Podcasts about mutual broadcasting

Support Breaking Walls at https://www.patreon.com/thewallbreakers It's February 1944 and we're in the U.S. Fleet Post Office at 80 Varick Street. 80 Varick Street is in the Hudson Square area of Manhattan just north of Canal Street and southeast of the Holland Tunnel to New Jersey. The street itself is named for Richard Varick, an early New York lawmaker, landowner, and mayor from 1789 to 1801. The Fleet Post Office was established on July 1st, 1943. Previously, mail addressed to naval personnel serving overseas was handled by Navy mailmen at the Morgan Annex of the New York General Post Office. When CBS' World News Today signed on Sunday February 20th, 1944 at 2:30PM eastern time, the allied forces had just begun “Big Week,” a six-day strategic bombing campaign against the Third Reich. By the time it ended on February 25th, German cities Rostock and Augsburg had been bombed, as well as several Dutch cities near the German border. The Germans also lost more than three-hundred-fifty aircrafts, and most importantly, more than one-hundred pilots. Lieutenant. A. E. Newton is in charge of this post office, but with forces in the European Theater growing larger by the day, it was already obvious this post-office has reached max capacity. Space was being acquired on Pier 51 of the Hudson River to handle the expected increase of letters and parcels to fighting servicemen. Here's Bill Slocum Jr. at the Fleet Post Office discussing how V-Mail works. In September 1944 the Parcel Post Section was moved to Pier 51. The Fleet Post Office continued until the end of the War. By January 1946, with many troops home, most of its functions had been moved back to the General Post Office. World News Today's sponsor, The Admiral Corporation, was originally known as the Transformer Corporation of America. By 1929 it was the biggest supplier of radio parts in the world. Bankruptcy ensued, but in 1936 owner Ross D. Siragusa purchased the right to change the name to Admiral Corporation America Inc. They began sponsoring World News Today in 1942. For a longer look at the news from this week, tune into Breaking Walls episode 148. Meanwhile, as the weather warmed on April 6th, 1944 the U.S. celebrated “Army Day,” while Al Trace and His Silly Symphonists took to the air over Mutual Broadcasting from the Plantation Room in the Dixie Hotel. The Dixie Hotel opened on West 43rd street between 7th and 8th avenue in 1930. It featured one-thousand rooms and a bus terminal which occupied the entire ground floor. Buses arriving at the terminal would drive onto a turntable, which would then rotate to the proper slip. Two sets of doors, one on either side of the terminal, led from the loading area to the waiting room. The waiting room had a cafe, newsstand, ticket booths, and elevators leading to the hotel's lobby. The hotel was developed by the Uris Buildings Corporation, which announced plans for the site in September 1928. A year after it opened it was foreclosed on. The Bowery Savings Bank ran it until in 1942, when the Dixie became part of the Carter Hotels chain. That year the Dixie Lounge Bar opened on the first floor. Decorated in a Southern Colonial style, it could be accessed from the lobby, the dining room, and directly from the street. The nightclub, along with the adjacent Plantation Room restaurant, fit five-hundred people. The Bus depot became redundant when the Port Authority Bus Terminal opened nearby in 1950. It was closed in 1957. Carter attempted to rehabilitate the hotel several times, even renaming it The Carter Hotel in 1976. They sold it the next year. New Yorkers knew this hotel as one of the worst in the city. It was closed in 2014.

At 5:30PM eastern time over Mutual Broadcasting on Independence Day, 1944, The Tom Mix Ralston Straight Shooters took to the air. Originally airing from NBC in Chicago in 1933, it featured the just-heard Hal Peary, and the ever-present Willard Waterman. Tom Mix was created as an advertising vehicle for the Ralston Purina Company. Its format was devised by Charles Claggett, a St. Louis adman and based on the life of a real cowboy, Tom Mix. Born in Pennsylvania in 1880, he became a soldier and champion roper, winning a national title in 1909. Mix began appearing in movies, and much like Buffalo Bill Cody, his legend soon outgrew his actual exploits thanks to natural showmanship. By the time radio got him, he was seldom mentioned in print without a platoon of fantastic adjectives. Perhaps the most famous actor to play Tom Mix was Russell Thorson, who held the role for the Blue Network in the early 1940s, until it was canceled on March 27th, 1942. Tom Mix was revived and moved to Mutual beginning June 5th, 1944 in a fifteen minute serial. By then, Mix joined others like Jack Armstrong, Captain Midnight, and even Superman in the war against the axis. The show became known as “radio's biggest western-detective program.” Joe “Curley” Bradley played Mix throughout the later run. Bradley was a former Oklahoma cowboy and Hollywood stuntman who had learned to sing around bonfires. As for the real Tom Mix, he had nothing to do with the serial. He died in a car accident near Florence, Arizona on October 12th, 1940. At 6:15PM it was Hop Harrigan's turn to sign on, over The Blue Network's WJZ. It starred Chester Stratton as Hop Harrigan, young aviator known as “America's ace of the airways,” with Jackson Beck as Tank Tinker. Beck was all over radio. Hop Harrigan first took to the air on August 31st, 1942, running on The Blue Network and later ABC until August 2nd, 1946. It was revived from October 2nd, 1946 through February 6th, 1948 over Mutual Broadcasting. Hop went on missions in dangerous territory behind enemy lines. He had dogfights, went underground in war-torn Berlin, and saw heavy service in the Pacific during the battle for Okinawa.

At 7PM eastern time over Mutual Broadcasting's flagship WOR, The Mysterious Traveler went on the air. Written and directed by Robert Arthur and David Kogan, The Mysterious Traveler debuted on Mutual December 5th, 1943. Maurice Tarplin played the title role with a good-natured malevolence. The traveler mostly narrated from an omniscient perch. He rode a phantom train by night. The opening signature was the distant wail of a locomotive whistle, fading in gradually until the rumble of the train could be heard. David Kogan and Robert Arthur had met in Greenwich Village, New York, partnering on Mutual's Dark Destiny. After it was canceled, they came up with the Mysterious Traveler concept and prepared three sample scripts. Norman Livingston bought it for WOR. As independent producers, they were paid a flat rate for the whole package. Any money they saved by using the same actor in multiple roles went into their own pockets, so they used the best character actors in New York. Kogan also directed the series. On Easter Sunday, episode 19, “Beware of Tomorrow,” aired just as a gloomy dusk descended upon New York. Opposite The Mysterious Traveler, The Jack Benny Program signed on live, coast-to-coast at 7PM from WEAF in New York and at 4PM from KFI in Los Angeles. By April of 1944, Benny's writing team consisted of Sam Perrin, Milt Josefsberg, John Tackaberry, and this man, George Balzer. By the spring of 1944, General Foods had been sponsoring the program for ten years, first with Jell-O and then Grape Nuts Flakes. Benny's ratings had quietly been slipping since 1941. At the end of this season, his contract with General Foods was up. There was tension between the two parties because Benny had helped save Jell-O from going out of business. Benny had full control of his show. NBC also guaranteed his Sunday time slot for as long as he wanted it. This position allowed Benny to sell his program to the highest bidder. George W. Hill, the President of American Tobacco, wanted Benny's show. His chief account executive was thirty-six-year-old Pat Weaver, the future president of NBC. Benny's management team quietly held a sealed auction for sponsorship on February 24th. A surprise winner was announced: Ruthrauff & Ryan, agency for American Tobacco's Pall Mall cigarettes, bid twenty-five thousand dollars per-week for three thirty-five week seasons. The weekly money was payable to Benny for all payroll and production costs. They also included an additional two-hundred-thousand dollars over the three years for marketing and promotion. American Tobacco also agreed to pay for any network and carrier line charges. The advertising community was stunned. The Easter Sunday program was Pall Mall's audition. In the end, this would be the only Jack Benny episode to have a Pall Mall commercial. Pat Weaver and George W. Hill knew no one would take Ruthrauff & Ryan's bid for Pall Mall seriously. Had Foote, Cone & Belding, American Tobacco's agency for its top cigarette, Lucky Strike, entered the fray, the attention would have driven up the price. The last Benny show sponsored by General Foods was June 4th, 1944. Benny took out a full page ad in Variety thanking General Foods for ten years of sponsorship. In August, he left on a three-week USO tour of Australia and the South Pacific. On August 28th, American Tobacco announced that Pall Mall's sales didn't justify a twenty-five thousand dollar per week expenditure. Lucky Strike would sponsor the show. The following week they announced a comprehensive, multimedia ad campaign. It was estimated to cost over a quarter million dollars. Lucky Strike would sponsor The Jack Benny Program beginning October 1st, 1944.

Between 4PM and 5:30 eastern war time, NBC broadcast Easter services from the Cathedral of St. John the Divine, as well as the NBC symphony with Arturo Toscanini. CBS broadcast Orchestra music and The Family Hour. The Blue Network aired Music and the Mary Small Revue. Mutual Broadcasting's flagship WOR aired Abe Lincoln's Story and Green Valley, U.S.A.. At 5:30, Mutual's most popular program took to the air. It was their only show in the top-50 and the highest-rated weekend daytime program on the air. Pulling a rating that month of 14.1, roughly eleven million people tuned it. Sponsored by Blue Coal, It starred the just-heard Brett Morrison. The show? None other than The Shadow. In this particular episode, an evil fiend uses an experimental Television device to see anything he wishes remotely. The Shadow's powers of mesmer don't affect a TV screen. This fiend therefore finds out the true identity of the Shadow.

Tuesday, January 8th, 1974. It's a cold night in Brooklyn, New York. There's snow in the forecast. We're driving north on Shore Road, towards the Belt Parkway in a 1973 Ford Maverick. Thanks to the oil crisis, smaller cars like the Maverick are becoming increasingly popular. On January 2nd, President Nixon signed a law lowering the maximum speed limit on U.S. highways to fifty-five miles per hour. It conserved gasoline during the embargo. Highway fatalities dropped twenty three percent over the next year. The limit remained in effect for thirteen years. Unfortunately for Nixon, the Watergate scandal wouldn't go away. Citing executive privilege, on January 4th, Nixon refused to surrender over five hundred subpoenaed tapes to the Watergate Committee. On this night, Tuesday January 8th, John Chancellor signed on with news and updates from NBC. On this day, New York City instituted measures against gas shortage abuse. The day after this broadcast, Representatives from the twelve member nations of the Organization of Petroleum Exporting Countries finished a meeting in Geneva, Switzerland, voting for a three-month freeze on oil prices. But this isn't why we're here. As Mutual Broadcasting was getting back into radio drama with The Zero Hour, longtime director Himan Brown finally convinced CBS to give him a nightly hour of time to produce new eerie radio plays. Tonight, we'll go back to January 1974 and study how this moment in time came to be. ____________ In January 1974 Himan Brown was sixty-three years old, having been on the air since the age of eighteen. Brown is noted for having created Bulldog Drummond, Grand Central Station, Dick Tracy, and Inner Sanctum Mysteries. He was itching for the chance to create new dramatic radio. CBS executive Sam Digges was fifty-seven, and close friends with Brown, but the CBS network board could perhaps have been a harder sell for a program that was to air every night of the week. CBS hadn't produced any dramatic shows since September of 1962. Over the eleven years since, numerous technological advancements had been made. In order to produce a show that was to air every night of the week, a dedicated studio would be developed. They used Studio G on the sixth floor of the old CBS Radio Annex on East 52nd street. The writers would be paid three-hundred fifty dollars per script. That's a little more than two thousand dollars today. As Himan Brown mentioned, in New York City CBS aired news, so Mutual Broadcasting's flagship WOR picked up the series just one month after Mutual began airing The Zero Hour. Acting talent would work for SAG-AFTRA scale. Actor E.G. Marshall was tabbed to be the host. In 1973 Marshall was known for his prominent role in the 1957 Twelve Angry Men, and on TV's The Defenders. As a host, he harkened back to the Golden Age of Radio when characters such as The Man In Black, The Whistler, The Mysterious Traveler, and Raymond hosted macabre programs. The CBS Radio Mystery Theater would debut on Sunday January 6th, 1974 with Agnes Moorehead starring in “The Old Ones Are Hard To Kill.” Two-hundred eighteen stations carried the series, including twenty-one which were not CBS affiliates.

Associated Press, December 21st, 1973, New York City. “The script appears strange at first. Its directions are for the ear, not the eye, and say things like: "DOORBELL ON. FOOTSTEPS. DOOR OPENED. TRAFFIC IN BG." "That traffic noise is 25 years old," laughs Jimmy Dwan, a veteran CBS sound effects man. "You can hear a doorman shouting on it somewhere. That doorman, he's been dead twenty years." Dwan's recorded sound effects are old, but not his script. It's of 1973 vintage, written solely for radio. “Yes, radio. “It's part of a brave new effort by two networks to bring back, in limited form, the golden days of coast-to-coast radio drama that most everyone remembers, but hasn't heard in more than a decade. “The Mutual Broadcasting System fired the first shot Monday with The Zero Hour, a 30-minute five-nights-a-week thriller serial hosted by writer-narrator Rod Serling of Twilight Zone fame. “Mutual, which says it has six-hundred-thirty affiliates, bought the series after lengthy studies proved there existed a sufficient market for radio drama on a network basis. Advertisers liked the idea, too, according to Mutual's president C. Edward Little: "We got a tremendous amount of client interest after we announced it," adding that the show will be fed from Mutual's Washington D.C., headquarters each weeknight at 7PM. "We feel that we'll start off with one-hundred-fifty to two-hundred stations." “The series will be offered on a "first refusal" basis to Mutual affiliates. “They also said that if the show clicks, other radio projects such as new comedy or anthology series, may follow. But they emphasized that such shows are strictly in the talking stages.” — Jay Sharbutt Once Mutual purchased the rights to The Zero Hour, they removed Elliott Lewis as director and Jay Kholos no longer had anything to do with the production. Both had good things to say about each other, but not for Mutual.

Well, that brings our look at November 1963 through the eyes of Jean Shepherd and President Kennedy to a close. Frankly, I wasn't completely sure what this episode would become until I finished producing it. Speaking of anniversaries, we have one in December that's a bit more recent and much happier if you like radio drama. Next time on Breaking Walls, in honor of the fiftieth anniversary of The Zero Hour's debut on the Mutual Broadcasting System, we spotlight the rebirth of radio drama in 1973. It's the first of a two-part mini series on radio drama in the 1970s. The reading material used in today's episode was: • Excelsior You Fathead! The Art and Enigma of Jean Shepherd — By Eugene Bergmann • Boom!: Talking About the Sixties — By Tom Brokaw • Four Days In November: The Assassination of President John F. Kennedy — By Vincent Bugliosi • On The Air — By John Dunning • Oswald's Tale: An American Mystery — By Norman Mailer As well as articles from: • The Bridgeport Post • The Chicago Tribune • The Cincinnati Enquirer • The Hammond Times • The Kansas City Times • The Library of Congress • The Los Angeles Times • The Miami News • The New York Daily News • The New York Times • The Orlando Sentinel And the Assassination Report of the Warren Commission On the interview front: • Andy Rooney spoke with CBS for their 50th anniversary in 1977 Selected music featured in today's episode was: • The John Coltrane Quartet in concert — November 19th, 1962 • Pachelbel's Canon In D — By Michael Silverman • All I've Got To Do — By The Beatles • The Boston Symphony in concert — November 23rd, 1963 • Some Children See Him — By George Winston Breaking Walls Episode 146 will spotlight Rod Serling and The Zero Hour in honor of the 50th anniversary of its debut on Mutual Broadcasting. This episode will be available beginning December 1st, 2023 everywhere you get your podcasts, and at TheWallBreakers.com. In the meantime, give Breaking Walls a quick rating on whatever platform you listen, especially itunes. You can also join The Breaking Walls Facebook group at Facebook.com/Groups/TheWallBreakers. And support this show for as little as a buck a month at Patreon.com/TheWallBreakers. So until December 1st, my name is James Scully, this has been Breaking Walls Episode 145, and I'll catch you on the flip side. Thank you very much.

Jean Shepherd was born on July 26th, 1921 on the South Side of Chicago to Jean and Anna Shepherd. He grew up in Hammond, Indiana, which according to Shep was a “tough and mean” industrial city. As an adolescent, Shepherd worked as a mail boy in a steel mill. He began his radio career at the age of sixteen, doing weekly sportscasts for WJOB in Hammond. That job led to juvenile roles on network radio in Chicago, including that of Billy Fairchild in the serial “Jack Armstrong, the All American Boy.” One of the programs that later came to symbolize Shepherd's childhood, thanks to his 1983 film A Christmas Story, was Red Ryder. During World War II, Shepherd served in the U.S. Army Signal Corps, installing radar equipment and furthering a lifelong dislike for authority figures. After the war, he studied acting in Chicago at the Goodman Theatre and briefly engineering and psychology at Indiana University. He left Indiana without a degree to take a radio gig in Cincinnati, which led him to a series of radio jobs, each better than the previous. After working at WTOD in Toledo, Ohio, Shepherd spent the early 1950s at WSAI and WLW in Cincinnati, and had a late-night broadcast on KYW in Philadelphia. He moved to New York for WOR and debuted on February 26th, 1955. WOR is a fifty-thousand watt clear-channel AM station and was the flagship affiliate of the Mutual Broadcasting System. Mutual Broadcasting had formed on September 28th, 1934 as a cooperative of stations WOR New York, WGN Chicago, WXYZ Detroit, and WLW Cincinnati. The members shared telephone-line transmission facilities and agreed to collectively enter into contracts with advertisers for their network shows. After a deal with Don Lee's chain of west coast networks, Mutual went coast-to-coast on December 29th, 1936. The other major networks, ABC, CBS, and NBC, were corporations. When World War II ended, domestic manufacturing restrictions were lifted. TV became a focal point as the other networks pumped their radio profits into the new medium. Mutual's cooperative status meant it never had the resources to move into TV, although affiliates like WOR did run a local TV station in New York. Mutual remained a cooperative until 1952 when General Tire became the parent company. By 1955 radio was changing. Drama, which had dominated the dial for more than two decades, was on its way out due to both its and TV production costs. More and more network programming was being turned over to local affiliates. These local affiliates employed a new generation of hosts that had grown up with Jack Benny, Fred Allen, and other observant humorists. Shepherd's peers were Johnny Carson, Jack Paar, Rod Serling, and Steve Allen. Shepherd was working an overnight slot for WOR in 1956. Facing a lack of sponsorship, he was about to be fired when he did an unauthorized commercial for Sweetheart Soap who didn't sponsor his program. WOR immediately canned him. But, listeners complained in droves and Sweetheart actually offered to sponsor him. WOR immediately brought him back. The overnight slot allowed him to riff with little need for the kind of corporate oversight that faced daytime and primetime hosts. That year, during a discussion on how easy it was to manipulate the best-seller lists, Shepherd suggested that his listeners visit bookstores and ask for a copy of a fictional novel called I, Libertine by a Frederick R. Ewing. Fans of the show planted references so widely that there were claims it made The New York Times Best Seller list. It led to an actual book deal with Ballantine. Theodore Sturgeon wrote most of it with Shepherd's outline guiding him. Betty Ballantine finished the novel when Sturgeon fell asleep during a marathon writing session to meet the deadline. Famed illustrator Frank Kelly Freas did the cover art. The book was published on September 13th, 1956 with all proceeds going to charity.

On Wednesday October 9th, 1957 at 8PM eastern time, The Bill Kemp Show took to the air over ABC. Bill Kemp was born on July 10th, 1921 in Toronto, Canada. An up and coming performer in the 1950s, his daily radio show ran weeknights at 8PM. His show was the final in a twelve-hour daily live broadcast project by ABC called “The Live and Lively Radio Network.” ABC's intention was to raise ratings by going back to live broadcasts in an era of taped shows. Interestingly, it was ABC that helped launch the non-Mutual Broadcasting transcribed primetime era with Bing Crosby's Philco Radio Time in 1946. Kemp's show featured an orchestra, vocalist and guest stars such as Jonathon Winters. Kemp's announcer George Ansbro remembered that Kemp once went laugh for laugh with Winters after a particularly successful broadcast, and continued the antics all the way to a nearby steakhouse. Unfortunately, Kemp also developed a debilitating drinking problem. Merv Griffin and Jim Backus were called on several occasions to cover for Kemp during absences for "personal reasons." One week after this broadcast on Wednesday October 16th, Queen Elizabeth II departed from Ottawa and arrived in Williamsburg, Virginia. The next day she was in Washington, D.C. While at the White House, Prince Philip received the gold medal of the National Geographic Society. On October 18th, two U.S. Navy balloonists flew to an altitude of sixteen miles, landing near Hermansville, Michigan. On October 19th, the Queen and Prince Philip attended an American football game in College Park, Maryland, and then visited a supermarket in West Hyattsville. That same day a beauty pageant winner was killed en route to her coronation in a helicopter crash in Farmingdale, New York, while Montreal Canadiens' star Maurice “The Rocket” Richard became the first player in National Hockey League history to score five-hundred career goals.

Welcome back to Mutual Presents! After a little hiatus we thought it was about time we got back to our new amazing science fiction series- the first of it's kind from Old Time Radio 2000 Plus!  Mutual Broadcasting was filled with innovative series, and that's why Mutual is still your place to listen to amazing audio drama. This weeks Wednesday Wonder's presents features are "When the Worlds Met" and "The Brooklyn Brain"! Learn more about your ad choices. Visit megaphone.fm/adchoices

Welcome back to Mutual Presents! After a little hiatus we thought it was about time we got back to our new amazing science fiction series- the first of it's kind from Old Time Radio 2000 Plus!  Mutual Broadcasting was filled with innovative series, and that's why Mutual is still your place to listen to amazing audio drama. This weeks Wednesday Wonder's presents features are "When the Worlds Met" and "The Brooklyn Brain"! Learn more about your ad choices. Visit megaphone.fm/adchoices

On Saturday, September 14th, 1957 The Grand Ole Opry signed on from WSM and the Ryman Auditorium. WSM is a fifty-thousand-watt clear channel station located in Nashville, Tennessee. Founded by the National Life and Accident Insurance Company, the station's call sign stands for We Shield Millions. WSM first signed on October 5th, 1925. The next month on November 28th, The WSM Barn Dance took to the air for the first time. On December 10th, 1927, the program's host, "Judge" George D. Hay referred to the show for the first time, as The Grand Ole Opry. The Opry began running coast-to-coast on Saturday evenings in 1939. The show moved to the Ryman Auditorium in 1943. As it developed in importance, so did the city of Nashville, which became America's country music capital. By 1954, WSM was considered the outstanding music station in the country. That October 2nd a teenage Elvis Presley would have his only Opry performance. ___________ Meet The Press grew out of a partnership between Martha Rountree and Lawrence Spivak. Rountree, a freelance writer, broke into radio in the late 1930s. She created the panel show Leave It to the Girls in 1945, before teaming with American Mercury editor Lawrence Spivak, to produce a radio show promoting his magazine. Spivak would be the permanent panelist representing the press. They would invite top newsmakers to be put on the spot, “without preparation or oratory,” and thus “find out what they stand for.” The show debuted on October 5th, 1945 over Mutual Broadcasting. Meet the Press was soon making its own headlines. The panelists purposely pitted two editors known for their opposition to the guest's viewpoint, with one middle-of-the-road type, and Spivak. In 1947 while still airing over Mutual, a TV version began airing on NBC. The radio version aired over Mutual for five years before going off the air and moving to NBC in May of 1952. On September 15th, 1957 the guest was Archbishop Makarios of Cyprus. The discussion regarded Cyprus' quest for independence. The population was made up of both Greeks and Turkish Cypriots and had been under British rule since 1878. Greeks wanted British removal and a union with Greece. The Archbishop was one of the loudest voices in this quest. Makarios, who was in favor of bombing attacks that had occurred against government offices in 1955, was exiled in 1956, and by 1957 most leaders in the National Organization Of Cypriot Fighters' had been killed or captured. So, they turned to organizing school children riots, and killing the families of police and military personnel. The rebellion continued throughout 1958, even after Makarios had abandoned his initial demands. They finally ended in February 1959 when agreement was reached for Cyprus to become an independent republic. The radio version of Meet The Press aired until July 27th, 1986. The TV version is still being seen.

The man you just heard is Herb Vigran, being interviewed by Chuck Schaden in 1984. He's about to be featured on Family Theater. The show was created by Patrick Peyton of the Holy Cross Fathers. Mutual Broadcasting donated time under four conditions: It had to be a drama of top quality; strictly nonsectarian; feature a film star; and Father Peyton had to pay the production costs. Peyton met Loretta Young, who advised him on how to approach A-listers. She became the “first lady” of Family Theater. Between 1947 and 1957, there were hundreds of dramas broadcast. Few used religion of any kind in the plot. However, by September of 1957 Mutual Broadcasting was phasing out radio drama. As Herb Vigran mentioned, Hollywood's character actors were doing as much TV as possible. When Family Theater aired its last episode on Wednesday, September 11th at 8:35PM Pacific time over KHJ in Los Angeles, the only other dramatic radio shows on KHJ that night were Gangbusters and Horatio Hornblower. This is from that last episode, fittingly called “Roadshow.” Lilian Buyeff played Helen Blackwell. After the episode ended, Joan Leslie came back on with the final PSA in Family Theater history.

In 1949 Bill Gargan appeared in Dynamite for Paramount Pictures. It would be his last film until 1956. On March 3rd he appeared on Guest Star. That year he was in New York City when he phoned acquaintance Frank Folsom of RCA. Folsom invited Gargan for lunch. He went to the fifty-third floor of 30 Rockefeller Center. Inside were executives from BBD&O, The New York Stock Exchange, and others. During lunch Gargan mentioned that he was looking for a job in TV. Folsom phoned Norm Blackburn, VP of TV and Radio at NBC and a good friend of Gargan's. Gargan was asked if he'd be interested in playing a pipe-smoking detective, sponsored by the U.S. Tobacco Company. The show became Martin Kane, Private Eye. It would be shot for TV and separately done for radio as well. Mutual Broadcasting carried the radio series. It debuted on Sunday August 7th, 1949 at 4:30PM eastern time. Meanwhile, the TV version aired on NBC Thursdays at 10PM. It was live, and the first detective series on network TV with an enormous following. Gargan realized early on that there was only so much you could do with a plot in a half-hour, so he made the series a showcase for himself. He developed a tongue-in-cheek style. Kane's 37.8 TV rating for the 1950-51 season was twelfth overall. Gargan later said “This was TV's early era, but a few people tried to make the casual intimacy of TV a sexual intimacy. The sight of pretty women, a touch of deep cleavage, a show of thigh became—to these producers—more important than the content of the show. The result was we often had pretty, empty headed girls blowing their lines all over the lot. “In Desperation, I began to mug for the camera more and the script writers began to write more blatantly. You get into a terrible rut this way. Everybody works harder to undo the damage, and the result is more screeching, overacting, and overwriting. It drives the viewers away, and to get them back you come up with more and more desperate gimmickry. “What was worse, to me, was the embarrassment. I'm no prude. Probably the best part I ever did on film was that of Joe in The Knew What They Wanted, a wife-stealer. But this was just sleazy.” The next season the show's rating fell out of the top thirty. By then, Gargan was friends with New York's Cardinal Spellman. A friend of Gargan's mentioned that the Cardinal watched the show. Gargan went to the studio execs and told them to write better scripts or get another star. They got another star — Lloyd Nolan. After eighty-five weeks, Bill Gargan was no longer Martin Kane. Shortly after, Gargan signed a deal with Sonny Werblin, then of MCA, to do a new private eye show for NBC. The show would eventually be called Barry Craig, Confidential Investigator.

During the War, Bill Gargan led a USO group that featured Paulette Goddard, Keenan Wynn, and accordionist Andy Arcari. They toured China-Burma-India. He spent four months overseas in some of the poorest and worst conditions of the War, putting on shows and flying in various prop planes despite a lingering ear infection, drinking whatever alcohol he could to help keep sane. When Bill finally got home his ear was so swollen wife Mary jokingly called him Dumbo. Under contract at MGM, he borrowed an apartment in New York and went on stage. His first night he got word that friend Leslie Howard had been killed in a plane crash. The War marked a dividing line in Bill's life. He went back to Hollywood and made Swing Fever, She Gets Her Man, and finally in 1945, he starred with Bing Crosby, Ingrid Bergman, and Martha Sleeper as Joe Gallagher in The Bells of St. Mary's. Television sets began to show up in homes as Bill and his agent Ken Dolan conceived a half-hour mystery radio show called Murder Will Out for ABC. It failed to find a long-term sponsor and was canceled. Gargan next starred in I Deal In Crime, beginning on January 21st, 1946 on ABC. He played private investigator Ross Dolan for the next twenty months. During that time, Gargan also guest-starred on Family Theater, hosting the second episode on February 20th, 1947. Family Theater was created by Patrick Peyton of the Holy Cross Fathers. Mutual Broadcasting donated time under four conditions: The show had to be a drama of top quality; strictly nonsectarian; feature a film star; and Father Peyton had to pay the production costs. Peyton met Loretta Young, who advised him on how to approach A-listers. She became the “first lady” of Family Theater. Between 1947 and 1956, there were four-hundred eighty-two dramas broadcast. Few used religion of any kind in the plot. Bill continued to make guest-appearances on radio, like on the October 13th, 1948 episode of Bing Crosby's Philco Radio Time on ABC. It would be in 1949 that William Gargan took on his most famous role, and in the process became one of the first television drama detectives in broadcasting.

One of the first projects Orson Welles undertook after moving to Europe was a film version of Othello. Despite Macbeth's criticism, he was still confident he could produce a successful Shakespearean film. However, filming was erratic. Its original Italian producer announced on one of the first days of shooting that he was bankrupt. Instead of abandoning filming altogether, Welles as director began pouring his own money into the project. He took acting jobs to ensure continued production. He also raised money by going on the stage. In the summer of 1950 Welles appeared in Paris in his own play called The Blessed and The Damned, which consisted of a short film, called The Miracle of St. Anne, and two one-act plays. It received positive reviews. In August he traveled to Frankfurt, Hamburg, and Munich, where he starred in An Evening With Orson Welles. Filming of Othello stopped for months at a time to raise money. It took more than two years to complete and was shot in Morocco, Venice, Tuscany and Rome. Before the film's release, Welles played the Shakespearean drama on stage to audiences in Newcastle and London. A dubbed version of Othello premiered in Rome In November of 1951. Welles' original English-language version premiered at the Cannes Film Festival in May of 1952. It won the Grand Prix and was released in Europe thereafter. When David O'Selznick got word that Harry Alan Towers had distributed The Adventures of Harry Lime to MGM, he refused to air it, so Towers took the series elsewhere. He quickly found out that MGM was now contractually obligated to provide a series with Welles to the Mutual Broadcasting System. So, in 1951 Towers went to Welles with another radio series. He'd already produced a series called The Secrets of Scotland Yard with Clive Brook. The new series would be called The Black Museum. It was based on real-life cases from the files of Scotland Yard. Walking through the museum, Welles would pause at one of the exhibits, describing an artifact that led into a dramatized tale of a brutal murder or a vicious crime. Towers visited Australia in the late 1940s and set up production facilities in Sydney. The Black Museum was produced there by Creswick Jenkinson. Ira Marion was scriptwriter and music for the series was composed and conducted by Sidney Torch. Orson Welles's introductions were recorded on tape in London, then flown to Australia to be added to the locally recorded performances. This was the first series to be produced in Australia in this way. The program was transcribed in 1951. In the U.S. Mutual Broadcasting carried the series, with more than five-hundred stations airing it. In New York it began airing Tuesdays at 8PM on New Year's Day, 1952. Episode twenty-seven was called “The Notes” or “Kilroy Was Here.” “Kilroy Was Here” is a graffiti scrawl or meme of debated origin that became popular during World War II. It was associated with GIs stationed in Europe, depicting a bald-headed man with prominent nose clutching at and peeking over a wall. Next to him was the phrase. Robert Rietti played leads and Keith Pyott was often in the cast. Beginning In May of 1953, The Black Museum was also broadcast over Radio Luxembourg, a commercial radio station, and was not broadcast by the BBC until 1991. The Black Museum aired for the calendar year of 1952 over Mutual. It was rebroadcast on KABC, Los Angeles, in 1963 and 1964, and on KUAC—FM in Fairbanks, Alaska, in 1967. In 2002, Harry Alan Towers produced The Black Museum for TV, hiring Gregory Mackenzie to be director and showrunner. The anthology series used Welles' original narration. The adaptation was shot on location in London in a film noir style and the pilot starred Michael York as Scotland Yard Inspector Russell.

In the summer of 1949 NBC-TV approached Carlton Morse with the possibility of coming to New York to put One Man's Family on TV. Because the entire production would need to be re-cast, Morse had to audition a whole new group of actors. Mercedes McCambridge, who'd played on I Love A Mystery in Hollywood, was now working in New York and cast, while Russell Thorson was cast as Henry Barbour. Morse flew back and forth from New York to Los Angeles. On May 25th, 1949, Mutual Broadcasting presented an episode of The Family Theater called “The Man With a Plow.” Morse wrote and directed the episode from Hollywood. It was then that Morse had the idea of rebooting I Love A Mystery. Episodes would be recorded and transcribed, allowing actors with other commitments to take roles. Morse approached Thorson about starring and McCambridge about doing supporting parts. The cast soon rounded out with Jim Boles as Doc, and Tony Randall as Reggie. Morse received one-thousand dollars per week from Mutual to write the show, but rather than write new scripts, Morse simply re-recorded the original scripts with minor revisions and title changes. Russell Thorson and his wife helped Morse out with continuity. I Love A Mystery would re-debut over Mutual Broadcasting on October 3rd, 1949 at 7:45PM eastern time. The cast assembled a couple of times per week to record. Each show was recorded on sixteen-inch discs, airing on weeknights for fifteen minutes.

In Breaking Walls episode 132 we go back to the late 1940s and say Happy Halloween with Mutual Broadcasting. —————————— Highlights: • The Seedy Underbelly of Coney Island on The Crime Club • Take a Ride with The Mysterious Traveler • Mystery is My Hobby • Quiet Please • 1948 Halloween News with Arthur Bario • The House of Mystery • True Detective Mysteries • Halloween 1948 with Holmes and The Shadow • Truman Wins a Stunning Reelection • Murder By Experts • Finishing With I Love a Mystery • Looking Ahead to Thanksgiving —————————— 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: American Radio Networks: A History — By Jim Cox • On the Air — By John Dunning • Network Radio Ratings — By Jim Ramsburg • The Museum of Broadcast Communications Encyclopedia of Radio — By Christopher Sterling • WOR: The First Sixty Years As well as articles from the archives of • The Los Angeles Times • The New York Daily News • The New York Times • Radio Daily • The Saturday Evening Post —————————— On the interview front: • Jim Boles, Bret Morrison, Carlton E. Morse, and Russell Thorson, were with Chuck Schaden. Hear their full chats at SpeakingOfRadio.com. • Joseph Julian was with Dick Bertel and Ed Corcoran for WTIC's The Golden Age of Radio. Hear these at Goldenage-WTIC.org. • Harry Bartell and André Baruch were with SPERDVAC. For more info, go to SPERDVAC.com. •Orson Welles was with Johnny Carson —————————— Selected music featured in today's episode was: • Halloween — By Guy Lombardo and His Royal Canadians • Manhattan — By Blossom Dearie • Flag of Columbia — By Jacqueline Schwab • Danse Macabre — By Camille Saint-Saëns —————————— A special thank you to Ted Davenport, Jerry Haendiges, and Gordon Skene. For Ted go to RadioMemories.com, for Jerry, visit OTRSite.com, and for Gordon, please go to PastDaily.com. —————————— Thank you to: Tony Adams Steven Allmon Orson Orsen Chandler Phil Erickson Jessica Hanna Perri Harper Briana Isaac Thomas M. Joyce Ryan Kramer Earl Millard Gary Mollica Barry Nadler Christian Neuhaus Aimee Pavy Ray Shaw Filipe A Silva John Williams —————————— WallBreakers Links: Patreon - patreon.com/thewallbreakers Social Media - @TheWallBreakers

Carlton E. Morse' I Love A Mystery first took to the air Weekdays at 3:15PM on NBC's West-Coast network in January of 1939. Michael Raffetto starred as Jack Packard, head of the A-1 Detective Agency, with Barton Yarborough as Texan Doc Long, and Walter Paterson as the British Reggie Yorke. The show told of three world travelers in search of action, thrills, and mystery. From the ghost towns of wind-swept Nevada, to the jungles of vampire-infested Nicaragua, they righted wrongs, rescued women, battled evil, and explored unknown parts of the globe. By that autumn it was airing nationally. The show ran from the west coast for five years, first over NBC's Red Network, then its Blue, and then CBS. It went off the air at the end of 1944, but was revived in the spring of 1948 on ABC and then from New York for Mutual Broadcasting in October of 1949. It ran for three more years, this time starring Russell Thorson, Jim Boles, and Tony Randall, as Thorson remembered. Jack Packard was a hero with quiet strength. Once a medical student, he shrugged off superstition in favor of logic. Reggie Yorke was educated, strong, and had the British stiff upper lip. Doc Long was a red-headed alley fighter from Texas who defied the laws of chance and loved women. Three characters could be murdered in a single episode. People were killed in ghoulish, imaginative, and sometimes mystifying ways. Throats were ripped out by wolves; there were garrotings, poisonings, and mysterious slashings. On Halloween, 1949, part one of a new story, “The Thing That Cries in The Night” aired over Mutual.

In the fall of 1938 as Orson Welles was launching The Mercury Theater of The Air, radio character actor Bill Johnstone became The Shadow. Johnstone held the role until March 21st, 1943, when Brett Morison took over. Morison had the title role for most of the rest of the radio run. The Shadow would air until December 26th, 1954. We're going to stop here. I've covered Welles from his birth through Pearl Harbor in episode 79 and from there to the early 1950s in episode 104. While we're wrapping up our coverage of The Shadow, we're staying with The Mutual Broadcasting System in October and getting into the Halloween spirit. Next time on Breaking Walls, we'll spend Halloween with Mutual Broadcasting mystery shows of the 1940s.

In the spring of 1935, nineteen year-old Orson Welles was living in New York, appearing on stage in Katharine Cornell's stock company and workin on CBS' American School of the Air and The March of Time. The next year, Welles was on the debut episode of CBS's Columbia Workshop. The program's creator Irving Reiss recognized Orson's talent, while Welles studied the creative risks The Workshop took. He began to assemble his Mercury Theater troupe just as FDR launched the Federal Theater Project. John Houseman invited Welles to be part of an African-American theater unit in Harlem. Their first co-production was an adaptation of Shakespeare's Macbeth. Welles changed the setting to a mythical island. Voodoo took the place of Scottish witchcraft. The play opened on April 14th, 1936, at the Lafayette Theater in Harlem. It received incredible reviews. By that autumn, Welles was traveling between Chicago and New York, appearing on Mutual Broadcasting's Wonder Show, and on The Columbia Workshop. On Sunday April 11th, 1937 The Workshop broadcast a verse-play written especially for radio by Archibald MacLeish. It was called The Fall of the City. It was an allegory on the rise of fascism. The broadcast took place at the massive Seventh regiment armory on 67th street and Park avenue in New York. Reiss used over one-hundred fifty extras, and entrusted Welles to be the narrator. To get proper sonic differentiation, they built radio's first narration booth. The Fall of The City was selected by The New York Times as one of the outstanding broadcasts of 1937. Time magazine noted that it proved to listeners radio was science's gift to poetry and poetic drama. The Fall of the City made Orson Welles a star. Mutual Broadcasting was about to give him the opportunity of a lifetime.

Carlton E. Morse' I Love A Mystery first took to the air Weekdays at 3:15PM on NBC's West-Coast network in January of 1939. Michael Raffetto starred as Jack Packard, head of the A-1 Detective Agency, with Barton Yarborough as Texan Doc Long, and Walter Paterson as the British Reggie Yorke. The show told of three world travelers in search of action, thrills, and mystery. From the ghost towns of wind-swept Nevada, to the jungles of vampire-infested Nicaragua, they righted wrongs, rescued women, battled evil, and explored unknown parts of the globe. By that autumn it was airing nationally. The show ran from the west coast for five years, first over NBC's Red Network, then its Blue, and then CBS. It went off the air at the end of 1944, but was revived in the spring of 1948 on ABC and then from New York for Mutual Broadcasting in October of 1949. It ran for three more years, this time starring Russell Thorson, Jim Boles, and Tony Randall, as Thorson remembered. Jack Packard was a hero with quiet strength. Once a medical student, he shrugged off superstition in favor of logic. Reggie Yorke was educated, strong, and had the British stiff upper lip. Doc Long was a red-headed alley fighter from Texas who defied the laws of chance and loved women. Three characters could be murdered in a single episode. People were killed in ghoulish, imaginative, and sometimes mystifying ways. Throats were ripped out by wolves; there were garrotings, poisonings, and mysterious slashings. Although the serial went off the air in 1952, in May of 1954 a new audition record was produced for CBS in Hollywood. It starred Thorson, Ben Wright, and Parley Baer.

As March drew to a close, Mutual Broadcasting's Frank Hemingway took to the air on March 30th with the evening news from KHJ in Los Angeles. ___________ With the hydrogen bomb in development, Russia wanted to join NATO. In Washington, President Eisenhower was making changes to the Taft-Hartley Labor Law. And in present-day Vietnam, a massive battle was taking place at the French military base at Dien Bien Phu. The March 30th news broadcast hinted at things to come. ___________ Next time on Breaking Walls, April ushers in the Army-McCarthy Hearings, Presidential Speeches, Schemers, Slanderers, Nude Prowlers, and even a Benny Seance.

This week we welcome a new program to the podcast, Vic and Sade, with two early episodes, Decoration Day Parade and Sades Trip to Dwight. These episodes aired May 28, 1937 and June 6, 1937. Vic and Sade was broadcast from 1932 to 1946 originally on the NC Blue Network before eventually being broadcast on all major radio networks (NBC, NBC Blue, Mutual Broadcasting, and CBS). Most episodes were only 15 minutes long (1932-1945). The main characters were accountant Victor Rodney Gook, Sade his wife, and their adopted son Rush (Art Van Harvey, Bernardine Flynn, Bill Idelson). The three lived in "the little house halfway up in the next block." : : : : : My other podcast channels include: DRAMA X THEATER -- SCI FI x HORROR -- MYSTERY X SUSPENSE -- VARIETY X ARMED FORCES -- THE COMPLETE ORSON WELLES Enjoy 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/ (https://otr.duane.media) | Instagram https://www.instagram.com/duane.otr/ (@duane.otr)

In early December 1948, The University of Notre Dame Football Team was in Los Angele to play the USC Trojans. While in town, at the invitation of Father Patrick Peyton, C.S.C., Coach Frank Leahy, came to the Mutual Broadcasting studios to host this episode of Family Theater of the Air. The show starred Robert Stack and Richard Webb with Gloria Blondel. The show aired live on December 1, 1948. Notre Dame tied with USC, ending an ND undefeated streak.

Dick Powell stars as insurance investigator Johnny Dollar in this CBS Radio 'AUDITION' episode from December 7, 1948. His movie career changed in 1944 when Powell was cast as Raymond Chandler's private eye Philip Marlowe, in Murder My Sweet. The Lux Radio Theater broadcast an adaptation on June 6th, 1945. Two weeks later Powell was starring as Richard Rogue in Rogue's Gallery on NBC. The series was a summer replacement for the Fitch Bandwagon. When Fitch returned in the Fall, Mutual Broadcasting picked the show up. It lasted for one season on Mutual before returning for a final thirteen weeks on NBC in the summer of 1946. Simultaneously on film Powell made Cornered, Johnny O'Clock, To The Ends of the Earth, and Pitfall. Wanting to get back into network radio, he recorded this Dollar audition just before Christmas.

The second episode of the Hopalong Cassidy radio series was released by Commodore syndication, the second week of January 1950. Hopalong Cassidy was already a hit on television when Mutual Broadcasting began airing the radio version. A short time later, it moved to CBS, where it aired until 1952. Set on the Bar-20 Ranch. In this episode the local sheriff has become obsessed with the idea of making it rain in the desert. "Hoppy" decides to settle down in Eagle Nest Mountain but his pal California tries to persuade him to obtain one last reward. However, Hoppy is not interested until shots are fired at a young woman. Hoppy says they should talk with the sheriff of Eagle Nest.

https://nationalinterest.org/blog/reboot/world-war-ii-how-one-journalist-used-his-microphone-fight-nazi-germany-189724?page=0%2C1 Shortwave broadcast from London fed to CBS News and broadcast live from London by Ed Murrow. September 3, 1939. NBC and Mutual Broadcasting to suspend their European broadcasts left CBS with an open field. Murrow moved into the void, hiring additional staff to report from various capitals. Among those coming aboard that fall were Mary Marvin Breckinridge, an old college friend of Murrow's who would become the first female national broadcaster; Cecil Brown, a journalist and former merchant mariner; Larry LeSueur of United Press; Winston Burdett of Harvard by way of the Brooklyn Eagle; Charles Collingwood, a Cornell alumnus; and Howard K. Smith, a champion hurdler from Tulane.

This week we have a broadcast from the Mutual Broadcasting System, featuring commentator Wise Williams on the fighting between Russia and Germany in August 1941. --- Support this podcast: https://anchor.fm/worldwar2radio/support

It's the first of August on the Sunday Showcase and Jack is on a hunt for listeners with the 5th outing of the Summerstock Playhouse with "Nothing Behind the Door" followed by "Maisie" from Mutual Broadcasting. Subscribe today! Learn more about your ad choices. Visit megaphone.fm/adchoices

It's the first of August on the Sunday Showcase and Jack is on a hunt for listeners with the 5th outing of the Summerstock Playhouse with "Nothing Behind the Door" followed by "Maisie" from Mutual Broadcasting. Subscribe today! Learn more about your ad choices. Visit megaphone.fm/adchoices

Cowboys and Niners win Super Bowls, and I got to tell their stories to a nationwide radio audience.    In all, I've been to 17 Super Bowls, 11 as a network broadcaster and 6 as an ESPN executive.

Dick Powell was born on November 14th, 1904 in Mountain View, Arkansas. He’d been an A-list crooner in the 1930s, starring in both musicals and comedies at Warner Brothers and Paramount. He was also the emcee of radio’s Campana Serenade. After several attempts, Powell changed his career in 1944 when he was cast as Raymond Chandler’s private eye Philip Marlowe, in Murder My Sweet. The Lux Radio Theater broadcast an adaptation on June 6th, 1945. Two weeks later Powell was starring as Richard Rogue in Rogue’s Gallery on NBC. The series was a summer replacement for the Fitch Bandwagon. When Fitch returned in the Fall, Mutual Broadcasting picked up the show. It lasted for one season on Mutual before returning for a final thirteen weeks on NBC in the summer of 1946. Simultaneously on film Powell made Cornered, Johnny O’Clock, To The Ends of the Earth, and Pitfall. In December of 1948, wanting to get back into radio, Powell recorded an audition for a new CBS series called Yours Truly Johnny Dollar. He was set to take the role when writer and director Blake Edwards called him to star in a new NBC series, Richard Diamond, Private Detective. It premiered on April 24th, 1949. Diamond answered his telephone with atrocious commercial jingles and was a master of the verbal put-down. His relationship with Lieutenant Walt Levinson was abrasive, but affectionate. And he loved to rib Sergeant Otis. Virginia Gregg was Richard’s girlfriend Helen. Ed Begley was Lieutenant Levinson. In this episode from May 22nd, Betty Lou Gerson played the female heavy and Jack Kruschen played one of the hoods. Richard Diamond, Private Detective would find sponsorship with Rexall in April of 1950. ———————— All this week at www.patreon.com/TheWallBreakers I'll be publishing full episodes from Breaking Walls Episode 111: NBC Answers the CBS Talent Raids—1949 (https://soundcloud.com/thewallbreakers/bw-ep111-nbc-answers-the-cbs-talent-raids-1949?in=thewallbreakers/sets/breaking-walls-the-wall) These full episodes will be available with show notes to all Patreon subscribers for $1 per month.

Breaking Walls is a once-per-month audio documentary on the history of American Network Radio Broadcasting, focusing on people, places, and events from the Golden Age of Radio. http://thewallbreakers.com/breaking-walls/ To learn more about James Scully: http://thewallbreakers.com/jamesscully/ I personally recommend listening to episodes in this order to get the full story of the beginning of Radio Wave, and the beginning of the three major networks NBC, CBS, ABC. EP75: We Are Echoes—The Birth Of Radio (1887 - 1912) EP76: Over There—The War for Radio’s Airwaves (1912 - 1922) EP77: The Birth Of The Radio Networks—From NBC To CBS To Mutual Broadcasting (1922 - 1934) EP82: Depression, War, And The Birth of ABC (1932 - 1946) EP83: Sarnoff & Paley: Tainted Friendships, Tall Tales, Talent Raids, and TV (1934 - 1952) .................. Okay so I'm going to copy and paste from James Scully's page for the high lights .... because truly I can not beat his own words for his own podcast. Highlights: • July 2, 1921— Jack Dempsey defends his heavyweight boxing title in front of 80,000 fans as RCA broadcasts the event Closed Circuit to over 300,000 fans. Its the first broadcast of its kind. • The Radio Craze begins as almost 600 stations sign on in 1922 • Herbert Hoover tries to better organize the radio dial and put small stations out of business • AT&T’s attempt to monopolize radio broadcasting • The formation of the National Broadcasting Company • The Radio Act of 1927 • William S. Paley buys The Columbia Broadcasting System and turns it into a 2nd major network • Rudy Vallee becomes radio’s first mega-star • Chicago becomes radio’s 2nd capital • Hollywood’s radio recording rise in the late 1930s • The Mutual Broadcasting System is formed—The Shadow debuts • War, once again, comes to Europe ,.... If you are interested in learning about the history of the Radio; going as far back as learning about the waves that make Radio possible then James is the best person to listen too. He makes learning about the actual beginning of wireless telegraphy; and building the very first radio into a story .... he brings to life the men and the women whom strive to bring the beginning of sharing of information beyond the newspaper; or telegraph. He uses background music and sounds that is highly fitting for the time period.

This is a snippet from Breaking Walls Episode 102: The Return of Johnny Dollar (1955) ———————————— On December 7th, 1948, film veteran Dick Powell recorded an audition for a new detective series called, Yours Truly Johnny Dollar. Powell had been an a-list crooner in the 1930s, starring in both musicals and comedies at Warner Brothers and Paramount. He was also the emcee of radio’s Campana Serenade. His career changed in 1944 when Powell was cast as Raymond Chandler’s private eye Philip Marlowe, in Murder My Sweet. The Lux Radio Theater broadcast an adaptation on June 6th, 1945. Two weeks later Powell was starring as Richard Rogue in Rogue’s Gallery on NBC. The series was a summer replacement for the Fitch Bandwagon. When Fitch returned in the Fall, Mutual Broadcasting picked the show up. It lasted for one season on Mutual before returning for a final thirteen weeks on NBC in the summer of 1946. Simultaneously on film Powell made Cornered, Johnny O’Clock, To The Ends of the Earth, and Pitfall. Wanting to get back into network radio, he recorded this Dollar audition just before Christmas.

In 1955 NBC, CBS, ABC, and Mutual Broadcasting were looking for ways to pivot programming with cost-effectiveness and a more mobile audience in mind. Studies were showing that at least half of radio's audiences were now coming from automobile or transistor sets. Yet, there was still only rudimentary ways to measure these ratings. With network radio drama was winding down in the 1950s in favor of more news, talk, and music, NBC launched Monitor on June 12th, 1955 with this closed circuit broadcast. Monitor was a true magazine of the air, running over NBC stations on Saturday mornings in four-hour blocks. When it first began, it took over NBC’s airtime for the entire weekend. It was the brainchild of legendary NBC radio and television network president Pat Weaver, whose career bridged classic radio and television's infancy and who sought to keep radio alive in a television age. Believing that broadcasting could and should educate as well as entertain, Weaver fashioned a series to do both with some of the best-remembered and best-regarded names in broadcasting, entertainment, journalism, and literature taking part. Monitor offered actualities, remotes, comedy, and variety. Segments were hosted by and featured by the likes of NBC announcers Dave Garroway and Ben Grauer, to baseball’s Red Barber, to Ms. Monitor Tedi Thurman who did weather reports, and to comedians Bob Elliott and Ray Goulding. The show aired from a custom-designed, mammoth NBC studio on the fifth floor of the RCA Building in New York City called Radio Central. Monitor remained on the air until January 26th, 1975.

We welcome Jacob Chapman to the show as a guest star as we cover The Zero Hour! Chosen by the Mutual Broadcasting system for having a theme of tales of mystery, adventure and suspense, it was a 1973 to 1974 two-season radio drama anthology series hosted and scripted by Rod Serling and produced by JM Kholos. The series used old top radio stars such as Edgar Bergen, and Richard Crenna, as well it featured current top TV stars of the time such as Patty Duke, John Astin and Susan Oliver. --- This episode is sponsored by · Anchor: The easiest way to make a podcast. https://anchor.fm/app --- Send in a voice message: https://anchor.fm/richard-templeman/message Support this podcast: https://anchor.fm/richard-templeman/support

Dimestore Radio Theater (12 October 2018) Presenting four pulp fiction tales from the golden age of radio. Enjoy! https://ia601505.us.archive.org/17/items/Dimestore3/Dimestore%203.mp3   Dimestore Radio Theater HOUR 1: Horror 01.) The Devil’s Saint * Suspense * 19 January 1943 * Columbia Broadcasting System (1943) 02.) The Heart of Ethan Brand * The Weird Circle * 13 February 1944 * Mutual Broadcasting … Continue reading Dimestore Radio Theater (12 October 2018)

Dimestore Radio Theater! Presenting four pulp fiction tales from the golden age of radio. Enjoy! https://ia801402.us.archive.org/32/items/20220128_20220128_2356/Dimestore%203.mp3     Dimestore Radio Theater HOUR 1: Horror 01.) The Devil’s Saint * Suspense * 19 January 1943 * Columbia Broadcasting System (1943) 02.) The Heart of Ethan Brand * The Weird Circle * 13 February 1944 * Mutual Broadcasting (1944) 03.) AlwaysContinue reading "Dimestore Radio Theater!"

In Breaking Walls Episode 77 we pick up our story on the history of American radio broadcasting, as a few ramshackle radio stations become large national networks, giving rise to an entire generation of entertainment giants during the roaring 1920s. Highlights: • July 2, 1921— Jack Dempsey defends his heavyweight boxing title in front of 80,000 fans as RCA broadcasts the event Closed Circuit to over 300,000 fans. Its the first broadcast of its kind. • The Radio Craze begins as almost 600 stations sign on in 1922 • Herbert Hoover tries to better organize the radio dial and put small stations out of business • AT&T’s attempt to monopolize radio broadcasting • The formation of the National Broadcasting Company • The Radio Act of 1927 • William S. Paley buys The Columbia Broadcasting System and turns it into a 2nd major network • Rudy Vallee becomes radio’s first mega-star • Chicago becomes radio’s 2nd capital • Hollywood's radio recording rise in the late 1930s • The Mutual Broadcasting System is formed—The Shadow debuts • War, once again, comes to Europe The WallBreakers: http://thewallbreakers.com Subscribe to Breaking Walls everywhere you get your podcasts. To support the show: http://patreon.com/TheWallBreakers Special thanks to our Sponsors: • The Mysterious Old Radio Listening Society http://www.ghoulishdelights.com/series/themorls/ •Twelve Chimes, It’s Midnight https://twelvechimesradio.blogspot.com The reading material for today’s episode was: • The Rise of Radio, From Marconi through The Golden Age by Alfred Balk • Inventing American Broadcasting 1899-1922 by Susan J. Douglas • The Encyclopedia of Old-Time Radio by John Dunning • A Pictorial History of Radio’s First 75 Years by B. Eric Rhoads • Hello Everybody! The Dawn of American Radio by Anthony Rudel & • The Network by Scott Woolley Featured on today’s show were interviews conducted by Dick Bertel and the late Ed Corcoran and numerous others for Westinghouse, CBS, and NBC. Harold Arlin’s was interviewed by author J. Fred McDonald for his book Don’t Touch That Dial. A Special Thank you to: Rebecca Shield WallBreakers Links: Patreon - http://patreon.com/thewallbreakers Social Media - @TheWallBreakers URL - http://thewallbreakers.com Online Store - jamesthewallbreaker.com/shop/

In Breaking Walls Episode 73 we spotlight the 1970s CBS and Mutual Broadcasting dramatic radio revival and why it ultimately failed. Highlights:

 • Go Inside the November 1, 1973 Mutual Broadcasting closed circuit press conference from the Waldorf-Astoria Hotel in New York City announcing Zero Hour
 • How Jay M. Kholos came to create The Zero Hour • How Elliot Lewis came to produce and direct the Zero Hour • How Himan Brown got CBS to say yes to the CBS Radio Mystery Theatre • Why Himan Brown wanted the Mystery Theatre on 7-nights per week • Rod Serling’s feelings about radio • How the AFRS furthered Howard Duff and Elliott Lewis’ lifelong friendship • New storytelling methods for the 1970s • New recording technology • Why the Zero Hour had immediate Advertising difficulties • How Tom Bosley of Happy Days got involved in the radio revival • Why Sears paid $1.2 Million to get involved in dramatic radio in 1979 • What Richard Widmark, Cicely Tyson, Vincent Price, Lorne Greene, and Andy Griffith had in common • Dramatic Radio of the 1980s • Why the popularity of FM hurt The CBS Radio Mystery Theatre • Major Network Dramatic Radio Comes to a close • What’s next? Beginning February 15th, 2018 Breaking Walls will be presenting the first in a long-term story arc: Chapter 1 on The History of American Dramatic Radio. To support the show for as little as $1 per month and receive all kinds of BTS material, please go to http://patreon.com/TheWallBreakers Today’s episode of Breaking Walls could not have been possible without the interviews by Chuck Schaden, Dick Bertel, Ed Corcoran, SPERDVAC, and John Dunning. • Chuck’s interviews are available at http://www.speakingofradio.com • Dick Bertel and Ed Corcoran’s interviews are at http://otrrlibrary.org by searching for The Golden Age of Radio program. • John Dunning’s interviews are also located at http://otrrlibrary.org under “John Dunning interviews” • The Society To Preserve and Encourage Radio Drama, Variety and Comedy can be found at http://sperdvac.com The reading material used in today’s episode was: • The Encyclopedia of Old-Time Radio by John Dunning • A Pictorial History of Radio’s First 75 Years by B. Eric Rhoads • The Radio Career of Rod Serling by Martin Grams Jr’s • The CBS Radio Mystery Theater Handbook by Martin Grams Jr’s and Gordon Payton I’d like to thank them both for providing fantastic information that helped me put this episode together today. as well as The Digital Deli’s page on the Mutual Radio Theater - http://www.digitaldeliftp.com/DigitalDeliToo/dd2jb-Mutual-Radio-Theater.html WallBreakers Links: Patreon - http://patreon.com/thewallbreakers Social Media - @TheWallBreakers URL - http://thewallbreakers.com Online Store - jamesthewallbreaker.com/shop/

Lamont Johnson, on his way to the Mutual Broadcasting studios, is mugged and left with amnesia. Wandering from studio to studio, he searches for his show. Can he find it before broadcast time?