It's Halloween Night! After the parties and Trick or Treating, grab a caramel apple or popcorn ball and a steaming cup of hot apple cider, curl up under a cozy blanket and enjoy these Old Time Radio broadcasts perfectly suited for the evening.
ENJOY!
Inner Sanctum - The Wailing Wall with Boris Karloff from November 6, 1945.
Inner Sanctum - Corpse for Halloween - October 31, 1949.
Quiet Please - Don't Tell Me About Halloween - October 27, 1947
Mystery in the Air -The Black Cat - Starring Peter Lorre - September 18, 1947
Perhaps the most famous Halloween radio broadcast of all time, The War of the Worlds. The War of the Worlds was an episode of the American radio drama anthology series Mercury Theatre on the Air. It was performed as a Halloween episode of the series on October 30, 1938, and aired over the Columbia Broadcasting System radio network. Directed and narrated by actor and future filmmaker Orson Welles, the episode was an adaptation of H. G. Wells's novel The War of the Worlds.
The first two thirds of the 60-minute broadcast were presented as a series of simulated "news bulletins", which suggested to many listeners that an actual alien invasion by Martians was currently in progress. Compounding the issue was the fact that the Mercury Theatre on the Air was a "sustaining show" (it ran without commercial breaks), adding to the program's realism. Although there were sensationalist accounts in the press about a supposed panic in response to the broadcast, the precise extent of listener response has been debated.
In the days following the adaptation, however, there was widespread outrage and panic by certain listeners who believed the events described in the program were real. The program's news-bulletin format was decried as cruelly deceptive by some newspapers and public figures, leading to an outcry against the perpetrators of the broadcast. The episode secured Welles's fame. From Wikipedia, the free encyclopedia
Click PLAY below to listen to the original 1938 broadcast.
BONUS: This is a rare meeting between the author of The War of the Worlds, H.G. Wells, and the brilliant Orson Welles who adapted his story to the radio. Enjoy!
Orson Welles apologizes for the The War of the Worlds broadcast (October 31 1938)
The Weird Circle premise is noteworthy: an anthology of classic, supernatural mystery thrillers from the pens of the world's best known and respected supernatural fiction authors. The scripts--with rare few exceptions--acquit themselves well for the genre.
The supernatural thriller genre was highly popular throughout the mid-1930s, right on through the mid-1950s over Radio.
The Weird Circle was an RCA-syndicated feature from RCA Recorded Program Services, the independent programming production division of RCA Victor. Its sound quality, voice talent, and production values meet traditionally high RCA standards. As a consequence of those standards, the resulting recordings have stood the test of time--a huge bonus for Golden Age Radio transcriptionists, preservationists and collectors.
The program was reportedly recorded out of RCA's New York Studios, and almost immediately licensed to both NBC-Red/RCA [WEAF] and the Mutual Broadcasting System [WOR and W-G-N], consisting of two, 39-script seasons of 25-minute productions, for local sponsors and networks alike. As illustrated in the Provenances section, NBC [RCA] created their own set of transcription disks as well, as did the Armed Forces Radio and Television Service (AFRTS).
Sponsors varied as the series was picked up throughout affiliate stations across the U.S. One incarnation of note was Ogden Fine Cut Tobacco's sponsorship of The Weird Circle, packaged as the Odgen's Playhouse. Ogden's Playhouse didn't air the run in transcription order over U.S. stations. It aired other features under the Ogden's Playhouse banner as well. In Canada however, Ogden's Playhouse aired The Weird Circle series weekly without other intervening productions. Other sponsors of note were the Farr Ice Cream Company [West Coast], 7-Up [Arizona], and Remar's Bread [West Coast].
The Weird Circle's earliest airing appears to have been over Chicago's W-G-N, a founding Mutual Broadcasting System station, as a sustaining program for its first season (the program aired as two syndicated seasons of productions). Previous difficulty in nailing down the program's episode sequence and earliest broadcast run are probably contributing factors in the poor results of past efforts to document this otherwise highly collectable program.
Quiet, Please was a radio fantasy and horror program created by Wyllis Cooper, also known for creating Lights Out. Ernest Chappell was the show's announcer and lead actor. Quiet, Please debuted June 8, 1947 on the Mutual Broadcasting System, and its last episode was broadcast June 25, 1949, on the ABC network. A total of 106 shows were broadcast, with only a very few of them repeats.
Earning relatively little notice during its initial run, Quiet, Please has since been praised as one of the finest efforts of the golden age of American radio drama.
Quiet, Please was produced at WOR in New York City, and began on the Mutual Network on June 8, 1947. Beginning in September, 1948, it was syndicated by ABC, though CBS executive Davidson Taylor expressed an interest in the show, writing in a memo in March 1948,
Each episode began with Chappell intoning the show's title, followed by a long pauseCésar Franck's 1899 Symphony in D Minor. The introduction established the sparse, understated tone of the show, and has inspired collectors and reviewers to remark upon Cooper's use of the dramatic power of silence.
(sometimes up to seven seconds), before repeating the title. Then, the show's theme music was played, a dirgey, funereal organ and piano version of a portion of the second movement of
Though the general thrust of the stories were fantasy, horror and suspense, Quiet, Please scripts covered a broad thematic range, including romance, science fiction, crime, family drama and humor (some of it quite self-deprecating).
"The Thing on the Fourble Board"
Probably the most highly regarded episode of Quiet, Please is "The Thing on the Fourble Board" (August 9, 1948), about an oil-field worker who encounters a mysterious subterranean being hiding on the derrick's catwalk. The unusual title is a bit of oil worker argot: the "fourble board" of an oil derrick is a narrow catwalk that is as high up as four lengths of drilling pipe placed vertically (two lengths of pipe are a "double", three are a "thribble" and four are a "fourble.")
The story effectivness has led some fans to label the episode one of the best radio horror programs ever broadcast. Richard J. Hand of the University of Glamorgan notes that "The Thing on the Fourble Board" is not only cited as the finest example of radio horror, but occasionally cited as one of best examples of radio drama as a whole. Especially effective was Cecil Roy's vocal performance as the creature. Though she performs only very briefly, Roy's vocal (barely recognizable as human) was cited as still startling and chill-inducing even after decades.
This anthology series featured stories of mystery, terror and suspense, and its tongue-in-cheek introductions were in sharp contrast to shows like Suspense and The Whistler. The early 1940s programs opened with Raymond Edward Johnson introducing himself as, "Your host, Raymond," in a mocking sardonic voice. A spooky melodramatic organ score (played by Lew White) punctuated Raymond's many morbid jokes and playful puns. Raymond's closing was an elongated "Pleasant dreeeeaams, hmmmmm?" His tongue-in-cheek style and ghoulish relish of his own tales became the standard for many such horror narrators to follow, from fellow radio hosts like Ernest Chappell (on Wyllis Cooper's later series, Quiet, Please) and Maurice Tarplin (on The Mysterious Traveler).
When Johnson left the series in May 1945 to serve in the Army, he was replaced by Paul McGrath, who did not keep the "Raymond" name and was known only as "Your Host" or "Mr. Host". (Berry Kroeger had substituted earlier for a total of four episodes). McGrath was a Broadway actor who turned to radio for a regular income. Beginning in 1945, Lipton Tea sponsored the series, pairing first Raymond and then McGrath with cheery commercial spokeswoman Mary Bennett (aka the "Tea Lady"), whose blithesome pitches for Lipton Tea contrasted sharply with the macabre themes of the stories. She primly chided the host for his trademark dark humor and creepy manner.
The program's familiar and famed audio trademark was the eerie creaking door which opened and closed the broadcasts. Himan Brown got the idea from a door in the basement that "squeaked like Hell." The door sound was actually made by a rusty desk chair. The program did originally intend to use a door, but on its first use, the door did not creak. Undaunted, Brown grabbed a nearby chair, sat in it and turned, causing a hair-raising squeak. The chair was used from then on as the sound prop. On at least one memorable occasion, a staffer innocently repaired and oiled the chair, thus forcing the sound man to mimic the squeak orally.
Its campy comedy notwithstanding, the stories were usually effective little chillers, mixing horror and humor in equal doses. Memorable episodes included "Terror by Night" (September 18, 1945) and an adaptation of "The Tell-Tale Heart" (August 3, 1941). The latter starred Boris Karloff, who was heard regularly in the first season, starring in more than 15 episodes and returning sporadically thereafter.
Other established stars in the early years included Mary Astor, Helen Hayes, Peter Lorre, Paul Lukas, Claude Rains, Frank Sinatra, Orson Welles. Most of the lead and supporting players were stalwarts of New York radio. These included Santos Ortega, Larry Haines, Ted Osborne, Luis van Rooten, Stefan Schnabel, Ralph Bell, Mercedes McCambridge, Berry Kroeger, Lawson Zerbe, Arnold Moss, Leon Janney, Myron McCormick, Ian Martin, and Mason Adams. Players like Richard Widmark, Everett Sloane, Burgess Meredith, Agnes Moorehead, Ken Lynch, Anne Seymour, and Santos Ortega also found fame or notability in film or television.
Of more than 500 programs broadcast, only about 200 remain in circulation, sometimes minus dates or titles.
A series of six low-budget Universal Horror movies starring Lon Chaney, Jr. and based on the radio show was produced in the 1940s: Calling Dr. Death (1943), Weird Woman (1944), Dead Man's Eyes (1944), The Frozen Ghost (1945), Strange Confession (1945) and Pillow of Death (1945).A Film Classics release Inner Sanctum was made in 1948.
The 1954 syndicated television series featured Paul McGrath as the off-camera host/narrator. The TV shows were produced at the Chelsea Studios in New York City.
In the 1970s, with his CBS Radio Mystery Theater series, Himan Brown recycled both the creaking door opening, and to a lesser extent, the manner of Raymond. The hosts were E. G. Marshall and Tammy Grimes. In later repeats during the 1990s, Brown himself mimicked Raymond's "Pleasant dreeeeaaams, hmmmmm?" for the familiar closing.
The Baby Snooks Show was an American radio program starring comedian and Ziegfeld Follies alumna Fanny Brice as a mischievous young girl who was 40 years younger than the actress who played her when she first went on the air. The series began on CBS September 17, 1944, airing on Sunday evenings at 6:30pm as Post Toasties Time (for sponsor General Foods). The title soon changed to The Baby Snooks Show, and the series was sometimes called Baby Snooks and Daddy.
In 1904, George McManus began his comic strip, The Newlyweds, about a couple and their child, Baby Snookums. Brice began doing her Baby Snooks character in vaudeville, as she recalled many years later: "I first did Snooks in 1912 when I was in vaudeville. At the time there was a juvenile actress named Baby Peggy and she was very popular. Her hair was all curled and bleached and she was always in pink or blue. She looked like a strawberry ice cream soda. When I started to do Baby Snooks, I really was a baby, because when I think about Baby Snooks it's really the way I was when I was a kid. On stage, I made Snooks a caricature of Baby Peggy."
Early on, Brice's character was sometimes called "Babykins." By 1934 she was wearing her baby costume while appearing on Broadway in the Follies show. On February 29, 1936, Brice was scheduled to appear on the Ziegfeld Follies of the Air, written and directed by Philip Rapp in 1935-37. Rapp and his writing partner David Freedman searched the closest bookcase, opened a public domain collection of sketches by Robert Jones Burdette, Chimes From a Jester’s Bells (1897) and adapted a humorous piece about a kid and his uncle, changing the boy to a girl named Snooks. Rapp continued to write the radio sketches when Brice played Snooks on the Good News Show the following year. In 1940, she became a regular character on Maxwell House Coffee Time, sharing the spotlight with actor Frank Morgan, who sometimes did a crossover into the Snooks sketches.
Danny Thomas as Jerry Dingle, 1945.
In 1944, the character was given her own show, and during the 1940s, it became one of the nation's favorite radio situation comedies, with a variety of sponsors (Post Cereals, Sanka, Spic-n-Span, Jell-O) being touted by a half-dozen announcers—John Conte, Tobe Reed, Harlow Willcox, Dick Joy, Don Wilson and Ken Wilson.
Hanley Stafford was best known for his portrayal of Snooks' long-suffering, often-cranky father, Lancelot “Daddy” Higgins, a role played earlier by Alan Reed on the 1936 Follies broadcasts. Lalive Brownell was Vera “Mommy” Higgins, also portrayed by Lois Corbet (mid-1940s) and Arlene Harris (after 1945). Beginning in 1945, child impersonator Leone Ledoux was first heard as Snook’s younger brother Robespierre, and Snooks returned full circle to the comics when comic book illustrator Graham Ingels and his wife Gertrude named their son Robespierre (born 1946) after listening to Ledoux's child voice.
In 1945, when illness caused Brice to miss several episodes, her absence was incorporated into the show as a plot device in which top stars (including Robert Benchley, Sydney Greenstreet, Kay Kyser and Peter Lorre) took part in a prolonged search for Snooks. In the fall of 1946, the show moved to Friday nights at 8pm, continuing on CBS until May 28, 1948. On November 9, 1949, the series moved to NBC where it was heard Tuesdays at 8:30pm. Sponsored by Tums, The Baby Snooks Show continued on NBC until May 22, 1951. Two days later, Fanny Brice had a cerebral hemorrhage, and the show ended with her death at age 59.
My Favorite Husband began on CBS Radio with Lucille Ball and Richard Denning as Liz and George Cugat. After at least 20 early episodes, confusion with bandleader Xavier Cugat prompted a name change to Liz and George Cooper. The cheerful couple lived at 321 Bundy Drive in the fictitious city of Sheridan Falls and were billed as "two people who live together and like it." The main sponsor was General Foods' Jell-O, and an average of three "plugs" for Jell-O were made in each episode, including Lucille Ball's usual sign-on, "Jell-O, everybody!" The 1948 radio version opened with:
Bob LeMond: It's time for My Favorite Husband starring Lucille Ball!
Lucille Ball: Jell-O, everybody!
Theme music [composed by Marlin Skiles, conducted by Wilbur Hatch]
LeMond: Yes, it's the gay family comedy series starring Lucille Ball with Richard Denning and is brought to you by the Jell-O family of Red-Letter Desserts:
Singers:
J-E-L-L-
O! The big red letters stand for the Jell-O family,
Oh, the big red letters stand for the Jell-O family,
That's Jell-O!
Yum, yum, yum!
Jell-O pudding!
Yum, yum, yum!
Jell-O tapioca pudding, yes sir-ee!
LeMond: Now, let's take a look at the Cooper family, two people who live together and like it.
The program, which aired 124 episodes from July 23, 1948, through March 31, 1951, initially portrayed the couple as being a well-to-do banker and his socially prominent wife, but three new writers—Bob Carroll, Jr., Madelyn Pugh, and Jess Oppenheimer—took over the writing, changed the couple's name to Cooper, and remade them into a middle-class couple, which they thought average listeners would find more accessible.
Lucille Ball was asked to do a television version of the show (with Jell-O remaining as sponsor), and CBS insisted on Richard Denning continuing as her co-star. However, Ball refused to do a husband-and-wife TV show without real-life husband Desi Arnaz playing her on-screen husband. The network reluctantly agreed, reworking the concept into I Love Lucy after Ball and Arnaz took a show on the road to convince the network that audiences would respond. When Jell-O dropped out of the show, Philip Morris became the television sponsor.
Carroll, Pugh and Oppenheimer agreed to do the switch to I Love Lucy. They subsequently reworked several My Favorite Husband episodes into I Love Lucy episodes, especially early in the TV show's run. For example, the 1948 radio episode entitled "Giveaway Program" inspired the I Love Lucy episode "Redecorating", with some lines exactly the same. Many actors who had done the My Favorite Husband radio show also appeared on I Love Lucy, sometimes in episodes where they reprised their roles using a reworked My Favorite Husband script.
The Life of Riley, with William Bendix in the title role, is a popular American radio situation comedy series of the 1940s that was adapted into a 1949 feature film, a long-run 1950s television series (originally with Jackie Gleason as Riley for 1 truncated season, then with Bendix for 6 seasons), and a 1958 Dell comic book.
The show began as a proposed Groucho Marx radio series, The Flotsam Family, but the sponsor balked at what would have been essentially a straight head-of-household role for the comedian. (Groucho went on to host Blue Ribbon Town from 1943 to 1944 and then You Bet Your Life from 1947 to 1961.) Then producer Irving Brecher saw Bendix as taxicab company owner Tim McGuerin in Hal Roach's The McGuerins from Brooklyn (1942). The Flotsam Family was reworked with Bendix cast as blundering Chester A. Riley, a wing riveter at the fictional Cunningham Aircraft plant in California. His frequent exclamation of indignation became one of the most famous catchphrases of the 1940s: "What a revoltin' development this is!" The radio series benefited from the immense popularity of a supporting character, Digby "Digger" O'Dell (John Brown), "the friendly undertaker."
The first Life of Riley radio show was a summer replacement show heard on CBS from April 12, 1941 to September 6, 1941. The CBS program starred Lionel Stander as J. Riley Farnsworth and had no real connection with the more famous series that followed a few years later.
The radio program starring William Bendix as Riley initially aired on the Blue Network, later known as ABC, from January 16, 1944 to June 8, 1945. Then it moved to NBC, where it was broadcast from September 8, 1945 to June 29, 1951. The supporting cast featured Paula Winslowe portraying Peg, Riley's wife, as well as John Brown, who portrayed not only undertaker "Digger" O'Dell but also Riley's co-worker Jim Gillis. (Brown also played the character of Waldo Binny.) Whereas Gillis gave Riley bad information that got him into trouble, Digger gave him good information that "helped him out of a hole," as he might have put it. Brown's lines as the undertaker were often repetitive, including puns based on his profession; but, thanks to Brown's delivery, the audience loved him. The program was broadcast live with a studio audience, most of whom were not aware Brown played both characters. As a result, when Digger delivered his first line, it was usually greeted with howls of laughter and applause from surprised audience members.
The Great Gildersleeve (1941–1957), initially written by Leonard Lewis Levinson, was one of broadcast history's earliest spin-off programs. Built around Throckmorton Philharmonic Gildersleeve, a character who had been a staple on the classic radio situation comedy Fibber McGee and Molly. First introduced to FMAM on 10/3/39 ep #216. The Great Gildersleeve enjoyed its greatest success in the 1940s. Actor Harold Peary played the character during its transition from the parent show into the spin-off and later in a quartet of feature films released at the height of the show's popularity.
On Fibber McGee and Molly, Peary's Gildersleeve was a pompous windbag who became a consistent McGee nemesis. "You're a haa-aa-aa-aard man, McGee!" became a Gildersleeve catchphrase.
The character was given several conflicting first names on Fibber McGee and Molly, and on one episode his middle name was revealed as Philharmonic. Gildy admits as much at the end of "Gildersleeve's Diary" on the Fibber McGee and Molly series (10/22/40).
He soon became so popular that Kraft Foods—looking primarily to promote its Parkay margarine spread — sponsored a new series with Peary's Gildersleeve as the central, slightly softened and slightly befuddled focus of a lively new family.
Actor Harold Peary was a much appreciated talent on the old radio series, "Fibber McGee and Molly". Over the course of time, he played a number of different characters, like a butcher or a delivery man. Eventually, the writers created the character of Throckmorton P. Gildersleeve for Peary to portray. Stuffy "Gildy" was the next-door neighbor of the McGee's, so now Peary could portray the major plot point in some episodes. But even this major supporting role was not enough to contain the actor's talents. So in 1941, "The Great Gildersleeve" spun-off into his very own radio series.
With a dedicated program, Harold Peary and his writers greatly expanded the depths of the Gildersleeve character. The show ran for 13 years (1941-1954), with over 550 shows produced. There were also four "official" Gildersleeve movies, and Peary appeared as Gildersleeve in a number of other films. In the fifties there was a "Great Gildersleeve" TV series, which ran for one season and resulted in 39 episodes.
However, it was not Peary who appeared in the TV series. Back in 1950, Peary's agent saw an opportunity to better his client's deal. He moved Peary from NBC to CBS. Unfortunately, the agent didn't cover all the bases of the deal, as CBS found they could not put him on as "The Great Gildersleeve", NBC still owned the rights to the character. They got Peary but not "The Great Gildersleeve" program. So CBS created a different series for Peary to play in, titled "Honest Harold". Starting on September 6, 1950, Peary's old friend Willard Waterman continued the Gildersleeve character successfully for the remaining four years of its run, then onto the year-run of the television series. Harold Peary showed up two years after that as Mayor LaTrivia on the TV version of "Fibber McGee and Molly".
Father Knows Best is an American radio and television comedy series which portrayed a middle class family life in the Midwest. It was created by writer Ed James in the 1940s.
The series began August 25, 1949, on NBC Radio. Set in the Midwest, it starred Robert Young as the General Insurance agent Jim Anderson. His wife Margaret was first portrayed by June Whitley and later by Jean Vander Pyl. The Anderson children were Betty (Rhoda Williams), Bud (Ted Donaldson), and Kathy (Norma Jean Nillson). Others in the cast were Eleanor Audley, Herb Vigran and Sam Edwards. Sponsored through most of its run by General Foods, the series was heard Thursday evenings on NBC until March 25, 1954.
On the radio program, the character of Jim differs from the later television character. The radio Jim is far more sarcastic and shows he really "rules" over his family. Jim also calls his children names, something common on radio but lost in the TV series. For example, Jim says, "What a bunch of stupid children I have." Margaret is portrayed as a paragon of solid reason and patience, unless the plot calls for her to act a bit off. For example, in a Halloween episode, Margaret cannot understand how the table floats in the air, but that is a rare exception.
Betty, on radio, is portrayed as a status seeking, boy-crazy teenage girl. To her, every little thing is "the worst thing that could ever happen." Bud, on radio, is portrayed as an "all-American" boy who always seems to need "just a bit more" money, though he gets $1.25 per week in allowance (equal to $11.52 today). Bud is in charge of always having to answer the front door, which he hates. He is also shown as a somewhat dim boy who takes everything literally; for example, Jim might say "Go jump in the lake," to which Bud would reply "Okay, Dad; which lake should I go jump into?" He also uses the phrase "Holy Cow" to express displeasure. On radio, Kathy often is portrayed as a source of irritation. She whines, cries and complains about her status in the family as overlooked. She often is the source of money to her brother and sister, although she is in hock several years on her own allowance.
The Television series began on CBS on October 3, 1954. Originally sponsored by Lorillard's Kent cigarettes in its first season, Scott Paper Company became the primary sponsor when the series moved to NBC in the fall of 1955, remaining as sponsor even after it moved back to CBS in September 1958, with Lever Brothers as an alternate sponsor from 1957 through 1960. A total of 203 episodes were produced, running until September 17, 1960, and appearing on all three of the television networks of the time, including prime-time repeats from September 1960 through April 1963.
The Adventures of Ozzie and Harriet is an American sitcom, airing on ABC from October 3, 1952 to September 3, 1966, starring the real life Nelson family. After a long run on radio, the show was brought to television where it continued its success, running on both radio and TV for a couple of years. The series starred Ozzie Nelson and his wife, singer Harriet Nelson (née Hilliard), and their young sons, David Nelson and Eric Nelson, better known as Ricky. Don DeFore had a recurring role as the Nelsons' friendly neighbor "Thorny". The series attracted large audiences, and although it was never a top-ten hit, it became synonymous with the 1950s ideal American family life. It is the longest-running live-action sitcom in US TV history.
When Red Skelton was drafted in March 1944, Ozzie Nelson was prompted to create his own family situation comedy. The Adventures of Ozzie and Harriet launched on CBS on October 8, 1944, moving to NBC in October 1948, and making a late-season switch back to CBS in April 1949. The final years of the radio series were on ABC (the former NBC Blue Network) from October 14, 1949 to June 18, 1954. In total 402 radio episodes were produced. In an arrangement that amplified the growing pains of American broadcasting, as radio "grew up" into television, the Nelsons' deal with ABC gave the network the option to move their program to television. The struggling network needed proven talent that was not about to defect to the more established and wealthier networks like CBS or NBC.
The Nelsons' sons, David and Ricky, did not join the cast until the radio show's fifth year (initially appearing on the February 20, 1949 episode). The two boys were played by professional actors prior to their joining because both were too young to perform. The role of David was played by Joel Davis from 1944 until 1945 when he was replaced by Tommy Bernard. Henry Blair appeared as Ricky. Other cast members included John Brown as Syd "Thorny" Thornberry, Lurene Tuttle as Harriet's mother, Bea Benaderet as Gloria, Janet Waldo as Emmy Lou, and Francis "Dink" Trout as Roger. Source: Wikipedia
Ozzie and Harriet has long been one of my favorite radio programs and classic television shows. Corny perhaps by today's standards some might say, but there's a wholesome, genuine quality that really appeals to me.
This episode of the radio program is from October 31st, 1948. This is before the real David and Ricky began performing on the program. David and Ricky in this episode are played by Tommy Bernard and Henry Blair respectively.
I've also included a Halloween episode from the popular television series...enjoy!
There are people who would argue that Fibber McGee and Molly were the Golden Age of radio. This is partly because of the show's very long (1935-1959) and successful run. But more than just staying power, the show showcased terrific comic and musical talent. Throughout its run, the show was a reflection of its time in the American scene.
The genesis of the program can be traced to a local Chicago show that would become Smackout. Fibber McGee and Molly would go on to great success despite (or perhaps because of) the vaudeville sensibilities of its creators and stars, married couple Jim and Marian Jordan.
Living in the fictional Midwestern city of Wistful Vista, Fibber was an American teller of tall tales and a braggart, usually to the exasperation of his long suffering wife Molly. Life in Wistful Vista followed a well developed formula, but was always fresh. Fibber's weekly schemes would be interrupted, inspired by, and often played upon the People of Wistful Vista, a set of regular players and characters that were as beloved as the stars of the program. The program used a series of running gags that would become part of the common language, many treasures can be found in the Closet at 79 Wistful Vista.
The show began as a comic reflection of Depression Era America, but as time went on and the shadows of war came over the nation, the show again caught the mood of the country. WWII was fought on the Home front on Wistful Vista as surely as anywhere else in America, but here they had the benefit of Fibber's somewhat addled perspective.
The show was formally "The Johnson Wax show with Fibber McGee and Molly." Longtime sponsor S.C. Johnson Wax Company saw the value of saving the episodes they sponsored, thereby preserving this treasure for fans of Old Time Radio today.
One of the funniest, most cleverly written shows you will find. The show ran for an epic 24 years on the radio. The show had a huge influence on popular culture as well. Catch phrases that originated on Fibber McGee and Molly like, "Tain't funny, McGee!" "That ain't the way I heered it!" "Snooky," and "Whatsay?" were common vernacular of the time.
Recently, on an episode of NCIS, Abby Sciutto reprimanded Timothy McGee with the line "T'ain't funny, McGee" as a nod to the show.
Jack Benny, born Benjamin Kubelsky, was an American comedian, vaudevillian, radio, television, and film actor.
Widely recognized as one of the leading American entertainers of the 20th century, Benny played the role of the comic penny-pinching miser, insisting on remaining 39 years old on stage despite his actual age, and often (although an accomplished violinist) playing the violin - poorly!
Benny was known for his comic timing and ability to get laughs with either a pregnant pause or a single expression, such as his signature wave of the hand with an exasperated "Well!"
His radio & television programs, tremendously popular from the 1930s to the 1960s, were a foundational influence on the situation comedy genre. Dean Martin, on the celebrity roast for Johnny Carson in November 1973, introduced Benny as "the Satchel Paige of the world of comedy."
The Jell-O Program Starring Jack Benny was so successful in selling Jell-O, in fact, that General Foods could not manufacture it fast enough when sugar shortages arose in the early years of World War II, and the company had to stop advertising the popular dessert mix. via Archive.org
One of the premier drama programs of the Golden Age of Radio, was subtitled "radio's outstanding theater of thrills" and focused on suspense thriller-type scripts, usually featuring leading Hollywood actors of the era. Approximately 945 episodes were broadcast during its long run, and more than 900 are extant.
Suspense went through several major phases, characterized by different hosts, sponsors, and director/producers. Formula plot devices were followed for all but a handful of episodes: the protagonist was usually a normal person suddenly dropped into a threatening or bizarre situation; solutions were "withheld until the last possible second"; and evildoers were usually punished in the end.
In its early years, the program made only occasional forays into science fiction and fantasy. Notable exceptions include adaptations of Curt Siodmak's Donovan's Brain and H. P. Lovecraft's "The Dunwich Horror", but by the late 1950s, such material was regularly featured.
Alfred Hitchcock directed its audition show (for the CBS summer series Forecast). This was an adaptation of The Lodger, a story Hitchcock had filmed in 1926 with Ivor Novello. Martin Grams, Jr.
In the earliest years, the program was hosted by "The Man in Black" (played by Joseph Kearns or Ted Osborne) with many episodes written or adapted by the prominent mystery author John Dickson Carr.
One of the series' earliest successes and its single most popular episode is Lucille Fletcher's "Sorry, Wrong Number," about a bedridden woman (Agnes Moorehead) who panics after overhearing a murder plot on a crossed telephone connection but is unable to persuade anyone to investigate. First broadcast on May 25, 1943, it was restaged seven times (last on February 14, 1960) — each time with Moorehead.
Another notable early episode was Fletcher's "The Hitch Hiker," in which a motorist (Orson Welles) is stalked on a cross-country trip by a nondescript man who keeps appearing on the side of the road. This episode originally aired on September 2, 1942, and was later adapted for television by Rod Serling as a 1960 episode of The Twilight Zone.
The well-written Suspense radio dramas are easily some of my all-time favorite vintage radio programs. Below you'll find both of those tantalizing Suspense-ful tales along with others that I've picked for this chilly Halloween season. Though not Halloween themed necessarily, they have been chosen for their particular ability to keep you in....Suspense!
Suspense, one of the premier drama programs of the Golden Age of Radio, was subtitled "radio's outstanding theater of thrills" and focused on suspense thriller-type scripts, usually featuring leading Hollywood actors of the era. Approximately 945 episodes were broadcast during its long run, and more than 900 are extant.
Suspense went through several major phases, characterized by different hosts, sponsors, and director/producers. Formula plot devices were followed for all but a handful of episodes: the protagonist was usually a normal person suddenly dropped into a threatening or bizarre situation; solutions were "withheld until the last possible second"; and evildoers were usually punished in the end.
In the earliest years, the program was hosted by "The Man in Black" (played by Joseph Kearns or Ted Osborne) with many episodes written or adapted by the prominent mystery author John Dickson Carr.
"This is The Man in Black, here again to introduce Columbia's program, Suspense. Our stars tonight are..."
The well-written Suspense radio dramas are easily some of my all-time favorite vintage radio programs.
It's Halloween Night! After the parties and Trick or Treating, grab a caramel apple or popcorn ball and a steaming cup of hot apple cider, curl up under a cozy blanket and enjoy these Old Time Radio broadcasts perfectly suited for the evening.
