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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.

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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.

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Eighteen-year-old Mary Shelley wrote Frankenstein as her entry in an informal horror-writing competition with her husband, poet Percy Bysshe Shelley, Lord Byron and Dr. John Polidori. Her famous gothic story, often recognized as “the first modern science fiction novel,” went on to become the most famous horror story of all time. Frankenstein was first filmed by Thomas Edison in 1910 and by James Whale in 1931 (with Boris Karloff becoming a major Hollywood star with his portrayal of the monster). Frankenstein 02-20-44 by Mary Shelley. Starring Arthur Vinton (Professor Waldman). Dr. Victor Frankenstein creates a living being from animal parts, but the tortured creature returns and demands a mate for companionship. • Frankenstein 06-07-55 by Mary Shelley, adapted for radio by Antony Ellis (producer/director); Lucien Moraweck (composer); Wilbur Hatch (conductor); Larry Thor (announcer). Starring Stacy Harris (Victor Frankenstein); Herb Butterfield (James); Vivi Jannis (Elizabeth); Barney Phillips (Frankenstein’s monster). A young scientist creates a living creature from the dead, but his creation haunts the village and eventually destroys its maker.

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The Marx Brothers were a team of sibling comedians that appeared in vaudeville, stage plays, film, and television. Born in New York City, the Marx Brothers were the sons of Jewish immigrants from different parts of Germany (Plattdeutsch was the boys' first language). Their mother, Minnie Schönberg, hailed from Dornum in East Frisia, Germany, and their father Simon "Frenchie" Marrix (whose name was anglicized to Sam Marx) from Alsace, now a part of France. The family lived in the Upper East Side of New York City between the Irish, German and Italian Quarters.

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There were several radio adaptations. Gasoline Alley during the 1930s starred Bill Idelson as Skeezix Wallet with Jean Gillespie as his girlfriend Nina Clock. Jimmy McCallon was Skeezix in the series that ran on NBC from February 17 to April 11, 1941, continuing on the Blue Network from April 28 to May 9 of that same year. The 15-minute series aired weekdays at 5:30pm. Along with Nina (Janice Gilbert), the characters included Skeezix's boss Wumple (Cliff Soubier) and Ling Wee (Junius Matthews), a waiter in a Chinese restaurant. Charles Schenck directed the scripts by Kane Campbell. The syndicated series of 1948-49 featured a cast of Bill Lipton, Mason Adams and Robert Dryden. Sponsored by Autolite, the 15-minute episodes focused on Skeezix running a gas station and garage, the Wallet and Bobble Garage, with his partner, Wilmer Bobble. In New York this series aired on WOR from July 16, 1948 to January 7, 1949

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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.)

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The mysterious black rider who leaves his mark on all those who are bad in the world, Zorro zips about on his stallion slashing Zs about the countryside. Listen as "the champion of the poor and oppressed" slings his wild sword about galliantly. A show with a short run, only five programs are known to be in existance today. This short collection includes several of these rare and exciting episodes as well as the first show, which was broadcast on Preview Theater of the Air, a program "designed to introduce to the airwaves radio's outstanding hits of the future." Zorro rides again!

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The mysterious black rider who leaves his mark on all those who are bad in the world, Zorro zips about on his stallion slashing Zs about the countryside. Listen as "the champion of the poor and oppressed" slings his wild sword about galliantly. A show with a short run, only five programs are known to be in existance today. This short collection includes several of these rare and exciting episodes as well as the first show, which was broadcast on Preview Theater of the Air, a program "designed to introduce to the airwaves radio's outstanding hits of the future." Zorro rides again!

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Gunsmoke was a long-running American radio and television Western drama created by director Norman MacDonnell and writer John Meston. The stories took place in and around Dodge City, Kansas, during the settlement of the American West. The radio version ran from 1952 to 1961 and is commonly regarded as one of the finest radio dramas of all time. The television version ran from 1955 to 1975 and still holds the record for the longest-running U.S. prime time fictional television program.

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Ellery Queen is both a fictional character and a pseudonym used by two American cousins from Brooklyn, New York: Daniel (David) Nathan, alias Frederic Dannay (October 20, 1905–September 3, 1982) and Manford (Emanuel) Lepofsky, alias Manfred Bennington Lee (January 11, 1905–April 3, 1971), to write detective fiction. In a successful series of novels that covered forty-two years, Ellery Queen was not only the name of the author, but also that of the detective-hero of the stories. Movies, radio shows, and television shows have been based on their works. The two, particularly Dannay, were also responsible for co-founding and directing Ellery Queen's Mystery Magazine, generally considered as one of the most influential English crime fiction magazines of the last sixty-five years. They were also prominent historians in the field, editing numerous collections and anthologies of short stories such as The Misadventures of Sherlock Holmes. Their 994-page anthology for The Modern Library, 101 Years' Entertainment, The Great Detective Stories, 1841-1941, was a landmark work that remained in print for many years.

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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.

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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.

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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.

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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.

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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]

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There were several radio adaptations. Gasoline Alley during the 1930s starred Bill Idelson as Skeezix Wallet with Jean Gillespie as his girlfriend Nina Clock. Jimmy McCallon was Skeezix in the series that ran on NBC from February 17 to April 11, 1941, continuing on the Blue Network from April 28 to May 9 of that same year. The 15-minute series aired weekdays at 5:30pm. Along with Nina (Janice Gilbert), the characters included Skeezix's boss Wumple (Cliff Soubier) and Ling Wee (Junius Matthews), a waiter in a Chinese restaurant. Charles Schenck directed the scripts by Kane Campbell. The syndicated series of 1948-49 featured a cast of Bill Lipton, Mason Adams and Robert Dryden. Sponsored by Autolite, the 15-minute episodes focused on Skeezix running a gas station and garage, the Wallet and Bobble Garage, with his partner, Wilmer Bobble. In New York this series aired on WOR from July 16, 1948 to January 7, 1949.

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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.

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The Avengers burst in the door of spy and super-hero adventure drama on South African radio in 1971, starring Donald Monat as John Steed, and Diane Appleby as the wonderful Emma Peel. It was based on the fine British TV series, which was very popular from the start in the UK, and is an excellent example of radio's adaptation of the television medium...as it had done with movies all along.

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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.

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

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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.

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

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Dragnet was a popular, influential and long-running radio and television police procedural about the cases of a dedicated Los Angeles police detective, Sergeant Joe Friday, and his partners. The show takes its name from an actual police term, a dragnet for any system of coordinated measures for apprehending criminals or suspects.

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

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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

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

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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.)

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

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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

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

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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.

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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

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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.

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Gunsmoke was a long-running American old-time radio and television Western drama created by director Norman MacDonnell and writer John Meston. The stories took place in or about Dodge City, Kansas, during the settlement of the American West. The radio version ran from 1952 to 1961, and is commonly regarded as one of the finest radio dramas of all time; the television version ran from 1955 to 1975 and still holds the record for the longest-running U.S. prime time fictional television program.

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Blondie was a radio situation comedy adapted from the long-run Blondie comic strip by Chic Young. The radio program had a long run on several networks from 1939 to 1950. After Penny Singleton was cast in the title role of the feature film Blondie (1938), co-starring with Arthur Lake as Dagwood, she and Lake repeated their roles December 20, 1938, on The Bob Hope Show. The appearance with Hope led to their own show, beginning July 3, 1939, on CBS as a summer replacement for The Eddie Cantor Show. However, Cantor did not return in the fall, so the sponsor, Camel Cigarettes chose to keep Blondie on the air Mondays at 7:30pm. Camel remained the sponsor through the early WWII years until June 26, 1944. In 1944, Blondie was on the Blue Network, sponsored by Super Suds, airing Fridays at 7pm from July 21 to September 1. The final three weeks of that run overlapped with Blondie's return to CBS on Sundays at 8pm from August 13, 1944, to September 26, 1948, still sponsored by Super Suds. Beginning in mid-1945, the 30-minute program was heard Mondays at 7:30pm. Super Suds continued as the sponsor when the show moved to NBC on Wednesdays at 8pm from October 6, 1948, to June 29, 1949.

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Pulp magazine publisher Street and Smith decided that instead of advertising their magazines on newsstands, they would try something new: radio. In 1930, they sponsored a weekly show called the Detective Story Hour featuring adaptations of mystery stories from their magazine of the same name. The shows were first announced, then later narrated by a strange and shadowy figure named - appropriately - The Shadow. The voice was done by James La Curto, and later Frank Readick Jr. Much to Street and Smith's amazement, it was the narrator that became more popular than the show. Audiences were requesting for "that Shadow Detective Magazine". Walter B. Gibson was soon hired to write what would become one of the most successful pulp novel series in the 1930s and 1940s. In the meantime, The Shadow remained a narrator for other radio show such as Blue Coal Radio Revue and Love Story Hour (another Street and Smith magazine) during 1931-1932. During 1932, he had gotten his own show, but still remained a narrator.

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American comedy team that was popular on stage, screen, and radio for 30 years. They were celebrated for their inventive attacks on the socially respectable and upon ordered society in general. Five Marx brothers became entertainers: Chico Marx (original name Leonard Marx; b. March 22, 1887, New York, New York, U.S.—d. October 11, 1961, Hollywood, California), Harpo (original name Adolph…

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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.

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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)

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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 residents of London and Paris during the tense days before the Munich agreement. So many calls came to newspapers and so many newspapers found it advisable to check on the reports despite their fantastic content that The Associated Press sent out the following at 8:48 P. M.: "Note to Editors: Queries to newspapers from radio listeners throughout the United States tonight, regarding a reported meteor fall which killed a number of New Jerseyites, are the result of a studio dramatization. The A. P." Similarly police teletype systems carried notices to all stationhouses, and police short-wave radio stations notified police radio cars that the event was imaginary.

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William Alexander Abbott (born October 6, 1897 in Asbury Park, N.J.) was already an experienced 'straight man' when he first met his partner Louis Francis Cristillo (born March 6, 1906 in Paterson, N.J.) on the burlesque circuit. In 1936 the duo teamed up and became a much in demand act. However, it wasn't until an appearance on the Kate Smith Radio Hour, performing what would soon become their most famous sketch "Who's On First," that Bud Abbott & Lou Costello were to experience true stardom and a Hollywood career. Signed by Universal in 1939, Bud & Lou were hailed by the studio as "The New Kings Of Comedy," and went on to produce a decade of box office hits.

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The Superman animated cartoons, commonly known as the "Fleischer Superman cartoons" were a series of seventeen animated Technicolor short films, released by Paramount Pictures between 1941 and 1943, based upon the comic book character Superman. The first nine cartoons were produced by Fleischer Studios (the name by which the cartoons are commonly known). In 1942, Fleischer Studios was dissolved and reorganized as Famous Studios, which produced the final eight shorts. These cartoons are seen as some of the finest, and certainly the most lavishly budgeted, animated cartoons produced during The Golden Age of American animation. In 1994, the series was voted #33 of the 50 Greatest Cartoons of all time by members of the animation field. Affordable Web Hosting $5.99 A month

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Red Skelton Show Cast Red Skelton David Rose Orchestra Red Skelton Red Skelton Red Skelton Seeing Red : The Skelton in Hollywood's Closet by Wes D. Gehring, Steve Bell - Book TV Greatest Shows DVD 1950s TV's Greatest Shows - 12 Shows - 3 DVDs Includes Red Skelton Red Skelton Show Tidbits The Red Skelton Show began on radio in 1941 and was a success but television was the medium which best showcased the huge talents of Red Skelton. Radio didn't allow for Skelton to demonstrate his gift for pantomine and sight gags. The show always featured a guest star and some skits. Musical guests performed and one of the first TV appearances of the Rolling Stones was on Red Skelton. But it was for the wonderful characters Skelton created that people tuned in. Among those characters: Clem Kadiddlehopper Freddy Freeloader The Mean Widdle Kid Sheriff Deadeye Willy Lump Lump Cauliflower McPugg Bolivar Shagnasty San Fernando Red Skelton always closed his show with "God Bless." Passings Red Skelton died in 1997 of pneumonia. Affordable Web Hosting $5.99 A month

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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."

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Throughout the 1950s, Rod Serling had established himself as one of the hottest names in television, equally famous for his success in writing televised drama as he was for criticizing the medium's limitations. His most vocal complaints concerned the censorship frequently practiced by sponsors and networks. "I was not permitted to have my Senators discuss any current or pressing problem," he said of his 1957 production "The Arena", intended to be an involving look into contemporary politics. "To talk of tariff was to align oneself with the Republicans; to talk of labor was to suggest control by the Democrats. To say a single thing germane to the current political scene was absolutely prohibited... In retrospect, I probably would have had a much more adult play had I made it science fiction, put it in the year 2057, and peopled the Senate with robots. That would probably have been more reasonable and no less dramatically incisive."

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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.

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were a team of sibling comedians that appeared in vaudeville, stage plays, film and television. Born in New York City, the Marx Brothers were the sons of Jewish immigrants from different parts of Germany. (Plattdeutsch was the boys' first language.) Their mother, Minnie Schönberg, originally hailed from Dornum in East Frisia, Germany, and their father Simon "Frenchie" Marrix (whose name was anglicized to Sam Marx) from Alsace, now a part of France. The family lived in the Upper East Side of New York City between the Irish, German and Italian Quarters. Contents

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A Christmas Carol (full title: A Christmas Carol in Prose, Being a Ghost Story of Christmas) is Charles Dickens' "little Christmas Book" first published on December 19,] 1843 and illustrated by John Leech. The story met with instant success, selling six thousand copies within a week. Originally written as a potboiler to enable Dickens to pay off a debt, the tale has become one of the most popular and enduring Christmas stories of all time. In fact, contemporaries of the time noted that the popularity of the story played a critical role in redefining the importance of Christmas and the major sentiments associated with the holiday. Few modern readers realize that A Christmas Carol was written during a time of decline in the old Christmas traditions. "If Christmas, with its ancient and hospitable customs, its social and charitable observances, were in danger of decay, this is the book that would give them a new lease," said English poet Thomas Hood in his review in Hood's Magazine and Comic Review (January 1844, page 68).

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The Adventures of Ichabod and Mr. Toad is an animated feature produced by Walt Disney Studios and released to theaters on October 5, 1949 by RKO Radio Pictures. It is the eleventh animated feature in the Disney animated features canon. This film was the final of Disney's 1940s "package films" (feature films comprised of two or more short subjects instead of a single feature-length story). Beginning with the next animated feature release, Cinderella, his studio would return to the feature-length stories that low income and World War II had caused a drought of during the 1940s.

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Crosby's biggest musical hit was his recording of Irving Berlin's "White Christmas" which he introduced through a 1941 Christmas-season radio broadcast and the movie Holiday Inn. Bing's recording hit the charts on 3 October 1942, and rose to #1 on 31 October, where it stayed for 11 weeks. In the following years Bing's recording hit the top-30 pop charts another 16 times, even topping the charts again in 1945 and January of '47. The song remains Bing's best-selling recording, and the best-selling single and best selling song of all time . In 1998 after a long absence, his 1947 version hit the charts in Britain, and as of 2006 remains the North American holiday-season standard. According to Guinness World Records, Bing Crosby's White Christmas has "sold over 100 million copies around the world, with at least 50 million sales as singles."

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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.

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Harry Lillis "Bing" Crosby (May 3, 1903 – October 14, 1977) was an American singer and actor whose career lasted from 1926 until his death in 1977. Arguably the first true multi-media star, Bing Crosby's influence on popular culture and popular music is enormous -- from 1934 to 1954 he held a nearly unrivaled command of record sales, radio ratings and motion picture grosses. He is usually considered to be a member of popular music's "holy trinity" of ultra-icons, alongside Elvis Presley and The Beatles1, and is currently the most electronically recorded human voice in history (Schwartz, 1995) [1] Crosby is also credited as being the major inspiration for most of the male singers that followed him, including the likes of Frank Sinatra, Perry Como and Dean Martin. Tony Bennett summed up Crosby's impact, stating, "Bing created a culture. He contributed more to popular music than any other person - he moulded popular music. Every singer in the business has taken something from Crosby. Every male singer has a Bing Crosby idiosyncrasy." 1

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A Date with Judy was an American radio program during the 1940s. It was a teenage comedy that began as a summer replacement for Bob Hope's show, sponsored by Pepsodent and airing on NBC from June 24 to September 16, 1941, with 14-year-old Ann Gillis in the title role. Dellie Ellis portrayed Judy when the series returned the next summer (June 23–September 15, 1942). Louise Erickson took over the role the following summer (June 30–September 22, 1943) when the series, sponsored by Bristol Myers, replaced The Eddie Cantor Show. Louise Erickson continued as Judy for the next seven years, as the series, sponsored by Tums, aired from January 18, 1944 to January 4, 1949. As the popularity of the radio series peaked, Jane Powell starred as Judy in the MGM movie, A Date with Judy (1948). Co-starring with Powell were Elizabeth Taylor, Wallace Beery, Robert Stack, and Carmen Miranda. Ford Motors and Revere Cameras were the sponsors for the final season of the radio series on ABC from October 13, 1949 to May 25, 1950. A Date with Judy was also a comic book (based on the radio program) published by National Periodical Publications from October-November 1947 to October-November 1960.

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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

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August 21, 1959 - President Eisenhower signed an executive order proclaiming Hawaii the 50th state of the union. August 24, 1959 - Three days after Hawaiian statehood, Hiram L. Fong was sworn in as the first Chinese-American U.S. senator, while Daniel K. Inouye was sworn in as the first Japanese-American U.S. representative.

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 prompted by requests from the National Retail Dry Goods Association. Since 1939 had five Thursdays in November, this would create a longer Christmas shopping season. While governors usually followed the president's lead with state proclamations for the same day, on this year, twenty-three states observed Thanksgiving Day on November 23rd, the "Democratic" Thanksgiving. Twenty-three states celebrated on November 30th, Lincoln's "Republican" Thanksgiving. Texas and Colorado declared both Thursdays to be holidays. After two years of public outcry and confusion, Congress introduced the legislation to ensure that future presidential proclamations could not impact the scheduling of the holiday.. They established Thanksgiving Day as the fourth Thursday in November. The legislation took effect in 1942. Their plan to designate the fourth Thursday of the month allowed Thanksgiving Day to fall on the last Thursday five out of seven years. click here to Visit the Radio America Store web site.Buy your 50 mp3 for &5.00

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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

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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)

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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

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George Burns, born Nathan Birnbaum (January 20, 1896 – March 9, 1996), was an American comedian and actor. His career spanned vaudeville, film, radio, and television, with and without his equally legendary wife, Gracie Allen. His arched eyebrow and cigar smoke punctuation became familiar trademarks for over three quarters of a century. Enjoying a remarkable career resurrection that began at age 79, and ended shortly before his death at age 100, George Burns was better known in the last two decades of his life than at any other time in his life and career

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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.

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Edith Meiser was responsible for Sherlock Holmes coming to radio, more than anyone else. She also wrote for the series for more than 12 years. The early scripts followed Sir Arthur Conan Doyles canon, with such short stories as The Speckled Band, A Scandal in Boheia, The Red- Headed League, The Copper Beaches, and The Bascombe Valley. No audiences were allowed during the early broadcasts. William Gillette plaed the lead for the first episode. We was known for his tours and his appearance on The Lux Radio Theater on November 18th, 1935. The series ratings peaked in 1933, with Richard Gordon playing Holmes. Basil Rathbone made 16 Sherlock Holmes films while doing the radio show for 7 years.

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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

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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

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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.

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Doctor Who is a long-running British science fiction television programme produced by the BBC about a mysterious time-travelling adventurer known as "The Doctor", who explores time and space with his companions, fighting evil. It is also the title of a 1996 television movie featuring the same character. The programme is listed in the Guinness Book of World Records as the longest-running science fiction television series in the world[1] and is also a significant part of British popular culture.[2][3] It has been recognised for its imaginative stories, creative low-budget special effects during its original run and pioneering use of electronic music (originally produced by the BBC Radiophonic Workshop). In Britain and elsewhere, the show has become a cult television favourite on a par with Star Trek and has influenced generations of British television professionals, many of whom grew up watching the series. It has received recognition from critics and the public as one of the finest British television programmes, including a BAFTA Award for Best Drama Series in 2006. The programme originally ran from 1963 to 1989. A television movie was made in 1996, and the programme was successfully relaunched in 2005, produced in-house by BBC Wales. Some development money is contributed by the Canadian Broadcasting Corporation (CBC), which is credited as a co-producer in overseas markets, although they do not have creative input into the series.

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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

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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

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Richard Diamond, Private Detective was a detective drama which was on radio from 1949 to 1953 and on television from 1957 to 1960. Dick Powell starred in the Richard Diamond, Private Detective radio series as a rather light-hearted detective who often ended the episodes singing to his girlfriend, Helen. It began on NBC April 24, 1949, picked up Rexall as a sponsor April 5, 1950, and continued until December 6, 1950. The shows were written by Blake Edwards. With Camel as a sponsor, it moved to ABC from January 5, 1951, to June 29, 1951, with Rexall returning for a run from October 5, 1951, until June 27, 1952. Substituting for Amos 'n' Andy, it aired Sunday evenings on CBS from May 31, 1953 until September 20, 1953. Because Dick Powell was known for musical comedies prior to his appearance as Philip Marlowe in Raymond Chandler's Murder, My Sweet (1944) and because he was a detective who sang in Richard Diamond, Private Eye, some regard this radio series as an influence on the character of Philip E. Marlow (Michael Gambon) in Dennis Potter's Chandleresque The Singing Detective (1986).

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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

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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

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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.

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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]

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 Los Angeles police headquarters. A single minute of "A Gun For Christmas" is a representative example of the evocative sound effects featured on "Dragnet". While Friday and others investigate bloodstains in a suburban backyard, the listener hears a series of overlapping effects: a squeaking gate hinge, footsteps, a technician scraping blood into a paper envelope, the glassy chime of chemical vials, bird calls and a dog barking in the distance. Scripts tackled a number of topics, ranging from the thrilling (murders, missing persons and armed robbery) to the mundane (check fraud and shoplifting), yet "Dragnet" made them all interesting due to fast-moving plots and behind-the-scenes realism. In "The Garbage Chute" (15 December 1949), they even had a locked room mystery. Spoiler warning:

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clickhere Visit the Radio America Store web site.Buy your 50 mp3 for &5.00<a Alan Ladd starred as Dan Holiday, a retired newspaper man. Ladd’s character now has turned to writing fiction and to get ideas for his stories, he runs an ad in The Star-Times newspaper, “Adventure wanted, will go anywhere, do anything, Box 13.” This series was produced by Mayfair Productions and syndicated transcribed. Broadcast History: Network: Mutual (WOR) and Syndicated 03/15/48 to 03/07/49 West Coast Broadcast Dates 08/22/48 to 08/14/49 East Coast Broadcast Dates Director: Vern Carstensen Producer: Richard Sanville Music: Rudy Schrager Announcer: Vern Carstensen Writer: Russell Hughes, Alan Ladd Cast: Alan Ladd as Dan Holiday Sylvia Picker as Suzy Also heard: Lurene Tuttle, Betty Lou Gerson, John Beal, Luis Van Rooten, Alan Reed, Frank Lovejoy, Marsha Hunt

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clickhere Visit the Radio America Store web site.Buy your 50 mp3 for &5.00 capable of telepathy. A plan is in place to use them to control the British Government, and friends Curtis Lark (Vincent Price) and Hugh Baxter (Peter Cushing) join forces to combat them. REQUEST: BBC Radio Collection - Doctor Who - The Ark audio

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clickhere Visit the Radio America Store web site.Buy your 50 mp3 for &5.00Brien.) King Kong later starred in several remakes and in the 1963 Japanese classic King Kong vs. Godzilla. Kong returned in late 2005 in a brand-new film directed by Oscar-winner Peter Jackson and starring Naomi Watts in the Fay Wray rol

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clickhere Visit the Radio America Store web site.Buy your 50 mp3 for &5.00 period on the show, programs lasted only 15 minutes. After Welles left, Cotten later took over as host, and the show expanded to half an hour in length. The show was broadcast on CBS, as was Hello Americans. 11/9/42 The Flying Fortress 11/16/42 Air Transport Command 11/23/45 The Navigator 11/30/42 Wind, Sand, and Stars 12/7/42 Ballad of Bataan 12/14/42 War Workers 12/21/42 Gremlins 12-28-42 Pan American Airlines 1/4/43 Anti-Submarine Patrol * 1/11/43 Finger in the Wind 1/18/43 Letter to Mother 1/25/43 Mrs. James & the Pot of Tea/With Your Wings 2/1/43 The Future *-Featured Edward G. Robinson, as Welles was ill.

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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".

clickhere Visit the Radio America Store web site.Buy your 50 mp3 for &5.00 The next woman shamus, chronologically, is Carolyn Day, Detective and I'm guessing her origin to be about 1940. Whether or not she actually reached the airwaves is yet to be determined, but there are four episodes in circulation, each five minutes in length. Their brevity would suggest they are audition shows, but I can't prove that either. Carolyn Day is both the star and narrator of each program. She and her father, Randolph Day, are detectives and her boyfriend is Larry Bixby, a homicide lieutenant of an unnamed metropolitan city. There are no cast credits nor can I identify any of the actors by their voices.

clickhere Visit the Radio America Store web site.Buy your 50 mp3 for &5.00 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 future President of the United States Ronald Reagan (before he was elected governor of California), Robert Taylor, Dale Robertson and Merle Haggard. During his time as host, Reagan also frequently appeared in the program as an actor. 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.

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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).

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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.

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clickhere Visit the Radio America Store web site.Buy your 50 mp3 for &5.00 Academy Award winning documentary on the pivotal naval battle of the war in the Pacific. Filmed while the attack on Midway Island was underway, standout director John Ford was actually injured during filming. The first 9 minutes of this documentary of the battle of Midway was devoted to the fighting by the US ground troops on Midway. This was actually a minor part of the battle, but provided great footage for the film. The overall effect was very stirring, especially the byplay between Henry Fonda and Jane Darwell. This must have been very comforting to the folks at home when shown in the theaters. I enjoyed it very much.

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."

clickhere Visit the Radio America Store web site.Buy your 50 mp3 for &5.00 Jack Benny (February 14, 1894 – December 26, 1974), born Benjamin Kubelsky, was an American comedian, vaudeville performer, and radio, television, and film actor. He was one of the biggest stars in classic American radio and was also a major television personality. Benny may have been the first standup comedian, as the term is known, as well as one of the first to work with what became the situation comedy. He was renowned for his flawless comic timing and (especially) his ability to get laughs with either a pregnant pause or a single expression. In hand with his great "rival" Fred Allen — their long-running "feud" was one of the greatest running gags in comedy history — Benny helped establish a basic palette from which comedy since has rarely deviated, no matter how extreme or experimental it has become in their wake. 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.

 

clickhere Visit the Radio America Store web site.Buy your 50 mp3 for &5.00 George Herman Ruth, better known as Babe Ruth, was the greatest sporting hero of his day. Seventy years later it is difficult to comprehend just what a legend The Babe was. Adventures of Babe Ruth are short fictional tales of the life of the great baseball player. They border on being modern day fables, each one with a simple yet important message to put across to the audience. Despite the simple plots and sugar-sweet story lines they are still most enjoyable to listen to and the sound quality is (on the whole) excellent considering their age.

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.

clickhere Visit the Radio America Store web site.Buy your 50 mp3 for &5.00 Dimension X was an old-time radio program broadcast April 1950 to September 1951 on NBC. Dimension X was the first notable adult science fiction series on radio, preceded only by the short-lived 2000 Plus, scattered episodes of anthology dramas, and juvenile fare, such as Flash Gordon. The series featured adaptations of stories by respected science fiction writers such as Ray Bradbury, Isaac Asimov and Robert A. Heinlein. The first thirteen episodes were broadcast live, the remainder prerecorded. Dimension X lasted only one year, but the later X Minus One utilized many of the same actors and scripts. All fifty episodes survive and are available from various retailers.

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)

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

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.

clickhere Visit the Radio America Store web site.Buy your 50 mp3 for &5.00 HARRIET NELSON (Harriet Hilliard). Born Peggy Lou Snyder in Des Moines, Iowa, U.S.A., 18 July 1914. Attended St. Agnes Academy. Married: Ozzie Nelson, 1935; children: David Ozzie and Eric Hilliard. Beauty queen hired as vocalist for Ozzie Nelson's Orchestra, 1932; recording artist for Brunswick, Vocalian, Victor and Blue Bird; as Harriet Hilliard, was a leading lady in film from 1936; various radio appearances on Red Skelton's radio program in the 1940s, co-starred with husband Ozzie in radio series The Adventures of Ozzie and Harriet, 1944; star of television version of The Adventures of Ozzie and Harriet 1952-66. Recipient: National Family Week Radio citation by the International Council on Chistian Family Life, 1947; Radio and TV Women of Southern California Genii Award, 1960; Los Angeles Times Woman of the Year; TV-Radio Mirror Reader's Poll Best Husband-Wife Team in TV, seven consecutive years. Died in Laguna Beach, California, 2 October 1994.

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 scripted, and a repertory of the finest actors in New York radio was assembled. Ned Wever (CBS's Bulldog Drummond) and Agnes Moorehead (The Shadow's "lovely Margot Lane") portrayed Jor-L and Lara, Superman's Kryptonian parents in the premier broadcast, with Jay Josten (Mr. District Attorney) as Rozan. Other early episodes featured the versatile Santos Ortega (Nero Wolfe) and future movie star Frank Lovejoy (radio's Blue Beetle). The success or failure of the series would largely rest upon the actor chosen to portray the dual leads. Bob Maxwell was afraid he might have to hire an actor to play both of Superman's personalities, unless he could obtain the services of a particular who initially wanted nothing to do with Superman.

clickhere Visit the Radio America Store web site.Buy your 50 mp3 for &5.00 Calling All Cars!" was one of radios first crime dramas. It is widely recognized as being the forerunner to Dragnet, although the emphasis was on solving thecrimes themselves and the methods employed by the Los Angeles Police Department to solve them, as opposed to thepeople who

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clickhere Visit the Radio America Store web site.Buy your 50 mp3 for &5.00 Caspar makes friends with a little fox. Animation by Myron Waldman, Morey Reden and Nick Tafuri. Scenics by Anto Loeb. Story by Bill Turner and Larry Reilly. Music by Winston Sharples. Narrator is Frank Gallop. Produced in 1948. Director: I. Sparber Production Company: Paramount Pictures & Famous Studios Productions Audio/Visual: sound, color Alternative spelling: Casper the Friendly Ghost

click here to play Final Verdict (1991) (TV) .... Rev. Rogers Raw Nerve (1991) .... Captain Gavin Border Shootout (1990) .... Sheriff John Danaher Casablanca Express (1989) .... Major Gen. Williams Law at Randado (1989) (TV) My Town (1986) (TV) .... Lucas Wheeler Happy Birthday to Me (1981) .... Dr. David Faraday Fukkatsu no hi (1980) .... President Richardson ... aka Day of Resurrection (USA) ... aka The End (USA: video title) ... aka Virus (USA) The Gift (1979) (TV) .... Billy Devlin Day of the Assassin (1979) .... Christakis ... aka Día de los asesinos, El (Spain) Beggarman, Thief (1979) (TV) .... David Donnelly The Sacketts (1979) (TV) .... Tom Sunday ... aka The Daybreakers (USA: cut version) The Visitor (1979) .... Det. Jake Durham ... aka Stridulum (Italy) Superman (1978) .... Jonathan Kent ... aka Superman: The Movie Evening in Byzantium (1978) (TV) .... Jesse Craig "Police Story" - No Margin for Error (1978) TV Episode .... Hayes No Margin for Error (1978) (TV) The 3,000 Mile Chase (1977) (TV) .... Paul Dvorak/Leonard Staveck "Once an Eagle" (1976) (mini) TV Series .... George Caldwell Midway (1976) .... Rear Admiral Raymond A. Spruance ... aka Battle of Midway (Philippines: English title) (UK) ... aka The Battle of Midway (USA: video title) "The Family Holvak" (1975) TV Series .... Rev. Tom Holvak Punch and Jody (1974) (TV) .... Peter 'Punch' Travers The Greatest Gift (1974) (TV) .... Rev. Holvak The Disappearance of Flight 412 (1974) (TV) .... Colonel Pete Moore Santee (1973) .... Santee Jarrett (1973) (TV) .... Sam Jarrett "Cade's County" .... Sam Cade (1971-1972) - A Gun for Billy (1971) TV Episode .... Sam Cade - Homecoming (1971) TV Episode .... Sam Cade The Brotherhood of the Bell (1970) (TV) .... Prof. Andrew Patterson

The Adventures of Ichabod and Mr. Toad is an animated feature produced by Walt Disney Studios and released to theaters on October 5, 1949 by RKO Radio Pictures. It is the eleventh animated feature in the Disney animated features canon. This film was the final of Disney's 1940s "package films" (feature films comprised of two or more short subjects instead of a single feature-length story). Beginning with the next animated feature release, Cinderella, his studio would return to the feature-length stories that low income and World War II had caused a drought of during the 1940s

clickhere Visit the Radio America Store web site.Buy your 50 mp3 for &5.00 This is for all my friends from http://www.electricsoupkitchen.com/ enjoy the show and thanks for listening Launching a new range of "Classic Radio Sci-Fi" releases, this six-part BBC radio drama stars none other than Peter Cushing and Vincent Prince, who between them became two of the most famous horror film stars of the 1950s and 1960s. "Aliens in the Mind" is based on a story by the then-foremost "Doctor Who" script editor Robert Holmes. It centres around the discovery, on a remote Scottish island, of a community of 'human mutants' capable of telepathy. A plan is in place to use them to control the British Government, and friends Curtis Lark (Vincent Price) and Hugh Baxter (Peter Cushing) join forces to combat them. This renowned production from 1976 is sure to delight fans of science fiction, archive radio, horror films and "Doctor Who." This release forms part of BBC Audiobooks' "Classic Radio Sci-Fi" range. Other titles are "The Day of the Triffids" and "The Quatermass Memoirs."

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clickhere Visit the Radio America Store web site.Buy your 50 mp3 for &5.00 Appearing on CBS Radio, Johnny Dollar was heard each week flying off to a different town filled with danger and possibly murder as he tried to get to the bottom of insurance fraud. There were rarely any recurring characters except Dollar; despite sometimes romance and friends, the character was generally a loner. These early episodes, however, tended to be flat and the character of Dollar too dry. So at the start of the 1950 season, Charles Russell was out and veteran film actor Edmund O'Brien stepped in as the second Johnny Dollar. The series during the O'Brien years improved with scripts by expert crime writer such as E. Jack Neumann, John Michael Hayes, Sidney Marshall and Blake Edwards. The character took on the stereotype of the American detective developed by Dashiell Hammett and Raymond Chandler. Dollar was more hardboiled; his softer side rarely appeared. O'Brien left in 1952 and John Lund became Dollar number three. With Lund in the role, the character as developed by O'Brien remained.

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.

clickhere Visit the Radio America Store web site.Buy your 50 mp3 for &5.00 Biography: Jeffrey Silver was the very last boy to play the part of Alexander Bumstead in the long-running and highly popular "Blondie" radio show. It's because of him, more than anyone else, that I included a "Blondie Radio Show" section to this website. He's a SPECIAL BLONDIE CONSULTANT and has contributed much in the way of information and pictures. He's also a very talented individual who, as a child actor, had a way of delivering dialogue that is beyond compare. Truly outstanding! He made his professional radio debut in Cleveland on NBC in "The Ohio Story." He later arrived in Hollywood in August of 1948. At first, the Silvers family came to Hollywood only to summer in Long Beach. There was no thought of a Hollywood radio career for Jeff. It just all kind of fell into place. How? Jeffrey's mother spent a day taking her mother to some of the local audience-participation programs. The thought then struck her that her son should try out for a Hollywood radio audition. His radio career flourished on the strength of his ability alone, with most of his roles resulting from word-of-mouth recommendations of actors and directors who sampled his past performances.

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.

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...."

clickhere Visit the Radio America Store web site.Buy your 50 mp3 for &5.00 Launching a new range of "Classic Radio Sci-Fi" releases, this six-part BBC radio drama stars none other than Peter Cushing and Vincent Prince, who between them became two of the most famous horror film stars of the 1950s and 1960s. "Aliens in the Mind" is based on a story by the then-foremost "Doctor Who" script editor Robert Holmes. It centres around the discovery, on a remote Scottish island, of a community of 'human mutants' capable of telepathy. A plan is in place to use them to control the British Government, and friends Curtis Lark (Vincent Price) and Hugh Baxter (Peter Cushing) join forces to combat them. This renowned production from 1976 is sure to delight fans of science fiction, archive radio, horror films and "Doctor Who." This release forms part of BBC Audiobooks' "Classic Radio Sci-Fi" range. Other titles are "The Day of the Triffids" and "The Quatermass Memoirs."

clickhere Visit the Radio America Store web site.Buy your 50 mp3 for &5.00 Gradually, the Gasoline Alley characters married, had kids, and it became the first comic strip-soap opera in the post-War babyboom 1940s, before there was even such a genre as the conventional soap opera. A 15-minute radio version of the strip was developed and broadcast for a time in the same decade, sponsored by spark plug and parts maker Autolite, which focused upon Skeezix as a young adult running a gas station and garage. clickhere to visit our friends at lloyd & peli show clickhere to visit uncleshag

clickhere Visit the Radio America Store web site.Buy your 50 mp3 for &5.00 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, then moved to New York where he was given his own television program, The Alan Young Show in 1950. After the cancellation of his show, he made several films: Margie (1946), Chicken Every Sunday (1948), Mr. Belvedere Goes to College (1949), Aaron Slick from Punkin Crick (1952), Androcles and the Lion (1952), Gentleman Marry Brunettes (1955), Tom Thumb (1958), The Time Machine (1960), and a cameo in the remake of The Time Machine (2002). 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. clickhere to visit our friends at lloyd & peli show clickhere to visit unckeshag

clickhere Visit the Radio America Store web site.Buy your 50 mp3 for &5.00

clickhere Visit the Radio America Store web site.Buy your 50 mp3 for &5.00

clickhere Visit the Radio America Store web site.Buy your 50 mp3 for &5.00

clickhere Visit the Radio America Store web site.Buy your 50 mp3 for &5.00