Podcasts about Fred Allen

Fred Allen and the people you didn't expect to meet 1939. Fred Allen was famously a control freak on his radio shows. Although he used a staff of writers, it was just to generate ideas and jokes that would be incorporated into the final script that Fred always wrote personally. Each minute of those shows … Continue reading When Radio Ruled #137 – Fred Allen’s People You Didn’t Expect to Meet 1939

Fred Allen || Sal Hepatica Review (Series name) || Bedlam's Amusement Agency / Bedlam's Amusement Agency Revisited / Bedlam Penitentiary || All aired: January + February 1934: : : : :My other podcast channels include: DRAMA X THEATER -- SCI FI x HORROR -- MYSTERY X SUSPENSE -- VARIETY X ARMED FORCES -- THE COMPLETE ORSON WELLESEnjoy my podcast? You can subscribe to receive new post notices. Also, if you have a moment, please give a 4-5 star rating and/or write a 1-2 sentence positive review on your preferred service -- that would help me a lot.Thank you for your support.https://otr.duane.media | Instagram @duane.otr#comedyclassics #oldtimeradio #otr #radioclassics #jackbenny #fibbermcgeemolly #bobhope #lucilleball #martinandlewis #grouchomarx #abbottandcostello #miltonberle #oldtimeradioclassics #classicradio #duaneotr:::: :

The Big Show 50-12-03 ep05 Fred Allen Phil Silvers

Fred Allen - Hour Of Smiles 34-04-18 (05) To Buy or Not Buy a Toupee

This episode was originally released on 6/1/2019. While new episodes of Breaking Walls are on hiatus I'll be going back and posting the older episodes. ____________ In Breaking Walls episode 92 we open the summer season with a trip to Coney Island, Brooklyn. The New York city summer locale was frequented in radio programs and by radio performers. It was also, in the days of wireless telegraphy, an important station location for Guglielmo Marconi. Highlights: • Marconi's last link • André Baruch Gets His Radio Start at Coney Island • Allen's Alley Opens the Summer • Connee Boswell Sings • The Crime Club Uncovers a Coney Island Murder • Irma and Jane Go To the Beach • Broadway Is My Beat • Vincent Price in Coney Island • Jean Shepherd Stops By • We Take the Subway Home The WallBreakers: thewallbreakers.com Subscribe to Breaking Walls everywhere you get your podcasts. To support the show: patreon.com/TheWallBreakers The reading material used in today's episode was: On The Air: The Encyclopedia of Old-Time Radio - by John Dunning Network Radio Ratings, 1932-53 - by Jim Ramsburg As well three tremendous internet resources: Charles Denson's History Project at ConeyIslandHistory.org David Sullivan's Heart of ConeyIsland.com Jeff Stanton's research at Westland.net/ConeyIsland On the interview front: • André Baruch, Larry Dobkin, Lou Krugman, and Herb Vigran, were with SPERDVAC. For more information, please go to SPERDVAC.com • Hans Conried, June Havoc, Vincent Price, and William N. Robson were with Dick Bertel and Ed Corcoran for WTIC's The Golden Age of Radio. These interview can be heard at GoldenAge-WTIC.org. • Elliott Lewis and E. Jack Neuman were with John Dunning for his 1980s 71KNUS program from Denver. • Vincent Price and Allen Reed spoke to Chuck Schaden. Hear their full chats at SpeakingofRadio.com. • Fred Allen was a guest of Tex and Jinx on November 24th, 1954. • Connee Boswell was interviewed by Lee Phillip in 1963. • And Morton Fine was with Dan Haefele on August 9th, 1988. Selected music featured in today's episode was: • Under the Boardwalk - by the Drifters • And Shine on Harvest Moon - by Joan Morris & William Bolcom

Fred Allen || (479) Chicken Surplus || March 3, 1946: : : : :My other podcast channels include: MYSTERY x SUSPENSE -- DRAMA X THEATER -- SCI FI x HORROR -- COMEDY x FUNNY HA HA -- VARIETY X ARMED FORCES.Subscribing is free and you'll receive new post notifications. Also, if you have a moment, please give a 4-5 star rating and/or write a 1-2 sentence positive review on your preferred service -- that would help me a lot.Thank you for your support.https://otr.duane.media | Instagram @duane.otr#orsonwelles #oldtimeradio #otr #radioclassics #citizenkane #oldtimeradioclassics #classicradio #mercurytheatre #duaneotr:::: :This podcast uses the following third-party services for analysis: Podtrac - https://analytics.podtrac.com/privacy-policy-gdrp

We continue our short series dedicated to writer/director/producer, Norman Corwin, with an episode of The Fred Allen Show that is not broadly in circulation, originally broadcast on May 14th, 1944, with Corwin as special guest. Allen does a satirical adaptation of the Jack and Jill nursery rhyme presented in Corwin's dramatic style. The second half of the discs were badly damaged, but worth presenting, as it is the only time we know of that Allen and Corwin ever appeared together. Visit our website: https://goodolddaysofradio.com/ Subscribe to our Facebook Group for news, discussions, and the latest podcast: https://www.facebook.com/groups/881779245938297 Our theme music is "Why Am I So Romantic?" from Animal Crackers: https://www.amazon.com/dp/B01KHJKAKS/ref=cm_sw_em_r_mt_dp_MK8MVCY4DVBAM8ZK39WD

In Breaking Walls episode 88, we spotlight the 1945-46 season of The Jack Benny Program. This season introduced characters like telephone operators Gertrude and Mabel, press agent Steve Bradley, hot dog vendor Mr. Kitzel, and Ronald and Benita Colman. This season featured guest appearances from Ingrid Bergman, Isaac Stern, Van Johnson, Ray Milland, Peter Lorre, Louella Parsons, Fred Allen, Ed Sullivan and others. It also was the season in which Dennis Day returned from the Navy and one of the most ingenious marketing campaigns in entertainment history took place: The “I Can't Stand Jack Benny” Contest. Highlights: • Jack's slipping ratings • Problems with General Foods • Jack changes sponsors • The War ends and a new season begins • Mabel Flapsaddle & Gertrude Gearshift • Steve Bradley and his big ideas • $10,000 and $646,000 • Jack gets robbed • The Contest • Mail pours in • The Colmans can't stand Jack Benny • Jack's ratings soar • Christmas of 1945 & The Rose Bowl • Fred Allen and the end of the Contest • Isaac Stern • Palm Springs • Van Jackson • Ed Sullivan and the end of the season • King for a Day The WallBreakers: http://thewallbreakers.com Subscribe to Breaking Walls everywhere you get your podcasts. To support the show: http://patreon.com/TheWallBreakers The reading material used in today's episode was: • Sunday Nights at Seven - by Jack and Joan Benny • On The Air: The Encyclopedia of Old-Time Radio - by John Dunning • Network Radio Ratings, 1932-1953 - by Jim Ramsburg • As well as articles from Radio Life on January 27th and February 3rd, 1946 On the interview front: •Jack Benny, Ezra Stone, Kate Smith, Don Wilson, Eliott Lewis, Phil Harris, Frank Nelson and Dennis Day were with Chuck Schaden. Chuck's interviews from an over 39-year career can be listened to for free at SpeakingofRadio.com • Vincent Price and Mel Blanc were with Dick Bertel and Ed Corcoran for WTIC's The Golden Age of Radio. The full interviews can be heard at GoldenAge-WTIC.org • Dennis Day was also with John Dunning for his 1980s 71KNUS Radio program from Denver. Some of his interviews can be found at OTRRLibrary.org • And Finally Jack Benny, Dennis Day, Phil Harris, Frank Nelson, Don Wilson and Mel Blanc were also with Jack Carney for his early 1980s Comedy Program. Much of this audio was originally taken from a 1972 PBS Documentary on Great Radio Comedians. Thank you Goodmond Danielson for supplying me with the audio. Selected music featured in today's episode was: • Love in Bloom by Bing Crosby • It's Been a Long, Long, Time by the Harry James Orchestra • Chickery Chick by Sammy Kaye with Billy Williams & Nancy Norman • Manhattan Serenade by the Tommy Dorsey Orchestra with Jo Stafford • It Might as Well Be Spring by Larry Stephens • Danny Boy by Dennis Day • Along the Navajo Trail by Bing Crosby and the Andrews Sisters WallBreakers Links: Patreon - patreon.com/thewallbreakers Social Media - @TheWallBreakers URL - thewallbreakers.com Online Store - jamesthewallbreaker.com/shop/

Comedy on a SundayFirst,  a look at this day in History.Then Town Hall Tonight with Fred Allen, originally broadcast June 8, 1938, 86 years ago, Satire on Song Writers. Fred interviews "actors" about the coming summer stock season. People You Didn't Expect To Meet: Ray Smith, a hunting and fishing guide from upstate New York. Ed Albany: "The Human Echo" performs. Followed by the Judy Canova Show, originally broadcast June 8, 1946, 79 years ago, Judy prepares for a Game Show. Then The Life of Riley starring William Bendix, originally broadcast June 8, 1946, 79 years ago, The Bread Shortage.  Riley finds himself in the black market bread business. Finally. Lum and Abner, originally broadcast June 8, 1942, 83 years ago, Lum's English State of Mind.  While they're in the greeting card business, the boys compose a graduation card for Grandpappy Spears. Thanks to Honeywell for supporting our podcast by using the Buy Me a Coffee function at http://classicradio.streamFind the Family Fallout Shelter Booklet Here: https://www.survivorlibrary.com/library/the_family_fallout_shelter_1959.pdfhttps://wardomatic.blogspot.com/2006/11/fallout-shelter-handbook-1962.html

A Funny Thursday, and we remember FredFirst,  a look at this day in History.Then Father Knows Best starring Robert Young, originally broadcast May 29, 1952, 73 years ago, Sorting Through the Old Trunk. Memories in an old trunk conspire to get Jim in a swimming race with the father of one of Bud's classmates. But when Jim bows out to go to the fair, the race gets moved from the YMCA to the Fair!Followed by Lum and Abner, originally broadcast May 29, 1949, 76 years ago, Jot ‘em Down Store Has Big Spring Clearance Sale.  The sudden need for $200 cash prompts a spring clearance sale at the Jot 'Em Down store.Then Biography in Sound, originally broadcast May 29, 1956, 69 years ago, A Portrait of Fred Allen. The life story of the famous radio humorist. Finally. Vic and Sade, originally broadcast May 29, 1940, 85 years ago, Nicer the Goader.   Rush has been fighting with Nicer Scott...and with good reason!Thanks to Honeywell for supporting our podcast by using the Buy Me a Coffee function at http://classicradio.streamFind the Family Fallout Shelter Booklet Here: https://www.survivorlibrary.com/library/the_family_fallout_shelter_1959.pdfhttps://wardomatic.blogspot.com/2006/11/fallout-shelter-handbook-1962.html

This week on A Legacy Of Laughs, we'll hear Fred Allen in Rhyme Does Not Pay, from The Texaco Star Theater. That episode originally aired May 14, 1941. Listen to more from The Texaco Star Theater https://www.archive.org/download/rr12024/LOL277.mp3 Download LOL277 | Subscribe | Spotify | Support Relic Radio

True History: Biographies in Sound “A Portrait of Fred Allen” 5/29/56 NBC.

Kenny Delmar, announcer for Fred Allen, substitutes for Don Wilson while the gang is in New York. Of course, the jokes about Fred Allen kick into high gear. Mary Livingston…

17 year old Wynn Murray already had two Broadway hits on her resume when she joined The Fred Allen show as the resident Female Vocalist in 1939. Fred Allen's decision to bring a famous female vocalist onto his show in 1939 was a recognition that female singers were now in vogue. Singers like Connie Boswell … Continue reading When Radio Ruled #127 – Wynn Murray Sings 1939

A Funny Wednesday First a look at this day in History.Then The Texaco Star Theater starring Fred Allen, originally broadcast May 7, 1941, 84 years ago with guests Amos ‘n' Andy.  Fred dedicates the entire program to Jack Benny, on the completion of Jack's tenth year on the air. A summary of the events of 1931. The show features a Jack Benny Panaversary. Swami Schmaltz tries to discover What happened to the gas-man on the Jack Benny Show?. Fred visits Amos 'n' Andy at The Mystic Knights Of The Sea lodge hall. Rochester is described as The Lone Ranger of Lenox Avenue. The cast does, "The Highlights Of A Lowlife" or, "Benny Marches On.". Followed by Father Knows Best starring Robert Young, originally broadcast May 7, 1953, 72 years ago, The Good Old Days.  Jim tries to show folks how things were done in the good old days instead of making stuff themselves.  But when the lights go out, the family tries to do what they did in the old days.Then The Henry Morgan Show, originally broadcast May 7, 1947, 78 years ago, Salute to the Old School.  A program dedicated to "The American School: The Progressive School, The Grammar School."Finally. Lum and Abner, originally broadcast May 7, 1942, 83 years ago, The boys discuss car pooling. Thanks to Sean for supporting our podcast by using the Buy Me a Coffee function at http://classicradio.streamFind the Family Fallout Shelter Booklet Here: https://www.survivorlibrary.com/library/the_family_fallout_shelter_1959.pdfhttps://wardomatic.blogspot.com/2006/11/fallout-shelter-handbook-1962.html

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PC_2024-028_OTRNow_Radio_ProgramThe Fred Allen Show. November 08, 1939. NBC net. Sponsored by: Ipana, Sal Hepatica. The first tune is "It's A Hundred To One." Fred analyzes the statutes for pedestrians in New York. The program's guest is the man in charge of merchandising research for the doughnut industry. He analyzes dunking techniques. Round table discussion topic: "Do you think women drivers operate their cars as efficiently as men?" The Mighty Allen Art Players perform "The Sound Man's Revenge.". Fred Allen, Harry Von Zell (announcer), Peter Van Steeden and His Orchestra, Wynn Murray, Minerva Pious, The Merry Macs, Portland Hoffa.  Doctor Christian. November 07, 1937. CBS net. Sponsored by: Vaseline. The first show of the series. Dr. Christian is forced to operate in a shack. The program originates from New York City. Jean Hersholt, Rosemary De Camp, Noreen Gammill, Gale Gordon, Art Gilmore (announcer).  GALLANT AMERICAN WOMEN  November 07, 1939.- Gallant American Women (written by Jane Ashman) was a series profiling Pioneer women in history who forged ahead. In cooperation with the US Office of Education and NBC. "Women and Peace"ELLERY QUEEN November 7, 1945."The Adventure of the Message In Red".  Top Secrets Of The FBI. November 12, 1947. Mutual net. "The Vest Pocket Broadcasting System". Audition Show. The FBI tracks down a dope ring by using the latest electronic equipment.  TOTAL TIME: 2:57:25.324SOURCES: Wikipedia and The RadioGoldindex.com

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This episode was originally released on 7/1/2018. While new episodes of Breaking Walls are on hiatus I'll be going back and posting the older episodes beginning with this episode on the birth of radio. ___________ In Breaking Walls episode 81, we spotlight the life and career of one of the twentieth century's most famous comedians, Fred Allen. Amongst other comedians and entertainers, almost no one was beloved as much as him. His comedic feud with Jack Benny was legendary, as were his battles with network executives and sponsors. Highlights: • John Sullivan is Born in Boston • What growing up in Boston with his aunt was like • How his job at the Boston Public library began his career in show business • Learning to Juggle and Early Amateur Performances • Harry LaToy and how Johnny Sullivan became Fred St. James • Freddie James: The World's Worst Juggler • Becoming Fred Allen and going on Broadway • Allen's Radio Birth—Bath Towels, Laxatives, and Mayonnaise • Town Hall Tonight is Born • Jack Benny—The Feud of the Century • Mr. Ramshaw— an Eagle on the loose • Changing networks • Texaco and Problems with NBC • King for a Day • Bowing out gracefully • Fred Allen: Memoirist • What's my Line? • Final Days The reading material used in today's episode was: • The Encyclopedia of Old-Time Radio by John Dunning • Treadmill to Oblivion & Much Ado About Me … both by Fred Allen Selected Music featured in today's Episode was: • Swingin' on a Star by Bing Crosby • Over There recorded live by George M. Cohan • Auld Lang Syne by Guy Lombardo

Comedy on a FridayFirst a look at the events of the dayThen My Friend Irma starring Marie Wilson, originally broadcast April 18, 1947, 78 years ago, Prize Fighter.  Irma gives Al the girls' rent money to bet on a seedy prize fighter he's managing.Followed by Fred Allen, originally broadcast April 18, 1948, 77 years ago, The Author Meets His Match.  Fred and Postmaster Jim Farley do a parody of "Author Meets The Critics" called "The Author Meets His Match."Then The Jack Webb Show, originally broadcast April 18, 1946, 79 years ago, The Story of Howdyville. A satire of a Western program. A big-budget Army film. Followed by Fibber McGee and Molly, originally broadcast April 18, 1939, 86 years ago, Molly Returns.  Molly returns after an absence of eighteen months.  Fibber decides to stick to a budget. Finally, The Adventures of Jungle Jim, originally broadcast April 18, 1936, 89 years ago, The Purple Triangle. Shanghai Lil offers to fly Jungle Jim to Shanghai in her own airplane, and then admits to having ordered the death of Lo Tongue!Thanks to Honeywell for supporting our podcast by using the Buy Me a Coffee function at http://classicradio.streamIf you like what we do here, visit our friend Jay at http://radio.macinmind.com for great old time radio shows 24 hours a day

Breakfast Show

Jello again. In the 1930's, there were two big comedians on the radio. Jack Benny and Fred Allen. Fred Allen's show was called Town Hall Tonight. So, Jack does a spoof of it on today's show.Episode 214 of The Jack Benny Show. The program originally aired on on April 5, 1936.Please email questions and comments to host@classiccomedyotr.com.Like us on Facebook at facebook.com/classiccomedyotr. Please share this podcast with your friends and family.You can also subscribe to our podcast on Spreaker.com, Spotify, iTunes, Stitcher, TuneIn, iHeartRadio, and Google podcasts.This show is supported by Spreaker Prime.

"I Do Do Do Like You" - Bing Crosby; "My Heart Is a Hobo" - Bing Crosby; "Chi-Baba Chi-Baba" Connee Boswell; "Keep on Smiling" - Fred Allen & Bing Crosby; "Misirlou" - Skitch Henderson; "I Want to Thank Your Folks" - Bing Crosby;

Jack Benny || Christmas Gift Exchange || Train to L.A. || Broadcast: January 5, 1941; October 19, 194101:16 ... Christmas Gift Exchange -- Jack and his friends are at the Rose Bowl game, where they meet Shlepperman running a hot dog stand. Jack's date (Gladys Zybysko) seems to know everyone in the stadium.31:52 ... Train to L.A. -- References include Fred Allen in a bathing suit in a radio guide magazine, Bob Hope, Spencer Tracy, Thomas Edison, Albert Einstien, Scottish singer Harry Lauder, and etiquette expert Emily Post.: : : : :My other podcast channels include: DRAMA X THEATER -- SCI FI x HORROR -- MYSTERY X SUSPENSE -- VARIETY X ARMED FORCES -- THE COMPLETE ORSON WELLESEnjoy my podcast? You can subscribe to receive new post notices. Also, if you have a moment, please give a 4-5 star rating and/or write a 1-2 sentence positive review on your preferred service -- that would help me a lot.Thank you for your support.https://otr.duane.media | Instagram @duane.otr#comedyclassics #oldtimeradio #otr #radioclassics #jackbenny #fibbermcgeemolly #bobhope #lucilleball #martinandlewis #grouchomarx #abbottandcostello #miltonberle #oldtimeradioclassics #classicradio #duaneotr:::: :

A Funny MondayFirst a look at this day in History.Then The Campbells Playhouse starring Orson Welles, originally broadcast March 24, 1940, 85 years ago, June Moon starring Jack Benny.  The program features the funny story about a song writer from Schenectady who arrives in New York with plans to conquer Tin Pan Alley. Jack manages to get in a remark about Fred Allen. The story is based on a story by Ring Lardner titled, "Some Like Them Cold."Followed by A Day in the Life of Dennis Day, originally broadcast March 24, 1948, 77 years ago,  Weaverville Land Grab.  Dennis buys and runs a taxicab. He that discovers one of his passengers plans to take over the entire town. Then Abbott and Costello, originally broadcast March 24, 1949, 76 years ago, A Sam Shovel Mystery. The boys do a "Sam Shovel" mystery, "The Case Of The Man Who Burned His Sweetheart's Body In The Fireplace," or "I've Got My Love To Keep Me Warm." Finally Claudia, originally broadcast March 24, 1949, 76 years ago, Roger's Surprise.   Telling Mama the news. But who bought the land?Thanks to Sean for supporting our podcast by using the Buy Me a Coffee function at http://classicradio.streamFind the Family Fallout Shelter Booklet Here: https://www.survivorlibrary.com/library/the_family_fallout_shelter_1959.pdfhttps://wardomatic.blogspot.com/2006/11/fallout-shelter-handbook-1962.htmlAnd more about the Survive-all Fallout Sheltershttps://conelrad.blogspot.com/2010/09/mad-men-meet-mad-survive-all-shelter.html

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A Funny ThursdayFirst a look at this day in History.Then The Pepsodent Show starring Bob Hope, originally broadcast March 20, 1945, 80 years ago with guest Shirley Temple.  The program originates from Camp Anza, Arlington (Riverside), California. Bob and guest Shirley Temple appear as hot-rodding teen-agers. Bob, Skinnay Ennis  and Jerry Colonna at Camp Anza. With this show, Bob starts his fourth year entertaining the troops by playing for service audiences. Followed by Fred Allen, originally broadcast March 20, 1940, 85 years ago, Eagle Gets Loose in the Studio.  The famous "Eagle Show," in which a trained eagle escapes to the roof of the studio. The Mighty Allen Art Players satirize "The Pot Of Gold" program, with a skit called, "The Tub Of Silver."Then True or False starring Harry Hagen, originally broadcast March 20, 1938, 87 years ago, Male Postal Clerks versus Women of the League of Women Voters. Finally One Out of Seven starring Jack Webb, originally broadcast March 20, 1946, 76 years ago, Equality, A Most Wonderful Thing.   In Germany, unidentified people are executed. In the South, a Negro is whipped. In Alabama, a Negro is denied voter registration. In Tupelo, Mississippi, a clergyman registers to run for the House of Representatives and is run out of town.  (Content Warning - the “N” word is used in context)Thanks to Sean for supporting our podcast by using the Buy Me a Coffee function at http://classicradio.streamFind the Family Fallout Shelter Booklet Here: https://www.survivorlibrary.com/library/the_family_fallout_shelter_1959.pdfhttps://wardomatic.blogspot.com/2006/11/fallout-shelter-handbook-1962.htmlAnd more about the Survive-all Fallout Sheltershttps://conelrad.blogspot.com/2010/09/mad-men-meet-mad-survive-all-shelter.html

A Funny MondayFirst a look at the events of the dayThen George Burns and Gracie Allen, originally broadcast March 17, 1941, 84 years ago, St. Patrick's Parade.  George tries to break up the "romance" between Gracie and Artie Shaw.Followed by A Day In The Life of Dennis Day,  originally broadcast March 17, 1948, 77 years ago, Baby Picture Contest. Dennis enters Mrs. Anderson's baby picture in a photo contest...and wins!Then Town Hall Tonight starring Fred Allen, originally broadcast March 17, 1937,  88 years ago, St Patricks Day Show.  The Mighty Allen Art Players do a hillbilly drama. Town Hall Varieties: Professor Quigley attempts to escape from a packing case again.Finally, Claudia, originally broadcast March 17, 1949, 76 years ago, Telling David.  Claudia has gotten a traffic ticket...or summons. David doesn't yet know. Thanks to Honeywell for supporting our podcast by using the Buy Me a Coffee function at http://classicradio.streamIf you like what we do here, visit our friend Jay at http://radio.macinmind.com for great old time radio shows 24 hours a day

On this, the 69th anniversary of the passing of a great radio humorist, we present the NBC program Biography in Sound,  This episode was broadcast two days prior to what would have been his 62nd birthday, May 29, 1956.  Ironically that was just 10 days following my birth.  And yes, I chose this picture because of another irony.  Until I graduated college, I played the tuba.  Here's a partial list of those apart of Fred that you will hear in this 55 minute program.Kenny Delmar, Tallulah Bankhead, Doc Rockwell, Jack Benny, Herman Wouk, Jim Harkins, Francis Spellman, Donald Voorhees, Peter Donald, Bill Mullen, James Mason, Jimmy Durante, Goodman Ace, Henry Tugan, Joe DeGray, Mike Jakes, Minerva Pious, Jack Haley, Ed Herlihy, Edgar Bergen, Herb Shriner, Benny Droan, Clifton Webb, George Jessel, John Royal, Roger White, Pat Weaver, Harry Von Zell, John Crosby, Stanley Trablinsky, Morton Green, George Foster, Su Chan, Max Asgur, Alan Reed, and Parker Fennelly.  Each paying tribute with remembrances of Fred Allen.And yes, writer Earl Hamner wrote much of the continuity of this program.  The same Earl Hamner who created The Waltons and Falcon Crest.  One more amazing talent who influenced so many more.  May he rest in peace and know that even today, he is remembered for all the laughs he gave all of us.  

Fred Allen || Hour of Smiles (62) Bedlamville Needs Funds || Sal Hepatica Review (48) Trustee's Meeting | Broadcast: May 2, 1934; January 1, 1934Had to replace the announced second episode with Trustee's Meeting.: : : : :My other podcast channels include: DRAMA X THEATER -- SCI FI x HORROR -- MYSTERY X SUSPENSE -- VARIETY X ARMED FORCES -- THE COMPLETE ORSON WELLESEnjoy my podcast? You can subscribe to receive new post notices. Also, if you have a moment, please give a 4-5 star rating and/or write a 1-2 sentence positive review on your preferred service -- that would help me a lot.Thank you for your support.https://otr.duane.media | Instagram @duane.otr#comedyclassics #oldtimeradio #otr #radioclassics #jackbenny #fibbermcgeemolly #bobhope #lucilleball #martinandlewis #grouchomarx #abbottandcostello #miltonberle #oldtimeradioclassics #classicradio #duaneotr:::: :

March 13, 1938 - Death in the Night Club. Jack and the gand talk about the Academy awards and do a play about a murder trial. References inlcude Kenny Baker in the movie "Goldwyn Follies", Fred Allen in "Sally, Irene, and Mary", Edward G Robinson, Spensor Tracy, Shirley Temple and Robin Hood and his band.

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King For A Day

Good evening and a huge welcome back to the show, I hope you've had a great day and you're ready to kick back and relax with another episode of Brett's old time radio show. Hello, I'm Brett your host for this evening and welcome to my home in beautiful Lyme Bay where it's lovely December night. I hope it's just as nice where you are. You'll find all of my links at www.linktr.ee/brettsoldtimeradioshow A huge thankyou for joining me once again for our regular late night visit to those dusty studio archives of Old Time radio shows right here at my home in the united kingdom. Don't forget I have an instagram page and youtube channel both called brett's old time radio show and I'd love it if you could follow me. Feel free to send me some feedback on this and the other shows if you get a moment, brett@tourdate.co.uk #sleep #insomnia #relax #chill #night #nighttime #bed #bedtime #oldtimeradio #drama #comedy #radio #talkradio #hancock #tonyhancock #hancockshalfhour #sherlock #sherlockholmes #radiodrama #popular #viral #viralpodcast #podcast #podcasting #podcasts #podtok #podcastclip #podcastclips #podcasttrailer #podcastteaser #newpodcastepisode #newpodcast #videopodcast #upcomingpodcast #audiogram #audiograms #truecrimepodcast #historypodcast #truecrime #podcaster #viral #popular #viralpodcast #number1 #instagram #youtube #facebook #johnnydollar #crime #fiction #unwind #devon #texas #texasranger #beer #seaton #seaside  #smuggler #colyton #devon #seaton #beer #branscombe #lymebay #lymeregis #brett #brettorchard #orchard #greatdetectives #greatdetectivesofoldtimeradio #detectives #johnnydollar #thesaint #steptoe #texasrangers         The Man Called X An espionage radio drama that aired on CBS and NBC from July 10, 1944, to May 20, 1952. The radio series was later adapted for television and was broadcast for one season, 1956–1957. People Herbert Marshall had the lead role of agent Ken Thurston/"Mr. X", an American intelligence agent who took on dangerous cases in a variety of exotic locations. Leon Belasco played Mr. X's comedic sidekick, Pegon Zellschmidt, who always turned up in remote parts of the world because he had a "cousin" there. Zellschmidt annoyed and helped Mr. X. Jack Latham was an announcer for the program, and Wendell Niles was the announcer from 1947 to 1948. Orchestras led by Milton Charles, Johnny Green, Felix Mills, and Gordon Jenkins supplied the background music. William N. Robson was the producer and director. Stephen Longstreet was the writer. Production The Man Called X replaced America — Ceiling Unlimited on the CBS schedule. Television The series was later adapted to a 39-episode syndicated television series (1956–1957) starring Barry Sullivan as Thurston for Ziv Television. Episodes Season 1 (1956) 1 1 "For External Use Only" Eddie Davis Story by : Ladislas Farago Teleplay by : Stuart Jerome, Harold Swanton, and William P. Templeton January 27, 1956 2 2 "Ballerina Story" Eddie Davis Leonard Heideman February 3, 1956 3 3 "Extradition" Eddie Davis Ellis Marcus February 10, 1956 4 4 "Assassination" William Castle Stuart Jerome February 17, 1956 5 5 "Truth Serum" Eddie Davis Harold Swanton February 24, 1956 6 6 "Afghanistan" Eddie Davis Leonard Heidman March 2, 1956 7 7 "Embassy" Herbert L. Strock Laurence Heath and Jack Rock March 9, 1956 8 8 "Dangerous" Eddie Davis George Callahan March 16, 1956 9 9 "Provocateur" Eddie Davis Arthur Weiss March 23, 1956 10 10 "Local Hero" Leon Benson Ellis Marcus March 30, 1956 11 11 "Maps" Eddie Davis Jack Rock May 4, 1956 12 12 "U.S. Planes" Eddie Davis William L. Stuart April 13, 1956 13 13 "Acoustics" Eddie Davis Orville H. Hampton April 20, 1956 14 14 "The General" Eddie Davis Leonard Heideman April 27, 1956 Season 2 (1956–1957) 15 1 "Missing Plates" Eddie Davis Jack Rock September 27, 1956 16 2 "Enemy Agent" Eddie Davis Teleplay by : Gene Levitt October 4, 1956 17 3 "Gold" Eddie Davis Jack Laird October 11, 1956 18 4 "Operation Janus" Eddie Davis Teleplay by : Jack Rock and Art Wallace October 18, 1956 19 5 "Staff Headquarters" Eddie Davis Leonard Heideman October 25, 1956 20 6 "Underground" Eddie Davis William L. Stuart November 1, 1956 21 7 "Spare Parts" Eddie Davis Jack Laird November 8, 1956 22 8 "Fallout" Eddie Davis Teleplay by : Arthur Weiss November 15, 1956 23 9 "Speech" Eddie Davis Teleplay by : Ande Lamb November 22, 1956 24 10 "Ship Sabotage" Eddie Davis Jack Rock November 29, 1956 25 11 "Rendezvous" Eddie Davis Ellis Marcus December 5, 1956 26 12 "Switzerland" Eddie Davis Leonard Heideman December 12, 1956 27 13 "Voice On Tape" Eddie Davis Teleplay by : Leonard Heideman December 19, 1956 28 14 "Code W" Eddie Davis Arthur Weiss December 26, 1956 29 15 "Gas Masks" Eddie Davis Teleplay by : Jack Rock January 3, 1957 30 16 "Murder" Eddie Davis Lee Berg January 10, 1957 31 17 "Train Blow-Up" Eddie Davis Ellis Marcus February 6, 1957 32 18 "Powder Keg" Jack Herzberg Les Crutchfield and Jack Rock February 13, 1957 33 19 "Passport" Eddie Davis Norman Jolley February 20, 1957 34 20 "Forged Documents" Eddie Davis Charles Mergendahl February 27, 1957 35 21 "Australia" Lambert Hill Jack Rock March 6, 1957 36 22 "Radio" Eddie Davis George Callahan March 13, 1957 37 23 "Business Empire" Leslie Goodwins Herbert Purdum and Jack Rock March 20, 1957 38 24 "Hungary" Eddie Davis Fritz Blocki and George Callahan March 27, 1957 39 25 "Kidnap" Eddie Davis George Callahan April 4, 1957 sleep insomnia relax chill night nightime bed bedtime oldtimeradio drama comedy radio talkradio hancock tonyhancock hancockshalfhour sherlock sherlockholmes radiodrama popular viral viralpodcast podcast brett brettorchard orchard east devon seaton beer lyme regis village condado de alhama spain murcia         The Golden Age of Radio Also known as the old-time radio (OTR) era, was an era of radio in the United States where it was the dominant electronic home entertainment medium. It began with the birth of commercial radio broadcasting in the early 1920s and lasted through the 1950s, when television gradually superseded radio as the medium of choice for scripted programming, variety and dramatic shows. Radio was the first broadcast medium, and during this period people regularly tuned in to their favourite radio programs, and families gathered to listen to the home radio in the evening. According to a 1947 C. E. Hooper survey, 82 out of 100 Americans were found to be radio listeners. A variety of new entertainment formats and genres were created for the new medium, many of which later migrated to television: radio plays, mystery serials, soap operas, quiz shows, talent shows, daytime and evening variety hours, situation comedies, play-by-play sports, children's shows, cooking shows, and more. In the 1950s, television surpassed radio as the most popular broadcast medium, and commercial radio programming shifted to narrower formats of news, talk, sports and music. Religious broadcasters, listener-supported public radio and college stations provide their own distinctive formats. Origins A family listening to the first broadcasts around 1920 with a crystal radio. The crystal radio, a legacy from the pre-broadcast era, could not power a loudspeaker so the family must share earphones During the first three decades of radio, from 1887 to about 1920, the technology of transmitting sound was undeveloped; the information-carrying ability of radio waves was the same as a telegraph; the radio signal could be either on or off. Radio communication was by wireless telegraphy; at the sending end, an operator tapped on a switch which caused the radio transmitter to produce a series of pulses of radio waves which spelled out text messages in Morse code. At the receiver these sounded like beeps, requiring an operator who knew Morse code to translate them back to text. This type of radio was used exclusively for person-to-person text communication for commercial, diplomatic and military purposes and hobbyists; broadcasting did not exist. The broadcasts of live drama, comedy, music and news that characterize the Golden Age of Radio had a precedent in the Théâtrophone, commercially introduced in Paris in 1890 and available as late as 1932. It allowed subscribers to eavesdrop on live stage performances and hear news reports by means of a network of telephone lines. The development of radio eliminated the wires and subscription charges from this concept. Between 1900 and 1920 the first technology for transmitting sound by radio was developed, AM (amplitude modulation), and AM broadcasting sprang up around 1920. On Christmas Eve 1906, Reginald Fessenden is said to have broadcast the first radio program, consisting of some violin playing and passages from the Bible. While Fessenden's role as an inventor and early radio experimenter is not in dispute, several contemporary radio researchers have questioned whether the Christmas Eve broadcast took place, or whether the date was, in fact, several weeks earlier. The first apparent published reference to the event was made in 1928 by H. P. Davis, Vice President of Westinghouse, in a lecture given at Harvard University. In 1932 Fessenden cited the Christmas Eve 1906 broadcast event in a letter he wrote to Vice President S. M. Kinter of Westinghouse. Fessenden's wife Helen recounts the broadcast in her book Fessenden: Builder of Tomorrows (1940), eight years after Fessenden's death. The issue of whether the 1906 Fessenden broadcast actually happened is discussed in Donna Halper's article "In Search of the Truth About Fessenden"[2] and also in James O'Neal's essays.[3][4] An annotated argument supporting Fessenden as the world's first radio broadcaster was offered in 2006 by Dr. John S. Belrose, Radioscientist Emeritus at the Communications Research Centre Canada, in his essay "Fessenden's 1906 Christmas Eve broadcast." It was not until after the Titanic catastrophe in 1912 that radio for mass communication came into vogue, inspired first by the work of amateur ("ham") radio operators. Radio was especially important during World War I as it was vital for air and naval operations. World War I brought about major developments in radio, superseding the Morse code of the wireless telegraph with the vocal communication of the wireless telephone, through advancements in vacuum tube technology and the introduction of the transceiver. After the war, numerous radio stations were born in the United States and set the standard for later radio programs. The first radio news program was broadcast on August 31, 1920, on the station 8MK in Detroit; owned by The Detroit News, the station covered local election results. This was followed in 1920 with the first commercial radio station in the United States, KDKA, being established in Pittsburgh. The first regular entertainment programs were broadcast in 1922, and on March 10, Variety carried the front-page headline: "Radio Sweeping Country: 1,000,000 Sets in Use." A highlight of this time was the first Rose Bowl being broadcast on January 1, 1923, on the Los Angeles station KHJ. Growth of radio Broadcast radio in the United States underwent a period of rapid change through the decade of the 1920s. Technology advances, better regulation, rapid consumer adoption, and the creation of broadcast networks transformed radio from a consumer curiosity into the mass media powerhouse that defined the Golden Age of Radio. Consumer adoption Through the decade of the 1920s, the purchase of radios by United States homes continued, and accelerated. The Radio Corporation of America (RCA) released figures in 1925 stating that 19% of United States homes owned a radio. The triode and regenerative circuit made amplified, vacuum tube radios widely available to consumers by the second half of the 1920s. The advantage was obvious: several people at once in a home could now easily listen to their radio at the same time. In 1930, 40% of the nation's households owned a radio,[8] a figure that was much higher in suburban and large metropolitan areas. The superheterodyne receiver and other inventions refined radios even further in the next decade; even as the Great Depression ravaged the country in the 1930s, radio would stay at the centre of American life. 83% of American homes would own a radio by 1940. Government regulation Although radio was well established with United States consumers by the mid-1920s, regulation of the broadcast medium presented its own challenges. Until 1926, broadcast radio power and frequency use was regulated by the U.S. Department of Commerce, until a legal challenge rendered the agency powerless to do so. Congress responded by enacting the Radio Act of 1927, which included the formation of the Federal Radio Commission (FRC). One of the FRC's most important early actions was the adoption of General Order 40, which divided stations on the AM band into three power level categories, which became known as Local, Regional, and Clear Channel, and reorganized station assignments. Based on this plan, effective 3:00 a.m. Eastern time on November 11, 1928, most of the country's stations were assigned to new transmitting frequencies. Broadcast networks The final element needed to make the Golden Age of Radio possible focused on the question of distribution: the ability for multiple radio stations to simultaneously broadcast the same content, and this would be solved with the concept of a radio network. The earliest radio programs of the 1920s were largely unsponsored; radio stations were a service designed to sell radio receivers. In early 1922, American Telephone & Telegraph Company (AT&T) announced the beginning of advertisement-supported broadcasting on its owned stations, and plans for the development of the first radio network using its telephone lines to transmit the content. In July 1926, AT&T abruptly decided to exit the broadcasting field, and signed an agreement to sell its entire network operations to a group headed by RCA, which used the assets to form the National Broadcasting Company. Four radio networks had formed by 1934. These were: National Broadcasting Company Red Network (NBC Red), launched November 15, 1926. Originally founded as the National Broadcasting Company in late 1926, the company was almost immediately forced to split under antitrust laws to form NBC Red and NBC Blue. When, in 1942, NBC Blue was sold and renamed the Blue Network, this network would go back to calling itself simply the National Broadcasting Company Radio Network (NBC). National Broadcasting Company Blue Network (NBC Blue); launched January 10, 1927, split from NBC Red. NBC Blue was sold in 1942 and became the Blue Network, and it in turn transferred its assets to a new company, the American Broadcasting Company on June 15, 1945. That network identified itself as the American Broadcasting Company Radio Network (ABC). Columbia Broadcasting System (CBS), launched September 18, 1927. After an initially struggling attempt to compete with the NBC networks, CBS gained new momentum when William S. Paley was installed as company president. Mutual Broadcasting System (Mutual), launched September 29, 1934. Mutual was initially run as a cooperative in which the flagship stations owned the network, not the other way around as was the case with the other three radio networks. Programming In the period before and after the advent of the broadcast network, new forms of entertainment needed to be created to fill the time of a station's broadcast day. Many of the formats born in this era continued into the television and digital eras. In the beginning of the Golden Age, network programs were almost exclusively broadcast live, as the national networks prohibited the airing of recorded programs until the late 1940s because of the inferior sound quality of phonograph discs, the only practical recording medium at that time. As a result, network prime-time shows would be performed twice, once for each coast. Rehearsal for the World War II radio show You Can't Do Business with Hitler with John Flynn and Virginia Moore. This series of programs, broadcast at least once weekly by more than 790 radio stations in the United States, was written and produced by the radio section of the Office of War Information (OWI). Live events Coverage of live events included musical concerts and play-by-play sports broadcasts. News The capability of the new medium to get information to people created the format of modern radio news: headlines, remote reporting, sidewalk interviews (such as Vox Pop), panel discussions, weather reports, and farm reports. The entry of radio into the realm of news triggered a feud between the radio and newspaper industries in the mid-1930s, eventually culminating in newspapers trumping up exaggerated [citation needed] reports of a mass hysteria from the (entirely fictional) radio presentation of The War of the Worlds, which had been presented as a faux newscast. Musical features The sponsored musical feature soon became one of the most popular program formats. Most early radio sponsorship came in the form of selling the naming rights to the program, as evidenced by such programs as The A&P Gypsies, Champion Spark Plug Hour, The Clicquot Club Eskimos, and King Biscuit Time; commercials, as they are known in the modern era, were still relatively uncommon and considered intrusive. During the 1930s and 1940s, the leading orchestras were heard often through big band remotes, and NBC's Monitor continued such remotes well into the 1950s by broadcasting live music from New York City jazz clubs to rural America. Singers such as Harriet Lee and Wendell Hall became popular fixtures on network radio beginning in the late 1920s and early 1930s. Local stations often had staff organists such as Jesse Crawford playing popular tunes. Classical music programs on the air included The Voice of Firestone and The Bell Telephone Hour. Texaco sponsored the Metropolitan Opera radio broadcasts; the broadcasts, now sponsored by the Toll Brothers, continue to this day around the world, and are one of the few examples of live classical music still broadcast on radio. One of the most notable of all classical music radio programs of the Golden Age of Radio featured the celebrated Italian conductor Arturo Toscanini conducting the NBC Symphony Orchestra, which had been created especially for him. At that time, nearly all classical musicians and critics considered Toscanini the greatest living maestro. Popular songwriters such as George Gershwin were also featured on radio. (Gershwin, in addition to frequent appearances as a guest, had his own program in 1934.) The New York Philharmonic also had weekly concerts on radio. There was no dedicated classical music radio station like NPR at that time, so classical music programs had to share the network they were broadcast on with more popular ones, much as in the days of television before the creation of NET and PBS. Country music also enjoyed popularity. National Barn Dance, begun on Chicago's WLS in 1924, was picked up by NBC Radio in 1933. In 1925, WSM Barn Dance went on the air from Nashville. It was renamed the Grand Ole Opry in 1927 and NBC carried portions from 1944 to 1956. NBC also aired The Red Foley Show from 1951 to 1961, and ABC Radio carried Ozark Jubilee from 1953 to 1961. Comedy Radio attracted top comedy talents from vaudeville and Hollywood for many years: Bing Crosby, Abbott and Costello, Fred Allen, Jack Benny, Victor Borge, Fanny Brice, Billie Burke, Bob Burns, Judy Canova, Eddie Cantor, Jimmy Durante, Burns and Allen, Phil Harris, Edgar Bergen, Bob Hope, Groucho Marx, Jean Shepherd, Red Skelton and Ed Wynn. Situational comedies also gained popularity, such as Amos 'n' Andy, Easy Aces, Ethel and Albert, Fibber McGee and Molly, The Goldbergs, The Great Gildersleeve, The Halls of Ivy (which featured screen star Ronald Colman and his wife Benita Hume), Meet Corliss Archer, Meet Millie, and Our Miss Brooks. Radio comedy ran the gamut from the small town humor of Lum and Abner, Herb Shriner and Minnie Pearl to the dialect characterizations of Mel Blanc and the caustic sarcasm of Henry Morgan. Gags galore were delivered weekly on Stop Me If You've Heard This One and Can You Top This?,[18] panel programs devoted to the art of telling jokes. Quiz shows were lampooned on It Pays to Be Ignorant, and other memorable parodies were presented by such satirists as Spike Jones, Stoopnagle and Budd, Stan Freberg and Bob and Ray. British comedy reached American shores in a major assault when NBC carried The Goon Show in the mid-1950s. Some shows originated as stage productions: Clifford Goldsmith's play What a Life was reworked into NBC's popular, long-running The Aldrich Family (1939–1953) with the familiar catchphrases "Henry! Henry Aldrich!," followed by Henry's answer, "Coming, Mother!" Moss Hart and George S. Kaufman's Pulitzer Prize-winning Broadway hit, You Can't Take It with You (1936), became a weekly situation comedy heard on Mutual (1944) with Everett Sloane and later on NBC (1951) with Walter Brennan. Other shows were adapted from comic strips, such as Blondie, Dick Tracy, Gasoline Alley, The Gumps, Li'l Abner, Little Orphan Annie, Popeye the Sailor, Red Ryder, Reg'lar Fellers, Terry and the Pirates and Tillie the Toiler. Bob Montana's redheaded teen of comic strips and comic books was heard on radio's Archie Andrews from 1943 to 1953. The Timid Soul was a 1941–1942 comedy based on cartoonist H. T. Webster's famed Caspar Milquetoast character, and Robert L. Ripley's Believe It or Not! was adapted to several different radio formats during the 1930s and 1940s. Conversely, some radio shows gave rise to spinoff comic strips, such as My Friend Irma starring Marie Wilson. Soap operas The first program generally considered to be a daytime serial drama by scholars of the genre is Painted Dreams, which premiered on WGN on October 20, 1930. The first networked daytime serial is Clara, Lu, 'n Em, which started in a daytime time slot on February 15, 1932. As daytime serials became popular in the early 1930s, they became known as soap operas because many were sponsored by soap products and detergents. On November 25, 1960, the last four daytime radio dramas—Young Dr. Malone, Right to Happiness, The Second Mrs. Burton and Ma Perkins, all broadcast on the CBS Radio Network—were brought to an end. Children's programming The line-up of late afternoon adventure serials included Bobby Benson and the B-Bar-B Riders, The Cisco Kid, Jack Armstrong, the All-American Boy, Captain Midnight, and The Tom Mix Ralston Straight Shooters. Badges, rings, decoding devices and other radio premiums offered on these adventure shows were often allied with a sponsor's product, requiring the young listeners to mail in a boxtop from a breakfast cereal or other proof of purchase. Radio plays Radio plays were presented on such programs as 26 by Corwin, NBC Short Story, Arch Oboler's Plays, Quiet, Please, and CBS Radio Workshop. Orson Welles's The Mercury Theatre on the Air and The Campbell Playhouse were considered by many critics to be the finest radio drama anthologies ever presented. They usually starred Welles in the leading role, along with celebrity guest stars such as Margaret Sullavan or Helen Hayes, in adaptations from literature, Broadway, and/or films. They included such titles as Liliom, Oliver Twist (a title now feared lost), A Tale of Two Cities, Lost Horizon, and The Murder of Roger Ackroyd. It was on Mercury Theatre that Welles presented his celebrated-but-infamous 1938 adaptation of H. G. Wells's The War of the Worlds, formatted to sound like a breaking news program. Theatre Guild on the Air presented adaptations of classical and Broadway plays. Their Shakespeare adaptations included a one-hour Macbeth starring Maurice Evans and Judith Anderson, and a 90-minute Hamlet, starring John Gielgud.[22] Recordings of many of these programs survive. During the 1940s, Basil Rathbone and Nigel Bruce, famous for playing Sherlock Holmes and Dr. Watson in films, repeated their characterizations on radio on The New Adventures of Sherlock Holmes, which featured both original stories and episodes directly adapted from Arthur Conan Doyle's stories. None of the episodes in which Rathbone and Bruce starred on the radio program were filmed with the two actors as Holmes and Watson, so radio became the only medium in which audiences were able to experience Rathbone and Bruce appearing in some of the more famous Holmes stories, such as "The Speckled Band". There were also many dramatizations of Sherlock Holmes stories on radio without Rathbone and Bruce. During the latter part of his career, celebrated actor John Barrymore starred in a radio program, Streamlined Shakespeare, which featured him in a series of one-hour adaptations of Shakespeare plays, many of which Barrymore never appeared in either on stage or in films, such as Twelfth Night (in which he played both Malvolio and Sir Toby Belch), and Macbeth. Lux Radio Theatre and The Screen Guild Theater presented adaptations of Hollywood movies, performed before a live audience, usually with cast members from the original films. Suspense, Escape, The Mysterious Traveler and Inner Sanctum Mystery were popular thriller anthology series. Leading writers who created original material for radio included Norman Corwin, Carlton E. Morse, David Goodis, Archibald MacLeish, Arthur Miller, Arch Oboler, Wyllis Cooper, Rod Serling, Jay Bennett, and Irwin Shaw. Game shows Game shows saw their beginnings in radio. One of the first was Information Please in 1938, and one of the first major successes was Dr. I.Q. in 1939. Winner Take All, which premiered in 1946, was the first to use lockout devices and feature returning champions. A relative of the game show, which would be called the giveaway show in contemporary media, typically involved giving sponsored products to studio audience members, people randomly called by telephone, or both. An early example of this show was the 1939 show Pot o' Gold, but the breakout hit of this type was ABC's Stop the Music in 1948. Winning a prize generally required knowledge of what was being aired on the show at that moment, which led to criticism of the giveaway show as a form of "buying an audience". Giveaway shows were extremely popular through 1948 and 1949. They were often panned as low-brow, and an unsuccessful attempt was even made by the FCC to ban them (as an illegal lottery) in August 1949.[23] Broadcast production methods The RCA Type 44-BX microphone had two live faces and two dead ones. Thus actors could face each other and react. An actor could give the effect of leaving the room by simply moving their head toward the dead face of the microphone. The scripts were paper-clipped together. It has been disputed whether or not actors and actresses would drop finished pages to the carpeted floor after use. Radio stations Despite a general ban on use of recordings on broadcasts by radio networks through the late 1940s, "reference recordings" on phonograph disc were made of many programs as they were being broadcast, for review by the sponsor and for the network's own archival purposes. With the development of high-fidelity magnetic wire and tape recording in the years following World War II, the networks became more open to airing recorded programs and the prerecording of shows became more common. Local stations, however, had always been free to use recordings and sometimes made substantial use of pre-recorded syndicated programs distributed on pressed (as opposed to individually recorded) transcription discs. Recording was done using a cutting lathe and acetate discs. Programs were normally recorded at 331⁄3 rpm on 16 inch discs, the standard format used for such "electrical transcriptions" from the early 1930s through the 1950s. Sometimes, the groove was cut starting at the inside of the disc and running to the outside. This was useful when the program to be recorded was longer than 15 minutes so required more than one disc side. By recording the first side outside in, the second inside out, and so on, the sound quality at the disc change-over points would match and result in a more seamless playback. An inside start also had the advantage that the thread of material cut from the disc's surface, which had to be kept out of the path of the cutting stylus, was naturally thrown toward the centre of the disc so was automatically out of the way. When cutting an outside start disc, a brush could be used to keep it out of the way by sweeping it toward the middle of the disc. Well-equipped recording lathes used the vacuum from a water aspirator to pick it up as it was cut and deposit it in a water-filled bottle. In addition to convenience, this served a safety purpose, as the cellulose nitrate thread was highly flammable and a loose accumulation of it combusted violently if ignited. Most recordings of radio broadcasts were made at a radio network's studios, or at the facilities of a network-owned or affiliated station, which might have four or more lathes. A small local station often had none. Two lathes were required to capture a program longer than 15 minutes without losing parts of it while discs were flipped over or changed, along with a trained technician to operate them and monitor the recording while it was being made. However, some surviving recordings were produced by local stations. When a substantial number of copies of an electrical transcription were required, as for the distribution of a syndicated program, they were produced by the same process used to make ordinary records. A master recording was cut, then electroplated to produce a stamper from which pressings in vinyl (or, in the case of transcription discs pressed before about 1935, shellac) were moulded in a record press. Armed Forces Radio Service Frank Sinatra and Alida Valli converse over Armed Forces Radio Service during World War II The Armed Forces Radio Service (AFRS) had its origins in the U.S. War Department's quest to improve troop morale. This quest began with short-wave broadcasts of educational and information programs to troops in 1940. In 1941, the War Department began issuing "Buddy Kits" (B-Kits) to departing troops, which consisted of radios, 78 rpm records and electrical transcription discs of radio shows. However, with the entrance of the United States into World War II, the War Department decided that it needed to improve the quality and quantity of its offerings. This began with the broadcasting of its own original variety programs. Command Performance was the first of these, produced for the first time on March 1, 1942. On May 26, 1942, the Armed Forces Radio Service was formally established. Originally, its programming comprised network radio shows with the commercials removed. However, it soon began producing original programming, such as Mail Call, G.I. Journal, Jubilee and GI Jive. At its peak in 1945, the Service produced around 20 hours of original programming each week. From 1943 until 1949 the AFRS also broadcast programs developed through the collaborative efforts of the Office of the Coordinator of Inter-American Affairs and the Columbia Broadcasting System in support of America's cultural diplomacy initiatives and President Franklin Roosevelt's Good Neighbour policy. Included among the popular shows was Viva America which showcased leading musical artists from both North and South America for the entertainment of America's troops. Included among the regular performers were: Alfredo Antonini, Juan Arvizu, Nestor Mesta Chayres, Kate Smith,[26] and John Serry Sr. After the war, the AFRS continued providing programming to troops in Europe. During the 1950s and early 1960s it presented performances by the Army's only symphonic orchestra ensemble—the Seventh Army Symphony Orchestra. It also provided programming for future wars that the United States was involved in. It survives today as a component of the American Forces Network (AFN). All of the shows aired by the AFRS during the Golden Age were recorded as electrical transcription discs, vinyl copies of which were shipped to stations overseas to be broadcast to the troops. People in the United States rarely ever heard programming from the AFRS,[31] though AFRS recordings of Golden Age network shows were occasionally broadcast on some domestic stations beginning in the 1950s. In some cases, the AFRS disc is the only surviving recording of a program. Home radio recordings in the United States There was some home recording of radio broadcasts in the 1930s and 1940s. Examples from as early as 1930 have been documented. During these years, home recordings were made with disc recorders, most of which were only capable of storing about four minutes of a radio program on each side of a twelve-inch 78 rpm record. Most home recordings were made on even shorter-playing ten-inch or smaller discs. Some home disc recorders offered the option of the 331⁄3 rpm speed used for electrical transcriptions, allowing a recording more than twice as long to be made, although with reduced audio quality. Office dictation equipment was sometimes pressed into service for making recordings of radio broadcasts, but the audio quality of these devices was poor and the resulting recordings were in odd formats that had to be played back on similar equipment. Due to the expense of recorders and the limitations of the recording media, home recording of broadcasts was not common during this period and it was usually limited to brief excerpts. The lack of suitable home recording equipment was somewhat relieved in 1947 with the availability of magnetic wire recorders for domestic use. These were capable of recording an hour-long broadcast on a single small spool of wire, and if a high-quality radio's audio output was recorded directly, rather than by holding a microphone up to its speaker, the recorded sound quality was very good. However, because the wire cost money and, like magnetic tape, could be repeatedly re-used to make new recordings, only a few complete broadcasts appear to have survived on this medium. In fact, there was little home recording of complete radio programs until the early 1950s, when increasingly affordable reel-to-reel tape recorders for home use were introduced to the market. Recording media Electrical transcription discs         The War of the Worlds radio broadcast by Orson Welles on electrical transcription disc Before the early 1950s, when radio networks and local stations wanted to preserve a live broadcast, they did so by means of special phonograph records known as "electrical transcriptions" (ETs), made by cutting a sound-modulated groove into a blank disc. At first, in the early 1930s, the blanks varied in both size and composition, but most often they were simply bare aluminum and the groove was indented rather than cut. Typically, these very early recordings were not made by the network or radio station, but by a private recording service contracted by the broadcast sponsor or one of the performers. The bare aluminum discs were typically 10 or 12 inches in diameter and recorded at the then-standard speed of 78 rpm, which meant that several disc sides were required to accommodate even a 15-minute program. By about 1936, 16-inch aluminum-based discs coated with cellulose nitrate lacquer, commonly known as acetates and recorded at a speed of 331⁄3 rpm, had been adopted by the networks and individual radio stations as the standard medium for recording broadcasts. The making of such recordings, at least for some purposes, then became routine. Some discs were recorded using a "hill and dale" vertically modulated groove, rather than the "lateral" side-to-side modulation found on the records being made for home use at that time. The large slow-speed discs could easily contain fifteen minutes on each side, allowing an hour-long program to be recorded on only two discs. The lacquer was softer than shellac or vinyl and wore more rapidly, allowing only a few playbacks with the heavy pickups and steel needles then in use before deterioration became audible. During World War II, aluminum became a necessary material for the war effort and was in short supply. This caused an alternative to be sought for the base on which to coat the lacquer. Glass, despite its obvious disadvantage of fragility, had occasionally been used in earlier years because it could provide a perfectly smooth and even supporting surface for mastering and other critical applications. Glass base recording blanks came into general use for the duration of the war. Magnetic wire recording In the late 1940s, wire recorders became a readily obtainable means of recording radio programs. On a per-minute basis, it was less expensive to record a broadcast on wire than on discs. The one-hour program that required the four sides of two 16-inch discs could be recorded intact on a single spool of wire less than three inches in diameter and about half an inch thick. The audio fidelity of a good wire recording was comparable to acetate discs and by comparison the wire was practically indestructible, but it was soon rendered obsolete by the more manageable and easily edited medium of magnetic tape. Reel-to-reel tape recording Bing Crosby became the first major proponent of magnetic tape recording for radio, and he was the first to use it on network radio, after he did a demonstration program in 1947. Tape had several advantages over earlier recording methods. Running at a sufficiently high speed, it could achieve higher fidelity than both electrical transcription discs and magnetic wire. Discs could be edited only by copying parts of them to a new disc, and the copying entailed a loss of audio quality. Wire could be divided up and the ends spliced together by knotting, but wire was difficult to handle and the crude splices were too noticeable. Tape could be edited by cutting it with a blade and neatly joining ends together with adhesive tape. By early 1949, the transition from live performances preserved on discs to performances pre-recorded on magnetic tape for later broadcast was complete for network radio programs. However, for the physical distribution of pre-recorded programming to individual stations, 16-inch 331⁄3 rpm vinyl pressings, less expensive to produce in quantities of identical copies than tapes, continued to be standard throughout the 1950s. Availability of recordings The great majority of pre-World War II live radio broadcasts are lost. Many were never recorded; few recordings antedate the early 1930s. Beginning then several of the longer-running radio dramas have their archives complete or nearly complete. The earlier the date, the less likely it is that a recording survives. However, a good number of syndicated programs from this period have survived because copies were distributed far and wide. Recordings of live network broadcasts from the World War II years were preserved in the form of pressed vinyl copies issued by the Armed Forces Radio Service (AFRS) and survive in relative abundance. Syndicated programs from World War II and later years have nearly all survived. The survival of network programming from this time frame is more inconsistent; the networks started prerecording their formerly live shows on magnetic tape for subsequent network broadcast, but did not physically distribute copies, and the expensive tapes, unlike electrical transcription ("ET") discs, could be "wiped" and re-used (especially since, in the age of emerging trends such as television and music radio, such recordings were believed to have virtually no rerun or resale value). Thus, while some prime time network radio series from this era exist in full or almost in full, especially the most famous and longest-lived of them, less prominent or shorter-lived series (such as serials) may have only a handful of extant episodes. Airchecks, off-the-air recordings of complete shows made by, or at the behest of, individuals for their own private use, sometimes help to fill in such gaps. The contents of privately made recordings of live broadcasts from the first half of the 1930s can be of particular interest, as little live material from that period survives. Unfortunately, the sound quality of very early private recordings is often very poor, although in some cases this is largely due to the use of an incorrect playback stylus, which can also badly damage some unusual types of discs. Most of the Golden Age programs in circulation among collectors—whether on analogue tape, CD, or in the form of MP3s—originated from analogue 16-inch transcription disc, although some are off-the-air AM recordings. But in many cases, the circulating recordings are corrupted (decreased in quality), because lossless digital recording for the home market did not come until the very end of the twentieth century. Collectors made and shared recordings on analogue magnetic tapes, the only practical, relatively inexpensive medium, first on reels, then cassettes. "Sharing" usually meant making a duplicate tape. They connected two recorders, playing on one and recording on the other. Analog recordings are never perfect, and copying an analogue recording multiplies the imperfections. With the oldest recordings this can even mean it went out the speaker of one machine and in via the microphone of the other. The muffled sound, dropouts, sudden changes in sound quality, unsteady pitch, and other defects heard all too often are almost always accumulated tape copy defects. In addition, magnetic recordings, unless preserved archivally, are gradually damaged by the Earth's magnetic field. The audio quality of the source discs, when they have survived unscathed and are accessed and dubbed anew, is usually found to be reasonably clear and undistorted, sometimes startlingly good, although like all phonograph records they are vulnerable to wear and the effects of scuffs, scratches, and ground-in dust. Many shows from the 1940s have survived only in edited AFRS versions, although some exist in both the original and AFRS forms. As of 2020, the Old Time Radio collection at the Internet Archive contains 5,121 recordings. An active group of collectors makes digitally available, via CD or download, large collections of programs. RadioEchoes.com offers 98,949 episodes in their collection, but not all is old-time radio. Copyright status Unlike film, television, and print items from the era, the copyright status of most recordings from the Golden Age of Radio is unclear. This is because, prior to 1972, the United States delegated the copyrighting of sound recordings to the individual states, many of which offered more generous common law copyright protections than the federal government offered for other media (some offered perpetual copyright, which has since been abolished; under the Music Modernization Act of September 2018, any sound recording 95 years old or older will be thrust into the public domain regardless of state law). The only exceptions are AFRS original productions, which are considered work of the United States government and thus both ineligible for federal copyright and outside the jurisdiction of any state; these programs are firmly in the public domain (this does not apply to programs carried by AFRS but produced by commercial networks). In practice, most old-time radio recordings are treated as orphan works: although there may still be a valid copyright on the program, it is seldom enforced. The copyright on an individual sound recording is distinct from the federal copyright for the underlying material (such as a published script, music, or in the case of adaptations, the original film or television material), and in many cases it is impossible to determine where or when the original recording was made or if the recording was copyrighted in that state. The U.S. Copyright Office states "there are a variety of legal regimes governing protection of pre-1972 sound recordings in the various states, and the scope of protection and of exceptions and limitations to that protection is unclear."[39] For example, New York has issued contradicting rulings on whether or not common law exists in that state; the most recent ruling, 2016's Flo & Eddie, Inc. v. Sirius XM Radio, holds that there is no such copyright in New York in regard to public performance.[40] Further complicating matters is that certain examples in case law have implied that radio broadcasts (and faithful reproductions thereof), because they were distributed freely to the public over the air, may not be eligible for copyright in and of themselves. The Internet Archive and other organizations that distribute public domain and open-source audio recordings maintain extensive archives of old-time radio programs. Legacy United States Some old-time radio shows continued on the air, although in ever-dwindling numbers, throughout the 1950s, even after their television equivalents had conquered the general public. One factor which helped to kill off old-time radio entirely was the evolution of popular music (including the development of rock and roll), which led to the birth of the top 40 radio format. A top 40 show could be produced in a small studio in a local station with minimal staff. This displaced full-service network radio and hastened the end of the golden-age era of radio drama by 1962. (Radio as a broadcast medium would survive, thanks in part to the proliferation of the transistor radio, and permanent installation in vehicles, making the medium far more portable than television). Full-service stations that did not adopt either top 40 or the mellower beautiful music or MOR formats eventually developed all-news radio in the mid-1960s. Scripted radio comedy and drama in the vein of old-time radio has a limited presence on U.S. radio. Several radio theatre series are still in production in the United States, usually airing on Sunday nights. These include original series such as Imagination Theatre and a radio adaptation of The Twilight Zone TV series, as well as rerun compilations such as the popular daily series When Radio Was and USA Radio Network's Golden Age of Radio Theatre, and weekly programs such as The Big Broadcast on WAMU, hosted by Murray Horwitz. These shows usually air in late nights and/or on weekends on small AM stations. Carl Amari's nationally syndicated radio show Hollywood 360 features 5 old-time radio episodes each week during his 5-hour broadcast. Amari's show is heard on 100+ radio stations coast-to-coast and in 168 countries on American Forces Radio. Local rerun compilations are also heard, primarily on public radio stations. Sirius XM Radio maintains a full-time Radio Classics channel devoted to rebroadcasts of vintage radio shows. Starting in 1974, Garrison Keillor, through his syndicated two-hour-long program A Prairie Home Companion, has provided a living museum of the production, tone and listener's experience of this era of radio for several generations after its demise. Produced live in theaters throughout the country, using the same sound effects and techniques of the era, it ran through 2016 with Keillor as host. The program included segments that were close renditions (in the form of parody) of specific genres of this era, including Westerns ("Dusty and Lefty, The Lives of the Cowboys"), detective procedurals ("Guy Noir, Private Eye") and even advertising through fictional commercials. Keillor also wrote a novel, WLT: A Radio Romance based on a radio station of this era—including a personally narrated version for the ultimate in verisimilitude. Upon Keillor's retirement, replacement host Chris Thile chose to reboot the show (since renamed Live from Here after the syndicator cut ties with Keillor) and eliminate much of the old-time radio trappings of the format; the show was ultimately canceled in 2020 due to financial and logistics problems. Vintage shows and new audio productions in America are accessible more widely from recordings or by satellite and web broadcasters, rather than over conventional AM and FM radio. The National Audio Theatre Festival is a national organization and yearly conference keeping the audio arts—especially audio drama—alive, and continues to involve long-time voice actors and OTR veterans in its ranks. Its predecessor, the Midwest Radio Theatre Workshop, was first hosted by Jim Jordan, of Fibber McGee and Molly fame, and Norman Corwin advised the organization. One of the longest running radio programs celebrating this era is The Golden Days of Radio, which was hosted on the Armed Forces Radio Service for more than 20 years and overall for more than 50 years by Frank Bresee, who also played "Little Beaver" on the Red Ryder program as a child actor. One of the very few still-running shows from the earlier era of radio is a Christian program entitled Unshackled! The weekly half-hour show, produced in Chicago by Pacific Garden Mission, has been continuously broadcast since 1950. The shows are created using techniques from the 1950s (including home-made sound effects) and are broadcast across the U.S. and around the world by thousands of radio stations. Today, radio performers of the past appear at conventions that feature re-creations of classic shows, as well as music, memorabilia and historical panels. The largest of these events was the Friends of Old Time Radio Convention, held in Newark, New Jersey, which held its final convention in October 2011 after 36 years. Others include REPS in Seattle (June), SPERDVAC in California, the Cincinnati OTR & Nostalgia Convention (April), and the Mid-Atlantic Nostalgia Convention (September). Veterans of the Friends of Old Time Radio Convention, including Chairperson Steven M. Lewis of The Gotham Radio Players, Maggie Thompson, publisher of the Comic Book Buyer's Guide, Craig Wichman of audio drama troupe Quicksilver Audio Theater and long-time FOTR Publicist Sean Dougherty have launched a successor event, Celebrating Audio Theater – Old & New, scheduled for October 12–13, 2012. Radio dramas from the golden age are sometimes recreated as live stage performances at such events. One such group, led by director Daniel Smith, has been performing re-creations of old-time radio dramas at Fairfield University's Regina A. Quick Center for the Arts since the year 2000. The 40th anniversary of what is widely considered the end of the old time radio era (the final broadcasts of Yours Truly, Johnny Dollar and Suspense on September 30, 1962) was marked with a commentary on NPR's All Things Considered. A handful of radio programs from the old-time era remain in production, all from the genres of news, music, or religious broadcasting: the Grand Ole Opry (1925), Music and the Spoken Word (1929), The Lutheran Hour (1930), the CBS World News Roundup (1938), King Biscuit Time (1941) and the Renfro Valley Gatherin' (1943). Of those, all but the Opry maintain their original short-form length of 30 minutes or less. The Wheeling Jamboree counts an earlier program on a competing station as part of its history, tracing its lineage back to 1933. Western revival/comedy act Riders in the Sky produced a radio serial Riders Radio Theatre in the 1980s and 1990s and continues to provide sketch comedy on existing radio programs including the Grand Ole Opry, Midnite Jamboree and WoodSongs Old-Time Radio Hour. Elsewhere Regular broadcasts of radio plays are also heard in—among other countries—Australia, Croatia, Estonia,[46] France, Germany, Ireland, Japan, New Zealand, Norway, Romania, and Sweden. In the United Kingdom, such scripted radio drama continues on BBC Radio 3 and (principally) BBC Radio 4, the second-most popular radio station in the country, as well as on the rerun channel BBC Radio 4 Extra, which is the seventh-most popular station there. #starradio #totalstar #star1075 #heart #heartradio #lbc #bbc #bbcradio #bbcradio1 #bbcradio2 #bbcradio3 #bbcradio4 #radio4extra #absoluteradio #absolute #capital #capitalradio #greatesthitsradio #hitsradio #radio #adultcontemporary #spain #bristol #frenchay #colyton #lymeregis #seaton #beer #devon #eastdevon #brettorchard #brettsoldtimeradioshow #sundaynightmystery #lymebayradio fe2f4df62ffeeb8c30c04d3d3454779ca91a4871

A Funny FridayFirst a look at the events of the dayThen People Are Funny starring Art Linkletter, originally broadcast February 7, 1950, 75 years ago, Cinderella Gets Her Greatest Wish.  The first contestant tries to milk a goat on stage. "The Cinderella Girl" from Omaha returns...and gets a job in the movies!Followed by the news from 75 years ago, then Bob Hope, originally broadcast February 7, 1950, 75 years ago with guest Fred Allen. Bob and guest Fred Allen try to break into television as "The TV Twins." Then The Great Gildersleeve starring Willard Waterman, originally broadcast February 7, 1951, 74 years ago, Day Off For Peavey. It's Peavy's 30th anniversary at the drugstore, and Gildersleeve volunteers to run the store for him. Richard LeGrand receives an award from The National Association of Retail Druggists (signed by 60,000 members!) as "America's Favorite Druggist" on the occasion of his 50th anniversary in show business. Followed by George Burns and Gracie Allen, originally broadcast February 7, 1946, 79 years ago, The Marriage Contest.  George and Gracie have made the finals in the contest for "Hollywood's Ideal Married Couple."Finally, Claudia, originally broadcast February 7, 1949, 76 years ago, A Leeson for Jimmy.  A package for David. What's in it?Thanks to Honeywell for supporting our podcast by using the Buy Me a Coffee function at http://classicradio.stream

Support us on Patreonhttps://www.patreon.com/user?u=4279967Jack Benny TV Videocasthttps://open.spotify.com/show/6BDar4CsgVEyUloEQ8sWpw?si=89123269fe144a10Jack Benny Show OTR Podcast!https://open.spotify.com/show/3UZ6NSEL7RPxOXUoQ4NiDP?si=987ab6e776a7468cJudy Garland and Friends OTR Podcasthttps://open.spotify.com/show/5ZKJYkgHOIjQzZWCt1a1NN?si=538b47b50852483dStrange New Worlds Of Dimension X-1 Podcasthttps://open.spotify.com/show/6hFMGUvEdaYqPBoxy00sOk?si=a37cc300a8e247a1Buck Benny YouTube Channelhttps://r.search.yahoo.com/_ylt=AwrOoc1Q5bllBgQA469XNyoA;_ylu=Y29sbwNncTEEcG9zAzEEdnRpZAMEc2VjA3Ny/RV=2/RE=1707891281/RO=10/RU=https%3a%2f%2fwww.youtube.com%2f%40BuckBenny/RK=2/RS=nVp4LDJhOmL70bh7eeCi6DPNdW4-Support us on Patreonhttps://www.patreon.com/user?u=4279967

January 28, 1951 - Douglas Fairbanks Jr Guest Show. Jack Benny and the gang are in New York getting ready for Jack's second-ever television show. Phil Harris had won the Bing Crosby Pro-Amateur Golf Tournament at Pebble Beach by sinking an incredibly long putt on the 17th hole. References include Bock Beer, Fred Allen, Ethel Merman, and the broadway shows "Guys and Dolls", "Call Me Madam", and South Pacific". 

Our 10th NO SOAP RADIO production is based on an original script written by Craig Shemin. This Jack Benny Program takes place in 1955. Jack wonders what it would be like if he was the subject on the TV show This Is Your Life. All of the usual cast of characters make appearances, including Mary Livingstone, Dennis Day, Phil Harris, Rochester, Don Wilson, Frank Nelson, and Professor LeBlanc. Also a number of guest stars appear including Jack Benny's sister Florence, George Burns and Gracie Allen, Groucho Marx, and Fred Allen! The show was produced, directed and edited by Paul Kovit. If you'd like to see a video version of this show checkout our website: https://nosoapradioplayers.com/ While there you can access our other productions as well as info about our group. And if you like our videos feel free to hit the subscribe button on Youtube so you can be alerted as soon as we release another production. CAST: John Bell as Jack Benny Eric Jacobson as George Burns Stephanie D'Abruzzo as Gracie Allen Noah Diamond as Groucho Marx Larry Groebe as Fred Allen Craig Shemin as Professor LeBlanc Victoria Gordon as Daisy and The Lucky Strike singer Paul Kovit as Ralph Edwards Zach Dillinger as Phil Harris Annette Bochenek as Mary Livingstone Tony Semczuk as Frank Nelson and Jack Bailey Paul Patterson as Rochester John Henderson as Don Wilson Zach Eastman as Dennis Day Laura Mirsky as Florence

A Funny MondayFirst the Jack Benny Show from January 27, 1946, 79 years ago, Contest Winners of the I Can't Stand Jack Benny Contest are announced. Jack is scheduled to give away $10,000 to the winners of the "I Can't Stand Jack Benny" contest. Phil sings a duet with his daughter. Fred Allen, the chief judge of the contest, announces the winners from New York. Then My Favorite Husband starring Lucille Ball from January 27, 1950, 75 years ago.  Liz can't carry a tune in abucket, but she thinks that's no barrier to her writing a hit song.  Then Fibber McGee and Molly from January 27, 1936, 89 years ago, McGee Tangles with a Tough Chef.   Fibber and olly meet meet a chef who's a tough-guy. Bill Thompson appears on the show for the first time; as "The Old Timer" and as a Greek.Followed by Abbott and Costello from January 27, 1949, 76 years ago, Sam Shovel.   Sam Shovel solves "The Case Of The General Who Opened Up A Drive-In and Was Caught Selling Horse Meat," or "Custer's Last Hamburger Stand." Finally Claudia, originally broadcast January 27, 1949, 76 years ago.   A phone call from Mama is welcome when David has a lot to do. Support us at our web page, http://www.classicradio.stream 

January 23, 1944 - From Camp Muroc in the Mojave Desert Jack Benny broadcasting for a crowd of soldiers with guest Alexis Smith returning for the second. References include Jack's article in Libery Magazine, Phillip Morris ciggerettes, Fred Allen and the Andrews Sisters song "Shoo-Shoo Baby".

A Variety TuesdayFirst a look at this day in History.Then The Big Show starring Tallulah Bankhead, originally broadcast January 21, 1951, 74 years ago.  NBC's big variety show with guests Fred Allen, Portland Hoffa, Eddie Cantor, Judy Holliday, Gypsy Rose Lee, Vaughn Monroe, and Patrice Munsel.Followed by Amos ‘n' Andy, originally broadcast January 21, 1951, 74 years ago, Mama and Hubert Smithers.  When the Kingfish's mama-in-law moves in with him, he's determined to rekindle her romance with Mr. Smithers of Florida, thinking that he's wealthy. Finally Superman, originally broadcast January 21, 1942, 83 years ago, Lita The Leopard Woman.  Clark Kent and Perry White await for Max Heller to awaken and name his assailant. The Leopard Woman plans to finish the job of murder.Thanks to Sean for supporting our podcast by using the Buy Me a Coffee function at http://classicradio.streamFind the Family Fallout Shelter Booklet Here: https://www.survivorlibrary.com/library/the_family_fallout_shelter_1959.pdfhttps://wardomatic.blogspot.com/2006/11/fallout-shelter-handbook-1962.htmlAnd more about the Survive-all Fallout Sheltershttps://conelrad.blogspot.com/2010/09/mad-men-meet-mad-survive-all-shelter.html

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December 18, 1938 - Returning to Hollywood by train. An unnamed announcer introduces the show even though Don Wilson appears in the episode. Jack Benny and the gang are coming home from New York. References include Red Cap Porters, the song "Ol' Man Mose", political figure Anthony Eden, fight announcer Clem McCarthy, comedian Fred Allen, Shakespeare's Julius Caesar, Dracula, The Dead End Kids, and movies "You Can't Take It With You", "Snow White" and "Artists and Models Abroad".

Support Breaking Walls at https://www.patreon.com/thewallbreakers On the Sunday, December 31st, 1944 episode of The Jack Benny Program, it's New Year's Eve and Jack resolves to be friends with Fred Allen in 1945. For more information on Jack Benny in 1944, including how and why he changed sponsors, please tune into Breaking Walls Episode 151 which covers Benny's 1944 in great detail.

November 7, 1948 - Jack Sees Psychiatrist About Echo and Mel Blanc does Bugy Bunny and Porky Pig. References include the election where Truman was re-elected after the polls predicted a Dewey win. Plus Bob Hope, Fred Allen, Derby hats, Maxc Factor, and "The Beer That Made Milwakee Famous".

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October 22, 1950 - Dennis Tries to Borrow Fifty Thousand Dollars. Jack is getting ready to fly to New York for his first ever TV episode. References include the song "Swing Low, Sweet Chariot", Duz soap, Lifesavers mints, SMU, comedian Fred Allen and actor Gary Cooper.

October 17, 1943 - Jack Benny is back from his USO trip to Casablanca and recounts a story similar to the motion picture of the same name. Rochester sings "As Time Goes By". Plus Jack talks with his new writers. References include Humphrey Bogart and Ingrid Bergman, Red Skelton, Burns and Allen, Fred Allen, and BVD brand of men's underwear.

In August 2023, we launched the Old Time Radio Snack Wagon, featuring a variety of short old time radio programs. In this episode, we offer five samples of the type of programs we feature on the Old Time Radio Snack Wagon.Family Doctor: False Witness"Hello there, this is the Family Doctor...."Join us as we travel back in time to a small town, where Doctor Grant Adams dispenses medicine for the body and common sense advice for the soul, in this little-known family drama series from the 1930s.In this first episode, a teenage girl becomes the subject of gossip after some church money turns up missing. Can Doc Adams prevent a tragedy?Potential series air dates for the series vary from 1932-38. The earliest I can find a record of the series being aired was in the fall of 1937. Unsolved Mysteries: The Borden MysteryOn this first syndicated episode of the 1930s series Unsolved Mysteries, we take a look at the mysterious slaying of Andrew Borden and his second wife Abby in 1892 and how suspicion fell on Andrew's daughter, Lizzie.Unsolved Mysteries not only explains the case in a nutshell but also offers a solution to the crime.While Unsolved Mysteries was a syndicated true crime series in the 1930s, it didn't start out that way.We take a look at the series's origin and the original program's sponsorship by Ken-Rad, a Kentucky-based firm selling radio tubes.The series originated from Station WLW in Cincinnati, and we talk about the station's forgotten role in the Golden Age of Radio as America's superstation, and why it was called that.Cecil B. DeMille interviews Walt Disney about Snow WhiteTwo Hollywood legends share a stage in this listener-inspired Snack Wagon.The year is 1937. A young filmmaker is about to release a groundbreaking new work, Snow White and the Seven Dwarfs. Walt Disney was invited on the Lux Radio Theater to be interviewed Hollywood director Cecil B. DeMille about the film and about what future projects he was working on.The interview took place on December 20, 1937 in Hollywood, the day before Snow White's premiere.The Adventures of Babe Ruth: Babe Takes the BlameWhile on the road in Chicago, Babe tries to help a young boy who was pressured to steal from him by an older boy, and finds himself in plenty of trouble.Originally Aired in 1949Sponsored by US Navy Recruiting; the announcer is Jackson BeckJack Benny and Fred Allen Patch Up the Feud for ChristmasFor the special Command Performance Christmas Eve show, a serviceman requested that Jack Benny and Fred Allen patch up their feud, and this is their answer.The segment is introduced by Bob Hope who hands the show to Fred Allen and Jack Benny in New York.Original Radio Broadcast Date: December 22, 1942Subscribe to the Old TIme Radio Snack Wagon at https://www.snackwagon.net