Tag: Golden Age article

The General Mills Radio Adventure Theater

By 1977, radio drama in the United States was beginning to see the dust settle. While local radio dramas like Jim French’s Crisis and NPR’s Earplay were enjoying success, in the world of national network commercial radio, one series stood out as a winner. CBS Radio Mystery Theater had made it through three seasons. They’d even found a way to work around some cost overruns. All other attempts, whether superhero shows or soap operas, had been left in the dust.

However, the success of Mystery Theater wasn’t enough for Brown. Brown was more than a producer in radio drama. He loved the medium and wanted more listeners. The network received complaints that CBS Radio Mystery Theater aired too late at night. In addition, the show was targeted towards a more adult audience.

In February 1977, CBS began to air a new series produced by Brown and sponsored by General Mills called Adventure Theater. Adventure Theater was hosted by actor Tom Bosley, who was then playing Mr. Cunningham on Happy Days. The series aired at 6:07 PM on Saturdays and Sundays, thus making it easy for kids and families to be able to listen. The series adapted many classic adventure stories including Moby Dick, 20,000 Leagues Under the Sea, Robin Hood, and Ivanhoe. The series also adapted a few Bible stories.

The series was to air twenty-six weeks and would re-run the stories in reverse order, with programs that had aired the first time on Saturday being repeated on Sunday and vice versa. The Digital Deli suggested a noble motive for this odd arrangement that makes as much sense as anything else:

We’re only surmising, but it would seem that CBS’ intent in airing the series in reverse order the second time around was a nod to Jewish listeners, especially, barred by their religion from listening to the series on Saturdays. Certain other religions tended to discourage entertainment on Sundays as well. The reverse-pair order met a host of well-intentioned means’ to provide a full experience of the entire series to the widest audience practical..

The one exception to this reverse ordering was one week where a two-part Jungle Book story was aired. General mills was to sponsor all 104 airings, but ended its sponsorship after the initial fifty-two new episode run, leaving CBS to sustain the re-run series.

Alien Worlds

In the wake of successful TV sci-fi programs Star Trek, Battlestar Galactica, and Space 1999, Alien Worlds was launched in syndication in January 1979. The series focused on the adventures of members of the ISA, an international governing body for space exploration and development. The series starred Linda Gary as Dr. Maura Cassidy and featured Corey Burton as her assistant, Tim.

The series ran two separate blocks of thirteen episodes. The first block concluded at the end of March and the second block in July 1979. The series was known for its well-done sound design and for a beautiful, dramatic score that was performed by the London Symphony Orchestra. It also featured many two-part stories and one three-part story, which allowed for telling more complex tales. The series was popular and was resyndicated on stations throughout the world.

In addition to the twenty-six episodes that aired, four additional were written and one recorded, but not aired at the time, including one episode written by future Babylon 5 creator J. Michael Straczynski.

The series was rebroadcast on Satellite radio and the company used to sell copies of the series on CD but the website was shut down as of 2018.

The Sears/Mutual Radio Theater

In February 1979, CBS added a second hour of audio drama to its weekday line-up. The Sears Radio Theater was helmed by an old hand from the Golden Age with Producer Elliott Lewis (of Broadway is My Beat, On Stage, and Supsense.) Lewis and another golden-age veteran, Fletcher Markle would take on the majority of the directing duties.

The series would run Monday-Friday and had a unique format. In many ways, it was five different anthology programs. Each night had a different host and a different theme.

The lineup for Sears Radio Theater featured five distinguished hosts. Monday focused on Westerns and was hosted by Lorne Green from the TV show Bonanza. Tuesday focused on comedies and was hosted by Andy Griffith of the Andy Griffith show. Wednesday focused on Mystery and was hosted by horror movie legend Vincent Price. Thursday focused on love, hate, and human relationships and was hosted by actress Cicely Tyson, Friday focused on adventure and was hosted by actor Richard Widmark.

The series a lot of key voices from the golden age of radio. Many actors who had been the backbone of the golden age of radio in the 1940s and 50s found themselves once again a critical part of this radio revival program. Actors like Herb Vigran, Mary Jane Croft, Ben Wright and Peggy Webber were critical to the program’s success. Some who had lead roles in the Golden Age such as Eve Arden, Harold Perry, Henry Morgan, and Alan Young were enticed to once again do radio acting. There were also quite a few actors new to the medium.

The Sears Radio Theater aired new episodes from February to August 1979 and then were re-run over the next six months. Sears decided it didn’t want to be the main sponsor of the series and try to fill twelve commercial spots per episode. CBS was even less interested in finding sponsors for the other spots as that had already proven to be a great challenge.

However, Mutual agreed to air the series with a variety of sponsors. So the series moved to Mutual and became The Mutual Radio Theater. Sears continued to be one of the sponsors but was joined by Agree Shampoo, Anacin, ads for AT&T’s “reach out and touch someone” long-distance call campaign, and Ford’s Motorcraft parts among others.

The series also made a change of Friday night hosts with Leonard Nimoy replacing Widmark on the Adventure night as well as a slight change in music. Otherwise, Mutual Radio Theater continued along much the same long the same lines as The Sears Radio Theater. The series left the air on December 23, 1980.

Over two years, the Sears/Mutual Theater made nearly 500 broadcasts of 232 episodes (129 for Sears, 103 for the Mutual Radio Theater.) It had been the second most successful effort to revive network radio drama. It’d also be the last attempt.

Golden Age Article

The American Audio Drama Tradition, Part Five: The 1960s

by Yours Truly Johnny Blogger • 0 Comments

Continued from Part Four

In the years after the golden age of radio, there would be many attempts to make new audio dramas, either by paying homage to the golden age of radio or trying to do something new. This started within a year of the Golden Age’s end.

Cataloging every group of actors that ever sat down to make audio dramas over the last sixty years would be an impossible task. So much of it was lost or forgotten or just didn’t have that much of an impact. I’m going to mention those that are prominent as well as others that I find interesting. If you’re aware of an audio drama or group worth discussing, feel free to leave it in the comments.

To start with, audio dramas got released on story records. Story records were a thing in America going back to the 1940s. In some cases, they contained a special recording of a radio drama. In other cases, they contained original audio dramas.. There was a Superman Christmas album in 1941 and two brief Superman records featuring the original radio cast in 1947.

These story records continued to be made long after the golden age of radio ended. Records were made in the 1960s, 1970s, and 1980s. Power Records in the 1970s may have been the most famous of these as they told stories of Superheroes, Star Trek, Space 1999, and Planet of the Apes among others. Most of these records attempted to tell complete stories in under 15 minutes, although some (particularly the Power Record LPs) could sustain a story for 45 minutes. Do these count as audio dramas? That’s a dicey question, particularly when you get into the “book and record” sets in which the audio would supplement a book rather than standing on its own.

I don’t have a definitive answer to that question. Millions of children listened to story records over those decades and may be what comes to mind when someone mentions “audio dramas.”

Pacifica Network Takes on Radio Dramas

My initial instinct when doing this section was talk about all the 1960s radio dramas in chronological order. However, Pacifica network radio stations not only offered the first two dramas discussed, but also two others, so it seemed good to talk about them first before moving on to other projects.

The Pacifica Network is made up of listener-supported independently non-commercial radio stations. The flagship station was KPFA in Berkley, and by the 1960s, they’d been joined by KPFK in Los Angeles, and WBAI in New York City.

In October 1963, a series of movie parodies that had long been privately performed made their way onto the public airways over KPFA. The series ran for five weeks with four episodes running 45 minutes in length and the other running an hour and a half. This is the first new radio drama made in the United States after the end of the golden age of radio.

The second was the Starlight Mystery Theatre which featured Matthew Slade, Private Investigator, which began over KPFK radio in Los Angeles. The series was the brainchild of former Canadian News Publications owner Brian Adams, who wrote for the series and was its producer/director. The series was a remake of Matthew Slade, a Canadian radio series from 1957-60. In a July 1964 interview with the Canadian newspaper The Province, he said he hoped to make the new productions available on Canadian radio. He also planned six Matthew Slade movies, although nothing appears to have come of that.

KPFK had been at the center at a lot of political controversies and even had had to answer some questions from the FCC. LA Times Radio columnist Don Page pitched The Starlight Mystery Theatre (and the Los Angeles re-broadcast of The Compendium Cliche series) as a break from the seriousness and controversy.

Slade was played William Wintersole, an experienced stage actor who had just come to Hollywood and whose debut screen acting performance wouldn’t air until November. Wintersole would become a solid presence in Hollywood, logging eighty-seven different acting entries in his IMDB profile including a twenty-five year run on the soap The Young and the Restless. Slade’s policeman foil Lieutenant Barney Flagg was played by Karl Swenson, a veteran character on screen and radio. Swenson had starred as the lead actor in the Golden Age Father Brown and Mister Chameleon and he became the first actor from the Golden Age of Radio to take part in a radio revival effort.

The Matthew Slade series was a bit tongue-in-cheek. However, it shouldn’t be confused with the type of parody of radio detective programs that have continued to be released to this day. It was tongue in cheek in the same that Richard Diamond could be. The series began airing July 5, 1964 and continued on a mostly every other week schedule until November 22nd and then re-aired four episodes in 1965. The series was resyndicated in 1966 by the Armed Forces Radio and Television Service and in 1968 over the Far East Network to American Service personnel. The only episodes missing are the Avarice Heir and the third party of the “Day of the Phoenix” trilogy. (Note: Still our most sought-after lost episode.)

The audio drama event that had the greatest impact was the arrival. of Firesign Radio Theatre, a comedy troupe that began performing on the Radio Free Oz program over KPFK. The four men who started the troupe chose the name because they were all born under the three astrological “fire signs.” They premiered in 1966 and were a definite part of the Counter-culture movement, but also managed to outlast it. Their humor had many features: it was surreal, it pushed the envelop, and was also very political. They had several radio programs in succession beginning with Radio Free Oz followed by The Firestone Theatre Hour, Dear Friends, and Let’s Eat. The last of these series ended in 1972. They also continued to publish comedy albums with original radio plays, the most famous of which were the Nick Danger series parodying golden age of radio detectives. The group had a very productive career: releasing albums, writing books, and dipping their toe back into radio every now and again. Group member Dave Ossman established the Mark Time Awards to award excellence in audio drama.

Like any performing group of the era, they had mandatory drama and group break-ups but got back together. The group carried on long enough to even have a podcast called the Radio Free Oz Podcast. (What else?) Founder Peter Bergmann died in 2012 and his memorial service was their last group performance.

Pacifica’s final contribution came from its New York, WBAI in New York City which produced the first radio drama based on a Marvel Superhero prorperty. Charlie Potter had been hired on at the station to do light admin work but discovered it was relatively easy to get on the air and had been missing radio drama. He decided to produce a series about Doctor Strange, Marvel’s Master of the Mystic Arts. Theyc called Stan Lee and asked his permission to do the series. Lee, whose office was near the WBAI studio, walked over and gave his blessing in person and wished him well on the radio series.

The series ran for 17 episodes, which were produced over three years. At the start of the 2010, six or (some sites said seven) episodes of this series came into circulation and were passed around by collectors. Most of these have disappeared (into some weird pocket dimension no doubt), but the origin episode is still online and it’s a supririsngly impressive production particularly in terms of sound design and direction.

Theatre Five

After Matthew Slade began airing on the West Coast, something far bigger came to the nationwide ABC radio network, Theatre Five began airing August 8, 1964. It was an anthology program that ran for 260 episodes. It was the first attempt of a major network to bring back radio drama.

It featured some key features that later efforts would implement. Notably, it was a five-night-a-week program. This was critical. While during the Golden Age of Radio, a program could be once a week on any given night, the way network radio had evolved, weeknights had a reliable schedule every night. If you wanted to have a program on one weeknight, you needed to cover them all. Theatre Five actually filled two separate twenty-five minute timeslots as a network sustained program.

The series was based in New York and brought back many of the most noted New York voices of the Golden Age of Radio York including Jackson Beck, George Petrie, Lon Clark, Ed Begley, Staats Cotsworth, Ralph Bell, and Santos Ortega. It also featured a couple of future stars making one-off appearances in Alan Alda and James Earl Jones. The stories ranged across a wide variety of genres from Science Fiction to Mysteries and Human Interest. The stories were written in a very contemporary style, often following modern trends in social thinking and theories. The theme music was similarly modern,with a very memorable quintessentially 1960s feel to it.

The series ended after a year. The programs were translated into Spanish. In addition, ABC gave copies of the series to non-profit radio station WBUR to re-air for educational purposes.

Horizon’s West

Horizon’s West was a thirteen-episode docudrama of the Lewis and Clark expedition. It was actually produced by the Armed Forces Radio and Television Service which was better known for distribution radio drama. The series starred golden age radio regular Harry Bartel as Merriweather Lewis and also featured golden age radio actors like Ben Wright, Jay Novello, and Les Tremayne. It was broadcast to American service personnel.

While radio drama continued to be produced during the 1960s, but most were rather obscure. The 1970s would bring memorable efforts to revive radio drama as the attempts to revive it in the United States would begin in earnest.

Golden Age Article

The American Audio Drama Tradition, Part Four: The Legacy of the Golden Age of Radio

by Yours Truly Johnny Blogger • 0 Comments

Continued from Part Three

On September 30, 1962, Yours Truly Johnny Dollar and Suspense aired their last episodes. This marked the end of the Golden Age of Radio. But what exactly had ended?

Many believe this marked the end of radio drama or audio drama as a whole. In truth, the U.K., South Africa, and many other countries around the world continued to make radio dramas for decades and British have never stopped. Further, thousands of hours of audio drama have also been still produced in the United States. In fact, there hasn’t been a single week since 1962 that at least one audio drama was produced in the United States.

Heartbeat Theater was produced from Hollywood by the Salvation Army. It often recruited mid-level Hollywood characters. It would continue until 1985. The Eternal Light was presented by the Hebrew Theological Seminary. In later years, it often moved towards panel discussions, but they continued to incorporate audio drama as part of their broadcasts off and on into the late 1960s.

In addition, radio drama programs aimed at children, like The Children’s Bible Hour and Your Story Hour continued to produce new material. Pacific Garden Mission in Chicago began broadcasting weekly audio dramas in 1950 and continues to this present day

Radio drama didn’t die, but that doesn’t mean nothing had changed. Two big factors had changed.

The Golden Age of Radio was marked by an embarrassment of riches in talent and glamour. Its top shows featured the best actors, musicians, and writers. It is a level of glamour and talent that radio will never see again. Imagine what a modern-day version of the Lux Radio Theater would be like. The theater would be hosted by Steven Spielberg with musical direction with Danny Elfman providing the music and actors like Tom Hanks, Emma Watson, Cate Blanchett, Robert Downey, Jr, and Dwayne Johnson would perform radio version of their own movies.

This would never happen today. There’s neither money or public interest to justify it. Nor could any radio show draw guest stars at the top of their game and height of their popularity like Suspense and several other dramatic anthology programs.

The people who make modern audio dramas aren’t big stars and have no interest in becoming such. More audio drama in recent decades has come out of places like Boston, Grand Rapids, Colorado Springs, and Seattle than from Hollywood.

The second big change is American radio drama ceased being part of America’s common culture. At the height of the golden age of radio, radio was at the center of American popular culture. It was famous. It had its own legendary unforgettable moments. A generation of Americans can’t hear “Flight of the Bumblebee Bee” without thinking of The Green Hornet. In the popular culture, it was possible to understand references to radio programs in the same way we might understand when a work is referencing The Godfather or Star Wars without ever having seen them.

When I was growing up in the 1980s and 1990s, the most enduring pop culture artifact of the period were the Looney Tunes. Those cartoons contain pop culture references that will go right over your head if you don’t know the Golden Age of Radio. For example, mother animals giving a distinctive shout to absent children of “Henry!” and Daffy Duck’s wife saying, “I want a divorce.” are references to golden-age radio programs.

By contrast, all radio programs released since the end of the Golden Age of Radio are cult entertainment. The continuing fandom for golden age of radio is as well, but that’s always been the case with newer programs. They are loved by their devotees and completely irrelevant to every other living creature on the face of the Earth.

That being the case, it’s reasonable to wonder if the end of the Golden Age of Radio might have occurred earlier. Some cite November 1960 as the end of the golden age of radio, particularly fans of soap operas. Once Gunsmoke was canceled in June 1961, all that remained of the world of network-originated radio drama was an hour of programming featuring TV soap opera actors. I still prefer September 1962, as network radio drama had faded and withered eleven years until then..

Nonetheless, Golden Age radio programming has been kept alive in a number of ways.

Radio Rebroadcasts

Military radio services like the Armed Forces Radio and Television Service and the Far East Network (FEN) continued to replay radio programs from the golden age of radio.

Also, various stations continued to dedicate a portion of their programming to replaying programs from the Golden Age of Radio, some with hosts, and others without hosts. There has been a decline in such radio rebroadcasts in recent years, particularly as radio stations seek to avoid backlash over content that doesn’t meet modern standards and sensibilities.

While it is not quite as common these day, old time radio still is rebroadcast. The longest running of these series is The Big Broadcast which originates in Washington, DC. It was originally hosted by John Hickman (1964-90), and then by radio hall of famer Ed Walker (1950-2015) and has been hosted by 2016 by Pulitzer Prize Winner Murray Hurwitz.

The most widely heard show is When Radio Was, a series syndicated by Radio Spirits. The series began in 1990 and has had numerous hosts including original Jeopardy Host Art Fleming (1990-95), comedian Stan Freberg (1995-2006), and Broadcaster/History Chuck Schaeden (2006-2007). Since 2007 Greg Bell has hosted the daily syndicated series, which also airs on the Radio Classics Satellite radio channel.

Radio Preservation and Conventions:

Most American radio programs aired only once. Much of radio was done live and disappeared into the ether. However, transcription disks were made of many programs. Most of these were intended to be destroyed after they were played. However, there were quite a few disks that survived in radio stations or ended up stored in various locations and were purchased by collectors and preservationists. Tapes were often made from the disks.

Fans of old-time radio began to gather. The Friends of Old Time Radio arose in the 1970s and was followed in the 1980s by The Society to Preserve and Encourage Radio Drama, Variety And Comedy (SPERDVAC). These organizations served gathering places for fans and collectors of golden age radio. In addition to the opportunity to meet surviving cast and crew from the Golden Age of radio, fans traded tapes of programs with other collectors. It is through this process of collectors acquiring and trading radio programs with each other that so many programs survive from the golden age of radio.

Commercial Sellers:

Over the years, many companies have sold commercial radio vinyl records, cassettes, and CDs. They were sold to the general market consumers at stores and record shops. These products gave fans of certain programs or types of programs a chance to listen to programs or types of programs they particularly enjoyed when they wanted to. It was a tricky business to negotiate for a wide variety of reasons, such as figuring out what type of programs people would be nostalgic for enough to buy, as well as finding the right price point for consumers that would allow the company to stay in business. Many companies entered the market but most went defunct.

The Internet:

The Internet has overall been a boon for vintage radio programs. The first old time radio programs posted on the Internet were low-quality and often barely listenable, perhaps due to the limited quality of recordings available to original posters. At the same time, it made it easier for old time radio fans and researchers to regularly connect with one another.

Thanks to advancing audio technology, increased hard drive storage capacity, the proliferation of broadband, and the work of many volunteers, the poorer quality recordings have been replaced with better-sounding episodes. Golden age radio programs are available at hundreds of old-time radio websites and podcasts, as well as on video sites such as YouTube.

Whatever Happened To…

There’s a perception by many that after the Golden Age of Radio, that era’s performers suffered and faced their careers ending. In reality, it’s hard to say for certain about any performer, “If only had radio had remained influential, their life would not have gone downhill.” Maybe one actor comes to mind that you could make that argument.

For most radio actors, working in radio was a blessing. They enjoyed the work and the ability to become anyone. Radio’s light rehearsal schedule and quick turn around allowed them more time with family. Some treasured being able to act before a wide audience but going about in public unrecognized. However, most pressed on with their careers.

Some found their place in TV land. Agnes Moorhead had been the original Margot Lane on The Shadow and starred in one of radio’s most iconic plays, “Sorry, Wrong Number.” To anyone who didn’t know radio, she was simply Endora on Bewitched. Howard McNear had been a versatile character adept at creating mad killers or just plain eccentric oddballs, but was known to many as Floyd the Barber on the Andy Griffith show. Others such as Virginia Gregg, Herb Vigran, and John Dehner had stunningly long careers and a wide variety of character roles.

Others took their voice acting experience into the world of animation. Janet Waldo had played the quintessential teen girl in the 1940s radio series Meet Corliss Archer. In animation, she starred as Judy Jetson, Penelope Pitstop, and Josie from Josie and the Pussycats. Paul Frees created the voice for Disney’s psychologist duck Ludwig Von Drake. and the role of Boris Badenov on The Adventures of Rocky and Bullwinkle. Sometimes, a cartoon would feature multiple stars from Radio’s Golden era, such as the first Fantastic Four cartoon which featured Adventures of Philip Marlowe star Gerald Mohr as Mr. Fantastic and Paul Frees as The Thing.

Many who survived long enough got to attend the first old-time radio conventions, meet the fans who loved their work, and some performed old scripts, putting on their old radio roles like a comfortable pair of shoes.

There were radio actors who moved on to other things but recalled their radio days fondly. They’d gladly get back into radio if given the chance. These sort of actors not only were part of the golden age of radio, but would take part in the prominent efforts to bring back radio drama over the next two decades.

Golden Age Article

The American Audio Drama Tradition, Part Two: The Rise of Television

by Yours Truly Johnny Blogger • 0 Comments

Continued from Part One

It’s impossible to talk about the final years of the golden age of radio without talking about what brought about its decline. In the years immediately after the War, television was a joke on radio. It was said to feature little more than professional wrestling and old movies that weren’t that good when they were first shown in theaters.

Long-time radio comedian Fred Allen said in 1950, “I’ve decided why they call television a medium. It’s because nothing on it is well done.”

In the same year, on Life of Riley radio program, Chester Riley (played by William Bendix) talked about when he was planning on getting a television. He cited waiting for new models come out with improvements. When asked what improvements Riley was waiting for, he replied, “Someday, they’ll put on entertainment.”

There was truth behind the jokes. In the early days of television, home viewing audiences were smaller, the technology was experimental, and the limited audience meant limited advertising revenues and smaller budgets. TV stations didn’t have the money to license A-films to be played on television. When they made original productions, they couldn’t afford glamourous talented actors, so they often settled for those who were glamourous but with minimal talent. Actresses being hired to show skin exasperated actor William Gargan, who left his role on the successful Martin Kane, Private Eye television program with a 7 year contract to go back to radio.

Television also came with a steep learning curve. Like radio, most television programs were live. However, on radio an actor could flub a line and find his place by looking at the script. Television required working without a net. Yet, Americans wanted television to succeed. Development of the medium had been ongoing since before World War II. Now, with hard-earned savings, America wanted television. My father came at age around this time and he waxed nostalgic about actors blowing their lines on live TV. With America hungry for television, even its bugs became features.

Most radio performers suspected it would catch on and most would play a part in it. Fred Allen would spend his last days on a TV game program, and William Bendix would come to TV as Chester Riley as soon as Bendix’s studio would allow it.

Television Built on the Foundation of Radio

Television set out to give Americans the same programs they enjoyed on radio. Early TV was filled with detective shows, dramatic anthologies, family comedies, and soap operas. The links between early television and the golden age of radio run deep.

Perhaps the greatest television hit of all time, I Love Lucy, hit radio in 1952. The series starred Lucille Ball, who had starred in another domestic comedy My Favorite Husband. Many scripts used on I Love Lucy were reworked scripts from My Favorite Husband.

Oftentimes, the programs directly moved from radio to television. TV programs like The Life of Riley, Our Miss Brooks, My Friend Irma, Dangerous Assignment, The Line-Up, Suspense, the Adventures of Superman, The Lux Video Theater, and You Bet Your Life all had roots in radio. In some cases, cast members were changed, but in others, you got to see all the old radio favorites that you’d only heard for all these years.

Radio comedy legends like Red Skelton, Burns and Allen, and Jack Benny also made the transition to television. In addition, the Colgate Comedy Hour became a place where noted radio stars like Eddie Cantor, Abbott and Costello, and Dean Martin and Jerry Lewis took center stage in live shows.

Many programs became so successful and so associated with television, only the most dedicated even knows there was a radio version. Dragnet aired two and a half years over radio before coming to television and would air for eight seasons in the 1950s and make four more seasons in a comeback in the 1960s. The Adventures of Ozzie and Harriet aired on radio seven and a half years before the television show premiered and would last on television for fourteen seasons. Guiding Light had fifteen years on radio before its television debut and would continue on television for fifty-seven years.

Other programs crashed and burned, often hard. Radio hits like Gangbusters, Life with Luigi, and The Great Gildersleeve didn’t last long on television. An ill-considered version of Fibber McGee and Molly without Jim and Marion Jordan also failed to catch on on television.

Some radio shows proved to work better on television. Audience participation programs like People are Funny and Truth or Consequences are better when the audience can see the outrageous stunts the contestants are sent on and Candid Camera was far more enduring than Candid Microphone. In addition, physical comedians like Lou Costello or Jerry Lewis were limited by radio and television allows their full zaniness to show.

Other radio shows used techniques that didn’t work on television. In the finale of the Dragnet radio episode, “The Big Bar,” the audience gets to hear the police radio as police cars chase down the suspects, with occasional commentary from our heroes and people in the radio room. In the television version, we’re treated to several minutes of the cameraman trying to find interesting shots of people standing around the radio room, listening to the chase on the radio.

Baby Snooks (Fanny Brice) was a beloved seven-year old girl who bedeviled her daddy with her questions and bad behavior. A decision was made to do a television version with the 59-year-old Brice accompanied by her father, who was played by Hanley Stafford, a man eight years her junior. Her television audience didn’t appreciate an adult actress playing a child’s role on a live action show, so she didn’t repeat the appearance again.

While many of those who made the golden age of radio special moved to television, radio drama still continued. In our next article, we’ll look at the final years of the golden age of radio.

Golden Age Article

The Top Five Detective Programs from the Declining Years of the Golden Age of Radio

by Yours Truly Johnny Blogger • 1 Comment

See the articles on detective programs in the World War II era and the immediate Post-War era.

Television was always going to be trouble for the world of radio drama and comedy. That problem grew larger as more TV sets were sold, more broadcast hours were added, and overall production quality improved.

1951 was the first year when television’s advertising revenue exceeded radio’s advertising revenue. It was a watershed and economic pressure bore down on radio. Everyone involved in scripted performances could make more money on television: writers, actors, directors. They were all drawn to television as radio programs began to cut back on budgets. Popular long-standing programs such as the Lux Radio Theater, Bob Hope, and Jack Benny began leaving the air to focus on the more lucrative opportunities in television. Networks began scaling back budgets for programs.

The decline could be seen in many ways. Great actors rarely starred in radio’s great anthology programs. Suspense had been known for its star-studded guest casts but in the latter 1950s, it featured many lead players who would have been lucky to be cast in two-line walk-on parts in the show’s heyday.

One last boom did occur in radio. Westerns took off with the success of Gunsmoke over radio and this continued until the end of the 1950s. Things didn’t go as well for the detective genre. After the glut of programs during the immediate post-war era, the herd began to thin. In addition, a lot of new programs were gone after six months when they might have lasted years had they aired in the previous decade. NBC, in particular, seemed to cancel one detective program so they could replace it with another they’d cancel six months later.

Despite its challenges, the era did provide opportunities. Character actors known for playing sidekicks now got a chance to star in their own radio detective shows. While writers like Jackson Gillis had moved on to television, there’s still some good scripts written. There’s even a case to be made that some scripts from the later 1950s show more maturity and nuance than the scripts from the height of the golden age.

This era has some solidly written and entertaining programs. However, few new detective programs were produced. In addition, many of the programs produced, such as Indictment and Treasury Agent, only left behind a handful of episodes. This may have been driven by more radio stations beginning to use tape, which had the cost-saving benefit of being able to be recorded over, much to the loss of future generations.

At any rate, here’s my top five detective programs from the declining years of the Golden Age of Radio..

5) The Adventures of the Falcon

Network: NBC

Star: Les Damon

This series has a terrific opening. The Falcon (aka Private Investigator Michael Waring) answered the phone and on the other end was an unnamed woman he had to break a date with and he gave a slight hint of the danger ahead. The story would generally start with a sordid situation developing that the Falcon would need to be brought into to solve.

The mysteries generally had a lot of twists and surprises. The Falcon had a competent police foil and he wasn’t always right. The series utilized some of the best New York radio actors including the distinct Ralph Bell. The characters often heightened characterization but this was toned down compared to something like Boston Blackie. However you cut it, this was a solid listen.

4) Barrie Craig, Confidential Investigator

Network: NBC

Star: William Gargan

William Gargan had been a private investigator in real life which brought authenticity to his take on Barrie Craig. The academy-award-nominated Gargan was fun to listen to and provided versatile characterization. Craig could be friendly and easy-going, but also could get tough, or deal with sad or emotional moments. The series didn’t try to maintain a heavy atmosphere but knew how to mix in lighter moments to give its serious moments and ideas real weight.

The stories were well-written and well-directed. The first three seasons of the series were recorded in Hollywood, and the last in New York. However, throughout, the guest cast remained solid, and Gargan worked well with everyone.

3) Broadway’s My Beat

Network: CBS

Star: Larry Thor

“From Times Square to Columbus Circle…the gaudiest, the most violent–the lonesomest mile in the world.” The opening set the stage for Lieutenant Danny Glover’s downbeat adventures in solving homicides. The writing by Morton Fine and David Friedkin is highly stylized with a lyrical quality to it. Larry Thor nails the role of a tough, world-weary cop. Thor wasn’t an obvious choice. Prior to taking on the role of Danny Clover, he was best-known for performing announcer duties on programs such as Rocky Jordan.

While Clover is a cop, he seems to fit more comfortably with the hard-boiled private eyes of the previous era but with a badge that requires a little more cooperation and respect. Even though he’s a Lieutenant, he’s often in the field alone investigating cases. While many police and detective shows were moving toward a procedural feel with more realism and scientific investigation, Broadway’s My Beat went for human drama and poetry and the result is a compelling series.

2) Dragnet

Network: NBC

Star: Jack Webb

Dragnet became less the bold experimental show it was when it started in 1949. Particularly when Dragnet hit TV and Jack Webb was doing thirty-nine episodes of Dragnet on television in addition to more than fifty radio episodes per season, and in the midst of all that, a Dragnet movie was made. I think it’s safe to say that by the time Dragnet left radio in 1955 that Webb wasn’t feeling the same passion for the project he felt in 1949 and was eager to get on to other projects.

Even so, even with less passion, Dragnet was still better than nearly anything else on the radio and managed to tell some of its greatest stories, including the classic Christmas tale, “The Big Little Jesus.” After Barton Yarborough passed away, Ben Alexander became Friday’s new partner Frank Smith and brought a new dynamic, particularly with humor. Most episodes after Alexander joined the cast began to feature a scene with Joe and Frank talking with a fun punchline. Not only was this is an interesting new addition, it strengthened episodes that packed a dramatic punch because the earlier levity makes the big emotional twist hit like a gut punch.

Once Dragnet stopped making new episodes, NBC continued to air reruns network-wide for two more years which was unprecedented and a sign of the show’s popularity and quality.

1) Yours Truly Johnny Dollar

Network: CBS

Star: Bob Bailey

The first fifty-eight weeks with Bob Bailey as Johnny Dollar featured serialized stories that aired Monday-Friday. To me, this run of episodes ranks as the best run of radio drama of all time. While there are some amazing individual episodes and story arcs from different series, for consistent high-quality radio drama over the course of year with high quality, that run of Yours Truly Johnny Dollar was never equaled. Many story arcs were based on scripts of half hour episodes that writers such as E. Jack Neumann and Les Crutchfield had written for previous runs of Johnny Dollar or other programs. The format allowed writers to expand upon ideas or to combine ideas from different stories. The format was also ideal because with two exceptions (a six-parter and a nine-parter) each story was limited to five parts. This avoided the padding and drawing out stories that could become the case on so many other serialized drama.

Bailey was supported by some of the finest radio character actors of all times, including Virginia Gregg, Herb Vigran, and Howard McNear. Bailey and Gregg had some superb scenes together and play off each other very well. The series also began to develop Johnny into a real character. Johnny Dollar had been on the air since 1949 but his backstory had been limited to what served an episode. Still, Johnny got definite back story, friends, and a favorite hobby of fishing. While previous Dollars picked up the phone and reached random insurance agents of the week, Bob Bailey’s dollar reached specific agents with their own unique personalities.

The series reverted to a half-hour form and it’s fair to say that sometime after that, the quality of stories began to drop, particularly from a mystery standpoint . Part of it came from budget cuts that had Jack Johnstone taking over as the series’ sole writer (a role he wasn’t suited to.) Due to less airtime, there are some episodes of Johnny Dollar where half the episode is spent talking about the case and its history.

However, even with its problems, the story also had its strengths, giving Johnny a rich cast of supporting and recurring characters that no detective drama had ever seen. It was years, and maybe decades ahead of its time with the sheer volume of continuity and friends that Bailey’s Dollar was given.

On the strength of the details given to Johnny and the show’s stellar start, the Bob Bailey run on Johnny Dollar is the best highlight for fans of detective radio programs in those last few years of radio.

Golden Age Article

The Top Five Post-War Radio Detective Programs

by Yours Truly Johnny Blogger • 0 Comments

It was a challenge finding programs to compare when ranking World War II radio detective programs last week. This week, the big challenge is narrowing it down. The immediate post-war era (1946-51) was great for radio detective programs. The Hard-Boiled genre of detective fiction had a huge impact in the post-War era. Once networks saw some success in one hard-boiled radio detective program, the number of tough guys who spoke similes as a second language surged. Many of these got lost in the shuffle, but the best of them found a hook or angle that made them stand out from the crowd.

This is also the era when you have more programs with a high percentage of episodes available, which makes comparison easier. However, choosing is not easy. So many great programs get left off a top five lists. A lot of programs have a really good case for including them. Still, these are the ones I’d go with.

5) Richard Diamond

Networks: NBC, ABC

Star: Dick Powell

Dick Powell began his career as a light song and dance man who played the lead in a lot of romantic musicals. In the 1940s, he began a new chapter in his career as the tough-guy star of films like Murder, My Sweet, Cornered, and Johnny O’Clock. In Richard Diamond, these two elements are combined in a beautiful package in Richard Diamond. It’s a mix of usually rough violent stories that often end with him leaning close to his girlfriend, playing the piano, and uncorking a sweet romantic song.

The first season of the show is the best with Ed Begley as Lieutenant Walt Levinson, Wilms Hebert playing a double roll as Sergeant Otis and Diamond’s girlfriend’s butler. If the series had stayed that good throughout, it’d rank higher, but Begley left after the first season and three different actors played Levinson, and Wilms Hebert passed away in 1951. The show also tried to get away from the singing and do more serious tough-guy stuff without as much musical and comedy balance.

4) Sam Spade:

Networks: ABC, CBS, NBC

Star: Howard Duff

Sam Spade had been defined by the writing of Dashiell Hammett and the performance of Humphrey Bogart. That didn’t deter Duff, who took the role and made it his own. The character as Hammett wrote him would not have been someone the audience of the time would like to visit every week. Duff took the character’s toughness and occasional ruthlessness, and added a great deal of humor, with just a smidge of human sympathy and the result is unforgettable. The interaction between Sam and his secretary Effie were imitated by contemporaries but never really equaled.

The villains were bigger than life as if they should’ve been on The Shadow. However, the series seemed to thrive on these over-the-top characters as Spade took them in his stride, tidied things up, and got back to the office to dictate his report. Its music, opening, and “Good night, sweetheart” closing are iconic.

3) Rocky Jordan

Network: CBS

Star: Jack Moyles

Its international setting, replete with research on local customs, made it a stand out in the radio detective genre. Cairo-based café owner Rocky Jordan found himself in the midst of intrigue and mystery each week. Usually, it wasn’t of his own making and didn’t have anything to do with him or his business interests. Inevitably someone else in a jam would invariably draw Rocky into their problem.

What made the show is the relationship between Sam and Cairo Police Captain Sam Sabaaya (Jay Novello.) The two came from different worlds. The show didn’t back away from those differences but leaned in to them and showed how they maintained a respect and fondness for each other despite their disagreements. Captain Sabaaya was a thickheaded police foil, but a good cop who had a different thought process than our hero but often saved the day. One of the show’s best accomplishments is this felt like a believable part of their dynamic.

2) Dragnet

Network: NBC

Star: Jack Webb

Dragnet was a key step in the evolution of the police drama in bringing realism and professionalism to the way police dramas were told. There’s much that could be said about Dragnet over radio. Its characters talked more like real people. Because you felt like you were being shown how things really worked in the police department, Dragnet had a way of making tedious details and portions of investigations seem compelling. Even with the realism, there was a good sense of the dramatic and the show had a way of delivering big revelations and plot twists.

The music is iconic (although it took three episodes for them to settle on it) and the sound design helps make you feel like you’re accompanying Sergeants Friday and Romero. If you listen to Dragnet, particularly in the early episodes, If they walked into the store, you heard the sound of the store. This was different than other investigative shows where it felt like the heroes were always questioning their witnesses in pocket dimensions where nothing else was happening or going on.

They dealt with issues and cases that other shows avoided. It was a groundbreaking program that would set the tone for crime dramas for a decade and influence many programs that have come since.

1) The Adventures of Philip Marlowe

Network: CBS
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Star: Gerald Mohr

The Adventures of Philip Marlowe had a lot going for it. It came closest to producing a serious hard-boiled detective series. It rarely indulged in the era’s popular extreme characterization, which gave it a more serious feel. It wasn’t oppressive, but the story had more weight than the detective shows that made it impossible to care that their over-the-top characters are being murdered. They were also less predictable. While some series were downbeat all the time or had a massacre every episode, Marlowe got some wins as well as some losses.

The production also showed willingness to play with different ideas. Sometimes, this would work out well, such as the episode where every character was a woman, including women holding traditionally male jobs. Sometimes, it didn’t work out so well, like the episode where he tried to investigate a murder while bed-ridden. However, there’s creativity behind the stories and they never get into a rut.

Mohr’s performance was superb. He was tough but he wasn’t cartoonish or needing to prove himself all the time. His characterization was often world-weary, but sometimes hopeful in spite of the trouble he’s been through. There’s a definite soft spot that makes you care for him.

The episodes are well-directed and have superb action scenes despite how tough it is to do those over radio. The “Get this and get it straight” opening light is one of my favorites, although it was tweaked much more than it needed to be. Norm MacDonnell, who’d go on to distinguish himself on Gunsmoke, has nearly flawless direction on this series.

This is not only the best post-War radio detective series, it may well be the most consistently good radio detective series ever made.

DVD Review, Golden Age Article

DVD Review: Agatha Christie’s Miss Marple – Movie Collection

by Yours Truly Johnny Blogger • 0 Comments

The four 1960s Miss Marple films starred Margaret Rutherford as Miss Marple. For purist fans of Agatha Christie’s spinster detective, these films don’t offer much. Only one of the four was based on a Miss Marple book while two others were based on Poirot stories and one of the four was an original story. Some have compared these films to Peter Ustinov’s Poirot films in the 1970s and 80s, but to me that misses the mark. Ustinov’s Poirot films were at least nearly recognizable as the same character and stories despite the changes.

The only way to enjoy these four films is on their own merits and by that measure they do work. Miss Marple finds herself in one murder mystery after another. It begins with Murder She Said, when she sees a murder through a window while riding a train and is disbelieved by the local Detective Inspector (Bud Tingwell) and she’s assisted in solving it by her friend, the local librarian Stringer (played by Rutherford’s real-life husband Stringer Davis.) The formula of her getting involved in murder and having the Inspector treat her like she’s a meddling amateur and her being vindicated in the end is the way all three films go that see her investigate murders at stables, at a rooming house, and at sea. And she also generally gets an unexpected marriage proposal.

The series gets a little goofier, though mostly in a good way, as it goes along with a lot of tongue and cheek humor. I might compare it in some days to a somewhat more restrained version of the approach to the 1966 Batman TV series with a bit more of a British pantomime take to its comedy, as there are very broad characters who are well-played.

The writing is decent, although the last film Murder Ahoy (the only original story) was a bit weaker than the rest of the series. However, the weaknesses in the script are made up for by the performance of Lionel Jeffries gives as the ship’s captain as he helps sell the dodgier aspects of this story.

The music is light, with a cheery upbeat tune that wouldn’t fit most productions based on Agatha Christie’s writing, but fits this one like a glove.

This is one of the coziest mystery movie series you’ll find. If you like that sort of film and can tolerate its deviation from its source material, this is a delightful romp that’s worth viewing.

Rating: 4.0 out of 5

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Golden Age Article

My Favorite Old Radio Research Resources

by Yours Truly Johnny Blogger • 2 Comments

The following are some of my favorite and most powerful research resources for the Golden Age of Radio:

Radio Goldindex: This was created by respected radio researcher and chronicler David Goldin. It recently was hosted at the University of Missouri-Kansas City, which has helped ensure it’s always up.

You can search for programs by series title, by performer name, or by date. There are tens of thousands of programs included. Oftentimes entries are based on Goldin’s examination of actual transcription disks, so it’s helpful to settling questions about when programs aired. Unless there’s strong evidence to the contrary, I go with what’s in Goldin’s log. He’s also far better at recognizing a host of old time radio voices than I am. I also use this to help me find programs for extras I do for the app. featuring old time radio detectives in different roles or when I do a themed series on the Amazing World of Radio featuring a specific actor. I also used this when I did a special podcast gift to my mother featuring programs that aired on her birthdate a few years back.

The site does have its problems. The listings aren’t 100 percent accurate and the search by artist and search by programs aren’t perfectly synced. Also, entries have varying degrees of information on dramatic programs. Some will give just cast/crew information. Others will include plot details and even occasionally a mini-review.

Still, it’s incredibly useful and its flaws are due to the fact the Index began as a one-man labor of love.

On the Air is John Dunning’s massive encyclopedia of Old Time Radio. I bought the Kindle edition several years ago, but a listener was moving and sent me their hardback edition and it is nice to have this big physical book filled with Old Time Radio shows.

It’s an incredibly useful book. It’s particularly helpful when I’m researching obscure programs. The length of each entry varies, and the popularity of the program may determine that in part as people are going to be more interested in reading about Fibber McGee and Molly rather than pages about some obscuring singing program. It’s particularly useful in determining how long a series ran.

The book was released in 1998 and there has been additional research since then and there have been some programs discovered that aren’t listed in Dunning’s massive tome. Still, it’s an incredibly useful starting place to get basic information on a series’ stars, how long a series ran, and what networks it was on as well as a lot of little tidbits.

Wikipedia has some information on old time radio programs, but Wikipedia is always best as a starting point for research rather than as an end. Some topics are well-researched and edited, with detailed radio logs. Others have partial logs, no log at all, or has information included that’s wrong or just an urban legend. As a rule of thumb, the more obscure the program, the less likely you are to find a good article on it here.

Google Books has been a lifesaver in helping with obscure topics and programs because it searches and indexes so many different old time radio books and books on various actors that it comes up with information that’s just not available searching the Internet. I’ve gotten on some interesting rabbit trails. And this resource has also led to a few Interlibrary loans and purchases.

Log Sites:

Digitial Deli FTP, is not as updated as often as it used to be but it also has a lot of good information and articles on various radio programs. The site not only includes logs but it tends to show which old newspapers it got information from as well as often reprinting or quoting articles on a particular source. Digital Deli FTP can be a bit uncharitable with the perceived failings and disagreements of others within the Golden Age of Radio community and also can get a little political. However, despite those issues, it’s got a lot of great information on it.

Old Time Radio Program logs is a great listing of Old Time Radio episode logs by Frank Passages, Stewart Wright, and other notable researchers. The logs not only contain information about when episodes aired, but also the show’s overall production. Their log of O’Hara was invaluable in understanding how to best discuss the two circulating episodes recorded five years apart with two different stars. There are a few of them that are a bit older and maybe not as up to date, but the site is still an incredible resource.

Jerry’s Vintage Radio Logs: This is from the site of Old Time Radio pillar Jerry Haendiges. The logs are designed to feature his high-quality old time radio recordings which are available on CD and MP3. He has some program logs here that are just not available anywhere else. While some are quite old, you can tell which ones are more out of date as he always notes the last updated date. His logs for Sherlock Holmes and the Australian run of the Fat Man have been invaluable. He’s also got a lot of other great resources on his site.

Miscellaneous:

Old Time Radio Star Interviews: Years after the golden age of radio ended, many starts continued to talk about their experiences. The OTRR library has full interviews with several radio stars conducted by John Dunning and Chuck Schaeden. If you don’t want to listen to full interviews, the Breaking the Walls podcast does a great job incorporating selected excerpts that highlight interesting tidbits about radio history.

Old Time Radio Newsletters:

The Old Time Radio Researchers puts out the Old Time Radio Times every two months in pdf.

The Metropolitan Old Time Radio offers its Radio Recall newsletter to its members and has samples on its website.

DVD Review, Golden Age Article

DVD Review: Forgotten Noir, Volume Seven

by Yours Truly Johnny Blogger • 0 Comments

Forgotten Noir, Volume 7 collects three B-movie mystery/adventure films from the 1950s, all of which had interest to me as a fan of old time radio.

The first is David Harding, Counter Spy. Based on the long-running Phillip H. Lord radio series, the film has a framing device of a commentator who blasted the government, having the idea of counter-espionage explained to him through a story that occurred during World War II as a Navy Lieutenant Commander is called in to find out how information is being leaked from a torpedo manufacturing plant. The framing device is unnecessary and the film has a few slower moments, but this is the best film in the set as it was made as a studio B picture for Columbia rather than as an Independent release.

Next up is Danger Zone. There’s some confusion around this movie. Some say it’s based on Pat Novak for Hire starring Jack Webb. It’s actually based on the Pat Novak for Hire ripoff Johnny Madero, Pier 23 also starring Jack Webb. Future Ward Cleaver Hugh Beaumont stars as Dennis O’Brien, who is Johnny Madero by another name. This movie adapts two different stories made over radio with little to link them, apparently to allow the option of splitting them to air on television. One of the stories adapts an existing radio episode, “The Fatal Auction” and follows the plot beat for beat.

The biggest change is that rather than having his confidant be a waterfront priest, Dennis’ go-to guy, Professor Frederic Schiker, is a Jocko Madigan-type drunk who lives with O’Brien, which does save on scene changes. I did miss the character’s chiding (which was a feature of both Pat Novak and Johnny Madero) and without that the performance is a bit flat. The stories are decent, but the acting is a bit off. Even Beaumont, true pro that he was, seemed to not totally believe the off-the-wall hard boiled lines he was being asked to deliver. It does make me appreciate the unique quality that allowed Jack Webb to deliver those lines with as much conviction as he did.

Finally, we have The Big Chase. I was interested in this film as it starred Mystery is My Hobby and Stand by for Crime star Glenn Langan and his wife (and Stand by for Crime co-star) Adele Jurgens as a rookie policeman and his expectant wife. The story does have some nice features. Langan’s character is given depth as we learned why he joined the force and why he wants to get into the juvenile division. Langan does a good job and plays his part without the more refined voice he does his most famous radio voice in.

The story features better talent than you’d expect with a film like this with Lon Chaney, Jr. playing one of the bad guys and Douglas Kennedy playing our hero’s police Lieutenant buddy. It also featured Joe Flynn (of McHale’s Navy fame) in one of his earliest film roles as a reporter in yet another unnecessary set of framing scenes. The film is called the Big Chase for a reason. It has a twenty minute chase scene that’s a lot of fun. It involves cars, trains, a helicopter, boats, as well as some fisticuffs, and gun play. It’s not perfectly executed but makes up for it with some nice location shooting which can cover a multiple of film-making sins for many fans.

The big problem with the film is that it is severely padded. It runs a little over an hour and has enough interesting material to fill somewhere between 25-35 minutes. The chase really gets started nearly 40 minutes in, and prior to that the pacing was positively glacial.

I was glad to watch the films, but this is one of those ones I couldn’t recommend for everyone. This is a film that you have to be an OTR buff to appreciate. We have a well-known radio series coming to film, an obscure radio series coming to film, and a star of two lesser known radio series playing a policeman in a slow, dull film that gives way to an impressive low budget chase. As the saying goes, if you like this sort of thing, this is the sort of thing you would like.

Rating: 2.75 out of 5

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Book Review, Golden Age Article

Book Review: Dick Tracy: Dailies and Sundays: 1931-33

by Yours Truly Johnny Blogger • 0 Comments

Dick Tracy is the legendary detective created by Chester Gould whose comic strip adventures continue until this day. Dick Tracy first hit newspapers in 1931 and this book collects his first strips from October 1931 to May 1933.

This collection is notable for what you won’t find: any of Tracy’s garish rogues gallery. No Flattop, Mumbles, or Pruneface. The most prominent villain is Big Boy, but in here he’s a regular mob boss. The colorful villains would come much later for Tracy. This book features Tracy taking on thieves, kidnappers, and racketeers that were typical 1930s villains.

The book opens with the father of Tracy’s fiancée being murdered. Tracy joins the police force in order to catch the killer. The most unrealistic part of this entire collection is when Tracy is so quickly graduated and placed in a leadership position on the force with no explanation. Three months later, he slacks off because of personal problems with Tess and is demoted to uniform duty and complains about how he was demoted despite all he’d done in the three months on the force.

Once you get past that silliness, the book is good. The crimes aren’t outlandish and Tracy’s methods are pretty solid for a 1930s newspaper strip, featuring some real detective work. The book also did go for some “ripped from the headlines” cases. For example just after the Lindbergh kidnapping, Tracy had to solve a similar baby kidnapping case.

Other than introducing Tracy and Tess Trueheart, the book’s important contribution is introducing Junior, the homeless, seeming orphan who Tracy adopts, or perhaps it may be he adopts Tracy. He becomes part of the action on several occasions and you can see why he’s often viewed as a precursor of teenage sidekicks like Robin, the Boy Wonder and Captain America’s sidekick Bucky Barnes.

The art in the book starts off looking a bit primitive but as Gould continues to draw, it becomes a lot more polished. The book is mostly in black and white with the exception of the earliest Sunday strips. These strips didn’t follow the daily strip plot, opting instead for a separate mystery or sometimes just a one-off gag strip. They continued until May 1932.

The book also includes an interview with Gould by his successor on the Tracy comic strip, Max Allan Collins.

Overall, while the book doesn’t capture Tracy at the peak, it does manage to capture Tracy’s beginnings and also help readers understand how Tracy became so popular in the first place with fun and exciting stories, detective work, and a broad-based appeal to multiple members of the family with character drama and a kid sidekick. Worth a read for both Tracy diehards and those who are curious about the beginnings of this iconic character.

Rating: 4.0 out of 5.0

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Golden Age Article

Is a New Golden Age of Audio Dramas Coming

by Yours Truly Johnny Blogger • 1 Comment

As we hunker down during the global pandemic, those with more leisure time have binged a whole lot of television and been able to find distraction in new episodes of their favorite programs.

Many live late night programs have continued with the host at home and guests also at home. While this can work to an extent for Jimmy Fallon and Stephen Colbert, it raises a point.

How is this going to work for scripted dramas? There are so many logistical issues with filming a TV show or movie. The sheer number required to be working together on the set, the close proximity that actors have to get to each other, etc. If some form of social distancing continues to be enforced, any TV shows and movies produced during this time are going to look quite odd. That’s if they can be produced at all.

While it’d be an interesting idea to do more animation of popular TV shows, the truth be told, there’s not going to be time before the Fall Season to produce high quality animation to continue beloved shows.

The answer may be for the shows to re-embrace the audio medium they abandoned nearly sixty years ago and work to release new programs over radio. British Audio Drama company Big Finish announced on March 17th that it was suspending recording due to the COVID-19 virus and therefore would not be in studio. However, 9 days later, they were back in production having discovered that most of their stars could work from home and the direction could also be done remotely.

Dramatic podcasts around the world have been doing the same thing for years, as producers using affordable software have been able to mix and blend voices from thousands of miles away to tell stories via audio that sound just like they were recorded with all actors in the studio together.

While it might be tempting for any audio content to go to a premium provider like Audible, there’s going to be a larger audience for radio and a good potential to earn advertising revenue during a time when filming’s going to be difficult. The added listeners might also help radio stations who have seen their listening numbers decline with less people on the roads.

Several types of radio programs could work over radio during this period:

Exploring Continuity Gaps:

A lot of dramatic television is highly serialized today. In an earlier era of television where continuity was light, it’d be easy if you made one-off radio episodes that told previously untold one-off adventures. That’s harder today because so many episodes are interconnected. TV shows also won’t want to continue their ongoing planned storylines over radio because we hope that television will eventually return to normal and they don’t want to mess up their reruns and resyndication plans by having audio episodes you have to listen to in order to understand what’s going on. They would have to re-record the audio shows for TV and I assume they won’t want to do that.

Some series could return and explore gaps in the continuity. For example, months often pass in-world between the end of one season and the start of another. If a TV series has already shot its season finale and knows that it wants to start the next season by jumping forward several months, it might do a radio series that explores what happens in those intervening months.

It might also explore past gaps in continuity. For example, the third season of the CW Series The Flash ended with the hero being imprisoned in the otherworldly Speed Force. The fourth season began after his friends had protected the city for six months in his absence. In the premier episode, they bring him back from the Speed Force. CW could commission a radio series based on what happened during that six-month period.

2. Spin Offs

Many programs have had popular guest characters and this might be a great time to explore whether their stories might be worth exploring in their own right. Creating Spin Offs will once again spare the main series from having to mess with its continuity. If the radio spin off works well, then a TV spin off may make sense once all returns to normal.

3. Return of the Cancelled Shows

Some shows continue to be popular even though they’ve gone into reruns. A new Golden Age of Radio could see them return for a limited run. There are two approaches that could be taken. First, is the continuity gap solution listed above. Secondly, you could set a show after its finale.

Monk would be a fun program to bring back by either approach. Attempts at making a Monk movie over the last 11 years have been stymied, but a series of radio dramas could hit the spot in these difficult times.

4. Original Programming

The networks have a whole host of ideas for concepts for new TV programs. Many of these could be adapted to radio, as well as bringing programs especially created for radio to light. Radio could provide a low-cost way to test the market for shows that would have high production values on TV.

5. Movie Adaptations

During the Golden Age of Radio, the Lux Radio Theater, Screen Guild Theater, and Screen Director’s Playhouse were dedicated to adapting movies to an audio format and recreated great big screen moments over the radio.

In the 1980s, George Lucas sold rights to adapt the Star Wars Trilogy to NPR for $1 per film and NPR produced adaptations of each of the first three films in the trilogy.

Adaptations of other popular films to radio with some of the original cast would be worth exploring. The Star Wars adaptations were popular even though fans could now watch the original films on VHS or TV.

Star Wars has a devoted fan base, which was key to the success of the audio dramas. Any successful adaptation of film to radio would have to be of a film which features equally devoted fans.

Overall, a new golden age of audio dramas would offer the entertainment industry a chance to bring something positive out of the awful events of the last few months, and I hope they avail themselves of the opportunity.

Golden Age Article, Telefilm Review

TV Episode Review: Murder She Wrote:A Christmas Secret

by Yours Truly Johnny Blogger • 0 Comments

In “A Christmas Secret,” a Gulf War Veteran is set to marry Elizabeth, the daughter of a prominent Cabot Cove couple. While visiting for the holidays, Charlie receives an anonymous blackmail tape. When the woman who made the tape is nearly murdered, Jessica seeks to unravel the mystery.

What Works:

This episode has nearly everything you’d expect from a Murder She Wrote Christmas episode. The mystery has lots of suspects and potential motives as well as its share of red herrings

As this was from Season 9, the show was past the point where old Hollywood legends were showing up every week, but the recurring Cabot Cove cast is fun and the guest cast is solid.

The story has the right holiday flavor. It has just the right sentiment and rarely becomes saccharine or cheesy.

What Doesn’t Work:

Cabot Cove is supposed to be in Maine, but the show is filmed in California. That was never more obvious than seeing the streets snowless in December. The story features a Christmas trope of, “Will there be a White Christmas, it means so much to Character X.” I can’t help but feel the plot is a Hollywood ploy to avoid having to cover sets in fake snow for Christmas-related stories. It certainly feels that way here.

The solution requires a colorblind person to be completely incapable of making adjustments for her disability, and I have to admit I’m not entirely sure whether the writers have portrayed it accurately.

Overall:
This is a nice little Christmas treat. It’s neither the best Christmas mystery or the best Murder She Wrote, but it makes for fun holiday viewing.

Rating: 4.0 out of 5.0

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Golden Age Article

What Joe Friday Did

by Andrea Graham • 0 Comments

We offer a t-shirt that tells us Joe Friday never said “Just the facts, ma’am.” This often lead to the question, what did Joe Friday say and do? In this article, we’ll break down highlights from Sergeant Friday’s appearance in more than 600 television and radio show episodes, two movies, and one novel I’ve read. Some are serious and some are fun, but it’s all in the spirit of celebrating one of the most iconic character of TV’s golden age. For simplicity’s sake, all programs first broadcast on radio will be cited using their radio dates. Programs aired after 1955 will not include a reference to medium unless it’s a book.

General facts:

-Friday and his partner were so in demand, they changed departments often (sometimes every week)

-Friday spent hours waiting for suspects to show up, spent days on fruitless stakeouts and spent entire patrols waiting to catch a criminal.

-While Friday is known for the epic speeches entered into congressional record, he favored the snappy one-liners he delivered nearly every episode.

Friday career highlights and facts:

-Friday joined the force sometime before 1939 (Radio: 07/14/1949) His time on the police force was interrupted by service in World War II (Radio: 01/05/1950) where he made a friend who subsequently committed a crime that got him sent to prison.

-He nearly blew up City Hall when he tripped while carrying a bomb in a bucket. Thankfully, it didn’t go off due to a flaw in the wiring.

-Friday lived with his mother (Radio: 05/04/1950) for many years until she went back East to live with other relatives.

-While undercover, Friday was twice hired to kill a woman. (Radio: 09/28/1950, TV: November 6, 1967)

-Friday was sent undercover to buy drugs, but when it came time to do the buy to arrest the suppliers, the police didn’t have money to complete the buy. Friday was given a stack of whatever money various captains could get at the last minute, pieces of newspaper, and good wishes that the suppliers wouldn’t insist on examining Friday’s roll too closely. (Radio: 10/26/1950)

-Friday helped a convicted narcotic’s dealer’s kids and helped his wife get a job. This led the convict to give a Friday a lead on a $100,000 narcotics ring. (Radio:01/03/1952)

-After a woman tried to abandon her baby born out of wedlock, Friday and his partner intervened to help her and to gain understanding from her husband. (Original Air Date:04/10/1952)

-Friday once had a girlfriend named Anne who stood by him after he was forced to kill a young man in the line of duty (TV:12/17/1953). However, she was never seen again once he made the fatal relationship move of getting her a stationary set for Christmas despite warnings from Frank Smith. (Radio:12/22/1953)

-Joe Friday and Frank Smith once got into an epic indoor technocolor fist fight against a mob boss’ local hoods. (Dragnet Movie:September 4, 1954)

-Friday once stood silently on a porch for ten minutes in the middle of an investigation while an old man read a long essay about the love of dogs. (Radio:11/16/1954)

-Friday played charades when he was eleven but doesn’t understand why adults would do that. (Radio: 08/09/1955)

-Friday and Smith went out of their way to make sure an escaped convict doesn’t suspect his wife came to them and told them about him. (Radio:08/09/1955)

-Friday watched the Boston Blackie TV show. (Book: Dragnet: The Case of the Courteous Killer)

-Friday stopped a neo-Nazi from blowing up a school that was integrating. (TV:January 19, 1967)

-Friday failed to sign a receipt for ransom money leading to a frown and a long conversation with the Captain. (Original Air Date: February 9, 1967)

-Friday wrestled a teenager with a live grenade. (Original Air Date: September 14, 1967)

-Friday was brought before a shooting board and found justified in shooting a burglar at a laundromat. (Original Air Date: September 21, 1967)

-Friday once took half an hour out of his date to hold a debate with a drug guru. (Original Air Date: January 11, 1968)

-In the premier of Dragnet 1969, Friday and his partner went on a TV panel show and spent the entire program debating a calm professor and an over-the-top rebel setting the tone for all the excitement in that season. (Original Air Date: September 19, 1968)

-Friday worked to recruit African American police officers, including a character played by O.J. Simpson. (Original Air Date: October 3, 1968)

-Friday and his partner provided support for the LAPD Command post when Martin Luther King, Jr. was assassinated. (Original Air Date: October 10, 1968)

-Friday helped the Secret Service with an uneventful visit by the President, since it was Season 3. (Original Air Date: November 14, 1968)

-Friday helped with the training and recruitment of policewomen. (Original Air Date: November 21, 1968)

-Friday and Gannon went out in the woods and wore casual clothes to have internal police conversations about community relations because once again it was Season 3. (Original Air Date: January 2, 1969)

-Friday and Gannon tracked down a dog that bit a little girl and saved her from having to take an anti-rabies serum she was allergic to. (Original Air Date: March 27, 1969)

-Friday went back to college to get a Master’s Degree in order to become a better police officer. (Original Air Date: March 19, 1970)

-Friday showed a fellow student he knew the difference between cooking spices when a student was openly carrying a bag of marijuana. He claimed, “It’s oregano,” and that he was no different than any other student carrying cooking spices to class in plastic bags. (Original Air Date: March 19, 1970)

-Joe, in making the arrest, strained his friendship with a woman in class he’d been friendly with. Thus she never received a stationery set for Christmas. However, despite losing any chance at a close relationship, Friday was saved from being thrown out of class by a one-eyed lawyer. (Original Air Date: March 19, 1970)

For the purpose of this list, I consider all Dragnet productions featuring Jack Webb to be connected. Two episodes of Dragnet present a combined problem. In the July 10, 1949 radio episode of Dragnet a criminal who Friday and Romero put away 10 years ago comes for a visit. This indicates Friday had been a cop for at least 10 years (when this was interrupted by war service as detailed later in 1950 in the Big Escape.) However in the Dragnet TV episode, the Shooting Board aired on September 21, 1967, Friday stated he’d been on the force twelve years then and contradicted the radio/1950s TV series about the number of times he’d drawn his weapon.

It can be argued that Dragnet 1967 was neither a continuation or a revival of the original radio/TV series but a soft reboot in the same way DC Comics subtly changed the timelines of Batman, Superman, and Wonder Woman to reflect a more recent beginning for each of these iconic characters. This theory is bolstered by the fact Joe Friday ended the original series as a Lieutenant but was back to being a Sergeant in the 1960s series.

However, I’d rather not go for the Dragnet multiverse and just acknowledge the series was not into continuity. The reference to breaking a case ten years previously in 1949 made Joe Friday older than Webb (who had just turned 29) while the reference in 1967 to having been on the force twelve years served to make Friday younger than the forty-seven-year-old Webb.

At any rate, here are a few stand out facts about Joe Friday. If there are any that I stand out to you, please share in the comments.

Other fun quotes. Check out some great Joe Friday/Dragnet quotes at the Internet Archive or Wikiquote.

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Golden Age Article

Understanding the Expanding Public Domain

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The public domain is that magical place which creators can draw inspiration from. Public domain works can be published and sold by anyone. It includes the works of Shakespeare, Dickens, and Edgar Allen Poe. However, in the US, it doesn’t include many works made after 1922 and the public domain has remain frozen since 1998. However, on January 1, 2019, New Year’s Day will be Public Domain Day, as a plethora of works created in 1923 will enter the public domain.

Why the Public Domain was Frozen

Until the early 1990s, the public domain grew in two ways. First was expiration of the original copyright term. Works written prior to the 1976 Copyright Act had twenty-eight year copyright terms that could be renewed for another twenty-eight years (increased to 47 years though the Copyright Act.) If the copyright owner didn’t renew their copyright, their work came into the public domain after twenty-eight years. This is how many Hollywood movies, TV episodes, and a few books from 1963 and before slid into the public domain. Congress put a stop to this by renewing all outstanding copyrights in 1992.

The other way the public domain expanded was when the renewal term expired. That ended in 1998. Media companies led by Disney had been trying to get the copyright extended for years. The first Mickey Mouse cartoon Steamboat Willie was set to enter the public domain in 2004. Congress passed the Sonny Bono Copyright Extension Act (named after the late singer and Congressman) which added another twenty years to all Copyrights. Works passed after the 1976 Copyright had a term of the author’s lifetime plus 70 years, and those pre-1976 works had a term of 95 years.

At the time of passage, copyright extension promotions seemed to want far more. Bono’s forth wife and successor in Congress, Mary Bono made the point that Sonny Bono had believed Copyright should last forever. That is unconstitutional. The Constitution requires copyright be for “limited times.” She spoke favorably of long-time Motion Pictures Association of America Chairman Jack Valenti’s suggestion this could be worked around with a copyright term of “forever minus one day.” Opponents of further Copyright extension didn’t expect an effort that audacious, but they did expect some effort to increase the length of copyright if for no other reason than for Disney to save “Steamboat Willie.” In the end, no effort was made and the Public domain will grow once again.

What Will Happen

At the end of 2018, copyrights on works created in 1923 will expire. On January 1, 2019, the public domain will expand.

Starting on January 1^st, organizations such as Google Books and Project Guteneberg will make books written in 1923 available to readers across the Internet to download for free. Librivox will make audiobook recordings of them. In addition, filmmakers will be able to adapt them, as will American audio drama producers such as Colonial Radio Theater.

Mystery fans will enjoy the third Agatha Christie book to enter the public domain, Murder on the Links. In the addition, one of only ten Sherlock Holmes stories still under Copyright in the United States, “The Adventure of the Creeping Man” will enter the public domain.

Silent films such as the original Ten Commandments or Charlie Chaplain’s The Pilgrim will be enjoyed online for free as well as on discount DVDs.

Filmmakers will at last be able to freely include songs such as The Charleston and Yes! We Have No Bananas Today in their films. Churches won’t have to pay to include “Great is thy Faithfulness” in their services. Community theaters will be able perform Noel Coward’s first play London’s Calling. Before, doing all of these legally required paying a royalty or license fee. However that all changes in 2019.

The public domain will continue to expand, allowing free distribution of an ever-growing number of influential works. The Jazz Singer, the film that launched the era of talking pictures, is set to enter the public domain in 2024. Dashiell Hammett’s novel The Maltese Falcon will enter the public domain in 2026, and Fer-de-Lance, the first novel featuring Nero Wolfe, will enter in 2030.

Continued growth of the public domain will depend on Congress not extending copyright again. Entertainment companies have powerful lobbyists on Capitol Hill and may demand more protections. If Disney lets “Steamboat Willie” go into the public domain, they may raise a fuss at the prospect of Snow White and the Seven Dwarves entering the public domain in 2033, one year before the first Superman comics are set to become public domain.

For now though, the long overdue expansion of the public domain is beginning. Here’s hoping it continues for many years to come. If you want more information on works entering the public domain in 2019, check out this article from the Duke University School of law.

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Audio Drama Review, Golden Age Article

My Big Finish Twenty, Part Four

by Yours Truly Johnny Blogger • 1 Comment

We continue our look at twenty great Big Finish releases in celebration of Big Finish’s Twentieth Anniversary. Last week, we featured #10-6. Two week ago we covered numbers 15-11. See Part One for numbers 20-16.

We wrap up our Big Finish Twenty with my final five.

5) Jago and Litefoot Series 10

I love Jago and Litefoot. I wrote four long posts detailing the history of their wonderful audio drama adventures, so of course they’d go on this list. Their absolute best Series was Series 10. (See my review here.) The set features some great adventures including Jago and Litefoot sending letters to their younger selves, competing with each other for the attention of their biographer, and Jago being buried alive and waking up in a dystopian future. The individual episodes are superb with the finale serving as a capstone to the first Ten Series of Jago & Litefoot.

Other contenders for Best Jago and Litefoot Series for me would include Series 1, Series 3, Series 5, and Series 8.

4)The One Doctor

The Sixth Doctor (Colin Baker) and his companion Mel (Bonnie Langford) arrive in what the Doctor terms as a vulgar period of history where most things are known and there’s little exploration or curiosity. The Doctor and his exploits are pretty well-known. So well-known that a con man is impersonating the Doctor with the aide of his assistant Sally. The Doctor stumbles onto his impersonator but before he can get that sorted out, an evil overlord shows up and threatens to destroy the entire star system unless the system’s greatest treasures are brought to him.

This is the best Doctor Who comedy story Big Finish has released. It has a great cast including the future Doctor Who companion actor Matt Lucas, a clever script that makes sense, while still delivering a variety of humorous situations. Overall, this is an absolute joy.

3)Hamlet

Yes, you read that right. While it’s best known for its Science Fiction and Nostalgic TV adaptations, Big Finish did two Shakespearean plays, King Lear and Hamlet. Both plays were well-performed with stellar casts that bring these legendary stories to life. Hamlet is my favorite of the two, since I generally like Hamlet a bit more than King Lear.

Hamlet is one of the best stories ever written, but that doesn’t mean adaptations of Hamlet are all good. There are many poorly acted and poorly executed versions of the play that involve actors giving hammy performances or droning through their lines. There was a version of Hamlet that was subject of a Mystery Science Theater 3000 riff.

This is a brilliant Hamlet. Big Finish didn’t mess around with the script but they got some very good actors to appear in it. Alexander Vlahos is a great Hamlet. His delivery is pitch perfect. He makes every line real and credible.

The big advantage of this one is the sound design. Most audio versions of Shakespeare plays tend to be either recorded versions of the play or actors just reading the lines. However, this story has a very realistic and well-done sound design done by a company that specializes in making great-sounding audio. The sound and music are never intrusive or overdone and definitely enhance the experience.

This is a tremendous production that does justice to one of the greatest stories of all time.

2) Doctor Who: The Chimes of Midnight

The Eighth Doctor (Paul McGann) and his companion Charlotte Pollard (India Fisher) arrive at an Edwardian Mansion on Christmas where on the stroke of midnight, a servant is killed in a bizarre way. The Doctor and Charley find themselves drawn into the story and try to solve the mystery as reality and time seem to bend in this strange and unusual place as more servants continue to die each time midnight strikes.

This is an amazing and multi-faceted story. It’s science fiction, it’s a mystery, a dark comedy, and a satire on the English class system. It has some hilarious moments, some dark moments, and ends with some sweet and emotional moments. It features great acting, superb direction, and top-notch writing. Chimes of Midnight has been consistently listed as one of Big Finish’s best releases since it came out in 2002. (In 2015, it was voted the best monthly Doctor Who release by listeners.) It’s a story that lives up to its massive hype and is a must-listen.

1) Doctor Who: The Last Adventure

All of the Doctors who appear in Big Finish Doctor Who stories were given a proper ending to their tenure on television with their regeneration, or I should say all but one.

When Colin Baker was cast to play the Sixth Doctor, he had high hopes for a long, happy tenure in the role but ended up with a short, unfortunate tenure. His character as written was unlikable (particularly in his first story) while he was given a clashing, multi-color costume universally panned. On top of that, the show’s script editor thought he wasn’t fit for the role and said so publicly. The show went on hiatus for 18 months and when the show returned, it did so with a “trial” that reminded the audience of the recent unpleasantness. Baker did a good job with what he was given, but was ultimately fired from the show and didn’t return for a regeneration story. Instead, his successor Sylvester McCoy appeared on the TARDIS set wearing Baker’s outfit and a blonde wig.

Baker’s Doctor got a second chance at Big Finish. On audio, the Sixth Doctor became a more likable character and got several new companions while starring in a host of well-written and memorable releases including the previously mentioned One Doctor. That really gave Baker a chance to show how good a Doctor he could be and gave many fans a new appreciation of his Doctor.

After so many years and so many stories, Producer David Richardson had the idea of finally giving the Sixth Doctor a proper ending. This led to the Last Adventure, which features four stories throughout the Sixth Doctor’s life that ultimately set the stage for his regeneration and a final confrontation with his enemy the Valyard. Each story is told with a different companion and the stories take different tones from an eerie story about a strange train yard to a light-hearted story about doglike people who have stay indoors to avoid becoming human to a suspenseful tale of malicious evil in Victorian London (with Jago and Litefoot) to a final confrontation in the TARDIS, this box set covers a lot of ground and each chapter is well-written and well-executed. They’re not only a solid conclusion to Baker’s era, but they also each stand up as strong stories in their own right.

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