This Christmas, our hope is that you are able to take a few moments for yourself and enjoy this variety of Christmas themed old time radio programs chosen especially for you!
We hope you enjoy!
Best Wishes for a very Merry Christmas to each and every one of you! Thank you for your continued support!
Lux Radio Theatre: Miracle On 34th Street - December 20, 1948
Kraft Music Hall with Bing Crosby: Christmas Show - December 21, 1944
The Pepsodent Show starring Bob Hope w/ Bing Crosby - December 24, 1946
The Big Show starring Louis Armstrong, Bob Hope, Martin & Lewis, Deborah Kerr and Bing Crosby - December 17, 1950
Life Of Riley: Riley's First Christmas - December 20, 1947
Our Miss Brooks: Christmas Re-Gifting Mix-Ups - December 20, 1953
The Shadow: The Stockings Were Hung - December 24, 1939
Sherlock Holmes: The Adventure of the Christmas Bride - December 21, 1947
William "Bud" Abbott and Lou Costello (born Louis Francis Cristillo), were an American comedy duo whose work in vaudeville and on stage, radio, film and television made them the most popular comedy team during the 1940s and early 1950s. Their patter routine "Who's on First?" is considered one of the greatest comedy routines of all time and set the framework for many of their best-known comedy bits.
The team's first known radio appearance was on The Kate Smith Hour in February 1938. Initially, the similarities between their voices made it difficult for listeners (as opposed to stage audiences) to tell them apart due to their rapid-fire repartee. The problem was solved by having Costello affect a high-pitched childish voice. "Who's on First?" was first performed for a national radio audience the following month. They stayed on the program as regulars for two years, while landing roles in a Broadway revue, The Streets of Paris, in 1939.
In 1940 Universal Studios signed them for the film One Night in the Tropics. Cast in supporting roles, they stole the show with several classic routines, including "Who's on First?" The same year they were a summer replacement on radio for Fred Allen. Two years later, they had their own NBC show.
After working as Allen's summer replacement, Abbott and Costello joined Edgar Bergen and Charlie McCarthy on The Chase and Sanborn Hour in 1941, while two of their films (Buck Privates and Hold That Ghost) were adapted for Lux Radio Theater. They launched their own weekly show October 8, 1942, sponsored by Camel cigarettes.
The Abbott and Costello Show mixed comedy with musical interludes (by vocalists such as Connie Haines, Ashley Eustis, the Delta Rhythm Boys, Skinnay Ennis, and the Les Baxter Singers). Regulars and semi-regulars on the show included Artie Auerbach ("Mr. Kitzel"), Elvia Allman, Iris Adrian, Mel Blanc, Wally Brown, Sharon Douglas, Verna Felton, Sidney Fields, Frank Nelson, Martha Wentworth, and Benay Venuta. Ken Niles was the show's longtime announcer, doubling as an exasperated foil to Abbott and Costello's mishaps (and often fuming in character as Costello routinely insulted his on-air wife). Niles was succeeded by Michael Roy, with announcing chores also handled over the years by Frank Bingman and Jim Doyle. The show went through several orchestras during its radio life, including those of Ennis, Charles Hoff, Matty Matlock, Matty Malneck, Jack Meakin, Will Osborne, Fred Rich, Leith Stevens, and Peter van Steeden. The show's writers included Howard Harris, Hal Fimberg, Parke Levy, Don Prindle, Eddie Cherkose (later known as Eddie Maxwell), Leonard B. Stern, Martin Ragaway, Paul Conlan, and Eddie Forman, as well as producer Martin Gosch. Sound effects were handled primarily by Floyd Caton. Guest stars were plentiful, including Frank Sinatra, The Andrews Sisters, and Lucille Ball.
In 1947 Abbott and Costello moved the show to ABC (the former NBC Blue Network). During their time on ABC, the duo also hosted a 30-minute children's radio program (The Abbott and Costello Children's Show),which aired Saturday mornings, featuring child vocalist Anna Mae Slaughter and child announcer Johnny McGovern.
Duffy's Tavern was a popular American radio situation comedy which ran for a decade on several networks (CBS, 1941–1942; NBC-Blue Network, 1942–1944; NBC, 1944–1951), concluding with the December 28, 1951 broadcast.
The program often featured celebrity guest stars but always hooked them around the misadventures, get-rich-quick schemes and romantic missteps of the title establishment's malaprop-prone, metaphor-mixing manager, Archie, portrayed by Ed Gardner, the writer/actor who co-created the series. Gardner had performed the character of Archie, talking about Duffy's Tavern, as early as November 9, 1939, when he appeared on NBC's Good News of 1940.
In the familiar opening, "When Irish Eyes Are Smiling," performed either solo on an old-sounding piano or by a larger orchestra, was interrupted by the ring of a telephone and Gardner's New Yorkese accent as he answered, "Hello, Duffy's Tavern, where the elite meet to eat. Archie the manager speakin'. Duffy ain't here—oh, hello, Duffy."
Owner Duffy was never heard nor seen, either on the radio program or in the 1945 film adaptation or the short-lived 1954 TV series. Archie constantly bantered with Duffy's man-crazy daughter, Miss Duffy (played by several actresses, beginning with Gardner's real-life first wife, Shirley Booth), and especially with Clifton Finnegan (Charlie Cantor, later Sid Raymond), a likeable soul with several screws loose and a knack for falling for every other salesman's scam. Eddie the Waiter was played by Eddie Green; the pianist Fats Pichon took over the role after Green's death in 1950. Hoping to take advantage of the income tax free status of Puerto Rico for future projects, Gardner moved the radio show there in 1949.
Radio's Duffy's Tavern didn't translate well to film or television. Burrows and Matt Brooks collaborated on the screenplay for the 1945 film, Ed Gardner's Duffy's Tavern, in which Archie (with regulars Eddie and Finnegan) was surrounded by a throng of Paramount Pictures stars playing themselves.
The 1954 syndicated TV series, co-produced by Hal Roach, Jr., lacked leading name guest stars and, according to writer Larry Rhine, it was weighted by Gardner's inability to adapt to camera work: "He couldn't act, and he wouldn't learn camera... He thought he could do TV, so he left radio, but he was a bad actor and knew it." The series failed to gain viewer support.
Duffy's Tavern: Christmas Program with Monty Woolley - December 22, 1944
Duffy's Tavern: The Cast Does 'A Christmas Carol' - December 21, 1945
Duffy's Tavern: Charles Coburn Plays Santa Claus - December 22, 1950
Simon Templar is a British fictional character known as The Saint. He featured in a long-running series of books by Leslie Charteris published between 1928 and 1963. After that date, other authors collaborated with Charteris on books until 1983; two additional works produced without Charteris’s participation were published in 1997. The character has also been portrayed in motion pictures, radio dramas, comic strips, comic books and three television series.
Simon Templar is a Robin Hood-like criminal known as The Saint — plausibly from his initials; but the exact reason for his nickname is not known (although we're told that he was given it at the age of nineteen). Templar has aliases, often using the initials S.T. such as "Sebastian Tombs" or "Sugarman Treacle". Blessed with boyish humor, he makes humorous and off-putting remarks and leaves a "calling card" at his "crimes", a stick figure of a man with a halo. This is used as the logo of the books, the movies, and the 1960s TV series. He is described as "buccaneer in the suits of Savile Row, amused, cool, debonair, with hell-for-leather blue eyes and a saintly smile..."
Several radio drama series were produced in North America, Ireland, and Britain. The earliest was for Radio Eireann's Radio Athlone in 1940 and starred Terence De Marney. Both NBC and CBS produced Saint series during 1945, starring Edgar Barrier and Brian Aherne.
Many early shows were adaptations of published stories, although Charteris wrote several storylines for the series which were novelised as short stories and novellas. The longest-running radio incarnation was Vincent Price, who played the character in a series between 1947 and 1951 on three networks: CBS, Mutual and NBC.
Like The Whistler, the program had an opening whistle theme with footsteps. Some sources say the whistling theme for The Saint was created by Leslie Charteris while others credit RKO composer Roy Webb. Price left in May 1951, replaced by Tom Conway, who played the role for several more months. His brother, George Sanders, had played Templar on film. The next English-language radio series aired on Springbok Radio in South Africa between 1953 and 1957. These were fresh adaptations of the original stories and starred Tom Meehan. Around 1965–66 the South African version of Lux Radio Theatre produced a single dramatization of The Saint. The English service of South Africa produced another series radio adventures for six months in 1970–1971. The next English-language incarnation was a series of three radio plays on BBC Radio 4 in 1995 starring Paul Rhys.
The son of a former circus clown turned grocer and a cleaning woman, Red Skelton was introduced to show business at the age of seven by Ed Wynn, at a vaudeville show in Vincennes. At age 10, he left home to travel with a medicine show through the Midwest, and joined the vaudeville circuit at age 15. At age 17, he married Edna Marie Stilwell, an usher who became his vaudeville partner and later his chief writer and manager.
He debuted on Broadway and radio in 1937 and on film in 1938. His ex-wife/manager negotiated a seven-year Hollywood contract for him in 1951, the same year "The Red Skelton Hour" (1951) premiered on NBC. For two decades, until 1971, his show consistently stayed in the top twenty, both on NBC and CBS. His numerous characters, including Clem Kaddiddlehopper, George Appleby, and the seagulls Gertrude and Heathcliffe delighted audiences for decades.
Skelton and his wife put together an act and began to get bookings for it at some of the smaller vaudeville theaters. They somehow made their way to the Lido Club in Montreal. Despite the language barrier, the act was a success, and brought the couple theater dates throughout Canada. While in Montreal, Skelton and Edna devised the well-known "Doughnut Dunkers" routine, with Skelton's visual impressions of how different people ate doughnuts. The problem with doing this type of act was that Skelton had to eat nine doughnuts at every performance. He was performing five times a day and eating 45 doughnuts. Skelton gained almost 35 pounds rapidly and had to shelve the routine for a while until he lost the weight.
The "Doughnut Dunkers" routine also led to Skelton's first appearance on The Rudy Vallee Show on August 12, 1937. The program had a talent show segment and those who were searching for stardom were eager to be heard on it. The show received enough fan mail after Skelton's performance to invite the comedian back two weeks after his initial appearance and again in November of that year. On October 1, 1938, Skelton replaced Red Foley as the host of Avalon Time on NBC; Edna also joined the show's cast. Skelton continued as the show's host until late 1939, when he went on to begin his MGM movie career.
Skelton's success in films meant a regular radio show offer. He went on the air with his own program, The Raleigh Cigarettes Program, on October 7, 1941. The bandleader for the show was Ozzie Nelson; his wife, Harriet, who worked under her maiden name of Hilliard, was the show's vocalist and also worked with Skelton in skits.
The Fred Allen Show was a popular and long-running American old-time radio comedy program starring comedian Fred Allen and his wife Portland Hoffa. Over the course of the program's 17-year run, it was sponsored by Linit Bath Soaps, Hellmann's, Ipana, Sal Hepatica, Texaco and Tenderleaf Tea. The program ended in 1949 under the sponsorship of the Ford Motor Company.
The most popular period of the program was the few years of sponsorship under the Texaco Gas Company. During this time, the program was known as Texaco Star Theatre with Fred Allen. On the December 6, 1942 episode of the program, Allen premiered his first in a series of segments known as "Allen's Alley". The segments would have Allen strolling through an imaginary neighborhood, knocking on the "doors" of various neighbors, including average-American John Doe (played by John Brown), Mrs. Nussbaum (Minerva Pious), pompous poet Falstaff Openshaw (Alan Reed), Titus Moody (Parker Fennelly), and boisterous southern senator Beuregard Claghorn (announcer Kenny Delmar). Texaco ended its sponsorship of the program in 1944.
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".
The Phil Harris-Alice Faye Show, a comedy radio program, ran on NBC from 1948 to 1954, evolving from an earlier music and comedy variety program, The Fitch Bandwagon. Singer-bandleader Phil Harris and his wife, actress-singer Alice Faye, became the earlier show's breakout stars, and the show was retooled into a full situation comedy, with Harris and Faye playing fictionalized versions of themselves as a working show business couple raising two daughters in a slightly madcap home.
The growing popularity of the Harris-Faye family sketches turned the program into their own comic vehicle by 1947. When announcer Bill Foreman hailed, "Good health to all... from Rexall!" on October 3, 1948, The Phil Harris-Alice Faye Show launched its independent life under Rexall's sponsorship with a debut storyline about the fictitious day the couple signed their sponsorship deal. The show was a quick success and its position in that powerhouse NBC Sunday lineup didn't hurt. Playing themselves as radio and music star parents of two precocious young daughters (played by actresses Jeanine Roos and Ann Whitfield, instead of the Harrises' own young daughters), Harris refined his character from the booze-and-broads, hipster jive talker he had been on the Benny show ("Hiya, Jackson!" was his usual hail to Benny) into a slightly vain (particularly about his wavy hair and the dimpled smile that always hinted mischief) and dunderheaded husband who usually needed rescuing by Faye as his occasionally tart but always loving wife. References to his hair and vanity became a running gag.
Phil Harris and Alice Faye Show: A Present for Phil - December 15, 1946
Phil Harris and Alice Faye Show: Jack Benny as Santa - December 19, 1948
Phil Harris and Alice Faye Show: The Christmas Present - December 26, 1948
Phil Harris Alice Faye Show: Alice Volunteers Phil to Play Santa Claus - December 21, 1952
Phil Harris and Alice Faye Show: Hosting French Refugee Kids for Christmas - December 25, 1953
Fibber McGee and Molly was an American radio comedy series that maintained its popularity over decades. It premiered on NBC in 1935 and continued until 1959, long after radio had ceased to be the dominant form of entertainment in American popular culture.
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.
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.
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!
Easily one of the most beloved old-time radio programs in my house is The Shadow. It was one of my dad's favorites growing up, and he passed that love on to my brother and I. Growing up when I did in the '70s and '80s, of course, these programs were no longer on the radio, so my interest in old-time radio began with seeking out AM radio stations rebroadcasting these shows, and buying them on cassette tapes.
Today with the advent of the internet and the availability of so many shows in MP3 format for free online, it has been really great to indulge my love of these wonderful old gems.
The Shadow is a collection of serialized dramas, originally in pulp magazines, then on 1930s radio and then in a wide variety of media, that follow the exploits of the title character, a crime-fighting vigilante in the pulps, which carried over to the airwaves as a "wealthy, young man about town" with psychic powers. One of the most famous pulp heroes of the 20th century, the radio drama is well-remembered for those episodes voiced by Orson Welles.
Introduced as a mysterious radio narrator by David Chrisman, William Sweets, and Harry Engman Charlot for Street and Smith Publications, The Shadow was fully developed and transformed into a pop culture icon by pulp writer Walter B. Gibson.
The Shadow debuted on July 31, 1930, as the mysterious narrator of the Street and Smith radio program Detective Story Hour. After gaining popularity among the show's listeners, the narrator became the star of The Shadow Magazine on April 1, 1931, a pulp series created and primarily written by the prolific Gibson.
Over the years, the character evolved. On September 26, 1937, The Shadow radio drama officially premiered with the story "The Deathhouse Rescue", in which the character had "the power to cloud men's minds so they cannot see him." This was a contrivance for the radio; in the magazine stories, The Shadow did not have the ability to become literally invisible.
The character and look of The Shadow gradually evolved over his lengthy fictional existence.
As depicted in the pulps, The Shadow wore a black slouch hat and a black, crimson-lined cloak with an upturned collar over a standard black business suit. In the 1940s comic books, the later comic book series, and the 1994 film starring Alec Baldwin, he wore either the black slouch hat or a wide-brimmed, black fedora and a crimson scarf just below his nose and across his mouth and chin. Both the cloak and scarf covered either a black doubled-breasted trench coat or regular black suit. As seen in some of the later comics series, the hat and scarf would also be worn with either a black Inverness coat or Inverness cape.
But in the radio drama, which debuted in 1937, The Shadow became an invisible avenger who had learned, while "traveling through East Asia," "the mysterious power to cloud men's minds, so they could not see him." This revision of the character was born out of necessity: Time constraints of 1930s radio made it difficult to explain to listeners where The Shadow was hiding and how he was remaining concealed. Thus, the character was given the power to escape human sight. Voice effects were added to suggest The Shadow's seeming omnipresence.
In order to explain this power, The Shadow was described as a master of hypnotism, as explicitly stated in several radio episodes.
Even after decades, the unmistakable introduction from The Shadow radio program, long-intoned by actor Frank Readick Jr., has earned a place in the American idiom: "Who knows what evil lurks in the hearts of men? The Shadow knows!" These words were accompanied by an ominous laugh and a musical theme, Camille Saint-Saëns' Le Rouet d'Omphale ("Omphale's Spinning Wheel", composed in 1872). At the end of each episode, The Shadow reminded listeners, "The weed of crime bears bitter fruit. Crime does not pay.... The Shadow knows!"
For more information regarding The Shadow on the radio, in pulp magazines, comic books, comic strips, television, video games, and motion pictures (including the 1994 feature film starring Alex Baldwin, see below.) check out the extensive Wikipedia page here.
Melvin Jerome "Mel" Blanc (May 30, 1908 – July 10, 1989) was an American voice actor and comedian. Although he began his nearly six-decade-long career performing in radio commercials, Blanc is best remembered for his work with Warner Bros. during the "Golden Age of American animation" (and later for Hanna-Barbera television productions) as the voice of such well-known characters as Bugs Bunny, Daffy Duck, Porky Pig, Taz, Sylvester the Cat, Tweety Bird, Foghorn Leghorn, Yosemite Sam, Wile E. Coyote, Woody Woodpecker, Barney Rubble, Mr. Spacely, Speed Buggy, Captain Caveman, Heathcliff, Speedy Gonzales, Tom and Jerry, and hundreds of others. Having earned the nickname “The Man of a Thousand Voices,” Blanc is regarded as one of the most influential people in the voice-acting industry.
At the time of his death, it was estimated that 20 million people heard his voice every day.
Blanc began his radio career in 1927 as a voice actor on the Portland, Oregon, KGW program The Hoot Owls, where his ability to provide voices for multiple characters first attracted attention. He moved to KEX in 1933 to produce and host his Cobweb And Nuts show, which debuted on June 15. The program played Monday through Saturday from 11:00 pm to midnight, and by the time the show ended two years later, it appeared from 10:30 pm to 11:00 pm.
Blanc moved to Warner Bros.-owned KFWB in Hollywood, California, in 1935. He joined The Johnny Murray Show, but the following year switched to CBS Radio and The Joe Penner Show. Blanc was a regular on the NBC Red Network show The Jack Benny Program in various roles, including voicing Benny's Maxwell automobile (in desperate need of a tune-up), violin teacher Professor LeBlanc, Polly the Parrot, Benny's pet polar bear Carmichael, the tormented department store clerk, and the train announcer.
One of Blanc's most memorable characters from Benny's radio (and later TV) programs was "Sy, the Little Mexican", who spoke one word at a time. The famous "SÃ...Sy...sew...Sue" routine was so effective that no matter how many times it was performed, the laughter was always there, thanks to the comedic timing of Blanc and Benny.
At times, sharp-eyed audience members (and later, TV viewers) could see Benny struggling to keep a straight face; Blanc's absolute dead-pan delivery was a formidable challenge for him. Benny's daughter, Joan, recalls that Mel Blanc was one of her father's closest friends in real life, because "nobody else on the show could make him laugh the way Mel could."
Blanc's success on The Jack Benny Program led to his own radio show on the CBS Radio Network, The Mel Blanc Show, which ran from September 3, 1946, to June 24, 1947. Blanc played himself as the hapless owner of a fix-it shop, as well as his young cousin Zookie (who sounded quite a bit like Porky Pig). Many episodes required Mel to impersonate an exotic foreigner or other stranger in town, ostensibly for carrying out a minor deception on his girlfriend's father, but of course simply as a vehicle for him to show off his talents. Other regular characters were played by Mary Jane Croft, Joseph Kearns, Hans Conried, Alan Reed, Earle Ross, Jim Backus, Bea Benaderet and The Sportsmen Quartet, who would supply a song and sing the Colgate Tooth Powder commercials. (Blanc would later work with Reed and Benaderet on The Flintstones.) Shows usually adhered to a predictable formula, involving a date with his girl Betty Colby (Mary Jane Croft) and trying to either impress her father or at least avoid angering him. However, Mr. Colby (Earle Ross) usually had occasion to deliver his trademark line, "Mel Blanc, I'm going to break every bone in your body!"
For his contribution to radio, Mel Blanc has a star on the Hollywood Walk of Fame at 6385 Hollywood Boulevard.
Blanc died on July 10, 1989 at Cedars-Sinai Medical Center in Los Angeles, California of heart disease and emphysema. He was interred in the Hollywood Forever Cemetery in Hollywood, California. Blanc's will stated his desire to have the inscription on his gravestone read, "THAT'S ALL FOLKS," (the phrase was a trademark of the character Porky Pig, of whom, Blanc created the voice.)
For a more in depth insight into the life of this fascinating man, check out his extensive wikipedia page.
Below is a large collection of episodes of The Mel Blanc Show courtesy of Archive.org.
Beginning in March of 1951, the Frederic W. Ziv Company syndicated 78 episodes via electrical transcription. Some sources have claimed that the 78 episodes include reruns, and that there were only around 30 episodes but more than 50 shows have now come to light. Heard on 423 stations, the 30-minute series earned $4000 weekly for Bogart and Bacall.
57 episodes are now known to exist, some are known by more than one title which can make it appear that there are more.
Synopsis:
Salty seadog Slate Shannon (Bogart) owns a Cuban hotel sheltering an assortment of treasure hunters, revolutionaries and other shady characters. With his sidekick and ward, the sultry Sailor Duval (Bacall), tagging along, he encounters modern-day pirates and other tough situations while navigating the waters around Havana. Aboard his boat, the Bold Venture, Slate and Sailor experience "adventure, intrigue, mystery and romance in the sultry settings of tropical Havana and the mysterious islands of the Caribbean."
Calypso singer King Moses (Jester Hairston) provided musical bridges by threading plot situations into the lyrics of his songs. Music for the series was by David Rose.
The series combined elements of a number of past Bogart/Bacall film collaborations, most notably To Have and Have Not which also cast Bogart as a boat owner in the Caribbean who reluctantly becomes involved in intrigue while romancing Bacall. The relationship between Shannon and King Moses, and his ownership of an inn, is strongly reminiscent of the dynamic between Rick Blaine and Sam in Casablanca.
Ziv brought Bold Venture to television in 1959 with 39 episodes directed by William Conrad. The series starred Dane Clark as Slate Shannon, Joan Marshall as Sailor Duval and Bernie Gozier as King Moses. However, because of unstable conditions in Cuba, the setting was changed to Trinidad. Locations included the Iverson Ranch in Chatsworth, California.
People Are Funny is an American radio and television game show, created by John Guedel that ran from 1942 to 1960 in which contestants were asked to carry out stunts.
The series began in 1938 when Guedel made an audition recording, and the following year, his concept of a comedy stunt show aired in Los Angeles as Pull Over, Neighbor, later reworked into All Aboard. Watching a bored, unreceptive audience listening to an after-dinner speaker, Guedel scribbled, "People are funny, aren't they?" on a napkin, and he had his title.
In 1942, learning of a show that was canceled, he pitched People Are Funny to NBC, and it went on the air April 10, 1942 with Art Baker as host. In a popular first-season stunt, a man was assigned to register a trained seal at the Knickerbocker Hotel while explaining that the seal was his girlfriend.
On October 1, 1943, Baker was replaced by Art Linkletter, who continued for the rest of the series. For a memorable stunt of 1945, Linkletter announced that $1,000 would go to the first person to find one of 12 plastic balls floating off California. Two years later, an Ennylageban Island native claimed the prize.
The radio series moved to CBS from 1951 to 1954, returning to NBC from 1954 to 1960.
Linkletter continued as host of the show during its run on television from September 19, 1954 to April 1, 1960. In one stunt, a contestant would win a prize if he could sustain a phone conversation with a puzzled stranger (picked at random from the phone directory) for several minutes without the other party hanging up. The series received Emmy nominations in 1955 and 1956. It finished #27 in the Nielsen ratings for the 1955-1956 season, then finished #21 for 1956-1957 and #29 for 1957-1958.
Although the series ended on April 1, 1960, the network aired encores until April 13, 1961, making People Are Funny the first game show to air repeats. On March 24, 1984, a "reconstituted" version of People Are Funny with Flip Wilson as host returned to NBC where it was telecast until July 21.
The series was satirized in the 1959 Warner Bros. cartoon, People Are Bunny. The Art Linkletter character was named Art Lamplighter, and the show was entitled People are Phoney, in which contestant Daffy Duck became one of his unfortunate victims.
People Are Funny is mentioned in the "Ladies Room" episode of the series Mad Men, and later a clip from the show is seen on a TV set in the background.
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.
Little Orphan Annie was a daily American comic strip created by Harold Gray (1894–1968) and syndicated by the Tribune Media Services. The strip took its name from the 1885 poem "Little Orphant Annie" by James Whitcomb Riley, and made its debut on August 5, 1924 in the New York Daily News. It ranked number one in popularity in a Fortune poll in 1937.
The plot follows the wide-ranging adventures of Annie, her dog Sandy and her benefactor Oliver "Daddy" Warbucks. Secondary characters include Punjab, the Asp and Mr. Am. The strip attracted adult readers with political commentary that targeted (among other things) organized labor, the New Deal and communism.
Following Gray's death in 1968, several artists drew the strip and, for a time, "classic" strips were reruns. Little Orphan Annie inspired a radio show in 1930, film adaptations by RKO in 1932 and Paramount in 1938 and a Broadway musical Annie in 1977 (which was separately adapted as a trio of films of the same name, one in 1982, one in 1999 and another in 2014). The strip's popularity declined over the years; it was running in only 20 newspapers when it was cancelled on June 13, 2010.
Little Orphan Annie was adapted to a 15-minute radio show that debuted on WGN Chicago in 1930 and went national on NBC's Blue Network beginning April 6, 1931. The show was one of the first comic strips adapted to radio, attracted about 6 million fans, and left the air in 1942. Radio historian Jim Harmon attributes the show's popularity in The Great Radio Heroes to the fact that it was the only radio show to deal with and appeal to young children.
In the 1983 film A Christmas Story, the main character Ralph is a fan of the Little Orphan Annie radio drama, listening to the show religiously while waiting for his Ovaltine decoder pin. Once he receives the pin, he anxiously copies the show's secret code, but is frustrated upon decoding it to Ovaltine's slogan "Be sure to drink your Ovaltine".
My Friend Irma, created by writer-director-producer Cy Howard, is a top-rated, long-run radio situation comedy that spawned a media franchise. It was so popular in the late 1940s that its success escalated to films, television, a comic strip and a comic book. Marie Wilson portrayed the title character, Irma Peterson, on radio, in two films and the television series. The radio series was broadcast on the Columbia network from April 11, 1947, to August 23, 1954.
Dependable, level-headed Jane Stacy (Cathy Lewis—and Joan Banks during Stacy's illness in early 1949) began each weekly radio program by narrating a misadventure of her innocent, bewildered roommate, Irma, a scatterbrained stenographer from Minnesota. The two central characters were in their mid-twenties. Irma had her 25th birthday in one episode; she was born on May 5. After the two met in the first episode, they lived together in an apartment rented from their Irish landlady, Mrs. O'Reilly (Jane Morgan, Gloria Gordon).
Irma's boyfriend Al (John Brown) was a deadbeat, barely on the right side of the law, who had not held a job in years. Only someone like Irma could love Al, whose nickname for Irma was "Chicken". Al had many crazy get-rich-quick schemes, which never worked. Al planned to marry Irma at some future date so she could support him. Professor Kropotkin (Hans Conried), the Russian violinist at the Princess Burlesque theater, lived upstairs. He greeted Jane and Irma with remarks like, "My two little bunnies with one being an Easter bunny and the other being Bugs Bunny." The Professor insulted Mrs. O'Reilly, complained about his room, and reluctantly became O'Reilly's love interest in an effort to make her forget his back rent. In 1953, Conried dropped from the cast and was replaced by Kenny Delmar as his cousin, Maestro Wanderkin.
Irma worked for the lawyer, Mr. Clyde (Alan Reed). She had such an odd filing system that once when Clyde fired her, he had to hire her back again because he couldn't find anything. Useless at dictation, Irma mangled whatever Clyde dictated. Asked how long she had been with Clyde, Irma said, "When I first went to work with him he had curly black hair, then it got grey, and now it's snow white. I guess I've been with him about six months."
Irma became less bright and more scatterbrained as the program evolved. She also developed a tendency to whine or cry whenever something went wrong, which was at least once every show. Jane had a romantic inclination for her boss, millionaire Richard Rhinelander (Leif Erickson). Another actor in the show was Bea Benaderet.
The show was sponsored by Swan Soap, and Irma would usually make a silly remark about it so the name could be advertised. Frank Bingman was the announcer for Swan Soap. The program was also sponsored by ENNDS which got rid of breath and body odors and each tiny capsule was said to contain 100 mg of chlorophyll. Pepsodent was also a sponsor.
Because of the popularity of the show (early in the series, shows 41–43), a contest was run for the services of Irma/Marie Wilson to act as a secretary for the highest bidder for one day, with her willing to travel anywhere in America. The money was to go to the March of Dimes charity to fight polio. Three businessmen bid $1,000, but the winner was the Coca Cola Bottling Company of Fort Worth, Texas which bid $5,000.
The TV version, seen on CBS from January 1952 until June 1954, was the first series telecast from the CBS Television City facility in Hollywood.
The film My Friend Irma (1949) starred Marie Wilson and Diana Lynn, but is mainly remembered today for introducing Dean Martin and Jerry Lewis to moviegoers, resulting in even more screen time for Martin and Lewis in the sequel, My Friend Irma Goes West (1950).
The My Friend Irma comic strip, illustrated by Jack Seidel, began September 11, 1950, receiving a promotional boost in the November 7, 1950, issue of Look. In 1951, Dan DeCarlo took over the strip with Stan Lee scripting.
Atlas Comics (Marvel) published the My Friend Irma comic book which ran from #3 to #48 (1950–55), and was most often written by Stan Lee with art by Dan DeCarlo. After Atlas stopped publishing My Friend Irma, DeCarlo and Lee created a similar feature for Atlas titled My Girl Pearl.
