Podcasts about afrts

The blue gardenia  The Lux Radio Theatre. November 30, 1954. Program #141. , AFRTS rebroadcast. "The Blue Gardenia". A good murder mystery...who is the beautiful "Blue Gardenia" killer? AFRTS program name: "Hollywood Radio Theatre." A 1953 Warner Film Production, adapted for radio. An impulsive telephone call leads to an accusation of murder. Telephone operator Nora Larkin should never have gone out with Harry Prebble, she should never have had all them drinks and she should never have gone to Harry's apartment. But what was done was done had and when Harry came toward her with that look in his eye Nora reached out for the only weapon at hand, a fire poker. The next day Harry Prebble is discovered dead in his apartment by his cleaning woman who has wiped away any fingerprint evidence. The only clues are a lace handkerchief and a blue gardenia broken off at the stem which are found at the scene. A 1953 Warner Film Production, adapted for radio. An impulsive telephone call leads to an accusation of murder. Telephone operator Nora Larkin should never have gone out with Harry Prebble, she should never have had all them drinks and she should never have gone to Harry's apartment. But what was done was done had and when Harry came toward her with that look in his eye Nora reached out for the only weapon at hand, a fire poker. The next day Harry Prebble is discovered dead in his apartment by his cleaning woman who has wiped away any fingerprint evidence. The only clues are a lace handkerchief and a blue gardenia broken off at the stem which are found at the scene.

LET'S PRETEND- Let's Pretend started radio life as The Adventures of Helen and Mary in 1934 when it was transformed by Nila Mack into the show that would last for two decades until 1954. Mack believed that, if the stories were for children, then children should tell the story. On July 12, 1947, they told the tale of "The Brave Little Tailor" for sponsor, Cream of Wheat. A meek little man has "killed seven with one blow" and has everyone terrified. ROMANCE - Actor Henry Fonda stars in "Casanova Brown" on ROMANCE from November 13, 1945.Romance_1945-11-13_Casanova_Brown_wHenryFonda 24:45 People are Funny - was a long-running American radio and television game show, created by John Guedel that remained popular throughout the 1940s. The program ran from 1942 to 1960. The program's stunts and audience participation were calculated to reveal the humorous side of human nature. After contestants were sent from the studio to perform a task in public, the audience was told how the contestant was being double-crossed. Hosted by Art Linkletter, here is a show from January 17, 1956 Whisperer. July 08, 1951. NBC net. Sustaining. The first show of the series. "The Whisperer" is a brilliant young attorney with a secret identity. He tackles the plans of Scurelli to sell marijuana to the unsuspecting youth of the city. Alice Backes, Ann Gill (writer), Betty Moran, Bill Cairn (director), Carleton Young, Eddie Firestone, Jerry Farber, John Duffy (original music), Julius Crowlbein, Paul Frees, Ruth Perrin, Stetson Humphrey (creator). Unit 99. September 06, 1957. Program #3. ABC net origination, AFRTS rebroadcast. The first call: a woman has a gun. James B. Hicks (host, Chief of Sacramento Police), Dan Meredith (Sergeant on duty), Tony Kester (director). Treasury Star Parade. September 10, 1943. Program #253. Treasury Department syndication. Molly and Doc Gamble try to convince Fibber to water the lawn. Jim Jordan, Marian Jordan, Billy Mills and His Orchestra, The King's Men, Harlow Wilcox (announcer), Don Quinn (writer), Thelma Ritter (writer). The Weird Circle. January 08, 1944. Program #26. RCA/NBC syndication. "Frankenstein". Sponsored by: Commercials added locally. Many, many liberties taken with the original story, but still a classic. Mary Shelley (author).  TOTAL TIME: 2:55:34.599SOURCES: Wikipedia and The RadioGoldindex.com

My Friend Irma. February 02, 1948. CBS net. Sponsored by: Swan, Spry. Jane quits her job and breaks off her romance with Richard when Richard hires a beautiful new secretary. Jane writes a scathing letter and asks Irma to mail it to Richard; a bad mistake. The script was subsequently used on the program on February 17, 1952 (see cat. #106081). Marie Wilson, Cathy Lewis, Cy Howard (creator, writer, producer, direrctor), Parke Levy (writer), Leif Erickson, Hans Conried, John Brown, Frank Bingman (announcer). Stars Over Hollywood. December 30, 1950. CBS net. "Continental Cowboy". Sponsored by: Armor Meat, Dial soap. Sagebrush Sam, a Hollywood cowboy, tries to escape his hordes of fans in Paris. David Chandler (writer), Diane Abbott, Donald Morrison, Frank Goss (announcer), Hans Conried, Lillian Buyeff, Ramsay Hill, Rex Koury (composer, performer), Rolfe Sedan, Vincent Price.  Spotlight Revue. December 10, 1948. CBS net. Sponsored by: Coca-Cola. 10:30 P.M. T Doodles Weaver, Freddie Morgan, George Rock, Spike Jones and His City Slickers, Dorothy Shay, Dick Morgan, Johnny Roventini, Peter Lorre, Dick Joy (announcer) Stand By For Crime. 1953. Cheshire and Associates syndication. Sponsored by: Commercials added locally. The son of one of Chuck's friends has been kidnapped. Chuck is tapped to make the payoff. But this kidnapping is no kidnapping!. Glenn Langan ; Adele Jurgens; Bob Reichenbach (producer)SUSPICION - "An Actress Meets Death" on this episode of SUSPICION From 1935Suspicion_1935_ 12:21 Mathew Slade, Private Investigator. September 27, 1964. KPFK, Los Angeles origination, AFRTS rebroadcast. "A Sweet Scent Of Mystery". A woman's perfume and the smell of murder. The program is also known as: "The Starlight Mystery Theatre.". William Wintersole, Brian Adams (writer, director), Robert Frederick (writer).The Mysterious Traveler. April 09, 1944. Mutual net. "Beware Of Tomorrow". Sustaining. An interesting story of robotics. A super-strong robot and a super-intelligent robot run amok with an expected-but-nonetheless satisfying conclusion. The script was also used on "The Sealed Book" on July 29, 1945 (see cat. #397). Will Hare, Don Randolph, Phillip Clarke, Maurice Tarplin (as "The Traveler"), Robert A. Arthur (writer), David Kogan (writer), Doc Whipple (organist), Jock MacGregor (director).TOTAL TIME: 2:57:14.762SOURCES: Wikipedia and The RadioGoldindex.com

Choice Classic Radio presents Yours Truly Johnny Dollar, which aired from 1949 to 1962. Today we bring to you the episode titled "The Salkoff Sequel Matter.”  Please consider supporting our show by becoming a patron at http://choiceclassicradio.com We hope you enjoy the show!

The OTRNow Radio Program 2024-016 The Shadow Of Fu Manchu. July 05, 1939. Program #25. Radio Attractions syndication. Sponsored by: Music fill for local commercial insert. An opium den raided, Nayland Smith rescued!. Hanley Stafford, Gale Gordon. The Shadow Of Fu Manchu. July 07, 1939. Program #26. Radio Attractions syndication. Sponsored by: Music fill for local commercial insert. The sealed chest of Dr. Fu, a trap is laid. Hanley Stafford, Gale Gordon. The Abbott and Costello Show. November 19, 1942. Red net, KFI, Los Angeles aircheck. William (Bud) Abbott and Lou Costello (born Louis Francis Cristillo) performed together as Abbott and Costello, an American comedy duo whose work on stage, radio, film and television made them the most popular comedy team during the 1940s, as well as a top ten box office draw for a full decade (1942 1952). Their iconic and influential patter routine "Who's on First?" with its rapid-fire word play and comprehension confusion set the framework for many of their best-known comedy bits. . Sponsored by: Camels, Prince Albert Pipe Tobacco. The program originates from the 6th Ferrying Group Air Transport Command, Long Beach, California. Mel does the voices of Porky Pig, Bugs Bunny, an electric organ and hiccups. Lou wants to play the romantic lead in Merle's next picture. The cast does, "The Brave Knight Cut Off The Dragon's Tail," or, "The Dragon Isn't Wagon Anymore." Costello plays, "Sir Porterhouse," Abbott plays, "Sir Loin." Bud Abbott, Lou Costello, Connie Haines, Leith Stevens and His Orchestra, Ken Niles (announcer), Merle Oberon (guest), Mel Blanc, The Camel Five.Doctor Six-Gun. September 2, 1954. Program #1. NBC net origination, AFRTS rebroadcast.DR. Karl Weber plays Dr. Ray Matson as the gun-carrying, wandering doctor known far and wide as Dr. Sixgun. Dr. Sixgun's story was told through the doctor's perpetually inebriated companion, Pablo. The show ran for one season beginning in 1954.  The first show of the series. Aaron Gault is determined to get rich off a young Indian boy with the measles. Ernest Kinoy (writer), Fred Weihe (director, transcriber), George Lefferts (writer), Karl Weber, William Griffis.Author's Playhouse. September 22, 1944. NBC net. "Cry For The Hunted". Sustaining. A man is almost crazy from his attempts to escape from the Nazis. Frederick J. Lipp (author). Sleep No More. November 21, 1956. NBC net. "Conqueror's Isle". Sustaining. A flyer is forced down on a strange island and discovers a race of superior humans preparing to take over the world. The story was previously used on "Escape" on March 15, 1949. The system cue has been deleted. Nelson Olmsted, Ben Grauer (announcer), Nelson Bond (author), Kenneth MacGregor (director). 

Presenting a replay of the AFRTS production of If Freedom Fails "Suicide By Order" aired in the 1960's. Please support these shows with your donation today, thank you. https://mpir-otr.com/sponsors-donations

Presenting a replay of the AFRTS production If Freedom Fails "The Heavens" aired in the 1960's. Please support these shows with your donation today, thank you. https://mpir-otr.com/sponsors-donations

Subscriber-only episodeAir Date  October 20 1957Send us a text

If Freedom Failed (003) The Pledge (Jeffrey Silver) AFRTS

Presenting a replay of the AFRTS production If Freedom Fails "The Ball Players" episode 02, aired 1960's. Please support these shows with your donation today, thank you. https://mpir-otr.com/sponsors-donations

Subscriber-only episodeAir Date February 16 1958 Send us a text Buzzsprout - Let's get your podcast launched!Start for FREEDisclaimer: This post contains affiliate links. If you make a purchase, I may receive a commission at no extra cost to you.

Search xxxxxx 003 A Man Who Learns About The Human Factor {AFRTS} 

PC_2024-010_The OTRNow Radio ProgramThe Shadow Of Fu Manchu. June 05, 1939. Program #13. Radio Attractions syndication. Sponsored by: Music fill for local commercial insert. The houseboat on the Thames. Hanley Stafford, Gale Gordon. 15 minutes, Audio Condition: very good to excellent audio, complete.10993. The Shadow Of Fu Manchu. June 07, 1939. Program #14. Radio Attractions syndication. Sponsored by: Music fill for local commercial insert. Plans for a new aerial torpedo have been stolen!. Hanley Stafford, Gale Gordon. 15 minutes, Audio Condition: very good to excellent audio, complete.Our Miss Brooks. September 19, 1948. CBS net. "The Conklins' Anniversary At Crystal Lake". Sustaining. It's the Conklin's anniversary, and time for a weekend at the cabin at Crystal Lake. Miss Brooks and Mr. Boynton have been invited to come along! A similar script was subsequently used on the program on August 21, 1949 or September 4, 1949 (see cat. #46051). Eve Arden, Jane Morgan, Noreen Gammill (as Mrs. Conklin), Richard Crenna, Gloria McMillan, Gale Gordon, Jeff Chandler, Larry Berns (producer), Wilbur Hatch (music), Bob Lemond (announcer), Al Lewis (writer, director), Dink Trout.    Tom Corbett, Space Cadet. March 04, 1952. ABC net, WJZ, New York aircheck. "The Asteroid Of Danger". Sponsored by: Kellogg's Pep, Kellogg's Raisin Bran. Manning and Dr. Dale disappear while prospecting in the asteroid belt. Al Markim, Drex Hines (director), Edward Bryce, Frank Thomas Jr., Jackson Beck (announcer), Jan Merlin, Margaret Garland, Gilbert Braun (writer), Jon Gart (organist). 1221. Tom Corbett, Space Cadet. March 06, 1952. ABC net, WJZ, New York aircheck. "The Asteroid Of Danger". Sponsored by: Kellogg's Pep, Kellogg's Raisin Bran. A scientist has kidnapped Dr. Dale and Manning and is hiding out on a small asteroid. Al Markim, Drex Hines (director), Edward Bryce, Frank Thomas Jr., Jackson Beck (announcer), Jan Merlin, Margaret Garland, Gilbert Braun (writer), Jon Gart (organist). The Jergens Journal. May 18, 1941. Blue Network. Sponsored by: Jergen's Lotion and Facial Powder. Winchell with hard war news and Broadway gossip. His unique style is featured, with "flash," the telegraph key, etc. Ben Grauer (announcer), Walter Winchell.The FBI In Peace and War. November 03, 1954. CBS net origination, AFRTS rebroadcast. "The Twenty-Five-Thousand-Dollar Bond". The wife of a government worker is being romanced and then blackmailed by a foreign agent. Martin Blaine, Don Briggs, Jackson Beck, Elspeth Eric, Les Damon, William Johnstone, Frederick L. Collins (creator), Betty Mandeville (producer, director). Sleep No More. December 05, 1956. NBC net. "Over The Hill" "The Man In The Black Hat". Sustaining. Part of the final public service announcement has been deleted. Nelson Olmsted, Ben Grauer (announcer), Michael Fessier (author of both stories), Kenneth MacGregor (director).

If Freedom Failed (002) The Ballplayers (James Whitmore) AFRTS

People are Funny xx-xx-xx Engaged couple to go to a house and pretend they are eloping AFRTS#153

My Friend Irma - Irma Gets Sick (AFRTS) 1947 Kathy Lewis, Marie Wilson, John Brown & Leif Erickson Irma feels she's caught the measles.

The uniqe "DJ Program" with a husband and wife team would play a song that was currently popular and then that same song that was recorded 25-35 years earlier. Amazing to listen to the same song done in two very different ways. This show was broadcast over the Armed Forces Radio Television Service. It will be found in our "Turn Back The Clock" playlist

Voyage Of The Scarlet Queen - The Jewel Thieves and The Straw-Filled Dummy (AFRTS) 1947 Elliot Lewis as Philip Carney and Ed Max as Red Gallagher, w-Gil Doud and Bob Tallman Log File: Departed Hong Kong, China at 9:00pm after breakdown in schedule.

This week on the blog, a podcast interview with writer (and director and playwright and author and podcaster) Ken Levine about the business of writing and directing situation comedies.LINKSA Free Film Book for You: https://dl.bookfunnel.com/cq23xyyt12Another Free Film Book: https://dl.bookfunnel.com/x3jn3emga6Fast, Cheap Film Website: https://www.fastcheapfilm.com/Ken Levine's Website: http://kenlevine.blogspot.com/Eli Marks Website: https://www.elimarksmysteries.com/Albert's Bridge Books Website: https://www.albertsbridgebooks.com/YouTube Channel: https://www.youtube.com/c/BehindthePageTheEliMarksPodcastTRANSCRIPTWas being a writer always a goal?Ken Levine: I don't know if it was always a goal. It was something that I always did. Honestly, I did not get a lot of encouragement in high school. I was a cartoonist. I still am. And I was a cartoonist on the school newspaper. And I said, “Well, I also want to write. You know, can I cover sports or do a humor column or something?”And they said, “You're the cartoonist, just stick to cartoons.” And I said, “Well, I really want to write. And if you won't let me write, then I'm going to quit the paper.” And they said, “Then fine, quit the paper.” So, that's how much my cartoons were even valued. They called your bluff on that one, I guess. Ken Levine: They called my bluff, yeah.Just as a little tangent—just because I'm a big fan of your cartoons—did you have a couple of cartoonist heroes when you were growing up? Guys that you looked at and went, that's the kind of writing I want to do?Ken Levine: Well, my cartoonist heroes were more due to their cartooning than anything. Al Hirschfeld, who did the caricatures of the New York Times, was my god. And Mort Drucker would be another. Jack Davis. A lot of those Mad magazine guys. Originally, I wanted to be in radio. I mean, I really loved radio. And a lot of my comic influences early on were disc jockeys, you know. Bob and Ray and Dan Ingram and Dick Whittington. So, radio was a goal. I got out of college and became a Top 40-disc jockey.Let me back up. When I was in college, I got a job as an intern at KMPC in L.A. We're the big, full-service radio station. They had the Angels and the Rams and the Bruins and, you know, they were big music personalities. And their afternoon drive time jock was Gary Owens, who was on Laugh In at the time. You know, “From beautiful downtown Burbank.”And I would write comedy material for Gary, for him to use on the air. I never charged him for it. I mean, I was just so thrilled that someone of the caliber of Gary Owens would use my material on the radio. And one day I get a call to appear in George Schlatter's office. George Schlatter was the producer of Laugh In. And this is when Laugh In was getting 50 shares. And I'm like, what does George Schlatter want with me? So, I go to the meeting obviously. And apparently, unbeknownst to me, Gary submitted my comedy material to him. And George Schlatter offered me a job as a writer on Laugh In. And it's funny, we laughed about it because George is still around and he was a guest on my podcast, and I talked about this.And I said, “Can I do this part time or from home?” And he goes, “What? No, this is a job. You come to the office every day. We're paying you a lot of money to write the number one show in America.” And I said, “I would lose my 2S deferment and I would wind up drafted in Vietnam.” So I couldn't take it. I had to turn down Laugh In. So, I was almost a writer six years before I actually broke in.Okay. So how did you end up then meeting up with David Isaacs?Ken Levine: Like I said, I became a disc jockey out of college. My draft number was four. And like I said, I was at KMPC and one of our disc jockeys, Roger Carroll, was one of the main AFRTS disc jockeys. I shopped around looking, is there a decent reserve unit I could join that would keep me out of the army? And I saw that there was an armed forces radio reserve unit in LA. And through Roger, he helped pull some strings and got me in the unit. You know, it's like one of those things where you get a call saying, “Okay, there's an opening in the unit, but you got to go down to Torrance and sign up for it tomorrow.” And so, you don't have time to think, “Boy, do I want to risk this? Is there a way I can get a medical thing?” And it's six years. It's a six-year commitment. Go.So that's what I did. I got into that unit. And we were at summer camp three years later and somebody new to the unit was David Isaacs. And we met and started talking and we both kind of had desires to be writers. And when summer camp ended, I was at the time working as a disc jockey in San Bernardino. I got fired, which was a frequent occurrence. And I came back home to live with my parents in LA. I called David and I said, “Hey, remember me from the army? I want to try writing a script. You want to try writing it with me?” And he said, “Okay.” And so, we got together and decided to partner up and we wrote a pilot. But we didn't know anything. We had no clue what we were doing. And I had to literally go to a bookstore in Hollywood and on a remainder table were TV scripts. And so, for two dollars I bought a copy of an episode of The Odd Couple and looked at that.Oh, Interior Madison Apartment Day. That's what that is. This is the format, and this is how long they are. So, David and I wrote a pilot about two kids in college, which was the sum total of our life experience back then. We were both 23. And it didn't go anywhere, obviously, but we had a good time doing it. And we then learned the way to break in is to write spec scripts from existing shows.So that's what we did. And eventually we broke in. So, had you written anything with him before that or seen any of his writing? What was it that made you think this is the guy?Ken Levine: No, no. He just seemed like a funny guy. Neither of us had written anything. Neither of us had any writing samples for the other. No, we just sat down together and just tried doing it. It probably was a help that we were both starting from the same place, which was nowhere. You know, it's just kind of one of those happy accidents where you go on a blind date, and it turns out to be your wife.How many years did you guys write together?Ken Levine: Well, we're still writing together, if somebody would hire us. Fifty years.Congratulations. Ken Levine: October of 73 is when we started. And I'm trying to remember, was it The Tony Randall Show or The Jeffersons where you sold your first script? Ken Levine: The Jeffersons. And how did that happen? Ken Levine: Well, we had written a spec Mary Tyler Moore and a spec Rhoda, and another spec pilot. Which was better but didn't go anywhere.And one day my mom is playing golf with a guy who says he's the story editor of The Jeffersons, a new show that just came on. My mom says, “Oh, well, my son is a great young writer.” And he's like, “Oh Christ.” And he says, “All right, well just have him call me.” So, I called him, and the guy says, “You have a script?” And I said, “Yeah.” And he goes, “All right, send the script. If I like the script, we'll talk.” And I sent off our Mary Tyler Moore Show, and I got a letter back saying, “Oh, this is a really good script. Make an appointment, come on in and pitch stories.” And we pitched stories, and they bought one. And so that's how we got our assignment. Thinking back, is there one moment that you felt like was really pivotal that officially launched you guys? Ken Levine: Yeah, doing that first MASH episode. We had done The Jeffersons, we had done episodes of Joe and Sons, which was a terrible show on CBS. We had done some stories for Barney Miller, but Danny Arnold always cut us off before we got to script. We did a backup script for a pilot that didn't go. And then we got MASH And our first episode of MASH, which is the one where the gas heater blows up and Hawkeye is temporarily blind. And that script was like our golden ticket. It's a very memorable episode. Ken Levine: Oh, thank you. I remember it.I spoke with—I don't know if you know her—April Smith, and she said she learned everything she learned about writing in a room from Gene Reynolds. Where did you learn about writing in a room? Ken Levine: Well, I don't know about writing in a room from Gene, because we never worked in a room, really, with Gene. But, I learned more about storytelling, and more about story construction, from Gene Reynolds, than everybody else combined. I've been very lucky to have a lot of great mentors along the way, or to work with, you know, really talented writers and smart enough to just shut up and listen and learn from them. But if I had to pick one true mentor, it would be Gene Reynolds. I cannot say enough about Gene Reynolds. I owe my career to Gene Reynolds. What was his special gift? Ken Levine: First of all, he was very much a gentleman. So, when he would give you notes, if he didn't like a joke, he wouldn't go, “Jesus, guys, what the fuck?” He would go, “And, um, you might take another look at this. You might take another look at that joke.” Okay. Gene had a great story sense that was combined with a real humanity. It had to be more than just funny. It had to be grounded. There had to be, like I said, some humanity to it and the humanity and nice moments and things had to be earned. And he was very clever in constructing stories where things were set up and then got paid off in a somewhat surprising way. You know, look for inventive, different ways of finding a solution. It's why to me, storytelling is always so hard, because each time you tell a story, you want it to be different. You don't want to just keep retelling the same story over and over again. And Gene would look at a thing and go, “Is there a better way of conveying this? Is there something more interesting that Hawkeye could do once he learns this information?” You could give Gene an outline, and everyone can go, “Okay, well, this doesn't work.” Gene could go, “This doesn't work, and here's why. And here's how you can fix it. If Radar knows this, and then HotLips does this, then you could do a fun thing where it's a thing and…. And you're going like, man, he just, you know, just solved it. Just, just solved it. I thank him for that. He was very tough on story, which I took from him. And again, there's the humanity aspect of it, which normally you think, well, okay, that's just part of it. But when I see shows today—and I know I'm going to sound like an old guy, “get off my lawn”—but when I see shows today, like White Lotusand a lot of these other shows that are just mean spirited, where the laughs are coming from watching horrible people do horrible things to each other. And, look, comedy changes and, you know, society changes, et cetera. But to me, there has to be some heart to it. There has to be some, some humanity. And that was so drummed into me by Gene. Gene also talked about the value of research, which I have learned a lot.You know, you go off to write a project about whatever. You're going to do a pilot about the Department of Motor Vehicles. You sort of know a lot about the Department of Motor Vehicles. You've stood in the lines and everything. Gene would say, “Go there. Talk to those people. What is that job really like?What do they really do? And immerse yourself in that world.” And that's what I've always done since. Jim Brooks, who worked with Gene on Room 222, would say the same thing, that he learned the value of research from Gene. And when Jim Brooks did Broadcast News, he spent a tremendous amount of time in newsrooms, talking to those people, getting a sense of authenticity. It requires work, it requires a lot of extra legwork, but it makes the scripts richer and more authentic. And it's worth putting in the time and effort. I just had Michael Conley on as a guest on my podcast. And one of the things I asked him—he does the Bosch books and The Lincoln Lawyer and he's my favorite mystery writer—and I said, “So with all the detectives out there, what's so special about yours and your books?”And he said, “The authenticity.” He spent years on the crime beat at The Los Angeles Times and really got to know the inside working of the LAPD. There is an authenticity to his books that you don't get with a lot. It makes a difference. Research pays off. Okay, one more TV question. What inspired your move into directing? Ken Levine: I'd been a writer for many, many years. A lot of those years I was on staff of a show, and years when I wasn't on staff on a show—since I'm a good joke guy—I would get a job as a consultant on a show. Meaning, I would work one night a week, which was always rewrite night.What a great gig.Ken Levine: It was a great gig. You worked long hours, but it was a great gig. And at the time the pay was ridiculous. There was one season I was on four shows. So, I was working basically four nights till two, three o'clock in the morning. And it got to the point where I would go down to the stage and I would kind of dread going down to the stage, because all I was worried about was, “Okay, let this not be a train wreck. Okay, let this be in good shape, so that I can go home at 10 or 11 or 12.”And I thought to myself, “There's something wrong here. You get into the business, you should want to be on the stage.” So, I thought, be a director and be on the stage and play all day with the actors. And then when it comes time for rewriting, “Good luck guys. You go to the room and rewrite, and I'll go to a Laker game.” So that was my motivation. It should be fun. If you're in television and you're in multi-camera shows, you should look forward to going down to the stage. And if you don't, then it's time to change things around. So, that was my motivation. Did you feel like you had any advantages as a director because of your background in writing and your understanding of scene construction?Ken Levine: Yes. Number one: The writing served me very well. I was talking to Jim Burrows once, who is the Mozart of TV comedy directors.And I was asking him about shots and this and that. And he said, “Look, if the story works, you can have one camera and just shoot the master of the whole show and it'll work. And if the story doesn't work, you can have all the camera angles and cutting you want. It's not gonna save it.” So yes, it was a big help to me, having that experience, being able to say to the actors, “Okay, I see what's wrong here. You need help with the script. You need a few more lines before you can get this angry. Okay. The reason why you're having trouble here is you have to go from zero to 70 in two lines. And you need help here.”And I was also able—this is something Jimmy did and no other director I know of other than me would do the same thing—and that is, we would go back to the writer's room after the run through and I would sit with the guys while we discussed what was wrong and what needed to be fixed. And I would kind of help them along that line as much as I could, which proved to be very helpful.And also, it was very helpful because you go down to the stage the next morning and you have your table reading. And you're able to say to the cast, “Okay, this is what they did last night. These were the problems. This is how they addressed it.” And there were certain things where actors would go, “Where's my joke?” And you're able to say, “The script was long. It was not you. You did a good job with the joke. The script was really long. It's a joke that was easily liftable as opposed to something that was more integral to moving the story forward. That's why you lost the joke.” So, it helped in communication. Also, by that time I had been a showrunner. So, I was used to coming down to the stage, and if I saw something I didn't like—with blocking or something—I'd go, “Wait a minute, why is she here and she over there? This is a private conversation. Put them together. Why are they standing back there in the corner? Why did you put them at this table? The audience can't see them over here. You put them over here at this front table, and then we can have background and you can have some depth and geography.” And stuff like that.So, I have that aspect. I also spent a lot of time editing these shows. So, I would work with the editor, and I'd say, “Okay, go to the wide shot where we see the full costume.” And he goes, “We don't have it.” “Wait, what? It's a costume joke. He comes in dressed like Mr. Pickwick and you only have it up to here?” So, as a director, I go, “Okay, this is what I need to make this joke.” And also reaction shots are so important. You know, when the director is directing a multi camera show—which is like directing Rubik's cube—you have a camera coordinator who works with you, making sure that all the shots are rights. And so, he'll go down the script and it's like, “Okay, Kelsey's line. All right, we have Kelsey on camera A, and then his line we have on camera C, and then Roz we have here.” And he's making sure that everything is covered. But I also want reaction shots. They aren't in the script, but I know when Sam says this, you're going to want to cut to Diane's reaction to it. So, I had that going in my head.And also knowing like, “Okay, this show is running a little long. I suspect that they may cut this section of a scene.” So, when I block it and when I set my cameras, do it in such a way where you can make that lift. Don't have somebody cross the stage during that section, because then if you lift it, the guy pops onto the other side of the room. Don't just have a master, so that there's nothing to cut away to. So, there's like all kinds of things that are going through your head, besides just directing the actors, that my experience was able to help me with.Well, you said Rubik's Cube, and that's what it sounds like: a Rubik's Cube on stage. Ken Levine: You've got five, six people on stage, and you have four cameras. You want to get a master and singles and reaction shots, and two shots. And it's all happening fluidly while the scene is going on. And then when somebody moves around the couch, then the cameras have to move, and are you covered? And those guys are amazing, the camera people in LA, if you're nice to them. I remember there was an episode of Becker that I was directing, and it was in the diner. And somebody had to go way upstage in the corner to the coat rack. And so, as I'm camera blocking that scene. I'm saying, “All right, I'm going to have to do a pickup. Fred, I'm going to have to send you way up the line to give me Ted in the corner there.”And he said, “I can get there.” And I go, “Fred, you have like a line and a half, because I've got you on Reggie. And then they cut away to Bob saying, ‘I looked at my lunch pail and I didn't have anything.' That's all the time you got. You got three seconds to get up there and frame it and do it.”And he says, “I get it. I can get it for you.” And for them, that was kind of part of the fun, was sort of the challenge. If they like you. If they don't like you, good luck.

+ Inner Sanctum. June 29, 1952. CBS net origination, AFRTS rebroadcast. "Terror By Night". A mad killer is on the prowl, and there's a dead body in the trunk. This is a good shocker with surprise ending. The script was previously used on "Inner Sanctum" on September 18, 1945. Have you ever been alone with fear, alone in the night and frightened? Well listen to first lady of radio Agnes Moorehead alone in the role of redhead Linda Dixon who will tell us a tale of Terror by night. Linda Dixon is driving along late on a stormy night and having car trouble when she hears on the radio of an escaped dangerous prisoner, a dark haired man named John Hartley accompanied by his dangerous and clever red haired girlfriend Helen Hearne.

The AFRTS broadcasts a Christmas Specatcular which is taken from the Annual Los Angeles Examiner Christmas Benefit on December 7, 1956. Among those appe Read more ...

Yours Truly, Johnny Dollar - The Big date Matter (AFRTS) From-1961 Announcer-Art Hanna, & Stars-Bob Readick, Madilyn Sherwood,  Robert Dryden, Carl Frank, Larry Haines & Larry Robinson   A beautiful girl in Sarasota has an unusual problem with her car... and a jewelry store robbery that goes along for the ride!

Audio Intro gives the organization of the show which was quite unique. Aired over 4 years and 1000 shows on the Armed Forces Radio and Television Service. Virginia plays a contemporary song of the era and Andy then plays the original version of the same song recorded 25-30 years earlier... often sound very different. Fun show to listen to... This track will be in the "Turn Back The Clock" Playlist on this podcast originating from Soundcloud.com

High Adventure starts things off on this week's Relic Radio Show. We'll hear Uncle Silas (via the AFRTS rebroadcast) from February 17, 1953. (25:38) Luke Slaughter Of Tombstone rides in with our second story. From March 9, 1958, we'll hear Yancey's Pride. https://www.podtrac.com/pts/redirect.mp3/archive.org/download/rr12023/RelicRadio850.mp3 Download RelicRadio850 | Subscribe | Support The Relic Radio Show

We all love Lucy!

Yours Truly, Johnny Dollar was a radio drama that aired on CBS Radio from February 18, 1949, to September 30, 1962. The first several seasons imagined protagonist Johnny Dollar as a standard private investigator drama. Listen to our radio station Old Time Radio https://link.radioking.com/otradio Listen to other Shows at My Classic Radio https://www.myclassicradio.net/ Remember that times have changed, and some shows might not reflect the standards of today's politically correct society. The shows do not necessarily reflect the views, standards, or beliefs of Entertainment Radio

Yours Truly, Johnny Dollar was a radio drama that aired on CBS Radio from February 18, 1949, to September 30, 1962. The first several seasons imagined protagonist Johnny Dollar as a standard private investigator drama. Listen to our radio station Old Time Radio https://link.radioking.com/otradio Listen to other Shows at My Classic Radio https://www.myclassicradio.net/ Remember that times have changed, and some shows might not reflect the standards of today's politically correct society. The shows do not necessarily reflect the views, standards, or beliefs of Entertainment Radio

Yours Truly, Johnny Dollar was a radio drama that aired on CBS Radio from February 18, 1949, to September 30, 1962. The first several seasons imagined protagonist Johnny Dollar as a standard private investigator drama. Listen to our radio station Old Time Radio https://link.radioking.com/otradio Listen to other Shows at My Classic Radio https://www.myclassicradio.net/ Remember that times have changed, and some shows might not reflect the standards of today's politically correct society. The shows do not necessarily reflect the views, standards, or beliefs of Entertainment Radio

Yours Truly, Johnny Dollar was a radio drama that aired on CBS Radio from February 18, 1949, to September 30, 1962. The first several seasons imagined protagonist Johnny Dollar as a standard private investigator drama. Listen to our radio station Old Time Radio https://link.radioking.com/otradio Listen to other Shows at My Classic Radio https://www.myclassicradio.net/ Remember that times have changed, and some shows might not reflect the standards of today's politically correct society. The shows do not necessarily reflect the views, standards, or beliefs of Entertainment Radio

Yours Truly, Johnny Dollar was a radio drama that aired on CBS Radio from February 18, 1949, to September 30, 1962. The first several seasons imagined protagonist Johnny Dollar as a standard private investigator drama. Listen to our radio station Old Time Radio https://link.radioking.com/otradio Listen to other Shows at My Classic Radio https://www.myclassicradio.net/ Remember that times have changed, and some shows might not reflect the standards of today's politically correct society. The shows do not necessarily reflect the views, standards, or beliefs of Entertainment Radio

Yours Truly, Johnny Dollar was a radio drama that aired on CBS Radio from February 18, 1949, to September 30, 1962. The first several seasons imagined protagonist Johnny Dollar as a standard private investigator drama. Listen to our radio station Old Time Radio https://link.radioking.com/otradio Listen to other Shows at My Classic Radio https://www.myclassicradio.net/ Remember that times have changed, and some shows might not reflect the standards of today's politically correct society. The shows do not necessarily reflect the views, standards, or beliefs of Entertainment Radio

Yours Truly, Johnny Dollar was a radio drama that aired on CBS Radio from February 18, 1949, to September 30, 1962. The first several seasons imagined protagonist Johnny Dollar as a standard private investigator drama. Listen to our radio station Old Time Radio https://link.radioking.com/otradio Listen to other Shows at My Classic Radio https://www.myclassicradio.net/ Remember that times have changed, and some shows might not reflect the standards of today's politically correct society. The shows do not necessarily reflect the views, standards, or beliefs of Entertainment Radio

Yours Truly, Johnny Dollar was a radio drama that aired on CBS Radio from February 18, 1949, to September 30, 1962. The first several seasons imagined protagonist Johnny Dollar as a standard private investigator drama. Listen to our radio station Old Time Radio https://link.radioking.com/otradio Listen to other Shows at My Classic Radio https://www.myclassicradio.net/ Remember that times have changed, and some shows might not reflect the standards of today's politically correct society. The shows do not necessarily reflect the views, standards, or beliefs of Entertainment Radio

Yours Truly, Johnny Dollar was a radio drama that aired on CBS Radio from February 18, 1949, to September 30, 1962. The first several seasons imagined protagonist Johnny Dollar as a standard private investigator drama. Listen to our radio station Old Time Radio https://link.radioking.com/otradio Listen to other Shows at My Classic Radio https://www.myclassicradio.net/ Remember that times have changed, and some shows might not reflect the standards of today's politically correct society. The shows do not necessarily reflect the views, standards, or beliefs of Entertainment Radio

Yours Truly, Johnny Dollar was a radio drama that aired on CBS Radio from February 18, 1949, to September 30, 1962. The first several seasons imagined protagonist Johnny Dollar as a standard private investigator drama. Listen to our radio station Old Time Radio https://link.radioking.com/otradio Listen to other Shows at My Classic Radio https://www.myclassicradio.net/ Remember that times have changed, and some shows might not reflect the standards of today's politically correct society. The shows do not necessarily reflect the views, standards, or beliefs of Entertainment Radio

Yours Truly, Johnny Dollar was a radio drama that aired on CBS Radio from February 18, 1949, to September 30, 1962. The first several seasons imagined protagonist Johnny Dollar as a standard private investigator drama. Listen to our radio station Old Time Radio https://link.radioking.com/otradio Listen to other Shows at My Classic Radio https://www.myclassicradio.net/ Remember that times have changed, and some shows might not reflect the standards of today's politically correct society. The shows do not necessarily reflect the views, standards, or beliefs of Entertainment Radio

Yours Truly, Johnny Dollar was a radio drama that aired on CBS Radio from February 18, 1949, to September 30, 1962. The first several seasons imagined protagonist Johnny Dollar as a standard private investigator drama. Listen to our radio station Old Time Radio https://link.radioking.com/otradio Listen to other Shows at My Classic Radio https://www.myclassicradio.net/ Remember that times have changed, and some shows might not reflect the standards of today's politically correct society. The shows do not necessarily reflect the views, standards, or beliefs of Entertainment Radio

Yours Truly, Johnny Dollar was a radio drama that aired on CBS Radio from February 18, 1949, to September 30, 1962. The first several seasons imagined protagonist Johnny Dollar as a standard private investigator drama. Listen to our radio station Old Time Radio https://link.radioking.com/otradio Listen to other Shows at My Classic Radio https://www.myclassicradio.net/ Remember that times have changed, and some shows might not reflect the standards of today's politically correct society. The shows do not necessarily reflect the views, standards, or beliefs of Entertainment Radio

Yours Truly, Johnny Dollar was a radio drama that aired on CBS Radio from February 18, 1949, to September 30, 1962. The first several seasons imagined protagonist Johnny Dollar as a standard private investigator drama. Listen to our radio station Old Time Radio https://link.radioking.com/otradio Listen to other Shows at My Classic Radio https://www.myclassicradio.net/ Remember that times have changed, and some shows might not reflect the standards of today's politically correct society. The shows do not necessarily reflect the views, standards, or beliefs of Entertainment Radio

Yours Truly, Johnny Dollar was a radio drama that aired on CBS Radio from February 18, 1949, to September 30, 1962. The first several seasons imagined protagonist Johnny Dollar as a standard private investigator drama. Listen to our radio station Old Time Radio https://link.radioking.com/otradio Listen to other Shows at My Classic Radio https://www.myclassicradio.net/ Remember that times have changed, and some shows might not reflect the standards of today's politically correct society. The shows do not necessarily reflect the views, standards, or beliefs of Entertainment Radio

Yours Truly, Johnny Dollar was a radio drama that aired on CBS Radio from February 18, 1949, to September 30, 1962. The first several seasons imagined protagonist Johnny Dollar as a standard private investigator drama. Listen to our radio station Old Time Radio https://link.radioking.com/otradio Listen to other Shows at My Classic Radio https://www.myclassicradio.net/ Remember that times have changed, and some shows might not reflect the standards of today's politically correct society. The shows do not necessarily reflect the views, standards, or beliefs of Entertainment Radio

Yours Truly, Johnny Dollar was a radio drama that aired on CBS Radio from February 18, 1949, to September 30, 1962. The first several seasons imagined protagonist Johnny Dollar as a standard private investigator drama. Listen to our radio station Old Time Radio https://link.radioking.com/otradio Listen to other Shows at My Classic Radio https://www.myclassicradio.net/ Remember that times have changed, and some shows might not reflect the standards of today's politically correct society. The shows do not necessarily reflect the views, standards, or beliefs of Entertainment Radio

Yours Truly, Johnny Dollar was a radio drama that aired on CBS Radio from February 18, 1949, to September 30, 1962. The first several seasons imagined protagonist Johnny Dollar as a standard private investigator drama. Listen to our radio station Old Time Radio https://link.radioking.com/otradio Listen to other Shows at My Classic Radio https://www.myclassicradio.net/ Remember that times have changed, and some shows might not reflect the standards of today's politically correct society. The shows do not necessarily reflect the views, standards, or beliefs of Entertainment Radio

Yours Truly, Johnny Dollar was a radio drama that aired on CBS Radio from February 18, 1949, to September 30, 1962. The first several seasons imagined protagonist Johnny Dollar as a standard private investigator drama. Listen to our radio station Old Time Radio https://link.radioking.com/otradio Listen to other Shows at My Classic Radio https://www.myclassicradio.net/ Remember that times have changed, and some shows might not reflect the standards of today's politically correct society. The shows do not necessarily reflect the views, standards, or beliefs of Entertainment Radio

Yours Truly, Johnny Dollar was a radio drama that aired on CBS Radio from February 18, 1949, to September 30, 1962. The first several seasons imagined protagonist Johnny Dollar as a standard private investigator drama. Listen to our radio station Old Time Radio https://link.radioking.com/otradio Listen to other Shows at My Classic Radio https://www.myclassicradio.net/ Remember that times have changed, and some shows might not reflect the standards of today's politically correct society. The shows do not necessarily reflect the views, standards, or beliefs of Entertainment Radio

Yours Truly, Johnny Dollar was a radio drama that aired on CBS Radio from February 18, 1949, to September 30, 1962. The first several seasons imagined protagonist Johnny Dollar as a standard private investigator drama. Listen to our radio station Old Time Radio https://link.radioking.com/otradio Listen to other Shows at My Classic Radio https://www.myclassicradio.net/ Remember that times have changed, and some shows might not reflect the standards of today's politically correct society. The shows do not necessarily reflect the views, standards, or beliefs of Entertainment Radio

Yours Truly, Johnny Dollar was a radio drama that aired on CBS Radio from February 18, 1949, to September 30, 1962. The first several seasons imagined protagonist Johnny Dollar as a standard private investigator drama. Listen to our radio station Old Time Radio https://link.radioking.com/otradio Listen to other Shows at My Classic Radio https://www.myclassicradio.net/ Remember that times have changed, and some shows might not reflect the standards of today's politically correct society. The shows do not necessarily reflect the views, standards, or beliefs of Entertainment Radio

Yours Truly, Johnny Dollar was a radio drama that aired on CBS Radio from February 18, 1949, to September 30, 1962. The first several seasons imagined protagonist Johnny Dollar as a standard private investigator drama. Listen to our radio station Old Time Radio https://link.radioking.com/otradio Listen to other Shows at My Classic Radio https://www.myclassicradio.net/ Remember that times have changed, and some shows might not reflect the standards of today's politically correct society. The shows do not necessarily reflect the views, standards, or beliefs of Entertainment Radio

More Stacy, Mindi, and Lucy!

More of the forerunner for I Love Lucy!