Radio America

Jan 16 2017 1.4k

Remember the good old Days, when we could just sit down and listen to a good ole' story, the days of glory and honor, come join us at the living room and listen to some fun times. How we could let our hair down and relax.








Red Skelton Careless Driving with Radioamerica
Mar 16 2013 32 mins  
V3 Diet pills | Voyager health Technologies | Order V3 Diet Red Skelton, born Richard Bernard Skelton, was an American comedian who was best known as a top radio and television star from 1937 to 1971. Skelton's show business career began in his teens as a circus clown and went on to vaudeville, Broadway, films, radio, TV, night clubs and casinos, all while pursuing another career as a painter. On October 7, 1941, Skelton premiered his own radio show, The Raleigh Cigarette Program, developing a number of recurring characters including punch-drunk boxer "Cauliflower McPugg," inebriated "Willy Lump-Lump" and "'Mean Widdle Kid' Junior," whose favorite phrase ("I dood it!") soon became part of the American lexicon. That, along with "He bwoke my widdle arm!" (or other body part) and "He don't know me vewy well, do he?" all found their way into various Warner Bros. cartoons. Skelton himself was referenced in a Popeye cartoon in which the title character enters a haunted house and encounters a "red skeleton." The Three Stooges also referenced Skelton in Creeps (1956): Shemp: "Who are you?" Talking Skeleton: "Me? I’m Red." Shemp: "Oh, Red Skeleton."   Ready to try V3 for yourself? scroll down below and buy the 225.00 package and get the 6 bottles, or you can get any of the higher packages, --V3 wholesale option--- Rather pay the LOWER Wholesale prices for your V3? Voyager Health members always save up to 40% on V3! CLICK HERE to become a Voyager Health V3 Member! If so, CLICK HERE to visit our main Voyager Health V3 ordering and product information website! CLICK HERE TO ORDER V3 If you have any questions, call us toll free at: 1.800.706.0162 --V3 wholesale option--- Rather pay the LOWER Wholesale prices for your V3? Voyager Health members always save up to 40% on V3! CLICK HERE to become a Voyager Health V3 Member! New Package specials for 2013 order them now Our most popular V3 at wholesale package Item #: VOY004 - V3 Diet 6-PAK Consisting of 6 V3 Weight Management System 30-Capsule Bottles. Only $37.50 per bottle! *when purchased by the 6-PAK *Sign up now and receive up to 40% off this order, plus all future V3 orders. In addition, you'll receive your own website and a Voyager Health Welcome Package!


















Duffs Tavern -44--03-07 Radio Americas Monday Edition
Mar 12 2007 28 mins  
clickhere Visit the Radio America Store web site.Buy your 50 mp3 for &5.00 Affordable Web Hosting $5.99 A month Duffy's Tavern, an American radio situation comedy (CBS, 1941-1942; NBC-Blue Network, 1942-1944; NBC, 1944-1952), often featured top-name stage and film guest stars but always hooked those around the misadventures of the title establishment's malaprop-prone manager, Archie, played by the writer/actor who created the show, Ed Gardner. In the show's familiar opening, "When Irish Eyes Are Smiling," 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, "Duffy's Tavern, where the elite meet to eat. Archie the manager speakin'. Duffy ain't here---oh, hello, Duffy." Duffy, the owner, was never heard (or seen, when a film based on the show was made in 1945 or when a bid to bring the show to television was tried in 1954). But Archie always was---bantering with Duffy's man-crazy daughter, Miss Duffy (played by several actresses, beginning with Gardner's real-life first wife, Shirley Booth); with Eddie, the waiter/janitor (Eddie Green); and, especially, with Clifton Finnegan (Charlie Cantor), a likeable soul with several screws loose and a knack for falling for every other salesman's scam. The show featured many high-profile guest stars, including Fred Allen, Mel Allen, Nigel Bruce, Bing Crosby, Boris Karloff, Veronica Lake,Peter Lorre, Tony Martin, Gene Tierney, Arthur Treacher and Shelley Winters. As the series progressed, Archie sllipped in and out of a variety of quixotic, self-imploding plotlines---from writing an opera to faking a fortune to marry an heiress. Such situations mattered less than did the show's quietly clever depiction of earthbound-but-dreaming New York city life and its individualistic, often bizarre characters. COME CLICK THE BUTTON BELOW AND HERE RADIOAMERICA ON TALKSHOE type in id # 19082

Green Hornet - Oliver Perry Radio Americas Sunday Edition
Mar 11 2007 28 mins  
clickhere Visit the Radio America Store web site.Buy your 50 mp3 for &5.00 Affordable Web Hosting $5.99 A month The series detailed the adventures of Britt Reid, debonair newspaper publisher by day, crime-fighting masked hero at night, along with his sidekick, Kato, a Filipino of Japanese descent. A widespread urban legend has been the claim that the show's writers switched from one nationality to the other immediately after the 1941 attack on Pearl Harbor, but the first disappeared well before direct U. S. involvement in the war, and the latter was not initially given until much later, with nothing more specific than "Oriental" being said in the interim. (When the characters were used in the first of a pair of movie serials, the politically perceptive producers of 1939 had Kato's nationality given as Korean.) Britt Reid is a blood relative of The Lone Ranger. The character of Dan Reid, who appeared on the Lone Ranger program as the Masked Man's nephew, was also featured on the Green Hornet as Britt Reid's father, making the Green Hornet the grand-nephew of the Lone Ranger. Originally, the show was to be called "The Hornet", but the name was changed to "The Green Hornet" so that it could be copyrighted. The color was chosen because green hornets were reputed to be the angriest. Jim Jewell directed the series until 1938. Jewell's sister, Lee Allman (Lenore Jewell Allman) wanted to play a part in a radio series at WXYZ so Jim had her written into The Green Hornet. She was the only actress to play Lenore Case, Britt Reid's secretary, during the entire run of the series. "Casey" was aware of her boss's double life, but only in the later years of the run. Similarly, another well known confidante, Police Commissioner Higgins, did not come into existence until near the end of the series. COME CLICK THE BUTTON BELOW AND HERE RADIOAMERICA ON TALKSHOE type in id # 19082




Superman 1941 - Radio America's Tuesdays Show
Mar 06 2007 10 mins  
Affordable Web Hosting $5.99 A month In addition to his landmark radio work, Bud Colyer was the first person to portray Superman in motion pictures, once again lending his voice when the Man of Steel made his big-screen debut in animated cartoons. These innovative science fiction spectaculars remain among the most technically polished examples of the "short film" art form. Launched in September 1941 with the release of the initial entry, Superman, the cartoons were produced by Max Fleischer. The Fleischer studio was initially based in New York and was famous for its rambunctios, rough-and-ready presentation of characters like Betty Boop and Popeye. The studio had just relocated to an enlarged modern facility in Florida. Joe Shuster drew the model sheets for Lois Lane, Clark Kent, and Superman. The first cartoon was received to critical acclaim and was nominated for an Academy Award. The Superman shorts look like feature films, complete with tracking shots and a stunning variety of camera angles, each of which necessitates a new background. Artists duplicate real illumination, molding the characters with light and dark, and providing them with dramatic shadows. The films move at an accelerating pace, with cuts coming faster and faster toward the climaxes, propelled by Sammy Timberg's dynamic musical scores. Special effects involving fires, rays, and explosions set the screen ablaze. The second cartoon, The Mechanical Monsters, was released near the end of 1941. It features Superman battling an army of gigantic, flame-spewing, flying robots in a series of sensational scenes. Later special effects extravaganzas include The Bulleteers, in which an airborn torpedo smashes through the skyscrapers of Metropolis, and The Magnetic Telescope, in which an astronomer's harebrained invention sends an asteroid hurtling earthward. When not struggling with mad scientists, Superman takes on ferocious forces of nature like gorillas (in Terror on the Midway) or dinosaurs (The Arctic Giant). In 1942 Paramount Studios acquired Fleischer Studios and gave it the new name of "Famous Studios." They produced the last 8 of the 17 shorts and continued the series until 1943.









CC_1914_03_02_FilmJohnny Charlie Chaplin
Mar 03 2007 7 mins  
Affordable Web Hosting $5.99 A month click here Visit the Radio America Store web site. Buy your 50 mp3 for &5.00 Charlie Chaplin was born on April 16 1889, in East Street, Walworth, London. His parents, both entertainers in the Music Hall tradition, separated before he was three. The 1891 census shows his mother, Hannah, living with Charlie and his older brother in Barlow Street, Walworth. As a child he lived with his mother in various addresses in and around Kennington Road in Lambeth, such as 3 Pownall Terrace, Chester Street and 39 Methley Street. His father Charles Chaplin Senior, who was of Roma ancestry, was an alcoholic and had little contact with his son, though Chaplin and his brother briefly lived with him and his mistress, whose name was Louise, at 287 Kennington Road (which address is now ornamented with a plaque commemorating Chaplin's residence here) when his mother was on a bout of mental illness and was admitted to the Cane Hill Asylum at Coulsdon. Louise sent the young Chaplin to Kennington Road school. Chaplin's father died when Charlie was twelve, leaving him and his older half-brother, Sydney Chaplin, in the sole care of his mother. A serious condition in the larynx ended their mother’s career as a singer and her first crisis was when she was performing "La Cantina" at the Aldershot theatre, mainly frequented by rioters and soldiers, one of the worst places to perform. Lily was badly injured by the objects the audience mercilessly threw at her and she was booed off the stage. Backstage, she cried and argued with her manager. In the meantime, Chaplin went on stage alone and started singing a very well known tune at that time (Jack Jones). At the early age of five, he attracted a constant stream of coins that the very same difficult and ruthless audience hurled at the talented artist, born before their very eyes. Hannah Chaplin suffered from schizophrenia, and was again admitted to the Cane Hill Asylum. Chaplin had to be left in the workhouse at Lambeth, London, moving after several weeks to the Central London District School for paupers in Hanwell. The young Chaplin brothers forged a close relationship to survive. They gravitated to the Music Hall while still very young, and both proved to have considerable natural stage talent. Chaplin's early years of desperate poverty were a great influence on the characters and themes of his films and in later years he would re-visit the scenes of his childhood deprivation in Lambeth. Unknown to Charlie and Sydney until years later, they had a half-brother through their mother, Wheeler Dryden, who was raised abroad by his father. He was later reconciled with the family, and worked for Chaplin at his Hollywood studio. Chaplin's mother died in 1928 in Hollywood, seven years after being brought to the U.S. by her sons. Although baptised in the Church of England, Chaplin was an agnostic for most of his life. [2]




45-04-06 Espionage - This is Your FBI
Mar 02 2007 28 mins  
Affordable Web Hosting $5.99 A month This Is Your FBI was a radio crime drama which aired in the United States on ABC from April 6, 1945 to January 30, 1953. FBI chief J. Edgar Hoover gave it his endorsement, calling it "the finest dramatic program on the air." Producer-director Jerry Devine was given access to FBI files by Hoover, and the resulting dramatizations of FBI cases were narrated by Frank Lovejoy (1945), Dean Carleton (1946-47) and William Woodson (1948-53). Stacy Harris had the lead role of Special Agent Jim Taylor. Others in the cast were William Conrad, Bea Benaderet and Jay C. Flippen. The show was created by producer-director Jerry Devine, a former comedy writer for Kate Smith and Tommy Riggs, who had turned his scripting talents to radio thrillers like Mr. District Attorney. This is Your FBI received the full cooperation of J. Edgar; Hoover gave Devine carte blanche to closed cases in the Bureau’s files for inspiration in writing the show’s weekly dramatizations. They were prefaced, of course, with the Dragnet-like disclaimer “All names used are fictitious and any similarity thereof to the names of persons or places, living or dead, is accidental.” (This led Jim Cox, author of Radio Crime Fighters, to observe: “Some listeners must have pondered that for a while—‘So did these events happen or not?’”) Debuting over ABC Radio on April 6, 1945, This is Your FBI broadcast from New York in its early run (1945-47), showcasing the talents of New York radio veterans like Mandel Kramer, Karl Swenson, Santos Ortega, Elspeth Eric, Joan Banks, and Frank Lovejoy (who narrated many of the shows). In 1948, though, the program relocated to Hollywood, and with the move established a regular weekly character in Special Agent Jim Taylor, a representative of all of the Bureau’s special agents, played by actor Stacy Harris.






Death Valley Days 1936
Feb 24 2007 29 mins  
Affordable Web Hosting $5.99 A month Death Valley Days was a long-running American radio and television anthology about true stories of the old American West, particularly the Death Valley area. It was created in 1930 by Ruth Woodman and ran on radio until 1945. It ran from 1952 to 1975 as a syndicated television show. The 558 television stories, which had different actors, were introduced by a host. The longest-running was "The Old Ranger" from 1952-1965, played by Stanley Andrews. The hosts following were actors Ronald Reagan, Robert Taylor, John Payne, Dale Robertson and Merle Haggard. During his time as host, Reagan also frequently appeared in the program as a performer. It has been rerun under other names and with other hosts, since the hosting segment at the beginning and the end could be easily reshot with another performer with no effect on the story. Alternate hosts and titles have included Frontier Adventure (Dale Robertson), The Pioneers (Will Rogers, Jr.), Trails West (Ray Milland), Western Star Theatre (Rory Calhoun) and Call of the West (John Payne). The last title was also often applied to the series' memorable, haunting theme music. Under the Death Valley Days title, the program was invariably sponsored by Pacific Coast Borax Company, which during the program's run changed its name to U.S. Borax Company following a merger. Advertisements for the company's best-known products, 20 Mule Team Borax, a laundry additive, and Boraxo, a powdered hand soap, were often done by the program's host. Death Valley was the scene of much of the company's borax mining operations. The "20-Mule Team Borax" consumer products division of U.S. Borax was eventually bought out by the Dial Corporation, which as of 2006 still manufactures and markets them. U.S. Borax continued to mine and refine the borates and maintained Dial as one of its customers. In 2006, Rio Tinto, the parent company of U.S. Borax. Inc., decided to merge USB with two of its other holdings, Dampier Salt and Luzenac Talc, to form Rio Tinto Minerals and has moved its corporate headquarters to Denver, Colorado. Death Valley Days is, judging from sheer number of episodes broadcast, by far the most successful syndicated television Western, the most successful television Western ever in the half-hour format, and arguably the most successful syndication of any genre in the history of the U.S. television market (Baywatch had a larger international market among U.S.-produced syndicated programs.)







Box 13 Radio America's Monday Program
Feb 19 2007 26 mins  
click here Visit the Radio America Store web site. Buy your 50 mp3 for &5.00 Affordable Web Hosting $5.99 A month Box 13 was a syndicated radio series about the escapades of newspaperman-turned-mystery novelist Dan Holliday, played by film star Alan Ladd. Created by Ladd's company, Mayfair Productions, Box 13 premiered August 22, 1948, on Mutual's New York flagship, WOR, and aired in syndication on the East Coast from August 22, 1948, to August 14. 1949. On the West Coast, Box 13 was heard from March 15, 1948 to March 7, 1949. To seek out new ideas for his fiction, Holliday ran a classified ad in the Star-Times newspaper where he formerly worked. "Adventure wanted, will go anywhere, do anything -- Box 13." The stories followed Holliday's adventures when he responded to the letters sent to him by such people as a psycho killer and various victims. Sylvia Picker appeared as Holliday's scatterbrained secretary, Suzy, while Edmund MacDonald played police Lt. Kling. Supporting cast members included Betty Lou Gerson, Frank Lovejoy, Lurene Tuttle, Alan Reed, Luis Van Rooten and John Beal. Vern Carstensen, who directed Box 13 for producer Richard Sanville, was also the show's announcer. Among the 52 episodes in the series were such mystery adventures as "The Sad Night," "Hot Box," "Last Will And Nursery Rhyme," "Hare And Hounds," "Hunt And Peck," "Death Is A Doll," "Tempest In a Casserole" and "Mexican Maze." The dramas featured music by Rudy Schrager. Russell Hughes, who had previously hired Ladd as a radio actor in 1935 at a $19 weekly salary, wrote the scripts, sometimes in collaboration with Ladd. The partners in Mayfair Productions were Ladd and Bernie Joslin, who had previously run the chain of Mayfair Restaurants.

The War Of The Worlds -Orson Welles RadioAmerica Sunday Program
Feb 19 2007 64 mins  
click here Visit the Radio America Store web site. Buy your 50 mp3 for &5.00 Affordable Web Hosting $5.99 A month The most famous radio broadcast of all time is still considered to be "The War of the Worlds", by Orson Welles and the Mercury Theater on the Air, October 30, 1938. Produced by John Houseman, it caused a near-panic, and lots and lots of press coverage. It also spurred legislation banning the "news" format from radio drama for years following. And although Orson Welles himself said they had no idea they were causing such an uproar, he actually knew it was happening and was thrilled with all the attention. The script, by the late Howard Koch (who also won an Academy Award for the screenplay of "Casablanca"), was actually titled "The Invasion From Mars", but was based on H.G. Wells' novella. The story goes like this: That October evening most Americans tuned in to the "The Edgar Bergen-Charlie McCarthy Show", which was the most popular radio show of the time. Twelve minutes into the show they went to their usual musical break. At that point many people changed the channel, and came upon reporter Carl Philips in the field near Grover's Mills, New Jersey. By the time the break came, with the announcement that this was just a play, most of them had already gone off screaming. The "War" became famous, and the Bergen-McCarthy Show opposite it seems to have vanished. "The War of the Worlds" story itself has been performed on radio many times since 1938, in a variety of formats. Gordon Payton claims to have 25 different audio versions of the story. The NBC Network anthology series Dimension X and X Minus One each offered a few alien invasion stories. (See "The Embassy", "The Seventh Order", "The Last Martian", and "Zero Hour", for example.

African Queen - Humphrey Bogart
Feb 17 2007 63 mins  
clickhere Visit the Radio America Store web site.Buy your 50 mp3 for &5.00 Affordable Web Hosting $5.99 A month The African Queen is a story of survival and how two mismatched people pull together. These people, Charlie and Rose, learn to accommodate each other and function together to achieve a goal: Get a boat down a treacherous jungle river. They are civilians who are caught in enemy territory at the beginning of World War I. Rose is a crisp, prim, and proper minister’s sister. Charlie is a irreverent, unsophisticated somewhat crude mechanic. On the surface level The African Queen is a love story of sorts and a tale of revenge. Rose wants to blow up a German gunboat down river because the Germans destroyed the mission and her brother died after being overwhelmed by the strain of the loss and the conditions of the jungle. Charlie just wants to get out of harms way but reluctantly goes along with her even though he thinks what she wants to do is "crazy" and believes it’s impossible to get a boat down the river. In the course of this venture they become closer and develop affection for each other as they respond to hardship and danger. In watching The African Queen it is important to realize that blowing up the gunboat is a story gimmick. This gives Charlie and Rose a challenging goal and a reason to do something dangerous. It also heightens the tension between Rose and Charlie, creating a situation that helps us to realize something important about the character and qualities of these two and how they learn to tolerate and get along with each other. What makes The African Queen such an important and popular movie is its fundamental story: Two people, who are basically strangers, learn to function together and care for each other as they contend with very unpleasant realities during a difficult, unwanted ordeal.

Abbott & Costello
Feb 17 2007 30 mins  
clickhere Visit the Radio America Store web site.Buy your 50 mp3 for &5.00 Affordable Web Hosting $5.99 A month The Abbott and Costello Show was heard on radio throughout the 1940s. They began by hosting a summer replacement series for Fred Allen on NBC in 1940, then joined Edgar Bergen and Charlie McCarthy on The Chase and Sanborn Hour in 1941. During the same period, two of their films, Buck Privates and Hold That Ghost, were adapted for radio and presented on Lux Radio Theater. On October 8, 1942 they launched their weekly NBC show, sponsored by Camel cigarettes, moving five years later to ABC, the former NBC Blue Network,). The additional cast and crew on that series included Sid Fields as the Melonheads, Artie Auerbrook as Ketsel, regulars Elvira Allman, Iris Adrian, Mel Blanc, Wally Brown, Sharon Douglas, Verna Felton, Lou Krogman, Pat McGeehan, Frank Nelson, Martha Wentworth and Benay Venuta. The featured vocalists were Amy Arnell, Connie Haines, Marilyn Maxwell, Susan Miller, Marilyn Williams, the Delta Rhythm Boys and the Les Baxter Singers with the orchestras of Skinnay Ennis, Charles Hoff, Matty Matlock, Jack Meakin, Will Osborne, Freddie Rich, Leith Stevens and Peter van Streeden. Frank Bingman, Jim Doyle, Ken Niles and Michael Roy did the announcing, Writers included Howard Harris, Hal Fimberg, Don Prindle, Ed Cherokee, Len Stern, Martin Ragaway, Paul Conlan and Ed Forman and producer Martin Gosch. Sound effects were supplied by Floyd Caton. At ABC, they also hosted a 30-minute children's radio program, the The Abbott and Costello Children's Show), which aired Saturday mornings with vocalist Anna Mae Slaughter and announcer Johnny McGovern.


Monday afternoon Radio America Show - Ozzie & Harriet
Feb 12 2007 10 mins  
clickhere Visit the Radio America Store web site.Buy your 50 mp3 for &5.00 Affordable Web Hosting $5.99 A month When Skelton was drafted, Ozzie Nelson was prompted to create his own family situation comedy. The Adventures of Ozzie and Harriet launched on CBS October 8, 1944, making a mid-season switch to NBC in 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 an arrangement that amplified the growing pains of American broadcasting, as radio "grew up" into television (as George Burns once phrased it), the Nelsons' deal with ABC gave the network itself the right to move the show to television whenever it wanted to do it---they wanted, according to the Museum of Broadcast Communications, to have talent in the bullpen and ready to pitch, so to say, on their own network, rather than risk it defecting to CBS (where the Nelsons began) or NBC. Their sons, David and Ricky, did not join the cast until five years after the radio series began. The two boys felt frustrated at hearing themselves played by actors and continually requested they be allowed to portray themselves. Prior to April 1949, the role of David was played by Joel Davis (1944-45) and Tommy Bernard, and Henry Blair appeared as Ricky. Since Ricky was only nine years old when he began on the show, his enthusiasm outstripped his ability at script reading, and at least once he jumped a cue, prompting Harriet to say, "Not now, 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 Dick Trout as Roger. Vocalists included Harriet Nelson, the King Sisters, and Ozzie Nelson. The announcers were Jack Bailey and Verne Smith. The music was by Billy May and Ozzie Nelson. The producers were Dave Elton and Ozzie Nelson. [1]


Jimmy Durante Show
Feb 05 2007 29 mins  
clickhere Visit the Radio America Store web site.Buy your 50 mp3 for &5.00 Affordable Web Hosting $5.99 A month 24 hour radio streaming James Francis Durante, better known as Jimmy Durante, (February 10, 1893 – January 29, 1980) was an American singer, pianist, comedian and actor, whose distinctive gravel delivery, comic language butchery, jazz-influenced songs, and large nose — his frequent jokes about it included a frequent self-reference that became his nickname: "Schnozzola" — helped make him one of America's most familiar and popular personalities of the 1920s through the 1970s. A product of working-class New York, Durante dropped out of school in the eighth grade to become a full-time ragtime pianist, working the city circuit and earning the nickname "Ragtime Jimmy," before he joined one of the first recognizable jazz bands in New York, the Original New Orleans Jazz Band. Durante was the only member of the group who didn't hail from New Orleans. His routines of breaking into a song to use a joke, with band or orchestra chord punctuation after each line became a Durante trademark. In 1920, the group was renamed Jimmy Durante's Jazz Band. Durante became a vaudeville star and radio attraction by the mid-1920s, with a music and comedy trio called Clayton, Jackson and Durante. By 1934, he had a major record hit, his own novelty composition "Inka Dinka Doo," and it became his signature song for practically the rest of his life. A year later, Durante starred in the Billy Rose stage musical, Jumbo, in which a police officer stopped him while leading a live elephant and asked him, "What are you doing with that elephant?" Durante's reply, "What elephant?", was a regular show-stopper.


King Kong 1938
Feb 04 2007 36 mins  
clickhere Visit the Radio America Store web site.Buy your 50 mp3 for &5.00 Affordable Web Hosting $5.99 A month 24 hour radio streaming Christian recovery King Kong was a great Box office success, as it became the highest grossing film of 1933 and the fifth highest grossing film of the 1930's. An impressive feat considering King Kong came out during one of the worst years of the Great Depression. Due to popular demand King Kong was re-released numerous times through the years. * In 1938 King Kong was re-released for the first time, but suffered some censorship. The Hays Office (in accordance with stiffer decency rules) removed a few scenes from the film that were considered too violent or obscene. These include: * The Brontosaurus biting the men to death in the swamp * Kong peeling Ann Darrow's clothing off of her. * Kong's violent attack on the native village * Kong biting a New Yorker to death * Kong dropping a women to her death after mistaking her for Ann Darrow. * In 1942 King Kong was re-released again to great Box Office success. However it was altered again by censors as various scenes were darkened to 'minimize gore". * In 1952 King Kong saw its greatest release to date. Not only did it gross more money then any of its other releases, but it brought in more money then most new "A-List" pictures did that year. Due to this success, Warner Brothers was inspired to make a giant monster film of its own called The Beast From 20,000 Fathoms. This movie in turn ended up kicking off the "giant monster on the loose" film boom of the 1950s. * King Kong was sold to television in early 1956 and pulled in an estimated 80% of all households with televisions in the New York area that week. In summer of 1956, King Kong was re-released theatrically (mainly drive-ins) based on its great TV success. * In the late 1960s, all the censored scenes that were cut back in 1938 were found, and restored back into the film. Janus Films gave the restored King Kong a brief theatrical re-release in 1971. This was the first time since its original run in 1933 that King Kong was seen in its complete form.

Lum & Abner - The new Blood
Feb 02 2007 11 mins  
I would like to take this time to thank every one for listening to Radio America We have been on podomatic now for 1 year and a few weeks. We have just surpassed 210,000 downloads. And we truly want to thank everyone , to celebrate our 1 year anniversary and download. We are offering a special if you buy 3 cds you get the 4th free, that a total of 200 shows for $15.00 which includes shipping clickhere Visit the Radio America Store web site.Buy your 50 mp3 for &5.00 No show was more listened to in rural America than Lum and Abner (1935-1953) A large part of America was rural during its run. On the air for over twenty-two years (the first few years on local radio), it was the situation comedy second only to Fibber McGee and Molly in popularity. Lum (played by Chester Lauck) and Abner (Norris Goff) exemplified the small town, rural Americans so many people strongly identified with, and their homespun, gentle humor struck a familiar but somehow surprisingly funny note in people, keeping them tuned in week after week. Partners Lum and Abner owned the Jot `Em Down Store and Library, a kind of jumble shop, selling everything from lye soap to stoves to used books - a little bit of this, a little bit of that - in the fictitious town of Pine Ridge, Arkansas. By 1936, the show had become so popular, the town of Waters, Arkansas, officially changed its name to Pine Ridge. Frequent customers hanging around Lum and Abner's potbelly stove were such country characters as Grandpappy Peabody, Snake Hogan, and Cedric We Hunt (all played by Lauk), and Dick Huddleston, the town postmaster, Doc Miller, and Squire Skimp (played by Goff). Others heard on the show from time to time were Zasu Pitts, Cliff Arquette, Edna Best, Cornelius Peeples, and Andy Devine.


Abbott & costello - Hunting Season
Jan 28 2007 30 mins  
I would like to take this time to thank every one for listening to Radio America We have been on podomatic now for 1 year and a few weeks. We have just surpassed 210,000 downloads. And we truly want to thank everyone , to celebrate our 1 year anniversary and download. We are offering a special if you buy 3 cds you get the 4th free, that a total of 200 shows for $15.00 which includes shipping clickhere Visit the Radio America Store web site.Buy your 50 mp3 for &5.00 please include on the special msg on order that you are coming from podomatic. Again Thanks for making Radio America # 1 in Comedy for this long Thanks Abbott and Costello is the name of an American comedy duo made up of Bud Abbott and Lou Costello William "Bud" Abbott and Lou Costello first worked together in 1935 at the Eltinge burlesque theater on 42nd Street in New York. Costello (1906-1959) had become a comic after failing as a movie stunt double and extra. Abbott (1897-1974) had been in burlesque since 1916, first as a cashier, then a producer and finally a performer. Throughout the late 1930s, Abbott and Costello built their act by adapting and improving upon dozens of old burlesque sketches, including "Who's on First?" In 1938 they received national exposure for the first time by performing on the radio show The Kate Smith Hour, which lead to a Broadway musical, "The Streets of Paris," the following year, and then, in 1940, a contract with Universal. Abbott and Costello released their first film in 1940 entitled, One Night in the Tropics. Although Abbott and Costello were only filling supporting roles in the film, they stole the film with their classic routines. This led to a long-term contract with the studio and their second film, "Buck Privates," 1941 secured their place as movie stars. They made over 30 films between 1940 and 1956, and were among the most popular and highest-paid entertainers in the world during World War II. They also hosted a weekly radio program from 1942-49. In 1951 the team made its TV debut as rotating hosts on the Colgate Comedy Hour. The following year they launched their own half-hour series, The Abbott and Costello Show 1952 to 1954). Abbott and Costello split up in 1957, after troubles with the Internal Revenue Service that forced both men to sell off much of their assets and the rights to their films. Costello died in 1959 before his one solo film, Thirty-Foot Bride of Candy Rock, was released. In the late 1960s, Abbott lent his voice to a Hanna-Barbera cartoon series based on the team


Burns & Allen 1938
Jan 28 2007 27 mins  
I would like to take this time to thank every one for listening to Radio America We have been on podomatic now for 1 year and a few weeks. We have just surpassed 210,000 downloads. And we truly want to thank everyone , to celebrate our 1 year anniversary and download. We are offering a special if you buy 3 cds you get the 4th free, that a total of 200 shows for $15.00 which includes shipping clickhere Visit the Radio America Store web site.Buy your 50 mp3 for &5.00 please include on the special msg on order that you are coming from podomatic. Again Thanks for making Radio America # 1 in Comedy for this long Thanks Grace Ethel Cecile Rosalie Allen was born into a show business family; after being educated at Star of the Sea Convent School in girlhood, she teamed in vaudeville with her sister, Bessie, in 1909. She met George Burns and the two immediately launched a new partnership—but they did not click until Burns cannily flipped the act around: after a Hoboken, New Jersey performance in which they tested the new style for the first time, Burns's hunch proved right. Gracie was the better laugh-getter, especially with the "illogical logic" that informed her responses to Burns's prompting comments or questions. Allen's half of the act was known generally as a "Dumb Dora" act, named after a very early film of the same name that featured a scatterbrained female protagonist, but her "illogical logic" style was several cuts above the Dumb Dora stereotype, as was Burns's understated straight man. The twosome worked the new style tirelessly on the road, building a following, and finally playing the vaudevillian's dream: the Palace in New York. They fell in love along the way and married in Cleveland, Ohio on January 7, 1926—somewhat daring for those times, considering Burns's Jewish and Allen's Irish Catholic upbringing.[2] (For her part, Allen also endeared herself to her in-laws by adopting his mother's favourite phrase, used whenever the older woman needed to bring her son back down to earth: "Nattie, you're a nice boy," using a diminutive of his given name. When Burns's mother died, Allen comforted her grief-stricken husband with the same phrase.)

Africian queen
Jan 28 2007 63 mins  
I would like to take this time to thank every one for listening to Radio America We have been on podomatic now for 1 year and a few weeks. We have just surpassed 210,000 downloads. And we truly want to thank everyone , to celebrate our 1 year anniversary and download. We are offering a special if you buy 3 cds you get the 4th free, that a total of 200 shows for $15.00 which includes shipping clickhere Visit the Radio America Store web site.Buy your 50 mp3 for &5.00 please include on the special msg on order that you are coming from podomatic. Again Thanks for making Radio America # 1 in Comedy for this long Thanks Bogie is an actor who continues to rank near the top on everybody's list. What is not generally known is that he made many appearances on radio after he moved his act from Broadway to Hollywood. In 1930 he got a contract with Fox and his feature film debut was in a 1930 short "Broadway's Like That", co-starring Ruth Etting and Joan Blondell. Fox released him after two years. After another five years of stage and minor film roles, he broke through with "The Petrified Forest" in 1936. Leslie Howard was starring in the movie, and threatened to quit unless Bogie, his fellow actor from the Broadway production, played Duke Mantee in the film version with him. Bogie named one of his sons Leslie in gratitude for this big break.In fact, many of Bogart's radio appearances were versions of the great films he did, but often he did guest spots or played characters that weren't from films. These performances are not known to the millions of younger fans that weren't lucky enough to hear radio as it happened. This collection give everybody the chance to hear that great Bogart voice again, and enjoy just how special his acting was. Incidentally, while serving in the U.S. Navy after getting kicked out of Andover Academy, he was wounded in the shelling of the USS. Leviathan. The resulting partial facial paralysis caused by his wounds gave him that signature vocal and facial style he is known for. Bogart on the radio, circa 1940Lux Radio Theater was the premier Hollywood radio show, and featured themajor stars in their film roles. We have several of Bogie's greatest roles here, including a rehearsal for Bullets or Ballots. (That's the 1936 crime film classic with Edward G. Robinson and Joan Blondell). Screen Guild Players did

Celebrate 50 years of radio
Jan 27 2007 32 mins  
I would like to take this time to thank every one for listening to Radio America We have been on podomatic now for 1 year and a few weeks. We have just surpassed 210,000 downloads. And we truly want to thank everyone , to celebrate our 1 year anniversary and download. We are offering a special if you buy 3 cds you get the 4th free, that a total of 200 shows for $15.00 which includes shipping clickhere Visit the Radio America Store web site.Buy your 50 mp3 for &5.00 please include on the special msg on order that you are coming from podomatic. Again Thanks for making Radio America # 1 in Comedy for this long Thanks Broadcasting is the distribution of audio and/or video signals (programs) to a number of recipients ("listeners" or "viewers") that belong to a large group. This group may be the public in general, or a relatively large audience within the public. Thus, an Internet channel may distribute text or music world-wide, while a public address system in (for example) a workplace may broadcast very limited ad hoc soundbites to a small population within its range. The sequencing of content in a broadcast is called a schedule. With all technological endevours a number of technical terms and slang are developed please see the list of broadcasting terms for a glossary of terms used. Television and radio programs are distributed through radio broadcasting or cable, often both simultaneously. By coding signals and having decoding equipment in homes, the latter also enables subscription-based channels and pay-per-view services. A broadcasting organisation may broadcast several programs at the same time, through several channels (frequencies), for example BBC One and Two. On the other hand, two or more organisations may share a channel and each use it during a fixed part of the day. Digital radio and digital television may also transmit multiplexed programming, with several channels compressed into one ensemble. When broadcasting is done via the Internet the term webcasting is often used. In 2004 a new phenomenon occurred when a number of technologies combined to produce Podcasting. Podcasting is an asynchronous broadcast/narrowcast medium. One of the main proponents being Adam Curry and his associates the Podshow. Broadcasting forms a very large segment of the mass media. Broadcasting to a very narrow range of audience is called narrowcasting. The term "broadcast" was coined by early radio engineers from the midwestern United States. "Broadcasting", in farming, is one method of spreading seed using a wide toss of the hand, in a broad cast.

Box 13 Double Trouble
Jan 27 2007 28 mins  
clickhere Visit the Radio America Store web site.Buy your 50 mp3 for &5.00 Alan Walbridge Ladd (September 3, 1913 – 29 January 1964) was an American film actor. He was famous for his emotionless demeanor and small stature (reports of his height vary from 5'2" to 5'9", with 5'6" being the most generally accepted today). In just about all of his films he played either the hero or a bad guy with a conscience. Ladd was born in Hot Springs, Arkansas to English immigrant parents, and died in Palm Springs, California of an overdose of alcohol and sedatives at the age of 50. After first becoming a star with his performance as a hitman with a conscience in This Gun for Hire (1942), he became most famous for his starring role as a gunfighter in the classic 1953 western Shane. Veronica Lake was an ideal co-star; as she was so petite, 4' 11½" (1.51 m), she made him seem taller than he really was. Ladd also made Quigley's Top 10 Stars of the Year List 3 times, 1947, 1953 and 1954. In 1954 he starred along side Peter Cushing and Patrick Troughton in The Black Knight. Ladd also worked in radio, most notably the syndicated series Box 13. This series ran from 1948 to 1949 and was produced by Ladd's own company, Mayfair Productions. He was sometimes listed as Allan Ladd in credits. His son Alan Ladd, Jr. became a motion picture executive and producer. Another son David Ladd was married to Charlie's Angels star Cheryl Ladd. Alan Ladd was married to silent film actress Sue Carol, who was also his manager. Actress Jordan Ladd is his granddaughter. On his passing in 1964, Ladd was entombed in the Forest Lawn Memorial Park Cemetery in Glendale, California. Affordable Web Hosting $5.99 A month 24 hour radio streaming Christian recovery

Box 13
Jan 25 2007 26 mins  
clickhere Visit the Radio America Store web site.Buy your 50 mp3 for &5.00 Affordable Web Hosting $5.99 A month 24 hour radio streaming Christian recovery Alan Walbridge Ladd (September 3, 1913 – 29 January 1964) was an American film actor. He was famous for his emotionless demeanor and small stature (5'5"/165 cm tall). In just about all of his films he played either the hero or a bad guy with a conscience. Ladd was born in Hot Springs, Arkansas to English immigrant parents, and died in Palm Springs, California of an overdose of alcohol and sedatives at the age of 51. After first becoming a star with his performance as a hitman with a conscience in This Gun for Hire (1942), he became most famous for his starring role as a gunfighter in the classic 1953 western Shane. Veronica Lake was an ideal co-star; as she was so petite, 4' 11½" (1.51 m), she made him seem taller than he really was. Ladd also made Quigley's Top 10 Stars of the Year List 3 times, 1947, 1953 and 1954. In 1954 he starred along side Peter Cushing and Patrick Troughton in The Black Knight. Ladd also worked in radio, most notably the syndicated series Box 13. This series ran from 1948 to 1949 and was produced by Ladd's own company, Mayfair Productions. He was sometimes listed as Allan Ladd in credits. His son Alan Ladd, Jr. became a motion picture executive and producer. Another son David Ladd was married to Charlie's Angels star Cheryl Ladd. Alan Ladd was married to silent film actress Sue Carol, who was also his manager. Actress Jordan Ladd is his granddaughter. On his passing in 1964, Ladd was entombed in the Forest Lawn Memorial Park Cemetery in Glendale, California.








440914 Squire To Take Lum's- Lum & Abner
Jan 15 2007 11 mins  
clickhere Visit the Radio America Store web site.Buy your 50 mp3 for &5.00 Affordable Web Hosting $5.99 A month 24 hour radio streaming Lum and Abner, an American radio comedy which aired as a network program from 1932 to 1954, became an American institution in its low-keyed, arch rural wit. One of a series of 15-minute serial comedies that dotted American radio at its height as America's number one home entertainment—others included Amos 'n' Andy, Easy Aces, The Goldbergs, and Vic and Sade—Lum and Abner included various elements of each but yielded something as singular as the others and became somewhat more of an institution. The creation of co-stars Chester Lauck (who played Columbus "Lum" Edwards) and Norris Goff (Abner Peabody), Lum and Abner was as low-keyed as Easy Aces, as cheerfully absurdist as Vic and Sade, and raised The Goldbergs ethnic focus by amplifying the protagonists' regional identities. As the co-owners of the Jot 'em Down Store in the then-fictional town of Pine Ridge, Arkansas, who were always stumbling upon moneymaking ideas only to get themselves fleeced by nemesis Squire Skimp, before finding one or another way to redeem themselves, Lum and Abner played the hillbilly theme with deceptive cleverness: the hillbillies just knew the slickers were going to get theirs, sooner or later, and either didn't mind or knew more than they let on that the slickers getting theirs was a matter of fortunate circumstance.

GunSmoke
Jan 15 2007 30 mins  
clickhere Visit the Radio America Store web site.Buy your 50 mp3 for &5.00 Affordable Web Hosting $5.99 A month 24 hour radio streaming MacDonnell and Meston wanted to create a radio Western for adults, in contrast to the prevailing juvenile fare such as The Lone Ranger or The Cisco Kid. Gunsmoke was set in Dodge City, Kansas during the thriving cattle days of the 1870s. Dunning notes that "The show drew critical acclaim for unprecedented realism." He also writes that among old-time radio fans, "Gunsmoke is routinely placed among the best shows of any kind and any time." (Dunning, 304) The show's cast, writing and sound effects have received much praise. The radio series, which first aired April 26, 1952, and ran until June 18, 1961, on CBS, starred William Conrad as Marshal Matt Dillon, Howard McNear as the ghoulish, brittle Doc Charles Adams, Georgia Ellis as Kitty Russell and Parley Baer as Dillon's assistant (but not his deputy) Chester Proudfoot. (On the television series, Doc's first name was changed to Galen, and Chester's last name was changed to Goode.) Chester's character had no surname until "Proudfoot" was ad libbed by Baer during a rehearsal early on, while Doc Adams was named after cartoonist Charles Addams. In a 1953 interview with Time, MacDonnell declared, "Kitty is just someone Matt has to visit every once in a while. We never say it, but Kitty is a prostitute, plain and simple." (Dunning, 304) William Conrad was actually one of the last actors who auditioned for the role of Marshal Dillon. He was already one of radio's busiest actors and had a powerful and distinctive baritone voice. Though Meston championed him, MacDonnell thought that Conrad might be overexposed. During his audition, however, Conrad won over MacDonnell after reading just a few lines. The show was distinct from other radio westerns, as the dialogue was often slow and halting, and due to the outstanding sound effects, listeners had a nearly palpable sense of the prairie terrain where the show was set. The effects were subtle but multilayered and utilized very well, given the show's spacious feel. Dunning writes, "The listener heard extraneous dialogue in the background, just above the muted shouts of kids playing in an alley. He heard noises from the next block, too, where the inevitable dog was barking." (Dunning, 305)


The War of The worlds
Jan 12 2007 64 mins  
clickhere Visit the Radio America Store web site.Buy your 50 mp3 for &5.00 Affordable Web Hosting $5.99 A month Radio Listeners in Panic, Taking War Drama as Fact Many Flee Homes to Escape 'Gas Raid From Mars'--Phone Calls Swamp Police at Broadcast of Wells Fantasy This article appeared in the New York Times on Oct. 31, 1938. A wave of mass hysteria seized thousands of radio listeners between 8:15 and 9:30 o'clock last night when a broadcast of a dramatization of H. G. Wells's fantasy, "The War of the Worlds," led thousands to believe that an interplanetary conflict had started with invading Martians spreading wide death and destruction in New Jersey and New York. The broadcast, which disrupted households, interrupted religious services, created traffic jams and clogged communications systems, was made by Orson Welles, who as the radio character, "The Shadow," used to give "the creeps" to countless child listeners. This time at least a score of adults required medical treatment for shock and hysteria. In Newark, in a single block at Heddon Terrace and Hawthorne Avenue, more than twenty families rushed out of their houses with wet handkerchiefs and towels over their faces to flee from what they believed was to be a gas raid. Some began moving household furniture. Throughout New York families left their homes, some to flee to near-by parks. Thousands of persons called the police, newspapers and radio stations here and in other cities of the United States and Canada seeking advice on protective measures against the raids. The program was produced by Mr. Welles and the Mercury Theatre on the Air over station WABC and the Columbia Broadcasting System's coast-to-coast network, from 8 to 9 o'clock. The radio play, as presented, was to simulate a regular radio program with a "break-in" for the material of the play. The radio listeners, apparently, missed or did not listen to the introduction, which was: "The Columbia Broadcasting System and its affiliated stations present Orson Welles and the Mercury Theatre on the Air in 'The War of the Worlds' by H. G. Wells." They also failed to associate the program with the newspaper listening of the program, announced as "Today: 8:00-9:00--Play: H. G. Wells's 'War of the Worlds'--WABC." They ignored three additional announcements made during the broadcast emphasizing its fictional nature. Mr. Welles opened the program with a description of the series of which it is a part. The simulated program began. A weather report was given, prosaically. An announcer remarked that the program would be continued from a hotel, with dance music. For a few moments a dance program was given in the usual manner. Then there was a "break-in" with a "flash" about a professor at an observatory noting a series of gas explosions on the planet Mars. News bulletins and scene broadcasts followed, reporting, with the technique in which the radio had reported actual events, the landing of a "meteor" near Princeton N. J., "killing" 1,500 persons, the discovery that the "meteor" was a "metal cylinder" containing strange creatures from Mars armed with "death rays" to open hostilities against the inhabitants of the earth. Despite the fantastic nature of the reported "occurrences," the program, coming after the recent war scare in Europe and a period in which the radio frequently had interrupted regularly scheduled programs to report developments in the Czechoslovak situation, caused fright and panic throughout the area of the broadcast. Telephone lines were tied up with calls from listeners or persons who had heard of the broadcasts. Many sought first to verify the reports. But large numbers, obviously in a state of terror, asked how they could follow the broadcast's advice and flee from the city, whether they would be safer in the "gas raid" in the cellar or on the roof, how they could safeguard their children, and many of the questions which had been worrying reside(continued)









Alan young Show - Rose Bowl Float 461277
Dec 21 2006 29 mins  
clickhere Visit the Radio America Store web site.Buy your 50 mp3 for &5.00 Affordable Web Hosting $5.99 A month Alan Young (born November 19, 1919) is an actor best known for his television role opposite a talking horse, Mister Ed. Mr Young was born in North Shields,Tyne and Wear, England, and had the given name of Angus, he was raised in Edinburgh, Scotland and in Canada. He grew to love radio when bedbound as a child because of severe asthma, and became a radio broadcaster on the Canadian Broadcasting Corporation. In 1944, he made the leap to American radio with The Alan Young Show, NBC's summer replacement for Eddie Cantor. Following a move to ABC in the fall (1944-46), he returned to NBC (1946-49). His television version of The Alan Young Show began in 1950. After the show's cancellation, Young appeared in supporting parts in films such as The Time Machine (1960). His most popular venture, however, was Mister Ed, a CBS television show which ran from 1961 to 1966. He played the owner of a talking horse which would talk to no one but him. Alan Young learned the radio craft in Canada and broke into American Radio after being fired from his first Canadian show Stag Party after asking for pay higher than the $15 per week he was earning. After working on a summer show for Eddie Cantor, Young earned his own show, The Alan Young Show, combining situation comedy and hilarious gags. He ventured into TV with television version The Alan Young Show which won him an Emmy in 1951. Then along came a talking horse. Mister Ed premiered in 1961. George Burns, producer of the show, was behind the decision to cast Young. Said George, "Alan was the type of man that a horse would want to talk to."



A Christmas Carol - 1931- Dicken Radio plays
Dec 20 2006 40 mins  
clickhere Visit the Radio America Store web site.Buy your 50 mp3 for &5.00 Affordable Web Hosting $5.99 A month Lisa Laco, Host: Well we're going to talk about Charles Dickens right now because Charles Dickens is ever foremost in our minds this week as we get ready to read Charles Dickens' A Christmas Carol this weekend here in Thunder Bay. When he was about ten years old poverty forced him to take a job in a factory to provide for his family. Now he was so ashamed of his time there that he never told anyone about it, but he couldn't hide the secret totally. According to Philip the experience surfaces in the actions and the attitudes of many of Charles Dickens, especially in Ebenezer Scrooge from A Christmas Carol . Philip Allingham is a professor in the Faculty of Education at Lakehead University in Thunder Bay; he's also a Dickens scholar. CBC reporter Cathy Alex asked him what inspired Charles Dickens to write A Christmas Carol . Philip V. Allingham, Faculty of Education, Lakehead University, Dickens Scholar: He was fascinated by German ghost stories; in fact, he had written himself one in the middle of Pickwick Papers in 1836. In the fall of 1843 he was invited to go to Manchester, where he saw a good deal of urban poor, prostitution, other social ills. He and a number of other Victorian reformers including Cobden and Disraeli were to speak and so he heard all the tales of horror in industrial society. He saw a great deal of it; he stayed with his sister whom he loved very much--remember Scrooge's relationship with his sister. And his sister had a little boy who was lame; he probably had what we call now Pot's disease, tuberculosis of the bone, if you can imagine. So there is Tiny Tim, who was originally by the way called "Tiny Fred" after Dickens' younger brother, but "Tiny Fred" doesn't really make it does it. So in proof he corrected that to "Tiny Tim." He also put in the famous "God bless us, everyone!"--it wasn't in the original manuscript. And I think he was also interested in trying to help the ragged schools that were trying to educate poor children at night. These children worked in factories during the daytime. And so all of these things were fermenting in his mind and, like a great Coleridgian dream, A Christmas Carol was born.







Lux Radio Theater- Snow White
Dec 09 2006 62 mins  
clickhere Visit the Radio America Store web site.Buy your 50 mp3 for &5.00 Affordable Web Hosting $5.99 A month Lux Radio Theater, one of the genuine classic radio anthology series (NBC Blue Network (1934-1935); CBS (1935-1955), adapted first Broadway stage works, and then (especially) films to hour-long live radio presentations. It quickly became the most popular dramatic anthology series on radio, running more than twenty years. The program always began with an announcer proclaiming, "Ladies and gentlemen, Lux presents Hollywood!" Cecil B. DeMille was the host of the series each Monday evening from June 1, 1936, until January 22, 1945. On one occasion, however, he was replaced by Leslie Howard. Lux Radio Theater strove to feature as many of the original stars of the original stage and film productions as possible, usually paying them $5,000 an appearance to do the show. It was when sponsor Lever Brothers (who made Lux soap and detergent) moved the show from New York to Hollywood in 1936 that it eased back from adapting stage shows and toward adaptations of films. The first Lux film adaptation was The Legionnaire and the Lady, with Marlene Dietrich and Clark Gable, based on the film Morocco. That was followed by a Lux adaptation of The Thin Man, featuring the movie's stars, Myrna Loy and William Powell. Many of the greatest names in film appeared in the series, most in the roles they made famous on the screen, including Abbott and Costello, Lauren Bacall, Lucille Ball, Ingrid Bergman, Humphrey Bogart, Charles Boyer, Claudette Colbert, Gary Cooper, Joseph Cotton, Bing Crosby, Dan Duryea, Ava Gardner, Cary Grant, Bob Hope, Vivien Leigh, Agnes Moorehead, Vincent Price, Donna Reed, Frank Sinatra, Ann Sothern, Barbara Stanwyck, James Stewart, Gene Tierney, John Wayne, Jane Wyman, Orson Welles and Loretta Young.






Great_Gildersleeve/411109 ep011 Birdie Quits
Dec 04 2006 29 mins  
clickhere Visit the Radio America Store web site.Buy your 50 mp3 for &5.00 Affordable Web Hosting & Podcasting $5.99 A month Classic Radio Pictures Enjoy The Blues Visit The Uncleshag Gospel Round Up The Great Gildersleeve (1941-1957) was arguably the first spin-off program, as well as one of the first true situation comedies (as opposed to sketch programs) in broadcast history. Built around a character who had been a staple on the classic radio sit-com, Fibber McGee and Molly, 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 catch phrase). But he also became a popular enough windbag that Kraft Foods — looking primarily to promote its Parkay margarine spread — sponsored a new series with Peary's Throckmorton P. Gildersleeve (the character was given several conflicting first names on Fibber McGee and Molly) as the central, slightly softened, and slightly befuddled focus of a lively new family. Premiering on NBC on August 31, 1941, The Great Gildersleeve moved the title character from the McGee's Wistful Vista to Summerfield, where Gildersleeve now oversaw his late sister's estate and took on the rearing of his orphaned niece and nephew, Marjorie (originally played by Lurene Tuttle and followed by Louise Erickson and Mary Lee Robb) and Leroy (Walter Tetley) Forester. In a striking forerunner to such later television hits as Bachelor Father and Family Affair, both of which are centered on well-to-do uncles taking in their deceased siblings' children, Gildersleeve was a bachelor raising two children while, at first, administering a girdle manufacturing company ("If you want a better corset, of course it's a Gildersleeve") and then for the bulk of the show's run, serving as Summerfield's water commissioner, between time with the ladies and nights with the boys. Indeed, The Great Gildersleeve may have been the first broadcast show to be centered on a single parent balancing child-rearing, work, and a social life, done with taste and genuine wit, often at the expense of Gildersleeve's now slightly understated pomposity The Great Gildersleeve






Radio America's - The Great Gildersleeve - Thanksgiving Story
Nov 23 2006 31 mins  
By 1852, Hale's campaign succeeded in uniting 29 states in marking the last Thursday of November as "Thanksgiving Day." Finally, after a 40-year campaign of writing editorials and letters to governors and presidents, Hale's passion became a reality. On September 28, 1863, Sarah Josepha Hale wrote a letter to President Lincoln and urged him to have the "day of our annual Thanksgiving made a National and fixed Union Festival." On October 3, 1863, President Lincoln proclaimed the last Thursday in November as a national day "of Thanksgiving and Praise to our beneficent Father." Here is the text of Lincoln's proclamation: By the President of the United States of America. A Proclamation. The year that is drawing towards its close, has been filled with the blessings of fruitful fields and healthful skies. To these bounties, which are so constantly enjoyed that we are prone to forget the source from which they come, others have been added, which are of so extraordinary a nature, that they cannot fail to penetrate and soften even the heart which is habitually insensible to the ever watchful providence of Almighty God. In the midst of a civil war of unequaled magnitude and severity, which has sometimes seemed to foreign States to invite and to provoke their aggression, peace has been preserved with all nations, order has been maintained, the laws have been respected and obeyed, and harmony has prevailed everywhere except in the theatre of military conflict; while that theatre has been greatly contracted by the advancing armies and navies of the Union. Needful diversions of wealth and of strength from the fields of peaceful industry to the national defence, have not arrested the plough, the shuttle or the ship; the axe has enlarged the borders of our settlements, and the mines, as well of iron and coal as of the precious metals, have yielded even more abundantly than heretofore. Population has steadily increased, notwithstanding the waste that has been made in the camp, the siege and the battle-field; and the country, rejoicing in the consiousness of augmented strength and vigor, is permitted to expect continuance of years with large increase of freedom. No human counsel hath devised nor hath any mortal hand worked out these great things. They are the gracious gifts of the Most High God, who, while dealing with us in anger for our sins, hath nevertheless remembered mercy. It has seemed to me fit and proper that they should be solemnly, reverently and gratefully acknowledged as with one heart and one voice by the whole American People. I do therefore invite my fellow citizens in every part of the United States, and also those who are at sea and those who are sojourning in foreign lands, to set apart and observe the last Thursday of November next, as a day of Thanksgiving and Praise to our beneficent Father who dwelleth in the Heavens. And I recommend to them that while offering up the ascriptions justly due to Him for such singular deliverances and blessings, they do also, with humble penitence for our national perverseness and disobedience, commend to His tender care all those who have become widows, orphans, mourners or sufferers in the lamentable civil strife in which we are unavoidably engaged, and fervently implore the interposition of the Almighty Hand to heal the wounds of the nation and to restore it as soon as may be consistent with the Divine purposes to the full enjoyment of peace, harmony, tranquillity and Union.8 Lincoln issued a similar proclamation in 1864. U.S. presidents maintained the holiday on the last Thursday of November for 75 years (with the exception of Andrew Johnson designating the first Thursday in December as Thanksgiving Day 1865 and Ulysses Grant choosing the third Thursday for Thanksgiving Day 1869). In 1939, President Franklin Delano Roosevelt declare the next-to-last Thursday of the month (November 23rd) to be Thanksgiving Day. This break with tradition was prompte(continued)

The great Gildersleeve 1941-10-26_ep009_A_Visit_from_Oliver
Nov 21 2006 29 mins  
clickhere Visit the Radio America Store web site.Buy your 50 mp3 for &5.00 Affordable Web Hosting $5.99 A month Classic Radio Pictures Enjoy The Blues Visit The Uncleshag Gospel Round Up The Great Gildersleeve (1941-1957) was arguably the first spin-off program, as well as one of the first true situation comedies (as opposed to sketch programs) in broadcast history. Built around a character who had been a staple on the classic radio sit-com, Fibber McGee and Molly, 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 catch phrase). But he also became a popular enough windbag that Kraft Foods — looking primarily to promote its Parkay margarine spread — sponsored a new series with Peary's Throckmorton P. Gildersleeve (the character was given several conflicting first names on Fibber McGee and Molly) as the central, slightly softened, and slightly befuddled focus of a lively new family. Premiering on NBC on August 31, 1941, The Great Gildersleeve moved the title character from the McGee's Wistful Vista to Summerfield, where Gildersleeve now oversaw his late sister's estate and took on the rearing of his orphaned niece and nephew, Marjorie (originally played by Lurene Tuttle and followed by Louise Erickson and Mary Lee Robb) and Leroy (Walter Tetley) Forester. In a striking forerunner to such later television hits as Bachelor Father and Family Affair, both of which are centered on well-to-do uncles taking in their deceased siblings' children, Gildersleeve was a bachelor raising two children while, at first, administering a girdle manufacturing company ("If you want a better corset, of course it's a Gildersleeve") and then for the bulk of the show's run, serving as Summerfield's water commissioner, between time with the ladies and nights with the boys. Indeed, The Great Gildersleeve may have been the first broadcast show to be centered on a single parent balancing child-rearing, work, and a social life, done with taste and genuine wit, often at the expense of Gildersleeve's now slightly understated pomposity The Great Gildersleeve enjoy Radioamerica My Odeo Channel (odeo/b3838d25e4813994)

Radio America's The great gildersleeve Investigating the city
Nov 20 2006 28 mins  
clickhere Visit the Radio America Store web site.Buy your 50 mp3 for &5.00 Affordable Web Hosting $5.99 A month Classic Radio Pictures Enjoy The Blues Visit The Uncleshag Gospel Round Up The Great Gildersleeve (1941-1957) was arguably the first spin-off program, as well as one of the first true situation comedies (as opposed to sketch programs) in broadcast history. Built around a character who had been a staple on the classic radio sit-com, Fibber McGee and Molly, 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 catch phrase). But he also became a popular enough windbag that Kraft Foods — looking primarily to promote its Parkay margarine spread — sponsored a new series with Peary's Throckmorton P. Gildersleeve (the character was given several conflicting first names on Fibber McGee and Molly) as the central, slightly softened, and slightly befuddled focus of a lively new family. Premiering on NBC on August 31, 1941, The Great Gildersleeve moved the title character from the McGee's Wistful Vista to Summerfield, where Gildersleeve now oversaw his late sister's estate and took on the rearing of his orphaned niece and nephew, Marjorie (originally played by Lurene Tuttle and followed by Louise Erickson and Mary Lee Robb) and Leroy (Walter Tetley) Forester. In a striking forerunner to such later television hits as Bachelor Father and Family Affair, both of which are centered on well-to-do uncles taking in their deceased siblings' children, Gildersleeve was a bachelor raising two children while, at first, administering a girdle manufacturing company ("If you want a better corset, of course it's a Gildersleeve") and then for the bulk of the show's run, serving as Summerfield's water commissioner, between time with the ladies and nights with the boys. Indeed, The Great Gildersleeve may have been the first broadcast show to be centered on a single parent balancing child-rearing, work, and a social life, done with taste and genuine wit, often at the expense of Gildersleeve's now slightly understated pomposity The Great Gildersleeve enjoy Radioamerica




Gene Autry Shows -Robbed & Shot
Nov 18 2006 25 mins  
clickhere Visit the Radio America Store web site.Buy your 50 mp3 for &5.00 Affordable Web Hosting & Podcasting $5.99 A month Classic Radio Pictures Enjoy The Blues Visit The Uncleshag Gospel Round Up wlso 24 hour steaming radio Orvon Gene Autry (September 29, 1907 – October 2, 1998) was an American performer who gained fame as The Singing Cowboy on the radio, in movies and on television. Discovered by film producer Nat Levine in 1934, he and Burnette made their film debut for Mascot Pictures Corp. in In Old Santa Fe as part of a singing cowboy quartet; he was then given the starring role by Levine in 1935 in the 12-part serial The Phantom Empire. Shortly thereafter, Mascot was absorbed by the formation of Republic Pictures Corp. and Autry went along to make a further 44 films up to 1940, all B westerns in which he played under his own name, rode his horse Champion, had Burnette as his regular sidekick and had many opportunities to sing in each film. He became the top Western star at the box-office by 1937, reaching his national peak of popularity from 1940 to 1942. He was the first of the singing cowboys, succeeded as the top star by Roy Rogers when Autry served as a flier with the Air Transport command during World War II. From 1940 to 1956, Autry also had a weekly radio show on CBS, Gene Autry's Melody Ranch. Another money-spinner was his Gene Autry Flying "A" Ranch Rodeo show which debuted in 1940. He briefly returned to Republic after the war, to finish out his contract, which had been suspended for the duration of his military service and which he had tried to have declared void after his discharge. Thereafter, he formed his own production company to make westerns under his own control, which were distributed by Columbia Pictures, beginning in 1947. He also starred and produced his own television show on CBS beginning in 1950. He retired from show business in 1964, having made almost a hundred films up to 1955 and over 600 records. He was elected to the Country Music Hall of Fame in 1969 and to the Nashville Songwriters Hall of Fame in 1970.



GG_1941-09-28_ep005_Hiccups
Nov 15 2006 29 mins  
clickhere Visit the Radio America Store web site.Buy your 50 mp3 for &5.00 Affordable Web Hosting & Podcasting $5.99 A month Classic Radio Pictures Enjoy The Blues Visit The Uncleshag Gospel Round Up wlso 24 hour steaming radio The Great Gildersleeve (1941-1957) was arguably the first spin-off program, as well as one of the first true situation comedies (as opposed to sketch programs) in broadcast history. Built around a character who had been a staple on the classic radio sit-com, Fibber McGee and Molly, 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 catch phrase). But he also became a popular enough windbag that Kraft Foods — looking primarily to promote its Parkay margarine spread — sponsored a new series with Peary's Throckmorton P. Gildersleeve (the character was given several conflicting first names on Fibber McGee and Molly) as the central, slightly softened, and slightly befuddled focus of a lively new family. Premiering on NBC on August 31, 1941, The Great Gildersleeve moved the title character from the McGee's Wistful Vista to Summerfield, where Gildersleeve now oversaw his late sister's estate and took on the rearing of his orphaned niece and nephew, Marjorie (originally played by Lurene Tuttle and followed by Louise Erickson and Mary Lee Robb) and Leroy (Walter Tetley) Forester. In a striking forerunner to such later television hits as Bachelor Father and Family Affair, both of which are centered on well-to-do uncles taking in their deceased siblings' children, Gildersleeve was a bachelor raising two children while, at first, administering a girdle manufacturing company ("If you want a better corset, of course it's a Gildersleeve") and then for the bulk of the show's run, serving as Summerfield's water commissioner, between time with the ladies and nights with the boys. Indeed, The Great Gildersleeve may have been the first broadcast show to be centered on a single parent balancing child-rearing, work, and a social life, done with taste and genuine wit, often at the expense of Gildersleeve's now slightly understated pomposity The Great Gildersleeve

The Great Gildersleeve 410921 ep004 Marjories Girl
Nov 13 2006 29 mins  
clickhere Visit the Radio America Store web site.Buy your 50 mp3 for &5.00 Affordable Web Hosting & Podcasting $5.99 A month Classic Radio Pictures Enjoy The Blues Visit The Uncleshag Gospel Round Up The Great Gildersleeve (1941-1957) was arguably the first spin-off program, as well as one of the first true situation comedies (as opposed to sketch programs) in broadcast history. Built around a character who had been a staple on the classic radio sit-com, Fibber McGee and Molly, 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 catch phrase). But he also became a popular enough windbag that Kraft Foods — looking primarily to promote its Parkay margarine spread — sponsored a new series with Peary's Throckmorton P. Gildersleeve (the character was given several conflicting first names on Fibber McGee and Molly) as the central, slightly softened, and slightly befuddled focus of a lively new family. Premiering on NBC on August 31, 1941, The Great Gildersleeve moved the title character from the McGee's Wistful Vista to Summerfield, where Gildersleeve now oversaw his late sister's estate and took on the rearing of his orphaned niece and nephew, Marjorie (originally played by Lurene Tuttle and followed by Louise Erickson and Mary Lee Robb) and Leroy (Walter Tetley) Forester. In a striking forerunner to such later television hits as Bachelor Father and Family Affair, both of which are centered on well-to-do uncles taking in their deceased siblings' children, Gildersleeve was a bachelor raising two children while, at first, administering a girdle manufacturing company ("If you want a better corset, of course it's a Gildersleeve") and then for the bulk of the show's run, serving as Summerfield's water commissioner, between time with the ladies and nights with the boys. Indeed, The Great Gildersleeve may have been the first broadcast show to be centered on a single parent balancing child-rearing, work, and a social life, done with taste and genuine wit, often at the expense of Gildersleeve's now slightly understated pomposity The Great Gildersleeve

JFk Speech 1960
Nov 12 2006 2 mins  
clickhere Visit the Radio America Store web site.Buy your 50 mp3 for &5.00 Affordable Web Hosting & Podcasting $5.99 A month Classic Radio Pictures Enjoy The Blues Visit The Uncleshag Gospel Round Up John Fitzgerald Kennedy (May 29, 1917 – November 22, 1963), also referred to as John F. Kennedy, JFK, John Kennedy, or Jack Kennedy, was the 35th President of the United States. He served from 1961 until his assassination in 1963. His leadership during the ramming of his PT-109 during World War II led to being cited for bravery and heroism in the South Pacific. Kennedy represented Massachusetts during 1947–1960, as both a member of the U.S. House of Representatives and U.S. Senate. He was elected President in 1960 in one of the closest elections in American history. He is the only Roman Catholic to be elected President of the United States as of 2006. Major events during his presidency included the Bay of Pigs invasion, the Cuban Missile Crisis, the building of the Berlin Wall, the Space Race, early events of the Vietnam War, and the American Civil Rights Movement. John F. Kennedy was assassinated on November 22, 1963. Official investigations have repeatedly determined Lee Harvey Oswald was the assassin, but critics allege that Oswald acted as part of a conspiracy or was not involved at all and was framed. Kennedy's assassination is considered to be a defining moment in U.S. history due to its traumatic impact on the nation as well as on the political history of the ensuing decades, his subsequent branding as an icon for a new generation of Americans and American aspirations, and for the mystery and conspiracy allegations which surround it.


The Great Gildersleeve 411005 ep006 Investigating
Nov 10 2006 29 mins  
clickhere Visit the Radio America Store web site.Buy your 50 mp3 for &5.00 Affordable Web Hosting & Podcasting $5.99 A month Classic Radio Pictures Enjoy The Blues Visit The Uncleshag Gospel Round Up The Great Gildersleeve (1941-1957) was arguably the first spin-off program, as well as one of the first true situation comedies (as opposed to sketch programs) in broadcast history. Built around a character who had been a staple on the classic radio sit-com, Fibber McGee and Molly, 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 catch phrase). But he also became a popular enough windbag that Kraft Foods — looking primarily to promote its Parkay margarine spread — sponsored a new series with Peary's Throckmorton P. Gildersleeve (the character was given several conflicting first names on Fibber McGee and Molly) as the central, slightly softened, and slightly befuddled focus of a lively new family. Premiering on NBC on August 31, 1941, The Great Gildersleeve moved the title character from the McGee's Wistful Vista to Summerfield, where Gildersleeve now oversaw his late sister's estate and took on the rearing of his orphaned niece and nephew, Marjorie (originally played by Lurene Tuttle and followed by Louise Erickson and Mary Lee Robb) and Leroy (Walter Tetley) Forester. In a striking forerunner to such later television hits as Bachelor Father and Family Affair, both of which are centered on well-to-do uncles taking in their deceased siblings' children, Gildersleeve was a bachelor raising two children while, at first, administering a girdle manufacturing company ("If you want a better corset, of course it's a Gildersleeve") and then for the bulk of the show's run, serving as Summerfield's water commissioner, between time with the ladies and nights with the boys. Indeed, The Great Gildersleeve may have been the first broadcast show to be centered on a single parent balancing child-rearing, work, and a social life, done with taste and genuine wit, often at the expense of Gildersleeve's now slightly understated pomposity The Great Gildersleeve

The Great Gildersleeve 410928 ep005 Hiccups
Nov 08 2006 29 mins  
clickhere Visit the Radio America Store web site.Buy your 50 mp3 for &5.00 Affordable Web Hosting & Podcasting $5.99 A month Classic Radio Pictures Enjoy The Blues Visit The Uncleshag Gospel Round Up The Great Gildersleeve (1941-1957) was arguably the first spin-off program, as well as one of the first true situation comedies (as opposed to sketch programs) in broadcast history. Built around a character who had been a staple on the classic radio sit-com, Fibber McGee and Molly, 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 catch phrase). But he also became a popular enough windbag that Kraft Foods — looking primarily to promote its Parkay margarine spread — sponsored a new series with Peary's Throckmorton P. Gildersleeve (the character was given several conflicting first names on Fibber McGee and Molly) as the central, slightly softened, and slightly befuddled focus of a lively new family. Premiering on NBC on August 31, 1941, The Great Gildersleeve moved the title character from the McGee's Wistful Vista to Summerfield, where Gildersleeve now oversaw his late sister's estate and took on the rearing of his orphaned niece and nephew, Marjorie (originally played by Lurene Tuttle and followed by Louise Erickson and Mary Lee Robb) and Leroy (Walter Tetley) Forester. In a striking forerunner to such later television hits as Bachelor Father and Family Affair, both of which are centered on well-to-do uncles taking in their deceased siblings' children, Gildersleeve was a bachelor raising two children while, at first, administering a girdle manufacturing company ("If you want a better corset, of course it's a Gildersleeve") and then for the bulk of the show's run, serving as Summerfield's water commissioner, between time with the ladies and nights with the boys. Indeed, The Great Gildersleeve may have been the first broadcast show to be centered on a single parent balancing child-rearing, work, and a social life, done with taste and genuine wit, often at the expense of Gildersleeve's now slightly understated pomposity The Great Gildersleeve



1941-09-14_ep003_Leroys_Paper_Route
Nov 06 2006 29 mins  
clickhere Visit the Radio America Store web site.Buy your 50 mp3 for &5.00Affordable Web Hosting & Podcasting $5.99 A month Classic Radio Pictures Enjoy The Blues Visit The Uncleshag Gospel Round Up n 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 catch phrase). But he also became a popular enough windbag that Kraft Foods---looking primarily to promote its Parkay margarine spread---sponsored a new series with Peary's Throckmorton P. Gildersleeve (the character assumed several first names on Fibber McGee and Molly) as the central, slightly softened, and slightly befuddled focus of a lively new family. Premiering on NBC on August 31, 1941, The Great Gildersleeve moved the title character from the McGees' Wistful Vista to Summerfield, where Gildersleeve now oversaw his late sister's estate and took on the rearing of his orphaned niece and nephew, Marjorie (Lurene Tuttle followed by Louise Erickson and Mary Lee Robb) and Leroy (Walter Tetley) Forester. In a striking forerunner to such later television hits as Bachelor Father and Family Affair, both of which are centered on well-to-do uncles taking in their deceased siblings' children, Gildersleeve was a bachelor raising two children while, at first, administering a girdle manufacturing company ("If you want a better corset, of course it's a Gildersleeve") and then for the bulk of the show's run, serving as Summerfield's water commissioner, between time with the ladies and nights with the boys. Indeed, The Great Gildersleve may have been the first broadcast show to be centered on a single parent balancing between child-rearing, work, and social life, done with taste and genuine wit, often at the expense of Gildersleeve's now slightly understated pomposity.

The Great Gildersleeve 410907 ep002 Marjories Cake
Nov 05 2006 29 mins  
clickhere Visit the Radio America Store web site.Buy your 50 mp3 for &5.00Affordable Web Hosting & Podcasting $5.99 A month Classic Radio Pictures Enjoy The Blues Visit The Uncleshag Gospel Round Up The Great Gildersleeve (1941-1957) was arguably the first spin-off program, as well as one of the first true situation comedies (as opposed to sketch programs) in broadcast history. Built around a character who had been a staple on the classic radio sit-com, Fibber McGee and Molly, 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 catch phrase). But he also became a popular enough windbag that Kraft Foods — looking primarily to promote its Parkay margarine spread — sponsored a new series with Peary's Throckmorton P. Gildersleeve (the character was given several conflicting first names on Fibber McGee and Molly) as the central, slightly softened, and slightly befuddled focus of a lively new family. Premiering on NBC on August 31, 1941, The Great Gildersleeve moved the title character from the McGee's Wistful Vista to Summerfield, where Gildersleeve now oversaw his late sister's estate and took on the rearing of his orphaned niece and nephew, Marjorie (originally played by Lurene Tuttle and followed by Louise Erickson and Mary Lee Robb) and Leroy (Walter Tetley) Forester. In a striking forerunner to such later television hits as Bachelor Father and Family Affair, both of which are centered on well-to-do uncles taking in their deceased siblings' children, Gildersleeve was a bachelor raising two children while, at first, administering a girdle manufacturing company ("If you want a better corset, of course it's a Gildersleeve") and then for the bulk of the show's run, serving as Summerfield's water commissioner, between time with the ladies and nights with the boys. Indeed, The Great Gildersleeve may have been the first broadcast show to be centered on a single parent balancing child-rearing, work, and a social life, done with taste and genuine wit, often at the expense of Gildersleeve's now slightly understated pomposity The Great Gildersleeve

Lux Radio 411201 A Mans Castle
Nov 04 2006 58 mins  
clickhere Visit the Radio America Store web site.Buy your 50 mp3 for &5.00Affordable Web Hosting & Podcasting $5.99 A month Classic Radio Pictures Enjoy The Blues Visit The Uncleshag Gospel Round Up Lux Radio Theater, one of the genuine classic radio anthology series (NBC Blue Network (1934-1935); CBS (1935-1955), adapted first Broadway stage works, and then (especially) films to hour-long live radio presentations. It quickly became the most popular dramatic anthology series on radio, running more than twenty years. The program always began with an announcer proclaiming, "Ladies and gentlemen, Lux presents Hollywood!" Cecil B. DeMille was the host of the series each Monday evening from June 1, 1936, until January 22, 1945. On one occasion, however, he was replaced by Leslie Howard (actor). Lux Radio Theater strove to feature as many of the original stars of the original stage and film productions as possible, usually paying them $5,000 an appearance to do the show. It was when sponsor Lever Brothers (who made Lux soap and detergent) moved the show from New York to Hollywood in 1936 that it eased back from adapting stage shows and toward adaptations of films. The first Lux film adaptation was The Legionnaire and the Lady, with Marlene Dietrich and Clark Gable, based on the film Morocco. That was followed by a Lux adaptation of The Thin Man, featuring the movie's stars, Myrna Loy and William Powell. Many of the greatest names in film appeared in the series, most in the roles they made famous on the screen, including Abbott and Costello, Lauren Bacall, Lucille Ball, Humphrey Bogart, Charles Boyer, Claudette Colbert, Gary Cooper, Bing Crosby, Dan Duryea, Ava Gardner, Cary Grant, Bob Hope, Vivien Leigh, Agnes Moorehead, Vincent Price, Donna Reed, Frank Sinatra, Ann Sothern, Barbara Stanwyck, James Stewart, Gene Tierney, John Wayne, Jane Wyman, Orson Welles and Loretta Young. Who made the most appearances in Lux Radio Theater productions? Among the men, Don Ameche---eventually a radio star in The Bickersons---topped the list with 18 Lux appearances, just ahead of Fred MacMurray's 17. Among the ladies, the honor went to Barbara Stanwyck with 15 Lux appearances (including and especially her re-creation of her hit film Sorry, Wrong Number---itself born of an earlier radio production, on CBS legend Suspense). Loretta Young's 14 appearances were the second most among the ladies.

The Great Gildersleeve 1941-08-31_ep001_Arrives_In_Summerfield
Nov 02 2006 29 mins  
clickhere Visit the Radio America Store web site.Buy your 50 mp3 for &5.00Affordable Web Hosting & Podcasting $5.99 A month Classic Radio Pictures Enjoy The Blues Visit The Uncleshag Gospel Round Up The Great Gildersleeve (1941-1957) was arguably the first spin-off program, as well as one of the first true situation comedies (as opposed to sketch programs) in broadcast history. Built around a character who had been a staple on the classic radio sit-com, Fibber McGee and Molly, 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 catch phrase). But he also became a popular enough windbag that Kraft Foods — looking primarily to promote its Parkay margarine spread — sponsored a new series with Peary's Throckmorton P. Gildersleeve (the character was given several conflicting first names on Fibber McGee and Molly) as the central, slightly softened, and slightly befuddled focus of a lively new family. Premiering on NBC on August 31, 1941, The Great Gildersleeve moved the title character from the McGee's Wistful Vista to Summerfield, where Gildersleeve now oversaw his late sister's estate and took on the rearing of his orphaned niece and nephew, Marjorie (originally played by Lurene Tuttle and followed by Louise Erickson and Mary Lee Robb) and Leroy (Walter Tetley) Forester. In a striking forerunner to such later television hits as Bachelor Father and Family Affair, both of which are centered on well-to-do uncles taking in their deceased siblings' children, Gildersleeve was a bachelor raising two children while, at first, administering a girdle manufacturing company ("If you want a better corset, of course it's a Gildersleeve") and then for the bulk of the show's run, serving as Summerfield's water commissioner, between time with the ladies and nights with the boys. Indeed, The Great Gildersleeve may have been the first broadcast show to be centered on a single parent balancing child-rearing, work, and a social life, done with taste and genuine wit, often at the expense of Gildersleeve's now slightly understated pomposity The Great Gildersleeve






The shadow- 1939-01-08 island of the devil
Oct 29 2006 29 mins  
clickhere Visit the Radio America Store web site.Buy your 50 mp3 for &5.00 The Shadow was long believed to have debuted on radio as a program in its own right September 26, 1937, on the Mutual Broadcasting System. But the character actually premiered in September 1931, on CBS, as part of the hour-long The Blue Coal Radio Revue (named for the show's sponsor), featuring Frank Readick — the "Shadow" announcer of Detective Stories — as the Shadow, and playing Sundays at 5:30 p.m. Eastern standard time. The stories also appeared on Thursday nights for a month, when Love Story Drama (another Street and Smith creation) took the Thursday night slot — but also featured occasional portrayals of the Shadow. Blue Coal had a long relationship with the Shadow, moving the radio series to NBC in October 1932 with Readick playing the character on Wednesday nights now. Two years later, NBC ran the stories on Mondays and Wednesdays, both at 6:30 p.m., with LaCurto taking occasional turns as the title character. Three years later came the beginning of the half-hour drama radio buffs have remembered so well, with the then-unknown Orson Welles as the Shadow, the show moving to Mutual, and the famous catch phrase now in full play. Welles did not speak that signature line — Readick did, using a water glass next to his mouth for the echo effect. But Welles did make a credible Shadow, two years before his notoriety as the mastermind of Mercury Theatre on the Air's production of War of the Worlds. After Welles left the role for a career in the cinema, The Shadow was portrayed by such actors as Bill Johnstone, Bret Morrison (the longest tenure, with ten years in two separate runs), John Archer, and Steve Courtleigh as Lamont Cranston/The Shadow. The radio show also introduced female characters into the Shadow's realm, most notably Margot Lane (played by Agnes Moorehead among others) as Cranston's love interest and crime-solving partner (the character was eventually integrated into Gibson's pulp novels). In the 1994 movie, Margot's name was spelled "Margo." However, early scripts of the radio show clearly show that the character's name was spelled "Margot". Once The Shadow joined Mutual as a half-hour series, it did not leave Sunday evenings radio until December 26, 1954. It outlasted the magazine that gave birth to it: The Shadow Magazine ended with the summer 1949 issue, although Gibson wrote three new "official" stories between 1963 and 1980. Gibson started off a short series of updated Shadow novels for Belmont with Return of the Shadow under his own name, followed by The Shadow Strikes, Beware Shadow, Cry Shadow, The Shadow's Revenge, Mark of The Shadow, Shadow Go Mad, Night of The Shadow, and Destination: Moon. The Shadow had mental powers in these books, to cloud men's minds so he effectively became invisible, to conquer pain, etc.




The Shadow 1938-11-6 shyster payoff, 39-01-22 vallley of the living dead
Oct 25 2006 63 mins  
clickhere Visit the Radio America Store web site.Buy your 50 mp3 for &5.00 It is Thursday night, July 31,1930. The time is 9:40 PM. Radio listeners tuned to CBS hear the first appearance of "The Shadow" as James La Curto portrays the part in the Detective Story Hour. Street and Smith publishers sponsored this show (which lasted about a year), along with their magazine series The Shadow, A Detective Monthly. In September 1931, The Blue Coal Radio Revue, starring Frank Readick, Jr. (who was the star in the later Detective Story Hour shows), continued the adventures of "The Shadow". The show remained an hour long, but was heard on Sundays at 5:30 PM. For a short time, lucky CBS listeners were able to hear The Shadow on both Thursdays and Sundays. In October, 1931, the 9:30 Thursday slots were taken by Love Story Drama or Love Story Hour (sponsored by Street and Smith), which also had portrayals of The Shadow! The program shifted to Mutual on September 26, 1937, and was heard on Sundays at 5:30 PM. It maintained the same sponsor (Blue Coal), but had a new voice for Lamont Cranston, the young and relatively new theater and radio personality: Orson Welles. The 1937 programs also began to feature "The Shadow" as a character in the stories, rather than merely as a narrator. (Mr Welles was "The Shadow" through 1938, while the now syndicated program was sponsored by Goodrich.) Here is a log of The Shadow while Orson Welles played the part, as well as the famous "Weed of Crime" ending from 1938. [Experts state this voice is really that of Frank Readick rather than Orson Welles]

Dragnet - A Double Header- The Big Donation 520612
Oct 25 2006 57 mins  
clickhere Visit the Radio America Store web site.Buy your 50 mp3 for &5.00 Dragnet debuted inauspiciously. The first several months were bumpy, as Webb and company worked out the program’s format and eventually became comfortable with their characters (Friday was originally portrayed as more brash and forceful than his later usually relaxed demeanor). Gradually, Friday’s deadpan, fast-talking persona emerged, described by John Dunning as "a cop's cop, tough but not hard, conservative but caring." (Dunning, 210) Friday’s first partner was Sgt. Ben Romero, portrayed by Barton Yarborough, a longtime radio actor. When Dragnet hit its stride, it became one of radio’s top-rated shows. Webb insisted on realism in every aspect of the show. The dialogue was clipped, understated and sparse, influenced by the hard boiled school of crime fiction. Scripts were fast moving but didn’t seem rushed. Every aspect of police work was chronicled, step by step: From patrols and paperwork, to crime scene investigation, lab work and questioning witnesses or suspects. The detectives’ personal lives were mentioned, but rarely took center stage. (Friday was a bachelor who lived with his mother; Romero was an ever-fretful husband and father) "Underplaying is still acting," Webb told Time. "We try to make it as real as a guy pouring a cup of coffee.” (Dunning, 209) Los Angeles police chiefs C.B. Horrall and (later) William H. Parker were credited as consultants, and many police officers were fans. Webb was a stickler for accurate details, and Dragnet used many authentic touches, such as the LAPD's actual radio call sign (KMA-367), and the names of many real department officials, such as Ray Pinker and Lee Jones of the crime lab or Chief of Detectives Thad Brown. Episodes began with an announcer describing the basic premise of the show. "Big Saint" (April 26, 1951) for example, begins with, "You're a Detective Sergeant, you're assigned to auto theft detail. A well organized ring of car thieves begins operations in your city. It's one of the most puzzling cases you've ever encountered. Your job: break it." Friday offered voice-over narration throughout the episodes, noting the time, date and place of every scene as he and his partners went through their day investigating the crime. The events related in a given episode might occur in a few hours, or might span a few months. At least one episode unfolded in real time: in "City Hall Bombing" (July 21, 1949), Friday and Romero had less than 30 minutes to stop a man who was threatening to destroy the City Hall with a bomb. At the end of the episode, the announcer would relate the fate of the suspect. They were usually convicted of a crime and sent to "the State Penitentiary, San Quentin" or a mental hospital, but other occasions the cases had ambiguous, unusual or even disappointing resolutions. Sometimes, criminals avoided justice or escaped, at least on the radio version of Dragnet. In 1950, Time quoted Webb: "We don’t even try to prove that crime doesn’t pay ... sometimes it does" (Dunning, 210) Specialized terminology was mentioned in every episode, but was rarely explained. Webb trusted the audience to determine the meanings of words or terms by their context, and furthermore, Dragnet tried to avoid the kinds of awkward, lengthy exposition that people wouldn’t actually use in daily speech. Several specialized terms (such as "A.P.B." for "All Points Bulletin" and "M.O." for "Modus Operandi") were rarely used in popular culture before Dragnet introduced them to everyday America. While most radio shows used one or two sound effects experts, Dragnet needed five; a script clocking in at just under 30 minutes could require up to 300 separate effects. Accuracy was underlined: The exact number of footsteps from one room to another at Los Angeles police headquarters were imitated, and when a telephone rang at Friday’s desk, the listener heard the same ring as the telephones in L(continued)































Lone Ranger - Snake in the grass -55-01-03
Oct 01 2006 24 mins  
clickhere Visit the Radio America Store web site.Buy your 50 mp3 for &5.00 This was the longest running children's show on radio from 1933 to 1956. Sponsor of the following shows was General Mills (Cheerios, Wheaties and Kix cereals) although few of the shows actually contain the commercials. onto greets the Lone Ranger with the expression "kemosabe", which has also been written "Kemo Sabe" or "Kemo Sabhay". The origin of this expression is somewhat unclear, but James Jewell, an early director of the radio series, said the name comes from a boy's camp located on Mullett Lake, Michigan that his father-in-law had run from 1911 to 1941. The translation was said to mean "trusty scout". Fran Striker, the writer of the Lone Ranger scripts, said the actual expression was Ta-i ke-mo sah-bee, which he said meant "greetings trusty scout". In the pilot of the Clayton Moore TV series, "Enter the Lone Ranger", Tonto explicitly states that "Kemosabe" means "trusty scout". There has been a discussion about the origins of the word in The Straight Dope suggesting the word may be of either Ojibwe or Potawatomi origin. Link to straight dope.com However, the phrase "faithful friend" has also been associated with the term Kemo Sabe. One such instance was in the 20th anniversary broadcast of the radio show, which recapped the Ranger's origin. In the scene where the wounded Ranger awakens and recognizes Tonto, he says, "years ago, you called me Kemo Sabe". Tonto replies, "That right, and you still Kemo Sabe. It mean, 'faithful friend'". Various investigators have found other sources for this saying, some of them humorous and usually centering around the idea that "Kemo Sabe" is actually an insult or vulgarity. For instance, a Far Side comic strip has the long-since retired Lone Ranger discovering (in an Indian dictionary) that "Kemo Sabe" is an Apache expression for a "horse's rear end".




Fred Allen Guests Frank Sinatra, Leo Durocher
Sep 27 2006 49 mins  
Fred Allen - Comedian, Radio Personality Born: May 31, 1894 Fred Allen, who comically feuded with Jack Benny on the air for years, invented an entirely new form of radio comedy which consisted of lampooning current events, making fun of his sponsors, and presenting skits that featured a cast of memorable recurring characters. Allen was born John Florence Sullivan on May 31st, 1894 in Cambridge, Massachusetts, the son of a bookbinder and storyteller. He became interested in comedy after finding a book on its history in his father's shop, and he taught himself to juggle by reading a book on the subject by the age of eighteen he was appearing in vaudeville as a juggler and comedian. A successful engagement at the Palace in 1919 led to many Broadway shows, including The Passing Show of 1922, where he met his future wife and radio co-star, Portland Hoffa. He made the transition to radio with The Lint Bath Club Revue, which premiered October 23rd, 1932 on CBS and moved to NBC in 1933. Allen's perfectionism led him to move from sponsor to sponsor. His shows, for which he wrote much of the material himself, included The Salad Bowl Revue (1933), The Sal Hepatica Revue (1933-34), The Hour of Smiles (1934-35), and Town Hall Tonight (1935-40). The Fred Allen Show, his last series, ran from 1942 to 1949. His funniest and most popular regular sketch, "Allen's Alley," premiered on Sunday, December 6th, 1942. It featured Allen strolling along, knocking on the doors of various characters, including average American John Doe (played by John Brown), pompous poet Falstaff Openshaw (Allan Reed), and boisterous southern senator Beuregard Claghorn (announcer Kenny Delmar).


Milton Berle - Prize Fighting 47-12-09
Sep 26 2006 30 mins  
clickhere Visit the Radio America Store web site.Buy your 50 mp3 for &5.00 In 1934-36, Berle was heard regularly on The Rudy Vallee Hour, and he got much publicity as a regular on The Gillette Original Community Sing, a Sunday night comedy-variety program broadcast on CBS from September 6, 1936 to August 29, 1937. In 1939, he was the host of Stop Me If You've Heard This One with panelists spontaneously finishing jokes sent in by listeners. Three Ring Time, a comedy-variety show sponsored by Ballantine Ale was followed by a 1943 program sponsored by Campbell's Soups. The audience participation show Let Yourself Go (1944-45) could best be described as slapstick radio with studio audience members acting out long suppressed urges (often directed at host Berle). Kiss and Make Up, on CBS in 1946, featured the problems of contestants decided by a jury from the studio audience with Berle as the Judge. He also made guest appearances on many comedy-variety radio programs during the 1930s and 1940s. Scripted by Hal Block and Martin Ragaway, The Milton Berle Show brought Berle together with Arnold Stang, later a familiar face as Berle's TV sidekick. Others in the cast were Pert Kelton, Mary Schipp, Jack Albertson, Arthur Q. Bryan, Ed Begley, vocalist Dick Forney and announcer Frank Gallop. The Ray Bloch Orchestra provided the music for the series. Sponsored by Philip Morris, it aired on NBC from March 11, 1947, until April 13, 1948. His last radio series was The Texaco Star Theater, which began September 22, 1948 on ABC and continued until June 15, 1949, with Berle heading the cast of Stang, Kelton and Gallop, along with Charles Irving, Kay Armen and double-talk specialist Al Kelly. It employed top comedy writers (Nat Hiken, brothers Danny and Neil Simon, Aaron Ruben), and Berle later recalled this series as "the best radio show I ever did... a hell of a funny variety show." It served as a springboard for Berle's rise as television's first major star.



Bob Hope Early 1950's carswell afb
Sep 25 2006 30 mins  
clickhere Visit the Radio America Store web site.Buy your 50 mp3 for &5.00 Bob Hope, KBE, KCSG, (May 29, 1903 – July 27, 2003), born Leslie Townes Hope, was a famous British-born American entertainer who appeared in vaudeville, on Broadway, on radio and television, in movies, and in performing tours for U.S. Military personnel. Contents Hope performed his first United Service Organizations (USO) show on May 6, 1941, at March Field, California. He continued to travel and entertain troops for the rest of World War II and later during the Korean War, the Vietnam War and the 1990–1991 Persian Gulf War. When overseas he almost always performed in Army fatigues as a show of support for his audience. Hope's USO career lasted half a century, during which he headlined approximately sixty tours. A 1997 act of Congress signed by President Clinton named Hope an “Honorary Veteran”. He remarked, “I've been given many awards in my lifetime — but to be numbered among the men and women I admire most — is the greatest honor I have ever received." However, there were also critical voices relating to the entertainer's patriotic activities. In his biography, Bob Hope: The Road Well-Traveled (1999), Lawrence J. Quirk writes that Hope was making sacrifices to entertain U.S. servicemen, whom he called "my boys". But according to the author, the government always paid for Hope's trips, and by Vietnam, his routines had grown thin and become synonymous with the "war machine."




Sep 22 2006 30 mins  
clickhere Visit the Radio America Store web site.Buy your 50 mp3 for &5.00 he Creaking Door was an old-time radio series of horror and suspense shows originating in South Africa. There are at present anywhere from 34-37 extant episodes in MP3 circulation, yet no currently available program logs for the series indicate the year of the series' broadcast (though it was likely sometime in the 1950s, given the generally high audio quality of the available shows), or the total number of episodes, and only a handful of them are known by their broadcast order. The stories are thrillers in the Inner Sanctum vein, and generally thought of favorably by most fans of OTR. Old-Time Radio (OTR) and the Golden Age of Radio are phrases used to refer to radio programs (audio theater) mainly broadcast during the 1920s through the late 1950s. Vintage radio is remembered for fanfares and show openings, running gags, trademark sounds and newsworthy events, such as the headlines after The War of the Worlds was dramatized on Orson Welles' Mercury Theater on the Air. Others recall the creaking-door sound effect on Inner Sanctum Mysteries, the Dragnet theme music, the "Hi-Yo, Silver!" call of the Lone Ranger or the cackle of The Shadow: "Who knows what evil lurks in the hearts of men? The Shadow knows." In the early 1950s, music radio began to replace the many familiar comedy/drama favorites. The end of the era is often marked by the final CBS broadcasts of Suspense and Yours Truly, Johnny Dollar on September 30, 1962.


Marx Brothers- 1947-04-30 in Chicago
Sep 17 2006 10 mins  
clickhere Visit the Radio America Store web site.Buy your 50 mp3 for &5.00 During the mid-1930's, radio began to displace movies as the most popular entertainment medium. After all, it was free, it didn't require going out, and a much broader array of show formats was available, most of which did not require the time commitment of the audience that movies required. This boom in popularity saw a scramble to secure available talent for radio shows, and big-name Hollywood movie personalities were a prime target. As luck would have it, the Marx Brothers were on the downhill side of their cinematic careers and were looking to branch out into other areas. Groucho especially sought out radio, which gave him opportunity to exercise his natural wit. Chico pursued a career as a band leader, which landed him occasional air time, as the broadcasting of big band music was a popular use of the airwaves. For obvious reasons, Harpo was at a handicap in this medium, but still found an occasional guest spot. I have attempted here to document several radio appearances by each of the three brothers; however, as record keeping was not viewed as a necessity in this field back then, there is no attempt to present this as a complete list. Particularly difficult to trace to a specific date are Armed Forces Radio Service (AFRS) broadcasts* of Command Performance, G.I. Journal, and Mail Call broadcasts, which were often recorded on disc only for distribution to military bases, and whose broadcast dates and times varied at each locale." (Wayne Boenig)

Ellery Queen 44-01-20 The Scarecrow and the snowman
Sep 14 2006 30 mins  
clickhere Visit the Radio America Store web site.Buy your 50 mp3 for &5.00 The Adventures of Ellery Queen: Famous for his mystery books, Ellery invites listeners to solve his radio mysteries. The show was heard on various networks between 1939 and 1948 (except for the 1941-1942 season, when it was off the air). Most of its sponsors still exist, except for Kolynos toothpaste. Even on radio Marion Shockley (1911-1981) was the first actress to portray Nikki Porter , Ellery's secretary and low-key love interest. In the "Gum-Chewing Millionaire" she's a blonde professional typist who gets asked to work on Ellery's manuscripts. She then applies for the job of personal secretary. On radio, The Adventures of Ellery Queen was heard on all three networks from 1939 to 1948. During the 1970s, syndicated radio fillers, Ellery Queen's Minute Mysteries, began with an announcer saying, "This is Ellery Queen..." and would go on to describe a case in one minute. The radio station would then encourage callers to try to solve the mystery and win a sponsor's prize. Once they got a winner, the solution part of the spot would be played as confirmation. Helene Hanff, best-known for her book 84 Charing Cross Road, was a scripter for the television series version of The Adventures of Ellery Queen (1950-52), which began on the DuMont Television Network but soon moved to ABC. Shortly after the series began, Lee Hart, who played Queen, died and was replaced in the lead role by Lee Bowman. The series returned to DuMont in 1954 with Hugh Marlowe in the title role. George Nader then played Queen in The Further Adventures of Ellery Queen (1958-59), but he was replaced with Lee Philips in the final episodes. Peter Lawford starred in the television movie Ellery Queen: Don't Look Behind You (1971). The 1975 television movie Ellery Queen led into the 1975-76 television series starring Jim Hutton in the title role (with David Wayne as his widowed father). Each episode would end with Queen breaking the fourth wall to go over the facts of the case and invite the audience to solve the mystery on their own. The cousins, under their collective pseudonym, were given the Grand Master Award for achievements in the field of the mystery story by the Mystery Writers of America in 1961. Ellery Queen


Jack Benny Fest. 33-06-09 Who Killed Mr x
Sep 12 2006 41 mins  
clickhere Visit the Radio America Store web site.Buy your 50 mp3 for &5.00 Benny had been only a minor vaudeville performer, but he became an enormously successful national figure with The Jack Benny Program, a weekly radio show which ran from 1932 to 1948 on NBC and from 1948 to 1955 on CBS, and was consistently among the most highly rated programs during most of that run. The Characters Benny's stage character was a clever inversion of his actual self. Though the character was named Jack Benny, he was also just about everything the actual Jack Benny himself wasn't: cheap, petty, vain and self-congratulatory. His masterful comic rendering of these traits became the vital linchpin to the Benny show's success. Benny set himself up as the comedic foil, allowing his supporting characters to draw laughs at the expense of his stinginess, vanity, and pettiness. By allowing such a character to be seen as human and vulnerable, in an era where few male characters were allowed such obvious vulnerability, Benny made what might have been a despicable character into a lovable Everyman character. Benny himself said on several occasions: "I don't care who gets the laughs on my show, as long as the show is funny." The supporting characters who amplified that vulnerability only too gladly included wife Mary Livingstone as his wisecracking and not especially deferential female friend (not quite his girlfriend, since Benny would often try to date movie stars like Barbara Stanwyck, and occasionally had stage girlfriends such as Gladys Obispo); rotund announcer Don Wilson (who also served as announcer for Fanny Brice's hit, Baby Snooks); bandleader Phil Harris as a jive-talking, wine-and-women type whose repartee was rather risque for its time (Harris and Mahlon Merrick shared the actual musical chores of the show); boy tenor Dennis Day, who was cast as a sheltered, naive youth who still got the better of his boss as often as not (this character was originated by Kenny Baker, but perfected by Day); and, especially, Eddie Anderson as valet-chauffeur Rochester van Jones — who was as popular as Benny himself.


Superman - Clark Kent Reporter
Sep 09 2006 11 mins  
clickhere Visit the Radio America Store web site.Buy your 50 mp3 for &5.00 Superman on Radio Superman on Radio The Adventures of Superman "Faster than a speeding bullet! More powerful than a locomotive! Able to leap tall buildings at a single bound!" "Look! Up in the sky!" "It's a bird!" "It's a plane!" "It's Superman!" "Yes, it's Superman - strange visitor from another planet who came to Earth with powers and abilities far beyond those of mortal men. Superman - defender of law and order. champion of equal rights, valiant, courageous fighter against the forces of hate and prejudice, who disguised as Clark Kent, mild-mannered reporter for a great metropolitan newspaper, fights a never-ending battle for truth, justice and the American way." The above signature was heard in many variations over the airwaves, and has become as much a part of the public's perception of Superman as his blue, red and yellow costume. What most people don't know, is that this widely recognised opening did not originate from the 4-color pages of Superman comics, but rather on the long-running adventures serial that was one of the hallmarks of the Golden Age of Radio. We all know that Superman first appeared in 1938 within the pages of Action Comics #1, but much of the mythology associated with Superman and many of the supporting cast of characters originated in his radio adventures. Daily Planet characters such as Perry White and Jimmy Olsen, along with Inspector Bill Henderson, were originally created for the radio series. Superman first discovered his greatest weakness, Kryptonite, in his radio adventures long before it appeared within the pages of the Superman comics. He also regularly teamed up with Batman and Robin on radio before the trio joined forces in the comic books. The radio series' influence also extended to the big screen. The Fleischer Superman movie-cartoons were nominated for Academy Awards, and featured voices from the cast of the radio series, while the screenplays of Columbia's 1948 and 1950 Superman movie serials were adapted from the radio program rather than from the stories within the comic books. Up, Up and Away! Superman first flew onto the radio airwaves on Monday, 12 February, 1940 as a transcribed series for Hecker's H-O Oats. DC's press agent Allen Ducovny and former pulp fiction author Robert Joffe Maxwell developed the new series. The two were quick to realise that Superman's popularity could be boosted by the vast radio audiences. In 1939, Maxwell and Ducovny prepared several sample audition disks to sell the idea to prospective sponsors, co-writing the first version of Superman's famous opening signature: "Faster than an airplane, more powerful than a locomotive, impervious to bullets. 'Up in the sky - look!' 'It's a giant bird.' 'It's a plane.' 'It's SUPERMAN!' And now, Superman - A being no larger than an ordinary man but possessed of powers and abilities never before realised on Earth: able to leap into the air an eigth of a mile at a single bound, hurtle a 20-story building with ease, race a high-powered bullet to its target, lift tremendous weights and rend solid steel in his bare hands as though it were paper. Superman - a strange visitor from a distant planet: champion of the oppressed, physical marvel extraordinary who has sworn to devote his existence on Earth to helping those in need." "We had a lot of fun writing that opening," Ducovny once said. "It was a typical radio action piece that fully utilized sound effects." The new show was purchased by Hecker's H-O Oats, who tried to buy time on the networks but were turned down. Nevertheless, Hecker's bought airtime on ten stations and distributed the prerecorded series on 16-inch "electrical transcription" disks. Superman achieved a Crossley rating of 5.6 ten weeks after its debut, the highest rating of any thrice-weekly juvenile program on the air. Frank Chase produced the early episodes of Superman, George Ludlum s(continued)








Perrt Mason - Homocide office
Aug 23 2006 10 mins  
clickhere Visit the Radio America Store web site.Buy your 50 mp3 for &5.00 Perry Mason on the Radio Since his film experience with Hollywood turned out to be so embarrassing it may come as a surprise that Gardner agreed to put his hero on radio. Although his compadres advised him to aim for a nighttime, prime time slot for Mason, Gardner sold the radio rights to Procter & Gamble, the kingpins of soap, who decided to put the series on during the day. (It was these daytime radio programs, usually funded by detergent companies, that gave rise to the name "soap opera.") The Perry Mason radio series premiered on a few stations in October 1943 and in three months was playing five days a week on stations all across the country. Gardner considered the show a kind of continuing advertisement for his books, in the same way that the Ellery Queen radio show promoted the popular detective books of the same name. But when he sat down and tried to write scripts for the episodes, he failed miserably. "As a soaper, I stunk," he said at the time. He admitted his strengths were in narrative writing and not scripting. When the sponsors brought in another writer to punch up the Mason character, Gardner felt his control of the show (he had "veto rights") slipping away. He came to dislike the show's writing, the plots, the production, even the ads. And he must have been qualified to judge. He monitored the program every day, taking notes--not many of which were complimentary.


Captain Midnight 10
Aug 15 2006 15 mins  
clickhere Visit the Radio America Store web site.Buy your 50 mp3 for &5.00 Captain Midnight was a U.S. radio serial broadcast from 1938 to 1949. Created by radio scripters Wilfred G. Moore and Robert M. Burtt, the program was developed at WGN in Chicago. Sponsored by the Skelly Oil Company, it began as a syndicated show in the fall of 1938, airing on a few midwest stations through the spring of 1940. In the fall of 1940, Ovaltine took over sponsorship, and the series was then heard nationally on the Mutual Radio Network where it remained until December, 1949. The title character, Charles James Albright, was a World War I pilot. His Captain Midnight code name was given by a general who sent him on a high-risk mission. When the show began in 1938, Albright was a private aviator who helped people, but his situation changed in 1940. When the show was taken over by Ovaltine, the origin story explained how Albright was recruited to head the Secret Squadron, an aviation-oriented paramilitary organization fighting sabotage and espionage during the period prior to the United States' entry into World War II. The Secret Squadron acted both within and outside the United States. When the United States was attacked at Pearl Harbor, the show shifted the Secret Squadron's duties to fight the more unconventional aspects of the war. Besides the stock villain, Ivan Shark, the war years introduced Axis villains, Baron von Karp, Admiral Himakito and von Schrecker. After the war, some of the newer villains used war surplus equipment to carry out their activities. The show was extremely popular, with an audience in the millions. Just under half the listeners were adult, and it was a favorite of WWII Army Air Corps crews when they were stationed in the U.S. Premiums offered by the series were decoders, and these Code-O-Graphs were used by listeners to decipher daily messages previewing the next day's episode.

Twilight Zone Still Valley
Aug 15 2006 42 mins  
clickhere Visit the Radio America Store web site.Buy your 50 mp3 for &5.00 The Civil War is nearing its end. The Confederacy, beaten down and fading fast, is slowly realizing their cause is lost. However, there are still those diehards who will fight to the last. Among them is Joseph Paradine, a Rebel Scout who is still getting reconnaissance on Union targets. Ignoring the treasonous advice of his cowardly subordinate Dauger, Paradine decides to stealthily investigate a small town that should be a hotbed of Union activity but is strangely quiet. Paradine discovers the reason for the stillness is that everyone in the town has been frozen into immobility as if by magic. The only man stirring is a wild-looking old man named Teague, who claims that he is a warlock who has cast the spell of stillness. Teague says that he will be dead before the end of the day, so he gives his book of black magic to Paradine. The old man tells him the book can win the war for the South...but the price may be the very soul of the Confederacy! "Still Valley" is a fairly average episode of "Twilight Zone" but still boasts some notable performances and images. As Paradine, veteran actor Gary Merrill hits just the right note of weariness and toughness. He also delivers some pretty florid dialogue. Vaughn Taylor as Old Man Teague is pretty creepy and looks like someone who wouldn't have any problem trafficking with the Devil. The "stillness" of the townsfolk is imperfectly realized. When Paradine inspects a row of frozen soldiers, many can be seen blinking and twitching. The final denouement is a memorable one and suggests that there IS such a thing as too high a price for victory. Teague: "You've got the right of it, Johnny Reb. That's just who you're in league with. The Devil! The Devil, you're in league with the Devil! The Devil...."












Dick Tracy - The case of the positive negative 1948-01-22
Jul 26 2006 16 mins  
clickhere Visit the Radio America Store web site.Buy your 50 mp3 for &5.00 Dick Tracy had a long run on radio, from 1934 weekdays on NBC's New England stations to the ABC network in 1948. Bob Burlen was the first radio Tracy in 1934, and others heard in the role during the 1930s and 1940s were Barry Thompson, Ned Wever and Matt Crowley. The early shows all had 15-minute episodes. On CBS, with Sterling Products as sponsor, the serial aired four times a week from February 4, 1935 to July 11, 1935, moving to Mutual from September 30, 1935 to March 24, 1937 with Bill McClintock doing the sound effects. NBC's weekday afternoon run from January 3, 1938 to April 28, 1939 had sound effects by Keene Crockett and was sponsored by Quaker Oats, which brought Dick Tracy into primetime (Saturdays at 7pm and, briefly, Mondays at 8pm) with 30-minute episodes from April 29, 1939 to September 30, 1939. The series returned to 15-minute episodes on the ABC Blue Network from March 15, 1943 to July 16, 1948, sponsored by Tootsie Rolls, which used the music theme of "Toot Toot, Tootsie" for its 30-minute Saturday ABC series from October 6, 1945 to June 1, 1946. Sound effects on ABC were supplied by Walt McDonough and Al Finelli. Directors of the series included Mitchell Grayson, Charles Powers and Bob White. Cast members at various times included Walter Kinsella as Pat Patton, Helen Lewis as Tess Trueheart and Andy Donnelly and Jackie Kelk as Junior Tracy. Announcers were Ed Herlihy and Dan Seymour.








Box 13- 49-03-05 Susy quits paper work
Jul 23 2006 26 mins  
clickhere Visit the Radio America Store web site.Buy your 50 mp3 for &5.00 Box 13 was a syndicated radio series about the escapades of mystery novelist Dan Holiday (Alan Ladd), a former newsman. Created by Mayfair Productions, the series premiered August 22, 1948, on New York's WOR and aired in syndication on the East Coast from August 22, 1948, to August 14. 1949. On the West Coast, Box 13 was heard from March 15, 1948 to March 7, 1949. To seek out new ideas for his fiction, Holiday ran a classified ad in the Star-Times newspaper. "Adventure wanted, will go anywhere, do anything -- Box 13." The stories followed Holiday's adventures when he responded to the letters sent to him by such people as a psycho killer and various victims. Sylvia Picker appeared as Holiday's scatterbrained secretary Suzy. Supporting cast members included Betty Lou Gerson, Frank Lovejoy, Lurene Tuttle, Alan Reed, Luis Van Rooten and John Beal. Vern Carstensen, who directed Box 13 for producer Richard Sanville, was also the show's announcer. Among the 52 episodes in the series were such mystery adventures as "The Sad Night," "Hot Box," "Last Will And Nursery Rhyme," "Hare And Hounds," "Hunt And Peck," "Death Is A Doll," "Tempest In a Casserole" and "Mexican Maze." The dramas featured music by Rudy Schrager. Russell Hughes, who had previously hired Ladd as a radio actor in 1935 at a $19 weekly salary, wrote the scripts, sometimes in collaboration with Ladd. The partners in Mayfair Productions were Ladd and Bernie Joslin, who had previously run the chain of



Abbott & Costello
Jul 22 2006 25 mins  
bbott and Costello (William (Bud) Abbott, 1897-1974; Louis Cristillo, 1906-1959) were an American comedy duo whose work in radio, film, and television made them one of the most popular and respected teams in comedy history. Their "Who's on First?" routine, developed during their years in burlesque, is widely considered to be one of the greatest comedy sketches of all time. They received their first national exposure in 1938 when they appeared on radio's The Kate Smith Hour. Their popularity on the program grew and they stayed on as regulars for two years. This led to roles in a Broadway musical, "The Streets of Paris," in 1939. In 1940 they were signed by Universal for the film One Night in the Tropics. Cast strictly in a supporting capacity, they nonetheless stole the show with several classic routines, including their immortal "Who's on First?" Universal signed them to a long-term contract and their second film, "Buck Privates," 1941 secured their place as movie stars. The duo made over 30 films between 1940 and 1956 (see list below) and were among the most popular and highest-paid entertainers in the world during World War II. Among their most popular films are "Hold That Ghost," "Who Done It?", "Pardon My Sarong," "The Time of Their Lives," "Buck Privates Come Home," "Abbott and Costello Meet Frankenstein," and "Abbott and Costello Meet the Invisible Man." The team also appeared on radio throughout the 1940s. They began by hosting a summer replacement series for Fred Allen on NBC in 1940, then joined Edgar Bergen and Charlie McCarthy on the Chase and Sanborn program in 1941. During the same period two of their films, "Buck Privates" and "Hold That Ghost," were adapted for radio and presented on Lux Radio Theater. On October 8, 1942 the team launched their own weekly show on NBC sponsored by Camel cigarettes. They moved to ABC (the former NBC Blue Network) from 1947-49. By 1951, the twosome had moved to television--first as one of the rotating hosts of The Colgate Comedy Hour (Eddie Cantor and Bob Hope were among the others) and then, the following year, in their own situation comedy, The Abbott and Costello Show. The half-hour series was loosely adapted from their radio show, but cast the duo as unemployed wastrels. One of the show's running gags involved Abbott perpetually nagging Costello to get a job to pay their rent, while Abbott barely lifted a finger himself in that direction. The show featured Sidney Fields as their landlord and Hillary Brooke as a friendly neighbor who sometimes got involved in the pair's schemes. Another semi-regular was Joe Besser, who played Stinky, a 40-year-old sissy dressed in a Little Lord Fauntleroy suit. The Abbott and Costello Show ran from 1952 to 1954, but the show found a new life in syndicated rerun broadcast in the late 1960s and early-to-mid 1970s, and the episodes were probably seen by more viewers this time around than when the show was actually produced.


Celebrating 50 years of radio
Jul 20 2006 32 mins  
clickhere Visit the Radio America Store web site.Buy your 50 mp3 for &5.00 Broadcasting is the distribution of audio and/or video signals (programs) to a number of recipients ("listeners" or "viewers") that belong to a large group. This group may be the public in general, or a relatively large audience within the public. Thus, an Internet channel may distribute text or music world-wide, while a public address system in (for example) a workplace may broadcast very limited ad hoc soundbites to a small population within its range. The sequencing of content in a broadcast is called a schedule. With all technological endevours a number of technical terms and slang are developed please see the list of broadcasting terms for a glossary of terms used. Television and radio programs are distributed through radio broadcasting or cable, often both simultaneously. By coding signals and having decoding equipment in homes, the latter also enables subscription-based channels and pay-per-view services. A broadcasting organisation may broadcast several programs at the same time, through several channels (frequencies), for example BBC One and Two. On the other hand, two or more organisations may share a channel and each use it during a fixed part of the day. Digital radio and digital television may also transmit multiplexed programming, with several channels compressed into one ensemble. When broadcasting is done via the Internet the term webcasting is often used. In 2004 a new phenomenon occurred when a number of technologies combined to produce Podcasting. Podcasting is an asynchronous broadcast/narrowcast medium. One of the main proponents being Adam Curry and his associates the Podshow. Broadcasting forms a very large segment of the mass media. Broadcasting to a very narrow range of audience is called narrowcasting. The term "broadcast" was coined by early radio engineers from the midwestern United States. "Broadcasting", in farming, is one method of spreading seed using a wide toss of the hand, in a broad cast.








Green Hornet - Oliver Perrys car
Jul 13 2006 28 mins  
clickhere Visit the Radio America Store web site.Buy your 50 mp3 for &5.00 The Green Hornet was an American radio program that ran on WXYZ (Detroit), the Mutual Network and the ABC Blue Network from January 31, 1936 to December 5, 1952. Created by WXYZ's George W. Trendle and Fran Striker, who also created The Lone Ranger, the juvenile adventure series initially starred Al Hodge in the title role, followed by Donovan Faust (1943), Bob Hall (1944-51) and Jack McCarthy (1951-52). The radio show used Rimsky-Korsakov's "Flight of the Bumblebee" as its theme song, blended with a hornet buzz created on a theremin. The series detailed the adventures of Britt Reid, debonair newspaper publisher by day, crime-fighting masked hero at night, along with his trusty sidekick, Kato, a Filipino of Japanese ancestry. With the outbreak of World War II his Japanese heritage was almost completely dropped, leading to the common misperception that the character's nationality had been switched by the show's writers. (When the characters were used in a pair of movie serials Kato's nationality was inexplicably given as Korean.) Reid is a close relative of The Lone Ranger. The character of Dan Reid, who appeared on the Lone Ranger program as the Masked Man's nephew, was also featured on the Green Hornet as Britt's father. The Lone Ranger's name is often incorrectly stated to have been John Reid, an error first made in a volume called The Big Broadcast in the 1970s. In fact, however, writers for WXYZ never provided a first name for the character. In the original introduction of the radio show announcer Mike Wallace proclaimed that the Green Hornet went after criminals that "even the G-Men (FBI agents) couldn't reach". The show's producers were called by FBI chief J. Edgar Hoover who prompted them to remove the line implying that some crime fighting was beyond the abilities of the FBI. During World War II, the radio show's title was used as a codename for SIGSALY, secret encryption equipment used in the war.

Back of the Mike (1938)
Jul 12 2006 9 mins  
clickhere Visit the Radio America Store web site.Buy your 50 mp3 for &5.00 Back Of The Mike" is well done. It shows the viewer how a 1930's radio play was done in the studio. Unlike television, the radio listeners had to participate by using their imagination. HOW SOUND EFFECTS ARE PRODUCED IN THE MODERN RADIO STUDIO. BOY LISTENS TO WESTERN DRAMA ON RADIO; THIS IS INTERCUT WITH ACTORS & TECHNICIANS PRODUCING SOUND EFFECTS. CONTAINS WESTERN CHASE SCENES. DAY IS SAVED BY SHERIFF'S DAUGHTER IN CHEVROLET. Ken Smith sez: A boy lies on his bed (wearing a white shirt and a necktie), listening to a radio western. We see the images the radio creates in his mind, then we cut to the studio, where we see that this whole fantasy world is created at a frantic pace by announcers in three-piece suits and sound-effects technicians operating incredibly complicated jury-rigged devices. Since this is a Jam Handy picture, the good guys catch the bad guys in the end because the good guys are in a Chevrolet and the bad guys are only on horses. COMMUNICATIONS PERCEPTION ACTORS RADIOS BOYS HOMES HOUSES CHILDREN CHEVROLET ADVERTISING SHERIFFS NARRATIVES COWBOYS CRIMINALS FATHERS DAUGHTERS WOMEN MEN APPARATUS HUMOR WIPES Radio broadcasting Radio studios Microphones Sound effects Surrealism Actors Entertainment Westerns (genres) Automobiles (Chevrolet) Fires Chases Horses Language Accents (regional) Sounds Mountains Stunts Robberies Crime Bandits Desperadoes Radio drama Drama (radio) Plays (radio) Safety









Fred Allen - Santa wont ride tonight
Jul 07 2006 50 mins  
clickhere Visit the Radio America Store web site.Buy your 50 mp3 for &5.00 Fred Allen hated television. Allen was a radio comedian for nearly two decades who, as early as 1936, had a weekly radio audience of about 20 million. When he visited The Jack Benny Show to continue their long running comedy feud, they had the largest audience in the history of radio, only to be later outdone by President Franklin Roosevelt during a Fireside Chat. The writer Herman Wouk said that Allen was the best comic writer in radio. His humor was literate, urbane, intelligent, and contemporary. Allen came to radio from vaudeville where he performed as a juggler. He was primarily self-educated and was extraordinarily well read. Allen's world of radio was highly competitive and commercial, just as TV would be many years later. He wrote most of the material for his weekly shows himself, usually working 12 hour days, 6 days a week. Most comedians, like Bob Hope, had an office filled with writers, but Allen used only a few assistants in writing his comedy. And some of these assistants went on to have successful careers in literature and comedy, such as Herman Wouk author of The Caine Mutiny and The Winds of War, and Nat Hiken who created Phil Silver's The Phil Silvers Show for TV. Allen's program was imbued with literate, verbal slapstick. He had ethnic comedy routines in Allen's Alley, appearances by celebrities such as Alfred Hitchcock, musical numbers with talent from the likes of Richard Rodgers and Oscar Hammerstein, and social commentaries on every conceivable subject, especially criticisms of the advertising and radio industry.



Superman radio
Jul 06 2006 11 mins  
clickhere Visit the Radio America Store web site.Buy your 50 mp3 for &5.00 Clark Kent is the secret identity of Superman. Kent, as opposed to Superman, is traditionally presented as behaving in a more introverted or mild manner compared to his superheroic self. John Byrne's The Man of Steel revamp drops many traditional aspects of Clark Kent in favor of giving him a more aggressive and extroverted personality, including making Kent a top football player in high school and a successful author. Recent storylines restore elements of the earlier mild-mannered version of Kent. Clark Kent is a reporter at the Metropolis newspaper The Daily Planet, which allows him to keep track of events in which he might be able to help. Fellow reporter Lois Lane is often the object of Clark's affection; Lois's affection for Superman and rejection of Clark are a recurring theme in Superman comics, television, and movies. Unlike Batman, Superman considers himself Clark Kent first and Superman second. In an episode of Lois & Clark: The New Adventures of Superman Superman says, "Superman is what I can do; Clark is who I am." Clark keeps his Superman identitity a secret to protect his loved ones. Various methods for keeping his Superman's identity secret over the years include his using "super-hypnosis", subliminally causing people to not make the connection, compressing his spine as Clark Kent to become shorter, and studying the Meisner acting technique to switch seamlessly between personas. Modern comic book stories show that to everyone, Superman is the greatest hero in the world and a larger-than-life figure, and no one thinks to look for him living as a normal human. Furthermore, since Superman goes into public unmasked, most people assume that he has no other identity. Even Batman commended him on his disguise. As long as he does not let on that he has another life, there is no real reason to look for a secret identity. When first confronted by evidence that Clark Kent is Superman, Lex Luthor dismisses it, saying, "No one with the power of Superman would be living as a normal man".










Great Classics, A Tale of two cities
Jun 04 2006 12 mins  
clickhere Visit the Radio America Store web site.Buy your 50 mp3 for &5.00 creative commons license click here visit creative commons license A Tale of Two Cities (1859) is one of Dickens’ two historical novels, the other being Barnaby Rudge, the two cities in question are Paris and London at the time of the French Revolution. Perhaps unsurprisingly Dickens seems to disdain the aristocracy. The heroic nobleman, Charles Darnay, renounces his status in opposition to his uncle, the Marquis de St Evremonde, and the evils of oppression he represents. Meanwhile, Dr Manette the physician has become aware of the Marquis’ ill-practice through a young peasant and his sister who have been hideously treated. After Darnay leaves France, he falls in love with Manette’s daughter, Lucie, and they are married. The story continues after Darnay’s happiness with Lucie as he returns to France during the Terror to save a servant. Darnay is arrested and condemned to death. The final section of the novel is concerned with the question of whether he will survive or be punished for his noble act of rescue, and whether or not the Englishman Carton who resembles Darnay will be able to save his life. It is a story of great sacrifices being made for the sake of principle. The novel is notable for its vivid representation of France during this troubled time and was modelled on Carlyle’s The French Revolution. Although contemporary critics saw it as humourless, it has become popular since then due to film and dramatic adaptations.







Lum and abner lum to dine 41-12-19
May 25 2006 11 mins  
clickhere Visit the Radio America Store web site.Buy your 50 mp3 for &5.00 creative commons license click here visit creative commons license Lum and Abner, an American radio comedy which aired as a network program from 1932 to 1954, became an American institution in its low-keyed, arch rural wit. One of a series of 15-minute serial comedies that dotted American radio at its height as America's number one home entertainment---others included Amos 'n' Andy, Easy Aces, The Goldbergs, and Vic and Sade---Lum and Abner included various elements of each but yielded something as singular as the others and became somewhat more of an institution. The creation of co-stars Chester Lauck (as Columbus "Lum" Edwards) and Norris Goff (as Abner Peabody), Lum and Abner was as low-keyed as Easy Aces, as cheerfully absurdist as Vic and Sade, and raised The Goldbergs ethnic focus by amplifying the protagonists' regional identities. As the co-owners of the Jot 'em Down Store in the then-fictional town of Pine Ridge, Arkansas, who were always stumbling upon moneymaking ideas only to get themselves fleeced by nemesis Squire Skimp, before finding one or another way to redeem themselves, Lum and Abner played the hillbilly theme with deceptive cleverness: the hillbillies just knew the slickers were going to get theirs, sooner or later, and either didn't mind or knew more than they let on that the slickers getting theirs was a matter of fortunate circumstance.






Crime Classics lethal habits of marg 540526
May 15 2006 30 mins  
clickhere Visit the Radio America Store web site.Buy your 50 mp3 for &5.00 creative commons license click here visit creative commons license Crime Classics was a U. S. radio docudrama which aired over CBS from June 15, 1953 to June 30, 1954. Created, produced, and directed by radio actor/director Elliott Lewis, the program was basically a historical true crime series, examining crimes, and especially murders, from the past. It grew out of Lewis's personal interest in famous murder cases, and took a documentary-like approach to the subject, carefully recreating the facts, personages, and feel of the time period. Comparatively little dramatic license was taken with the facts and events, but the tragedy was leavened with humor, expressed largely through the narration. The crimes dramatized generally covered a broad time and place frame from ancient Greece to late 19th century America. Each episode in the series was co-written by Morton Fine and David Friedkin, in consultation with Lewis, although the scripting process was more a matter of research, as the stories were "adapated from the original court reports and newspaper accounts" for the most part (or from the works of historians in the case of the ancient crimes). The cases ranged from famous assassinations (of Abraham Lincoln and Julius Caesar) and the lives (and often deaths) of the likes of Cesare Borgia and Blackbeard to more obscure yet fascinating cases, such as that of Bathsheba Spooner. Spooner killed her husband Joshua Spooner in 1778 and became the first woman to be tried and executed in the United States of America.

A pair of Nylons - The Green Hornet
May 12 2006 25 mins  
clickhere Visit the Radio America Store web site.Buy your 50 mp3 for &5.00 The Green Hornet was an American radio program that ran from January 31, 1936 to 1952, created by George W. Trendle, who also created The Lone Ranger, and initially starring Al Hodge as the Hornet. It was later made into a 1966-67 television program starring Van Williams as the Green Hornet and Bruce Lee as Kato. The series detailed the adventures of Britt Reid, debonair newspaper publisher by day, crime-fighting masked hero at night, along with his trusty sidekick, Kato. Kato was a Filipino of Japanese ancestry. With the outbreak of World War II his Japanese heritage was almost completely dropped, leading to the common misperception that the character's nationality had been switched by the show's writers. (When the characters were used in a pair of movie serials Kato's nationality was inexplicably given as Korean.) Reid is a close relative of John Reid, The Lone Ranger. The character of Dan Reid, who appeared on the Lone Ranger program as the Masked Man's nephew was also featured on the Green Hornet as Britt's father. In the original introduction of the radio show announcer Mike Wallace proclaimed that the Green Hornet went after criminals that "even the G-Men (FBI agents) couldn't reach". The show's producers were called by FBI chief J. Edgar Hoover who prompted them to remove the line implying that some crime fighting was beyond the abilities of the FBI.











Abbott & Costello spanish acting school 45-05-03
Apr 24 2006 30 mins  
clickhere Visit the Radio America Store web site.Buy your 50 mp3 for &5.00 Abbott & Costello were one of the greatest comedy teams in the history of show business. They mastered the straightman/clown relationship, creating a magical chemistry that would take them from the burlesque stage to radio to broadway to film and finally, to television Born William Alexander Abbott on October 6, 1897 in Asbury Park, N.J., Bud became one of the most sought after and polished straightmen on the burlesque circuit. It was here that he met his future partner, Louis Francis Cristillo, born on March 6, 1906 in Paterson, N.J. Their official teaming was in 1936. Although they became a popular booking commodity on the burlesque wheel, it wasn't until they appeared on the KATE SMITH RADIO HOUR, performing what would soon become known as their classic signature skit, "Who's On First," that Bud Abbott & Lou Costello were hurled to stardom, and to Hollywood. Signed to Universal in 1939, Abbott & Costello reigned as the new "Kings Of Comedy," producing a solid decade of box office hits as: "Buck Privates;" "In The Navy;" "Hold That Ghost;" "Naughty Nineties;" "Time Of Their Lives;" and their 1948 monster classic, "Abbott & Costello Meet Frankenstein." Today, that film remains a favorite among fans, as well as an international cult masterpiece. Bud and Lou's style and brand of comedy helped lift the morale of the American public during World War II.


























38,000 classic shows coming soon
Mar 31 2006
Step back in time and enjoy these classic Old Time Radio Shows. Remember the Laughter, the Fun, the Thrills and Chills! Whether you love Drama, Suspense, Horror, SciFi, Western, Comedy or Adventure, RadioAmerica offers the best of Old Time Radio! Now you don't have to just reminisce "about the good old days" you can actually listen to Jack Benny, Abbott and Costello, Groucho Marx, Bob Hope, Gunsmoke, Sherlock Homes, and many other Old Radio Shows in your home once again! Start collecting today! Get ready to sit back and enjoy hours of Radio entertainment. We are pleased to announce that soon you will be able to order many great differnet shows, 50 shows in mp3 formatt on a cd for a low price of $5.00 which includes shipping. If you are interested please email me at [email protected] Each CD contains presumed PUBLIC DOMAIN old time radio shows. If anybody has written proof that any of the series offered are not PUBLIC DOMAIN, please email [email protected] and the series will promptly be removed from the radioamerica data base. RadioAmerica will not knowingly offer copyrighted material. Radio America does not offer these public domain old time radio shows for sale, nor does it claim any ownership; proceeds received are not in any way a payment for the programs themselves, but are for the service of delivery of these shows from the private collection. Proceeds from the website offset the price of machinery, supplies, and growing old time radio collection.




















































Lum&Abner
Mar 11 2006 11 mins  
Chet Lauck and Norris Goff were the creators of Lum & Abner. Chet was born on February 2, 1902 in Aleene, Arkansas and Norris was born in Cove, Arkansas on May 30, 1906. Both had moved to Mena with their families by 1911. They lived only a few blocks apart and grew up together. They were both very talented comedians and by 1931 had become local "Amos and Andy" imitators. They were scheduled to perform on a local charity program in Hot Springs, Arkansas on April 26, 1931. At the last minute they decided to appear as two old-time Arkansas philosophers with the names "Lum Eddards" and "Abner Peabody". Thus was formed a team that was to delight radio audiences for the next 25 years. Just three months later on July 27, 1931 "Lum & Abner" made its' national radio debut on the NBC radio network from Chicago with the Quaker Oats Company as their first sponsor. This was to continue, with different sponsors and networks, for nearly 25 years. They also performed their routines on vaudeville stages throughout the country. By 1933 they had introduced the "Jot "Em Down Store" to their audiences and this would become the focal point of most of the programs. By 1940, Chet and Norris were on their way to Hollywood to make the first of seven motion pictures. In 1948 the radio format was changed from a 15-minute show to a thirty minute program. The new shows used special guest stars, a live orchestra, and a studio audience. This was quite a change from the original shows and was not as well received by the listening audience. By 1953 television was the new rage in America. Chet and Norris considered trying the new medium and a pilot show was taped. However, Norris' health problems were just too much to allow him to stand rigors of performing on early tv. So Chet and Norris decided to retire those "two loveable old characters from Pine Ridge". Another era of the golden age of radio came to an end. They had performed over 5,000 live radio programs and entertained countless millions of fans. For the next ten years or so Chet and Norris each made several appearances on various tv programs but never again revived the Lum & Abner show. Norris "Tuffy" Goff (Abner) passed away on June 12, 1978 and Chester "Chet" Lauck (Lum) joined him on February 21, 1980. Gone but definitely NOT forgotten!













Marx Brothers 1937
Mar 02 2006 9 mins  
During the mid-1930's, radio began to displace movies as the most popular entertainment medium. After all, it was free, it didn't require going out, and a much broader array of show formats was available, most of which did not require the time commitment of the audience that movies required. This boom in popularity saw a scramble to secure available talent for radio shows, and big-name Hollywood movie personalities were a prime target. As luck would have it, the Marx Brothers were on the downhill side of their cinematic careers and were looking to branch out into other areas. Groucho especially sought out radio, which gave him opportunity to exercise his natural wit. Chico pursued a career as a band leader, which landed him occasional air time, as the broadcasting of big band music was a popular use of the airwaves. For obvious reasons, Harpo was at a handicap in this medium, but still found an occasional guest spot. I have attempted here to document several radio appearances by each of the three brothers; however, as record keeping was not viewed as a necessity in this field back then, there is no attempt to present this as a complete list. Particularly difficult to trace to a specific date are Armed Forces Radio Service (AFRS) broadcasts* of Command Performance, G.I. Journal, and Mail Call broadcasts, which were often recorded on disc only for distribution to military bases, and whose broadcast dates and times varied at each locale."













abbott & costello bank robbery
Feb 22 2006 29 mins  
Abbott & Costello were one of the greatest comedy teams in the history of show business. They mastered the straightman/clown relationship, creating a magical chemistry that would take them from the burlesque stage to radio to broadway to film and finally, to television Born William Alexander Abbott on October 6, 1897 in Asbury Park, N.J., Bud became one of the most sought after and polished straightmen on the burlesque circuit. It was here that he met his future partner, Louis Francis Cristillo, born on March 6, 1906 in Paterson, N.J. Their official teaming was in 1936. Although they became a popular booking commodity on the burlesque wheel, it wasn't until they appeared on the KATE SMITH RADIO HOUR, performing what would soon become known as their classic signature skit, "Who's On First," that Bud Abbott & Lou Costello were hurled to stardom, and to Hollywood. Signed to Universal in 1939, Abbott & Costello reigned as the new "Kings Of Comedy," producing a solid decade of box office hits as: "Buck Privates;" "In The Navy;" "Hold That Ghost;" "Naughty Nineties;" "Time Of Their Lives;" and their 1948 monster classic, "Abbott & Costello Meet Frankenstein." Today, that film remains a favorite among fans, as well as an international cult masterpiece. Bud and Lou's style and brand of comedy helped lift the morale of the American public during World War II. Eager to lend their time to the war effort, the boys funded (out-of-pocket) a cross-country tour to help raise much needed funds on behalf of the War Bond Drive. Everywhere they appeared there were sell-out audiences. They were honored on the steps of New York's City Hall by Mayor Furiello LaGuardia for raising a record-breaking 89 million in just three days































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