks Commissioner Robert Moses had spent the past decade developing playgrounds, ballfields, handball courts, and other working class elements. In 1943 the restoration of the Harlem Meer was completed. "Please Keep off the Grass" signs, which had once dotted the meadows, were a thing of the past. Why are we in Central Park? Because over on the west coast, on Saturday January 22nd, Bob Hope, Dennis Day, and Joan Leslie appeared in a skit for Command Performance entitled “She Slapped His Face Under The Elevated Because He Only Had A One-Track Mind.” It was set in Central Park. In January of 1944 Bob Hope was radio’s top comedian. His own show rating that month was 34.6. More than twenty-six million people were tuning in to hear him each week. Hope spent most of his time entertaining troops. For more info on Bob Hope in 1944, please tune into Breaking Walls episode 148. Five days after D-Day on June 11th, 1944, the park opened Weapons of War: An Exhibit of the Army Service Forces on the Great Lawn. Over the next two weeks, six-hundred thousand people came to see displays contrasting America’s War Equipment with that of the Axis. The exhibit was organized by units: The Quartermaster Corps, the Chemical Warfare Service, the Medical Department, the Signal Corps, Ordnance, the Corps of Engineers, and the Transportation Corps. Each hour a flamethrower demonstration was staged for a grandstand which seated twenty-five-hundred people. The expo was in conjunction with the fifth War Bond Drive. #podcast #oldradioshows #oldtimeradio #historypodcast #oldtimeradioshows #editorial #1944 #centralpark #bobhope #joanleslie #dennisday…
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Breaking Walls: The Podcast on the History of American Network Radio Broadcasting
1 BW - EP155—001: New York And The 1944 Radio World—Why I'm Here—Breaking Walls' 10th Anniversary 9:45
https://www.patreon.com/thewallbreakers I’ve mentioned a few times before within Breaking Walls episodes that I try to be as unbiased as possible. I want Breaking Walls to be a true documentary, so I leave the op-eds for everyone else. But this is my tenth anniversary as a podcaster so I’ll share. I spent the first ten years of my life living in a house where the people there were born between 1918 and 1989. It was in Bensonhurst, Brooklyn. There was a park across the street. Around 1900 that park wouldn’t have been there. It would have been Indian Pond. Who knows how many thousands of years people congregated at that pond. My great-grandmother was in my life until I was 24. She grew up on Cherry Street in Manhattan's Lower East Side. By the time I came along everyone had heard her stories ten times over, but I loved sitting with her, playing cards and sharing bagels with Country Crock Shedspread, while she told me about her Italian immigrant parents, living through the depression and World War II. She had mixed feelings about Mussolini, but was a deep supporter of FDR. She loved Lawrence Welk and watched Jeopardy and Wheel of Fortune. Her father was a believer in women’s rights and a huge New York Giants baseball fan. He died of a heart attack on June 26th, 1951, one hundred days before Bobby Thompson’s shot heard round the world. The interesting thing is, I have no recollection of talking to her about the radio shows she loved to listen to in the 1930s and 40s. Her second daughter is my grandmother. Tough, outspoken, smart, she takes no guff from anyone and can curse with the best of them. Her husband, my grandfather, was the person I spent the most time with, playing baseball, going to Coney Island, and eventually, introducing me to radio shows on Christmas Day 1999. He was the 9th of 11 kids from an Irish Catholic family in Sunset Park, Brooklyn. What was his favorite radio show growing up? Thanks to him, I’ve spent the past twenty-five years listening to radio shows from the “Golden Age of Radio” be they comedy, drama, detective, western, soap opera, news broadcasts or otherwise. Occasionally, someone with my last name would crop up, like on the Saturday, May 12th, 1951 episode of Broadway is My Beat. I’ve spent the past seven years making monthly documentaries on radio history; More than eighty of them now. One a month, without fail. I’ve also found the time to write new audio fiction, like Burning Gotham, the historical fiction audio soap opera set in 1835 New York City. It was a 2022 Tribeca Film Festival audio selection. People often don’t know how to introduce me at professional functions. Am I a radio historian? Audio fiction developer? Director? Narrator? Actor? Like a lot of people who figure something out on their own, I’m a little bit of everything. I’m now as much a New York historian as I am a radio historian. I guess all roads do lead home. I’ve won awards, been complimented and critiqued, passed up social and other life opportunities, and you know what, I found direction, not just through a hobby, but with some kind of desire that burns deep inside of myself. It’s what I wanted ten years ago. Or maybe it’s because I can’t share these documentaries with my grandfather anymore. He’s out there in the ether somewhere. I hope he tunes in once in a while. The flame doesn’t always burn with the same degree of brightness. I’m a New Yorker. Ambitious unmonetized hobbies are like masochistic anchors. Would stopping this be an act of cowardice or would it lighten the load? Any time I want to pack up and move on I think, how can I? I want to help preserve and grow this medium, both creatively and financially. Blood of my blood, flesh of my flesh. If I’m in for a penny, I’m in for a pound. Would my 2014 self be proud seeing where I’ve come to? Ultimately, yes. That’s the thing about running on the treadmill to oblivion, you don’t always go where you want to, but you get in shape doing it.…
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Breaking Walls: The Podcast on the History of American Network Radio Broadcasting
1 BW - EP154—012: Stars On Suspense In 1944—Looking Ahead To The 10th Anniversary Of Breaking Walls 5:12
Support Breaking Walls at https://www.patreon.com/thewallbreakers That brings our look at the early years of Suspense to a close. Suspense would remain a hollywood production until the waning days of radio drama in 1959 when Bill Robson was directing it and this happened. Ordinarily here’s where you’d get a sneak peek at next month’s episode of Breaking Walls. Next month’s episode, however, is significant. Sometimes you’ve got to go back to the beginning in order to know where you’ve been. Next month on Breaking Walls we celebrate the tenth anniversary of the show with what? Well, I can’t reveal everything, you’ll just have to stay tuned.…
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Breaking Walls: The Podcast on the History of American Network Radio Broadcasting
1 BW - EP154—011: Stars on Suspense in 1944—Listen to Cary Grant in "The Black Curtain," 11/30/44 32:37
Support Breaking Walls at https://www.patreon.com/thewallbreakers Back on December 2nd, 1943 when Suspense first became sponsored by Roma Wines, the script chosen for the first Roma episode was “The Black Curtain” starring Cary Grant. Of the performance Grant said, “If I ever do any more radio work, I want to do it on Suspense, where I get a good chance to act.” The just-heard Lurene Tuttle felt the same way about acting in radio. On November 30th, 1944 Grant was back on Suspense for a repeat performance of “The Black Curtain.” He requested that Lurene Tuttle join him again as the female lead. “The Black Curtain” is an adaptation of a Cornell Woolrich story about a man who wakes up after a fall on a city sidewalk and realizes he can’t remember his name or events of the last three years. He soon learns he’s been accused of murder. Somehow he has to prove his innocence, which means finding the real killer. The repeat performance wasn’t initially planned. The original script, “To Find Help” starring Frank Sinatra had to be postponed due to a scheduling conflict. Grant happened to be available and it also happened to be the one-year anniversary of Roma’s sponsorship. More than eight million people heard this broadcast. The cast features the aforementioned Lurene Tuttle, Wally Maher, Pat McGeehan, Harry Lang, and a young Conrad Binyon, who had previously played an uncredited part in The Howards of Virginia with Grant. Binyon was amazed that Cary Grant remembered him.…
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Breaking Walls: The Podcast on the History of American Network Radio Broadcasting
1 BW - EP154—010: Stars on Suspense in 1944—Listen To Lena Horne star in "You Were Wonderful," 11/9/44 34:56
Support Breaking Walls at https://www.patreon.com/thewallbreakers By November of 1944 Suspense was pulling a rating of 10.4. There were now more than eight million people tuning in. Roma wines was satisfied as Suspense was providing stiff competition to The Frank Morgan Show running opposite on NBC Thursday nights at 8PM eastern time. On November 9th Lena Horne guest-starred in a Robert L. Richards script called “You Were Wonderful” about the murder of a nightclub singer in South America. Horne is the visiting American singer intent on solving the crime. Lena Horne was born on June 30th, 1917 in Brooklyn, New York. Both sides of her family were multi-racial with both African and Native American heritage. Her father Teddy was a one-time owner of a restaurant and hotel while her mother Edna was an actress with a traveling theater troupe. As a young girl Lena’s father left the family to move to Pittsburgh, while Lena traveled with her mother around the country before returning to New York City when she was twelve. Lena dropped out of high school at sixteen and joined the chorus line at the Cotton Club. In 1935 she made her first screen appearance as a dancer in Cab Calloway’s musical short Jitterbug Party. She got married in 1937, but soon separated from her husband, first touring with bandleader Charlie Barnet in 1940 before returning to New York to work at Cafe Society in Greenwich Village. She soon replaced Dinah Shore as vocalist on NBC's The Chamber Music Society of Lower Basin Street and recorded with Henry Levine and Paul Laval, in June 1941 for RCA Victor. Horne then left New York City for Hollywood, being hired to perform in a Cotton Club-style revue for Cafe Trocadero on the Sunset Strip. In 1942, when she became the first African-American with a major studio contract, it was with the understanding that she wouldn’t be obligated to portray servants—a condition that handicapped her entrée into mainstream Hollywood movies. She soon appeared in the films Panama Hattie, Cabin in the Sky, Stormy Weather, Thousands Cheer, Swing Feever, Broadway Rhythm, and Two Girls and a Sailor. With the exceptions of Cabin in the Sky and Stormy Weather, Lena’s early screen appearances were often designed as standalone musical numbers that could easily be cut out in prejudice Southern markets unaccepting of African American performers. Horne’s Suspense appearance was big news. Both Spier and his wife Kay Thompson, a friend who worked with her at MGM, pressed the movie studio to allow her to headline the show. Network executives at CBS were concerned that Roma might pull its contract if Southern stations didn’t want to air the program. Thompson agreed to appear as Horne’s uncredited backup singer in three musical numbers, which Thompson arranged. MGM’s publicity department got to work and given the unfortunate day’s climate, Horne’s appearance was heralded as one of the more daring and successful half hours of network drama at the time. She is the first and only African American to headline Suspense. “It was an event of terrific importance to Lena,” noted Movieland magazine, “for the first time a performance of hers was judged on merit alone; she was announced only as the star of the play, without reference to her race.” Spier noted that in the studio, Lena “seemed so poised, so sure of herself and her every speech, so business-like in her approach to the role.” However when she grabbed his hand for encouragement, she was ice cold. Part of it was performance nerves, but a lot of it came from the anxiety of getting the chance to publicly justify her talent. Horne later said, “Bill was marvelous and intelligent. Anyone married to Kay would have to be strong.” It was an especially memorable and proud evening for members of the African-American community who were glued to their radios in record numbers.…
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Breaking Walls: The Podcast on the History of American Network Radio Broadcasting
1 BW - EP154—009: Stars on Suspense in 1944—Gene Kelly is a Villain in "The Man Who Couldn't Lose" 31:04
Support Breaking Walls at https://www.patreon.com/thewallbreakers Speaking of actors playing roles on Suspense that went against their usual type, on September 28th, 1944 Gene Kelly guest-starred in an episode called “The Man Who Couldn't Lose.” Kelly, already known as a singer and actor, became famous in For Me and My Gal, Du Barry Was a Lady, and Thousands Cheer. However, it was his dramatic debut in Pilot No. 5 where Kelly played an antagonist that portended this appearance on Suspense. In “The Man Who Couldn't Lose” Kelly plays Leonard Snell, gambler, two-timer, and all around heel who runs into a string of good fortune that causes the audience to hate him more and more as the play goes on.…
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Breaking Walls: The Podcast on the History of American Network Radio Broadcasting
1 BW - EP154—008: Stars on Suspense in 1944—Listen To Olivia De Havilland in "Voyage Through Darkness" 32:58
Support Breaking Walls at https://www.patreon.com/thewallbreakers Bill Spier recovered from his second heart attack in the fall, just in time for cooling weather, Friday night football games, and autumn dances. While Suspense aired all-year-round, it was perfect for brisk evenings. With Spier’s musical aptitude, a swelling orchestra had become a Suspense staple. Lud Gluskin and Lucien Morawek worked together to produce and conduct haunting, functional scores. Morawek told Radio Life that Spier was the most musically adept radio director he had ever worked with. On September 7th, 1944 Olivia De Havilland made her only appearance on Suspense in a play entitled “Voyage Through Darkness,” written by Joel Malone who was best known for his work on The Whistler. In this episode, De Havilland’s character is on a cruise home from England. Her deceased employer’s coffin is on board. She was directed to supervise his burial-at-sea. A stowaway is found. He’s believed to be “the Blackout Killer” of London. This would be the last episode of Suspense to air on different nights for the East and West coast. Beginning on September 14th all episodes of Suspense would air on the same night, making it easier for the Hollywood stars that were now lining up to work on the show. Roughly seven million people heard this broadcast.…
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Breaking Walls: The Podcast on the History of American Network Radio Broadcasting
1 BW - EP154—007: Stars On Suspense In 1944—Listen to Vincent Price As A Mad Man In "Fugue In C Minor" 35:14
Support Breaking Walls at https://www.patreon.com/thewallbreakers The man you just heard is famed actor Vincent Price. While Price was a film star, he had a unique contract which allowed him to act in as much radio as he wanted. By early June 1944 Price was thirty-three years old and had starred on Broadway and appeared in more than ten films. On Thursday June 1st and then again on Monday June 5th for the west coast, Price appeared with Ida Lupino in an episode of Suspense called “Fugue in C Minor.” Written by Lucille Fletcher, it’s a horror story about a widower and woman who fall in love through their sharing of classical music. As their relationship progresses, the woman learns the man’s children think their father murdered their mother and hid her body in a room behind the mechanism of their home’s pipe organ. The instrument is so large it is part of the very structure of the house. While Vincent Price was very comfortable working in radio, many film stars weren’t. By the time this west coast version of Suspense was airing Monday June 5th, 1944 at 9PM over KNX, allied soldiers were in their boats, slowly making their way across the English channel to begin their invasion of the Normandy coast of France. This would be Vincent Price’s last broadcast before departing for military service. For more info on the D Day invasion, tune into Breaking Walls episode 152 which covers the entire broadcast day.…
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Breaking Walls: The Podcast on the History of American Network Radio Broadcasting
1 BW - EP154—006: Stars on Suspense in 1944—Listen To Orson Welles Take Over Suspense in May 1944 47:47
Support Breaking Walls at https://www.patreon.com/thewallbreakers In May of 1944 Orson Welles appeared on Suspense three times. The first of which was on May 4th in “The Dark Tower,” a play originally written by George S. Kaufman and Alexander Woollcott. Adapted for Suspense by Peter Barry, Woollcott had died in January of 1943. In many ways, the play is a satire of Welles’ friend, John Barrymore, and it's ripe with innuendo and other inside humor. Featured in this episode as Jessica was Jeanette Nolan. Like so often in Bill Spier’s productions of Suspense, Hans Conreid played a villain. Here’s fellow actor Byron Kane talking about Orson Welles and Hans Conreid. On May 15th, 1944, Orson Welles was placed on the U.S. Treasury payroll to consult for the duration of the war. His pay: an honorary one dollar. On May 18th Welles starred in part one of “Donovan’s Brain,” based on the 1942 Curt Siodmak novel. Welles played Dr. Patrick Cory, who successfully learns to keep a brain alive outside the human body. The sound-effects were outstanding for their time. “Donovan’s Brain” is considered one of the first adult science-fiction broadcasts. After this evening’s show, Orson Welles and Bill Spier were having dinner at the Players Restaurant in Los Angeles when Spier suffered his second major heart attack in ten months. He was immediately placed on bed rest. In the studio he was replaced by CBS executive Robert Lewis Shayon. Although he’s once again recovered, heart problems continued to plague Bill Spier for the rest of his life. Just two days after the west coast broadcast of part two of “Donovan’s Brain”, Welles spoofed it on his Orson Welles Almanac program. Performed live at the Air Transport Command in Long Beach, California, among those in the cast for the parody were Suspense regulars John McIntire and Hans Conried. For more info on this time in Welles’ career, tune into Breaking Walls episode 104.…
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Breaking Walls: The Podcast on the History of American Network Radio Broadcasting
Support Breaking Walls at https://www.patreon.com/thewallbreakers The man you just heard is Joseph Cotten. In 1944 he was guest-starring on various shows while also hosting Ceiling Unlimited. On March 23rd, 1944 Cotten starred in “Sneak Preview” written by Robert L. Richards. It’s a story about a film director who becomes a temporary detective as he tracks down a double agent. Richards is perhaps most famous amongst Suspense fans for his 1946 script, “The House in Cypress Canyon.” Richards, Joe Cotten and Bill Spier had known each other since The March of Time in the 1930s. The rating for this episode was 9.5. More than seven million people tuned in. Suspense had gained a full ratings point and more than a million listeners in eight weeks. To hear Joseph Cotten on Ceiling Unlimited in 1944, please tune into Breaking Walls episode 150.…
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Breaking Walls: The Podcast on the History of American Network Radio Broadcasting
Support Breaking Walls at https://www.patreon.com/thewallbreakers The man you just heard is Hans Conried. In late 1943 he was thirty-six years old and all over radio. When Suspense moved to Hollywood, Conried quickly became part of William Spier’s trusted circle of character actors, often playing more than one part. Conried honed his craft in the 1930s. To Bill Spier’s credit, he did his best to allow them the time to have parts on other shows. Spier’s rehearsals were known for their loose atmosphere. He selected the best radio actors to be part of the Suspense troupe. This circle included Wally Mayer, Jeannette Nolan, Joseph Kearns, John McIntire, and Lurene Tuttle. Lurene Tuttle later worked with Spier on The Adventures of Sam Spade. Spier had a habit of purposely going into a broadcast with a script that was a minute or two long so the actors were forced into high tension. Spier wouldn’t allow a studio audience. He placed the orchestra behind a screen, out of sight of the cast so that the actors could better concentrate on their performance. Suspense found sponsorship in the fall of 1943 with Roma Wines. The show moved to Thursdays at 8PM eastern time. The first sponsored episode was called “The Black Curtain” and starred Cary Grant. It’s the first time listeners heard both the phrases “A tale well calculated to keep you in Suspense” and “radio's outstanding theater of thrills.” Uniquely, West Coast and Mountain time would get a separate broadcast on Monday December 6th. This broadcast split would continue until September of 1944. The next month on January 13th, 1944 Lucille Ball starred in an episode called “Dime a Dance.” The script was based on a story by Cornell Woolrich and adapted by Bob Tallman. Tallman wrote scripts in a single day with edits done in the hour between rehearsal and broadcast. Thirty-two and a seasoned film actress, in 1944 Ball began to carve out a second career on the radio. She appeared on Duffy’s Tavern, Abbott & Costello, and The Screen Guild Theater. In “Dime a Dance” she plays a dancer in a hall. A serial killer is targeting young women. Her character, Ginger Allen, gets involved in tracking the killer down. This episode’s rating was 8.5. Roughly six million people tuned in. For more info on Lucille Ball’s radio career, tune into Breaking Walls episode 100.…
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Breaking Walls: The Podcast on the History of American Network Radio Broadcasting
Support Breaking Walls at https://www.patreon.com/thewallbreakers Bill Spier’s Hollywood Suspense episodes got good reviews. He returned to New York for seven more shows while he got the green light to move Suspense to the West Coast. The first permanent Hollywood show was “Fear Paints a Picture” on April 13th, 1943. John Dickson Carr continued as writer until June, but Spier began to look for other voices, like Lucille Fletcher, who followed up “The Hitch-hiker” with “The Diary of Sophronia Winters,” starring Agnes Moorehead. The two would reunite a month later, on May 25th, 1943, for the most famous Suspense episode of all-time, “Sorry, Wrong Number.” Bill Spier did not direct this episode. It was handled by Ted Bliss. Although only thirty-six, Spier had recently suffered a heart attack. “Sorry, Wrong Number” was so harrowing, and Agnes Moorehead’s tour-de-force performance was so gripping to even the rest of the people in the studio, that a now-famous missed cue happened. I’ll let Ms Moorehead explain. Although Spier wanted to repeat the broadcast immediately, it was finally redone on August 21st. At that time CBS was in talks with Colgate to sponsor the series. The performance was heavily promoted, along with a time change. Suspense would be moving to Saturdays with this show. The August 21st, 1943 episode was the first time two different productions for each coast were done. CBS was attempting to deliver a large audience to entice Colgate to buy the series. The first broadcast was done at 4:30PM Pacific time for the East, while the second was done at 8PM for local audiences. Here’s the ending to the August 21st, 1943 broadcast of “Sorry, Wrong Number,” coming from the East Coast broadcast, as it was intended to have been performed the first time. Four days later Variety was enthusiastic in its praise for the broadcast. Hans Conried played the murderer. Besides the slightly missed cue, why was this story repeated so soon after? CBS was flooded with letters and phone calls. A funny thing happens as you listen to Mrs. Stevenson complain, you begin to like her less and less. This was intentional. Writer Lucille Fletcher was born in New York City on March 28th, 1912 and patterned the character after snooty women she’d had obnoxious dealings with in New York. At that time, only forty percent of U.S. homes had a phone. The fictional Stevenson home address of North Sutton Place was patterned after Sutton Place in New York City. It was one of the most exclusive areas on Manhattan’s east side. As researcher Dr. Joseph Webb put it, “regular people” were dealing with the scarcities and uncertainty of the War. Everyone was sacrificing in one way or another or had family members in the service.” Mrs Stevenson’s complaints slowly erode the audience's sympathy for her, but still no one was expecting her to actually be murdered at the end, atypical of climaxes at that time. Despite the praise, the Saturday experiment ended the following week. Spier recovered from his heart attack and returned on September 23rd, 1943, taking over direction. Colgate passed on sponsoring the series. Suspense went back to one national broadcast, but by November, Roma Wines would sign on, becoming the sponsor, and increasing Suspense’s budgets exponentially. #suspense #oldtimeradio #oldtimeradioshows #otr #historypodcast #oldhollywood #mysteryfiction…
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Breaking Walls: The Podcast on the History of American Network Radio Broadcasting
1 BW - EP154—002: Stars On Suspense In 1944—Suspense Launches In New York And Bill Spier Takes Over 44:26
Support Breaking Walls at https://www.patreon.com/thewallbreakers Willam Spier was born on 10/16/1906 in New York City. He began his career as an editor at Musical America Magazine, eventually becoming its chief critic. His radio career began in 1929, when he produced and directed The Atwater-Kent Hour, a Met Opera presentation. He soon became a valuable member of BBD&O’s growing staff of radio writers & directors. In 1931 Spier went to Hollywood to direct one of the first big budget radio programs in southern California. Coming back to New York, he was one of the people responsible for the creation of The March of Time. In 1940 Spier left BBD&O & began working for CBS. He was soon their story editor. Meanwhile, CBS decided to bring Forecast back. Season two premiered on 7/14/1941, with a play from Hollywood called The Arabian Nights. It starred Marlene Dietrich & was directed by Charles Vanda. The following week Kay Thompson starred in 51 East 51 from New York. It was an on-the-scene comedy at a fictitious upscale New York bar. Her director that evening was Bill Spier. The two were soon dating, marrying in 1942. Two weeks later, Spier produced & directed a Forecast episode called Song Without End, starring Burgess Meredith & Margo. It was to be a biopic on musicians and composers. That autumn Vanda & Spier were in New York, pushing for the launch of Suspense as a CBS cost-sustained show. On Sunday 12/71941 Japan attacked Pearl Harbor & Manilla, finally thrusting the US into World War II. The next Sunday, as CBS prepared for the Monday multi-network broadcast of Norman Corwin’s We Hold These Truths, Bill Paley finally approved Suspense’s launch as a thirteen-week summer series in 1942. Vanda got Harold Medford to come East to write. Although Bill Spier was head of CBS’s New York Story Department, it was Harold Medford who polished the first seven shows. Vanda also got CBS musician Bernard Herrmann to compose the show’s score. Suspense premiered on Wednesday June 17th, 1942 at 10:30PM eastern time. The first episode, “The Burning Court” was adapted from a story by John Dickson Carr. Seeking a star, Vanda chose Charlie Ruggles. Known for his comedic flair, Ruggles was in New York for the opening of his latest film, Friendly Enemies. Vanda believed that Suspense could cast against type. It came to be a show staple. Charles Vanda wound up only being in charge of the first five shows. He went into the army. The second show was the John Collier mystery “Wet Saturday,” a grim tongue-in-cheek tale of murder. The final three shows by Vanda were a take on the Lizzie Borden case, a murder story aboard a train, & a thrill kill, “Rope” that Alfred Hichcock later shot with James Stewart. With Vanda entering the service Bill Spier took over the production. Spier’s first episode as producer was on 7/22/1942. On 9/2 Suspense broadcast Lucille Fletcher’s “The Hitchhiker.” At the time Fletcher was married to Bernard Herrmann. “The Hitchhiker” starred Orson Welles. Welles & Spier had known each other since The March of Time. Welles just returned from Brazil where he’d been promoting greater Pan-Americanism on behalf of RKO. It was his first appearance on Suspense. When the thirteen-week summer run ended, CBS was set to cancel the series. The last episode was called, “One Hundred In the Dark.” It aired on September 30th, 1942. In the end Suspense was saved by the amount of fan mail & phone calls to CBS. Spier pushed to link the show with a prestigious mystery author. He approached the agent of John Dickson Carr, who’d written “The Burning Court,” & a deal was soon in place for him to write exclusively for the program. CBS picked up Suspense for the fall season and put it on the air Tuesdays at 9:30PM beginning 10/27. John Dietz returned as director and a foreboding narrator, “The Man In Black,” was played by Ted Osborne.…
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Breaking Walls: The Podcast on the History of American Network Radio Broadcasting
Support Breaking Walls at https://www.patreon.com/thewallbreakers In July of 1940 CBS’ Lux Radio Theatre was scheduled for its summer hiatus. Lux aired sixty-minute condensations of films Mondays at 9PM. Pulling a rating of 23.7, it was CBS’s highest-rated show and Monday’s most-listened to program. Head of CBS William Paley and Program Director Bill Lewis wanted to use the vacated time slot to attract both audience participation and potential sponsors. At that time, CBS’s story editor was William Spier. They decided to launch a pilot series to workshop new shows. They called it Forecast. It debuted on July 15th, 1940. Each week two thirty minute shows — one from New York and one from Hollywood — aired live. CBS petitioned their audience to write in about the pilots they liked. On July 22nd at 9:30PM, a Forecast took to the air starring Herbert Marshall, Edmund Gwenn, and Noreen Gammill. This particular one was conceived by Charles Vanda. Born in New York on June 6th, 1903, Charles Vanda got into radio and moved to Los Angeles in 1935 to be the CBS West Coast Program Director. Although Los Angeles was still a minor outpost for radio, by decade's end it overtook Chicago and matched New York as a major broadcasting hub. William Paley was keen on pushing programming in Hollywood and Vanda’s boss Bill Lewis was a man who proudly championed shows like The Columbia Workshop. Among the people Lewis helped was Norman Corwin. Vanda conceived the mystery program as a drama with famous stars, a large orchestra, and a well-known host. The man Vanda wanted was Alfred Hitchcock. It was Hitchcock who came up with the show name, Suspense. On July 22nd, the day Suspense was to air, Hitchcock was unexpectedly called to New York and wouldn't be able to appear. Rather than change directions, British actor Edmond Stevens imitated Hitchcock. But, the broadcast flopped. Variety said, “Alfy, old boy, don't ever do that to us again,” referring to the open ending. That, along with Hitchcock’s spotty availability spooked advertisers. No one wanted to sponsor the program. Suspense was mothballed. Of all the pilots that aired during season one of Forecast, only Duffy’s Tavern got picked up, and even that didn’t happen until March of 1941. Charles Vanda was soon called back to New York to produce shows like The Columbia Workshop. There he worked with William Spier. Within two years the duo would finally bring Suspense to the air.…
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Breaking Walls: The Podcast on the History of American Network Radio Broadcasting
Support Breaking Walls at https://www.patreon.com/thewallbreakers By 1944 Norman Corwin had free rein over his productions. In six years he’d gone from a network rookie to the most-lauded creator on the air. He was now the poet-laureate of radio, a nickname which would stick with him the rest of his life. That March, The Columbia Workshop was rechristened as Columbia Presents Corwin for a twenty-two week run. At 10PM eastern time on Independence Day 1944 Corwin broadcast "Home For the Fourth." In this play, two brothers are away at war. One, played by Dane Clark, gets a two-day pass to see his family and fiance. It’s a slice of American life written and directed in a way that came to define Corwin. He understood that people were a part of, and yet transcended their own time. This play is eighty years old, but sounds like we could have spent time with these people eighty minutes ago.…
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Breaking Walls: The Podcast on the History of American Network Radio Broadcasting
Words at War was an anthology of war stories “told by the men and women who have seen them happen.” It was produced in cooperation with the Council on Books in Wartime, promising “stories of the battlefronts, of behind-the scenes diplomacy, of underground warfare, of action on the seas, and of the home front.” Each show was to be “a living record of this war and the things for which we fight.” Debuting on June 24th, 1943 from New York, during its first year on the air despite being given a late-night timeslot, it was praised by Variety as “one of the most outstanding programs in radio,” by the New York Times as the “boldest, hardest-hitting program of 1944,” and by Newsweek as “one of the best contributions to serious commercial radio in many a year.” Initially network cost-sustained, it was given stirring music by NBC’s symphony orchestra. The sound patterns had Japanese dive bombers: the growl of heavy machinery, the chatter of machine guns, the steady drone of an airplane as two pilots stood on a runway and spoke what might be their last thoughts. Though sonically important, the success of Words at War could be attributed to the immediacy of its subject matter. There were dramatizations of “the most significant books to thus far come out of this great world conflict,” with the war’s outcome by no means assured. This atmosphere—of a country fighting for its life—gave the stories maximum impact. In the summer of 1944, the show was sponsored by Johnson’s Wax and took over Fibber McGee and Molly’s Tuesday 9:30PM eastern time slot. On Independence Day 1944, the episode was called “War Criminals And Punishment.”…
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Breaking Walls: The Podcast on the History of American Network Radio Broadcasting
The man you just heard was Raymond Edward Johnson. He is best-remembered for being the longtime host on Inner Sanctum Mysteries on CBS. After returning from the War, Johnson left the show to pursue more diversified acting interests. However by then, NBC had launched their own mystery program which Johnson often found himself appearing in. It was called The Molle Mystery Theater. Launched on September 7th, 1943 and sponsored by Molle Brushless Shaving Cream, Mystery Theater was hosted by Bernard Lenrow as Geoffrey Barnes, crime fiction connoisseur. Veteran radio actor Bernard Lenrow routinely read one-hundred mystery novels each year and personally selected the stories to be dramatized on the show. Molle featured ’‘the best in mystery and detective fiction,” with tales running from classics by Poe, to moderns by Raymond Chandler. The trademarks were high tension and shocking endings. In July of 1944 it was pulling a rating of 9.1 Tuesdays at 9PM. Many of New York’s most-famous radio actors appeared, like Richard Widmark, Elspeth Eric, Anne Seymour, and Joseph Julian.…
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Breaking Walls: The Podcast on the History of American Network Radio Broadcasting
Opposite of A Date With Judy at 8:30PM, CBS broadcast Theater of Romance, hosted by the just-heard Arnold Moss, who was also known for his acting prowess. Romance first took to the air on April 19th, 1943 with host Frank Gallop as “your guide through the pages of the great stories of all-time.” It went off the airwaves June 20th, 1944 before re-debuting on July 4th as Theater of Romance, sponsored by Colgate Tooth Powder. This episode featured Gertrude Warner and Karl Swenson in James Hilton’s Goodbye Mr. Chips. In 1975 Swenson was interviewed with his wife and fellow actress, Joan Tompkins, by Chuck Schaden.…
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Breaking Walls: The Podcast on the History of American Network Radio Broadcasting
Debuting on June 24th, 1941, A Date With Judy was the teenage girl’s answer to Archie Andrews and The Aldrich Family. Billed as the adventures of the “lovable teenage girl who’s close to all our hearts,” it initially starred Ann Gillis in a summer replacement for Bob Hope. While filming at Paramount, Hope met Gillis and introduced her to his radio sponsors. They cast her in the adolescent comedy being prepared by writer Aleen Leslie. Leslie had come up through the Hollywood ranks working for Columbia Pictures, and writing for Deanna Durbin, Mickey Rooney, and Henry Aldrich films. Leslie wrote the lead with her friend Helen Mack in mind, but Mack was pregnant and declined. After the birth of her child. Mack came in as producer-director, the only woman to do so in a prime-time role at the time. In three summertime runs, two for Hope and one for Eddie Cantor, Judy was played by Gillis, Joan Lorring, and finally Louise Erickson. Erickson also played Marjorie on The Great Gildersleeve. In January of 1944, Judy was given a full-time run and Erickson held the role for the next six years. In July of 1944 the show was pulling a rating of 9.1 on NBC. On Independence Day at 8:30PM, an overheard election mixup causes comedic embarrassment for Judy’s father.…
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Breaking Walls: The Podcast on the History of American Network Radio Broadcasting
Virginia Ellen, “Ginny” Simms was born in San Antonio, Texas on May 25rd, 1913. Her family moved to California, where she attended Fresno High School and Fresno State Teachers College. There she studied piano and began performing. Singing with her sorority sisters, she formed a popular vocal trio. In 1932, Simms became the vocalist for the Tom Gerun band in San Francisco. In 1934, she joined the Kay Kyser Orchestra, receiving her first national exposure on his radio program. Simms appeared in three films with Kyser: That's Right—You're Wrong in 1939, You'll Find Out, in 1940, and Playmates in 1941. On April 6th, 1941, Simms and Kyser co-starred in an original comedy, “Niagara to Reno,” on CBS' Silver Theater. The two nearly married, but upon breaking up, she left his orchestra in September. Just a few days later, on September 19th 1941, Simms was on CBS solo for five minutes on Fridays at 9:55. Then on Tuesday September 8th, 1942 at 8PM, she took to the air with her own show for Philip Morris. Originally called Johnny Presents, it was later changed to The Purple Heart Show, with an emphasis on wounded and decorated servicemen. Edgar “Cookie” Fairchild led the orchestra. She starred in more films, including Here We Go Again in 1942, Hit The Ice, in 1943, and Broadway Rhythm, which premiered in January of 1944. On Independence Day 1944 at 8PM, Ginny Simms took to the air with her Purple Heart Show. Opposite in New York, CBS aired Big Town, and both ABC and Mutual aired news commentary.…
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Breaking Walls: The Podcast on the History of American Network Radio Broadcasting
In early 1942 Norman Corwin began a unique show over all four major radio networks. It was a thirteen episode, non-commercial broadcast called This is War, bringing together the best talent and resources of the broadcast and entertainment industry, like actor Joe Julian. That summer, Corwin went to England to produce a series helping to improve relations between the English and Americans, which were, surprisingly, strained. People like aviation legend Charles Lindbergh were anticommunism, but pro-isolationism and pro-eugenics. All three views were supported by the Nazi party. President Roosevelt was deeply angry at Lindbergh's opposition to his administration's interventionist policies. He told Treasury Secretary Henry Morgenthau in 1941, "If I should die tomorrow, I want you to know this, I am absolutely convinced Lindbergh is a Nazi." Linbergh publicly denounced anti-semitism in 1941, but many people remained anti-anglo throughout the country, with some even citing the American Revolution and the War of 1812 as reasons. Called An American In England, it was a joint effort from BBC and U.S. broadcasters. Edward R. Murrow would produce. The entire available London Philharmonic Orchestra would be used. The series would be sent back to the states by short-wave. Because it was to be heard live at 10PM for Eastern War time, that meant it was broadcast overnight in England. The result was a limited-release series considered to be among the most important works Corwin ever produced.…
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Breaking Walls: The Podcast on the History of American Network Radio Broadcasting
At 5:30PM eastern time over Mutual Broadcasting on Independence Day, 1944, The Tom Mix Ralston Straight Shooters took to the air. Originally airing from NBC in Chicago in 1933, it featured the just-heard Hal Peary, and the ever-present Willard Waterman. Tom Mix was created as an advertising vehicle for the Ralston Purina Company. Its format was devised by Charles Claggett, a St. Louis adman and based on the life of a real cowboy, Tom Mix. Born in Pennsylvania in 1880, he became a soldier and champion roper, winning a national title in 1909. Mix began appearing in movies, and much like Buffalo Bill Cody, his legend soon outgrew his actual exploits thanks to natural showmanship. By the time radio got him, he was seldom mentioned in print without a platoon of fantastic adjectives. Perhaps the most famous actor to play Tom Mix was Russell Thorson, who held the role for the Blue Network in the early 1940s, until it was canceled on March 27th, 1942. Tom Mix was revived and moved to Mutual beginning June 5th, 1944 in a fifteen minute serial. By then, Mix joined others like Jack Armstrong, Captain Midnight, and even Superman in the war against the axis. The show became known as “radio’s biggest western-detective program.” Joe “Curley” Bradley played Mix throughout the later run. Bradley was a former Oklahoma cowboy and Hollywood stuntman who had learned to sing around bonfires. As for the real Tom Mix, he had nothing to do with the serial. He died in a car accident near Florence, Arizona on October 12th, 1940. At 6:15PM it was Hop Harrigan’s turn to sign on, over The Blue Network’s WJZ. It starred Chester Stratton as Hop Harrigan, young aviator known as “America’s ace of the airways,” with Jackson Beck as Tank Tinker. Beck was all over radio. Hop Harrigan first took to the air on August 31st, 1942, running on The Blue Network and later ABC until August 2nd, 1946. It was revived from October 2nd, 1946 through February 6th, 1948 over Mutual Broadcasting. Hop went on missions in dangerous territory behind enemy lines. He had dogfights, went underground in war-torn Berlin, and saw heavy service in the Pacific during the battle for Okinawa.…
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Breaking Walls: The Podcast on the History of American Network Radio Broadcasting
At 4:45PM on Independence Day 1944, The Raymond Scott Orchestra took to the air for fifteen minutes of music on CBS’ WABC in New York. Born Harry Warnow on September 10th, 1908 in Brooklyn to Ukrainian Jewish parents, his older brother Mark, also a musician, encouraged Harry’s career. He graduated from the Juilliard School of Music in 1931 where he studied piano, theory, and composition. He began his professional career as a pianist for the CBS Radio house band under his birth name. Mark, older by eight years, conducted the orchestra. Harry adopted the pseudonym "Raymond Scott" to spare his brother charges of nepotism when the orchestra began performing the pianist's unique compositions. In late 1936, Scott assembled a band from among his CBS colleagues. Although it was a six-piece group, he called it the Raymond Scott Quintette, joking with a reporter that calling at a sextet might take one’s mind off the music. Scott believed in composing and playing by ear. He composed not on paper, but "on his band"—by humming phrases to his sidemen or by demonstrating riffs and rhythms on the keyboard, instructing players to interpret his cues. Also a sound engineer, he recorded the band's rehearsals, using them as references to develop his compositions. Scott reworked, re-sequenced, and deleted passages, and added themes from other discs to construct finished pieces. While he controlled the band's repertoire and style, he rarely took piano solos, preferring to direct the band from the keyboard and leave solos and leads to his sidemen. He also had a penchant for adapting classical motifs into his work. Independence Day 1944 was celebrated with remembrance, prayer, and War Bond drives. Norman Rockwell’s July 1st Saturday Evening Post cover featured a wounded veteran holding up a $100 war bond. The July 3rd cover of LIFE Magazine featured a G.I with a leg wound being helped by a compatriot. There was a prominent sticker on top that said “buy war bonds.” Meanwhile in Bedford, New Hampshire, an unexpected explosion at the John P. Bedricks powder works sent nearly seventy-miles of New England into a panic as windows as far away as Worchester, Massachusetts were destroyed. Despite this, there were no fatalities. At 4PM, NBC celebrated the Treasury Department’s “Salute To the Navy” from Philadelphia’s Navy Yard. Speakers included Secretary of the Treasury Henry Morgenthaur Jr., and Secretary of the Navy James Forrestal. In New York, Edward J. Nathan, Manhattan’s Borough President, addressed a rally of Jewish war veterans at the Soldiers and Sailors Monument in Riverside Drive, while the Knights of Columbus and sixty-seven affiliated councils, sponsored a parade and band concert in Prospect Park, Brooklyn. That evening, a Special Fifth War Bond Rally was held at Lewisohn Stadium in City College.…
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Breaking Walls: The Podcast on the History of American Network Radio Broadcasting
On Tuesday July 4th, 1944 at 11:15AM, the homespun Vic and Sade took to the air over NBC’s WEAF in New York. First airing on June 29th, 1932, Vic and Sade was created by Paul Rhymer. Known as “radio’s home folks,” the show was broadcast from The Merchandise Mart in Chicago. Rhymer wrote the script each morning before heading to watch the rehearsal and broadcast. On good days, one rewrite sufficed. On difficult days, the script would be ripped up again and again and poured over. The result was a standalone twelve-minute sketch that, over time, told the life story of Mr. and Mrs Victor Gook and their family and friends at “the small house halfway up in the next block” in a rural town somewhere in Illinois. The town was populated by strange eccentrics with some of the most wonderful names ever heard in fiction. Most of the characters were only spoken about and sound effects were purposely sparse, save for the ever-present telephone. In radio circles, the show was regarded as one of the all-time best. Among its devoted fans were Jean Shepherd, Norman Corwin, Jim and Marion Jordan, Carlton E. Morse, Stan Freberg, Ray Bradbury, and Franklin and Eleanor Roosevelt.…
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Breaking Walls: The Podcast on the History of American Network Radio Broadcasting
Tuesday, July 4th, 1944. It’s been twenty-nine days since the Allies first stormed the beaches of Normandy. They’ve continued to slowly push inland, but the battle for control of the Caen has raged onward. CBS is there with up-to-the-minute news. On Saturday July 1st, A counterattack by German Panzer Corps failed to dislodge the British Second Army around Caen. When OB West Gerd von Rundstedt phoned Berlin to report the failure, Chief of Staff Wilhelm Keitel asked, “what shall we do?” Rundstedt replied, “Make peace you fools!” He was fired the next day. Meanwhile the U.S. 133rd Infantry Regiment captured Cecina in Tuscany, Italy. They’d enter Siena on Monday the 3rd. At the same time Allies and Japanese forces began battling in New Guinea and The Battle of Imphal in India ended in Allied victory. On the morning of the Fourth, Minsk, the last big German stronghold on Soviet soil, finally fell. This kind of war created a need for fast news relays, so much so that for the first time, news was being recorded on the battlefront. On Independence Day 1944, needing to push further inland from Normandy, the task fell to the 79th and 90th Divisions as well as the 82nd Airborne, all of whom had to assault uphill and around a large marsh in the low ground, while twelve Nazi divisions lay in wait, including several Panzer units. The troops fought yard by yard, making slow but steady progress at a high cost. The 90th Division alone lost over 500 men that day. This same day, General Omar Bradley had artillery units in the US First Army open fire on the German lines precisely at noon. Some units fired red, white, and blue smoke shells at the Germans. The message was clear: The Americans were in Western Europe and they wouldn’t be leaving until victory was achieved. ____________ The man you just heard was Norman Lewis Corwin. He was born on May 3rd, 1910 in Boston, Massachusetts. The third of four children, his mother Rose was a homemaker, and his father, Samuel, a printer. Norman graduated from Winthrop High School, but unlike his brothers, he did not attend college. Instead, he got a job at the Greenfield Reporter as a Cub newsman at seventeen. Corwin was later hired by the Springfield Republican where he worked as an editor. He became known for his column "Radiosyncracies." His first exposure to professional Radio broadcasting came with an opportunity to air an interview regarding one of the human interest stories he'd written. Station WBZA soon needed a newsreader and sought to have the position filled with someone from the local paper. Corwin got the job. By 1929 Corwin fashioned his own broadcast over WBZA, a combination of piano interludes interwoven with Corwin's original poetry readings. He called the program Rhymes and Cadences. In 1931, Corwin traveled to Europe with his older brother, witnessing the growing fascism, social and religious unrest, and political turmoil. It helped shape his broadcasting career. In June 1935, he went to Cincinnati to work at WLW. He soon learned that any on-air reportage of collective bargaining efforts were grounds for immediate dismissal. Objecting, he was fired. Eventually he got the ACLU’s backing and got the policy changed. Corwin came to New York, finding work as a publicist for 20th Century-Fox. He soon proposed a poetry and music program for WQXR. The program was called Poetic License, and it wasn’t long before both NBC and CBS took notice. A few days shy of his twenty-eighth birthday in 1938, CBS hired Corwin as a director for One-Hundred-Twenty-Five-Dollars per-week. Within a few months he directed his first Columbia Workshop experimental drama, “The Red Badge of Courage,” airing July 9th, 1938. On the night of Sunday October 30th, 1938, Corwin was rehearsing the pilot for a new program, Words Without Music. Downstairs, Orson Welles was broadcasting his infamous Mercury Theater “War of The Worlds.”…
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Breaking Walls: The Podcast on the History of American Network Radio Broadcasting
1 BW - EP152—025: D-Day's 80th Anniversary—Closing Out The Day & Looking Ahead To Independence Day 6:14
Here we are, back at Bill Pogue’s. It’s after 11PM. What do we know? Well, there are less people drinking here than last night, most would rather stay in and listen for updates. On the air over CBS right now is Joan Brooks. Me? I’m just trying to have that nightcap I started yesterday. There are still news bulletins coming out of Europe. It’s almost dawn there. The men will be continuing their missions with D-Day: Plus 1 So far, we know that at least four-thousand Allied soldiers have been killed in the initial attack, but the German forces on the Normandy peninsula have either been killed, captured or forced to withdraw to Caen. I’m sure as we speak troops and equipment are being ferried across the Channel. I know the hope is that by the end of June we’ll have nearly a million men in western Europe as we advance north from Italy simultaneously. With the Russians pushing Germany west it’s only a matter of time, but the Germans won’t go down without a fight. But, I know American resolve. We’ll be up for the task, no matter how long it takes. It’s why next month on Breaking Walls we’ll move just a few weeks into the future and focus on Independence Day, 1944. —————————— The reading material used in today’s episode was: • Radio Speakers--A Biographical Dictionary — By Jim Cox • On The Air — By John Dunning • Network Radio Ratings — By Jim Ramsburg As well as articles from • Broadcasting Magazine • CBSNews.com • GlobalNews.ca • LIFE Magazine • Military-History.org • The New York Times • The New York Daily News • Presidency.UCSB.edu • RadioArchives.com • Radio Daily —————————— On the interview front: • André Baruch, Mel Blanc, Ken Carpenter, Norman Corwin, Alice Frost, Barbara Luddy, Bret Morrison, Ken Roberts, Kate Smith, and Olan Soule spoke with Chuck Schaden. Hear these full chats at Speakingofradio.com. • Himan Brown, Staats Cotsworth, Jim Jordan, Mandel Kramer, and Jan Miner, spoke to Dick Bertel and Ed Corcoran for WTIC’s The Golden Age of Radio. Hear these interviews at Goldenage-WTIC.org • Joan Banks spoke to SPERDVAC. For more info, go to SPERDVAC.com • Fran Carlon, John Daly, and Ben Grauer spoke for Westinghouse’s 50th anniversary. • Ned Calmer, Doug Edwards, Lowell Thomas, Charles Osgood, and Bob Trout spoke to CBS for their 50th anniversary. • HV Kaltenborn spoke to NBC for their 50th anniversary • Charles Collingwood and Bob Trout spoke to the makers of Please Stand By • Bob Trout also spoke to the Television Academy • George Burns spoke with Barbara Walters • Red Skelton spoke with Dini Petty —————————— Selected music featured in today’s episode was: • Romanian Folk Dances #3 — By Béla Bartók, played by Avi Avital • Wilderness Trail — By Walter Scharf for National Geographic —————————— A massive special thank you to Walden Hughes for supplying so many master quality recordings used in this D-Day episode. Listen to Walden’s shows on the Yesterday USA radio network.…
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Breaking Walls: The Podcast on the History of American Network Radio Broadcasting
1 BW - EP152—024: D-Day's 80th Anniversary—The Last Red Skelton Show Before He Left For The War 12:58
At 10:50PM on D-Day, The Red Skelton Show took to the air with a final abbreviated episode before Skelton left for World War II. When his show debuted on October 7th, 1941 critics were skeptical. Skelton was a pantomimist. How could he succeed on radio? But he was soon getting laughs every eleven seconds and for three seasons more than twenty-five million people were tuning in as he pulled ratings in the 30s. His supporting cast of Lurene Tuttle, Ozzie, and Harriet Nelson were heavily featured. But then Skelton got divorced and lost his marriage deferment. The army drafted him in 1944. MGM and radio sponsor Raleigh Cigarettes tried to help with no avail. The Draft Board also turned down his request to join the Special Services branch for entertainers. This was questioned by some critics, who noted that he had worked tirelessly to entertain servicemen. Skelton’s last radio program was on D-Day, June 6th, 1944. The next day the thirty-year-old Skelton was formally inducted as a private. Without its star, the program was discontinued until he could come back from the war. Skelton lost eighteen months of his career, eventually suffering a nervous breakdown in Italy, and having to be hospitalized for three months. He would be discharged in September of 1945.…
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Breaking Walls: The Podcast on the History of American Network Radio Broadcasting
At 10PM, across all networks, the President of the United States Franklin D. Roosevelt, took to the air with a special prayer for the invading troops. Thirty-Five million Americans tuned in. It was the most-listened to broadcast of any kind which aired in 1944. At 10:15 Bob Hope took to the air with a special D-Day Broadcast. For more information on this year of Bob’s life, tune into Breaking Walls episode 148. This is FDR's D-Day Prayer below: My fellow Americans: Last night, when I spoke with you about the fall of Rome, I knew at that moment that troops of the United States and our allies were crossing the Channel in another and greater operation. It has come to pass with success thus far. And so, in this poignant hour, I ask you to join with me in prayer: Almighty God: Our sons, pride of our Nation, this day have set upon a mighty endeavor, a struggle to preserve our Republic, our religion, and our civilization, and to set free a suffering humanity. Lead them straight and true; give strength to their arms, stoutness to their hearts, steadfastness in their faith. They will need Thy blessings. Their road will be long and hard. For the enemy is strong. He may hurl back our forces. Success may not come with rushing speed, but we shall return again and again; and we know that by Thy grace, and by the righteousness of our cause, our sons will triumph. They will be sore tried, by night and by day, without rest-until the victory is won. The darkness will be rent by noise and flame. Men's souls will be shaken with the violences of war. For these men are lately drawn from the ways of peace. They fight not for the lust of conquest. They fight to end conquest. They fight to liberate. They fight to let justice arise, and tolerance and good will among all Thy people. They yearn but for the end of battle, for their return to the haven of home. Some will never return. Embrace these, Father, and receive them, Thy heroic servants, into Thy kingdom. And for us at home - fathers, mothers, children, wives, sisters, and brothers of brave men overseas - whose thoughts and prayers are ever with them - help us, Almighty God, to rededicate ourselves in renewed faith in Thee in this hour of great sacrifice. Many people have urged that I call the Nation into a single day of special prayer. But because the road is long and the desire is great, I ask that our people devote themselves in a continuance of prayer. As we rise to each new day, and again when each day is spent, let words of prayer be on our lips, invoking Thy help to our efforts. Give us strength, too - strength in our daily tasks, to redouble the contributions we make in the physical and the material support of our armed forces. And let our hearts be stout, to wait out the long travail, to bear sorrows that may come, to impart our courage unto our sons wheresoever they may be. And, O Lord, give us Faith. Give us Faith in Thee; Faith in our sons; Faith in each other; Faith in our united crusade. Let not the keenness of our spirit ever be dulled. Let not the impacts of temporary events, of temporal matters of but fleeting moment let not these deter us in our unconquerable purpose. With Thy blessing, we shall prevail over the unholy forces of our enemy. Help us to conquer the apostles of greed and racial arrogancies. Lead us to the saving of our country, and with our sister Nations into a world unity that will spell a sure peace a peace invulnerable to the schemings of unworthy men. And a peace that will let all of men live in freedom, reaping the just rewards of their honest toil. Thy will be done, Almighty God. Amen.…
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Breaking Walls: The Podcast on the History of American Network Radio Broadcasting
1 BW - EP152—022: D-Day's 80th Anniversary—A Rare Fibber McGee & Molly Musical & Raymond Massey Fights 36:15
D-Day, June 6th, 1944 was a Tuesday. Ordinarily on Tuesday evenings NBC had a comedy lineup that rivaled the greatest in history. A main part of it was the man you just heard, Jim Jordan, who starred on Fibber McGee and Molly. The normal Fibber McGee and Molly show was canceled on D-Day. Instead, they presented a special musical program at 9:30PM featuring Billy Mills and the King’s Men, leaving room for late-breaking news bulletins. Opposite, CBS presented the first in a new series, The Doctor Fights, starring Raymond Massey in a new portrait each week of a doctor on some far-flung battlefield. The purpose of The Doctor Fights was two-fold: to honor the nation’s one-hundred eighty-thousand doctors, one-third of whom were in the theaters of battle, and to acquaint the public with penicillin. The sponsor, Schenley Laboratories, was one of twenty-two companies making penicillin, and often the stories described wondrous cures resulting from its use by doctors in distant and primitive outposts. Many listeners at that time had never heard of the drug.…
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Breaking Walls: The Podcast on the History of American Network Radio Broadcasting
1 BW - EP152—021: D-Day's 80th Anniversary—Reaction To The Invasion From Around The Country from NBC 31:29
Opposite of The Burns and Allen Show at 9PM, NBC ran a special “Cross Country D-Day tour”, hosted by the just-heard Ben Grauer. It was a program from every part of the nation to show what everyone was thinking and doing on this historic and momentous day. The theme was the same: Work, Pray, Fight. The stations included remotes from WTIC in Hartford, WSYR in Syracuse, WTAR in Norfolk, WSPD in Toledo, WLW in Cincinnati, WMC in Memphis, KTSP in St. Paul, and WKY in Oklahoma City.…
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Breaking Walls: The Podcast on the History of American Network Radio Broadcasting
At 9PM on CBS, Burns and Allen took to the air with a special episode called “Kansas City’s Favorite Singer” with guest-star Dinah Shore. It featured Bea Benaderet and Mel Blanc. Like George Burns and Grace Allen, Blanc and Benaderet spent decades working together, especially on Blanc’s own show after the war and later on The Flintstones.…
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Breaking Walls: The Podcast on the History of American Network Radio Broadcasting
Norman Corwin was twenty-seven years old when he was hired by CBS in April of 1938. For three years he honed his craft on shows like Words Without Music, The Pursuit of Happiness, So This is Radio and Forecast. In 1941 he was tasked with taking over The Columbia Workshop for twenty-six weeks. These plays are today known as “Twenty-Six By Corwin.” They ranged from whimsy, to romance, to high drama, to coming of age tales. CBS refused to offer the series up for sponsorship. Corwin’s programs weren’t about revenue, they were about advancing the medium itself. After the bombing of Pearl Harbor and Manilla on December 7th, 1941, Corwin penned a play in honor of the 150th anniversary of The Bill of Rights. It was at the behest of President Roosevelt. The play was called “We Hold These Truths,” and broadcast on December 15th. Simultaneously heard on all four networks, sixty-million tuned in. It was at that time, the largest ratings share of any dramatic program ever. By 1944 Corwin had free rein over his productions. The Workshop essentially became branded as Columbia Presents Corwin. Corwin had previously adapted Carl Sandburg’s The People, Yes three times. At 8PM over CBS on D-Day, Corwin presented the first in An American Trilogy on Carl Sandburg featuring Charles Laughton. The following two weeks he’d present part two on Thomas Wolfe and part three on Walt Whitman. Opposite, NBC broadcast a special version of the Ginny Simms show.…
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Breaking Walls: The Podcast on the History of American Network Radio Broadcasting
At the conclusion of Ronald Colman’s reading of Edna St. Vincent Millay’s poem, legendary commentator H. V. Kaltenborn took to the air with news and comments on the day’s invasion.
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Breaking Walls: The Podcast on the History of American Network Radio Broadcasting
1 BW - EP152—017: D-Day's 80th Anniversary—Ronald Colman Reads an Edna St. Vincent Millay Poem on NBC 33:48
John Nesbitt was born in Victoria, British Columbia on August 23rd, 1910. The grandson of actor Edwin Booth, the family moved to Alameda, California. Nesbitt was active in stock theater in Vancouver and Spokane and began working for NBC in San Francisco in 1933. By 1935, he was an announcer at KFRC in San Francisco. Nesbitt produced a series called Headlines of the Past which spun off into his signature program, The Passing Parade, in 1937. The inspiration came from a trunk inherited from his father that contained news clippings of odd stories from around the world. He utilized a research staff to verify the details, but wrote the final scripts himself, often within an hour of airtime. This led to a series of one-reel shorts produced by MGM. On the evening of June 6th, 1944, the just-heard Ken Carpenter was announcer for a Passing Parade broadcast on CBS at 7:15PM in which Nesbitt attempted to capture, in real time, the historic significance of D-Day by imagining its story being retold to schoolchildren in the year 2044. At 7:30PM over NBC, Ronald Colman read a special “Poem and Prayer for an Invading Army” by Edna St. Vincent Millay.…
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Breaking Walls: The Podcast on the History of American Network Radio Broadcasting
It’s nearly 6:45PM and I’m at an automat getting some dinner. People around here are feeling a little looser as, by all accounts, the Normandy landings had been a success. They’ve got NBC on the air. Just ending is a “Serenade to America'' with Winifred Hite, Nora Sterling, Milton Katims and his Orchestra. Legendary newscaster Lowell Thomas is about to go on over WEAF with a summary and commentary on the day’s events. Thomas has been on radio since the dawn of the network era. He took over as the host of NBC’s Sunday Literary Digest program in 1930. By October of 1930, he was including more news stories. He moved to CBS, but was back on NBC two years later.…
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Breaking Walls: The Podcast on the History of American Network Radio Broadcasting
1 BW - EP152—015: D-Day's 80th Anniversary—King George VI's Famous Speech And More Invasion Updates 30:25
At 3PM The British King George VI issued a D-Day speech. The Transcription is below. Four years ago, our Nation and Empire stood alone against an overwhelming enemy, with our backs to the wall. Tested as never before in our history, in God's providence we survived that test; the spirit of the people, resolute, dedicated, burned like a bright flame, lit surely from those unseen fires which nothing can quench. Now once more a supreme test has to be faced. This time, the challenge is not to fight to survive, but to fight to win the final victory for the good cause. Once again what is demanded from us all is something more than courage and endurance; we need a revival of spirit, a new unconquerable resolve. After nearly five years of toil and suffering, we must renew that crusading impulse on which we entered the war and met its darkest hour. We and our Allies are sure that our fight is against evil and for a world in which goodness and honor may be the foundation of the life of men in every land. That we may be worthily matched with this new summons of destiny, I desire solemnly to call my people to prayer and dedication. We are not unmindful of our own shortcomings, past and present. We shall ask not that God may do our will, but that we may be enabled to do the will of God: and we dare to believe that God has used our Nation and Empire as an instrument for fulfilling his high purpose. I hope that throughout the present crisis of the liberation of Europe there may be offered up earnest, continuous and widespread prayer. We who remain in this land can most effectively enter into the sufferings of subjugated Europe by prayer, whereby we can fortify the determination of our sailors, soldiers and airmen who go forth to set the captives free. The Queen joins with me in sending you this message. She well understands the anxieties and cares of our womenfolk at this time and she knows that many of them will find, as she does herself, fresh strength and comfort in such waiting upon God. She feels that many women will be glad in this way to keep vigil with their menfolk as they man the ships, storm the beaches and fill the skies. At this historic moment surely not one of us is too busy, too young or too old to play a part in a nationwide, perchance a worldwide, vigil of prayer as the great crusade sets forth. If from every place of worship, from home and factory, from men and women of all ages and many races and occupations, our intercessions rise, then, please God, both now and in a future not remote, the predictions of an ancient Psalm may be fulfilled: "The Lord will give strength unto his people: the Lord will give his people the blessing of peace." By this time, Allied reinforcements from Britain had already arrived in Normandy. Ground troops linked up with the paratroopers further inland and pressed on toward Caen. However, the allies wouldn’t capture the city for more than a month. Once King George VI’s speech was over, CBS switched back to Alan Jackson with a news update. At 4:40PM the just-heard John Daly, Bill Shirer, and Quincy Howe took to CBS’ airwaves with more news updates.…
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Breaking Walls: The Podcast on the History of American Network Radio Broadcasting
Perry Mason debuted over CBS airwaves on October 18th, 1943. On D-Day it was airing at 2:45PM from New York. Mason was a crime-busting lawyer, famous in fiction for unmasking killers in court. Though it came in the guise of crime drama, the show was full-bore soap opera. At points, Jan Miner played Della Street, Mason’s secretary. Mandel Kramer played Police Lieutenant Tragg.…
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Breaking Walls: The Podcast on the History of American Network Radio Broadcasting
That was the voice of Joan Banks Lovejoy who played the scheming Arline Harrison Manning on Portia Faces Life. During World War II she was all over New York radio. On Portia Faces Life, Lucille Wall starred as Portia Blake, a young woman lawyer who battled corruption in the small town of Parkerstown. The show debuted with a crisis on October 7th, 1940 and throughout its entire nearly eleven-year run, the crises never ended. The show moved to CBS in April of 1944 and on D-Day it was airing weekdays at 2PM. The run on CBS would be relatively brief, as on October 3rd, 1944 Portia Faces Life would move back to NBC. ____________ That was the voice of Fran Carlon, who at times starred as Joyce Jordan, MD. Jordan started as a girl intern at Heights Hospital, slowly progressing to a doctor, facing the difficulty of being an intelligent woman in a man’s world. Ken Roberts was the announcer. He’d been a radio staple since the mid-1920s, beginning first at WMCA in New York before becoming a CBS staff announcer. On D-Day, Ken was thirty-five years old. Here’s Ken talking with Chuck Schaden about those early days of Network radio. Himan Brown was often the director.…
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Breaking Walls: The Podcast on the History of American Network Radio Broadcasting
1 BW - EP152—012: D-Day's 80th Anniversary—Mid-Day Reports From Edward R. Murrow And John Daly 1:01:15
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1:01:1512:45PM brought a forty-minute CBS news update featuring Edward R. Murrow from London, Douglas Edwards recapping CBS coverage, and a Quincy Howe analysis. Following this broadcast John Daly immediately signed on.
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Breaking Walls: The Podcast on the History of American Network Radio Broadcasting
At 12:15PM Big Sister took to the air over CBS starring the just-heard Alice Frost as Ruth Evans. Ruth centered her life around her sister Sue and their crippled brother Neddie. When Sue married reporter Jerry Miller, Ruth was able to give her full attention to the care of little Ned. Then, unexpectedly, Ruth fell in love with Neddie’s new doctor, John Wayne, played first by Martin Gabel and later by Staats Cotsworth.…
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Breaking Walls: The Podcast on the History of American Network Radio Broadcasting
1 BW - EP152—010: D-Day's 80th Anniversary—High Noon Prayer with Kate Smith and Invasion Updates 17:23
It’s nearly twelve o’clock and time for me to get back to 485 Madison Avenue. At least I got about five hours sleep, that’s more than I can say for many of my colleagues. I just phoned in. The allies are pushing inland in France. A few thousand have been killed on the beaches of Normandy, but the German resistance has been much lighter than expected. The Luftwaffe are nowhere to be found. The Allied command is uneasy, we know it won’t be all quiet on the western front forever. Kate Smith is signing on CBS. There’ll be news updates to follow.…
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Breaking Walls: The Podcast on the History of American Network Radio Broadcasting
At 11:45AM on D-Day, Aunt Jenny’s Real Life Stories took to the air over CBS featuring Dan Seymour as both announcer and actor. Later this year Seymour would play Vichy French Captain Renard in To Have and Have Not. Unlike most daytime serials, Aunt Jenny confined its tales to five-chapter stories which were completed each week. The cast shifted with the only continuing characters being Aunt Jenny and announcer Dan Seymour, who dropped in each day to hear her tale.…
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Breaking Walls: The Podcast on the History of American Network Radio Broadcasting
At 11:30AM CBS interrupted their scheduled mid-day programming for a newsbreak and a speech from Charles De Gaulle. Born in 1890, De Gaulle was a decorated soldier during the First World War. He repeatedly admonished his superiors for outdated nineteenth century fighting techniques which included bayonet charges against heavy artillery. De Gaulle’s company became known for sneaking into German territory to spy on the enemy. He was a fierce combat veteran, having been shot in the knee, the left hand, being gassed, and receiving a bayonet wound. He was eventually captured by the Germans, spending thirty-two months as a POW. In between the wars he was a strong supporter of tanks and mobile armored divisions. During the German invasion of May 1940, De Gaulle led an armored division counterattack, and was soon appointed Undersecretary for War. Refusing to accept his government's armistice with Germany, De Gaulle fled to England. He led the Free French Forces and later headed the French National Liberation Committee, emerging as the undisputed leader of Free France. De Gaulle became head of the Provisional Government of the French Republic three days before D-Day. On D-Day he was campaigning for his Provisional Government to be recognized as an official full government.…
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Breaking Walls: The Podcast on the History of American Network Radio Broadcasting
The woman you just heard is famed New York character actress Jan Miner. In the mid-1940s Jan was on multiple soap operas, like Lora Lawton. Many top shows were produced by Frank and Anne Hummert. The Hummert radio ties grew from the prominent Chicago advertising agency, Blackett-Sample-and Hummert. Frank Hummert was a celebrated copywriter. His wife, Anne Schumacher Ashenhurst Hummert began as an editorial assistant and quickly earned respect throughout the organization thanks to her ingenuity, insight, and resolve. By the 1940s, the duo controlled four-and-a-half hours of national weekday broadcast schedules. They brought in more than half of the network daytime hour advertising revenue and their shows received more than five million pieces of correspondence annually. When they switched their productions from Chicago to New York, they began employing some of New York’s most famous character actors. At 11AM eastern time from New York, Amanda of Honeymoon Hill signed on starring Joy Hathaway. The show used a familiar Hummert theme: The common girl who marries into a rich, aristocratic family. She lived in the fictional Honeymoon Hill in Virginia. When Amanda Of Honeymoon Hill signed off, another Hummert show, Second Husband, signed on at 11:30 starring Helen Menken. Ms. Menken is perhaps best remembered today as Humphrey Bogart’s first wife, but she was a talented actress in her own right. Throughout its history, one of the show’s announcers was Andre Baruch.…
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Breaking Walls: The Podcast on the History of American Network Radio Broadcasting
1 BW - EP152—006: D-Day's 80th Anniversary—Four Morning Soap Operas At 10AM 1:05:46
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1:05:46At 10AM CBS resumed programming with their mid-morning soap operas. First up was Valiant Lady, starring Joan Blaine. Joan was a valiant lady because she sacrificed a promising Broadway career for her father’s sake, then married a “brilliant but unstable" surgeon. People like the just-heard Mandel Kramer loved working on soap operas from New York. At 10:15AM Light of the World signed on starring Bret Morrison as “the Speaker.” The show was a soap opera version of the stories of the bible and featured some of New York’s best talent like Mandel Kramer, Louise Fitch, and Alexander Scourby. This D-Day broadcast was the very first episode of Light of the World on CBS. It had been running on NBC since March of 1940. It would run on CBS until August of 1946 before once again being picked up by NBC until June 2nd, 1950. When Light of the World signed off, The Open Door signed on at 10:30. Created by Sandra Michael, The Open Door was a purposely slow-moving, character building show built around Dean Eric Hansen of the fictional Vernon University. The stories involved people in his life: their problems, lives, and loves. The star, Dr. Alfred Dorf had known Sandra Michael since her childhood in Denmark. He’d come to America to establish a church in Brooklyn and was the true inspiration behind the character. Unfortunately, the agency handling the sponsor’s account didn’t like the direction of the series. They pressured Sandra Michael into changing the show, but she resisted and the show was canceled after June 30th, 1944. Once The Open Door signed off, Bachelor’s Children signed on at 10:45. It featured Hugh Studebaker as Dr. Bob Graham, a bachelor who took in his dying friend's 18-year-old twin daughters. Marjorie Hannan played Ruth Ann, the kind, thoughtful twin, and Patricia Dunlap played Janet, the fiery and impulsive twin. Olan Soule played Sam Ryder. He was, perhaps, best known for co-starring with Barbara Luddy on The First Nighter.…
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Breaking Walls: The Podcast on the History of American Network Radio Broadcasting
1 BW - EP152—005: D-Day's 80th Anniversary—CBS World News at 9AM with Douglas Edwards 1:00:30
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1:00:30At 9AM eastern war time, CBS World News signed on with Douglas Edwards reporting. On D-Day Edwards was twenty-six years old. He’d been hired in 1942 by CBS as a reporter and understudy for John Daly. When Daly was sent overseas to cover the war in 1943 Edwards was promoted to lead The World Today, World News Today, and Report to the Nation. In 1945, Edwards was sent to London to cover the final weeks of the war with Edward R. Murrow. He was then appointed the network's news bureau chief in Paris and assigned to cover post-war elections in Germany and the start of the Nuremberg trials. By this time, fourteen thousand Canadian troops had taken Juno Beach, pressing inland. British and American forces, including those at Omaha, took control of their beachheads. The Allies brought in tanks, tended to the wounded and cleared away mines on the beaches. They also started pressuring German forces at Caen. Hitler finally agreed to send reinforcements to Normandy. Once World News Today signed off Robert Trout was back on the air for the final forty-five minutes of the special news broadcast.…
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Breaking Walls: The Podcast on the History of American Network Radio Broadcasting
I just phoned CBS news headquarters at 485 Madison Avenue. I’m told that they’ll resume scheduled programming at 10AM. NBC has canceled all programming until further notice. Mutual and The Blue Network are interspersing news throughout the day. The Stock Exchange will observe two minutes of silence and Mayor La Guardia will be holding a rally in Madison Square. As for me, I’ve been momentarily dismissed. I’m heading home to get some rest. Meanwhile, let’s listen to Bob Trout. Charles Shaw will report from London with a man-on-the-street reaction while Ned Calmer and Don Pryor will introduce French Colonel Morrison who’ll describe the area of the invasion landings. This will take us to 6:30 AM.…
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Breaking Walls: The Podcast on the History of American Network Radio Broadcasting
As part of my job I’ve been sent by CBS to Union Square. I decided to stop by my high school alma mater, I’m at the Church of St. Francis Xavier on sixteenth street. They’re having a sunrise mass filled with prayer for our soldiers and other war workers. The people are stoic. Now isn’t the time to lose ourselves in emotion. Sunrise is at 5:25AM. I hear American troops have turned the tide of battle at the Omaha landing point, with warships backing them up at sea. Give a listen to the CBS broadcast. David Anderson, Arthur Mann, Paul White, and Edward R. Murrow have reports from London. Quentin Reynolds will describe Eisenhower’s speech to occupied Europe, while Bill Henry and Joe McCaffrey report from Washington.…
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Breaking Walls: The Podcast on the History of American Network Radio Broadcasting
1 BW - EP152—002: D-Day's 80th Anniversary—The First Eye Witness Account Of The Invasion 1:05:14
1:05:14
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1:05:14The man you just heard was CBS news reporter Robert Trout. Born in Wake County, North Carolina on October 15th, 1909, he grew up in Washington, D.C., entering broadcasting in 1931 as an announcer at WJSV, an independent station in Alexandria, Virginia. In the summer of 1932 WJSV was acquired by CBS, bringing Trout into the young network. He soon became an invaluable member of William S. Paley’s team, and was the first person to publicly refer to FDR’s radio programs as Fireside Chats. On Sunday night, March 13th, 1938, after Adolf Hitler's Germany had annexed Austria in the Anschluss, Trout hosted a shortwave "roundup" of reaction from multiple cities in Europe—the first such multi-point live broadcast on network radio. Years later, journalist Ned Calmer remembered that moment. Trout also played a key role in Edward R. Murrow’s development as a broadcaster. By the time war had come to the US, Trout was in New York and Murrow had put together the staff of international war correspondents known as the Murrow Boys. At 4:15 AM eastern war time on the morning of Tuesday June 6th, 1944, Bob Trout was in the CBS newsroom at 485 Madison Avenue emceeing an overnight broadcast that brought the first eye witness account of the invasion from reporter Wright Bryan. Bryan stood an imposing six-foot-five and covered the story from a transport plane dropping airborne troops. Later in 1944 Bryan was wounded and captured by the Germans. He spent six months in hospitals and in a POW camp in Poland before being freed by Russian troops in January 1945. This broadcast took listeners up to 5 AM. eastern war time. Along with Wright Bryan, it featured analysis from George Fielding Elliot, commentary by Quentin Reynolds, and reports from John W. Vandercook and James Willard. At 5AM over CBS Major George Fielding Elliot gave an analysis of the known information. Elliot was a second lieutenant in the Australian army during World War I. He became a member of the Royal Canadian Mounted Police and later a major in the Military Intelligence Reserve of the US Army. He wrote fifteen books on military and political matters and was a longtime staff writer for the New York Herald Tribune. After Elliot spoke, Richard C. Hottelet reported from London with the first eye witness account of the seaborne side of the invasion. Edward R. Murrow hired Hottelet that January. On this day he was riding in a bomber that attacked Utah Beach six minutes before H-Hour and watched the first minutes of the attack. He would later cover the Battle of the Bulge. At 7AM French time, the Allies began deploying amphibious tanks on the beaches of Normandy to support the ground troops and sweep for defensive mines. American troops faced heavy machine-gun fire on Omaha Beach, the most heavily fortified landing point of the invasion. Roughly twenty-five-hundred U.S. soldiers were killed on the beach in the bloodiest fight of the day. This fighting took the timeline to Eisenhower’s official announcement at 3:32 Eastern War time.…
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Breaking Walls: The Podcast on the History of American Network Radio Broadcasting
Tuesday, June 6th, 1944 at about 12:45 in the morning. We’re at Bill Pogue’s Bar on the Corner of 88th street and Columbus Avenue in Manhattan. I just finished a twelve hour shift. I need a nightcap before I go back into that low-hanging fog. Did you hear the President tonight? We took Rome. One up and two to go. ____________ Only the German outlets that are saying the invasion has started. Paris radio just aired news bulletins and didn’t say anything. London radio told Hollanders to stay off bridges and roads, but that could be normal instructions. You want to know something? I don’t think the Germans are lying. I think this is it. This is D-Day, June 6th, 1944. ____________ It’s 3:30 in the morning on June 6th, 1944. I’ve just left CBS news headquarters at 485 Madison Avenue. I parked in Times Square on purpose. I wanted to see if there was any reaction. A few servicemen came out of a bar. I told them the news. They joined others in front of cabs who were tuned to either CBS or NBC. The news cutaway from band remotes sounded haunting. There are scattered lights in apartment windows and one radio shop, closed for the evening, has a loudspeaker blaring CBS. I won’t be sleeping tonight. I’ve been assigned to take the temperature of the emotions people are feeling. The long and short of it is that we still have no allied confirmation about a French coastline invasion. The president was on the radio last night with one of his fireside chats talking about the allies taking Rome. If he knew something about France, he didn’t tip his hand. Bob Trout should be on the air right about now. Bob’s a good man. To kill time he was going to take his microphone into the CBS newsroom, giving a taste of what a nerve center is like with chaos brimming. 10PM New York time on June 5th was 4AM on the morning of the 6th in France. At that moment seven-thousand allied ships left England under cover of darkness. They were loaded with allied troops, primarily from Britain, the US, and Canada for Operation Overlord. The soldiers were split up to invade five landing points along the coast of northern France. The beachheads were code named Utah, Omaha, Gold, Sword, and Juno. At midnight, while I was drinking at Bill Pogue’s allied bombers were bombarding the coastline. Personnel carriers flew inland to drop off paratroopers. The paratroopers' job was to attack bridges and seize several key points to cut off the Nazi supply lines. An hour later, while distracting the Germans at Pas-de-Calais, allied warships dropped anchor off the coast of Normandy to wait for dawn and provide cover for the landing ships. By 2AM, more than thirteen-thousand paratroopers had been dropped into France, with four-thousand more flying in on gliders. They continued landing troops for the next two hours. The Germans saw the paratroopers, but failed to grasp just how big the invasion was to be. By 5AM, Allied battleships had begun firing on the Nazi defenses while the first landing ships went ashore. German and Allied ships clashed in the first skirmishes at sea. As the sun rose, the landing operation was fully underway. The Allied battleships stopped firing as their landing boats approached the shore at 6:30AM, dubbed “H-Hour” for the designated moment of the invasion. The landing ships were tightly packed together. Allied troops dealt with heavy gunfire. Many men were killed before they could reach the beach. Nevertheless, the Allies managed to land their troops, and the fight for the beaches began.…
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Breaking Walls: The Podcast on the History of American Network Radio Broadcasting
1 BW - EP151: Jack Benny's Famous Slump (1944) 4:32:11
4:32:11
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4:32:11In Breaking Walls episode 151 it’s the spring of 1944 and Jack Benny’s sponsor, General Foods, thinks he’s in a slump. Benny got mad and it changed the broadcasting landscape forever. Tonight, we’ll find out how and why. —————————— Highlights: • Benny's Early Radio Career in the 1930s and Ratings Peak • Early Problems with General Foods • Dennis Day Leaves for World War II • Jack Fires General Foods, Signs with American Tobacco • Dick Haymes Replaces Dennis Day as Singer • The Importance of Benny’s Supporting Cast • Jack’s Split Personality • Danny Kaye Guest Stars To Play Jack in A Movie • The Last General Foods Sponsored Show • Looking Ahead to D-Day’s 80th Anniversary —————————— The WallBreakers: http://thewallbreakers.com Subscribe to Breaking Walls everywhere you get your podcasts. To support the show: http://patreon.com/TheWallBreakers —————————— The reading material used in today’s episode was: • Sunday Nights at Seven — by Jack and Joan Benny • On The Air — By John Dunning • Network Radio Ratings — By Jim Ramsburg As well as articles from • Broadcasting Magazine • Radio Daily • Variety And a massive special thank you to William Cairns for providing me with invaluable research on Benny’s 1940s run. William has a Jack Benny book on its way. —————————— On the interview front: • Jack Benny, Dennis Day, Phil Harris, Frank Nelson, and Don Wilson spoke with Chuck Schaden. Hear these full chats at Speakingofradio.com. • Mel Blanc and Mary Jane Higby spoke to Dick Bertel and Ed Corcoran for WTIC’s The Golden Age of Radio. Hear these interviews at Goldenage-WTIC.org • Jack Benny, Dennis Day, Phil Harris, and Don Wilson were with Jack Carney • Dennis Day was also with John Dunning for his 1980s 71KNUS Radio program from Denver. • Orson Welles spoke to Johnny Carson —————————— Selected music featured in today’s episode was: • The Hut on Fowl's Legs — By Modest Mussorgsky —————————— A special thank you to Ted Davenport, Jerry Haendiges, and Gordon Skene. For Ted go to RadioMemories.com, for Jerry, visit OTRSite.com, and for Gordon, please go to PastDaily.com. —————————— Thank you to: Tony Adams Steven Allmon Orson Orsen Chandler Phil Erickson Gerrit Lane Jessica Hanna Perri Harper Thomas M. Joyce Ryan Kramer Earl Millard Gary Mollica Barry Nadler Christian Neuhaus Ray Shaw Filipe A Silva John Williams Jim W. WildEyeWheel —————————— WallBreakers Links: Patreon - patreon.com/thewallbreakers Social Media - @TheWallBreakers…
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Breaking Walls: The Podcast on the History of American Network Radio Broadcasting
In the fall of 1944 after Jack’s switch to Lucky Strike, General Foods did move a show opposite Jack. It wound up being The Kate Smith Show. The company uprooted Smith’s Friday program, countering Benny with a One-Hundred-Seventy-Thousand-Dollar ad campaign. While they did temporarily put a dent into Benny’s rating, Kate Smith lost forty-percent of her audience, dropping to ninety-third place in the overall ratings. The following season General Foods moved her back to Friday, but Kate Smith never again had another Top-fifty show. Well, that brings our look at Jack Benny’s show in the spring of 1944 to a close. I mentioned that Benny’s last episode for General Foods aired on June 4th, 1944. Our next episode of Breaking Walls will move only two days into the future, for perhaps the most important day in broadcasting history. Next time on Breaking Walls, we spotlight radio broadcasting on June 6th, 1944 to align ourselves with the Country’s heartbeat on the day the invasion of western Europe finally began. The reading material used in today’s episode was: • Sunday Nights at Seven — by Jack and Joan Benny • On The Air — By John Dunning • Network Radio Ratings — By Jim Ramsburg As well as articles from • Broadcasting Magazine • Radio Daily • Variety And a massive special thank you to William Cairns for providing me with invaluable research on Benny’s 1940s run. William has a Jack Benny book on its way. On the interview front: • Jack Benny, Dennis Day, Phil Harris, Frank Nelson, and Don Wilson spoke with Chuck Schaden. Hear these full chats at Speakingofradio.com. • Mel Blanc and Mary Jane Higby spoke to Dick Bertel and Ed Corcoran for WTIC’s The Golden Age of Radio. Hear these interviews at Goldenage-WTIC.org • Jack Benny, Dennis Day, Phil Harris, and Don Wilson were with Jack Carney • Dennis Day was also with John Dunning for his 1980s 71KNUS Radio program from Denver. • Orson Welles spoke to Johnny Carson Selected music featured in today’s episode was: • The Hut on Fowl's Legs — By Modest Mussorgsky…
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Breaking Walls: The Podcast on the History of American Network Radio Broadcasting
June 4th, 1944 was the last Grape Nuts Flakes sponsored Jack Benny Program. Jack took out a full page ad in Variety thanking General Foods and their agency Young and Rubicam for ten years of partnership. Six days later, the American Cigarette and Cigar Company deposited two hundred thousand dollars in a special exploitation account for the program. On June 23rd they wrote to Jack stipulating some terms of the agreement. The program would be broadcast live coast-to-coast 7:00PM eastern war time, with a transcribed rebroadcast by transcription between 12:30 and 1:00AM New York time for West Coast stations. In August, Benny left on a three-week USO tour of Australia and the South Pacific. On August 28th, American Tobacco announced that Pall Mall’s product scarcity didn’t justify a twenty-five thousand dollar per week expenditure. Lucky Strike would sponsor the show. The following week they announced a comprehensive, multimedia ad campaign. It was estimated to cost over a quarter million dollars. This changed the company with which Jack was signed from the American Cigarette & Cigar Company to the American Tobacco Company, and was made official on September 26th, 1944.…
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Breaking Walls: The Podcast on the History of American Network Radio Broadcasting
While the cast of Jack Benny became famous in their own right, Benny’s show had great guest-stars, as Dennis Day remembered. On the May 28th, 1944 episode Jack is in talks with Warner Brothers to make a film about his life. Naturally Jack thinks he’ll star, write, and direct it. Unfortunately for him, Warner Brothers has other ideas. They want Danny Kaye to play Jack and Jack to play Jack’s father.…
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Breaking Walls: The Podcast on the History of American Network Radio Broadcasting
With Jack’s contract with General Foods nearing its close, the only thing left to do was count down the remaining episodes. On May 21st, 1944, Jack and the gang discussed split personalities. Jack thinks it's ridiculous, but later realizes he has one too. In other news this episode marks the debut of the spoof commercial for Sympathy Cough Syrup. Its tagline “Sympathy spelled backwards is Yhtapmys” became famous.…
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Breaking Walls: The Podcast on the History of American Network Radio Broadcasting
By the Spring of 1944 Jack Benny’s cast had become its most familiar incarnation. Frank Nelson had begun to develop into Benny’s nemesis, as he remembered in this interview clip. Phil Harris was a lovable and vain drunk. Mel Blanc could play any character imaginable. Others like Bea Benaderet, John Brown, and Sarah Berner rounded out the cast. Most importantly Jack was known to be the exact opposite of his character. On May 14th, 1944 The Jack Benny Program was broadcast live at Camp Adair, Oregon.…
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Breaking Walls: The Podcast on the History of American Network Radio Broadcasting
1 BW - EP151—005: Jack Benny's Famous Slump—Why Dick Haymes Replaced Dennis Day As Jack's Singer 30:39
In early May 1944 Jack and the rest of his cast were still traveling around military bases in the Pacific Northwest. On May 7th they were at the Naval Air Station in Whidbey Island, Washington as Dick Haymes continued substituting for the now departed Dennis Day. The rating for this episode was 20.1, although lower than his season average, it was still tied for third overall, and first on Sunday evenings.…
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Breaking Walls: The Podcast on the History of American Network Radio Broadcasting
1 BW - EP151—004: Jack Benny's Famous Slump—Why Jack Fired General Foods & Signed w/ American Tobacco 28:48
By the spring of 1944, Benny’s ratings had continued slipping. That season, his 23.7 rating meant he’d lost roughly four million weekly listeners in just three years. At the end of this season, his contract with General Foods was up. Here's Jack Benny talking about that time. There was tension between the two parties because Benny had helped save Jell-O from going out of business. Jack was also upset with what he felt were second-rate accommodations provided by General Foods during the cast’s ongoing army base trips. Since Benny had full control of his show as NBC guaranteed him the Sunday time slot over any sponsor Benny could sell his program to the highest bidder. Benny’s management team quietly held a sealed auction for sponsorship on February 24th. George W. Hill, the President of American Tobacco, wanted Benny’s show. His chief account executive was thirty-six-year-old Pat Weaver, the future president of NBC. A surprise winner was announced: Ruthrauff & Ryan, agency for American Tobacco’s Pall Mall cigarettes, bid twenty-five thousand dollars per-week for three thirty-five week seasons. That’s roughly Four-Hundred-Forty Thousand Dollars today. The weekly money was payable to Benny for all payroll and production costs. They also included an additional two-hundred-thousand dollars, or three-point-five million today, over the three years for marketing and promotion. American Tobacco also agreed to pay for any network and carrier line charges. The advertising community was stunned. General Foods considered retaliating against Jack by moving The Fanny Brice Show to CBS opposite the Benny program. They also publicized the fact that they were now sponsoring three programs, The Aldrich Family, The Meredith Wilson Show, and Mr. Ace and Jane, for the same cost as just the Benny program. On April 10th, 1944, Jack officially signed a three-year contract with the American Cigarette & Cigar Company to advertise Pall Mall cigarettes for twenty-two thousand dollars per broadcast, including a West Coast rebroadcast. The three-year contract would begin on July 1st, 1944, and run through June 30th, 1947. American Tobacco also had a three year option to renew. Benny was the executive producer. He funded the entire production cost out of his pay. In the case that any cast member, or Jack himself, missed a program, Jack was to furnish a substitute actor for ten thousand dollars, at his own expense. If Jack was absent for six consecutive broadcasts, American had the right to terminate the current season, but not the entire contract. Jack also had to make up for any of his absences by adding additional programs at the end of the season. In the midst of this, on April 30th, 1944 The Jack Benny Program signed on from the Puget Sound Navy Yard in Seattle, Washington. With Dennis Day gone to war, Dick Haymes substituted as the program’s singer.…
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Breaking Walls: The Podcast on the History of American Network Radio Broadcasting
1 BW - EP151—003: Jack Benny's Famous Slump—Dennis Day's Last Show, Leaves For The Navy & World War II 29:11
On April 23rd, 1944 The Jack Benny Program took to the air, broadcasting from Vancouver, British Columbia. It would be Dennis Day’s last show until March 17th, 1946. He’d be departing for the Navy. In April of 1944 Dennis Day was twenty-seven years old. He’d been starring on Jack Benny’s show since 1939, rounding into a very talented performer. Day had great comic timing and the ability to mimic voices well. That year, he’d appear on film in Music in Manhattan opposite Anne Shirley.…
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Breaking Walls: The Podcast on the History of American Network Radio Broadcasting
Mel Blanc joined the show on February 19th, 1939. Benny was adding a new touch to the miser theme: a polar bear, who would live in his basement and help protect his money. The bear was christened Carmichael, and in 1941, according to Rochester, he ate the gas man. On Sunday December 7th, 1941 Japan attacked Pearl Harbor and Manila, thrusting the United States into World War II. That evening, The Jell-O Program signed on at 7PM eastern time. This is audio from that night. Benny’s show peaked in 1941 with an average rating of 30.8. By 1942 Jack was beginning to get into disagreements with General Foods. Variety reported as early as 1939 that the sponsor wanted to change Jack’s sponsorship to Grape Nuts Flakes. Jack resisted the move. The Jell-O brand had become uniquely associated with Benny. However, by 1942 with wartime sugar rationing, General Foods pushed the product change through. Variety reported on March 4th, 1942 that Benny would take Grape Nuts Flakes, while Kate Smith would now be sponsored by Jell-O. General Foods claimed the output of Jell-O would be so limited by the fall that they couldn’t justify the cost of Benny’s show. The Jack Benny Program cost General Foods twenty-two-thousand dollars per week. Kate Smith’s show only cost ten thousand. With the October 4th, 1942 season premiere the show became The Grape-Nuts Flakes Program Starring Jack Benny. Benny wasn’t thrilled, also feeling General Foods hadn’t done enough to promote his show. After back-to-back seasons with a rating over thirty points, Benny 1942-43 rating slipped to 26.3, losing roughly two million listeners. Jack had a unique contract. Thanks to a verbal agreement with NBC’s President Niles Trammel, Jack controlled his Sunday timeslot. At the end of Jack’s next contract he was free to approach any sponsor, pending NBC’s approval. It meant that General Foods could lose their top star and their top time slot.…
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Breaking Walls: The Podcast on the History of American Network Radio Broadcasting
In March of 1932 Jack Benny was headlining on Broadway as part of Earl Carroll’s Vanities when friend Ed Sullivan invited him to appear on Ed’s radio show. At the time Benny had no great interest in radio, but he went on Sullivan’s quarter-hour show March 19th, 1932, as a favor. His first line was “Ladies and gentlemen, this is Jack Benny talking. There will be a slight pause while you say, ‘Who cares?” Canada Dry Ginger Ale’s advertising agency heard Benny and offered him a show. Benny debuted on NBC’s Blue Network on May 2nd, 1932. This initial series aired Mondays and Wednesdays. Benny’s wife of five years, Sadye Marks, who’d performed with him on Vaudeville, joined the cast on August 3rd as Mary Livingstone. In storyline she was a young Benny fan from Plainfield, New Jersey. Eventually she read humorous poetry and letters from her mother, and much later she would become a main deflator of Benny’s ego. On October 30th, 1932 the show moved to CBS. During this time Benny began ribbing his sponsor in a gentle, good-natured way. Canada Dry got upset, and despite a rating in radio’s top twenty, they canceled the show after January 26th, 1933. Chevrolet, which had recently lost Al Jolson, was waiting in the wings. On Friday, March 17th, 1933 at 10PM from New York, Benny debuted with The Chevrolet Program over NBC’s Red Network. The June 23rd, 1933 episode was the last of the season as well as Mary Livingstone’s twenty-eighth birthday. Howard Claney was announcer with Frank Black as orchestra leader and James Melton as the tenor. When the show returned in the fall it was on Sundays at 10PM from New York. Benny’s program slowly began to morph from variety into more developed comedic skits. He also started to show the character traits that would come to define his persona. Unfortunately, Chevrolet didn’t like the series and fired him after the April 1st, 1934 episode. But, the General Tire Company immediately scooped him up. Benny debuted on their program the following Friday, April 6th, 1934 at 10PM. There, he first worked with announcer Don Wilson. Wilson would remain with Benny until 1965. Often the butt of weight-based jokes, Wilson’s deep belly laugh that could often be heard above the studio audience and his deep, rich voice became a show trademark. This is audio from that April 6th, 1934 episode. That summer Mary and Jack adopted their daughter Joan. She was two weeks old. Jack later said in his autobiography that as Joan grew older, she came to look like he and Mary. She had Mary’s face with Jack’s blue eyes and his love for music. Benny, Don Wilson, and Mary Livingstone worked together, along with tenor Frank Parker and orchestra leader Don Bestor on The General Tire Show until September 28th, 1934. Then, General Foods came calling. They wanted Benny’s help saving a gelatin product of theirs called Jell-O, which was getting badly beaten by Knox Gelatin in sales. On October 14th, 1934 Benny moved to Sunday nights at 7PM from NBC’s Blue Network. His rating immediately leapt into the top five. On April 7th, 1935 the show was regularly broadcast from New York for the final time. The Jell-O Program would be moving to Hollywood. Benny simultaneously made Broadway Melody of 1936 and It’s In The Air on film. Until the mid-1930s, New York and Chicago were the main broadcasting hubs. Frank Nelson remembered early Hollywood radio. Nelson began working with Benny in June of 1934. Even in 1935, it was still more costly for shows to originate from Southern California. Here’s actress Mary Jane Higby, who grew up in Los Angeles, but moved to New York in 1937, explaining why. On November 3rd, 1935 Kenny Baker joined the show as the new singer. That year, Benny’s show climbed to second overall in the ratings. The following year Benny made The Big Broadcast of 1937 on film, and on October 4th, 1936 Phil Harris debuted as the new band leader. With Phil Harris in place, Benny’s most-famous cast was taking shape.…
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Breaking Walls: The Podcast on the History of American Network Radio Broadcasting
1 BW - EP150: Easter Sunday 1944 6:30:38
6:30:38
ลิสต์เล่นในภายหลัง
ลิสต์เล่นในภายหลัง
ลิสต์
ถูกใจ
ที่ถูกใจแล้ว
6:30:38In Breaking Walls episode 150 we parachute into Easter Sunday, 1944 for a day of radio, recollections, and reconciliation. It’s now less than two months before D-Day and U.S. citizens are awaiting word of a full-scale European invasion with held breath. —————————— Highlights: • Cracks In The Nazi Foundation • Invitation To Learning at 11:30AM • Ceiling Unlimited with Joseph Cotton at 2PM • The Life of Riley at 3PM • Bulldog Drummond at 3:30PM • The Shadow at 5:30PM • The Catholic Hour & Radio Hall of Fame at 6PM • The Great Gildersleeve at 6:30PM • Jack Benny and The Mysterious Traveler at 7PM • Edgar Bergen and Charlie McCarthy at 8PM • Fred Allen at 9:30PM • Bob Crosby and The Thin Man at 10PM • Duke Ellington and The News at 11:15PM • Looking Ahead to Jack Benny Changing Sponsors —————————— The WallBreakers: http://thewallbreakers.com Subscribe to Breaking Walls everywhere you get your podcasts. To support the show: http://patreon.com/TheWallBreakers —————————— The reading material used in today’s episode was: • Treadmill to Oblivion & Much Ado About Me — By Fred Allen • Citizen Welles — By Frank Brady • On The Air — By John Dunning • Invitation To Learning — By Martin Grams Jr. • Network Radio Ratings — By Jim Ramsburg —————————— On the interview front: • Don Ameche, George Balzer, Jack Benny, Conrad Binyon, Himan Brown, Joseph Cotton, Shirley Mitchell, Brett Morrison, Les Tremayne, and Paula Winslowe spoke with Chuck Schaden. Hear these full chats at Speakingofradio.com. • Jackson Beck, Edgar Bergen, and Hans Conreid spoke to Dick Bertel and Ed Corcoran for WTIC’s The Golden Age of Radio. Hear these interviews at Goldenage-WTIC.org • Ralph Bell and Himan Brown spoke to SPERDVAC. For more info, go to SPERDVAC.com • Jack Kruschen and Shirley Mitchell spoke to Jim Bohannon in 1987 • Jack Benny spoke with Jack Carney • Fred Allen spoke with Tex McCrary and Jinx Falkenburg • Parker Fennelly spoke with David S. Siegel • Duke Ellington spoke with Dick Cavett —————————— Selected music featured in today’s episode was: • Besame Mucho — By Jimmy Dorsey and His Orchestra • Danse Macabre — By Camille Saint-Saëns —————————— A special thank you to Ted Davenport, Jerry Haendiges, and Gordon Skene. For Ted go to RadioMemories.com, for Jerry, visit OTRSite.com, and for Gordon, please go to PastDaily.com. —————————— Thank you to: Tony Adams Steven Allmon Orson Orsen Chandler Phil Erickson Gerrit Lane Jessica Hanna Perri Harper Thomas M. Joyce Ryan Kramer Earl Millard Gary Mollica Barry Nadler Christian Neuhaus Ray Shaw Filipe A Silva John Williams Jim W. WildEyeWheel…
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Breaking Walls: The Podcast on the History of American Network Radio Broadcasting
At 11:15PM over Mutual’s WOR in New York, Duke Ellington was on the air with music from The famous Hurricane Nightclub on 49th street and broadway in New York City. The next day, The British Royal Air Force dropped a record thirty-six hundred tons of bombs in a single raid on Germany, France and Belgium. On Tuesday April 11th, the Soviets took more northern territory in Crimea. German forces immediately began a withdrawal. That same day, the U.S. sunk a Japanese destroyer and a German submarine. One thing was clear as the calendar turned to mid-April, the Allies were piling up victories and the Axis powers knew they needed to do something to stem the turning tide of war. Although we know now that D-Day would happen in June, both sides knew a big invasion was coming. In the meantime, those people in midtown Manhattan could dance and drink the night away. After all, tomorrow is never guaranteed.…
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Breaking Walls: The Podcast on the History of American Network Radio Broadcasting
At 10:30PM eastern time on NBC’s WEAF, The Bob Crosby Show took to the air in New York with the just-heard Les Tremayne as co-host and Shirley Mitchell as the special guest. This episode’s rating was 13.8. Earlier this evening, Shirley Mitchell played Leila Ransom on NBC’s The Great Gildersleeve. Opposite The Bob Crosby Show, The Adventures of The Thin Man took to the air on CBS. Based on the 1934 film starring William Powell and Myrna Loy, both Les Tremayne and Les Damon at times co-starred with Claudia Morgan as Nick and Nora Charles. Nick Charles was a retired private eye who just couldn’t stay away from murder. The Thin Man gave its listeners all the censor would allow. Morgan cooed invitingly: she mouthed long, drawn-out kisses and kidded Nicky-darling about his outlandish pajamas. One critic strongly objected to the “oohhs” and “aahhs” and “mmmm’s’’ during kisses. But as feminine and cozy as Claudia Morgan played Nora, LIFE noted that “she can step across pools of blood with all the calm delicacy of a lady-in-waiting.” Parker Fennelly played Sheriff Ebenezer Williams. The rating for this episode was 16.1. Roughly twelve million people tuned in.…
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Breaking Walls: The Podcast on the History of American Network Radio Broadcasting
1 BW - EP150—010: Easter Sunday 1944—Fred Allen Solves A Mystery & Takes Time Off For Hypertension 36:39
In the Spring of 1944, Fred Allen was finishing up his fourth season as host of The Texaco Star Theater on CBS. He’d been on the air for over a decade, but it was while he was hosting Texaco on December 6th, 1942 that Fred debuted Allen’s Alley. Allen used to read the newspaper column of O.O. McIntyre, called “Thoughts While Strolling.” McIntyre wrote about sights and sounds he’d met walking through the shabby streets of New York’s Chinatown and The Bowery. Allen felt that this kind of routine could come off very well on radio. A loud-mouth politician had possibilities. Actor Jack Smart voiced Senator Bloat. John Doe was another early character. Portrayed by John Brown, Doe was an average man squeezed by life from all angles. Alan Reed voiced Falstaff Openshaw, the poet. There was a Greek restaurant owner, an old maid, and a Russian. The segment was always launched with Portland Hoffa asking what question Alen had for the Alley occupants that week. Then they’d knock on various doors. Eventually many of these characters gave way to the most popular incarnation of the Alley with Minerva Pious’ jewish Mrs. Nussbaum, Peter Donald’s irish Ajax Cassidy, Kenny Delmare’s the Southern Senator Claghorn, and Parker Fennelly’s rural New England Titus Moody. The entire alley was allotted five minutes with laughter. Each character had seventy-five seconds for their lines. This was an issue because the program often ran overtime. It eventually caused the whole show to get cut off the air by network executives. The New York Herald-Tribune critic John Crosby later wrote that part of what made Fred's battles with censorship so difficult was that "the man assigned to review his scripts frankly admitted he didn't understand Allen's peculiar brand of humor at all." Regardless, the agency and network people couldn’t argue with Allen’s ratings. He was consistently a top-twenty show, and in April of 1944 he was being heard by more than thirteen million people. On Easter Sunday at 9:30PM New York time, his special guest was actor Reginald Gardiner. Together they presented a sketch spoofing Sherlock Holmes called Fetlock Bones. Unfortunately, the fight was getting to Fred Allen. After this season, Allen quit The Texaco Star Theater as high blood pressure forced him off the air.…
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Breaking Walls: The Podcast on the History of American Network Radio Broadcasting
Edgar Bergen first came to the attention of American audiences on Rudy Vallée’s NBC Royal Gelatin Hour on December 17th, 1936. How could ventriloquism work on radio? Perhaps Rudy Vallée himself put it best the night Bergen debuted. Five months later NBC gave Bergen his own show on Sundays at 8PM. He was an instant smash hit. Don Ameche worked with Bergen in those years. He was emcee on December 12th, 1937 when Mae West was the guest for an innuendo heavy skit called “Adam and Eve.” Over the next six seasons his show was never rated lower than fourth. Twice it was the country’s top program. On April 9th, 1944 Bergen’s rating was 27.1. Roughly twenty million people were tuned in live, coast-to-coast from WEAF in New York at 8PM eastern and 5PM pacific over KFI. This is that entire Easter Sunday broadcast.…
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Breaking Walls: The Podcast on the History of American Network Radio Broadcasting
1 BW - EP150—008: Easter Sunday 1944—Jack Benny's Only Pall Mall Show & The Mysterious Traveler Rides 51:55
At 7PM eastern time over Mutual Broadcasting’s flagship WOR, The Mysterious Traveler went on the air. Written and directed by Robert Arthur and David Kogan, The Mysterious Traveler debuted on Mutual December 5th, 1943. Maurice Tarplin played the title role with a good-natured malevolence. The traveler mostly narrated from an omniscient perch. He rode a phantom train by night. The opening signature was the distant wail of a locomotive whistle, fading in gradually until the rumble of the train could be heard. David Kogan and Robert Arthur had met in Greenwich Village, New York, partnering on Mutual’s Dark Destiny. After it was canceled, they came up with the Mysterious Traveler concept and prepared three sample scripts. Norman Livingston bought it for WOR. As independent producers, they were paid a flat rate for the whole package. Any money they saved by using the same actor in multiple roles went into their own pockets, so they used the best character actors in New York. Kogan also directed the series. On Easter Sunday, episode 19, “Beware of Tomorrow,” aired just as a gloomy dusk descended upon New York. Opposite The Mysterious Traveler, The Jack Benny Program signed on live, coast-to-coast at 7PM from WEAF in New York and at 4PM from KFI in Los Angeles. By April of 1944, Benny’s writing team consisted of Sam Perrin, Milt Josefsberg, John Tackaberry, and this man, George Balzer. By the spring of 1944, General Foods had been sponsoring the program for ten years, first with Jell-O and then Grape Nuts Flakes. Benny’s ratings had quietly been slipping since 1941. At the end of this season, his contract with General Foods was up. There was tension between the two parties because Benny had helped save Jell-O from going out of business. Benny had full control of his show. NBC also guaranteed his Sunday time slot for as long as he wanted it. This position allowed Benny to sell his program to the highest bidder. George W. Hill, the President of American Tobacco, wanted Benny’s show. His chief account executive was thirty-six-year-old Pat Weaver, the future president of NBC. Benny’s management team quietly held a sealed auction for sponsorship on February 24th. A surprise winner was announced: Ruthrauff & Ryan, agency for American Tobacco’s Pall Mall cigarettes, bid twenty-five thousand dollars per-week for three thirty-five week seasons. The weekly money was payable to Benny for all payroll and production costs. They also included an additional two-hundred-thousand dollars over the three years for marketing and promotion. American Tobacco also agreed to pay for any network and carrier line charges. The advertising community was stunned. The Easter Sunday program was Pall Mall’s audition. In the end, this would be the only Jack Benny episode to have a Pall Mall commercial. Pat Weaver and George W. Hill knew no one would take Ruthrauff & Ryan’s bid for Pall Mall seriously. Had Foote, Cone & Belding, American Tobacco’s agency for its top cigarette, Lucky Strike, entered the fray, the attention would have driven up the price. The last Benny show sponsored by General Foods was June 4th, 1944. Benny took out a full page ad in Variety thanking General Foods for ten years of sponsorship. In August, he left on a three-week USO tour of Australia and the South Pacific. On August 28th, American Tobacco announced that Pall Mall’s sales didn’t justify a twenty-five thousand dollar per week expenditure. Lucky Strike would sponsor the show. The following week they announced a comprehensive, multimedia ad campaign. It was estimated to cost over a quarter million dollars. Lucky Strike would sponsor The Jack Benny Program beginning October 1st, 1944.…
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Breaking Walls: The Podcast on the History of American Network Radio Broadcasting
When we were last with Throckmorton P. Gildersleeve in episode 149 of Breaking Walls he was gearing up for his local mayoral campaign, while simultaneously struggling to break away from his ex-fiancé Leila Ransom, voiced by the just-heart Shirley Mitchell. On Easter Sunday, Gildy’s mayoral campaign for Summerfield officially began, and he went to church. This episode took to the air at 6:30PM eastern time over WEAF in New York. Its rating was 17.9. Nearly fourteen million people tuned in while having Easter Sunday dinner.…
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Breaking Walls: The Podcast on the History of American Network Radio Broadcasting
At 6PM over NBC’s WEAF, The Catholic Hour took to the air with an address from Monsignor Fulton J. Sheen. Fulton John Sheen was born on May 8th, 1895 in El Paso, Illinois. He was ordained a priest in 1919, quickly becoming a renowned theologian. He won the Cardinal Mercier Prize for International Philosophy in 1923 and went on to teach theology and philosophy at the Catholic University of America. Beginning in 1930, Father Sheen began a twenty-year run hosting The Catholic Hour on NBC before moving into TV to present Life is Worth Living and The Fulton Sheen Program. Twice winning an Emmy for Most Outstanding TV personality, he was also featured on the cover of TIME magazine. He was appointed an auxiliary bishop of the Archdiocese of New York in 1951, holding the position until 1966 when he was made Bishop of Rochester. He resigned in 1969 near his seventy-fifth birthday and would live until December 9th, 1979. In 2002, twenty-two years after his death, an official cause for canonization into sainthood was opened. Pope Benedict XVI officially recognized his life of "heroic virtues." However, his 2019 beatification was postponed after the current Bishop of Rochester expressed concern that Sheen mishandled a sexual misconduct case against a priest. Although the Diocese of Peoria countered that his handling of the case had already been thoroughly investigated, as of 2024 Fulton J. Sheen’s beatification is still postponed. Opposite The Catholic Hour, The Blue Network aired The Radio Hall of Fame on WJZ. Hosted by Deems Taylor and sponsored by Philco, The Radio Hall of Fame was conceived as a weekly Academy Award of radio through Variety Magazine, focusing on that week’s hits. When it was launched in December of 1943, there was serious questioning as to whether it was proper for Variety to be so intimately involved. How could a trade paper whose business was reviewing show business enter into its production? Ben Bodec, a fifteen-year Variety reporter quit in protest, but the show went on without a hitch. It was a glittering spectacle, stars like Fred Allen, Bob Hope, Sophie Tucker, Groucho Marx, Bing Crosby, George Burns, Gracie Allen, and the Andrews Sisters all appeared. It would air until April 28th, 1946.…
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Breaking Walls: The Podcast on the History of American Network Radio Broadcasting
Between 4PM and 5:30 eastern war time, NBC broadcast Easter services from the Cathedral of St. John the Divine, as well as the NBC symphony with Arturo Toscanini. CBS broadcast Orchestra music and The Family Hour. The Blue Network aired Music and the Mary Small Revue. Mutual Broadcasting’s flagship WOR aired Abe Lincoln’s Story and Green Valley, U.S.A.. At 5:30, Mutual’s most popular program took to the air. It was their only show in the top-50 and the highest-rated weekend daytime program on the air. Pulling a rating that month of 14.1, roughly eleven million people tuned it. Sponsored by Blue Coal, It starred the just-heard Brett Morrison. The show? None other than The Shadow. In this particular episode, an evil fiend uses an experimental Television device to see anything he wishes remotely. The Shadow’s powers of mesmer don’t affect a TV screen. This fiend therefore finds out the true identity of the Shadow.…
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Breaking Walls: The Podcast on the History of American Network Radio Broadcasting
At 3:30PM over Mutual’s WOR in New York, Bulldog Drummond took to the air. It was directed by the just-heard Himan Brown. It starred Santos Ortega, known as Sandy to his friends. Jackson Beck was the announcer. Bulldog Drummond was a British inspector popularized in the Paramount detective films of the 1930s. It was first broadcast April 13th, 1941. It spent its entire nearly eight year run on the Mutual Broadcasting System. Opposite Bulldog Drummond, WEAF ran The Army Hour, while WJZ aired Hot Copy.…
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Breaking Walls: The Podcast on the History of American Network Radio Broadcasting
The man you just heard was radio legend Hans Conreid, known as one of the most versatile actors of the 20th century. He could adroitly handle comedy, variety, or serious drama while speaking any dialect convincingly. On April 9th 1944 at 3PM eastern time over WJZ and at 12PM pacific time on KECA, Conreid was busy playing Uncle Baxter on The Life of Riley. Created by Irving Brecher, the best-known incarnation of The Life of Riley came to the air Sunday January 16th, 1944 at 3PM eastern time over The Blue Network. It starred William Bendix as Chester A. Riley and was sponsored by The American Meat Institute. Riley was easily exasperated, but difficult to defeat. The difficulty increased by degrees with the flimsiness of Riley’s cause. Bendix came out of the New Jersey Federal Theater project, a latecomer to the profession, beginning at thirty when the grocery store he was running went out of business. His film career began in 1942. He was often the hooligan with the heart of gold. Riley was his most famous character. It co-starred the previously heard Hans Conreid as Uncle Baxter with John Brown as both Riley’s friend Gillis and the undertaker, Digger O’Dell. Paula Winslowe was Riley’s long-suffering wife Peg. Sharon Douglas was Babs and Conrad Binyon played Junior. The Life of Riley proved popular enough that in June it was moved to Sundays at 10PM. Beginning in the fall of 1945 it moved to NBC where it was a mainstay for six seasons. It peaked in 1947-48 with a rating of 20.1, good for fourteenth overall that year. A TV version debuted in October of 1949, first with Jackie Gleason as Riley and later with William Bendix playing the familiar role for five years.…
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Breaking Walls: The Podcast on the History of American Network Radio Broadcasting
Between 12 and 2PM, news, religious, and war programming filled the radio dial. Standouts included the Salt Lake City Tabernacle Choir and Organ at noon on CBS, Soldiers of the Press at 12:30 on Mutual, and The Chicago Roundtable at 1:30 on NBC. Ceiling Unlimited began as a series of informative dramas by Orson Welles in November 1942. It was sponsored by Lockheed Vega Aircrafts and showcased aviation's role in World War II. Welles walked out in February 1943 after a blowup with one of the ad agency men. Author James Hilton took over. It became a Hollywood variety series in August 1943. Joseph Cotten hosted with Patrick McGeehan as announcer and both Connie Moore and Nan Wynn providing vocals arranged by Wilbur Hatch. This Easter episode took to the air at 2:00PM, from WABC, which at that time were still the call letters for CBS’ New York City Affiliate. The Blue Network’s New York flagship, WJZ aired Chaplain Jim U.S.A., while WEAF aired a play called “Those We Love.”…
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Breaking Walls: The Podcast on the History of American Network Radio Broadcasting
Saturday April 8th, 1944. New York City. It’s a rainy day before Easter and World War II news is dominating consciousness. There are cracks in Germany’s foundation. On Tuesday April 4th, allied surveillance aircrafts photographed the Auschwitz concentration camp. Knowing this, the Nazis will spend the next four months using the gas chambers and incinerators to their full capacity. Twenty-thousand people could be murdered each day. The Germans have lost five u-boats in three days on both fronts while simultaneously facing heavy fighting against the Soviets in Ukraine. They’ve been repeatedly forced to retreat. On Good Friday, April 7th, Adolph Hitler suspended all law in Berlin and made Joseph Goebbels the sole administrator of the city. On this day, April 8th, The Battle of the Tennis Court began in Burma, while Soviet forces invaded Romania. At the same time, U.S. bombers shelled Brunswick. The early 1944 Bombings of German cities gave German citizens their first hard evidence that the tide of the war had turned. And everyone in Europe knew a full scale Allied western invasion was coming. Amidst the gloom, at 1:45PM from WEAF in New York, John McVane took to the air with NBC’s War Telescope looking at both war news and peacetime negotiation. Saturday’s New York Daily News reported on the U.S. navy’s recent sinking of forty-six Japanese ships, while they shot down more than two hundred planes in a three day period. Inflation hadn’t risen in an entire year, as Americans looked forward to international air travel after the war. It made for an interesting Easter Sunday forecast. ___________ It’s 11:30AM on a rainy Easter Sunday, April 9th, 1944 in New York. We’re taking a ride inside a 1942 Oldsmobile B44 coupe. There have been no new automobiles manufactured in the U.S. since February 1942. All resources have been put towards the war effort. We’ve just switched on the radio to CBS’s New York affiliate. Invitation To Learning is about to air. First taking to the air on May 26th, 1940, it was chaired by Lyman Bryson with a rotating panel. Based on a class at St. John’s College in Annapolis, Invitation To Learning was developed at the suggestion of Stringfellow Barr, school president, who also served on the CBS Adult Education board. By exploring classic literature, Barr contended that radio could be a keynote in liberal education. Three or four people had a spontaneous discussion about a particular book. For twenty-four years and more than twelve-hundred episodes, the show sparked as much debate amongst listeners and rival networks as the programs themselves. Notable guests included Norman Corwin, John Houseman, Eva LeGallienne, Herbert Hoover,, Hans Conried, and Lillian Gish. Opposite on NBC’s WEAF was a commentary from Don Hollenbeck, while Mutual’s WOR broadcast an Easter Sunrise Service from the Hollywood Bowl, and The Blue Network’s WJZ broadcast The Hour of Faith.…
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Breaking Walls: The Podcast on the History of American Network Radio Broadcasting
1 BW - EP149: March 1944 With The Great Gildersleeve 3:18:14
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3:18:14In Breaking Walls episode 149 we’ll spend March of 1944 with Hal Peary and The Great Gildersleeve. —————————— Highlights: • The Men And Women On The Front Lines of War War II in March 1944 • Hal Peary and the Birth of Gildersleeve on Fibber McGee and Molly • The First Ever Sitcom Spin Off and The Great Gildersleeve Premieres • Registering To Vote • Mid March 1944 News with NBC War Telescope • Gildy Wants to Run For Mayor • The Campaign Photo • A Night In A Foxhole • Looking Ahead to Easter Sunday 1944 —————————— The WallBreakers: http://thewallbreakers.com Subscribe to Breaking Walls everywhere you get your podcasts. To support the show: http://patreon.com/TheWallBreakers —————————— The reading material used in today’s episode was: • On The Air — By John Dunning • Network Radio Ratings — By Jim Ramsburg As well as articles from: • Broadcasting Magazine • The Library of Congress • The New York Times • Radio Daily —————————— On the interview front: • Ken Carpenter, Alice Faye, Shirley Mitchell, Frank Nelson, Hal Peary, Lilian Randolph and Lurene Tuttle spoke with Chuck Schaden. Hear these chats at Speakingofradio.com. • Shirley Mitchell also spoke with Jim Bohannon in 1987. • Howard Duff spoke to Dick Bertel and Ed Corcoran for WTIC’s The Golden Age of Radio. Hear these interviews at Goldenage-WTIC.org • Don Quinn spoke with Owen Cunningham —————————— Selected music featured in today’s episode was: • Besame Mucho — By Jimmy Dorsey and His Orchestra • Danse Macabre — By Camille Saint-Saëns —————————— A special thank you to Ted Davenport, Jerry Haendiges, and Gordon Skene. For Ted go to RadioMemories.com, for Jerry, visit OTRSite.com, and for Gordon, please go to PastDaily.com. —————————— Thank you to: Tony Adams Steven Allmon Orson Orsen Chandler Phil Erickson Gerrit Lane Jessica Hanna Perri Harper Thomas M. Joyce Ryan Kramer Earl Millard Gary Mollica Barry Nadler Christian Neuhaus Ray Shaw Filipe A Silva John Williams Jim W. —————————— WallBreakers Links: Patreon - patreon.com/thewallbreakers Social Media - @TheWallBreakers…
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Breaking Walls: The Podcast on the History of American Network Radio Broadcasting
On Sunday, March 19th, 1944 Germany forcefully occupied Hungary to prevent the country from making a separate peace agreement with the Soviet Union. Within two days, German authorities forced all Jewish businesses to close, sending hundreds to internment camps. On March 20th, The Battle of Sangshak began in Manipur, India, while U.S. Marines landed on Emirau as part of Operation Cartwheel. The next day they linked with Australian troops on New Guinea's Huon Peninsula. On Wednesday March 22nd, the US OSS began Operation Ginny II, intending to cut German lines of communication in Italy, but once again failed when the team landed in the wrong place and were captured. Volcanic rock of all sizes from Mount Vesuvius began raining down from the sky, forcing massive evacuations. German soldiers killed several civilians in Montaldo, Italy who were part of an Italian resistance group. The next day the group planted a bomb, killing thirty-three SS members in Rome. The Nazis swiftly retaliated, killing three-hundred-thirty-five people accused of helping the cause. Meanwhile, allied forces withdrew from Monte Cassino and the offensive was called off in favor of Operation Strangle, a series of air maneuvers aimed to cut German supplies from the Italian front. That Friday, March 24th, 1944, the Mutual Broadcasting System broadcast a special recording made by marine Technical Sergeants Fred Welker and Keene Hepburn. During the early part of the war Dr. Harold Spivack, Chief of the Music Division of the Library of Congress, and Brigadier General Robert Denig, wartime director of Marine Corps public information, formulated a plan to give a few Marines recording devices to take into the field so the public at large would understand what these men were experiencing. Recordings began in late 1943.…
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Breaking Walls: The Podcast on the History of American Network Radio Broadcasting
By Sunday March 26th, 1944, with Easter only two weeks away, Gildy had decided to run for mayor. Naturally, he needed a good campaign photo to go with it. By this time, Peary had become a film star, starring as Gildersleeve in both shorts and feature-length films.
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Breaking Walls: The Podcast on the History of American Network Radio Broadcasting
As the first day of Spring approached, Gildersleeve contemplated running for Mayor of Summerfield on March 19th. Shirley Mitchell voiced Leila Ransom. Ken Carpenter, by then a famous announcer, was the Kraft spokesperson.
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Breaking Walls: The Podcast on the History of American Network Radio Broadcasting
1 BW - EP149—003: March 1944 With The Great Gildersleeve—Mid-March News With NBC's War Telescope 15:40
On Wednesday March 15th, 1944 during battle, the allies dropped nearly one-thousand tons of bombs and two hundred thousand rounds of artillery on the Monte Cassino Monastery, while trying to storm the building. They were unable to dislodge the Germans. The allies were having more success sinking submarines. Over the next forty-eight hours Allied forces sank one Japanese and three German subs. On Thursday at a National Advisory Committee for Aeronautics seminar in Washington, D.C., NACA personnel suggested a jet-propelled airplane be developed. On Friday the 17th Mount Vesuvius erupted, destroying nearly ninety American aircraft and displacing twelve-thousand italians, while Soviet forces took Dubno and Zhmerynka. The Soviets were set to begin their third Narva Offensive on Saturday as German soldiers began massacring people in both Romania and Italy. The Germans were facing heavy bombing at home, and all of Europe knew an allied invasion was coming. NBC’s War Telescope took to the air over WEAF in New York at 1:45PM.…
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Breaking Walls: The Podcast on the History of American Network Radio Broadcasting
By December of 1941 The Great Gildersleeve was such a hit that Kraft ordered thirteen weeks of repeats for eight more west-coast NBC stations to air Thursdays at 6:30PM beginning in January. The program would now air on sixty total NBC stations. Summerfield was a pleasant slice of rural Americana. Most of the action took place in an eight-block area. There was a city park with an old-fashioned bandstand and a large reservoir that would soon come to play a major role. On October 18th, 1942 Gildersleeve would be appointed water commissioner, beginning an illustrious career that might be described as doing nothing at all. The Great Gildersleeve’s rating cracked the top fifty in the first year. It rose to twenty-fourth in 1943, and by November it was pulling an 18.1. In the middle of March 1944 it was up to 19 points, good for fifth overall on Sundays. On March 12th at 6:30PM eastern time, The Great Gildersleeve took to the air with an episode on the importance of registering to vote. In his early twenties, Walter Tetley was already a radio veteran, having worked on The Children’s Hour, The Fred Allen Show, Raising Junior, and many other programs. As Leroy, he was a perfect deflater of Gildy’s tender ego. "Are you kiddin’?” he would snarl, bringing out the inevitable Gildersleeve retort—“Leee-eee-roy!” To Leroy, Gildy was simply “Unk,” a guy whose performance was usually out-stripped by his intentions. "What a character!” Leroy would bleat as he caught his uncle in the fib of the week. He later worked with Phil Harris and Alice Faye. By 1944, then thirty-seven, Lurene Tuttle was one of the most versatile actresses on the air, capable of playing any part that required any age, and almost any dialect. Lilian Randolph played Birdie Lee Coggins, housekeeper and voice of reason. Of note, this recording came courtesy of the Armed Forces Radio Service. At this time, Howard Duff, still an unknown actor, was working for the AFRS and recutting many shows to get them on the air for enlisted servicemen around the world.…
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Breaking Walls: The Podcast on the History of American Network Radio Broadcasting
1 BW - EP149—001: March 1944 with The Great Gildersleeve—The First Ever Comedy Sitcom Spin Off 52:32
Hal Peary was born Harrold José de Faria to Portuguese parents on July 25th, 1908. He was fourteen when, in January of 1923, he made his radio debut on KZM in Oakland. By the late 1920s he was working for NBC in San Francisco. Migrating to Chicago in 1937, he soon became one of radio’s insiders, gaining a reputation as a top utility man. In 1937 he joined the cast of Fibber McGee and Molly playing every kind of bit part imaginable. In the late 1930s, Peary approached McGee’s head writer Don Quinn with an idea for a recurring role. He wanted to play a pompous windbag who himself ran the biggest bluff in Wistful Vista. He thought it would be the perfect foil for McGee. Quinn was the kind of man who innately understood how to write for radio. For Quinn it was simply a matter of creating Throckmorton Gildersleeve, moving him to 83 Wistful Vista, and letting the fur fly. Throckmorton P. Gildersleeve’s first appearance was on September 26th, 1939. Quinn knew the value of sarcasm in comedy. It was also later revealed that Gildersleeve’s middle name was “Philharmonic.” By 1941 the character proved so popular that it was decided to spin Gildersleeve off into its own show. An audition was recorded on May 16th. Peary’s last regular appearance on Fibber McGee and Molly was on June 24th in a memorable scene. McGee and Molly are headed to Hollywood for the summer. Oddly enough by the time they got back, it was Gildersleeve who’d permanently departed from Wistful Vista. Tragically, Gildersleeve’s sister and brother-in-law were killed in a car accident and he needed to go to Summerfield to oversee their estate and raise his orphaned niece and nephew, Marjorie and Leroy Forrester. He left on August 8th, 1941, creating with him a new American concept: the sitcom spinoff. The show premiered at 2:30PM Pacific Time over KFI in Los Angeles, and at 6:30PM Eastern Time over WEAF in New York. Kraft would sponsor the series. They signed on for thirty-nine weeks over twenty-eight NBC Red Network stations. Gildersleeve’s first head writer was Leonard Levinson. The character’s long-running feud with Judge Hooker began right from this first train ride. Music was done by William Randolph’s orchestra. Cecil Underwood produced the show and Jim Bannon announced. Radio legend Frank Nelson, then on twenty-nine, provided multiple supporting parts in this episode. Walter Tetley played Leroy and Lurene Tuttle played Marjorie.…
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Breaking Walls: The Podcast on the History of American Network Radio Broadcasting
1 BW - EP148: February 1944 With Bob Hope 5:04:29
5:04:29
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5:04:29In Breaking Walls episode 148 we spend February of 1944 with America’s top comedian, Bob Hope, as he whisks himself around the country, entertaining troops and broadcasting to the masses. —————————— Highlights: • Leslie Townes Hope’s Rise to Stardom • Broadway and Early Radio Shows • The Big Broadcast of 1938 • The Pepsodent Program • Early February 1944 World War II News • NBC Dominates Tuesday Nights in 1944 • Bob with Guest Ginger Rogers • The 4th War Bond Drive • Command Performance with Bob Hope, Frank Sinatra, and Judy Garland • Mid February World News Roundup • Bob with Guest Bing Crosby • Bob with Guest Carole Landis • News as we Leave February • Bob Gets Sick, Is Honored by The Academy • Looking Ahead to March with The Great GIldersleeve —————————— The WallBreakers: http://thewallbreakers.com Subscribe to Breaking Walls everywhere you get your podcasts. To support the show: http://patreon.com/TheWallBreakers —————————— The reading material used in today’s episode was: • On The Air — By John Dunning • Bob Hope: The Road Well-Traveled — By Lawrence J. Quirk • The Spirit of Bob Hope: One Hundred Years, One Million Laughs — By Richard Grudens • Network Radio Ratings — By Jim Ramsburg • Bob Hope: The Road from Eltham — By Charles Thompson As well as articles from: • Aces of World War II • Broadcasting Magazine • The Military Times • Radio Daily • The Seattle Times —————————— On the interview front: • Bob Hope was with both Dick Cavett in 1972 and Johnny Carson in 1974. • Ken Carpenter, Jim Jordan, Hariet Nelson, Wendell Niles, Hal Peary, and Lurene Tuttle spoke with Chuck Schaden. Hear these chats at Speakingofradio.com • Jim Jordan also spoke to Dick Bertel and Ed Corcoran for WTIC’s The Golden Age of Radio. Hear these interviews at Goldenage-WTIC.org • Red Skelton spoke with Merv Griffin in 1975 • Bing Crosby spoke with Same Time, Same Station —————————— Selected music featured in today’s episode was: • Thanks For the Memory — By Bob Hope and Shirley Ross • Ghost Bus Tours — By George Fenton —————————— A special thank you to Ted Davenport, Jerry Haendiges, and Gordon Skene. For Ted go to RadioMemories.com, for Jerry, visit OTRSite.com, and for Gordon, please go to PastDaily.com. An extra special thanks to Doug Hopkinson who provided the Bob Hope episode with Bing Crosby that aired February 15th, 1944. —————————— Thank you to: Tony Adams Steven Allmon Orson Orsen Chandler Phil Erickson Gerrit Lane Jessica Hanna Perri Harper Thomas M. Joyce Ryan Kramer Earl Millard Gary Mollica Barry Nadler Christian Neuhaus Ray Shaw Filipe A Silva John Williams Jim W. —————————— WallBreakers Links: Patreon - patreon.com/thewallbreakers Social Media - @TheWallBreakers…
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Breaking Walls: The Podcast on the History of American Network Radio Broadcasting
Well, that brings our look at Bob Hope’s career in February of 1944 to a close. We’ll be staying in 1944 the remainder of the year and next month we’ll spend March 1944 with a program considered to be the first spin-off in sitcom history. Next time on Breaking Walls we spotlight Hal Peary and The Great Gildersleeve, which between February and March of 1944 pulled a rating of nineteen points, making it the most-listened to show airing at 6:30PM in radio history. The reading material used in today’s episode was: • On The Air — By John Dunning • Bob Hope: The Road Well-Traveled — By Lawrence J. Quirk • The Spirit of Bob Hope: One Hundred Years, One Million Laughs — By Richard Grudens • Network Radio Ratings — By Jim Ramsburg • Bob Hope: The Road from Eltham — By Charles Thompson As well as articles from: • Aces of World War II • Broadcasting Magazine • The Military Times • Radio Daily • The Seattle Times —————————— On the interview front: • Bob Hope was with both Dick Cavett in 1972 and Johnny Carson in 1974. • Ken Carpenter, Jim Jordan, Hariet Nelson, Wendell Niles, Hal Peary, and Lurene Tuttle spoke with Chuck Schaden. Hear these chats at Speakingofradio.com • Jim Jordan also spoke to Dick Bertel and Ed Corcoran for WTIC’s The Golden Age of Radio. Hear these interviews at Goldenage-WTIC.org • Red Skelton spoke with Merv Griffin in 1975 • Bing Crosby spoke with Same Time, Same Station —————————— Selected music featured in today’s episode was: • Thanks For the Memory — By Bob Hope and Shirley Ross • Ghost Bus Tours — By George Fenton —————————— A special thank you to Ted Davenport, Jerry Haendiges, and Gordon Skene. For Ted go to RadioMemories.com, for Jerry, visit OTRSite.com, and for Gordon, please go to PastDaily.com. An extra special thanks to Doug Hopkinson who provided the Bob Hope episode with Bing Crosby that aired February 15th, 1944. —————————— Thank you to: Tony Adams Steven Allmon Orson Orsen Chandler Phil Erickson Gerrit Lane Jessica Hanna Perri Harper Thomas M. Joyce Ryan Kramer Earl Millard Gary Mollica Barry Nadler Christian Neuhaus Ray Shaw Filipe A Silva John Williams Jim W. —————————— WallBreakers Links: Patreon - patreon.com/thewallbreakers Social Media - @TheWallBreakers…
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Breaking Walls: The Podcast on the History of American Network Radio Broadcasting
On February 29th, 1944 Bob Hope was supposed to be in Mobile, Alabama for the first leg of a tour. He was unfortunately grounded by a cold. Instead, he broadcast his portion of the show from Hollywood, while the cast broadcast from Mobile. Once able to travel, Hope met his crew in transit, but not before being given a special award for his many services to the Academy at the March 2nd, 1944 Oscars. The Hope show’s itinerary included the Annual White House Correspondents dinner for President Roosevelt on March 4th. On March 7th, the cast would be in Miami; On March 14th in Jacksonville; On March 21st in Macon, Georgia; On March 25th a special from the Cleveland Canteen; and on March 28th, they’d be in Colorado Springs.…
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Breaking Walls: The Podcast on the History of American Network Radio Broadcasting
On Friday February 25th, 1944 "Big Week," the allies six-day strategic bombing campaign against the Third Reich ended with a successful bombing of German cities Rostock and Augsburg, as well as several Dutch cities near the German border. Unfortunately, many civilians were killed or left homeless. The Germans also lost more than three-hundred-fifty aircrafts, and most importantly, more than one-hundred pilots. Meanwhile two large Japanese ships were torpedoed, killing five-thousand Japanese soldiers, but also thirty-five hundred Japanese laborers and hundreds of allied POWs. On Saturday the 26th, more than six-hundred Soviet bombers raided Helsinki. That day at 1:45 PM, NBC’s War Telescope signed on at 1:45PM eastern time. With the U.S. congress squabbling, Europe looked on. On Sunday February 27th, The U.S. Office of Strategic Services began Operation Ginny I with the objective of blowing up railway tunnels in Italy to cut German lines of communication. The mission failed when the OSS team landed in the wrong place and couldn’t locate the tunnel. That same day, the Soviets massacred more than seven-hundred villagers in Chechnya they deemed non transportable. On Monday the 28th, the German 14th Army mounted new attacks against the U.S. VI Corps at Anzio, while also massacring roughly one thousand ethnic Poles in the village of Huta Pieniacka. Although the tide of war was slowly turning, there were atrocities and accidents on both sides, and neither the Allies or the Axis was fighting a pristine campaign. Regardless, Europe understood that in a post war world, if victory was achieved, the U.S. needed to be a main part of whatever League of Nations could be built after, while the U.S. didn’t yet fully grasp just how much responsibility the country would have in rebuilding Europe.…
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Breaking Walls: The Podcast on the History of American Network Radio Broadcasting
1 BW - EP148—009: February 1944 With Bob Hope—The Bob Hope Show with Guest Carole Landis 2/22/1944 31:08
On Tuesday February 22nd, 1944 The Bob Hope Show took to the air with a special broadcast for the Coast Guard. The guest was Carole Landis. Hope’s radio cast from this era is his most famous. Along with Jerry Colona and songstress Frances Langford, the squeaky, man-crazed Vera Vague, voiced by Barbara Jo Allen was tremendous. Blanche Stewart and Elvia Allman played high-society nitwits Brenda and Cobina, modeled after real-life socialites Brenda Frazier and Cobina Wright Jr. Wright filed suit but settled, Hope remembered, when he invited her on the show as a guest. Wendell Niles was often Hope’s announcer for Pepsodent.…
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Breaking Walls: The Podcast on the History of American Network Radio Broadcasting
1 BW - EP148—008: February 1944 With Bob Hope—The Bob Hope Show With Guest Bing Crosby 2/15/1944 29:38
On February 15th, 1944 Bob Hope broadcast his program from Santa Ana’s Classification Center. His guest of honor was none other than good friend Bing Crosby. In February of 1944 Frances Langford was twenty-eight years old. She grew up in Florida, and originally trained as an opera singer. A tonsillectomy changed her range and she instead shifted her vocal approach to a more contemporary big band, popular music style. As a teenager, cigar manufacturer Eli Witt heard her sing at an American Legion party and hired her to sing on a local radio show he sponsored. In 1931 Langford moved to Hollywood, appearing on Louella Parsons' radio show. She was soon heard by Rudy Vallée, and in 1935 she made her film debut in Every Night at Eight. That year she became a regular performer on Dick Powell's radio show, which Bob Hope joined in 1937. When The Pepsodent Program launched in 1938 she began a long term engagement with Hope. In February of 1944 Hope, Crosby, and Dorothy Lamour were wrapping filming of Road To Utopia, the fourth in their series of Road To films. Written by Melvin Frank and Norman Panama, the film is about two vaudeville performers at the turn of the twentieth century who go to Alaska to make their fortune. Along the way they find a map to a secret gold mine. While shooting wrapped in 1944, the film wasn’t released until February 27th, 1946. Its screenplay was nominated for an Academy Award the next year.…
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Breaking Walls: The Podcast on the History of American Network Radio Broadcasting
The week of February 13th, 1944 began with the Allies raiding Hong Kong and giving supplies to French resistance fighters. The next day a British submarine sank a German u-boat in a rare Pacific theater battle involving Germans. On Tuesday the 15th, the Soviets began their first offensive in the Battle of Narva while a Japanese cruiser was torpedoed by a U.S. submarine. By the middle of the week the Battle of the Korsun–Cherkassy Pocket ended in a Soviet victory with German forces fleeing for their lives, while American forces launched Operation Hailstone, a massive attack against a Japanese naval and air base in the Caroline Islands. As that was happening the U.S. scored an important victory against Japan in The Battle of Karavia Bay. Simultaneously, eight-hundred allied planes raided Berlin. The Germans would counter two days later by shelling London in the heaviest bombing of the British capital since 1941. This helped lead to NBC’s War Telescope news program on Saturday February 19th, entitled “Britain is a Fortress.” It took to the air at 1:45PM from WEAF in New York. The lieutenant Elmer Peterson interviewed was James Forrest Luma, born on August 27th, 1922 in Helena, Montana. At eighteen he was too young to enter flight training for the U.S., so he signed up for the Royal Canadian Air Force and was sent to England. A month after this broadcast, Lieutenant Luma was involved with only one other pilot in an air raid that saw three German planes shot down and seventeen others retreat in flames. Overall, he shot down five enemy planes in combat and was awarded the Distinguished Flying Cross for his efforts. Later this year, he was transferred to a U.S. Army Air Forces Squadron, serving until July of 1945. James Luma lived to be ninety-six, passing away February 4th, 2019, just shy of seventy-five years to the date of giving this interview to Elmer Peterson. The day after this broadcast, The Allies launched "Big Week", a six-day strategic bombing campaign against the Third Reich, while Erwin Rommel completed a four-day inspection tour of Germany's Atlantic Wall which stretched from Southern France all the way to Northern Norway. He reported to Hitler that the German coastal defenses were up to all requirements, but the Germans knew that the day of a full scale western European invasion by the allied powers was coming.…
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Breaking Walls: The Podcast on the History of American Network Radio Broadcasting
1 BW - EP148—006: February 1944 With Bob Hope—Command Performance with Frank Sinatra & Judy Garland 33:02
On Saturday February 12th, 1944, Ken Carpenter was announcer for a Command Performance guest-starring Bob Hope, Frank Sinatra, and Judy Garland. Hope had just co-hosted, with Bing Crosby, a pro-amateur golf charity event. Bob Hope did his first remote broadcast from March Field on May 6th, 1941. Initially reluctant to leave the studio, the roar of laughter and applause from that first crowd was so loud, he would recall, that he “got goose pimples” during the broadcast. He was hooked. He spent most of the next seven years on the road, broadcasting from bases, camps, and hospitals. The cast was put on alert, ready to go at the drop of a hat. Frances Langford was given 24-hour notice to “hop a bomber” for Alaska in 1943. They hit one-hundred camps that year, in addition to their weekly radio show. They also went to Europe, doing a show at Messina just after the enemy had fled the town and was still bombarding the area with its artillery. This year, 1944, on a trip to the South Pacific, Hope’s plane had to make a crash landing in Australia. John Steinbeck wrote of Hope, “It is impossible to see how he can do so much, can cover so much ground, can work so hard, and can be so effective.” Newsweek called it “the biggest entertainment giveaway in history.” Many times Hope appeared on Command Performance, broadcast over the Armed Forces Radio Service. Ken Carpenter recalled those shows.…
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Breaking Walls: The Podcast on the History of American Network Radio Broadcasting
1 BW - EP148—005: February 1944 With Bob Hope—Red Skelton, Words at War, & the 4th War Bond Drive 21:31
After Bob Hope’s program signed off at 10:30PM eastern war time, The Red Skelton Show signed on. It debuted on Tuesday October 7th, 1941. By February of 1944 it was pulling a rating of 29.9. Ozzie and Harriet Nelson were heavily featured. Skelton was so supercharged that he couldn’t do a pre-show warm up. It left his audience exhausted and practically catatonic during the main show. So Skelton reversed the formula and gave his fans an after-show. Among his peers it was considered the hottest comedy act in town. Lurene Tuttle, who later appeared with Ozzie and Harriet on their own show, also starred on The Red Skelton Show. For three seasons Skelton’s popularity soared, but then he got divorced and lost his marriage deferment. The army drafted Skelton in 1944. MGM and radio sponsor Raleigh Cigarettes tried to help with no avail. The Draft Board also turned down his request to join the Special Services branch for entertainers. Skelton’s last radio program was on D-Day, June 6th, 1944. The next day he was formally inducted as a private. Without its star, the program was discontinued until he could come back from the war. Words at War was an anthology of war stories, “told by the men and women who have seen them happen.” It was produced in cooperation with the Council on Books in Wartime, promising “stories of the battlefronts, of behind-the scenes diplomacy, of underground warfare, of the home front, of action on the seas.” Each show was to be “a living record of this war and the things for which we fight.” First taking to the air on June 24th, 1943 from New York, it was praised by Variety as “one of the most outstanding programs in radio”; by the New York Times as the “boldest, hardest-hitting program of 1944”; and by Newsweek as “one of the best contributions to serious commercial radio in many a year.” Despite airing at 11:30PM on Tuesdays, Words at War stimulated conversation and controversy throughout its two-year run. On Tuesday, February 8th 1944 a story on George Washington Carver was broadcast. When Words At War signed off at midnight, NBC broadcast a ninety minute program for the fourth war bond drive. It was part of an extended effort to raise funds. The night prior at midnight, Ben Grauer hosted this show over NBC.…
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Breaking Walls: The Podcast on the History of American Network Radio Broadcasting
1 BW - EP148—004: February 1944 With Bob Hope—The Bob Hope Show With Guest Ginger Rogers 2/8/1944 31:22
On Tuesday February 8th, 1944 at 10 PM eastern time over WEAF, and at 7PM pacific time over KFI, Bob Hope’s Pepsodent Program signed on live, coast-to-coast from Oceanside, California. The guest was Ginger Rogers, the program features a salute to her new film, Lady In The Dark. It was radio’s top show, pulling a rating that month of 36.2. Nearly twenty-eight million people heard this show, which is even more impressive when you consider how many were overseas fighting World War II. Hope’s top sidekick was Jerry Colonna, perhaps the wildest comic presence on 1940s radio. Colonna had once been a serious trombonist, playing with Goodman, Shaw, and the Dorseys: now he infused Hope’s program with verbal and vocal mayhem. He sported a four-inch walrus mustache and had a comedy style that blew away any attempt at logic. As soon as Colonna began walking to the microphone, the studio audience warned listeners with laughter.” Hope later wrote, there were two sides to Colonna’s persona: “One is the zany, silly moron, and the other is the deep thinking, serious moron.” His songstress was the immensely talented Frances Langford, equally adept at both comedy and drama. But, Hope was the star. As the late John Dunning once said, No one had ever told jokes quite like Bob Hope. His monologues were rapid-fire blasts of comedy, extremely topical and wildly appreciated by his live audience. Radio Life wrote, “Hope tells a gag in three lines. He’ll work for an hour on a one-word change. By the time he goes on the air, he knows his gags by heart.” He employed a team of twelve writers in three, two-man teams. Each were assigned to write the show’s three sections. First came the monologue; then a midshow routine with Colonna or another member of the regular cast; and finally, a sketch for the guest star. It was a true test of endurance. Hope demanded long rehearsals, including a sixty-minute runthrough with a live audience. He’d stand at the microphone, highlighting his script where the big laughs came. When you consider that Hope’s weekly audience was more than each of the first two Super Bowls, it’s easier to understand his point of view. The biggest problem with Hope, said producer Al Capstaff in 1945, was his inevitable tendency to pack the script. It was always thirty-seven minutes long and had to be whittled down joke by joke until only the surefire material remained. The result on the air was a breathless gush, with six laughs a minute guaranteed. But, that was Hope. Even in his 1972 Dick Cavett interview which has been featured throughout this episode of Breaking Walls, an off-the-cuff Hope can’t help but pack one-liner after one-liner in the midst of a genuine, serious, conversation. The Pepsodent Program was enhanced by Hope’s film career. By February of 1944 Hope had starred in seventeen films since the release of The Big Broadcast of 1938, including the first three Road To films with Bing Crosby.…
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Breaking Walls: The Podcast on the History of American Network Radio Broadcasting
If you’d have tuned your radio to NBC’s New York flagship, WEAF, at 7:30 PM on Tuesday February 8th, 1944 you’d have heard Ronald Coleman host the Autolite Sponsored, Everything For the Boys. The guest star was Greer Garson. NBC owned the ratings on Tuesdays with six of the top seven shows. Opposite of Everything For The Boys, CBS ran a concert, WOR-Mutual ran news, and WJZ of the Blue Network ran The Girl Back Home. “Barkley Square” is a fantasy play about a man who desires so much to go back in time that he somehow achieves it. At 8:00PM, The Ginny Simms Show took to the air. That month, the show’s rating was 14.6. Roughly eleven million people tuned in. Opposite, CBS aired Big Town, WOR aired The Black Castle, while WJZ aired news. At 8:30 NBC aired A Date With Judy, a female-driven situation comedy starring Louise Erickson. Opposite CBS ran The Judy Canova Show, while WJZ aired Duffy’s Tavern and WOR ran the quiz show, Battle of the Boroughs. This was the most competitive time slot as far as ratings went. In February A Date With Judy pulled a 9.6, while The Judy Canova Show pulled a 12.6, and Duffy’s Tavern had a 14.6. Louise Erickson was three weeks shy of her sixteenth birthday. She held the role until 1949. The series was popular enough that, in response, CBS developed Meet Corliss Archer. After The Molle Mystery Theater aired at 9 PM, the three top-rated shows on radio aired in succession, beginning with the just-heard Jim Jordan co-starring in Fibber McGee and Molly. The February 8th episode was called “Homemade Ice Cream” and had a rating of 35.7. More than twenty-seven million people tuned in. After Fibber McGee and Molly signed off, Bob Hope’s Pepsodent Program signed on at 10PM.…
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Breaking Walls: The Podcast on the History of American Network Radio Broadcasting
As February 1944 got underway the Soviet Leningrad Front was fighting a heavy ground war against the German eighteenth army in Estonia. The battle would last the entire month with the Soviet’s eventually winning. French Resistance unified under the French Forces of the Interior. The Germans won the Battle of Cisterna in Italy against the Allied army, but at that point, four months before the Normandy invasion, the Allies kept pushing into Italy. Meanwhile, the Battle of the Admin Box began in the Burma campaign with Japanese forces attempting to counter-attack an Allied offensive, trying to draw Allied reserves from the Central Front in Assam, where the Japanese were preparing their own major offense. On the morning of Saturday February 5th, 1944 at 7AM eastern war time, the NBC World News Roundup signed on from WEAF in New York. On the date of this broadcast, Allied powers were slowly inching into western Europe with the body count mounting, while Soviet forces captured cities in Ukraine. Overnight on February 6th into the 7th Soviet bombers attacked Helsinki, the heaviest bombing of the Finnish capital since the war began. Meanwhile, a growing border issue between Poland and Russia caused President Roosevelt to step in, Asking Stalin not to allow it to undermine future international co-operation. Roosevelt proposed that the Polish Prime Minister accept the desired territorial changes and then be allowed to alter the makeup of his government without any evidence of foreign pressure. Wartime needs stretched agricultural production. The U.S. not only had to feed its own civilian and military population, but many of the Allies relied on America’s bread basket. In addition, German U-boats sank hundreds of food-laden ships bound for Britain. Canned fruits and vegetables were rationed starting March 1st, 1943. Less canned goods meant less civilian tin use and less strain on the heavily taxed rail and road systems. Even as early as 1941, civilians were encouraged to grow their own produce to supplement their food. These were referred to as Victory Gardens. The Department of Agriculture produced pamphlets to guide urban and suburban gardeners. Magazines and newspapers published helpful articles, and patriotic posters urged participation. In the Pacific northwest state of Oregon, wartime farm labor shortages led to the creation of the U.S. Crop Corps in 1943. It umbrellaed labor services like the Women's Land Army and the Victory Farm Volunteers. The latter was a group that got parental consent to employ youths aged eleven to seventeen. Migrant workers from Mexico also helped, made possible thanks to the joint U.S./Mexican "Bracero Program." By 1944 farmers could request help from POW laborers held at Oregon Army camps. More than thirty-five-hundred prisoners, mostly Germans, worked in Oregon fields.…
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Breaking Walls: The Podcast on the History of American Network Radio Broadcasting
He was born Leslie Townes Hope on May 29th, 1903 in Eltham, England. The fifth of seven sons, his parents were William Henry Hope, a stonemason from Somerset, and Welsh mother Avis, a light opera singer who later worked as a cleaner. The family eventually moved to Bristol for a time before emigrating to the U.S. aboard the SS Philadelphia, passing through Ellis Island on March 30th, 1908, before settling in Cleveland, Ohio. He earned pocket money by singing, dancing, and performing, winning a prize in 1915 for his impersonation of Charlie Chaplin. In December 1920, Hope and his brothers became U.S. citizens when their British parents became naturalized Americans. The next year, he was assisting his brother with the electric company when a horrific accident crushed his face. The reconstruction of which led to his distinctive appearance. In the 1920s Hope formed a dance act called the "Dancemedians" with George Byrne and the Hilton Sisters, conjoined twins who performed a tap-dancing routine on the vaudeville circuit. He acted in a double with Byrne, eventually making his way to New York. The act flopped, pushing Hope to strike out on his own, changing his first name to Bob in 1929. He spent five years on the Vaudeville circuit, failing an RKO screen test in 1930, but he broke out on Broadway, first in Ballyhoo of 1932, and then opposite Tamara Drasin and Fred MacMurray in Roberta, which played two-hundred ninety-four times between November of 1933 and July of 1934. Meanwhile in 1932, he appeared on Major Bowes’ Capitol Family Hour and later on Rudy Vallee’s Fleischmann Yeast Hour on June 3rd, 1933 alongside Jimmy Wallington. In 1933 he married his vaudeville partner Grace Troxell. They divorced the next year and Hope was soon with another performer, Dolores Reade. Though they spent the rest of their lives together, and Hope was notoriously unfaithful, a legal record of their marriage is vague at best. The couple would eventually adopt four children. In 1934 Hope signed a six-short contract with Educational Pictures. Radio soon followed. By then, he’d developed performing chops so strong, he could sing, dance, or act in any number of ways. On Friday January 4th, 1935 over NBC’s Blue Network, he debuted in The Intimate Review. This first series was short-lived: ratings were mediocre, but Hope found his first radio foil, comedienne Patricia Wilder, who, with her thick southern accent, went by Honey Chile. The Intimate Review went off the air in April, but on September 14th, 1935, Hope was back on radio over CBS with The Atlantic Family. While he was on for CBS in 1936, Hope starred on Broadway in Ziegfeld’s Follies with Fanny Brice; and in Cole Porter’s Red, Hot, and Blue, with Ethel Merman and Jimmy Durante. The next May 9th, 1937, Hope was back on radio for NBC’s Blue Network on Sundays at 9PM with The Rippling Rhythm Revue. During this run Paramount beckoned: The Big Broadcast of 1938 was to begin filming, and Hope was offered a part. He moved to Hollywood, continuing his monologues by transcontinental wire. The Rippling Rhythm Revue was canceled in September, but three months later Hope joined The Dick Powell Variety Show on December 29th, 1937. The Big Broadcast of 1938 was released on February 11th, and suddenly, Hope was a huge star. On Tuesday, September 27th, 1938 at 10PM, The Pepsodent Show took to the air. That first season, Hope’s 15.4 rating was good enough for twelfth overall. In 1939 he was up to 23.1 and fifth. In 1941 his rating was 26.6 and fourth, and finally in 1942 his Crossley rating cracked thirty points, while his Hooper cracked forty. Hope soon began a five year run as radio’s top comedian.…
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Breaking Walls: The Podcast on the History of American Network Radio Broadcasting
1 BW - EP147: The Launch Of The CBS Radio Mystery Theater (1974) 4:16:32
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4:16:32In Breaking Walls episode 147 we go into the studio with Himan Brown for the CBS radio drama relaunch in 1974. —————————— Highlights: • First a January 1974 World News Roundup • Himan Brown’s Big Idea to Relaunch Radio Drama on CBS in 1974 • Tuning Into January 8, 1974’s Episode of The CBS Radio Mystery Theater • Mason Adams in I Warn You Three Times • January 13, 1974 World News Roundup — Nixon Still On Hot Seat • Producing The CBS Radio Mystery Theater With The New York Radio Crew • Dead For a Dollar • The CBS Radio Mystery Theater Beyond January 1974 • Looking Ahead to February by Looking Back to Bob Hope —————————— The WallBreakers: http://thewallbreakers.com Subscribe to Breaking Walls everywhere you get your podcasts. To support the show: http://patreon.com/TheWallBreakers —————————— The reading material used in today’s episode was: • On The Air — By John Dunning • The CBS Radio Mystery Theater, An Episode Guide and Handbook to Nine Years of Broadcasting — By Gordon Payton and Martin Grams, Jr. As well as articles from: • The Cleveland Plain Dealer —————————— On the interview front: • Himan Brown, Larry Haines, Mary Jane Higby, Joseph Julian, and E.G. Marshall spoke with Dick Bertel and Ed Corcoran for WTIC’s The Golden Age of Radio. Hear these interviews at Goldenage-WTIC.org • Joan Banks and George Petrie were with SPERDVAC. For more info, go to SPERDVAC.com • Mason Adams spoke with Chuck Schaden. Hear these chats at Speakingofradio.com —————————— Selected music featured in today’s episode was: • January Stars — By George Winston • Amid Flowers, Beside the River, Under a Spring Moon — By Elizabeth Hainen • Perfida — By Jimmy Dorsey And His Orchestra —————————— A special thank you to Ted Davenport, Jerry Haendiges, and Gordon Skene. For Ted go to RadioMemories.com, for Jerry, visit OTRSite.com, and for Gordon, please go to PastDaily.com. —————————— Thank you to: Tony Adams Steven Allmon Orson Orsen Chandler Phil Erickson Jessica Hanna Perri Harper Thomas M. Joyce Ryan Kramer Gerrit Lane Earl Millard Gary Mollica Barry Nadler Christian Neuhaus Ray Shaw Filipe A Silva John Williams Jim W. —————————— WallBreakers Links: Patreon - patreon.com/thewallbreakers Social Media - @TheWallBreakers…
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Breaking Walls: The Podcast on the History of American Network Radio Broadcasting
This is the fifth episode of The CBS Radio Mystery Theater. Entitled "No Hiding Place," it was written by longtime writer of The Shadow, Sidney Slon. It stars Larry Haines, Jackson Beck, Anne Meacham, Sidney Walker and Tom Keena. The Plot: Charles Powel, executive vice president of a large company and engaged to the boss’ daughter, seems to have everything going for him. But Clint Livets, who knows the secret of Charles’ past, shows up with a dirty hand and blackmail on his mind.…
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Breaking Walls: The Podcast on the History of American Network Radio Broadcasting
1 BW - EP147—008: The Launch Of The CBS Radio Mystery Theater—Looking Ahead To 1944 With Bob Hope 5:15
Well, that brings our look at the launch of The CBS Radio Mystery Theater to a close. We’ve spent the past five months making our way forward in time from 1957, to 1963, to 1973, and finally 1974. But, next month on Breaking Walls we’ll head back to the middle of radio’s golden age and focus on one of the most successful comedians of all-time. Next time on Breaking Walls, it’s February of 1944 and between entertaining troops, smashing box office numbers, and notoriously carousing, the man jokingly referred to by friend Bing Crosby as “ol trowel nose,” Bob Hope, is radio’s top comedian. For the first time in six years of Breaking Walls episodes, we’ll focus on the man who always reminded us to say, thanks for the memories. The reading material used in today’s episode was: • On The Air — By John Dunning • The CBS Radio Mystery Theater, An Episode Guide and Handbook to Nine Years of Broadcasting — By Gordon Payton and Martin Grams, Jr. As well as articles from: • The Cleveland Plain Dealer —————————— On the interview front: • Himan Brown, Larry Haines, Mary Jane Higby, Joseph Julian, and E.G. Marshall spoke with Dick Bertel and Ed Corcoran for WTIC’s The Golden Age of Radio. Hear these interviews at Goldenage-WTIC.org • Joan Banks and George Petrie were with SPERDVAC. For more info, go to SPERDVAC.com • Mason Adams spoke with Chuck Schaden. Hear these chats at Speakingofradio.com —————————— Selected music featured in today’s episode was: • January Stars — By George Winston • Amid Flowers, Beside the River, Under a Spring Moon — By Elizabeth Hainen • Perfida — By Jimmy Dorsey And His Orchestra —————————— A special thank you to Ted Davenport, Jerry Haendiges, and Gordon Skene. For Ted go to RadioMemories.com, for Jerry, visit OTRSite.com, and for Gordon, please go to PastDaily.com. —————————— Thank you to: Tony Adams Steven Allmon Orson Orsen Chandler Phil Erickson Jessica Hanna Perri Harper Thomas M. Joyce Ryan Kramer Earl Millard Gary Mollica Barry Nadler Christian Neuhaus Ray Shaw Filipe A Silva John Williams Jim W. ——————————…
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Breaking Walls: The Podcast on the History of American Network Radio Broadcasting
Cleveland Plain Dealer, July 28th, 1974 — CBS 'Theater's' Brown Burns about Serling "I'm proud of every minute we're on the air...and I'll stand up for every single show I do." Speaking of The CBS Radio Mystery Theater was Himan Brown, executive producer of the nationwide show that premiered January 6th and has garnered good ratings. His comments were the beginning of a rebuttal to negative remarks made about the show and The Zero Hour on these pages June 16th by Rod Serling, who narrated the latter program, which was dropped by Mutual last Friday. Brown burned. “My stories have complete relevancy to all that's going on now--exorcism, reincarnation--all stories of the moment. We're doing contemporary stories with the best writers and actors in the business. I think radio drama, contrary to what Serling says, is here forever and a day--and never will be off the networks again." Serling has written TV shows, movies, and books, but his only previous radio drama was written while he was a summer replacement at WLW in Cincinnati. "It’s all sour grapes. Serling's relationship to radio has been a total failure," Brown said. “His criticism of his own show is a complete slur of his own integrity, because in the past he lent his narrative name or talents to what he wrote. The implication is that he was much involved with the stories on The Zero Hour and that's a fake.” Brown believes in Mystery Theater with all his heart. “It took me fifteen years to sell it, but it's been a happy fulfillment." The show has gone so well that Brown has a verbal renewal to go into a second year. He wouldn't discuss it, but Brown admitted that he has packaged a two-hour weekly Sunday drama series for CBS Radio that would debut early next year. Getting back to Mystery Theater, Brown admitted that he can't bat one-thousand on the series. "But I'll bat eight-hundred." He produces, directs, edits scripts, casts the shows and signs the checks. “The show has gone far beyond anything I ever hoped for. People are listening seven nights a week. The minute we put on the first repeats, the stations' switchboards lit up.” The first year's contract calls for one-hundred ninety-five new shows and one-hundred seventy repeats. Usually produced in New York, the program will invade Hollywood for talent there for the recording of eight mysteries, beginning August 5th. Born in Manhattan and with degrees from City College of New York and Brooklyn Law School--although he has never practiced law--Brown moved into TV production when radio drama fell by the wayside some fifteen years ago. Now, with The CBS Radio Mystery Theater, he's back home. "It's the greatest homecoming a man could possibly want." — Raymond P. Hart Although Rod Serling was disappointed with Mutual broadcasting’s treatment of The Zero Hour, as covered in the previous episode of Breaking Walls, in 1974 Himan Brown’s Mystery Theater won a Peabody Award for helping to usher in a new era of radio entertainment. It would run for eight more years until finally going off the air on December 31st, 1982. More than fifteen hundred episodes were produced. Most survive in listening quality.…
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Breaking Walls: The Podcast on the History of American Network Radio Broadcasting
1 BW - EP147—006: The Launch of the CBS Radio Mystery Theater— 1/8/1974's Episode Dead For A Dollar 59:10
On Monday January 21st, 1974 the just-heard Joe Julian co-starred with Paul Hecht, Joan Banks, Mary Jane Higby, Tony Roberts, and George Petrie in Murray Burnett’s story “Dead for a Dollar” on The CBS Radio Mystery Theater. Radio legend Joan Banks played secretary Kay Woodhouse. George Petrie played Jason Grant. He’d been appearing on radio since the early days of the Great Depression. Mary Jane Higby played Denise Grant. She’d come to New York City from Hollywood in 1937.…
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Breaking Walls: The Podcast on the History of American Network Radio Broadcasting
1 BW - EP147—005: The Launch Of The CBS Radio Mystery Theater—Stories From The New York Radio Crew 16:22
By the time The CBS Radio Mystery Theater debuted, the men and women associated with the show had been involved with each other for nearly forty years. Mary Jane Higby grew up in Los Angeles and remembered Hollywood before it was a radio hub. She was once called Queen of the soaps. Joan Banks, who later married Frank Lovejoy, remembered the New York hangouts. There she spent time with men and women like the oft-heavy Larry Haines. These men and women were usually overbooked. Joan Banks went to the west coast in 1948. It was about then that Television came into the picture. E.G. Marshall was a part of it from the start. Unfortunately, it wasn’t long before radio began to decline, as Joe Julian remembered. But nearly twenty years later, thanks to Himan Brown, CBS was back in the radio drama business in 1974.…
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Breaking Walls: The Podcast on the History of American Network Radio Broadcasting
1 BW - EP147—004: The Launch Of The CBS Radio Mystery Theater—Watergate, Gas Crisis, High Inflation 22:00
On Thursday, January 10th, 1974 the crew of Skylab 4, which had been orbiting the earth for more than fifty days, was granted a day off. The week prior, during a televised news conference Mission commander Gerald Carr said he missed cold beer and football. That same day the U.S. carried out three simultaneous nuclear explosions as part of Operation Arbor in Nevada. January 13th was Super Bowl VIII Sunday. The defending champion Miami Dolphins faced off against the Minnesota Vikings at Rice Stadium in Houston. More than seventy thousand were in attendance. That evening. Floyd Kalber signed on for NBC’s news with coverage of potential peace between Egypt and Israel, brokered by Secretary of State Henry Kissinger. Looking for a solution to the ongoing Middle East crisis, Kissinger spent ten hours meeting with Israeli officials, hammering out a proposal for a peace settlement with Egypt. He next flew to Cairo to present the document to Anwar Sadat. After meeting Sadat, the plan was to return to Tel-Aviv with Sadat’s version of the proposal for Israel’s acceptance or rejection. This was good for President Nixon, who despite an eighteen day birthday vacation in California, and an insistence that he would leave the past behind and focus on 1974, couldn’t seem to shake Watergate, the energy crisis, and continued high inflation.…
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Breaking Walls: The Podcast on the History of American Network Radio Broadcasting
On Saturday, January 12th, 1974, the just heard Mason Adams starred alongside Joan Loring, Tom Keena, Sam Gray, and Alan Manson in the seventh episode of The CBS Radio Mystery Theater. This aircheck comes from WOR and it's a mystery in the truest sense of the word. Joan Lorring, who voiced Hedy, was at the time of this broadcast forty-seven years old. She’d already been nominated for an Academy Award in The Corn Is Green in 1945, and won a Donaldson, the predecessor of the Tony, in 1950 for her portrayal of Marie Buckholder in Come Back, Little Sheba. On radio, her career spanned the gamut. She starred as Judy Foster in the second season of A Date With Judy, played on Suspense in the 1940s, in Theater Five in the 1960s, and finally on The CBS Radio Mystery Theater in the 1970s. Later this year she appeared in Burt Lancaster’s neo noir mystery film The Midnight Man.…
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Breaking Walls: The Podcast on the History of American Network Radio Broadcasting
1 BW - EP147—002: The Launch Of The CBS Radio Mystery Theater—Tuning Into January 8th, 1974’s Episode 58:04
The New York Daily News was unenthusiastic in its review of the first two episodes, however the third episode caught their attention. On the evening of Tuesday, January 8th, 1974 The CBS Radio Mystery Theater took to the air with their third installment, called “The Bullet,” guest-starring the just-heard radio, TV, and stage legend Larry Haines. Larry Haines had been involved with New York radio for decades. The same month he was starring in this episode of The CBS Radio Mystery Theater he spoke with Dick Bertel and Ed Corcordan for WTIC’s The Golden Age of Radio. Also featured in this cast was Evelyn Juster, Martin Newman, Danny Ocko, Leon Janney, and Ralph Bell. It was written by radio writing legend Sam Dann.…
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Breaking Walls: The Podcast on the History of American Network Radio Broadcasting
1 BW - EP147—001: The Launch Of The CBS Radio Mystery Theater—CBS Jumps Back Into Radio Drama In 1974 25:27
Tuesday, January 8th, 1974. It’s a cold night in Brooklyn, New York. There’s snow in the forecast. We’re driving north on Shore Road, towards the Belt Parkway in a 1973 Ford Maverick. Thanks to the oil crisis, smaller cars like the Maverick are becoming increasingly popular. On January 2nd, President Nixon signed a law lowering the maximum speed limit on U.S. highways to fifty-five miles per hour. It conserved gasoline during the embargo. Highway fatalities dropped twenty three percent over the next year. The limit remained in effect for thirteen years. Unfortunately for Nixon, the Watergate scandal wouldn’t go away. Citing executive privilege, on January 4th, Nixon refused to surrender over five hundred subpoenaed tapes to the Watergate Committee. On this night, Tuesday January 8th, John Chancellor signed on with news and updates from NBC. On this day, New York City instituted measures against gas shortage abuse. The day after this broadcast, Representatives from the twelve member nations of the Organization of Petroleum Exporting Countries finished a meeting in Geneva, Switzerland, voting for a three-month freeze on oil prices. But this isn’t why we’re here. As Mutual Broadcasting was getting back into radio drama with The Zero Hour, longtime director Himan Brown finally convinced CBS to give him a nightly hour of time to produce new eerie radio plays. Tonight, we’ll go back to January 1974 and study how this moment in time came to be. ____________ In January 1974 Himan Brown was sixty-three years old, having been on the air since the age of eighteen. Brown is noted for having created Bulldog Drummond, Grand Central Station, Dick Tracy, and Inner Sanctum Mysteries. He was itching for the chance to create new dramatic radio. CBS executive Sam Digges was fifty-seven, and close friends with Brown, but the CBS network board could perhaps have been a harder sell for a program that was to air every night of the week. CBS hadn’t produced any dramatic shows since September of 1962. Over the eleven years since, numerous technological advancements had been made. In order to produce a show that was to air every night of the week, a dedicated studio would be developed. They used Studio G on the sixth floor of the old CBS Radio Annex on East 52nd street. The writers would be paid three-hundred fifty dollars per script. That’s a little more than two thousand dollars today. As Himan Brown mentioned, in New York City CBS aired news, so Mutual Broadcasting’s flagship WOR picked up the series just one month after Mutual began airing The Zero Hour. Acting talent would work for SAG-AFTRA scale. Actor E.G. Marshall was tabbed to be the host. In 1973 Marshall was known for his prominent role in the 1957 Twelve Angry Men, and on TV’s The Defenders. As a host, he harkened back to the Golden Age of Radio when characters such as The Man In Black, The Whistler, The Mysterious Traveler, and Raymond hosted macabre programs. The CBS Radio Mystery Theater would debut on Sunday January 6th, 1974 with Agnes Moorehead starring in “The Old Ones Are Hard To Kill.” Two-hundred eighteen stations carried the series, including twenty-one which were not CBS affiliates.…
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Breaking Walls: The Podcast on the History of American Network Radio Broadcasting
1 BW - EP146: December 1973 With Rod Serling And The Zero Hour 3:55:04
3:55:04
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3:55:04In Breaking Walls episode 146 we spotlight the Jay Kholos, Elliott Lewis, and Rod Serling series The Zero Hour in honor of the fiftieth anniversary of its debut on the Mutual Broadcasting System in December of 1973. —————————— Highlights: • Radio Drama Coming Back in 1973 • Jay Kholos Conceives The Zero Hour — Rod Serling Will Host • The Zero Hour Is On the Air • WRVR and Selling Radio Shows In the 1970s • Nixon On The Hot Seat • AFTRA’s Moving Goal Posts — Kholos Must Sell The Zero Hour’s Rights • Selling The Zero Hour to Mutual • Elliott Lewis and Jay Kholos Leave The Zero Hour • Mutual Cancels The Zero Hour and Rod Serling is Disappointed • Life After Radio Drama • Looking Ahead to the CBS Radio Mystery Theater —————————— The WallBreakers: http://thewallbreakers.com Subscribe to Breaking Walls everywhere you get your podcasts. To support the show: http://patreon.com/TheWallBreakers —————————— The reading material used in today’s episode was: • On The Air — By John Dunning • A Pictorial History of Radio’s First 75 Years — By B. Eric Rhoads • The Radio Career of Rod Serling — By Martin Grams Jr’s The archive from Digital Deli’s Zero Hour page. As well as articles from: • The Arizona Republic • The Associated Press * The Cleveland Plain Dealer * Pacific Stars and Stripes • The San Mateo Times • The Van Wert Times Bulletin —————————— On the interview front: • Himan Brown and Howard Duff spoke with Dick Bertel and Ed Corcoran for WTIC’s The Golden Age of Radio. Hear these interviews at Goldenage-WTIC.org • Howard Duff, Elliott Lewis, Les Tremayne, Janet Waldo, and Paula Winslowe spoke with Chuck Schaden. Hear these chats at Speakingofradio.com • Mary Jane Croft, Byron Kane, and Elliott Lewis spoke with SPERDVAC. For more info, go to SPERDVAC.com • Jay M. Kholos was interviewed by Yours Truly, James Scully in January 2018 —————————— Selected music featured in today’s episode was: • Caravan — By Eighty Drums Around The World • What Are You Doing New Year’s Eve — By Nancy Wilson —————————— A special thank you to Ted Davenport, Jerry Haendiges, and Gordon Skene. For Ted go to RadioMemories.com, for Jerry, visit OTRSite.com, and for Gordon, please go to PastDaily.com. —————————— Thank you to: Tony Adams Steven Allmon Orson Orsen Chandler Phil Erickson Jessica Hanna Perri Harper Thomas M. Joyce Ryan Kramer Earl Millard Gary Mollica Barry Nadler Christian Neuhaus Ray Shaw Filipe A Silva John Williams Jim W. —————————— WallBreakers Links: Patreon - patreon.com/thewallbreakers Social Media - @TheWallBreakers…
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Breaking Walls: The Podcast on the History of American Network Radio Broadcasting
Although The Zero Hour went off the air in the spring of 1974, the people involved didn’t stop working. Rod Serling always kept a full schedule. His final radio performance was part of Fantasy Park. A fantasy rock concert aired by nearly two-hundred stations in 1974 and 1975. Always a heavy smoker, on May 3rd, 1975, Serling had a heart attack. A second heart attack two weeks later forced doctors to agree that a risky open-heart surgery was necessary. On June 26th, Serling had a third heart attack on the operating table and died two days later at Strong Memorial Hospital in Rochester, New York. He was just fifty. His funeral and burial took place on July 2nd in Seneca, New York. Elliott Lewis would continue in Television, before again working with Mutual on radio dramas at the end of the decade. Jay Kholos continued innovating, eventually forming the theater company, Orchard Street Productions, in 2001. These days he lives in Nashville, where Kholos writes music and scripts for his own productions, while Orchard Street also licenses musicals and plays for local, regional and North American tours.…
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Breaking Walls: The Podcast on the History of American Network Radio Broadcasting
1 BW - EP146—008: December 1973 With Rod Serling And The Zero Hour— Serling Is Disappointed With Radio 8:30
Once Mutual finished running the last of the Lewis-directed Jay Kholos episodes of The Zero Hour on March 14th, 1974, they went dark for six weeks. They were busy completely changing the format. Now, one star would be featured in five different anthologies during a week. The show returned on April 29th. The first week’s star was Mel Torme. “Bye Bye Narco” was the first new script produced under Mutual’s umbrella. Cleveland Plain Dealer, June 16th, 1974 “Rod Serling, master writer of the mysterious and macabre, is playing a game of suspense with the good earth. On the side, he serves as host of The Zero Hour, a weekday radio mystery series beamed by the Mutual Broadcasting System. “Serling's feelings about the recent upsurge in radio drama prompted a call to his rural home. It soon became apparent that he is disappointed with radio drama and TV. “Serling made it clear that he has nothing to do with the writing or producing of the twenty-five minute dramas. "I've caught the show about three times. One was passable and two I would have flunked off the air. What they're trying to do—and they may succeed—is a show that is contemporary. But it sounds campy.” “Serling said, "The same thing applies to The CBS Radio Mystery Theater. It has to be relevant stuff for 1974. Short of that, why not resurrect old Shadow recordings? So far, I have yet to see either show relate to our time, either in story or technique. if they're selling us nostalgia, they've succeeded. It's thoroughly reminiscent of radio thirty years ago.” “I'm not bad rapping it,” he said. “It's just not what I expected. I realize the economics of the situation. I wouldn’t want to spend my time writing a provocative radio drama and get a check that would buy me a carton of cigarettes. Radio drama currently has the value of an antique." “Won't it change for the better? “I don't know," Serling said. “I have no idea. I'm frequently wrong, anyhow. I thought Nixon would be out of office by now. And I thought Sonny Liston would be heavyweight boxing champion for 20 years.” “Summing up his feelings about radio and television, Serling said, “I feel the same way about radio as I do television as an art form. It doesn't rise to the occasion like it should...although television occasionally has.” “Radio today is more of a display case than an art form.” — Raymond P. Hart The Zero Hour in the new format ran thirteen additional weeks before being canceled after the July 26th, 1974, episode. In total, one-hundred-thirty episodes of The Zero Hour were produced. Most can be heard today.…
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Breaking Walls: The Podcast on the History of American Network Radio Broadcasting
1 BW - EP146—007: December 1973 With Rod Serling And The Zero Hour—Mutual Broadcasting Takes Over 43:33
Associated Press, December 21st, 1973, New York City. “The script appears strange at first. Its directions are for the ear, not the eye, and say things like: "DOORBELL ON. FOOTSTEPS. DOOR OPENED. TRAFFIC IN BG." "That traffic noise is 25 years old," laughs Jimmy Dwan, a veteran CBS sound effects man. "You can hear a doorman shouting on it somewhere. That doorman, he's been dead twenty years." Dwan's recorded sound effects are old, but not his script. It's of 1973 vintage, written solely for radio. “Yes, radio. “It's part of a brave new effort by two networks to bring back, in limited form, the golden days of coast-to-coast radio drama that most everyone remembers, but hasn't heard in more than a decade. “The Mutual Broadcasting System fired the first shot Monday with The Zero Hour, a 30-minute five-nights-a-week thriller serial hosted by writer-narrator Rod Serling of Twilight Zone fame. “Mutual, which says it has six-hundred-thirty affiliates, bought the series after lengthy studies proved there existed a sufficient market for radio drama on a network basis. Advertisers liked the idea, too, according to Mutual's president C. Edward Little: "We got a tremendous amount of client interest after we announced it," adding that the show will be fed from Mutual's Washington D.C., headquarters each weeknight at 7PM. "We feel that we'll start off with one-hundred-fifty to two-hundred stations." “The series will be offered on a "first refusal" basis to Mutual affiliates. “They also said that if the show clicks, other radio projects such as new comedy or anthology series, may follow. But they emphasized that such shows are strictly in the talking stages.” — Jay Sharbutt Once Mutual purchased the rights to The Zero Hour, they removed Elliott Lewis as director and Jay Kholos no longer had anything to do with the production. Both had good things to say about each other, but not for Mutual.…
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Breaking Walls: The Podcast on the History of American Network Radio Broadcasting
One of the radio veterans featured in this episode was Byron Kane. Another was Paula Winslowe. By October 1973, it was obvious that Jay Kholos couldn’t afford to keep funding new episodes of The Zero Hour thanks to AFTRA’s changing terms. He looked to make a deal with a network. The Mutual Broadcasting System and C. Edward Little were interested. A deal came together quickly. A press conference announcing the move was set for November 1st. We heard that presser at the beginning of this episode. The Zero Hour would be moving to Mutual on December 17th, 1973. Before new episodes could be broadcast, Mutual would air the thirteen five-part episodes already directed by Elliott Lewis.…
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Breaking Walls: The Podcast on the History of American Network Radio Broadcasting
Janet Waldo, famous for her portrayal of Corliss Archer as well as Judy Jetson, Penelope Pitstop, and Emmy Lou on The Adventures of Ozzie and Harriet, was featured in this episode of The Zero Hour. With AFTRA’s moving goal posts meaning that producing more episodes of The Zero Hour would cost significantly more money, in the fall of 1973, Jay Kholos had to look for either a potential production partner or a buyer. In the meantime, The Zero Hour continued to air in syndication over stations like WRVR in New York.…
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Breaking Walls: The Podcast on the History of American Network Radio Broadcasting
A year after his re-election, President Nixon was knee-deep in the Watergate scandal. On October 10th, 1973, VP Spiro Agnew resigned, pleading no contest to charges of tax evasion and money laundering, part of a negotiated resolution to a scheme in which he accepted nearly thirty-thousand dollars in bribes while governor of Maryland. According to The New York Times, Nixon “sought advice from senior Congressional leaders about a replacement.” The advice was unanimous in favor of Gerald Ford. Ford agreed to the nomination, telling his wife that the Vice Presidency would be “a nice conclusion” to his career. On October 12th, President Nixon officially named Gerald Ford as Veep. The energy crisis was becoming a major issue. Nixon assured the public saying Americans wouldn’t be running out of gasoline, air travel wouldn’t stop, and heating oil would be plentiful in the winter months. Though the crisis would require some sacrifice on everyone’s part. He outlined a plan which included using less heat, less gasoline, cutting down on highway speeds as well as cutting down on lighting at home and at work. General consensus felt things would get worse before they got better. Meanwhile on November 10th a ceasefire was achieved in the Middle-East. A tenuous agreement was reached between Egypt and Israel that put an end to military conflict. By the middle of November, the Nixon White House sought to put a positive spin on things – launching what was called “The President Fights For His Administration’s Credibility.” Nixon’s dwindling support from Capitol Hill Republicans caused him to make a round of addresses, primarily in Republican stronghold cities, in order to reiterate his case and help approval. The reviews were mixed – some thought it was a valiant attempt to rescue a bad situation, while others were more convinced than ever that Nixon needed to step down.…
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Breaking Walls: The Podcast on the History of American Network Radio Broadcasting
Once Jay Kholos sold the show to various radio stations, it was generally up to those stations to sell the show to sponsors. In New York, The Zero Hour was running on WRVR 106.7-FM. WRVR-FM was initially a public radio station owned and operated by The Riverside Church in New York. It began broadcasting on January 1st, 1961. The Riverside Church, located in Morningside Heights, is an interdenominational, interracial, and international church, and has long been a center of activism and social justice. WRVR was the first station to win a Peabody for its entire programming, in part for its documentary coverage of the civil rights movement in Birmingham in 1963. In addition to religious and philosophical discussions with Riverside clergy and theologians, WRVR programming included addresses by political and cultural leaders, like Indira Gandhi, Aldous Huxley, John F. Kennedy, and Margaret Mead. Dr. Martin Luther King Jr. delivered his pivotal “Beyond Vietnam” speech at the Riverside Church over WRVR-FM on April 4th, 1967. The station also featured the heralded weekly program Just Jazz with Ed Beach. In September 1971, WRVR went commercial and shifted to a news format, with the exception of Just Jazz, which continued until 1973. By then, WRVR was experimenting with radio drama in both golden age and new time productions. On September 4th, 1973, part two of The Zero Hour’s “Wife of the Red-Haired Man” took to the air. Radio legend Mary Jane Croft, who was also the wife of Elliott Lewis, was featured in this episode. Years later, she spoke to SPERDVAC about her radio career and late husband. In September of 1973, WRVR was advertising a World Hockey Association exhibition matchup which featured legends Gordie Howe and Bobby Hull. The New York Raiders and later The Golden Blades were intended to be the upstart WHA’s flagship franchise. They were, however, unable to compete with the NHL’s New York Rangers and the expansion New York Islanders. After just two seasons, The Golden Blades moved to San Diego. The WHA folded after eight years in 1979 with four teams: The Edmonton Oilers, Hartford Whalers, Quebec Nordiques, and Winnipeg Jets, joining the NHL.…
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Breaking Walls: The Podcast on the History of American Network Radio Broadcasting
Arizona Republic, June 11th, 1973 “If you loved the old radio shows, you'll like what KOOL-FM has in store for you. The station has bought the brand-new radio drama series, The Zero Hour, which promises to revive the good old days, but in a modern format. “Announcing the new series was E. Morgan Skinner Jr., promoted last week from KOOL-AM account executive to KOOL-FM assistant station manager. Judging from the pilot tape, it should be an interesting show. Each story lasts a week. A half-hour episode is presented nightly, Monday through Friday, with the climax coming on Friday. A new show starts the following Monday. “KOOL has bought twenty-six weeks of the series, all that Hollywood Radio Theater has available so far. The program originally was to be started in mid-June, but the unsettled Writers Guild of America strike apparently has created some delay. “Current plans are to begin in mid-July. Each show will be broadcast at 7:30 p.m. on KOOL-FM and then rebroadcast on KOOL-AM at 10:30 p.m. "But that's during television's prime time," you say? That's the whole point. "Zero Hour is contemporary, but reflective of radio's golden era," said Skinner. “And they're doing the thing in such a way as to leave people free to utilize their minds. “By Beginning in July, it takes the series into the fall to compete against the new shows on TV. A lot of us have become disenchanted with what television has to deliver. "It's going to be interesting to see what a top-quality radio series will do against prime-time TV. The quality of this show is superb. It's crisp and well-done." “Hollywood Radio Theater is the brainchild of Jay M. Kholos, a veteran in the advertising and communications field. Rod Serling hosts the series. The first episode, titled "The Wife of the Red-Haired Man," stars Patty Duke Astin, John Astin and Howard Duff. The yarn is about the pursuit of a dead couple. Duff, of course, does the pursuing.” — Jack Swanson Before this September 3rd, 1973 debut episode of The Zero Hour, over WRVR 106.7FM in New York, Kholos spent the summer of 1973 traveling around, selling the series to stations in Syndication. After that, he was joined by Rod Serling on a promotional tour. Radio legend Les Tremayne played Patty Duke’s husband Albert. In November 1973, Howard Duff was a guest of Dick Bertel and Ed Corcoran’s WTIC Golden Age of Radio program. He spoke positively about his experience with The Zero Hour.…
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Breaking Walls: The Podcast on the History of American Network Radio Broadcasting
November 1st, 1973. The Waldorf-Astoria Hotel, New York City. We’re listening in on a press conference hosted by the Mutual Broadcasting System. They’ve purchased the rights to air The Zero Hour from the just-heard Jay M. Kholos. The Zero Hour has thus far been hosted by Rod Serling and directed by Elliott Lewis. It’s Mutual’s first dramatic radio show in nearly twenty years. As Mutual Broadcasting spent much of the 1950s changing ownership groups, while national advertising was slowly abandoning radio for TV, Mutual ended its last two remaining half-hour dramas, Counterspy and Gangbusters, in November of 1957. Sports and news began to take up the majority of the network’s programming. Throughout the 1960s more frequent ownership and management changes continued to create network instability, before C. Edward Little was named president in 1972. During his time as President, Little created the Mutual Black Network, the Mutual Spanish Network, and the Mutual Southwest Network. Under Little's administration, Mutual became the first commercial broadcasting entity to use satellite technology for program delivery. He also hired Larry King to host an all-night phone-in talk show. King was a one-time announcer for Little at WGMA in Florida. He went on to national fame in both radio and TV, winning a coveted Peabody Award along the way. But that’s not why we’re eavesdropping in 1973. We’re here for the return of dramatic programming on network radio in the form of The Zero Hour which had been airing in syndication since the fall. Why is this such a momentous event? How did we get to this point? Tonight, we’ll find out. ____________ The last network big four radio drama, Theater Five, ran on ABC and was launched on August 3rd, 1964. Unfortunately by the mid 1960s network radio had undergone a transformation. Theater Five’s half-hour time slot only allocated twenty-one minutes for story-time. The other nine minutes went to news, station identification, and local advertising. ABC’s affiliates also had the first right of refusal. In some big markets Theater Five ran on other radio stations. Two-hundred-fifty-six total episodes were produced before Theater Five was canceled after the July 30th, 1965 episode. For the next seven years, except for any dramatic vignettes on NBC’s Monitor, NBC, CBS, ABC, and Mutual broadcasting’s network fed programming was relegated to news, sports, talk, and music. Then in early 1973, an entrepreneurial ad man named Jay M. Kholos had a big idea. He grew up in Southern California around the entertainment and media industry. Kholos’ idea? He sensed an oncoming nostalgia wave and wanted to relaunch a high-production, serialized audio drama, but updated for the modern sensibilities of 1973. Kholos needed a hook. He felt by telling one story in five half hours over the course of a contained week, he could keep the listener’s attention and get them to tune back in. Enter Rod Serling, famed creator of The Twilight Zone. Serling had worked in radio, in Springfield, Marion, Columbus, and Cincinnati, Ohio. Kholos was soon in touch with Elliott Lewis. By 1973, he had nearly forty years of experience as a writer, director, actor, and producer. Kholos was able to secure the rights to several stories. Now, he needed acting talent. The goal was to pair name brand film and TV talent with the best Hollywood radio veterans. Howard Duff could have fit into either category. By the 1970s, Duff and Elliott Lewis had been friends for thirty years. They both helped grow the Armed Forces Radio Service during World War II. Duff was chosen, along with Patty Duke and John Astin to lead the first cast in an adaptation of Bill S. Ballanger’s The Wife of the Red-Haired Man. Kholos put the program under the umbrella of The Hollywood Radio Theater. They chose Radio Recorders, the largest independent studio in Los Angeles, for the program. The Zero Hour would debut in late summer.…
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Breaking Walls: The Podcast on the History of American Network Radio Broadcasting
1 BW - EP145: November 1963 With Jean Shepherd And JFK 5:40:26
5:40:26
ลิสต์เล่นในภายหลัง
ลิสต์เล่นในภายหลัง
ลิสต์
ถูกใจ
ที่ถูกใจแล้ว
5:40:26In Breaking Walls episode 145 it’s the fall of 1963 and network radio drama is dead while American life is changing. If you’re listening to this in real time, this month marks the sixtieth anniversary of John F. Kennedy’s assassination. To go beyond its public horror and understand American society three generations ago, we’ll focus on Jean Shepherd. —————————— Highlights: • I, Libertine • Jean Shepherd Gets His Familiar WOR Time Slot • November 1963 Begins • Veteran's Day, Malcolm X, and Lenny Bruce • President Kennedy’s Last Trip to Florida • Shep's Show During JFK Last Week • John F. Kennedy’s Last Day • An Unfortunate Arthur Godfrey Episode • Live News Coverage As The Unthinkable Happens To President Kennedy In Dallas • John Kennedy Has Passed, Lee Harvey Oswald Is Arrested • A Weekend of Mourning With the Boston Symphony Orchestra • President Kennedy's Funeral Coverage • Jean Shepherd Eulogizes John F Kennedy • A Subdued Christmas Eve With Shep • Looking Ahead to Rod Serling and The Zero Hour —————————— The WallBreakers: http://thewallbreakers.com Subscribe to Breaking Walls everywhere you get your podcasts. To support the show: http://patreon.com/TheWallBreakers —————————— The reading material for today’s episode was: • Excelsior You Fathead! The Art and Enigma of Jean Shepherd — By Eugene Bergmann • Boom!: Talking About the Sixties — By Tom Brokaw • Four Days In November: The Assassination of President John F. Kennedy — By Vincent Bugliosi • On The Air — By John Dunning • Oswald's Tale: An American Mystery — By Norman Mailer As well as articles from: • The Bridgeport Post • The Chicago Tribune • The Cincinnati Enquirer • The Hammond Times • The Kansas City Times • The Library of Congress • The Los Angeles Times • The Miami News • The New York Daily News • The New York Times • The Orlando Sentinel And the Assassination Report of the Warren Commission —————————— On the interview front: • Andy Rooney spoke with CBS for their 50th anniversary in 1977 —————————— Selected music featured in today’s episode was: • The John Coltrane Quartet in concert — November 19th, 1962 • Pachelbel's Canon In D — By Michael Silverman • All I’ve Got To Do — By The Beatles • The Boston Symphony in concert — November 23rd, 1963 • Some Children See Him — By George Winston —————————— A special thank you to Ted Davenport, Jerry Haendiges, and Gordon Skene. For Ted go to RadioMemories.com, for Jerry, visit OTRSite.com, and for Gordon, please go to PastDaily.com. —————————— Thank you to: Tony Adams Steven Allmon Orson Orsen Chandler Phil Erickson Jessica Hanna Perri Harper Thomas M. Joyce Ryan Kramer Earl Millard Gary Mollica Barry Nadler Christian Neuhaus Ray Shaw Filipe A Silva John Williams Jim W. —————————— WallBreakers Links: Patreon - patreon.com/thewallbreakers Social Media - @TheWallBreakers…
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Breaking Walls: The Podcast on the History of American Network Radio Broadcasting
1 BW - EP145—014: November 1963 With Jean Shepherd And JFK—Looking Ahead To Rod Serling And Zero Hour 6:00
Well, that brings our look at November 1963 through the eyes of Jean Shepherd and President Kennedy to a close. Frankly, I wasn’t completely sure what this episode would become until I finished producing it. Speaking of anniversaries, we have one in December that’s a bit more recent and much happier if you like radio drama. Next time on Breaking Walls, in honor of the fiftieth anniversary of The Zero Hour’s debut on the Mutual Broadcasting System, we spotlight the rebirth of radio drama in 1973. It’s the first of a two-part mini series on radio drama in the 1970s. The reading material used in today’s episode was: • Excelsior You Fathead! The Art and Enigma of Jean Shepherd — By Eugene Bergmann • Boom!: Talking About the Sixties — By Tom Brokaw • Four Days In November: The Assassination of President John F. Kennedy — By Vincent Bugliosi • On The Air — By John Dunning • Oswald's Tale: An American Mystery — By Norman Mailer As well as articles from: • The Bridgeport Post • The Chicago Tribune • The Cincinnati Enquirer • The Hammond Times • The Kansas City Times • The Library of Congress • The Los Angeles Times • The Miami News • The New York Daily News • The New York Times • The Orlando Sentinel And the Assassination Report of the Warren Commission On the interview front: • Andy Rooney spoke with CBS for their 50th anniversary in 1977 Selected music featured in today’s episode was: • The John Coltrane Quartet in concert — November 19th, 1962 • Pachelbel's Canon In D — By Michael Silverman • All I’ve Got To Do — By The Beatles • The Boston Symphony in concert — November 23rd, 1963 • Some Children See Him — By George Winston Breaking Walls Episode 146 will spotlight Rod Serling and The Zero Hour in honor of the 50th anniversary of its debut on Mutual Broadcasting. This episode will be available beginning December 1st, 2023 everywhere you get your podcasts, and at TheWallBreakers.com. In the meantime, give Breaking Walls a quick rating on whatever platform you listen, especially itunes. You can also join The Breaking Walls Facebook group at Facebook.com/Groups/TheWallBreakers. And support this show for as little as a buck a month at Patreon.com/TheWallBreakers. So until December 1st, my name is James Scully, this has been Breaking Walls Episode 145, and I’ll catch you on the flip side. Thank you very much.…
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Breaking Walls: The Podcast on the History of American Network Radio Broadcasting
On the morning of Tuesday November 26th, 1963 all regularly scheduled TV and radio programming resumed in the U.S. President Johnson issued NSAM 273, a modification of the American policy in Vietnam. Included in President Kennedy’s original memo, was Johnson adding the word “win” to the U.S. objective. At the same time, The American satellite Explorer 18 was launched to study the magnetic field around the Moon. Jack Ruby was indicted for the murder of Lee Harvey Oswald. He was found guilty on March 14th, 1964. Although a court demanded a retrial in 1966, Ruby died of lung cancer on January 3rd, 1967. The Federal Reserve Bank began the removal of silver certificates from circulation, starting with the discontinuation of one dollar notes. Big Butte School, in Butte, Montana, became the first of almost one-thousand schools to be renamed in honor of President Kennedy. And on Wednesday November 27th, Lyndon Johnson gave his first speech as President of the United States. It has since become known as “Let Us Continue.” The next day, November 28th, was Thanksgiving. President Johnson issued an Executive Order renaming Cape Canaveral in Florida, to Cape Kennedy. The holiday season, albeit the most subdued one the people of the U.S. had since 1944, had begun. On the November 25th broadcast of The Jean Shepherd Show, Shep wondered how people would still be feeling thirty days after the assassination. Well, Tuesday December 24th was Christmas Eve. On that day the New York International Airport, commonly referred to as "Idlewild", was officially renamed as John F. Kennedy International Airport, popularly referred to as "JFK." That night, Jean Shepherd took to the air telling a story about a Christmas season in the days of yore.…
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Breaking Walls: The Podcast on the History of American Network Radio Broadcasting
1 BW - EP145—012: November 1963 with Jean Shepherd and JFK—Jean Shepherd Remembers John F Kennedy 46:56
On Friday November 22nd, 1963, New York’s Village Voice co-founder Dan Wolf’s office was swarmed with people. Journalist Jerry Tallmer later remembered being there, talking and grieving, when in burst Jean Shepherd, excited and full of fire. Shep said, “Wouldn’t you know! Wouldn’t you know! It was a Fair Play for Cuba guy who did it!” Lee Harvey Oswald had connections with the Fair Play for Cuba group, an organization protesting the U.S.’ treatment of Communist Cuba under Fidel Castro. Although Shepherd was a noted liberal, the idea that Oswald wasn’t some right-wing fascist, but a nutcase of the left excited Shep, and Shep was mad. Commentator Barry Farber remembered that Shep was incensed that he couldn’t get on the air. He said, “for crying out loud, we finally have something to talk about and they took us off the air.” On Monday, November 25th, 1963 at 11:15PM, Jean Shepherd was finally able to sign on for WOR. What follows is a sober, serious commentary on the state of the United States and what John Kennedy meant to Jean Shepherd. This is the full forty-five minute broadcast.…
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Breaking Walls: The Podcast on the History of American Network Radio Broadcasting
1 BW - EP145—011: November 1963 With Jean Shepherd And JFK—President Kennedy's Funeral Coverage 18:59
On Monday, November 25th, 1963, John F. Kennedy was laid to rest at Arlington National Cemetery in Virginia. NBC Radio was on hand with press coverage of the event. Millions of viewers watched the funeral on live TV. Present were foreign dignitaries from ninety-two countries, including eight heads of state and ten prime ministers. In addition to President Johnson, former Presidents Harry Truman and Dwight Eisenhower were in attendance, as was Prince Philip, the husband of Queen Elizabeth II; and Anastas Mikoyan, First Deputy Prime Minister of the USSR. The Roman Catholic Archbishop of Boston, Richard Cardinal Cushing, delivered the funeral mass at St. Matthew's Cathedral. For only the third time in history, telephone service in the US was halted for one minute at noon, Eastern time. Las Vegas closed all of its casinos for only the third time in its history. Three hours later, graveside services were held for Lee Harvey Oswald at the Rose Hill Cemetery near Fort Worth, Texas. The only people allowed were Oswald's wife, mother, brother, and two daughters. After a Lutheran minister from Dallas reconsidered appearing for the service, the Reverend Louis Saunders appeared on behalf of the Fort Worth Council of Churches, telling newsmen, "We do not want it said a man can be buried in Fort Worth without a minister." Oswald was buried in a family plot that had been owned for several years by his mother. Six reporters were pallbearers. Abraham Zapruder sold all rights to his famed eight millimeter film of the Kennedy assassination to LIFE Magazine for One-hundred-fifty-thousand dollars, to be paid in twenty-five-thousand dollar yearly installments. Two days later, Zapruder donated the first full payment to the widow of officer J.D. Tippit.…
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Breaking Walls: The Podcast on the History of American Network Radio Broadcasting
1 BW - EP145—010: November 1963 With Jean Shepherd And JFK—Mourning With The Boston Symphony Orchestra 13:40
On Saturday November 23rd, 1963, with the country in a state of shock and mourning, Music Director Erich Leinsdorf led the Boston Symphony orchestra in the compositions of Gluck, Wagner, and Beethoven. John Kennedy was the grandchild of former famous Boston mayor John “Honey Fitz” Fitzgerald. The concert was given at Symphony Hall in honor of the slain son of Boston. Elsewhere, numerous famous people gave statements on the assassination. The next morning, Sunday November 24th, despite being surrounded by a crowd of police officers at the Dallas Police headquarters, Lee Harvey Oswald was shot and mortally wounded by nightclub owner Jack Ruby on live TV while being transported to the Dallas County jail. Ruby shot Oswald in the abdomen, at point blank range, with a .38 caliber revolver. The shooting took place at 11:21 a.m. local time. Oswald was taken into surgery at Parkland Memorial Hospital. He died at 1:07 p.m., never to face trial. That Sunday, thousands of people around the world went to Sunday mass in memory of the fallen President. Later an LP called That Day With God was produced with excerpts from several of these inspirational expressions. It included Pope Paul VI, The Archbishop of Canterbury and Richard Cardinal Cushing. I’ll let Henry Fonda read the last one.…
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Breaking Walls: The Podcast on the History of American Network Radio Broadcasting
All regularly scheduled network programming from every radio and TV station around the country was immediately suspended. This audio comes from shortly after 2PM eastern time from ABC. Right after the shooting, witness Howard Brennan notified the police that he was sitting across the street from the Texas School Book Depository, watching the President’s motorcade go by. He heard a shot come from above and looked up to see a man with a rifle fire another shot from the southeast corner window on the sixth floor. He said he had seen the same man minutes earlier looking through the window. Brennan gave a description of the shooter, and Dallas police subsequently broadcast descriptions at Dallas time 12:45., 12:48, and 12:55 p.m. At 12:45 fifteen minutes after President Kennedy was shot, Dallas police officer J.D. Tippit received a radio order to drive to the central Oak Cliff area as part of a concentration of police around the center of the city. At 12:54, Tippit radioed that he moved as directed. By then, several messages had been broadcast describing a suspect in Kennedy’s shooting as a five-foot-ten, slender white male. At roughly 1:10, Tippit was driving slowly eastward on East 10th street past the intersection at Patton Avenue when he pulled alongside a man who resembled the police description. Although conspiracy theorists dispute this, officially the man was twenty-four year-old Lee Harvey Oswald. Oswald walked over to Tippit's car and exchanged words with him through an open window. Tippit opened his car door and walked toward the front of the car. Oswald drew a handgun and fired five shots in rapid succession. Tippit was shot in the chest and head, dying almost instantly. His body was transported from the scene of the shooting by ambulance to Methodist Hospital, where he was pronounced dead at 1:25 p.m. Meanwhile, Johnny Brewer, a nearby shoe store manager later testified that he saw Oswald ducking into the entrance alcove of his store. Suspicious, Brewer watched Oswald continue up the street and slip without paying into the nearby Texas Theatre. He alerted the theater's ticket clerk, who telephoned the police at about 1:40 p.m. As police arrived, the house lights were brought up and Brewer pointed out Oswald sitting near the rear of the theater. Police Officer Nick McDonald testified that he was the first to reach Oswald and that Oswald seemed ready to surrender saying, "Well, it is all over now." McDonald said that Oswald pulled out a pistol tucked into the front of his pants, then pointed the pistol at him, and pulled the trigger. McDonald stated that the pistol did not fire because the pistol's hammer came down on the webbing between the thumb and index finger as he grabbed it. McDonald also said that Oswald struck him, but that he struck back and Oswald was disarmed. As he was led from the theater, Oswald shouted he was a victim of police brutality. Soon after his arrest, Oswald encountered reporters, declared, "I didn't shoot anybody. They've taken me in because I lived in the Soviet Union. I'm just a patsy!" This is audio from an arranged press meeting later that day. The voice you’ll hear is that of Lee Harvey Oswald. Oswald was formally arraigned for the murder of Officer Tippit at 7:10 p.m. By early the next morning, he had been arraigned for the assassination of President Kennedy. At 2:38 p.m. Dallas time on Friday the 22nd aboard Air Force One, Lyndon Baines Johnson took the oath of office as the 36th President of the United States. Standing next to him as he took the oath were both his wife and Jacqueline Kennedy.…
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Breaking Walls: The Podcast on the History of American Network Radio Broadcasting
1 BW - EP145—008: November 1963 with Jean Shepherd and JFK—News Coverage of JFK on Friday, 11/22/1963 40:25
On Friday, November 22nd, 1963, President Kennedy awoke at 7:30AM. He ate a light breakfast with Jackie before going out by himself to the square in front of his hotel to address a crowd of a few thousand people. Someone shouted, “where’s Jackie?” He pointed to their eighth floor suite and replied "Mrs Kennedy is organizing herself, It takes her a little longer, but of course she looks better than we do when she does it." The First Couple, together with Vice President Johnson and Texas Governor Connaly then took a short flight to Dallas. At 11:55 the President's motorcade left Love Field in Dallas. Thirty-five minutes later, history changed forever. This is soundcheck audio from the collection of Gordon Skene. On the morning of Friday, November 22nd, 1963 Gordon was twelve years old and home from school, recovering from an operation. Out of boredom he switched on his parent’s tape recorder and tuned to KNX, CBS’ affiliate in Los Angeles. On the air was Arthur Godfrey Time, talking from Miami, Florida with journalist Morris McLemore and commentator Gabriel Heater. Longtime CBS journalist and host Andy Rooney remembered Godfrey’s influence. In the late 1930s, a red-head from New York with a slight southern drawl named Arthur Godfrey was making a name for himself, hosting an all-night CBS show in Washington, DC on WJSV. He spent the overnight air-time playing records and chatting. Audiences were drawn to Godfrey’s informal approach. In April of 1941, CBS picked up the emcee for a national broadcast. The next October 4th, he began announcing for Fred Allen’s Texaco Star Theater. Unfortunately Allen and Godfrey didn’t mix well on-air. Allen dropped him after six weeks. Godfrey continued to appear on CBS special broadcasts. His star catapulted when he was a tearful reporter at Franklin D. Roosevelt’s funeral in April of 1945. CBS gave him a new morning show. Arthur Godfrey Time debuted less than two weeks later on April 30th. Unfortunately Godfrey’s popularity nosedived on October 19th, 1953. After years of working both himself and his supporting cast to the bone, he’d begun to treat them like children. Godfrey had a falling out with singer Julius LaRosa, firing him live on the air. Many felt Godfrey was jealous of his popularity. Once the show signed off for the day, Godfrey fired his bandleader Archie Bleyer. When Ed Sullivan invited LaRosa on his Toast of the Town TV show, Godfrey called Sullivan a dope. The reporters covering the story were “a bunch of jerks.” Rather than back off, Godfrey fired the rest of his cast and continued broadcasting, but the press, the public, and Godfrey never forgot or forgave what happened. His problems continued. He lost his pilot's license after buzzing an airport tower. One by one his shows folded. Then he got lung cancer and later, pronouncing himself cured, devoted much of his time to the fight against the disease. He professed to be writing a book that would tell “the whole story” of his incredible life and claimed to be working out a new deal for a TV show. In the end CBS, and William Paley, who never liked Godfrey, but liked his ratings, refused to put him on TV. Godfrey continued his network radio show until 1972, when he finally quit. In his seventies, he still talked occasionally about coming back, but he died March 16th, 1983, in New York city. While this exact recording isn’t the original that Gordon Skene air checked, he later said about recording that morning, “Why was I doing it? I have no idea, and to this day I couldn’t tell you exactly what made me pick this day and this hour to hit the record button.” Suddenly, it all became very serious. What follows here is a living nightmare, now sixty years old, and not a moment of it is dated by time.…
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Breaking Walls: The Podcast on the History of American Network Radio Broadcasting
On the morning of Thursday, November 21st, 1963 President Kennedy had breakfast with his children. He said goodbye to his daughter Caroline when she left for school at 9:15. President Kennedy arrived at his office for the last time at 9:55. The President left the White House for the last time at 10:50AM. He flew to Andrews Air Force Base where he and the First Lady departed for San Antonio Texas. John Jr accompanied them to the airport. Once in Texas, he was at the dedication of the Aerospace Medical Health Center, Brooks Air Force Base. He then went to Houston. There he made brief remarks to the League of United Latin American Citizens at the Rice Hotel. He then addressed a dinner in honor of Representative Albert Thomas. Some of that speech was just heard. The President and First Lady then traveled to Fort Worth where they stayed at the Texas Hotel. He had speeches set for Fort Worth and Dallas the next day. In world news, Robert Stroud, “the birdman of Alcatraz” died while incarcerated in Springfield, Missouri. In Japan’s general election, the Liberal Democratic Party retained a majority in the Shugiin (SHOO GEEN), or House of Representatives. While India began its space program with the launching of a rocket at the far south end of the Indian subcontinent. And by the time the President went to sleep, it was the 22nd in the UK. That day, The Beatles released their second studio album, With The Beatles. Produced by George Martin, it featured eight original compositions and six covers. The famous black and white portrait on the cover, with Ringo underneath John, George, and Paul, was widely copied afterwards.…
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Breaking Walls: The Podcast on the History of American Network Radio Broadcasting
1 BW - EP145—006: November 1963 With Jean Shepherd And JFK—Shep's Show During JFK Last Week Alive 21:43
On November 19th, 1963, nine days before Thanksgiving, President Kennedy received a turkey from the Poultry and Egg Board. The President always looked forward to New England Thanksgivings. That same day, in the concluding event for the three-day centennial celebration of the Gettysburg Address, former U.S. President Dwight D. Eisenhower addressed the crowd at the rededication for the Gettysburg National Cemetery. He told the audience, "My friends, Lincoln reminded his hearers that they had no power to dedicate this ground. So we, today, have no power to rededicate it. But with the playing of Taps, the soldier's farewell, we can share the grief of every family who has heard that a son or father or sweetheart has fallen. If we can do this, we will begin to do our part to solve the unfinished business of which Lincoln spoke." That evening, Jean Shepherd signed on talking family folk stories and poking fun at WOR. The next day, at the UN General Assembly, the Declaration on the Elimination of All Forms of Racial Discrimination was adopted, while the deathbed wish of author Aldous Huxley was honored by his wife Laura. She injected him with two-hundred micrograms of LSD. Huxley would die two days later.…
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Breaking Walls: The Podcast on the History of American Network Radio Broadcasting
On Sunday, November 17th, 1963, Frank McGee signed on for NBC’s Monitor with a look at Abraham Lincoln’s Gettysburg address. Lincoln’s famous speech was about to celebrate its one-hundredth anniversary. Meanwhile, President Kennedy was in Florida, unofficially on the 1964 campaign trail. On Saturday November 16th, President Kennedy traveled to Cape Canaveral where he inspected the Saturn Control Center and watched a Polaris missile test launch. The next morning he and Special Assistant Dave Powers went to Sunday Mass at St. Ann’s Church in Palm Beach. On the day of this special broadcast, the President began his day at MacDill Air Force Base. Photos from this trip, which would be the President’s last to Florida, which had voted Republican in the previous two Presidential elections, show Kennedy smiling brightly, as did fellow Americans, especially those who shook his hand or lined the roads alongside the twenty-eight mile path his motorcade took in Tampa Bay. When Kennedy traveled to Miami, he addressed a democrat crowd at the airport. That same day, a fire killed twenty-six people at the Surfside Hotel in Atlantic City, New Jersey. During the offseason the hotel served as a convalescent home for elderly people. Ten bodies were never recovered and only two of the other fifteen could be identified. A former mental patient and convicted arsonist would be arrested for the crime. He confessed he poured gasoline into the hotel's boiler and set it ablaze. However, an Atlantic City grand jury did not find probable cause to return an indictment. That evening, NBC-TV’s Huntley–Brinkley Report featured a four-minute news feature on The Beatles. It was the group’s first appearance on American TV.…
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Breaking Walls: The Podcast on the History of American Network Radio Broadcasting
1 BW - EP145—004: November 1963 With Jean Shepherd And JFK—Veteran's Day, Malcolm X, And Lenny Bruce 28:04
On Saturday November 9th, fans rioted at Roosevelt Field Raceway in Long Island, battling police and setting fires. At least fifteen were hurt and the head of security died of a heart attack during the riot. Sunday November 10th was the evening before Veteran’s Day. On NBC, Frank McGee signed on for Monitor with a salute to the holiday. Andrew Pearson had correspondence from Vietnam, while President Kennedy spent much of the weekend in New York City. On this same day, Black Muslim activist Malcolm X delivered what would become a widely re-quoted speech to the Northern Negro Leadership Conference at the King Solomon Baptist Church in Detroit. His message was one of revolution. He heavily criticized civil rights leaders like Martin Luther King Jr., who he said sold out and added that the March on Washington was "nothing but a circus, with clowns and all... white and black clowns." The next morning President Kennedy and his family flew to the white house. The President and John Jr. went to Arlington National Cemetery to take part in Veterans Day Ceremonies. Meanwhile, The first interplanetary probe in the Soviet Union's Zond program, Kosmos 21, failed to escape Earth orbit after rocket misfire and a failure of proper altitude control. On November 12th, The President met with Portuguese and Uruguayan Ambassadors before hosting an off the record meeting on Cuba that included Robert Kennedy, Dean Rusk and Robert McNamara. He also signed off on National Security Memorandum 271, a then-secret memo to NASA Administrator James E. Webb, telling him "to assume personally the initiative and central responsibility" to develop specific technical proposals "for broader cooperation between the U.S. and the USSR in outer space, including cooperation in lunar landing programs." On Wednesday, November 13th, at 11:15PM, Jean Shepherd signed on from WOR talking about protests, intellectuals, and angry demagogues. Two days after this broadcast, on Friday November 15th, 1963, seven days before President Kennedy's scheduled visit to Dallas, Democratic Party leader Baxton Bryant sent an angry telegram to President Kennedy complaining that Democratic supporters were being shut out of the planned November 22nd luncheon by Dallas Republicans who were in control of the Dallas Citizens Council. The plea was for the President to do something or face a boycott by his most loyal supporters. A motorcade from Dallas Love Field to downtown Dallas was arranged for the Kennedys after another Bryant complaint. That evening, the President flew to Palm Beach, Florida.…
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Breaking Walls: The Podcast on the History of American Network Radio Broadcasting
As November 1963 began, President Kennedy had emergency meetings on Vietnam. He also received members of the US Industrial Payroll Savings Committee and had meetings on the goings on in Berlin. Meanwhile, The U.S. Secret Service concluded that the more secure and the larger of two locations for the President’s upcoming fundraising luncheon in Dallas would be the "Women's Building" at Fair Park at the east side of downtown, rather than the Trade Mart on the west side near Dealey Plaza. Despite the recommendation, the state Democratic Party leaders in Texas settled on the Trade Mart. On November 6th, Jean Shepherd signed on from WOR talking about, and poking fun at, the 1964 World’s Fair, slated to open the next April. Part of what made Shepherd so popular was that no one was safe from his scrutinizing eye, even himself, and his biting style was perfect for late night radio. Perhaps Shep was wrong. Cassius Clay beat Sonny Liston twice, changing his name to Muhammad Ali in the process, while the cover of the next day’s New York Daily News, Wednesday November 7th, told the story of a bartender from Connecticut who won nearly eighty thousand dollars, an all-time record twin double at Roosevelt Raceway. That same day, Nelson Rockefeller, the Governor of New York, announced on NBC's Today Show that he would be a candidate for the 1964 Republican Party nomination. U.S. Senator Barry Goldwater of Arizona, the front-runner, made no comment, but was expected to enter the race. President Kennedy was not expected to face opposition in his nomination as the Democratic Party candidate for 1964.…
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Breaking Walls: The Podcast on the History of American Network Radio Broadcasting
1 BW - EP145—002: November 1963 With Jean Shepherd And JFK—Shep Gets His Familiar WOR Time Slot 28:31
Support For Breaking Walls is provided by our patrons. If you like the documentaries I've been producing, you can become a show supporter for as little as $1 here — https://www.patreon.com/TheWallBreakers By 1960, Shep’s homespun wit could be tweaked depending on what time of the day he took to the air. At that time he was broadcasting on both Saturdays and Sundays during the middle of the day for just under two hours. On Saturday April 9th, 1960, he took to the air discussing a solitary trip to Coney Island. The batting cages Shep spoke of were located on Stillwell avenue near the Coney Island boardwalk, just down the block from Nathans. I spent many a winter afternoon on this street taking batting practice and eating at Nathans with my grandfather in the 1990s. For more information on Coney Island’s place in radio history, tune into Breaking Walls episode 92. Shepherd’s Sunday show was terminated and for five months he was only on Saturday afternoons at 1:15PM. His program was then shifted to weeknights at 11:15PM for forty-five minutes. On February 27th, 1961 Shepherd spoke about shifting back to a late night time slot. This format, at 11:15PM until 1964, and then 10:15 until 1977, became what Shepherd is today most remembered for in terms of radio broadcasting. On Monday, October 21st, 1963 he had this to say about how his peers perceived their era, as well as why some college kids were gravitating towards Barry Goldwater, rather than John Kennedy.…
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Breaking Walls: The Podcast on the History of American Network Radio Broadcasting
Jean Shepherd was born on July 26th, 1921 on the South Side of Chicago to Jean and Anna Shepherd. He grew up in Hammond, Indiana, which according to Shep was a “tough and mean” industrial city. As an adolescent, Shepherd worked as a mail boy in a steel mill. He began his radio career at the age of sixteen, doing weekly sportscasts for WJOB in Hammond. That job led to juvenile roles on network radio in Chicago, including that of Billy Fairchild in the serial “Jack Armstrong, the All American Boy.” One of the programs that later came to symbolize Shepherd’s childhood, thanks to his 1983 film A Christmas Story, was Red Ryder. During World War II, Shepherd served in the U.S. Army Signal Corps, installing radar equipment and furthering a lifelong dislike for authority figures. After the war, he studied acting in Chicago at the Goodman Theatre and briefly engineering and psychology at Indiana University. He left Indiana without a degree to take a radio gig in Cincinnati, which led him to a series of radio jobs, each better than the previous. After working at WTOD in Toledo, Ohio, Shepherd spent the early 1950s at WSAI and WLW in Cincinnati, and had a late-night broadcast on KYW in Philadelphia. He moved to New York for WOR and debuted on February 26th, 1955. WOR is a fifty-thousand watt clear-channel AM station and was the flagship affiliate of the Mutual Broadcasting System. Mutual Broadcasting had formed on September 28th, 1934 as a cooperative of stations WOR New York, WGN Chicago, WXYZ Detroit, and WLW Cincinnati. The members shared telephone-line transmission facilities and agreed to collectively enter into contracts with advertisers for their network shows. After a deal with Don Lee’s chain of west coast networks, Mutual went coast-to-coast on December 29th, 1936. The other major networks, ABC, CBS, and NBC, were corporations. When World War II ended, domestic manufacturing restrictions were lifted. TV became a focal point as the other networks pumped their radio profits into the new medium. Mutual’s cooperative status meant it never had the resources to move into TV, although affiliates like WOR did run a local TV station in New York. Mutual remained a cooperative until 1952 when General Tire became the parent company. By 1955 radio was changing. Drama, which had dominated the dial for more than two decades, was on its way out due to both its and TV production costs. More and more network programming was being turned over to local affiliates. These local affiliates employed a new generation of hosts that had grown up with Jack Benny, Fred Allen, and other observant humorists. Shepherd’s peers were Johnny Carson, Jack Paar, Rod Serling, and Steve Allen. Shepherd was working an overnight slot for WOR in 1956. Facing a lack of sponsorship, he was about to be fired when he did an unauthorized commercial for Sweetheart Soap who didn’t sponsor his program. WOR immediately canned him. But, listeners complained in droves and Sweetheart actually offered to sponsor him. WOR immediately brought him back. The overnight slot allowed him to riff with little need for the kind of corporate oversight that faced daytime and primetime hosts. That year, during a discussion on how easy it was to manipulate the best-seller lists, Shepherd suggested that his listeners visit bookstores and ask for a copy of a fictional novel called I, Libertine by a Frederick R. Ewing. Fans of the show planted references so widely that there were claims it made The New York Times Best Seller list. It led to an actual book deal with Ballantine. Theodore Sturgeon wrote most of it with Shepherd’s outline guiding him. Betty Ballantine finished the novel when Sturgeon fell asleep during a marathon writing session to meet the deadline. Famed illustrator Frank Kelly Freas did the cover art. The book was published on September 13th, 1956 with all proceeds going to charity.…
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Breaking Walls: The Podcast on the History of American Network Radio Broadcasting
1 BW - EP144: October 1957—Sputnik! And Dying Radio Drama 3:19:53
3:19:53
ลิสต์เล่นในภายหลัง
ลิสต์เล่นในภายหลัง
ลิสต์
ถูกใจ
ที่ถูกใจแล้ว
3:19:53In Breaking Walls episode 144 we present part two of our mini-series on radio and the world in the fall of 1957. —————————— Highlights: • The 1957 World Series • Unit 99 • Sputnik, Bing Crosby, and Current Events • The Eternal Light and The Glastonbury Cows • Algeria Aflame • Stan Freberg • Bill Kemp, ABC, and More News • School Integration Update • Sorry, Wrong Number • You Bet Your Life • NATO, Syria, and Sputnik • LIFE and The World with Carl Sandberg and Frank Lloyd Wright • Looking Ahead to Jean Shepherd and JFK —————————— The WallBreakers: http://thewallbreakers.com Subscribe to Breaking Walls everywhere you get your podcasts. To support the show: http://patreon.com/TheWallBreakers —————————— The reading material for today’s episode was: • I Have a Lady in the Balcony: Memories of a Broadcaster in Radio and Television — By George Ansbro • On the Air — By John Dunning • Network Radio Ratings — By Jim Ramsburg As well as articles from • Broadcasting Magazine • The New England Historical Society • The New York Times • Sponsor Magazine —————————— On the interview front: • Stan Freberg, Byron Kane, and Peggy Webber spoke to SPERDVAC. For more info, go to SPERDVAC.com. • Andre Baruch, Ken Carpenter, Virginia Gregg, John Guedel, and Agnes Moorehead spoke with Chuck Schaden. Hear their full chats at Speakingofradio.com. • Jackson Beck, Vincent Price, and Bill Spier spoke to Dick Bertel and Ed Corcoran for WTIC’s The Golden Age of Radio. Hear these interviews at GoldenAge-WTIC.org. • Jack Benny’s snippet was recorded by CBS and played for their 50th anniversary in 1977 —————————— Selected music featured in today’s episode was: • Plunkett’s Lament — By George Fenton • The Pavane and Window To The Sky — By Michael Silverman • As Time Goes By — By Herman Hupfeld • Road — By George Winston • Metamorphosis 2 — By Elizabeth Hainen • Amazing Grace — By Wind Drum Spirit —————————— A special thank you to Ted Davenport, Jerry Haendiges, and Gordon Skene. For Ted go to RadioMemories.com, for Jerry, visit OTRSite.com, and for Gordon, please go to PastDaily.com. —————————— Thank you to: Tony Adams Steven Allmon Orson Orsen Chandler Phil Erickson Jessica Hanna Perri Harper Thomas M. Joyce Ryan Kramer Earl Millard Gary Mollica Barry Nadler Christian Neuhaus Ray Shaw Filipe A Silva John Williams Jim W. —————————— WallBreakers Links: Patreon - patreon.com/thewallbreakers Social Media - @TheWallBreakers…
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Breaking Walls: The Podcast on the History of American Network Radio Broadcasting
Next time on Breaking Walls, in honor of the sixtieth anniversary of John Kennedy’s Assassination, we spotlight Jean Shepherd and his November 1963 broadcasts. —————————— Highlights: • The 1957 World Series • Unit 99 • Sputnik, Bing Crosby, and Current Events • The Eternal Light and The Glastonbury Cows • Algeria Aflame • Stan Freberg • Bill Kemp, ABC, and More News • School Integration Update • Sorry, Wrong Number • You Bet Your Life • NATO, Syria, and Sputnik • LIFE and The World with Carl Sandberg and Frank Lloyd Wright • Looking Ahead to Jean Shepherd and JFK —————————— The WallBreakers: http://thewallbreakers.com Subscribe to Breaking Walls everywhere you get your podcasts. To support the show: http://patreon.com/TheWallBreakers —————————— The reading material for today’s episode was: • I Have a Lady in the Balcony: Memories of a Broadcaster in Radio and Television — By George Ansbro • On the Air — By John Dunning • Network Radio Ratings — By Jim Ramsburg As well as articles from • Broadcasting Magazine • The New England Historical Society • The New York Times • Sponsor Magazine —————————— On the interview front: • Stan Freberg, Byron Kane, and Peggy Webber spoke to SPERDVAC. For more info, go to SPERDVAC.com. • Andre Baruch, Ken Carpenter, Virginia Gregg, John Guedel, and Agnes Moorehead spoke with Chuck Schaden. Hear their full chats at Speakingofradio.com. • Jackson Beck, Vincent Price, and Bill Spier spoke to Dick Bertel and Ed Corcoran for WTIC’s The Golden Age of Radio. Hear these interviews at GoldenAge-WTIC.org. • Jack Benny’s snippet was recorded by CBS and played for their 50th anniversary in 1977 —————————— Selected music featured in today’s episode was: • Plunkett’s Lament — By George Fenton • The Pavane and Window To The Sky — By Michael Silverman • As Time Goes By — By Herman Hupfeld • Road — By George Winston • Metamorphosis 2 — By Elizabeth Hainen • Amazing Grace — By Wind Drum Spirit —————————— A special thank you to Ted Davenport, Jerry Haendiges, and Gordon Skene. For Ted go to RadioMemories.com, for Jerry, visit OTRSite.com, and for Gordon, please go to PastDaily.com. —————————— Thank you to: Tony Adams Steven Allmon Orson Orsen Chandler Phil Erickson Jessica Hanna Perri Harper Thomas M. Joyce Ryan Kramer Earl Millard Gary Mollica Barry Nadler Christian Neuhaus Ray Shaw Filipe A Silva John Williams Jim W. —————————— WallBreakers Links: Patreon - patreon.com/thewallbreakers Social Media - @TheWallBreakers…
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Breaking Walls: The Podcast on the History of American Network Radio Broadcasting
As the clock ticks toward All Hallow’s Eve, we’ll wind down where we began in last month’s episode of Breaking Walls, with the October 30th, 1957 episode of LIFE and the World on NBC. The October 14th LIFE Magazine cover featured Little Central High School in Arkansas; the October 21st cover featured American scientists plotting Sputnik’s orbit; while the October 28th’s cover featured Queen Elizabeth opening Canadian Parliament. This episode features a speech by poet Carl Sandburg and a rare interview with Frank Lloyd Wright, both speaking about Chicago. Both Sandberg and Wright spent significant time in Chicago. Sandburg was back in Chicago debuting a new poem about the city. His speech from the banquet by The Chicago Dynamic Committee, was recorded. Frank Lloyd Wright settled in Chicago shortly after the Great Fire of 1871. He was ninety at the time of this interview, and as passionate as ever. His Guggenheim Museum was under construction in New York, while he dreamed of a mile-high office building for Chicago. On October 29th, 1957, head of MGM, Louis B. Mayer died of leukemia. He was seventy-three. The next day, Variety Magazine carried his obituary. Although Mayer was often disliked and even feared by many, director Clarence Brown said, “he made more stars than all the rest of the producers in Hollywood put together. “He knew how to handle talent; he knew that to be successful, he had to have the most successful people in the business working for him. He was like Hearst in the newspaper business. He made an empire out of this thing.” However, both movie studios and the entertainment industry were rapidly changing. As was America. But the only way passed is through. So, forward we go, in time that is, in the next episode of Breaking Walls.…
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Breaking Walls: The Podcast on the History of American Network Radio Broadcasting
On October 21st, 1957 Queen Elizabeth and Prince Philip visited New York City. It was the final stop on their tour. The next day they returned to the United Kingdom. Meanwhile in Washington, President Eisenhower was meeting with the U.K.’s Prime Minister Harold MacMillan and NATO Chief Paul-Henri Spaak. Their chat was over Middle East policy, rocket deployment, and the Soviet Union’s launch of Sputnik. On Friday October 25th at 7:30AM, the NBC World News Roundup took to the air talking of developments. The British and US were butting heads on Middle East policy, while Britain wanted the two countries to share nuclear secrets. France was complaining that the U.S. and England weren’t allowing technological access. NATO Chief Spaak was expected to invite France to the upcoming talks. After this meeting Prime Minister MacMillan was to give Canadian PM John Diefenbaker an in-person report on the talk. In London, the Prime Minister’s Conservative party’s grip was loosening. The Socialist Labour Party had recently taken a seat in the House of Commons and the leaders of two major trade unions were going ahead with wage demands to counter inflation. All countries were listening for word from Moscow on how Sputnik was doing. The U.S. was focusing on reports that its carrier rocket was outpacing the satellite, while also continuing to push its own space advancements. On Saturday October 26th, Sputnik 1’s batteries ran out after its three-hundred-twenty-sixth orbit around the Earth. The following Monday Ytzak Ben-Zvi was reelected president of Israel by the Knesset congress. The next day, October 29th, Moshe Dwek threw a grenade in the Knesset chambers injuring several ministers. In the wake of Turkish elections, riots broke out in six different locations. And in Flagstaff, Arizona, a U.S. Air Force tanker plane crashed into a mountain, killing all sixteen crew members.…
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Breaking Walls: The Podcast on the History of American Network Radio Broadcasting
You Bet Your Life, conceived by the just-heard John Guedel and hosted by comedian Groucho Marx, debuted over ABC’s airwaves on October 27th, 1947. Three couples were brought onstage to be interviewed and quizzed by Groucho. Each couple was given twenty dollars and told to bet as much as they dared risk on four questions from a category of their choosing. The money would double with each successive step. Couples could win three-hundred twenty dollars, go broke on the first question, or finish anywhere in between. The couple with the largest money total got a chance at the jackpot question, worth at least one-thousand dollars. There was also a “secret word” each week, with bonus money to be divided if someone said the word while the show was on the air. Although 1947 was radio’s highest-rated season, the quiz show aired against NBC’s Mr. District Attorney on Wednesdays at 9:30. At season’s end You Bet Your Life only pulled a rating of thirteen. Groucho felt uncomfortable trying to be funny on a live radio show. Guedel’s answer was to record the show, which allowed Groucho to relax. The program could then be edited for time later. The idea worked. The show moved to CBS in 1949. You Bet Your Life became network radio’s top-rated quiz show, finishing the season in eleventh place overall. The contract with DeSoto-Plymouth of Chrysler was worth four million dollars over ten years. It also moved the show to NBC Radio and TV beginning on October 4th, 1950. The program remained a top-fifteen hit into 1957. That October 23rd, it was airing on radio Wednesday evenings at 9PM. This episode’s secret word was “Money.” You Bet Your Life continued on radio until June 10th, 1960.…
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Breaking Walls: The Podcast on the History of American Network Radio Broadcasting
On Sunday, October 20th, 1957 at 4:35PM eastern time, the just-heard Agnes Moorehead starred for the seventh time in Suspense’ adaptation of Lucille Fletcher’s harrowing story, “Sorry, Wrong Number.” In this play, a bed-ridden invalid, attempting to call her husband, accidentally overhears a plot between two men to kill some woman thanks to crossed phone lines. Over the course of the story she desperately attempts to get uninterested phone operators and policemen to care, until she finds out who the intended really victim is. It is, quite possibly, the most famous thriller in radio history. Ms. Moorehead played this part eight times in the years Suspense was on the air. This particular adaptation co-stars a who’s who of radio veterans, including Jeanette Nolan, Virginia Gregg, and Byron Kane.…
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Breaking Walls: The Podcast on the History of American Network Radio Broadcasting
As we covered in the previous episode, number 143, of Breaking Walls, In Little Rock, Arkansas on September 4th, 1957, nine African-American students attempted to attend their first day of high school at the newly integrated Little Rock Central High. The National Guard, on the orders of Arkansas Governor Orval Faubus, prevented the students from entering the school. The Governor then locked himself in his mansion, refusing to come out. President Dwight D. Eisenhower soon met with the Governor, and the National Guard was removed. On September 23rd, the nine students entered Little Rock Central High for the first time, ignoring verbal abuse and threats from a crowd outside. When the mob realized the students had entered the school, violence erupted, and seven journalists were attacked. As the situation deteriorated, school officials, fearing for the students’ safety, dismissed the Little Rock Nine at lunchtime. The next day, President Eisenhower ordered paratroopers from the 101st Airborne Division to escort the students to the building, signaling out those bent on disrupting the federal integration mandate. Over the following days, Eisenhower federalized ten-thousand Arkansas National Guardsmen, removing them from the control of the Governor. The Little Rock Nine were finally able to attend classes in late September, but they faced threats, verbal abuse, and hazing from both white students and adults alike. On Thursday October 17th, 1957 NBC Radio broadcast a special with students from Little Rock Central High about their feelings on integration. Although the conditions the Little Rock Nine had to endure were deplorable, when the Spring of 1958 came around eight of the nine had successfully completed the school year.…
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Breaking Walls: The Podcast on the History of American Network Radio Broadcasting
On Wednesday October 9th, 1957 at 8PM eastern time, The Bill Kemp Show took to the air over ABC. Bill Kemp was born on July 10th, 1921 in Toronto, Canada. An up and coming performer in the 1950s, his daily radio show ran weeknights at 8PM. His show was the final in a twelve-hour daily live broadcast project by ABC called “The Live and Lively Radio Network.” ABC’s intention was to raise ratings by going back to live broadcasts in an era of taped shows. Interestingly, it was ABC that helped launch the non-Mutual Broadcasting transcribed primetime era with Bing Crosby’s Philco Radio Time in 1946. Kemp’s show featured an orchestra, vocalist and guest stars such as Jonathon Winters. Kemp’s announcer George Ansbro remembered that Kemp once went laugh for laugh with Winters after a particularly successful broadcast, and continued the antics all the way to a nearby steakhouse. Unfortunately, Kemp also developed a debilitating drinking problem. Merv Griffin and Jim Backus were called on several occasions to cover for Kemp during absences for "personal reasons." One week after this broadcast on Wednesday October 16th, Queen Elizabeth II departed from Ottawa and arrived in Williamsburg, Virginia. The next day she was in Washington, D.C. While at the White House, Prince Philip received the gold medal of the National Geographic Society. On October 18th, two U.S. Navy balloonists flew to an altitude of sixteen miles, landing near Hermansville, Michigan. On October 19th, the Queen and Prince Philip attended an American football game in College Park, Maryland, and then visited a supermarket in West Hyattsville. That same day a beauty pageant winner was killed en route to her coronation in a helicopter crash in Farmingdale, New York, while Montreal Canadiens’ star Maurice “The Rocket” Richard became the first player in National Hockey League history to score five-hundred career goals.…
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Breaking Walls: The Podcast on the History of American Network Radio Broadcasting
Stan Freberg was born on August 7th, 1926 in Pasadena, California. Shortly after graduating from high school, he found work as a voice actor in both radio and animation. In 1957, now thirty-one, he was given his own thirty-minute comedy program on CBS, Sundays at 7:30PM eastern time from Hollywood. He debuted on July 14th, 1957. His cast featured Peter Leeds, June Foray, Daws Butler, Marvin Miller with vocalist Peggy Taylor, Billy May's orchestra, and the Jud Conlon Rhythmaires. His comedic style was biting. He was a shrewd satirist who targeted mediocrity, complacency, and stuffed shirts. He specialized in lampooning American life. On his first show he ripped American capitalism with a long skit about two competing Las Vegas nightclubs, the El Sodom and Rancho Gomorrah, set in the near future. The CBS higher-ups didn’t get it. So, he destroyed Lawrence Welk in a skit that became known as “Wunnerful, Wunnerful.” Billy May’s orchestra played a Welkian arrangement of “Bubbles in the Wine” while Freberg—doing a credible Welk imitation—kept yelling, “Turn off the bubble machine!” until he was drowned in the foam. Freberg “interviewed” the abominable snowman, presented a group of musical sheep, and staged a western skit, “Bang Gunley, U.S. Marshall Fields” spoofing the overdone sound effects of many classic films. He attacked censorship, with Freberg attempting to sing Kern and Hammerstein’s “Ol’ Man River,” only to be stopped by a “citizens committee censor,” who sounded a buzzer at any line he found objectionable, leading to rewriting the lyrics as “Elderly man river.” In August Sponsor Magazine reported that CBS thought network radio could see a return to sponsors buying full programs that fall. CBS was pitching The Stan Freberg show for ten-thousand dollars per week. However, by October it was obvious that network comedy couldn’t return to its previous highs and The Stan Freberg Show was canceled after the October 20th episode.…
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Breaking Walls: The Podcast on the History of American Network Radio Broadcasting
In October of 1957, Algeria was in the midst of a war for Independence and control between France and the Algerian National Liberation Front. The conflict began in November of 1954 and by October of 1957 was considered the world’s only active war of note. It was a complex conflict characterized by guerrilla warfare and the use of torture. When the War finally came to an end in 1962 with France granting Algeria Independence, nine-hundred-thousand Algerian refugees fled to France in fear of the NLF taking revenge on them for siding with France. The majority of Algerian Muslims who had worked for the French were left behind. Algerian authorities promised France they’d take no action against them. However, these Algerian Muslims were branded as traitors and many were soon murdered. On October 14th, 1957 at 10:30PM Eastern Time, CBS radio broadcast a documentary on the first three years of the conflict entitled, “Algeria Aflame.”…
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Breaking Walls: The Podcast on the History of American Network Radio Broadcasting
In October 1944, in conjunction with the Jewish Theological Seminary, NBC began one of the longest-running religious programs in radio history. It was called The Eternal Light. Then in its thirteenth year, The Eternal Light dramatized stories from ancient Judaea, along with contemporary works like The Diary of Anne Frank. It was produced by Milton Krents. Many top New York radio actors appeared. NBC donated the air time and the Seminary paid for the show's production. On Sunday October 13th, 1957 at 12:30PM eastern time over NBC’s WRCA in New York, The Eternal Light took to the air with a story on the Glastonbury Cows. In Glastonbury, Connecticut in 1869, tax collectors asked two elderly sisters, Abby and Julia Smith, to pay their road taxes early. They did, but were surprised to find the town accidentally billed them a second time later in the year. The Smiths were wealthy. Their father left his daughters a large land holding, investments and a farm. Their mother left them a sizable inheritance, as well. When the sisters asked the town to correct the matter, the tax collector refused. When they tried to enter a Town Meeting to raise the issue, they were turned away because they were women. The frustrated sisters paid the tax a second time, but their lack of political power infuriated them. They began attending women’s suffrage rallies. And as their frustration grew, so did their taxes. In 1874, they were told they could not delay their taxes in exchange for a twelve percent interest charge – a courtesy afforded other taxpayers. They became convinced that modern women needed a vote, and decided to stop paying taxes until they could. The tax collector seized seven cows to pay off back taxes. The sisters used a straw buyer to retrieve most of them, sparking much written debate. Critics who compared them to children only made their supporters more united. The cows became celebrities. Knickknacks woven out of their hair sold like hotcakes at fundraising bazaars that promoted women’s suffrage. Julia published a popular book, Abby Smith and Her Cows. This seizing continued through 1878. Eventually the sisters testified before Congress. In 1878, at the age of 81, Abby died in July. The next year, Julia, age 87, decided to marry for the first time. Her husband began paying the taxes on her property, and she repaid him in a compromise of love. Although many radio programs were being canceled, The Eternal Light would air on radio and then television until 1989.…
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Breaking Walls: The Podcast on the History of American Network Radio Broadcasting
On Friday October 4th, 1957 the U.S. received confirmation of the USSR’s launch of Sputnik 1, the first artificial earth orbiting satellite. It was a polished metal sphere twenty-three inches in diameter with four external radio antennas to broadcast radio pulses. Its radio signal was easily detectable by amateur radio operators. Its sixty-five degree orbital inclination gave it a flight path that completely covered all parts of the inhabited earth. While traveling at peak speed, the satellite took 96.20 minutes to complete each orbit. It transmitted on the bandwidth of roughly twenty and forty megahertz. These signals were monitored throughout the world and continued for twenty-one days until the transmitter’s batteries died on October 26th. The satellite's success was unanticipated by the U.S., setting the space Race into orbit as part of the Cold War. That same day, Bring Crosby signed on with The Ford Road Show for five minutes over CBS, announced by Ken Carpenter. The next Wednesday, October 9th, The Lovell Telescope was activated in Cheshire, England, while a Boeing B-47 Stratojet bomber crashed in Orlando, Florida killing all four military officers on board. On October 10th, a nuclear reactor fire on the north-west coast of England released radioactive material into the air, as President Eisenhower hosted breakfast at the White House with Ghanese minister to France, Komla Agbeli Gbedemah, who’d been recently refused at a Howard Johnson’s in Delaware because of his race. The next day an IBM computer at MIT Computation Center in Cambridge, Massachusetts calculated the last stage of the R-7 Semyorka rocket that carried Sputnik 1. On Saturday October 12th, Queen Elizabeth II and Prince Philip, Duke of Edinburgh, arrived in Ottawa, the capital of Canada, for a royal visit. On the fourteenth, the Queen opened the Canadian Parliament, the first monarch to do so.…
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Breaking Walls: The Podcast on the History of American Network Radio Broadcasting
Unit 99, first aired over ABC’s KFBK Sacramento on August 23rd, 1957. The radio station was part of the McClatchy media empire along with The Sacramento Bee and other radio and TV stations, as well as newspapers in the Western U.S. The show was born from Jack Webb’s Dragnet mode of realistic police portrayals, then furthered by shows like Night Watch which removed the script, followed actual officers, and made the drama real. Tony Kester directed the show under the auspices of the Sacramento police department. It featured Police Chief James B. Hicks as host and sergeant Dan Meredith recording his nightly police beat, interviewing witnesses of various crimes and police calls. Unit 99 ran until June 13th, 1958.…
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Breaking Walls: The Podcast on the History of American Network Radio Broadcasting
At 12:45PM on Wednesday October 2nd, Game one of the 1957 World Series took to the air. It pitted The Milwaukee Braves against The New York Yankees from Yankee Stadium in The Bronx. Bob Neal and Earl Gillespie were on the call for NBC Radio, while Mel Allen and Al Helfer telecast the game. The upstart Braves were led by future hall-of-famers Hank Aaron, Eddie Matthews and Warren Spahn. The defending champion Yankees were led by Mickey Mantle, Yogi Berra, Whitey Ford, and manager Casey Stengel. The Braves moved to Milwaukee from Boston after the 1952 season, leaving beantown to the Red Sox, finishing in the first division the previous four seasons before breaking through and winning the 1957 NL pennant. The Yankees were playing in their twenty-third world series in thirty-seven seasons. The Braves would win the series four games to three. The next year the two teams would meet again, this time with the Yankees taking the series in seven games. The following day, comedian Artie Auerbach, best known for playing Mr. Kitzel on The Jack Benny Program passed away of a heart attack. That same day New York Times columnist Jack Gould criticized NBC for attempting to televise the World Series in color.…
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Breaking Walls: The Podcast on the History of American Network Radio Broadcasting
1 BW - EP143: September 1957—Civil Rights And The Rocket Age 4:43:41
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4:43:41In Breaking Walls episode 143 we begin a mini series on radio and the world in the fall of 1957. —————————— Highlights: • LIFE and The World • The Man from Tomorrow • The American Forum of the Air • Atomic Testing • Pat Buttram and Just Entertainment on Labor Day • Ray Bradbury and the End of X-Minus One • Ms America • The Hattie Cotton School Bombing • Biography in Sound • Howard Miller and Steve Allen • The End of Family Theater • The Grand Ole Opry • Meet The Press and The Right of Self Determination • CBS Still Doing Drama on Sundays • Bing Crosby’s Road Show • School Integration • The Dodgers and Giants Leave New York • Looking Ahead to October and Sputnik —————————— The WallBreakers: http://thewallbreakers.com Subscribe to Breaking Walls everywhere you get your podcasts. To support the show: http://patreon.com/TheWallBreakers —————————— The reading material for today’s episode was: • On the Air — By John Dunning • Network Radio Ratings — By Jim Ramsburg As well as articles from • Broadcasting Magazine • The Los Angeles Times • The New York Times • Radio Daily • U.S. Radio Magazine —————————— On the interview front: • Lilian Buyeff, Mary Jane Croft, Sam Edwards, Herb Ellis, Bill Froug, Jack Johnstone, Jeanette Nolan, and Herb Vigran spoke to SPERDVAC. For more info, go to SPERDVAC.com. • John Scott Trotter spoke with Same Time, Same Station. • Jackson Beck, John Gibson, Larry Haines, Mary Jane Higby, Jim Jordan, Joe Julian, Mandel Kramer, Jan Miner, Arnold Moss, Bill Robson, and Guy Sorel spoke to Dick Bertel and Ed Corcoran for WTIC’s The Golden Age of Radio. Hear these interviews at GoldenAge-WTIC.org. • Parley Baer, Ken Carpenter, Bob Hastings, Jim Jordan, and Herb Vigran spoke with Chuck Schaden. Hear their full chats at Speakingofradio.com. • Roberta Bailey-Goodwin spoke with John Dunning for his KNUS program from Denver * Norman Macdonnell was with John Hickman for his Gunsmoke documentary • Jack Kruschen and George Walsh spoke with Jim Bohannon in 1987 • Ray Bradbury spoke with Jerry Haendiges • Ernest Kinoy spoke with Walden Hughes • Ben Grauer spoke with Westinghouse for their 50th anniversary • William S. Paley gave a speech on November 20th, 1958 in New York —————————— Selected music featured in today’s episode was: • Scarborough Fair, Shenandoah, and Autumn Stars — By Michael Silverman • The Last Rose of Summer — By Tom Waits • Corrina, Corrina, Old Friends, and Where Are You Now — By George Winston • Death Runs Riot — By Matthias Gohl • This Room is My Castle of Quiet — By Billy May and His Orchestra —————————— A special thank you to Ted Davenport, Jerry Haendiges, and Gordon Skene. For Ted go to RadioMemories.com, for Jerry, visit OTRSite.com, and for Gordon, please go to PastDaily.com. —————————— Thank you to: Tony Adams Steven Allmon Orson Orsen Chandler Phil Erickson Jessica Hanna Perri Harper Thomas M. Joyce Ryan Kramer Earl Millard Gary Mollica Barry Nadler Christian Neuhaus Ray Shaw Filipe A Silva John Williams Jim W. —————————— WallBreakers Links: Patreon - patreon.com/thewallbreakers Social Media - @TheWallBreakers…
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Breaking Walls: The Podcast on the History of American Network Radio Broadcasting
Next time on Breaking Walls, we continue our 1957 mini series by picking up in October with Sputnik, Algeria, Queen Elizabeth’s royal tour, and dying radio drama. —————————— The WallBreakers: http://thewallbreakers.com Subscribe to Breaking Walls everywhere you get your podcasts. To support the show: http://patreon.com/TheWallBreakers —————————— The reading material for today’s episode was: • On the Air — By John Dunning • Network Radio Ratings — By Jim Ramsburg As well as articles from • Broadcasting Magazine • The Los Angeles Times • The New York Times • Radio Daily • U.S. Radio Magazine —————————— On the interview front: • Lilian Buyeff, Mary Jane Croft, Sam Edwards, Herb Ellis, Bill Froug, Jack Johnstone, Jeanette Nolan, and Herb Vigran spoke to SPERDVAC. For more info, go to SPERDVAC.com. • John Scott Trotter spoke with Same Time, Same Station. • Jackson Beck, John Gibson, Larry Haines, Mary Jane Higby, Jim Jordan, Joe Julian, Mandel Kramer, Jan Miner, Arnold Moss, Bill Robson, and Guy Sorel spoke to Dick Bertel and Ed Corcoran for WTIC’s The Golden Age of Radio. Hear these interviews at GoldenAge-WTIC.org. • Parley Baer, Ken Carpenter, Bob Hastings, Jim Jordan, and Herb Vigran spoke with Chuck Schaden. Hear their full chats at Speakingofradio.com. • Roberta Bailey-Goodwin spoke with John Dunning for his KNUS program from Denver * Norman Macdonnell was with John Hickman for his Gunsmoke documentary • Jack Kruschen and George Walsh spoke with Jim Bohannon in 1987 • Ray Bradbury spoke with Jerry Haendiges • Ernest Kinoy spoke with Walden Hughes • Ben Grauer spoke with Westinghouse for their 50th anniversary • William S. Paley gave a speech on November 20th, 1958 in New York —————————— Selected music featured in today’s episode was: • Scarborough Fair, Shenandoah, and Autumn Stars — By Michael Silverman • The Last Rose of Summer — By Tom Waits • Corrina, Corrina, Old Friends, and Where Are You Now — By George Winston • Death Runs Riot — By Matthias Gohl • This Room is My Castle of Quiet — By Billy May and His Orchestra…
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Breaking Walls: The Podcast on the History of American Network Radio Broadcasting
In September 1957 baseball’s Dodgers, who’d called Brooklyn home since 1884, and Ebbets Field since 1913, played their final games in Flatbush. They’d been World Champions just two years earlier. Simultaneously, over in northern Manhattan, The New York Giants, champions in 1954, and at home near Coogan’s Bluff since 1883, played their final game overlooking the Harlem River. Both teams would move three-thousand miles west to California. The Dodgers would settle in Los Angeles, first at Memorial Coliseum and then in the famed Dodger Stadium, winning the 1959 World Series, and five more in the years since. The Giants moved to San Francisco, played their home games at the mercilessly windy Candlestick Park, before moving to a new stadium in 2000, winning three world titles in the twenty-first century. New York would be left without a National League team to rival the cross-town Yankees for five years, until the New York Metropolitans, colloquially known as the Mets, were formed. They're winners of two world championships of their own. In 1960 hall of fame pitcher Bob Feller, hosting a syndicated show, spoke about that last Giants baseball weekend at the Polo Grounds. There’s an old adage that says “change is life’s only constant.” Post-War hope turned into labor strife and a baby boom, which gave rise to the most profitable radio year in history—1948—leading directly to the TV era. The new deal was more than ten years old and an urban diaspora, guided by white flight and atomic fear, brought families to newly blossomed suburban communities and left cities wondering what the future held. More uncertainty lay ahead. Four days into October, the USSR would launch Sputnik I, the first artificial Earth-orbiting satellite. Everybody’s lives got a little nearer, and yet a little further apart. But, if they wanted to feel close, all they had to do was tune on a radio to a CBS affiliate Sunday afternoons as George Walsh breathed “and now” to open for Suspense. They’d perhaps remember a time when Jack Benny drove radio ratings, while his cast drove him crazy. To a time when Tuesday nights meant NBC with Fibber Mcgee and Molly, Bob Hope, and Red Skelton. When Thursdays meant Crosby, Suspense, and Burns and Allen. And to a time when Norman Corwin helped remember what brought us home. It’s where we’re all going anyway. More specifically, it’s where we’re heading next month.…
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Breaking Walls: The Podcast on the History of American Network Radio Broadcasting
1 BW - EP143—010: September 1957—The Bing Crosby Road Show And The Report On School Integration 12:36
In September of 1957, Bing Crosby, now fifty-four years old, was gearing up to host the Edsel TV special and generating praise for his recent dramatic role as Earl Carlton in Man On Fire. He’d won an Academy Award, had his own radio show since 1931, and championed the widespread use of Prime Time, network transcription. The Ford Road Show featuring Bing Crosby debuted on September 2nd, 1957. It aired five days per week on CBS for five minutes. These were taped segments edited by Murdo MacKenzie and written and produced by Bill Morrow The just-heard John Scott Trotter conducted the orchestra. It included an opening theme, one or two songs by Bing and commercials by Ken Carpenter. This episode aired on September 24th. Ford’s Agency of Record J. Walter Thompson saturated radio with five-minute segments. They also sponsored a show with Rosemary Clooney, a chit chat by Arthur Godfrey and news by Edward R. Murrow. Earlier in this episode we spoke about The Civil Rights Act of 1957 and the Hattie Cotton Elementary School bombing in Nashville, Tennessee. With forced integration underway, federal troops needed to be called out to Little Rock, Arkansas where a group of nine African American students enrolled in Little Rock Central High School were stopped from attending by the state’s governor. On September 27th CBS Radio ran a special report on the progress, or lack thereof, in southern school integration in the three years following Brown vs. The Board of Education.…
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Breaking Walls: The Podcast on the History of American Network Radio Broadcasting
1 BW - EP143—009: September 1957—CBS Still Doing Sunday Radio Drama 1:23:50
1:23:50
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1:23:50The man you’re listening to is William Froug. He was instrumental in bringing the CBS Radio Workshop back to the air. CBS was still airing dramatic programming on Sunday afternoons. In 1957 Froug became the VP of Programming. He took the position against his will. The CBS Radio Workshop, a reimagining of the old Columbia Workshop had debuted with the critically acclaimed two-part adaptation of Aldous Huxley’s Brave New World on January 27th, 1956. It was in its second season in 1957 and unfortunately on the chopping block. Froug stayed with The CBS Radio Workshop until 1957. Afterwards Antony Ellis took over Hollywood’s production. Paul Roberts was the New York counterpart. On Sunday September 22nd, 1957, with no national sponsorship forthcoming, The CBS Radio Workshop went off the air with an adaptation of Sinclair Lewis’ “Young Man Axelrod.” After the workshop signed off for the final time, Suspense signed on, directed by William N. Robson and guest-starring Jackie Kelk and Jeanette Nolan. At 5:05PM Indictment signed on starring Nat Polen and Jack Arthur. Indictment debuted on January 29th, 1956. It told stories from the files of former ADA Eleazar Lipsky. Episodes presented the step-by-step details that went into gathering evidence which led to an indictment. That was the voice of director and writer Jack Johnstone. In September of 1957 he was in his third year directing Bob Bailey in Yours Truly Johnny Dollar. This is Bob Bailey’s daughter Roberta Bailey-Goodwin. Parley Baer was featured in this cast. After The FBI in Peace and War went on at 6:05PM, Gunsmoke signed on. Baer had been part of the cast since its first broadcast in 1952. By 1957 Gunsmoke was, quite simply, one of the most influential western in history. Norman MacDonnell was its director. Sez Who! Debuted alongside The Stan Freberg Show on Sunday, July 14th, 1957 as part of a week in which CBS Radio added $765,000 in new billings. Sez Who! Would be sponsored every other week by Look Magazine.…
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Breaking Walls: The Podcast on the History of American Network Radio Broadcasting
On Saturday, September 14th, 1957 The Grand Ole Opry signed on from WSM and the Ryman Auditorium. WSM is a fifty-thousand-watt clear channel station located in Nashville, Tennessee. Founded by the National Life and Accident Insurance Company, the station’s call sign stands for We Shield Millions. WSM first signed on October 5th, 1925. The next month on November 28th, The WSM Barn Dance took to the air for the first time. On December 10th, 1927, the program's host, "Judge" George D. Hay referred to the show for the first time, as The Grand Ole Opry. The Opry began running coast-to-coast on Saturday evenings in 1939. The show moved to the Ryman Auditorium in 1943. As it developed in importance, so did the city of Nashville, which became America's country music capital. By 1954, WSM was considered the outstanding music station in the country. That October 2nd a teenage Elvis Presley would have his only Opry performance. ___________ Meet The Press grew out of a partnership between Martha Rountree and Lawrence Spivak. Rountree, a freelance writer, broke into radio in the late 1930s. She created the panel show Leave It to the Girls in 1945, before teaming with American Mercury editor Lawrence Spivak, to produce a radio show promoting his magazine. Spivak would be the permanent panelist representing the press. They would invite top newsmakers to be put on the spot, “without preparation or oratory,” and thus “find out what they stand for.” The show debuted on October 5th, 1945 over Mutual Broadcasting. Meet the Press was soon making its own headlines. The panelists purposely pitted two editors known for their opposition to the guest’s viewpoint, with one middle-of-the-road type, and Spivak. In 1947 while still airing over Mutual, a TV version began airing on NBC. The radio version aired over Mutual for five years before going off the air and moving to NBC in May of 1952. On September 15th, 1957 the guest was Archbishop Makarios of Cyprus. The discussion regarded Cyprus’ quest for independence. The population was made up of both Greeks and Turkish Cypriots and had been under British rule since 1878. Greeks wanted British removal and a union with Greece. The Archbishop was one of the loudest voices in this quest. Makarios, who was in favor of bombing attacks that had occurred against government offices in 1955, was exiled in 1956, and by 1957 most leaders in the National Organization Of Cypriot Fighters’ had been killed or captured. So, they turned to organizing school children riots, and killing the families of police and military personnel. The rebellion continued throughout 1958, even after Makarios had abandoned his initial demands. They finally ended in February 1959 when agreement was reached for Cyprus to become an independent republic. The radio version of Meet The Press aired until July 27th, 1986. The TV version is still being seen.…
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Breaking Walls: The Podcast on the History of American Network Radio Broadcasting
The man you just heard is Herb Vigran, being interviewed by Chuck Schaden in 1984. He’s about to be featured on Family Theater. The show was created by Patrick Peyton of the Holy Cross Fathers. Mutual Broadcasting donated time under four conditions: It had to be a drama of top quality; strictly nonsectarian; feature a film star; and Father Peyton had to pay the production costs. Peyton met Loretta Young, who advised him on how to approach A-listers. She became the “first lady” of Family Theater. Between 1947 and 1957, there were hundreds of dramas broadcast. Few used religion of any kind in the plot. However, by September of 1957 Mutual Broadcasting was phasing out radio drama. As Herb Vigran mentioned, Hollywood’s character actors were doing as much TV as possible. When Family Theater aired its last episode on Wednesday, September 11th at 8:35PM Pacific time over KHJ in Los Angeles, the only other dramatic radio shows on KHJ that night were Gangbusters and Horatio Hornblower. This is from that last episode, fittingly called “Roadshow.” Lilian Buyeff played Helen Blackwell. After the episode ended, Joan Leslie came back on with the final PSA in Family Theater history.…
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Breaking Walls: The Podcast on the History of American Network Radio Broadcasting
At 10:45 AM central time on the morning of September 11th, 1957, Howard Miller signed on from WBBM with fifteen minutes of music, and an interview with Steve Allen. Howard Miller was born on December 7th, 1912 in Chicago. From 1945 through 1949 he was WIND’s program director before beginning an eighteen year run as the Windy City’s top-rated morning DJ. In between he acted in Jamboree!, Senior Prom, and The Big Beat. In September of 1957 Steve Allen was coming off starring in The Benny Goodman Story. He left The Tonight Show in January after three successful years when NBC asked Allen to focus on his Sunday prime time Steve Allen Show. By then Allen was famous as a humorist, musician, emcee, and actor. He was promoting his new song, “Gotta Have Something in the Bank, Frank” when he spoke to Miller.…
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Breaking Walls: The Podcast on the History of American Network Radio Broadcasting
On Saturday September 7th, 1957 Marilyn Van Derbur was crowned 1958’s Miss America in Atlantic City. She was a twenty-year old Phi Beta Kappa scholar at the University of Colorado, She later moved to New York City, becoming the TV spokeswoman for AT&T’s Bell Telephone Hour and hosted ten episodes of Candid Camera, as well as five Miss America Pageants. In 1975 she established the Marilyn Van Derbur Motivational Institute. When she was fifty three, she revealed herself to be the victim of incestual abuse from her father. Her story was featured on the cover of People magazine on June 10th, 1991. She and her husband angel invested an adult incest survivor program at The Kempe Center, and she founded the Survivors United Network. On Monday September 9th President Eisenhower signed The Civil Rights Act of 1957. The law was the first civil rights legislation since 1875. Deep south Democrat leaders were resisting desegregation. In this midst, Eisenhower proposed a civil rights bill designed to provide federal protection for African American voting rights against state and local law. The law also established a U.S. Commission on Civil Rights and a Department of Justice Civil Rights Division. That day, the Hattie Cotton Elementary School in Nashville, Tennessee admitted one African American student, Patricia Watson. She was six years old. Shortly after midnight on September 10th, dynamite was set off at the east end of the school’s entrance hall. It tore down walls and knocked out every window, forcing the school to close for nine days. When it reopened, Patricia’s mother had her transferred to an all-black school. The act was condemned by Nashville Police Chief Douglass E. Hosse who offered a seven-thousand dollar cash reward for any information. Six suspects were detained, but no one was ever charged. Biography in Sound began when NBC newsman Joseph O. Meyers was assigned to produce a documentary on Winston Churchill for his eightieth birthday on November 30th, 1954. He felt blending actualities of the subject’s voice with recollections of his friends, associates, and antagonists could prove successful. A vast resource was available at NBC. Meyers had been building a tape library of interview clips since 1949. In five years, more than one-hundred-fifty-thousand historic statements had been recorded and indexed. In addition, Meyers had Bennett Cerf tell Churchill anecdotes. Laurence Olivier and Lynn Fontanne read from British poetry, and sound effects and music were added for drama. Meyers’ finished product was cheered around the industry. “He had done the impossible,” said Radio Life, “turning people’s attention once more to radio.” The clamor for another show was immediate and loud. A month later, Meyers answered with a piece on Ernest Hemingway, again to great acclaim. A biography of Gertrude Lawrence followed in another month, and in February it was decided to run the series weekly. On Tuesday September 10th, 1957 at 9:05PM eastern time, Biography In Sound: Danny Kaye took to the air over NBC.…
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Breaking Walls: The Podcast on the History of American Network Radio Broadcasting
The man you’re listening to is one of the most celebrated authors of the 20th-century: Ray Bradbury. By the spring of 1955 he’d authored more than one-hundred short stories and one novel, Fahrenheit 451, born out of a collection of earlier works. These stories were published in magazines like Astounding Science Fiction, Street and Smith, Weird Tales, Thrilling Wonder Stories, and The Saturday Evening Post. Among sci-fi enthusiasts, Bradbury was regarded as one of America’s preeminent writers. In April of 1955, NBC staff writer Ernest Kinoy was tabbed to adapt one of the sections of Bradbury’s Martian Chronicles, “And the Moon Be Still as Bright'' for a new audition. The show would be called X Minus One. X Minus One was picked up. The network formed a partnership with the aforementioned sci-fi magazines to choose stories for adaptation. The magazines would plug the show, and the show would mention the magazine during the introduction. X Minus One debuted on Sunday, April 24th, 1955. Its scheduling was erratic. NBC had long been known for impatience with new programs. If a series wasn’t generating big numbers and sponsors straight away, NBC often dropped or moved the show. Unfairly, the onus was on Street and Smith and their magazines to make X Minus One profitable. By September 5th, 1957 the show was airing Thursday evenings at 8:05PM. It was NBC’s only dramatic offering of the evening. Fittingly the episode was called “Saucer of Loneliness.” We’ve spent a good deal of time in past Breaking Walls episodes discussing Hollywood radio’s famed actors. There was a concurrent equally-talented group of New York actors. Like Bob Hastings. Bob Hastings spoke of Arnold Moss. There was Jan Miner, John Gibson, Joe Julian, Jackson Beck, Mandel Kramer, another oft-heavy was Larry Haines, and of course, the husband-wife team of Mary Jane Higby and Guy Sorel. These are just some of the people who appeared on countless shows originating from New York during radio’s golden age. Many were able to make the transition to television, many others weren’t. Once X Minus One signed off at 8:30, Nightline signed on for ninety minutes. News had become more valuable than drama in prime time. X Minus One would be canceled after the January 9th, 1958 broadcast.…
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Breaking Walls: The Podcast on the History of American Network Radio Broadcasting
Labor Day is a U.S. federal holiday celebrated on the first Monday in September to honor and recognize the contributions of laborers to the development and achievements of the United States. As trade unions and labor movements reached their peak during the Industrial Revolution, the Central Labor Union and the Knights of Labor organized the first parade in New York City. In 1887, Oregon was the first state to make it an official public holiday. By the time it became an official federal holiday in 1894, thirty states in the U.S. officially celebrated Labor Day. On Labor Day in 1957, LIFE Magazine’s cover featured Major David Simons and his hot air balloon flight, also talking about the asiatic flu threat. Meanwhile, The Saturday Evening Post wrote about the drastic toll life without parole prison sentences wrought and a warden’s plea for drastic reform in the American concept of punishment. Originally hosted by Gene Autry, Just Entertainment was in 1957 hosted by sidekick Pat Buttram. Pat Buttram was born in Addison, Alabama on June 19th, 1915. The seventh child of a Methodist minister, he was set to follow in his father’s footsteps when, just before his eighteenth birthday, he attended the 1933 World’s Fair in Chicago. Station WLS sent an announcer to the fairgrounds for a remote broadcast interviewing fair attendees, and the announcer picked Pat as a "typical" visitor from the South. To everyone's delight and surprise, his comic observations and bits of country wisdom kept the announcer and the audience in stitches. WLS hired him for their National Barn Dance program, giving him a nation-wide audience. Pat soon became friends with Gene Autry. He went to Hollywood in the 1940s, appearing in more than forty Gene Autry pictures and became a regular on the Melody Ranch radio program. He later played Mr. Haney on CBS-TV’s Green Acres. #countrymusic #geneautry #patbuttram #oldtimeradio #otr #1950s #podcast #radio #audiofiction #grandoleopry #radiodrama #goldenageofhollywood #western #yellowstone #laborday…
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Breaking Walls: The Podcast on the History of American Network Radio Broadcasting
On September 1st, 1957 at 10:30PM eastern time over NBC, The American Forum of the Air signed on with a talk on the dangers of nuclear testing. The day prior a nuclear test was conducted in Nevada, only roughly three hundred miles from Los Angeles. Later that month, The Rocky Flats Nuclear Plant, just fifteen miles northwest of Denver, Colorado experienced a major plutonium fire, which caused plutonium, americium, and uranium contamination within and outside its boundaries. Six years later, on August 5th, 1963 in Moscow, thanks to worldwide fallout level side effects and concerns, the Partial Test Ban Treaty was signed. Ratification came from the Soviet Union, U.K., and the U.S.. It limited testing to underground facilities. The U.S. and USSR were, at that time, responsible for eighty-six percent of all nuclear tests.…
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Breaking Walls: The Podcast on the History of American Network Radio Broadcasting
August, 1957. We’re driving east on Route 50 from West Sacramento in a 1957 Ford Skyliner. The convertible costs roughly three-thousand dollars, has a Y-block Thunderbird V-8 engine and two-hundred-twelve horsepower. It’s got something else too: car radios have become Standard. U.S. Radio Magazine will soon state that fifty-five percent of all peak listening came from cars. Auto-rating measurements are underway, but still ineffective. Radio stations are having a good year. Sixty percent of National stations expect their total revenue to grow. Total radio revenue is expected to increase three percent year-over-year. A median station in 1957 is expected to make nearly one-hundred-three thousand dollars in revenue, with a profit of eleven-thousand five-hundred dollars. Urban stations are enjoying higher numbers thanks to higher populations and more national ad spots, though local sponsors are paying eighty-seven percent of ad costs. Programming accounts for thirty-three percent of all expenses. Gunsmoke was dramatic radio’s highest-rated show, with its Saturday afternoon repeat broadcast attracting even more listeners than its Sunday evening primetime installment. Somewhere between four and five million people were still tuning in from their homes. When factoring in car and transistor radios, nearly ten million people were listening. Meanwhile, Major David Simons just piloted the first hot-air balloon to reach over one-hundred-thousand feet of altitude, skirting the outer rim of our atmosphere. With the experiment lasting more than twenty-four hours, it was the precursor to manned space flights. On August 28th, the Major appeared on LIFE And The World over NBC radio in conjunction with the September 2nd, issue of LIFE Magazine. The rocket age, the Cold War, integration and civil rights are all upon us, while radio drama hangs on for dear life. Tonight, we’ll step into a portal to a time with Elvis Presley, Buddy Holly, and Fibber McGee and Molly. And along the way, we might just remember where we’ve been, so we know where we’re going. ___________ On June 1st, 1957 after three seasons as a five-a-week serial, Jim and Marian Jordan joined NBC’s Monitor in short segments. The Monitor service had been airing for two years, offering NBC affiliates a full weekend block of available programming. In New York, On Sunday September 1st, NBC’s WRCA began airing Monitor at 12PM. That day Fibber and Molly told a version of their origin story. In 1958, tests found that Marian had a terminal form of cancer. She continued to work as long as possible. The couple had vignettes on Monitor until September of 1959. Fibber McGee and Molly were the subject of Breaking Walls episode 103. If you’d have tuned into WCBS in New York on Sunday, September 1st, 1957 you’d have heard news reports at the tops of most hours. Concerts and other music programs filled the dial between 11:30AM and 4:00PM. At 4:05 The CBS Radio Workshop signed on with the network’s first dramatic offering of the day. Next up was Suspense. In 1957 William N. Robson was in the middle of a three year run as director. CBS had found multiple sponsorship for the series in late 1956. Ten months later, it was airing on Sundays at 4:35 from WCBS in New York, and at 4PM from KNX in Los Angeles. By 1957 Robson had more than twenty years of experience writing, producing, and directing radio shows. The September 1st episode was called “The Man From Tomorrow.” It starred Frank Lovejoy and Joan Banks. At that time, they’d been married for seventeen years. One thing that was most certainly successful: CBS’s handling of radio during the oncoming TV era. A large part of this was because of chairman William Paley’s belief in the medium. By 1957 he’d been head of CBS for thirty years. At the CBS company convention in November of 1957 upper management predicted that radio was becoming fashionable again.…
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Breaking Walls: The Podcast on the History of American Network Radio Broadcasting
1 BW - EP142: William Gargan is Barrie Craig, Confidential Investigator (1939 - 1955) 4:20:26
4:20:26
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4:20:26In Breaking Walls episode 142 we feature one of Brooklyn’s native sons, Bill Gargan, who made more than sixty films, and good money on radio in the 1950s. —————————— Highlights: • Brooklyn’s Native Son • Hollywood and An Oscar Nomination • The War and Being a Radio Detective • Martin Kane • Launching Barrie Craig • Radio Ratings in 1954 • Hollywood vs. New York • Hay is For Homicide • Ghosts Don’t Die in Bed • Throat Cancer and Thereafter • Looking Ahead to 1957 —————————— The WallBreakers: http://thewallbreakers.com Subscribe to Breaking Walls everywhere you get your podcasts. To support the show: http://patreon.com/TheWallBreakers —————————— The reading material for today’s episode was: • On the Air — By John Dunning • Why Me? An Autobiography — By William Gargan • The Big Show — By Martin Grams Jr. • Network Radio Ratings — By Jim Ramsburg —————————— On the interview front: • Parley Baer, Himan Brown, Lawrence Dobkin, Betty Lou Gerson, Virginia Gregg, Herb Ellis, and Herb Vigran spoke to SPERDVAC. For more info, go to SPERDVAC.com. • Bing Crosby and Lurene Tuttle spoke with Same Time, Same Station. • Himan Brown spoke to Dick Bertel and Ed Corcoran for WTIC’s The Golden Age of Radio. Hear these interviews at GoldenAge-WTIC.org. • Parley Baer and Himan Brown also spoke with Chuck Schaden. Hear their full chats at Speakingofradio.com. • Connee Boswell spoke with Lee Philip. • Ernest Konoy spoke with Walden Hughes for Yesterday USA. —————————— Selected music featured in today’s episode was: • The Man With The Golden Arm — By Elmer Bernstein • String Quartet No. 12 in F Major, Op. 96 — By Avi Avital • Pyramid of the Sun and Voodoo Dreams — By Les Baxter • Living Without You — By George Winston, who recently passed away —————————— A special thank you to Ted Davenport, Jerry Haendiges, and Gordon Skene. For Ted go to RadioMemories.com, for Jerry, visit OTRSite.com, and for Gordon, please go to PastDaily.com. —————————— Thank you to: Tony Adams Steven Allmon Orson Orsen Chandler Phil Erickson Jessica Hanna Perri Harper Thomas M. Joyce Ryan Kramer Earl Millard Gary Mollica Barry Nadler Christian Neuhaus Ray Shaw Filipe A Silva John Williams Jim W. —————————— WallBreakers Links: Patreon - patreon.com/thewallbreakers Social Media - @TheWallBreakers…
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Breaking Walls: The Podcast on the History of American Network Radio Broadcasting
While this brings our look at the life of William Gargan to a close, we’ll be staying in this time period for the next episode of Breaking Walls. Next time on Breaking Walls, it’s the fall of 1957 and the world is in transition. Both the Civil Rights movement and the space race are underway. We’ll begin a four-month arc, covering all things through the lens of radio for the month of September.…
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Breaking Walls: The Podcast on the History of American Network Radio Broadcasting
After Barrie Craig went off the air, Gargan continued to occasionally host Family Theater. He also made films Miracle in The Rain and The Rawhide Years. He starred on the west-coast stage in a version of The Desperate Hours for Randy Hale and went to Europe to film thirty-nine episodes of The New Adventures of Martin Kane for Ziv Productions. In 1960 Hale was set to cast Gargan on stage in The Best Man, but a bout with Laryngitis forced Gargan to get some tests on his throat done. It was throat cancer. Doctors were forced to remove his larynx On November 10th, 1960. A breathing stoma was cut into the bottom of his throat. A man whose voice made him famous no longer had one. For a time he was depressed. Friends Bing Crosby, Dennis Day, Phil Harris, Alice Faye, and many others came by. It helped. Gargan couldn’t bear the thought of not speaking again. He made his first vocal lesson through The American Cancer Society in January of 1961. It took him more than a year, but by the following February he was making progress. The ACS was looking for a Southern California Vice Chairman for their 1962 drive. Gargan agreed to serve. In 1963, he met President Kennedy. He had a meeting set with the President for November 23rd. It was one that President Kennedy never made it to. By then his brother Ed was ill with diabetes and emphysema. He passed away in 1964. That year, Gargan was hired by the ACS for their full-time national staff. Within three years, Gargan mastered esophageal speech. He wouldn’t use a vocal amplifier and worked tirelessly to be able to speak in both low and high tones. Bill thanked his wife Mary for refusing to let him give up and for his faith that kept him asking why. That’s what he titled his autobiography, Why Me? By then he knew the answer. Bill Gargan spent the next two decades raising money, awareness, and the spirits of fellow cancer patients around the country. On February 16th, 1979 while on a flight between New York City and San Diego following a tour lecturing for the ACS, Gargan suffered a fatal heart attack. He was seventy-three. William Dennis Gargan is buried at Holy Cross Cemetery in San Diego, California.…
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Breaking Walls: The Podcast on the History of American Network Radio Broadcasting
In September of 1954 as the last new episode of The Lone Ranger was broadcast, Barry Craig, Confidential Investigator took to the air on Tuesday September 7th at 8:30PM eastern time with an episode called “Ghosts Don’t Die in Bed.” Betty Lou Gerson played Ruth Adams. Virginia Gregg played Mrs. Dunn. The series announced its cancellation at the end of this episode, but a month later it was back on the air in a twenty-five minute format for another thirty-nine episodes recorded in Hollywood. The last Barrie Craig episode aired on September 30th, 1955, replaced thereafter with the science fiction series X-Minus One, produced in New York. One-hundred-ninety-two episodes were broadcast.…
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Breaking Walls: The Podcast on the History of American Network Radio Broadcasting
On Tuesday August 31st, 1954 as President Eisenhower addressed the American Legion, it had been a busy ten days for American aviation. On Sunday, August 22nd, Braniff Airways’ Douglas C-47-DL Skytrain crashed during a flight from Waterloo, to Mason City, Iowa. Twelve of the nineteen aboard died. The next day, A U.S. Air Force Lockheed C-130 Hercules flew its first flight at Burbank, California. And on August 25th, U.S. Air Force Captain Joseph C. McConnell, the top-scoring American jet ace in history, died in a crash when his F-86H Sabre fighter-bomber malfunctioned during a test flight at Edwards Air Force Base, California. Meanwhile, Barrie Craig, Confidential Investigator took to the air with a play called “Hay is For Homicide.” Parley Baer played Jake. Also heard in the cast was Jack Moyles, Vivi Janiss, and Joyce McClusky. Arthur Jacobson directed the production. Airing opposite Barrie Craig at 8:30PM eastern time was High Adventure over WOR-Mutual, Stop The Music over CBS, and Watkins Committee Testimonies concerning Senator Joseph McCarthy on ABC. McCarthy would be censured by the senate in December. Senator McCarthy and the Red Scare has been covered extensively on episodes 123 through 128 of Breaking Walls on the first six months of 1954.…
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Breaking Walls: The Podcast on the History of American Network Radio Broadcasting
After eleven orders of thirteen Barrie Craig installments, production of the show moved from New York to Hollywood with the July 6th, 1954 episode. The August 24th episode was called “Blood Money.” The west coast broadcasts were supported by people like Joan Banks, Olan Soule, Parley Baer, Howard McNear, Herb Vigran, Virgina Gregg, Betty Lou Gerson, and Lawrence Dobkin.…
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Breaking Walls: The Podcast on the History of American Network Radio Broadcasting
By 1954 ninety-eight percent of homes had a radio set. There were still nineteen million U.S. houses that could only be reached by radio. Procter & Gamble led the way with over fourteen million dollars spent, and forty companies, including General Foods, Colgate-Palmolive, Liggett & Myers, Campbell’s Soups, S.C. Johnson, and Coca-Cola spent at least one million dollars on radio advertising. However, the four national networks continued a five-year downward trend in radio ad sales. Network radio gross revenue peaked in 1948 at just under two-hundred million dollars. In 1953, it was down to one-hundred sixty million. While TV hadn’t fully supplanted radio’s total reach, it had decimated its prime-time audience share. On CBS-TV I Love Lucy led all shows with a rating of 58.8. It was seen in over fifteen million homes. Radio’s top show, The Lux Radio Theater, was heard in just under three million. The networks reduced ad sale charges for the sixth consecutive year, hoping to offset TVs broadening market share. It didn’t work. For the first time in sixteen years revenue fell. The only category to see an increase in sales was local advertising, and even that rose less than one percent. Shows canceled in the first half of 1954 included The Quiz Kids, Dr. Christian, Front Page Farrell, Bulldog Drummond, Rocky Fortune, Ozzie and Harriet, and The Six Shooter. West-coast actors, like Herb Vigran and Herb Ellis were moving into TV, but television was already going through budgetary changes. Radio’s top show, People Are Funny had a rating of 8.4. Along with oncoming transistor sets, nearly thirty million cars now had radios, but there was still no system to measure this audience. The next year it was estimated that out-of-home listening added an additional forty percent to at-home audiences. People Are Funny’s actual rating was closer to twelve. But these incidentals didn’t matter to the industry’s character actors. Network production habits were changing. More and more documentaries and news were airing from New York, more and more drama was airing from Los Angeles. That summer, NBC shifted the production of Barrie Craig to hollywood.…
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Breaking Walls: The Podcast on the History of American Network Radio Broadcasting
When Bill Gargan was fired from Martin Kane he planned to star in a Broadway rendition of Doctor Knock. In late September of 1951, Gargan signed a one-million-dollar contract that made him the exclusive property of NBC for the next five years. The deal required him to participate in a minimum of four guest spots on radio and TV each year. At the same time, Gargan was invited by Frank Folsom of RCA to accompany him to Rome to meet the Pope. Along the way, Gargan went to Paris to appear in the October 7th, 1951 episode of The Big Show. He participated in a sketch involving a poker game with George Sanders, Fernand Gravey, and Meredith Willson. Two weeks after his Big Show appearance, William Gargan was starring in a new series for NBC. Launched as part of NBC’s year-long Silver Jubilee, Barrie Crane, Confidential Investigator, first aired over NBC from New York on Wednesday October 3rd, 1951 at 10PM eastern time. Bill Gargan debuted as the detective opposite Mr. President on ABC, Frank Edwards on Mutual, and boxing on CBS. The show was directed by the just-heard Himan Brown. By 1952 Brown had been involved in radio for decades. The Barrie was inspired by the nickname of William Gargan’s oldest son, then twenty-two. The title of the show was soon changed to Barrie Craig, Confidential Investigator. Episode three was called “The Judge and The Champ.” In conjunction with NBC’s twenty-fifth anniversary, the network launched a series of both Radio and TV offerings highlighting the growth of NBC's technology, talent, infrastructure and advertising success. Block-sharing advertising was in full-effect. The network sold commercial time spots, rather than full shows and called it “Operation Tandem.” Gargan was back on The Big Show the next March 16th, 1952 to celebrate St. Patrick’s Day with Tallulah Bankhead and good friend and fellow Catholic, Fred Allen. Now with transcription wide-spread, Barrie Craig could be heard on different days each week, based on the region. Listeners would also hear different commercials, depending on what local affiliate they were tuning into. These could also be a mix of local and national ad spots. Blocked-sharing was being used by the other networks. ABC touted theirs as 'The Pyramid Plan,' CBS as The Power Plan, and Mutual called their’s MBS Plus. In a further refinement of MBS Plus, Mutual introduced an exclusive package of MGM programming for 1952. Both The Adventures of Harry Lime, and The Black Museum aired as part of this deal. For more information, tune into Breaking Walls episode 141. Launched with their tandem plan, NBC provided a "pay as you sell" opportunity for local affiliates. Local sponsors could pick from one-hundred-nineteen one-minute spots. The goal was to accommodate sponsors without a long contract. Craig occupied an office on the third floor of the Mercantile Building on Manhattan's Madison Avenue. Barrie Craig’s writers included Frank Kane, Louis Vittes, John Roeburt, and Ernest Kinoy. William Gargan was supported by some of the finest east coast voice talents of the era. This included Santos Ortega, Elspeth Eric, Arlene Blackburn, Barbara Weeks, Joan Alexander, Parker Fennelly, Arnold Moss, Luis Van Rooten, and Herb Ellis. NBC announcers included Don Pardo and Ed King with John Daly as spokesperson for 1952 Pontiac spots and Carl Caruso for Bromo-Seltzer spots.…
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Breaking Walls: The Podcast on the History of American Network Radio Broadcasting
In 1949 Bill Gargan appeared in Dynamite for Paramount Pictures. It would be his last film until 1956. On March 3rd he appeared on Guest Star. That year he was in New York City when he phoned acquaintance Frank Folsom of RCA. Folsom invited Gargan for lunch. He went to the fifty-third floor of 30 Rockefeller Center. Inside were executives from BBD&O, The New York Stock Exchange, and others. During lunch Gargan mentioned that he was looking for a job in TV. Folsom phoned Norm Blackburn, VP of TV and Radio at NBC and a good friend of Gargan’s. Gargan was asked if he’d be interested in playing a pipe-smoking detective, sponsored by the U.S. Tobacco Company. The show became Martin Kane, Private Eye. It would be shot for TV and separately done for radio as well. Mutual Broadcasting carried the radio series. It debuted on Sunday August 7th, 1949 at 4:30PM eastern time. Meanwhile, the TV version aired on NBC Thursdays at 10PM. It was live, and the first detective series on network TV with an enormous following. Gargan realized early on that there was only so much you could do with a plot in a half-hour, so he made the series a showcase for himself. He developed a tongue-in-cheek style. Kane’s 37.8 TV rating for the 1950-51 season was twelfth overall. Gargan later said “This was TV’s early era, but a few people tried to make the casual intimacy of TV a sexual intimacy. The sight of pretty women, a touch of deep cleavage, a show of thigh became—to these producers—more important than the content of the show. The result was we often had pretty, empty headed girls blowing their lines all over the lot. “In Desperation, I began to mug for the camera more and the script writers began to write more blatantly. You get into a terrible rut this way. Everybody works harder to undo the damage, and the result is more screeching, overacting, and overwriting. It drives the viewers away, and to get them back you come up with more and more desperate gimmickry. “What was worse, to me, was the embarrassment. I’m no prude. Probably the best part I ever did on film was that of Joe in The Knew What They Wanted, a wife-stealer. But this was just sleazy.” The next season the show’s rating fell out of the top thirty. By then, Gargan was friends with New York’s Cardinal Spellman. A friend of Gargan’s mentioned that the Cardinal watched the show. Gargan went to the studio execs and told them to write better scripts or get another star. They got another star — Lloyd Nolan. After eighty-five weeks, Bill Gargan was no longer Martin Kane. Shortly after, Gargan signed a deal with Sonny Werblin, then of MCA, to do a new private eye show for NBC. The show would eventually be called Barry Craig, Confidential Investigator.…
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Breaking Walls: The Podcast on the History of American Network Radio Broadcasting
During the War, Bill Gargan led a USO group that featured Paulette Goddard, Keenan Wynn, and accordionist Andy Arcari. They toured China-Burma-India. He spent four months overseas in some of the poorest and worst conditions of the War, putting on shows and flying in various prop planes despite a lingering ear infection, drinking whatever alcohol he could to help keep sane. When Bill finally got home his ear was so swollen wife Mary jokingly called him Dumbo. Under contract at MGM, he borrowed an apartment in New York and went on stage. His first night he got word that friend Leslie Howard had been killed in a plane crash. The War marked a dividing line in Bill’s life. He went back to Hollywood and made Swing Fever, She Gets Her Man, and finally in 1945, he starred with Bing Crosby, Ingrid Bergman, and Martha Sleeper as Joe Gallagher in The Bells of St. Mary's. Television sets began to show up in homes as Bill and his agent Ken Dolan conceived a half-hour mystery radio show called Murder Will Out for ABC. It failed to find a long-term sponsor and was canceled. Gargan next starred in I Deal In Crime, beginning on January 21st, 1946 on ABC. He played private investigator Ross Dolan for the next twenty months. During that time, Gargan also guest-starred on Family Theater, hosting the second episode on February 20th, 1947. Family Theater was created by Patrick Peyton of the Holy Cross Fathers. Mutual Broadcasting donated time under four conditions: The show had to be a drama of top quality; strictly nonsectarian; feature a film star; and Father Peyton had to pay the production costs. Peyton met Loretta Young, who advised him on how to approach A-listers. She became the “first lady” of Family Theater. Between 1947 and 1956, there were four-hundred eighty-two dramas broadcast. Few used religion of any kind in the plot. Bill continued to make guest-appearances on radio, like on the October 13th, 1948 episode of Bing Crosby’s Philco Radio Time on ABC. It would be in 1949 that William Gargan took on his most famous role, and in the process became one of the first television drama detectives in broadcasting.…
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Breaking Walls: The Podcast on the History of American Network Radio Broadcasting
William Gargan appeared in more than fifty films in the 1930s. In between, he and Mary’s second son, Leslie, was born on June 28th, 1933. The Gargans bought the late Jean Harlow’s house at 512 North Palm Drive for twenty-seven thousand dollars. They’d live there for the next quarter century. Bill’s parents passed away in the middle of the decade. Gargan soon signed a Warner Bros. two-year contract that paid him one-hundred-thousand dollars, turning down the role of Duke Mantee in Robert Sherwood’s The Petrified Forest on Broadway to sign. The role went to friend Humphrey Bogart. For more info on Bogie, tune into Breaking Walls episode 140. Bill made his Lux Radio Theater debut on March 6th, 1939 in an adaptation of One Way Passage. Gargan hated working for Warner Bros. He likened it to sleeping on a bed of nails. The press labeled him “Bill Gargan, King of the B movies.” He later broke his contract. Perhaps his most famous role was as Joe in the 1940 RKO film, They Knew What They Wanted. Gargan received third billing behind Carole Lombard and Charles Laughton and was nominated for a Best Supporting Actor Oscar. The plot is: while visiting San Francisco, Tony Patucci — played by Laughton — an aging illiterate winegrower from the Napa Valley, sees waitress Amy Peters — played by Lombard — and falls in love. Tony gets his foreman Joe, a womanizer, to write her a letter in Tony's name. Tony's courtship culminates with a proposal. When she requests a picture of him, one of Joe is sent. Amy goes to Napa to be married, only to find that Joe isn’t her husband-to-be. She decides to go through with the marriage. However, while Tony is in bed after an accident, Amy and Joe have an affair. Two months later Amy discovers she’s pregnant. Upon learning of the infidelity, Tony pummels Joe, but forgives Amy, insisting they still be married. Unable to forgive herself, she leaves with the priest. Meanwhile, Gargan did more radio. He appeared on the January 4th, 1940 episode of The Good News with his former co-star Ann Sothern. Good News aired Thursdays at 9PM eastern time over NBC’s Red Network. Its 16.9 rating was twelfth overall. Good News was the first major collaboration of a movie studio and a broadcasting system for a commercial sponsor.” The idea was, simply put, to “dazzle ’em with glitter.” MGM produced. Every star except Garbo was available. There would be songs, stories, comedy, and drama. In short, it promised an intimate glimpse of Hollywood with its hair down. The result cost Maxwell House $25,000 a week. Gargan was back on the program the following week in a one-act play opposite Lurene Tuttle. Bill was nominated for a best supporting actor Oscar, won by good friend Walter Brennan for The Westerner. He later joked that Brennan spent ninety minutes spitting and Gargan lost to a spittoon. The joking was short-lived. Gargan would soon begin work on another film with the appropriate title, I Wake Up Screaming.…
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Breaking Walls: The Podcast on the History of American Network Radio Broadcasting
William Dennis Gargan was born to an irish-american Catholic family in Brooklyn, New York on July 17th, 1905. His parents—Bill and Irene—had seven children, but only Bill and his brother Ed survived infancy. Ed was four years older than Bill. The pair were close. Bill’s mother had been a teacher, but his father was a book maker and a gambler, which didn’t sit well with Irene’s parents. Gargan’s dad made book in the copy room at the New York World and in Room 9 of City Hall. The four-story brownstone they lived in at 427 Henry Street in Brooklyn Heights was won in a poker game. Today P.S. 29 stands on the site. Bill got his first silent movie job at seven for Vitagraph Studios. He was paid Three dollars and eighty-five cents. That’s roughly one-hundred twenty dollars today. It portended things to come. By ten, Bill was hanging out at his father’s bar in Sunset Park, Brooklyn. Gargan later said that his mother was more straight-laced, a bit of a prude on the surface, but in reality, she ran with dad all her life and his.” Both parents had good senses of humor. He grew up going to Sea Gate in the summer and fighting for the Irish kids from Bay Ridge against the Italian kids in empty lots. He played baseball and basketball for St. Francis Xavier grade school and St. James High. He ditched school in the spring to scale the Ebbets Field wall to watch the Dodgers and their stars of the 1910s. When he was fourteen and working as an ice brusher at the Prospect Park skating rink, Gargan met a girl named Mary Elizabeth Kenny. He was so taken that he used his broom to knock her down! Gargan recalled that “She got up, her eyes spitting fire and her mouth not doing badly either. I knew I was in love.” Gargan loved the theater. By high school he was playing in school productions of Hamlet, Macbeth, and Romeo and Juliet. However, a teacher who’d been out to get Bill for his comedic behavior made life so miserable during Bill’s senior year that he dropped out. Gargan became a message runner for a Broad Street brokerage firm, then a cop for a clothing store, then one for a Wall Street agency until he was fired for losing a tail. He sold Wesson Oil to grocers, sneaking away to watch plays. One day the lights went up and Gargan noticed his boss was sitting next to him. “Good show,” Gargan said, “you’re fired,” said his boss. Bill’s brother Ed was an actor. While having lunch with Ed one day at the Lamb’s Club a man named Le Roy Clemens mentioned to Bill that a play he’d written was having tryouts. Bill read a line and was hired, beginning his career in Aloma of the South Seas. They opened in Baltimore in 1924. Gargan was a quick study, learning everyone’s parts as well as the stage manager’s. Within a year he was directing the Philadelphia production of the play. Aloma of the South Seas ran for forty weeks. Gargan spent the next years playing all over the country with people like George Jessel and Richard Bennett. Jessel would be godfather to Bill’s first son Bill Jr, affectionately known as Barrie. Barrie was born on February 25th, 1929. After the stock market crashed, Bill got a short-term job on stage in New York where he met William Bendix. Soon a casting director at Paramount called and after that Leslie Howard cast Bill in a play. Bill later said that Leslie helped make him a star. That same year, on January 12, 1932 Gargan opened at the Broadhurst theater in New York with Leslie Howard in Philip Barry’s The Animal Kingdom. It was a smash hit. His success led MGM to call. They offered him the part of Sergeant O’Hara in the 1932 feature Rain, starring Joan Crawford and Walter Huston. He’d be paid fifteen-hundred dollars per week. That’s over thirty-three grand today. Bill bought out his contract with The Animal Kingdom, playing on May 2nd for the last time. The next morning, Bill, Mary, and young Barrie left for Hollywood. Rain was shot on Catalina Island.…
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Breaking Walls: The Podcast on the History of American Network Radio Broadcasting
1 BW - EP141: Orson Welles In Europe (1948 - 1956) 3:54:02
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3:54:02In Breaking Walls episode 141, we finish a three part series on the radio career of Orson Welles by picking up as he left The United States for Europe in the late 1940s. For full appreciation, tune into episodes 79 and 104 before hearing this. —————————— Highlights: • Macbeth, HUAC and Leaving the U.S • Harry Alan Towers, and Harry Lime • Othello and The Black Museum • Song of Myself and Theatre Royal • Moriarity • The BBC Sketchbook and Moby Dick • Mr Lincoln and Mr Arkadin • Returning to the U.S. • Tomorrow and Yesterday • Looking Ahead to Barrie Craig —————————— The WallBreakers: http://thewallbreakers.com Subscribe to Breaking Walls everywhere you get your podcasts. To support the show: http://patreon.com/TheWallBreakers —————————— The reading material for today’s episode was: • A Book by Desi Arnaz • Citizen Welles by Frank Brady • This is Orson Welles by Welles and Peter Bogdanovich • On the Air — By John Dunning • Discovering Orson Welles by Jonathan Rosenbaum • Orson Welles on the Air, at OrsonWelles.Indiana.edu • Wellesnet.com. As well as articles from: • Broadcasting Magazine • Life Magazine —————————— On the interview front: • Orson Welles was with BBC’s Monitor, Peter Bogdonavich, Dick Cavett, Michael Parkinson, and Dinah Shore. • Harry Alan Towers spoke with Sheridan Morley and the BBC. • Joseph Cotton was with Chuck Schaden. Hear the full chat at SpeakingofRadio.com. • Jeanette Nolan was with SPERDVAC, the Society to Preserve and Encourage Radio Drama, Variety, and Comedy. For more information, please go to SPERDVAC.com • Lurene Tuttle spoke with Same Time, Same Station in 1972. —————————— Selected music featured in today’s episode was: • Wilderness Trail — By Walter Scharf for National Geographic • Irish & Celtic Waltz — By The Irish & Celtic Folk Wanderers • The Colorado Trail, Op. 28 Fantaisie for Harp — By Elizabeth Hainen • Seance on a Wet Afternoon — By John Barry —————————— A special thank you to Ted Davenport, Jerry Haendiges, and Gordon Skene. For Ted go to RadioMemories.com, for Jerry, visit OTRSite.com, and for Gordon, please go to PastDaily.com. —————————— Thank you to: Tony Adams Steven Allmon Orson Orsen Chandler Phil Erickson Jessica Hanna Perri Harper Thomas M. Joyce Ryan Kramer Earl Millard Gary Mollica Barry Nadler Christian Neuhaus Ray Shaw Filipe A Silva John Williams —————————— WallBreakers Links: Patreon - patreon.com/thewallbreakers Social Media - @TheWallBreakers…
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Breaking Walls: The Podcast on the History of American Network Radio Broadcasting
It seems fitting that the way in which Orson Welles described Alexander Woollcott is the same way many who knew Welles would have described him. That’s going to bring our look at Orson Welles’ radio career to a close. We’ve now covered Mr. Welles in long form three times — in episodes 79, 104, and now 141. We also covered his time as The Shadow in depth in episode 131. Is this the last time we focus on Orson Welles? That remains to be seen, but next month on Breaking Walls we’ll move to NBC where we’ll focus on one of the more underrated detective shows of the mid-1950s. That show? Barrie Craig, Confidential Investigator. The reading material used in today’s episode was: • A Book by Desi Arnaz • Citizen Welles by Frank Brady • This is Orson Welles by Welles and Peter Bogdanovich • On the Air — By John Dunning • Discovering Orson Welles by Jonathan Rosenbaum • Orson Welles on the Air, at OrsonWelles.Indiana.edu • Wellesnet.com. As well as articles from: • Broadcasting Magazine •Life Magazine On the interview front: •Orson Welles was with BBC’s Monitor, Peter Bogdonavich, Dick Cavett, Michael Parkinson, and Dinah Shore. • Harry Alan Towers spoke with Sheridan Morley and the BBC. • Joseph Cotton was with Chuck Schaden. Hear the full chat at SpeakingofRadio.com. • Jeanette Nolan was with SPERDVAC, the Society to Preserve and Encourage Radio Drama, Variety, and Comedy. For more information, please go to SPERDVAC.com •Lurene Tuttle spoke with Same Time, Same Station in 1972. Selected music featured in today’s episode was: • Wilderness Trail — By Walter Scharf for National Geographic • Irish & Celtic Waltz — By The Irish & Celtic Folk Wanderers • The Colorado Trail, Op. 28 Fantaisie for Harp — By Elizabeth Hainen • Seance on a Wet Afternoon — By John Barry Breaking Walls Episode 142 will spotlight William Gargan and Barrie Craig, Confidential Investigator. This episode will be available beginning August 1st, 2023 everywhere you get your podcasts, and at TheWallBreakers.com. In the meantime, give Breaking Walls a quick rating on whatever platform you listen, especially itunes. You can also join The Breaking Walls Facebook group at Facebook.com/Groups/TheWallBreakers. And support this show for as little as a buck a month at Patreon.com/TheWallBreakers.…
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Breaking Walls: The Podcast on the History of American Network Radio Broadcasting
On Sunday January 1st, 1956 NBC’s Monitor broadcast New World Today. 1956 was a Presidential election year. At the time of this broadcast, Dwight Eisenhower, who’d had a heart attack in September, was still debating whether he would run for a second term. He’d decide in February, eventually winning re-election. After the censuring of Senator Joseph McCarthy in 1954, the Red Scare had subsided, overtaken by fear of communism in other parts of the world and general war with Russia. Meanwhile, In January of 1956 Orson Welles appeared with The New York City Center Theater Company playing King Lear. He was finally home again. In February he traveled to Las Vegas where he performed a variety act at the Riviera Hotel. Welles was then contracted by Lucille Ball and Desi Arnaz to create a TV pilot for Desilu Productions. The short film was written and directed by Orson Welles, based on the short story "Youth from Vienna" by John Collier. Joi Lansing and Rick Jason star as a narcissistic couple faced with an irresistible temptation concocted by a scientist. Welles was the on-screen narrator. It was called The Fountain of Youth and considered a dark comedy. Desi Arnaz conceived the series, proposing to Welles that he host and narrate. Arnaz later wrote that before signing the deal he clarified the finances with Welles: "I am not RKO. This is my 'Babalu' money." Filming took five days in early May. The total cost was nearly fifty-five thousand dollars. Arnaz reported that CBS gave the series a slot, with General Foods as a sponsor, but the challenges in getting Welles to commit to a series lasting more than thirty weeks were daunting. The series did not go to air. The pilot was later broadcast on September 16th, 1958, during NBC's Colgate Theatre. That Spring, the Rock n’ Roll era officially arrived. On April 6th, 1956, Elvis Presely signed a three-film deal with Paramount Pictures. By the end of the month, his single, “Heartbreak Hotel” rose to the top of the charts. It would remain there into June. Meanwhile, Orson Welles appeared as himself on October 15th, 1956 in a very famous episode of I Love Lucy. Two days later, he was on the radio for a special one-off program adapting Philip Wylie’s 1954 novel about post-nuclear civilization. It was called Tomorrow and syndicated by ABC and the Federal Civil Defense Administration. The next month, on November 13th, 1956, his daughter’s first birthday, Welles appeared on NBC Radio’s Biography In Sound for his old mentor Alexander Woollcott, who had passed away in 1943.…
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Breaking Walls: The Podcast on the History of American Network Radio Broadcasting
On February 13th, 1955 Orson Welles appeared on an episode of NBC’s Anthology in salute to Abraham Lincoln. Directed by John Malcom Brennen, produced by Steve White, and announced by Harry Fleetwood, Anthology offered dramatic readings of famous and lesser-known plays. Its last episode aired on June 12th, 1955, coinciding with the launch of NBC’s Monitor. On May 8th, 1955 at Caxton Hall in London, Orson and Paola Mori tied the knot. Welles was simultaneously finishing the editing on a film that would be called Confidential Report in Britain and Mr. Arkadin elsewhere. He cast Paola as Raina in the film. In Mr. Arkadin, American smuggler Guy Van Stratten gets a tip that Russian oligarch Gregory Arkadin, has a dark secret. Wanting to blackmail him, Van Stratten travels to Spain, striking up a friendship with Arkadin’s daughter. The movie was shot throughout Europe in 1954, with scenes filmed in Spain, London, Munich, Paris, the French Riviera and at the Château de Chillon in Switzerland. The story was based on several episodes of The Adventures of Harry Lime and was originally released in Spain in October of 1955. Orson and Paola welcomed the birth of their daughter Beatrice Welles on November 13th, 1955. It was Welles’ third daughter. By then, Welles was planning a return to the U.S.…
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Breaking Walls: The Podcast on the History of American Network Radio Broadcasting
On March 15th, 1955, Orson Welles premiered as Lord Mountdrago in the British Omnibus horror film, Three Cases of Murder. The film consisted of three stories, Welles appeared in the one titled after his character. Ten days later he premiered in the french historical epic film Napoléon. He had a small part as Sir Hudson Lowe. Then on April 2nd, Welles appeared for BBC’s TV network in the first of a six-part series entitled, Orson Welles' Sketch Book. Written and presented by Welles, the fifteen-minute episodes present his commentaries on a range of subjects. The six episodes were called, “The Early Days,” “Critics,” “The Police,” “People I Miss,” “War of the Worlds,” and “Bullfighting.” Later that year Welles took part in another series of shorts called Around the World with Orson Welles. Between June 16th and July 9th, 1955 at the Duke of York’s Theatre in London, Orson Welles staged a two-act version of Herman Melville’s Moby Dick. Welles used minimal design. The stage was bare, the props were minimal, and the actors, which included Christopher Lee, Joan Plowright, Kenneth Williams, Patrick McGoohan, and Gordon Jackson, wore street clothes. Brooms were used for oars, and a stick was used for a telescope. The actors provided the action, and the audience's imagination provided the ocean, costumes, and the whale. Welles filmed approximately seventy-five minutes of the production, hoping to sell it to Omnibus for a TV film, but he was disappointed in the result. The next year, old friend John Huston cast Welles as Father Mapple in his 1956 film adaptation of Moby Dick, which starred Gregory Peck. Welles later cast John Huston as director Jake Hannaford in The Other Side of The Wind. The film wouldn’t be completed and released until 2018, more than thirty-three years after Orson’s death. Welles modeled Jake Hannaford on his good friend Ernest Hemingway.…
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Breaking Walls: The Podcast on the History of American Network Radio Broadcasting
In 1953 Orson Welles met Italian actress Paola Mori. She was twenty-four, beautiful, and had lived for eight months in a concentration camp during World War II. Her father, a colonel in the Italian army under King Victor Emmanuel III, was a member of the anti-Mussolini resistance. They were soon dating. In early 1954, Welles played a small part as Benjamin Franklin in the French/Italian historical drama Royal Affairs in Versailles. Later in the year he was cast by director Herbert Wilcox as the main antagonist in Trouble In the Glen, opposite Margaret Lockwood, Forrest Tucker and Victor McLaglen. It portended things to come, as Harry Alan Towers was still producing a series of Sherlock Holmes radio adventures, starring John Gielgud as Holmes and Ralph Richardson as Watson. On December 21st, 1954, Orson Welles appeared as Holmes villain Professor Moriarty in the last production of the series. The tale was called “The Final Problem.”…
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Breaking Walls: The Podcast on the History of American Network Radio Broadcasting
In September of 1952, Orson Welles worked with the BBC for a portrait of early American director Robert Flaherty. Flaherty, who directed the first docu-drama film, Nanook of the North in 1922, had passed away the previous July. As Welles just mentioned, when he got to Hollywood in the late 1930s, he was fascinated by the early film people, and they were more than happy to share their stories with the then-Boy Wonder. In April of 1953 the BBC hired Welles to read one hour of poetry from Walt Whitman’s “Song of Myself.” The next month the Italian comedy Man, Beast and Virtue debuted, in which Welles co-starred. From September 7th into October, Welles was involved with Ballet de Paris at the Stoll Theatre in London for a production of The Lady in the Ice. In October the production moved to Paris. Welles directed, wrote the libretto and was the ballet's costume and set designer. He later told Peter Bogdonovich, “It was very successful in London, and only moderately so in Paris, where it was very badly lit — as everything always is in Paris. The plot is: a girl's been found, like dinosaurs have been found, in a block of ice. And she's on display in a sort of carnival. A young man falls in love with her, and his love melts the ice. And when she kisses him, he turns to ice. A little parable for our times.” It would be the only ballet Orson Welles’ ever directed. In late September of 1953 Broadcasting Magazine reported that Harry Alan Towers had sold shows to both ABC and NBC for the fall. ABC would welcome Horatio Hornblower back for a second season, starring Michael Redgrave. Meanwhile on NBC, a new half-hour anthology program starring Sir Lawrence Olivier called Theatre Royal would take to the air. The program debuted on October 4th, 1953 with Orson Welles starring in an adaptation of Alexander Pushkin’s “The Queen of Spades.” Pushkin wrote “The Queen of Spades” in the fall of 1833. It’s a short story about how human greed can lead to madness. Theatre Royal was developed to capitalize on Lawrence Olivier’s name. At the time the program launched, Olivier and then-wife Vivian Leigh were getting set to appear in Terence Rattigan's comedy, The Sleeping Prince in the West End. The play would run for eight months. It made Olivier temporarily unable to star in his own program. Many fine actors of the British stage and screen were involved in individual episodes of Theatre Royal, like Robert Morley, Harry Andrews, Muriel Forbes, and Daphne Maddox. The music was credited to Sidney Torch. Once Sir Lawrence Olivier could no longer appear, Sir Ralph Richardson took over as host of Theatre Royal. Selected episodes were repeated, with a different series opening and closing on ABC Mystery Time in the late 1950s. The show remained in active syndication in the U.S. into the 1970s. Welles briefly returned to America to make his first appearance on TV, starring in the Omnibus presentation of King Lear, broadcast live on CBS on October 18th, 1953. It was directed by Peter Brook, and co-starred Natasha Parry, Beatrice Straight and Arnold Moss.…
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Breaking Walls: The Podcast on the History of American Network Radio Broadcasting
One of the first projects Orson Welles undertook after moving to Europe was a film version of Othello. Despite Macbeth’s criticism, he was still confident he could produce a successful Shakespearean film. However, filming was erratic. Its original Italian producer announced on one of the first days of shooting that he was bankrupt. Instead of abandoning filming altogether, Welles as director began pouring his own money into the project. He took acting jobs to ensure continued production. He also raised money by going on the stage. In the summer of 1950 Welles appeared in Paris in his own play called The Blessed and The Damned, which consisted of a short film, called The Miracle of St. Anne, and two one-act plays. It received positive reviews. In August he traveled to Frankfurt, Hamburg, and Munich, where he starred in An Evening With Orson Welles. Filming of Othello stopped for months at a time to raise money. It took more than two years to complete and was shot in Morocco, Venice, Tuscany and Rome. Before the film’s release, Welles played the Shakespearean drama on stage to audiences in Newcastle and London. A dubbed version of Othello premiered in Rome In November of 1951. Welles' original English-language version premiered at the Cannes Film Festival in May of 1952. It won the Grand Prix and was released in Europe thereafter. When David O’Selznick got word that Harry Alan Towers had distributed The Adventures of Harry Lime to MGM, he refused to air it, so Towers took the series elsewhere. He quickly found out that MGM was now contractually obligated to provide a series with Welles to the Mutual Broadcasting System. So, in 1951 Towers went to Welles with another radio series. He’d already produced a series called The Secrets of Scotland Yard with Clive Brook. The new series would be called The Black Museum. It was based on real-life cases from the files of Scotland Yard. Walking through the museum, Welles would pause at one of the exhibits, describing an artifact that led into a dramatized tale of a brutal murder or a vicious crime. Towers visited Australia in the late 1940s and set up production facilities in Sydney. The Black Museum was produced there by Creswick Jenkinson. Ira Marion was scriptwriter and music for the series was composed and conducted by Sidney Torch. Orson Welles's introductions were recorded on tape in London, then flown to Australia to be added to the locally recorded performances. This was the first series to be produced in Australia in this way. The program was transcribed in 1951. In the U.S. Mutual Broadcasting carried the series, with more than five-hundred stations airing it. In New York it began airing Tuesdays at 8PM on New Year’s Day, 1952. Episode twenty-seven was called “The Notes” or “Kilroy Was Here.” “Kilroy Was Here” is a graffiti scrawl or meme of debated origin that became popular during World War II. It was associated with GIs stationed in Europe, depicting a bald-headed man with prominent nose clutching at and peeking over a wall. Next to him was the phrase. Robert Rietti played leads and Keith Pyott was often in the cast. Beginning In May of 1953, The Black Museum was also broadcast over Radio Luxembourg, a commercial radio station, and was not broadcast by the BBC until 1991. The Black Museum aired for the calendar year of 1952 over Mutual. It was rebroadcast on KABC, Los Angeles, in 1963 and 1964, and on KUAC—FM in Fairbanks, Alaska, in 1967. In 2002, Harry Alan Towers produced The Black Museum for TV, hiring Gregory Mackenzie to be director and showrunner. The anthology series used Welles’ original narration. The adaptation was shot on location in London in a film noir style and the pilot starred Michael York as Scotland Yard Inspector Russell.…
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Breaking Walls: The Podcast on the History of American Network Radio Broadcasting
In 1948 author Graham Greene was in Vienna getting a tour of the city, its back alleys, less-reputable nightclubs, and even its sewers. He was also introduced by actress Elizabeth Montagu to Peter Smolka, the central European correspondent for The Times. Greene was working on a novella that would become a screenplay called The Third Man. Greene sold the film rights to producers Alexander Korda and David O’Selznick. In the story a man named Holly Martins comes to Vienna to accept a job with his friend Harry Lime, only to learn that Lime has died. Martins is a writer. He’s told Lime was killed by a car while crossing the street. At Lime's funeral, Martins meets two British Royal Military Police: Sergeant Paine, a fan of Martins' books, and Major Calloway. Martins thinks the death is suspicious, so he stays in Vienna to investigate the matter. Orson Welles was cast as Lime with longtime Mercury Theater friend Joseph Cotton cast as Martins. Principal photography began in Vienna in early November of 1948 and lasted for six weeks. The rest was done around London and completed by March of 1949. Then-unknown composer Anton Karas was hired to create the musical score, performing it on a zither. The film was released in the UK in September of 1949, quickly becoming that year’s most popular. When released in the U.S. audiences loved it. Time wrote that the film was "crammed with cinematic plums that would do Hitchcock proud—ingenious twists and turns of plot, subtle detail, full-bodied bit characters, atmospheric backgrounds that become an intrinsic part of the story, a deft commingling of the sinister with the ludicrous, the casual with the bizarre.” At the 1951 Academy Awards, the film took home the award for Best Black and White Cinematography, while at the British equivalent, it won for Best British Film. In the meantime Welles and Tyrone Power made The Black Rose in 1950, directed by Henry Hathaway. Welles played Mongolian warrior Bayan of the Hundred Eyes. Hathaway, who liked Welles, later said the casting was poor, with Welles purposely outwitting people during shooting. While in England making The Third Man, Orson Welles became acquainted with Harry Alan Towers. Towers was a thirty-year-old radio producer whose company, Towers of London, was heavily into syndicated productions in British, American, Australian, and Canadian markets. His anthology series Secrets of Scotland Yard had proven that there was a lucrative market for high-end entertainment and, in Welles, he saw a personality and a talent that could quickly make his production company a leading one. Towers and Greene had the same literary agent. Finding out that Greene hadn’t sold Harry Lime’s character rights when he sold the screenplay, Towers quickly bought the rights to the character with plans to put a syndicated radio series into production. Welles signed with Towers to produce The Adventures of Harry Lime. They were prequel stories showcasing some of the more good-hearted things Harry Lime was supposed to have done. Only sixteen of the episodes were acquired and broadcast by the BBC. It was the first time that the BBC broadcast episodes of a dramatic series that it did not produce. The full fifty-five episodes were syndicated to radio stations in the U.S. Welles is credited as the author of ten scripts, including the first episode, “Too Many Crooks” which aired on August 3rd, 1951. The fifth episode was called, “Voodoo,” something Orson Welles had a lot of experience with, dating back to his time in South America during World War II.…
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Breaking Walls: The Podcast on the History of American Network Radio Broadcasting
In 1947, wanting to bring Macbeth to film, Welles teamed with producer Charles K. Feldman to convince Herbert Yates, President of Republic Pictures, to finance. Welles guaranteed to deliver Macbeth on a budget of seven-hundred thousand dollars. When some members of Republic’s board expressed misgivings on the project, Welles agreed to personally pay any amount over the initial ask. He brought in Irish actor Dan O'Herlihy as Macduff, and cast former child star Roddy McDowall as Malcolm. To cast Lady Macbeth, Welles visited longtime friend and radio legend Jeanette Nolan. The two had known each other since the 1930s in New York. Nolan and her husband, fellow actor John McIntire, were excited to work with Orson. Welles made several changes to Shakespeare's original, like adding significance to the witches. They were played by two other Hollywood radio legends: Peggy Webber, and Lurene Tuttle. Welles expressed frustrations with wardrobes and the tight schedule. He had the cast pre-record all their dialogue. Locations were leftover sets from westerns normally made at Republic. The entire production was done in twenty-three days in July of 1947. In September, Welles signed on to star in Gregory Ratoff’s Black Magic. Shooting would take place in Rome. He wouldn’t return until 1948. Republic initially trumpeted the film as an important work, entering it in the 1948 Venice Film Festival. It was abruptly withdrawn after poor comparisons with Lawrence Olivier's version of Hamlet, also being screened. LIFE Magazine gave the film a terrible review in October of 1948, saying that Welles’ days as the “boy wonder” were long over. When he returned from Europe in the Spring, Welles cut twenty minutes from the film at Republic's request and recorded narration to cover some gaps. But when finally released, it too was called a disaster. In July of 1948 Welles signed on to co-star with Tyrone Power in the Italian film, Prince of Foxes. The film would be released in December of 1949. Welles’ last appearance in the 1940s on American radio was in a pre-recorded segment on Mail Call over the Armed Forces Radio Service, on October 13th, 1948. Now thirty-three years old, Orson Welles had enough of Hollywood. He was in deep debt and needed to move to Europe, full-time. His first main stop would be in Vienna, to star with Joseph Cotton in a new film called The Third Man.…
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Breaking Walls: The Podcast on the History of American Network Radio Broadcasting
1 BW - EP140: Humphrey Bogart On The Air (1935 - 1952) 4:54:50
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4:54:50In Breaking Walls episode 140, we examine the under-appreciated radio career of the one and only Humphrey Bogart. —————————— Highlights: • The Broadway Kid • Lux Presents Hollywood • High Sierra and The Maltese Falcon • Bogie with Hope, Benny, and Vallée • Casablanca • Suspense, Lauren Bacall, and Command Performance • Staying at Home for More Radio • HUAC • Fatherhood and Bold Venture • The African Queen and The Academy Award • The Final Years • Looking Ahead to July and Orson Welles —————————— The WallBreakers: http://thewallbreakers.com Subscribe to Breaking Walls everywhere you get your podcasts. To support the show: http://patreon.com/TheWallBreakers —————————— The reading material for today’s episode was: • Lauren Bacall By Myself — By Lauren Bacall • Humphrey Bogart — By Alan G. Barbour • On The Air — By John Dunning • Bogart: A Life in Hollywood — By Jeffrey Meyers • Network Radio Ratings — By Jim Ramsburg • Bogart — By A.M. Sperber & Eric Lax As well as articles from: • The Chicago Sun-Times • The New York Times • Variety —————————— On the interview front: • Humphrey Bogart and Lauren Bacall spoke with Edward R. Murrow in 1954 • Humphrey Bogart and John Huston spoke to George Fisher • Humphrey Bogart also spoke to Ed Sullivan • Morton Fine spoke with Dan Haefele for SPERDVAC in 1988 • Howard Duff and William Spier spoke to Dick Bertel and Ed Corcoran for WTIC’s The Golden Age of Radio. Here these interviews at GoldenAge-WTIC.org • Lurene Tuttle spoke to Chuck Schaden. Here this chat at SpeakingOfRadio.com • Ingrid Bergman spoke to the CBC • William Holden spoke to Dick Cavett —————————— Selected music featured in today’s episode was: • Manhattan Serenade — By Richard Alden • As Time Goes By — By Herman Hupfeld • Danse Macabre — By Camille Saint-Saëns —————————— A special thank you to Ted Davenport, Jerry Haendiges, and Gordon Skene. For Ted go to RadioMemories.com, for Jerry, visit OTRSite.com, and for Gordon, please go to PastDaily.com. —————————— Thank you to: Tony Adams Steven Allmon Orson Orsen Chandler Phil Erickson Jessica Hanna Perri Harper Thomas M. Joyce Ryan Kramer Earl Millard Gary Mollica Barry Nadler Christian Neuhaus Ray Shaw Filipe A Silva John Williams —————————— WallBreakers Links: Patreon - patreon.com/thewallbreakers Social Media - @TheWallBreakers…
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Breaking Walls: The Podcast on the History of American Network Radio Broadcasting
That brings our look at Humphrey Bogart’s life and career to a close. Next time on Breaking Walls? Well… next time we head to Europe to follow someone who got out of dodge, just in time for HUAC.
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Breaking Walls: The Podcast on the History of American Network Radio Broadcasting
On Wednesday March 12th, 1952 at 9:30PM eastern time, Bogie and Bacall guest-starred on Bing Crosby’s CBS Chesterfield Show. Two days later, Bogart’s next film, Deadline – U.S.A premiered in New York City. Bogie plays Ed Hutcheson, a newspaper editor who exposes a gangster's crimes, while also trying to reconcile with his ex-wife. His performance was well-received. Bogart and Bacall’s appearance on The Bing Crosby Show pulled a rating of 9.1. On August 23rd, 1952 Lauren Bacall gave birth to their second child, a daughter, Leslie Howard Bogart, named in honor of actor Leslie Howard who got Bogart his first major film role in The Petrified Forest. The next day Bogart spoke to George Fisher about the experience. Both were soon back working as Bogart made Battle Circus and Bacall made How To Marry a Millionaire. Bogart’s next big role and final Academy Award nomination came in an adaptation of Herman Wouk’s Pulitzer Prize-winning 1951 novel, The Caine Mutiny. Bogart plays Captain Queeg. In 1954 Bogart starred opposite Audrey Hepburn and the just-heard William Holden in Billy Wilder’s Sabrina. Bogart and Holden are brothers — Linus and David Larabee, competing for the love of Sabrina Fairchild. Bogart agreed to it on a handshake with Wilder, although the script wasn’t finished. It was not a happy set. Bogart didn’t get along with Holden nor Hepburn, and didn’t like Wilder’s hands-on approach. There were also numerous last-minute script changes. Bogart later said “I got sick and tired of who gets Sabrina.” But the film proved to be a hit. The New York Times particularly praised Bogart's performance. In the mid-1950s Bogart and Bacall’s social circle began to be jokingly known as the "Holmby Hills Rat Pack." The original members included Frank Sinatra, pack master; Judy Garland, first vice-president; Sid Luft, Judy’s husband, the cage master; agent Swifty Lazar, recording secretary; novelist Nathaniel Benchley pack historian; and Bacall, den mother. Bogart simultaneously made The Barefoot Contessa opposite Rita Hayworth and Sinatra’s ex-wife Ava Gardner. Then in 1955 he made We’re No Angels, The Left Hand of God, and The Desperate Hours. Just before Christmas in 1955, Bogart was honored with a roast at the Friar’s Club. But by then Bogart’s persistent cough and difficulty eating became too serious to ignore. He went for a battery of tests in January of 1956. The results were bleak: He had esophageal cancer. He still managed to make his final film, The Harder They Fall opposite Rod Steiger. Bogart plays a newspaper man turned boxing PR writer, bent on exposing the corruption he sees. Critics gave the film, and his performance, especially considering his condition glowing reviews. This is the last scene Humphrey Bogart ever did in any film. On March 1st, 1956 Humphrey Bogart had surgery to remove his esophagus, two lymph nodes and a rib. It was unsuccessful. Chemotherapy followed. He had another surgery in November. Although he became too weak to walk up and down stairs, he joked despite the pain: "Put me in the dumbwaiter and I'll ride down to the first floor in style. Frank Sinatra, Katharine Hepburn, and Spencer Tracy visited him on January 13th, 1957. In a later interview, Hepburn said: Spence patted him on the shoulder and said, "Goodnight, Bogie." Bogie turned his eyes to Spence very quietly and with a sweet smile covered Spence's hand with his own and said, "Goodbye, Spence." Spence's heart stood still. He understood. Bogart lapsed into a coma and died the following day, January 14th, 1957, twenty days after his fifty-seventh birthday. At the time of his death he weighed only eighty pounds. His funeral was held at All Saints Episcopal Church. It seemed like all of Hollywood came to mourn his passing. Spencer Tracy was to give the eulogy, but he was too moved to do so. John Huston spoke instead.…
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Breaking Walls: The Podcast on the History of American Network Radio Broadcasting
In 1951 Humphrey Bogart once again partnered with John Huston on an adaptation of C. S. Forester’s 1935 novel The African Queen. Bogart plays the rough-and-ready Canadian mechanic Charlie Allnut, whose coarse behavior is barely tolerated by Katharine Hepburn’s Rose Sayer and her brother, Robert Morley’s Reverend Samuel Sayer. The film takes place in German East Africa in August 1914 as Charlie is hired to take the Sayers and their goods to be delivered on his small steamboat, The African Queen. When Charlie warns the Sayers that war has broken out between Germany and Britain, they choose to remain in Kungdu, only to witness German colonial troops burn down the village and press villagers into service. When Samuel protests, he’s struck by a soldier and soon becomes delirious with fever, dying shortly afterward. Charlie helps Rose bury her brother and escape in the African Queen. Much of the film was shot on location in Uganda and the Congo in Africa. This was unusual for the time. The cast and crew endured sickness from the food, water, and hot conditions. Bogart later joked that he and Huston were the only members of the cast and crew who escaped illness, which he credited to having drunk whiskey on location rather than the water. The African Queen premiered on December 26th, 1951 at the Fox Wilshire Theatre in Beverly Hills the day after Christmas and the day after Bogart’s fifty-first birthday. The African Queen debuted just in time to qualify for the 1952 Academy Awards, which turned out to be of utmost significance for Humphrey Bogart. Promising friends that if he won his speech would break the convention of thanking everyone in sight, he was instead modest and subdued. The kid from Manhattan that disappointed his parents and never took an acting lesson in his life was, at that moment, the best lead actor of the year. Bogart himself considered his role in The African Queen his finest performance.…
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Breaking Walls: The Podcast on the History of American Network Radio Broadcasting
On January 6th, 1949 Lauren Bacall gave birth to their first child, Stephen Humphrey Bogart, named in honor of his character in To Have and Have Not. Meanwhile Bogart made Knock on Any Door and Tokyo Joe for his Santana Productions company. Both were moderately panned by critics. In 1950 he made Chain Lightning for Warner Brothers and In A Lonely Place for Santana. In A Lonely Place sees Bogart star as Dixon Steele, a troubled, violence-prone screenwriter suspected of murder. Gloria Grahame co-stars as Laurel Gray, his neighbor who soon falls for Dix. The film is considered among Bogart’s best and perhaps a character with personality traits most like the real man. It was among a trio of films released that year, along with Sunset Boulevard and All About Eve, which comment on the dark side of Hollywood. Simultaneously, Bogart and Bacall looked for a vehicle on radio for their talents. Santana Productions partnered with the Frederic W. Ziv Company to develop a series called Bold Venture. It would be written by Morton Fine and David Friedkin, who famously wrote for Broadway is My Beat and Crime Classics. Bogart had long interest in starring in his own series, but had resisted due to the constraints of live radio. By 1950, due to widespread transcription, that was no longer an issue. He could do the show in takes and have music and sound effects added later. Three or four shows a week could be done, leaving Bogart and Bacall free for the rest of the year. Bogart plays Slate Shannon, hotel owner and owner of a boat called the "Bold Venture." Bacall, plays Sailor Duval, and Jester Hairson plays calypso singer King Moses. Shannon, based out of Havana, is always ready to rescue a friend in need or hunt down an enemy. Seventy-eight thirty minute shows were produced. The first show aired on March 26th, 1951. The Ziv Company distributed the series, putting up twelve-thousand dollars per episode. Bogart and Bacall were each paid four-thousand-dollars per show. Four-hundred twenty-three stations bought the series, paying weekly fees to Ziv ranging from fifteen dollars for small stations to seven-hundred-fifty dollars for big ones. Newsweek noted that although the series was set in Havana, it could just have easily been in Casablanca. While the series was first airing, the Bogarts were in Africa. Humphrey was set to star opposite Kathryn Hepburn in The African Queen.…
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Breaking Walls: The Podcast on the History of American Network Radio Broadcasting
In 1947 Humphrey Bogart signed a new Warner Brothers contract. It gave him limited script refusal and the right to form his own production company. He and Bacall soon made the thriller Dark Passage based on the 1946 novel of the same name by David Goodis. Critics gave the film, and Bogart’s performance mixed reviews, but generally praised Bacall and the cinematography. On the eve of Thanksgiving, as NBC broadcast News of the World with Morgan Beatty, the United States was a country in transition. World War two had created fundamental changes in society. While men of all races and creeds were overseas spilling the same colored blood, women had taken charge of the workforce. When veterans collected enough points for an honorable discharge, they returned home with different ideals, and what we’d now call PTSD. As new cars, roads, and homes brought young families to the suburbs, racial discrimination came to the forefront in the face of the G.I. Bill, where a much higher percentage of white Americans were having their applications accepted. Americans were organizing. In the year after VJ Day, more than five million struck for better wages and benefits. This debilitated key sectors of the economy and stifled production. Consumer goods were slow to appear on shelves and in showrooms, frustrating Americans who desperately wanted to purchase items they’d forsaken during the war. It caused the largest inflation rise in the country’s modern history, and the Taft-Hartley Act, limiting the power of Labor Unions. President Truman was seemingly at odds with Congress over every domestic policy and his approval rating sank to thirty-two percent. The U.S. War Debt topped $240 Billion. Because the nation emerged as one of the world’s leaders, America was expected to have the largest hand in rebuilding Europe. On the eve of Thanksgiving, news outlets reported that in order to stabilize Europe, Americans should be ready to resume sacrifices they made during the war. Not agreeing to do so could result in political enemies taking over the continent. The changing world stoked people’s fears. Anti-communism was abound. On Monday November 24th, The House Committee on Un-American Activities declared a list of ten "unfriendly witnesses" who’d refused to answer questions about alleged communist influence in Hollywood. Bogart, who’d been questioned and cleared the first time the committee came to Hollywood, organized the Committee for the First Amendment. He felt HUAC was abusing its power, harassing writers and actors, and went to Washington to state his case. Bogart was later forced to recant to counter negative publicity. He wrote an article for Photoplay Magazine. Entitled “I’m No Communist,” he said, “the ten men cited for contempt by HUAC weren’t defended by us." Part of the reason for the article was Head of Warner Brothers Jack Warner, who was the first person to volunteer testimony before HUAC in September of 1947. Bogart’s next Warner Brothers film, The Treasure of The Sierra Madre, was to be written and directed by John Huston. Huston and Bogart were liberal democrats, but they knew better than to commit career suicide. The film was critically praised, but ticket sales were lukewarm. It received four Oscar nominations, winning three — Best Supporting Actor for Walter Huston, and Best Director and Best Screenplay for John Huston. It’s been long-held that Bogart should have been nominated as best actor, but his involvement against HUAC led to the snub. The Lux Radio Theatre adapted The Treasure of The Sierra Madre on April 18th, 1949. Later in 1948 Bogart and Bacall made Key Largo with Edward G. Robinson, and Bogart formed Santana Productions. One of its early missions was to develop a radio series for the couple.…
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Breaking Walls: The Podcast on the History of American Network Radio Broadcasting
1 BW - EP140—007: Humphrey Bogart On The Air—Spade, Marlowe, And More Jack Benny 1:02:11
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1:02:11Bogart and Bacall moved into a white brick mansion in Holmby Hills, and he bought a fifty-five foot yacht called the Santana from Dick Powell, spending about thirty weekends each year on the water. With World War II over, Bogart wanted to do more radio. On September 17th, 1945 he hosted an audition for a new mystery/thriller program called Humphrey Bogart Presents. Meanwhile Bogart and Bacall were on screen together again in 1946, this time in an adaptation of Raymond Chandler’s Philip Marlowe novel, The Big Sleep. During World War II, comedy, drama, news, and variety dominated the radio dial, but after the war, detective shows gained network popularity as programming shifted to smaller studios. They were considered a good deal for advertisers. Although Bill Spier was entrenched at CBS, he still had ties with his old agency BBD&O, as well as with Lawrence White, Dashiel Hammett’s literary agent. Both ABC and CBS wanted to bring The Adventures of Sam Spade to the air. Initially, everyone wanted Bogart to be the star. Even with Bogart’s drawbacks, it was assumed no other actor could fill Spade’s shoes. Auditions were held in April of 1946. Enter Howard Duff. An audition was recorded on May 1st. In June, Wildroot officially signed on as sponsor. Spade would make its debut in July over ABC’s airwaves. Not to be outdone, on July 2nd, CBS broadcast an episode of Academy Award adapting “The Maltese Falcon.” Humphrey Bogart reprised his role. We heard the opening portion earlier in this episode of Breaking Walls, here’s the close. Meanwhile on October 14th, 1946 Bogart and Bacall reprised their roles from To Have and Have Not for The Lux Radio Theatre. The next January 5th, 1947, Bogart and Lauren Bacall were guests on The Jack Benny Program.…
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Breaking Walls: The Podcast on the History of American Network Radio Broadcasting
In 1943 and 1944 Bogart went on War effort tours with his third wife Mayo Methot, making trips to Italy and North Africa. He produced shorts for The American Red Cross effort and the Victory Bond drive. The relationship with Mayo was strained. She accused Bogart of having an affair with Ingrid Bergman during the filming of Casablanca. Bergman later remembered that Bogart barely spoke to her off camera, let alone had an affair. Back stateside, Bogart was cast as Steve Morgan for an adaptation of Ernest Hemingway’s To Have and Have Not. In casting "Slim" Browning, Howard Hawks’ wife Nancy Keith saw a Harper’s Bazaar cover that featured an eighteen year-old model and actress named Betty Joan Perske. Hawks immediately signed her to a contract. She’d soon change her name to Lauren Bacall. Mayo Methot had long accused Bogart of affairs with all his co-stars, something he’d actually never done. When Bogie and Bacall met, he was attracted to her outspoken personality, poise, looks, and long, lean figure. Bogart kept Bacall at ease during filming and their chemistry was apparent from the beginning, with their twenty-five year age difference creating a mentor-student acting dynamic. At first Bogart made sure his meetings with her were discreet and brief. They wrote heart-felt letters and made sure to be publicly professional, while Bogart encouraged her to steal scenes, delighting Howard Hawks. But when Hawks realized there was more to their chemistry than friendship, he disapproved of the affair. The film premiered on October 11th, 1944 while Bogart refused to stop seeing Bacall. His marriage to Mayo Methot was finally over. He filed for divorce in February of 1945. The next month, Bogart appeared on the Thursday March 8th 1945 episode of Suspense in Bill Spier’s production of “Love’s Lovely Counterfeit” at 8PM eastern time. This episode had a rating of 13.6, winning its time slot against NBC’s Frank Morgan Show. Playing opposite Bogart was Lurene Tuttle. Bogart and Lauren Bacall married in a small ceremony at the country home of Bogart's close friend, Pulitzer Prize-winning author Louis Bromfield, on May 21st, 1945. On August 30th, the couple appeared with Frank Sinatra on Command Performance.…
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Breaking Walls: The Podcast on the History of American Network Radio Broadcasting
In 1941, Warner Brothers story editor Irene Diamond was in New York when she discovered the script to an un-produced play called Everybody Comes to Rick’s. She convinced Hal Wallis to buy the rights to the script in January of 1942 for twenty-thousand dollars. The project was renamed Casablanca. Humphrey Bogart was cast as Rick Blaine, an expatriate nightclub owner hiding from a suspicious past and negotiating a fine line among Nazis, the French underground, the Vichy prefect, and unresolved feelings for his ex-girlfriend. Ingrid Bergman was cast opposite Bogart with Claude Rains, Sydney Greenstreet, Paul Henreid, Peter Lorre, and Dooley Wilson in supporting roles. Michael Curtiz directed. Principal photography began on May 25th, 1942. The film was shot entirely at Warner Brothers Studios in Burbank, California, with the exception of one sequence at Van Nuys Airport in Los Angeles. As Ingrid Bergman mentioned in an interview with the CBC, no one involved with Casablanca’s production expected it to be good. It was rushed to take advantage of the publicity from the Allied invasion of North Africa and had its world premiere on November 26th, 1942, in New York City. It was nationally released on January 23rd, 1943. But Casablanca quickly became iconic. Many exiled and cause-sympathetic film actors appeared in cameos, including Helmut Dantine, Dan Seymour, Madeleine Lebeau, Frank Puglia, Jack Benny, Marcel Dalio, Leonid Kinskey, Torben Meyer, Ilka Grünig, Ludwig Stössel, and Wolfgang Zilzer. A witness to the filming of the "duel of the anthems" sequence said he saw many of the actors crying because they knew that they were all real-life refugees. The film was nominated for eight Oscars, including Bogart for best actor, and Casablanca won best picture, best direction, and best adapted screenplay at the 1943 Academy awards. On April 26th, 1943, six weeks after the awards, the Screen Guild Theater broadcast an adaptation of the film.…
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Breaking Walls: The Podcast on the History of American Network Radio Broadcasting
Humphrey Bogart’s film success led to more radio appearances on comedy programs, giving Bogie the chance to show off his comedic timing. On June 3rd, 1941 Bogart appeared on The Bob Hope Show. The program had a rating of 25.3. The next February, Bogart appeared on The Jack Benny Program. Benny and Bogart had tremendous natural chemistry. Years later, Bogart was talking to friend and columnist George Fisher about the top ten characters he’d met through the years. John Barrymore was one Bogart mentioned. That one time Bogart met Barrymore was on the February 19th, 1942 episode of The Rudy Vallée Show. John Barrymore passed away three months later.…
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Breaking Walls: The Podcast on the History of American Network Radio Broadcasting
As the 1940s got underway, bringing the U.S. closer to World War II, Humphrey Bogart drifted socially and professionally. That year he made four films: Virginia City, It All Came True, Brother Orchid, and They Drive By Night. On Sunday January 7th, 1940 at 7:30PM eastern time over CBS, he reprised his role of Duke Mantee in a Screen Guild Theater adaptation of The Petrified Forest. The Screen Guild Theater drew several Hollywood stars a week for radio adaptations. First taking to the air on January 8th, 1939 for Gulf Oil, all fees that would normally go to stars instead were given to the Motion Picture Relief Fund. This money was used to build and maintain the Motion Picture Country House: forty bungalow units for housing aging and needy film stars. By the summer of 1942 almost eight-hundred-thousand-dollars had been raised. This episode’s rating was a 13. Roughly nine million listeners tuned in. In late 1940, John Huston was adapting a script for a new film, High Sierra. Produced by Mark Hellinger and directed by Raoul Walsh, Paul Muni, George Raft, James Cagney and Edward G. Robinson all turned down the lead role, much to the delight of Huston. The character gave Bogart the chance to show his range. Finally playing someone with depth, the film was Bogart's career breakthrough, transforming him from supporting player to leading man. He played opposite Ida Lupino. The film's success also led to a breakthrough for Huston, giving him the leverage needed to transition from screenwriter to director, setting Bogart up for Huston’s next project: an adaptation of Dashiell Hammett’s The Maltese Falcon. The Maltese Falcon was Huston’s directorial debut. Although a pre-code version of the film had been made ten years earlier, the 1941 version with Bogart starring as private detective Sam Spade was considered an instant classic film noir. Complementing Bogart were co-stars Sydney Greenstreet, Peter Lorre, Mary Astor, and Elisha Cook Jr. Bogart's sharp timing and facial expressions were praised as vital to the film's quick action and hard-boiled dialogue. It was a commercial hit, and Bogart was unusually happy with the film. He later said, "It’s practically a masterpiece. I don't have many things I'm proud of, but that's one." The film was nominated for three Academy Awards, including best picture and best direction. Bogart reprised his role on the July 3rd, 1946 episode of Academy Award Theater.…
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Breaking Walls: The Podcast on the History of American Network Radio Broadcasting
Despite his success in The Petrified Forest, Bogart signed a tepid twenty-six-week contract at five-hundred-fifty dollars per week. He was immediately typecast as a gangster in a series of B movie crime dramas. He played a supporting role in Bullets or Ballots released in 1936. Bogart reprised the role of Bugs Fenner on the Monday April 17th, 1939 episode of The Lux Radio Theatre opposite Edward G. Robinson, Mary Astor, and Otto Kruger. It aired at 10PM eastern time on CBS. Lux was Monday night’s highest-rated and CBS’s highest-rated show of the 1938-39 season. This episode’s rating was 21.1. Roughly fourteen million listeners tuned in. Cecil B. DeMille was introduced at the beginning of every episode as producer, but was actually a well-paid front man. His duties were reading the scripted introductions to each act and commercial-laden interviews with the stars at the end of each show. The real man behind the program was the J. Walter Thompson agency’s Danny Danker. Each show was a five day commitment beginning with a Thursday table read. Rehearsals were Friday, run-throughs with sound effects on Saturday, and Sunday had readings with sound and orchestra. The first dress rehearsal on Monday morning was recorded for director Frank Woodruff’s final critique. A final dress rehearsal was held with an audience at 4:30, and the broadcast aired live at 6:00 PM Pacific Time. But, Warner Brothers had no interest in raising Bogart's profile. Their studios were often unairconditioned. He thought the Warner’s wardrobe department was cheap, and often wore his own suits. His jobs were tightly scheduled and repetitive, but he worked steadily. He played wrestling promoters, gangsters, a scientist, and a few good men dragged into bad situations they didn’t deserve to be in. Bogart and his second wife Mary divorced in 1937. He married actress Mayo Methot on August 21st, 1938. It was an unhappy one filled with outbursts and mutual violence. The press called them "the Battling Bogarts." Dissatisfied with his work, Bogart rarely watched his own films and avoided premieres. He issued fake press releases about his life to satisfy public curiosity. When interviewed in person, he was too candid, later saying “All over Hollywood, they advise me, ‘Oh, you mustn't say that. That will get you in a lot of trouble’, when I remark that some picture or writer or director or producer is no good. “I don't get it. If he isn't any good, why can't I say so? If more people would mention it, pretty soon it might start having some effect. The idea that anyone making a thousand dollars a week is sacred and beyond the realm of criticism never strikes me as particularly sound.” Bogart made twenty-nine films between 1936 and 1940, developing his now-famous film persona—cynical, self-mocking, vulnerable, charming, and above all, a loner with a code of honor. It was his two next roles, however, both with John Huston, that would catapult him into A-list status.…
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Breaking Walls: The Podcast on the History of American Network Radio Broadcasting
Humphrey Bogart was born to Belmont Bogart and Maud Humphrey on Christmas Day, 1899 in New York City. The eldest child, his father came from a long line of Dutch New Yorkers, while his mother could trace her heritage back to the Mayflower. Belmont was a surgeon, while Maud was a commercial illustrator and suffragette. Young Humphrey was sometimes the subject of her artwork—a detail that got him teased in school. Maud earned over fifty-thousand dollars per year at the peak of her career. They lived in an Upper West Side apartment, and had land on the Canandaigua Lake in upstate New York. Bogart and his two younger sisters watched as their parents — both career-driven — frequently fought and rarely showed affection to them. His mother insisted they call her Maud. Bogart remembered her as straightforward and unsentimental. Bogie inherited his father’s sarcastic and self-deprecating sense of humor, a fondness for the water, and an attraction to strong-willed women. He attended the prestigious Trinity School and later Phillips Academy. He dropped out of Phillips after one semester in 1918, deeply disappointing his parents. Bogart enlisted in the Navy in the Spring of 1918, serving as a Boatswain's mate. He later recalled, "At eighteen, war was great stuff. Paris! Sexy French girls! Hot damn!" He left the service on June 18th, 1919 with a pristine record. Bogart returned home to find his father’s health and wealth doing poorly. Bogart’s liberal ways also put him at odds with his family, so he joined the Coast Guard Reserve and worked as a shipper and bond salesman. Unhappy with his choices, he got a job with William A. Brady’s World Films. He was stage manager for daughter Alice Brady’s production of A Ruined Lady. He made his stage debut a few months later as a butler in Alice’s 1921 production of Drifting. He had one line, and remembered delivering it nervously, but it began a working relationship that saw Bogart appear in several of her productions. Bogart liked the hours actors kept and the attention they received. He was a man who loved the nightlife, enjoying trips to speakeasies. He later joked that he "was born to be indolent and this was the softest of rackets." The man never took an acting lesson, preferring to learn on the job. He appeared in at least eighteen Broadway productions between 1922 and 1935, playing juveniles or romantic supporting roles, more in comedy than anything else. While playing in Drifting at the Playhouse Theatre in 1922, he met actress Helen Menken. They married in May, 1926. They divorced eighteen months later, but remained friends. In April 1928, he married actress Mary Philips. Both women cited that Bogart cared more about his career than marriage. Broadway productions dropped off after the Wall Street Crash of 1929. Many actors were heading for Hollywood. Bogart debuted on film with Helen Hayes in The Dancing Town. He signed a contract with The Fox Film Corporation for seven-hundred-fifty dollars per-week. There he met Spencer Tracey. They became close friends. Tracy made his feature film debut in his only movie with Bogart, John Ford’s early sound film Up The River, from 1930. They played inmates. Bogart next appeared opposite Bette Davis and Sidney Fox in Bad Sister. Shuffling back and forth between Hollywood and New York and out of work for long periods, his father died in 1934. That year, Bogart starred in the Broadway play Invitation to a Murder. During rehearsal producer Arthur Hopkins heard the play from offstage and sent for Bogart, offering him the role of a lifetime. He cast Bogart as escaped murderer Duke Mantee in Robert Sherwood's The Petrified Forest.…
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