American actress and singer
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Merry Christmas from all of us here at the Video Store Podcast! I've picked out a few lesser-known Christmas specials from Rankin/Bass for this week's show. The first is The Leprechaun's Christmas Gold from 1981. Originally conceived as a St. Patrick's Day special, this story was reimagined as a Christmas special for ABC. Join sailor Dinty Doyle as he works to guard the Leprechaun's gold from the evil banshee, Mag the Hag. Next is 1974's ‘Twas the Night Before Christmas, starring George Gobel, Joel Grey, and Tammy Grimes. Clockmaker Joshua Trundle has made a clock that will bring back Christmas cheer and make amends with an offended Santa Claus. However, when a curious mouse gets into the clock…well…kerplunk? Kerplooey. Can they fix it in time to save Christmas? Watch and find out. Nestor, the Long-eared Christmas Donkey from 1977 is next on our playlist of Rankin/Bass B-sides. Based on the Gene Autry song of the same name, Nestor is a long-eared donkey who is bullied for his unusually long ears. It's those ears that get him into trouble, but they also allow him to do something no one else can do—safely take Mary and Joseph to Bethlehem where the Lord Jesus will be born. This is a tear-jerker, so grab some tissues along with your eggnog. The last selection for our show today is The Little Drummer Boy: Book II from 1976. This lesser-known sequel to 1968's The Little Drummer Boy takes the little drummer boy, Aaron, King Melchior, and a bellmaker named Simeon on a quest to retrieve Simeon's stolen bells he made to ring in the birth of the Christ child. Can they get the bells back? You'll have to watch and find out. Thanks for joining us this holiday season on the Video Store Podcast. We hope you and yours have a wonderful holiday and a blessed new year. This is a public episode. If you would like to discuss this with other subscribers or get access to bonus episodes, visit www.videostorepodcast.com
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 CBS Radio Mystery Theater (CBSRMT) was a radio drama series created by Himan Brown that aired from 1974 to 1982 on the CBS Radio Network. Drawing inspiration from classic old-time radio shows like The Mysterious Traveller and The Whistler, CBSRMT was hosted by E. G. Marshall, who introduced each episode with an inviting yet eerie, "Come in!… Welcome." The series' signature began and ended with the sound of a creaking door and eerie music, a hallmark that echoed Brown's earlier show Inner Sanctum Mysteries. Each episode, about 45 minutes long, mixed genres beyond mystery, including horror, science fiction, historical drama, and even comedy. Popular around Halloween and Christmas, the series would also air special adaptations like A Christmas Carol every year, except for 1974 and 1982. CBSRMT featured original stories as well as adaptations of literary works by famous writers such as Edgar Allan Poe, Charles Dickens, and Arthur Conan Doyle. E. G. Marshall hosted the series until 1982, when actress Tammy Grimes took over for the final season. The show was known for its chilling theme music, which included elements from the Twilight Zone score by Nathan Van Cleave. With over 1,399 original episodes, the show ran five nights a week, with a mix of new content and repeats. Despite its popularity, some critics, like radio historian John Dunning, pointed out weaknesses in its scriptwriting. CBSRMT attracted an impressive roster of talent, from radio veterans like Joan Banks and Jackson Beck to well-known actors such as John Lithgow, Sarah Jessica Parker, and Agnes Moorehead. The series became an entry point for younger listeners into the world of radio drama, as well as a nostalgic callback for those familiar with the Golden Age of Radio. The show was recorded in New York at the CBS Studio Building, and its production process was quick and efficient, with actors often completing their roles in just a few hours. In the early 2000s, CBSRMT saw a revival through NPR, bringing the series to a new generation of listeners. Despite its end in 1982, CBSRMT remains a cherished piece of radio history, known for its suspenseful storytelling and atmospheric production.
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 CBS Radio Mystery Theater (CBSRMT) was a radio drama series created by Himan Brown that aired from 1974 to 1982 on the CBS Radio Network. Drawing inspiration from classic old-time radio shows like The Mysterious Traveller and The Whistler, CBSRMT was hosted by E. G. Marshall, who introduced each episode with an inviting yet eerie, "Come in!… Welcome." The series' signature began and ended with the sound of a creaking door and eerie music, a hallmark that echoed Brown's earlier show Inner Sanctum Mysteries. Each episode, about 45 minutes long, mixed genres beyond mystery, including horror, science fiction, historical drama, and even comedy. Popular around Halloween and Christmas, the series would also air special adaptations like A Christmas Carol every year, except for 1974 and 1982. CBSRMT featured original stories as well as adaptations of literary works by famous writers such as Edgar Allan Poe, Charles Dickens, and Arthur Conan Doyle. E. G. Marshall hosted the series until 1982, when actress Tammy Grimes took over for the final season. The show was known for its chilling theme music, which included elements from the Twilight Zone score by Nathan Van Cleave. With over 1,399 original episodes, the show ran five nights a week, with a mix of new content and repeats. Despite its popularity, some critics, like radio historian John Dunning, pointed out weaknesses in its scriptwriting. CBSRMT attracted an impressive roster of talent, from radio veterans like Joan Banks and Jackson Beck to well-known actors such as John Lithgow, Sarah Jessica Parker, and Agnes Moorehead. The series became an entry point for younger listeners into the world of radio drama, as well as a nostalgic callback for those familiar with the Golden Age of Radio. The show was recorded in New York at the CBS Studio Building, and its production process was quick and efficient, with actors often completing their roles in just a few hours. In the early 2000s, CBSRMT saw a revival through NPR, bringing the series to a new generation of listeners. Despite its end in 1982, CBSRMT remains a cherished piece of radio history, known for its suspenseful storytelling and atmospheric production.
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 CBS Radio Mystery Theater (CBSRMT) was a radio drama series created by Himan Brown that aired from 1974 to 1982 on the CBS Radio Network. Drawing inspiration from classic old-time radio shows like The Mysterious Traveler and The Whistler, CBSRMT was hosted by E. G. Marshall, who introduced each episode with an inviting yet eerie, "Come in!… Welcome." The series' signature began and ended with the sound of a creaking door and eerie music, a hallmark that echoed Brown's earlier show Inner Sanctum Mysteries. Each episode, about 45 minutes long, mixed genres beyond mystery, including horror, science fiction, historical drama, and even comedy. Popular around Halloween and Christmas, the series would also air special adaptations like A Christmas Carol every year, except for 1974 and 1982. CBSRMT featured original stories as well as adaptations of literary works by famous writers such as Edgar Allan Poe, Charles Dickens, and Arthur Conan Doyle. E. G. Marshall hosted the series until 1982, when actress Tammy Grimes took over for the final season. The show was known for its chilling theme music, which included elements from the Twilight Zone score by Nathan Van Cleave. With over 1,399 original episodes, the show ran five nights a week, with a mix of new content and repeats. Despite its popularity, some critics, like radio historian John Dunning, pointed out weaknesses in its scriptwriting. CBSRMT attracted an impressive roster of talent, from radio veterans like Joan Banks and Jackson Beck to well-known actors such as John Lithgow, Sarah Jessica Parker, and Agnes Moorehead. The series became an entry point for younger listeners into the world of radio drama, as well as a nostalgic callback for those familiar with the Golden Age of Radio. The show was recorded in New York at the CBS Studio Building, and its production process was quick and efficient, with actors often completing their roles in just a few hours. In the early 2000s, CBSRMT saw a revival through NPR, bringing the series to a new generation of listeners. Despite its end in 1982, CBSRMT remains a cherished piece of radio history, known for its suspenseful storytelling and atmospheric production.
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 CBS Radio Mystery Theater (CBSRMT) was a radio drama series created by Himan Brown that aired from 1974 to 1982 on the CBS Radio Network. Drawing inspiration from classic old-time radio shows like The Mysterious Traveler and The Whistler, CBSRMT was hosted by E. G. Marshall, who introduced each episode with an inviting yet eerie, "Come in!… Welcome." The series' signature began and ended with the sound of a creaking door and eerie music, a hallmark that echoed Brown's earlier show Inner Sanctum Mysteries. Each episode, about 45 minutes long, mixed genres beyond mystery, including horror, science fiction, historical drama, and even comedy. Popular around Halloween and Christmas, the series would also air special adaptations like A Christmas Carol every year, except for 1974 and 1982. CBSRMT featured original stories as well as adaptations of literary works by famous writers such as Edgar Allan Poe, Charles Dickens, and Arthur Conan Doyle. E. G. Marshall hosted the series until 1982, when actress Tammy Grimes took over for the final season. The show was known for its chilling theme music, which included elements from the Twilight Zone score by Nathan Van Cleave. With over 1,399 original episodes, the show ran five nights a week, with a mix of new content and repeats. Despite its popularity, some critics, like radio historian John Dunning, pointed out weaknesses in its scriptwriting. CBSRMT attracted an impressive roster of talent, from radio veterans like Joan Banks and Jackson Beck to well-known actors such as John Lithgow, Sarah Jessica Parker, and Agnes Moorehead. The series became an entry point for younger listeners into the world of radio drama, as well as a nostalgic callback for those familiar with the Golden Age of Radio. The show was recorded in New York at the CBS Studio Building, and its production process was quick and efficient, with actors often completing their roles in just a few hours. In the early 2000s, CBSRMT saw a revival through NPR, bringing the series to a new generation of listeners. Despite its end in 1982, CBSRMT remains a cherished piece of radio history, known for its suspenseful storytelling and atmospheric production.
The Rankin-Bass adaptation of Peter S. Beagle's fairy tale about the last unicorn in the world and the small band of humans who help her is a melancholy story gorgeously animated by the Japanese studio Topcraft. This was a favorite movie of Mary's as a kid, but completely unknown to Dennis. This month, we fix that. Starring Mia Farrow, Alan Arkin, Tammy Grimes, Jeff Bridges, Christopher Lee, Keenan Wynn, Rene Auberjonois, and Angela Lansbury. Written by Peter S. Beagle. Driected by Jules Bass and Arthur Rankin Jr.
This is the seventh and final episode in my series of conversations with author OLIVER SODEN regarding his recent book: MASQUERADE: THE LIVES OF NOEL COWARD This week we explore the final chapters of both Coward's life and this brilliant biography. Remarkably, during the final decade of his life Coward wrote the book, music & lyrics for two Broadway musicals — SAIL AWAY (starring Elaine Stritch) and THE GIRL WHO CAME TO SUPPER (Starring Jose Ferer & Florence Henderson), and directed HIGH SPIRITS (with book, music & lyrics by Hugh Martin & Timothy Gray and starring Tammy Grimes & Beatrice Lillie) which was based on Coward's play Blithe Spirit. At the same time he enjoyed an extraordinary revival of his status as a playwright of including landmark productions of PRIVATE LIVES and HAY FEVER as the first play by a living author to be presented at the National Theatre, and culminating in a remarkable trio of new plays under the title of SUITE IN THREE KEYS that he wrote and starred in. And I feel certain that you will find Soden's account of Coward's final public appearance, with Marlene Dietrich on his arm, at a special performance of the hit off-Broadway revue Oh, Coward! to be very moving. Become a PATRON of Broadway Nation! I want to thank our Broadway Nation Patron Club members, such as Mark Stanton, whose generous support helps to make it possible for me to bring this podcast to you each week. If you would like to support the creation of Broadway Nation, here is the information about how you too can become a patron. For a just $7.00 a month you will receive exclusive access to never-before-heard, unedited versions of many of the discussions that I have with my guests — in fact I often record nearly twice as much conversation as ends up in the edited versions. You will also have access to additional in-depth conversations with my frequent co-host Albert Evans that have not been featured on the podcast. All patrons receive special “on-air” shout-outs and acknowledgement of your vital support of this podcast. And if you are very enthusiastic about Broadway Nation there are additional PATRON levels that come with even more benefits. If you would like to support the work of Broadway Nation and receive these exclusive member benefits, please just click on this link: https://broadwaynationpodcast.supercast.tech/ Thank you in advance for your support! Learn more about your ad choices. Visit megaphone.fm/adchoices
Michael Ballam has had an operatic and recital career spanning four decades and every continent.As a recitalist, Mr. Ballam has performed with critical acclaim in some of the most important concert halls in the country, including the Kennedy Center (Washington DC), Orchestra Hall (Chicago), Jordan Hall (Boston), Jones Hall (Houston), and the Los Angeles Music Center. He has also performed with Broadway legends Karen Akers, Tammy Grimes, Douglas Fairbanks Jr., Jean Stapleton and Ethel Merman.This show is part of the Spreaker Prime Network, if you are interested in advertising on this podcast, contact us at https://www.spreaker.com/show/5351305/advertisement
Set sail on Episode 41, Season 2 of the Love Boat, the worlds greatest romantic comedy drama television series of all time! In this episode we follow an all star cast that includes Cathy Lee Crosby, Virginia Graham, Tammy Grimes, Robert Mandan, Randolph Mantooth, Roddy McDowel and Debbi Morgan as they deal with father/son sparring, petulant parolees, aggravating allergies, off putting offspring, lenient love, perplexing perms and chicken marengo! So hide your valuables and splash on some cologne while you endure this truly baffling episode. We also encourage everyone to find our Instagram page Lovin' The Love Boat to enjoy the super cool video messages from Isaac himself Mr. Ted Lange! And much more. Thanks for listening to the podcast and joining us on this voyage and by all means consider subscribing to the show as well as Paramount+ so you can watch the episode with us. We promise you'll be glad that you did. * Attention passengers! If you'd like to see the show continue please consider contributing to our GoFundMe so we can stay afloat and allow us to make good on our promise to have exciting new guests join us on future episodes. It means a lot and will also allow us to keep the show commercial free. Visit our page HERE and give whatever you can. Give any amount and help put us over the top.
Welcome to "Friday Night Noir" on Vintage Classic Radio, where mystery and suspense take center stage. In this week's thrilling double feature, we embark on a journey through two captivating radio dramas. First up, from the renowned CBS Radio Mystery Theater, we present "A Little Night Murder." Follow the enigmatic Mr. Edward Grayson as he becomes entangled in a web of deceit and betrayal, leading to a chilling revelation that will leave you on the edge of your seat. Next, we dive into the gripping world of "Murder by Experts," airing on June 13th, 1949, with the episode "Summer Heat." Uncover the dark secrets lurking behind a picturesque town as stifling heat sets the stage for a chilling murder. Suspense builds as everyone becomes a suspect in this riveting tale of crime and deception. "CBS Radio Mystery Theater": A beloved radio drama series that resurrected the art of storytelling with its thrilling mysteries and suspenseful tales. Hosted by E.G. Marshall and later Tammy Grimes, the show's 1,399 episodes showcased top-notch acting and production, captivating listeners with its atmospheric ambiance. "Murder by Experts": Running from June 1949 to December 1951, Murder by Experts brought forth 130 episodes of crime and mystery that quickly earned a loyal following. Featuring stories by renowned writers like John Dickson Carr and Brett Halliday, each episode presented a standalone mystery narrated by a guest "expert," adding an interactive twist to the enthralling narratives. With its prestigious Edgar Award and a lineup of top-notch talent, this radio series became a favorite among mystery enthusiasts and detective fiction lovers. Vintage Classic Radio presents Friday Night Noir where we bring to life timeless classic detective noir, mystery and suspense from the golden age of radio between the 1930s and the 1960s.
TVC 608.3: Judy Norton (Mary Ellen Walton on The Waltons) talks to Ed about her offbeat web series Disorganized Zone; the decade she spent as a writer, director and performer in Canada; and working with Broadway star Tammy Grimes on The Tammy Grimes Show. Inclusion Criteria, a psychological thriller that Judy wrote, produced, and stars in, is available for streaming on demand. Want to advertise/sponsor our show? TV Confidential has partnered with AdvertiseCast to handle advertising/sponsorship requests for the podcast edition of our program. They're great to work with and will help you advertise on our show. Please email sales@advertisecast.com or click the link below to get started: https://www.advertisecast.com/TVConfidentialAradiotalkshowabout Learn more about your ad choices. Visit podcastchoices.com/adchoices
Paul and Erika are diving deep into the past, all the way back to 1982, to take a gander at The Last Unicorn! So why are they spending so much time talking about Stevie Nicks and Bob Dylan? Who knows, but they got there somehow. And while they're there, they spend some time talking about sexy unicorns, pirate cats and butterflies with big theater kid energy. This episode has everything!
This week's episode takes a look back at the career of trailblazing independent filmmaker Robert Downey, father of Robert Downey, Jr., and his single foray into the world of Hollywood filmmaking, Mad Magazine Presents Up the Academy. ----more---- TRANSCRIPT From Los Angeles, California, the Entertainment Capital of the World, it's The 80s Movies Podcast. I am your host, Edward Havens. Thank you for listening today. On this episode, we follow up on a movie based on a series of articles from a humor magazine that was trying to build their brand name by slapping their name on movies with a movie that was sponsored by a humor magazine trying to build their brand name by slapping their name on movies not unlike the other humor magazine had been doing but ended up removing their name from the movie, and boy is brain already fried and we're not even a minute into the episode. We're talking about Robert Downey's 1980 comedy Up the Academy. But, as always, before we get to Up the Academy, let's hit the backstory. If you know the name Robert Downey, it's likely because you know his son. Robert Downey, Jr. You know, Iron Man. Yes, Robert Downey, Jr. is a repo baby. Maybe you've seen the documentary he made about his dad, Sr., that was released by Netflix last year. But it's more than likely you've never heard of Robert Downey, Sr., who, ironically, was a junior himself like his son. Robert Downey was born Robert John Elias, Jr. in New York City in 1936, the son of a model and a manager of hotels and restaurants. His parents would divorce when he was young, and his mom would remarry while Robert was still in school. Robert Elias, Jr. would take the last name of his stepfather when he enlisted in the Army, in part because was wanted to get away from home but he was technically too young to actually join the Army. He would invent a whole new persona for himself, and he would, by his own estimate, spend the vast majority of his military career in the stockade, where he wrote his first novel, which still has never been published. After leaving the Army, Downey would spend some time playing semi-pro baseball, not quite good enough to go pro, spending his time away from the game writing plays he hoped to take, if not to Broadway, at least off-Broadway. But he would not make his mark in the arts until 1961, when Downey started to write and direct low-budget counterculture short films, starting with Ball's Bluff, about a Civil War soldier who wakes up in New York City's Central Park a century later. In 1969, he would write and direct a satirical film about the only black executive at a Madison Avenue advertising firm who is, through a strange circumstance, becomes the head of the firm when its chairman unexpectedly passes away. Featuring a cameo by Mel Brooks Putney Swope was the perfect anti-establishment film for the end of that decade, and the $120k film would gross more than $2.75m during its successful year and a half run in theatres. 1970's Pound, based on one of Downey's early plays, would be his first movie to be distributed by a major distributor, although it was independently produced outside the Hollywood system. Several dogs, played by humans, are at a pound, waiting to be euthanized. Oh, did I forget to mention it was a comedy? The film would be somewhat of a success at the time, but today, it's best known as being the acting debut of the director's five year old son, Robert Downey, Jr., although the young boy would be credited as Bob Downey. 1972's Greaser Palace was part of an early 1970s trend of trippy “acid Westerns,” like Alejandro Jodorowsky's El Topo and Dennis Hopper's The Last Movie. Character actor Allan Arbus plays Jesse, a man with amnesia who heals the sick, resurrects the dead and tap dances on water on the American frontier. It would be the first movie Downey would make with a million dollar budget. The critical consensus of the film at the time was not positive, although Jay Cocks, a critic for Time Magazine who would go on to be a regular screenwriter for Martin Scorsese in the 1980s, would proclaim the film to be “the most adventurous movie of the year.” The film was not a hit, and it would be decades before it would be discovered and appreciated by the next generation of cineastes. After another disappointing film, 1975's Moment to Moment, which would later be retitled Two Tons of Turquoise to Taos Tonight in order to not be confused with the 1978 movie of the same name starring John Travolta and Lily Tomlin that really, truly stunk, Downey would take some time off from filmmaking to deal with his divorce from his first wife and to spend more time with his son Robert and daughter Allyson. By 1978, Robert Downey was ready to get back to work. He would get a job quickly helping Chuck Barris write a movie version of Barris' cult television show, The Gong Show, but that wasn't going to pay the bills with two teenagers at home. What would, though, is the one thing he hadn't done yet in movies… Direct a Hollywood film. Enter Mad Magazine. In 1978, Mad Magazine was one of the biggest humor magazines in America. I had personally discovered Mad in late 1977, when my dad, stepmom and I were on a cross country trip, staying with friends outside Detroit, the day before my tenth birthday, when I saw an issue of Mad at a local grocery store, with something Star Wars-y on its cover. I begged my dad to give me the sixty cents to buy it, and I don't think I missed another issue for the next decade. Mad's biggest competition in the humor magazine game was National Lampoon, which appealed to a more adult funny bone than Mad. In 1978, National Lampoon saw a huge boost in sales when the John Landis-directed comedy Animal House, which had the name of the magazine in the title, became an unexpected smash hit at the box office. Warner Brothers, the media conglomerate who happened to own Mad Magazine, was eager to do something similar, and worked with Mad's publisher, Bill Gaines, to find the right script that could be molded into a Mad Magazine movie, even if, like Animal House, it wouldn't have any real connection to the magazine itself. They would find that script in The Brave Young Men of Weinberg, a comedy script by Tom Patchett and Jay Tarses, a pair of television comedy writers on shows like The Carol Burnett Show, The Sandy Duncan Show, The Bob Newhart Show and The Tony Randall Show, who had never sold a movie script before. The story would follow the misadventures of four teenage boys who, for different reasons, depend on each other for their very survival when they end up at the same military academy. Now, of all the research I've done for this episode, the one very important aspect of the production I was never able to find out was exactly how Robert Downey became involved in the film. Again, he had never made a Hollywood movie before. He had only made one movie with a budget of a million dollars. His movies were satirical and critical of society in general. This was not a match made in heaven. But somehow, someone at Warner Brothers thought he'd be the right director for the film, and somehow, Downey didn't disagree. Unlike Animal House, Downey and Warners didn't try to land a known commodity like John Belushi to play one of the four leads. In fact, all four of the leads, Wendell Brown, Tommy Citera, Joseph Hutchinson, and Ralph Macchio, would all be making their feature debuts. But there would be some familiar faces in the film. Ron Liebman, who was a familiar face from such films has Slaughterhouse-Five, Won Ton Ton: The Dog Who Saved Hollywood and Norma Rae, would play the head of the Academy. Tom Poston, who played Mindy's downstairs neighbor on Mork and Mindy, plays what would now be considered to be a rather offensive gay caricature as the guy who handles the uniforms of the cadets, Antonio Fargas, best known as Huggy Bear on Starsky and Hutch but who had previously worked with Downey on Putney Swope and Pound, as the Coach, and Barbara Bach, who had starred as Anya Amasova in the 1977 Bond film The Spy Who Loved Me. The $5m film would begin production in Salina, Kansas, on September 17th, 1979, still using the title The Brave Young Men of Weinberg. The primary shooting location would be the St. John's Military School, which was still functioning while the film was in production, and would use most of the 144 students as extras during the shoot. The film would shoot for nine weeks without much incident, and the cast and crew would be home in time to enjoy Thanksgiving with their friends and family. Unlike Animal House, the makers of The Brave Young Men of Weinberg did attempt to tie the movie into the magazine that would be presenting the film. At the very end of the movie, the magazine's mascot, Alfred E. Neuman, shows up on the side of the road, to wave goodbye to people and deliver his signature line, “What, Me Worry?” in a thought bubble that leads into the end credits. The person wearing the not quite realistic looking Neuman head gear, fourteen year old Scott Shapiro, was the son of the executive vice president of worldwide production at Warner Brothers. After the first of the year, as Downey worked on his edit of the film, the studio decided to change the title from The Brave Young Men of Weinberg to Mad Magazine Presents Up the Academy. Bill Gaines, the publisher of Mad Magazine, suggested a slightly different title, Mad Magazine Completely Disassociates Itself from Up the Academy, but the studio decided that was too long for theater marquees. But we'll come back to that in a moment. Warner Brothers set a June 6, 1980 release for the film, and Downey would finish his cut of the film by the end of March. A screening on the Warners lot in early April did not go well. Ron Liebman hated the film so much, he demanded that Warners completely remove his name from everything associated with the film. His name would not appear on the poster, the newspaper ads, the television commercials, the lobby cards, the press kit, or even in the movie itself. Bill Gaines would hate it to, such much in fact that he really did try to disassociate the magazine from the film. In a 1983 interview with The Comics Journal, Gaines would explain without much detail that there were a number of things he had objected to in the script that he was told would not be shot and not end up in the final film that were shot and did end up in the final film. But he wouldn't be able to get the magazine's name off the movie before it opened in theatres. Now, one of the problems with trying to research how well films did in 1980 is that you really have only two sources for grosses, Variety and The Hollywood Reporter, and they didn't always report national grosses every week, depending on outside factors. It just hadn't the national sport it's been since, say, 1983. So when Up the Academy opened in theatres on June 6th, we don't have a full idea of how many theatres it played in nationwide, or how much it grossed. The closest thing we do have for this Variety's listing of the top movies of the week based on a limited selection of showcase theatres in the top 20 markets. So we know that the film played at 7 showcase screens in New York City that weekend, grossing $175k, and in Los Angeles on 15 showcase screens, grossing $149k. But we also know, thanks to newspaper ads in the New York Times and the Los Angeles Times that the film was playing in 11 theatres in the New York Metro area, and in 30 theatres in the Los Angeles Metro area, so those listed grosses are merely a snapshot and not the whole picture. According to Variety's limited tracking of major market showcase theatres for the week, Up the Academy was the second highest grossing film of the week, bringing in $729k from 82 theatres. And according to their chart's side notes, this usually accounts for about 25% of a movie's national gross, if a film is playing in wide release around the entire country. In its second week, Up the Academy would place ninth on that showcase theatre listing, with $377k from 87 theatres. But by the time Variety did bring back proper national grosses in the film's third week of release, there would be no mention of Up the Academy in those listings, as Warners by this time had bigger fish to handle, namely Stanley Kubrick's adaptation of the Stephen King novel The Shining, and Bronco Billy, their Clint Eastwood movie for the year. In that showcase theatre listing, though, Up the Academy had fallen to 16th place, with $103k from 34 theatres. In fact, there is no publicly available record of how many theatres Up the Academy played in during its theatrical run, and it wouldn't be until the 1981 Warner Brothers 10-K annual filing with the Securities and Exchange Commission that Up the Academy had earned $10m from American movie theatres. If studios get about 55% of the box office grosses in rental fees, that would put the $5m film in a very good position to be profitable, depending on how much was spent on P&A, prints and advertising. The film wasn't an Animal House-level hit, but it wasn't exactly the bomb many have painted it to be. After Up the Academy, two of the actors, Wendell Brown and Joseph Hutchinson, would never act in another movie, although, billed as Hutch Parker, the latter would produce six X-Men related movies between 2013 and 2019, including Logan. Tommy Citera would make two more movies until he left acting in 1988. And Ralph Macchio would, of course, go on to play Daniel LaRusso, the Karate Kid, in a career-defining role that he's still playing nearly forty years later. Robert Downey would make another wacky comedy, called Moonbeam, in 1982. Co-written with Richard Belzer, Moonbeam would feature a fairly interesting cast including Zack Norman, Tammy Grimes, Michael J. Pollard, Liz Torres and Mr. Belzer, and tells the story of a New York cable television station that becomes world famous when they accidentally bounce their signal off the moon. But the film would not get released until October 1986, in one theatre in New York City for one week. It couldn't even benefit from being able to promote Robert Downey, Jr., who in the ensuing years had started to build an acting career by being featured in John Sayles' Baby It's You, Fritz Kiersch's Tuff Turf, John Hughes' Weird Science, and the Rodney Dangerfield movie Back to School, as well as being a member of the cast of Saturday Night Live for a year. There's be sporadic work in television, working on shows like Matlock and The Twilight Zone, but what few movies he could get made would be pale shadows of her earlier, edgier work. Even with his son regularly taking supporting roles in his dad's movies to help the old man out, movies like Rented Lips and Too Much Sun would be critically panned and ignored by audiences. His final movie as a writer and director, Hugo Pool, would gross just $13k when it was released in December 1997, despite having a cast that included Patrick Dempsey, Richard Lewis, Malcolm McDowell, Alyssa Milano, Cathy Moriarty and Sean Penn, along with Junior. Downey would also continue to act in other director's movies, including two written and directed by one of his biggest fans, Paul Thomas Anderson. Downey would play Burt, the studio manager, in Boogie Nights, and the WDKK Show director in Magnolia. Anderson adored Downey so much, the Oscar-nominated filmmaker would sit down with Downey for a four-part conversation filmed for the Criterion Company in 2013. Robert Downey would pass away in July 2021, a curious footnote in the history of cinema, mostly because of the superstar he sired. Most of his movies are hard to find on video, and nearly impossible to find on streaming services, outside of a wonderful two disc DVD set issued by Criterion's Eclipse specialty label and several titles streaming on The Criterion Channel. Outside of Up the Academy, which is available to rent or purchase from Amazon, Apple TV and several other streaming services, you can find Putney Swope, Greaser's Palace and Too Much Sun on several of the more popular streaming services, but the majority of them are completely missing in action. You can also learn more about Robert Downey in Sr., a documentary streaming on Netflix produced by Robert Downey, Jr. where the son recounts the life and career of his recently passed father, alongside Paul Thomas Anderson, Alan Arkin, and mega-producer Norman Lear. Thank you for joining us. We'll talk again soon, when Episode 107, on John Landis's underrated 1985 comedy Into the Night, is released. Remember to visit this episode's page on our website, The80sMoviePodcast.com, for extra materials about the movies we covered this episode. The 80s Movies Podcast has been researched, written, narrated and edited by Edward Havens for Idiosyncratic Entertainment. Thank you again. Good night.
This week's episode takes a look back at the career of trailblazing independent filmmaker Robert Downey, father of Robert Downey, Jr., and his single foray into the world of Hollywood filmmaking, Mad Magazine Presents Up the Academy. ----more---- TRANSCRIPT From Los Angeles, California, the Entertainment Capital of the World, it's The 80s Movies Podcast. I am your host, Edward Havens. Thank you for listening today. On this episode, we follow up on a movie based on a series of articles from a humor magazine that was trying to build their brand name by slapping their name on movies with a movie that was sponsored by a humor magazine trying to build their brand name by slapping their name on movies not unlike the other humor magazine had been doing but ended up removing their name from the movie, and boy is brain already fried and we're not even a minute into the episode. We're talking about Robert Downey's 1980 comedy Up the Academy. But, as always, before we get to Up the Academy, let's hit the backstory. If you know the name Robert Downey, it's likely because you know his son. Robert Downey, Jr. You know, Iron Man. Yes, Robert Downey, Jr. is a repo baby. Maybe you've seen the documentary he made about his dad, Sr., that was released by Netflix last year. But it's more than likely you've never heard of Robert Downey, Sr., who, ironically, was a junior himself like his son. Robert Downey was born Robert John Elias, Jr. in New York City in 1936, the son of a model and a manager of hotels and restaurants. His parents would divorce when he was young, and his mom would remarry while Robert was still in school. Robert Elias, Jr. would take the last name of his stepfather when he enlisted in the Army, in part because was wanted to get away from home but he was technically too young to actually join the Army. He would invent a whole new persona for himself, and he would, by his own estimate, spend the vast majority of his military career in the stockade, where he wrote his first novel, which still has never been published. After leaving the Army, Downey would spend some time playing semi-pro baseball, not quite good enough to go pro, spending his time away from the game writing plays he hoped to take, if not to Broadway, at least off-Broadway. But he would not make his mark in the arts until 1961, when Downey started to write and direct low-budget counterculture short films, starting with Ball's Bluff, about a Civil War soldier who wakes up in New York City's Central Park a century later. In 1969, he would write and direct a satirical film about the only black executive at a Madison Avenue advertising firm who is, through a strange circumstance, becomes the head of the firm when its chairman unexpectedly passes away. Featuring a cameo by Mel Brooks Putney Swope was the perfect anti-establishment film for the end of that decade, and the $120k film would gross more than $2.75m during its successful year and a half run in theatres. 1970's Pound, based on one of Downey's early plays, would be his first movie to be distributed by a major distributor, although it was independently produced outside the Hollywood system. Several dogs, played by humans, are at a pound, waiting to be euthanized. Oh, did I forget to mention it was a comedy? The film would be somewhat of a success at the time, but today, it's best known as being the acting debut of the director's five year old son, Robert Downey, Jr., although the young boy would be credited as Bob Downey. 1972's Greaser Palace was part of an early 1970s trend of trippy “acid Westerns,” like Alejandro Jodorowsky's El Topo and Dennis Hopper's The Last Movie. Character actor Allan Arbus plays Jesse, a man with amnesia who heals the sick, resurrects the dead and tap dances on water on the American frontier. It would be the first movie Downey would make with a million dollar budget. The critical consensus of the film at the time was not positive, although Jay Cocks, a critic for Time Magazine who would go on to be a regular screenwriter for Martin Scorsese in the 1980s, would proclaim the film to be “the most adventurous movie of the year.” The film was not a hit, and it would be decades before it would be discovered and appreciated by the next generation of cineastes. After another disappointing film, 1975's Moment to Moment, which would later be retitled Two Tons of Turquoise to Taos Tonight in order to not be confused with the 1978 movie of the same name starring John Travolta and Lily Tomlin that really, truly stunk, Downey would take some time off from filmmaking to deal with his divorce from his first wife and to spend more time with his son Robert and daughter Allyson. By 1978, Robert Downey was ready to get back to work. He would get a job quickly helping Chuck Barris write a movie version of Barris' cult television show, The Gong Show, but that wasn't going to pay the bills with two teenagers at home. What would, though, is the one thing he hadn't done yet in movies… Direct a Hollywood film. Enter Mad Magazine. In 1978, Mad Magazine was one of the biggest humor magazines in America. I had personally discovered Mad in late 1977, when my dad, stepmom and I were on a cross country trip, staying with friends outside Detroit, the day before my tenth birthday, when I saw an issue of Mad at a local grocery store, with something Star Wars-y on its cover. I begged my dad to give me the sixty cents to buy it, and I don't think I missed another issue for the next decade. Mad's biggest competition in the humor magazine game was National Lampoon, which appealed to a more adult funny bone than Mad. In 1978, National Lampoon saw a huge boost in sales when the John Landis-directed comedy Animal House, which had the name of the magazine in the title, became an unexpected smash hit at the box office. Warner Brothers, the media conglomerate who happened to own Mad Magazine, was eager to do something similar, and worked with Mad's publisher, Bill Gaines, to find the right script that could be molded into a Mad Magazine movie, even if, like Animal House, it wouldn't have any real connection to the magazine itself. They would find that script in The Brave Young Men of Weinberg, a comedy script by Tom Patchett and Jay Tarses, a pair of television comedy writers on shows like The Carol Burnett Show, The Sandy Duncan Show, The Bob Newhart Show and The Tony Randall Show, who had never sold a movie script before. The story would follow the misadventures of four teenage boys who, for different reasons, depend on each other for their very survival when they end up at the same military academy. Now, of all the research I've done for this episode, the one very important aspect of the production I was never able to find out was exactly how Robert Downey became involved in the film. Again, he had never made a Hollywood movie before. He had only made one movie with a budget of a million dollars. His movies were satirical and critical of society in general. This was not a match made in heaven. But somehow, someone at Warner Brothers thought he'd be the right director for the film, and somehow, Downey didn't disagree. Unlike Animal House, Downey and Warners didn't try to land a known commodity like John Belushi to play one of the four leads. In fact, all four of the leads, Wendell Brown, Tommy Citera, Joseph Hutchinson, and Ralph Macchio, would all be making their feature debuts. But there would be some familiar faces in the film. Ron Liebman, who was a familiar face from such films has Slaughterhouse-Five, Won Ton Ton: The Dog Who Saved Hollywood and Norma Rae, would play the head of the Academy. Tom Poston, who played Mindy's downstairs neighbor on Mork and Mindy, plays what would now be considered to be a rather offensive gay caricature as the guy who handles the uniforms of the cadets, Antonio Fargas, best known as Huggy Bear on Starsky and Hutch but who had previously worked with Downey on Putney Swope and Pound, as the Coach, and Barbara Bach, who had starred as Anya Amasova in the 1977 Bond film The Spy Who Loved Me. The $5m film would begin production in Salina, Kansas, on September 17th, 1979, still using the title The Brave Young Men of Weinberg. The primary shooting location would be the St. John's Military School, which was still functioning while the film was in production, and would use most of the 144 students as extras during the shoot. The film would shoot for nine weeks without much incident, and the cast and crew would be home in time to enjoy Thanksgiving with their friends and family. Unlike Animal House, the makers of The Brave Young Men of Weinberg did attempt to tie the movie into the magazine that would be presenting the film. At the very end of the movie, the magazine's mascot, Alfred E. Neuman, shows up on the side of the road, to wave goodbye to people and deliver his signature line, “What, Me Worry?” in a thought bubble that leads into the end credits. The person wearing the not quite realistic looking Neuman head gear, fourteen year old Scott Shapiro, was the son of the executive vice president of worldwide production at Warner Brothers. After the first of the year, as Downey worked on his edit of the film, the studio decided to change the title from The Brave Young Men of Weinberg to Mad Magazine Presents Up the Academy. Bill Gaines, the publisher of Mad Magazine, suggested a slightly different title, Mad Magazine Completely Disassociates Itself from Up the Academy, but the studio decided that was too long for theater marquees. But we'll come back to that in a moment. Warner Brothers set a June 6, 1980 release for the film, and Downey would finish his cut of the film by the end of March. A screening on the Warners lot in early April did not go well. Ron Liebman hated the film so much, he demanded that Warners completely remove his name from everything associated with the film. His name would not appear on the poster, the newspaper ads, the television commercials, the lobby cards, the press kit, or even in the movie itself. Bill Gaines would hate it to, such much in fact that he really did try to disassociate the magazine from the film. In a 1983 interview with The Comics Journal, Gaines would explain without much detail that there were a number of things he had objected to in the script that he was told would not be shot and not end up in the final film that were shot and did end up in the final film. But he wouldn't be able to get the magazine's name off the movie before it opened in theatres. Now, one of the problems with trying to research how well films did in 1980 is that you really have only two sources for grosses, Variety and The Hollywood Reporter, and they didn't always report national grosses every week, depending on outside factors. It just hadn't the national sport it's been since, say, 1983. So when Up the Academy opened in theatres on June 6th, we don't have a full idea of how many theatres it played in nationwide, or how much it grossed. The closest thing we do have for this Variety's listing of the top movies of the week based on a limited selection of showcase theatres in the top 20 markets. So we know that the film played at 7 showcase screens in New York City that weekend, grossing $175k, and in Los Angeles on 15 showcase screens, grossing $149k. But we also know, thanks to newspaper ads in the New York Times and the Los Angeles Times that the film was playing in 11 theatres in the New York Metro area, and in 30 theatres in the Los Angeles Metro area, so those listed grosses are merely a snapshot and not the whole picture. According to Variety's limited tracking of major market showcase theatres for the week, Up the Academy was the second highest grossing film of the week, bringing in $729k from 82 theatres. And according to their chart's side notes, this usually accounts for about 25% of a movie's national gross, if a film is playing in wide release around the entire country. In its second week, Up the Academy would place ninth on that showcase theatre listing, with $377k from 87 theatres. But by the time Variety did bring back proper national grosses in the film's third week of release, there would be no mention of Up the Academy in those listings, as Warners by this time had bigger fish to handle, namely Stanley Kubrick's adaptation of the Stephen King novel The Shining, and Bronco Billy, their Clint Eastwood movie for the year. In that showcase theatre listing, though, Up the Academy had fallen to 16th place, with $103k from 34 theatres. In fact, there is no publicly available record of how many theatres Up the Academy played in during its theatrical run, and it wouldn't be until the 1981 Warner Brothers 10-K annual filing with the Securities and Exchange Commission that Up the Academy had earned $10m from American movie theatres. If studios get about 55% of the box office grosses in rental fees, that would put the $5m film in a very good position to be profitable, depending on how much was spent on P&A, prints and advertising. The film wasn't an Animal House-level hit, but it wasn't exactly the bomb many have painted it to be. After Up the Academy, two of the actors, Wendell Brown and Joseph Hutchinson, would never act in another movie, although, billed as Hutch Parker, the latter would produce six X-Men related movies between 2013 and 2019, including Logan. Tommy Citera would make two more movies until he left acting in 1988. And Ralph Macchio would, of course, go on to play Daniel LaRusso, the Karate Kid, in a career-defining role that he's still playing nearly forty years later. Robert Downey would make another wacky comedy, called Moonbeam, in 1982. Co-written with Richard Belzer, Moonbeam would feature a fairly interesting cast including Zack Norman, Tammy Grimes, Michael J. Pollard, Liz Torres and Mr. Belzer, and tells the story of a New York cable television station that becomes world famous when they accidentally bounce their signal off the moon. But the film would not get released until October 1986, in one theatre in New York City for one week. It couldn't even benefit from being able to promote Robert Downey, Jr., who in the ensuing years had started to build an acting career by being featured in John Sayles' Baby It's You, Fritz Kiersch's Tuff Turf, John Hughes' Weird Science, and the Rodney Dangerfield movie Back to School, as well as being a member of the cast of Saturday Night Live for a year. There's be sporadic work in television, working on shows like Matlock and The Twilight Zone, but what few movies he could get made would be pale shadows of her earlier, edgier work. Even with his son regularly taking supporting roles in his dad's movies to help the old man out, movies like Rented Lips and Too Much Sun would be critically panned and ignored by audiences. His final movie as a writer and director, Hugo Pool, would gross just $13k when it was released in December 1997, despite having a cast that included Patrick Dempsey, Richard Lewis, Malcolm McDowell, Alyssa Milano, Cathy Moriarty and Sean Penn, along with Junior. Downey would also continue to act in other director's movies, including two written and directed by one of his biggest fans, Paul Thomas Anderson. Downey would play Burt, the studio manager, in Boogie Nights, and the WDKK Show director in Magnolia. Anderson adored Downey so much, the Oscar-nominated filmmaker would sit down with Downey for a four-part conversation filmed for the Criterion Company in 2013. Robert Downey would pass away in July 2021, a curious footnote in the history of cinema, mostly because of the superstar he sired. Most of his movies are hard to find on video, and nearly impossible to find on streaming services, outside of a wonderful two disc DVD set issued by Criterion's Eclipse specialty label and several titles streaming on The Criterion Channel. Outside of Up the Academy, which is available to rent or purchase from Amazon, Apple TV and several other streaming services, you can find Putney Swope, Greaser's Palace and Too Much Sun on several of the more popular streaming services, but the majority of them are completely missing in action. You can also learn more about Robert Downey in Sr., a documentary streaming on Netflix produced by Robert Downey, Jr. where the son recounts the life and career of his recently passed father, alongside Paul Thomas Anderson, Alan Arkin, and mega-producer Norman Lear. Thank you for joining us. We'll talk again soon, when Episode 107, on John Landis's underrated 1985 comedy Into the Night, is released. Remember to visit this episode's page on our website, The80sMoviePodcast.com, for extra materials about the movies we covered this episode. The 80s Movies Podcast has been researched, written, narrated and edited by Edward Havens for Idiosyncratic Entertainment. Thank you again. Good night.
FALL PREVIEW ALERT! September 10-16, 1966 This week Ken welcomes author of the new book, Primetime 1966-1967: The Full Spectrum of Television's First All-Color Season, Thom Shubilla. Ken and Thom discuss Ken's slaughter of Thom's last name, Batman '66, knowing the Fall Preview well, the year TV was born, shaking off radio, Westerns, the first TV season everything was in color, classy Miller High Life ads making Ken and Thom want to drink, commissioned art, murals, Joe E. Ross, It's About Time, how The Moon Landing both ruined and improved sci-fi, Sherwood Schwartz, The Monkees, The Jackie Gleason Show, "The Lost" Honeymooners, Voyage to the Bottom of the Sea, Get Smart!, Mission Impossible, Secret Agent Man, Patrick McGoohan, Hollywood Palace, Ed Sullivan, Ken's love of Robert Loggia, T.H.E. Cat, a show of all wacky neighbors, Lost in Space, being a Ginger or a Maryann, Bewitched, I Dream of Jeanie, the long terrifying decline of Lucy, that one episode of Route 66, Big Eye paintings, The Green Hornet, Occasional Wife, That Girl, poorly translated JFK triangles, Green Acres, the truth about nerve deafness, F Troop, loving Larry Storch, heists, Irwin Alan, Time Tunnel, hating Milton Berle, Paul Revere and the Raiders, Burt Reynolds as Hawk and not as Marlon Brando, Larry Cohen's Coronet Blue, needing satisfaction on a show, The Fugitive, and how absolutely awful the Tammy Grimes show was.
For this "ReScreen" episode, Michael does a rewatch of the 1982 animated film "The Last Unicorn" featuring the voices of Alan Arkin, Jeff Bridges, Mia Farrow, Tammy Grimes, Robert Klein, Angela Lansbury, Christopher Lee, Keenan Wynn, Paul Frees, and René Auberjonois based on the book by the same name. What are some of his memories of seeing the film previously and thoughts after seeing the film again? Check it out and see! Be a part of the conversation! E-mail the show at screennerdspodcast@gmail.com Follow the show on Twitter @screennerdspod Like the show on Facebook (Search for Screen Nerds Podcast and find the page there) Be sure to check out the podcast on Apple Podcasts, Spotify, Stitcher, Google Play, Goodpods, Overcast or your podcast catcher of choice! (and please share rate and review!) Want to be a guest or share your thoughts on the podcast? Send me an e-mail! Thanks to Frankie Creel for the artwork --- Send in a voice message: https://anchor.fm/screennerdspodcast/message
Joe is joined by Justin Nordell to discuss Peter S. Beagle's 1968 fantasy novel The Last Unicorn, as well as Rankin and Bass' 1982 animated film, which is celebrating its 40th anniversary.We talk about the kindertrauma of both texts, particularly the Harpy and the Red Bull characters, as well as the universality of searching for self-identity and losing yourself pretending to be something you're not. Plus: the "feminine" animation style, the first all-star voice cast and why Tammy Grimes' performance as Molly Grue is so emotionally impactful.Wanna connect with the show? Follow us on Twitter @HKHSPod or use the hashtag #HKHSPod:> Brenna: @brennacgray> Joe: @bstolemyremote> Justin: @jnordell / Insta: @mogwai47Have something longer to say or a comment about banned book club? Email us at hkhspod@gmail.com or tweet us your responses before the following deadlines:> Nov 24: Lord of the Flies by William Golding (1954) / Peter Brook (1964) Hosted on Acast. See acast.com/privacy for more information.
Cry Into the Wind: A True Story by Othello BachCry into the Wind is a spellbinding story of triumph over incredible tragedy, and an inspirational guide for those struggling to overcome the effects of abuse. Abject poverty, a house fire that claimed her mother's life, the loneliness of an orphanage where she was separated from her siblings… and so much more … yet nothing was able to break Othello Bach's spirit. She couldn't read until the eighth grade, yet sold her first novel to Avon Books at the age of 27. She is the author off 17 published books and has 35 recorded songs by Broadway, TV, and Hollywood stars Joel Grey, Tammy Grimes, and Sandy Duncan.“Othello Bach is a force. And this book proves it.” -- Joel Grey “Cry into the Wind” is a page-turner from beginning to end. It is a compelling story of survival and an inspiring testament to the strength of the human spirit and raw determination -- Dave Pelzer, author of “A Child Called It.”“As illustrator of four of Othello's books, I'm sure that her hilariously inventive take on life must have helped her overcome many obstacles.” -- Sandy Huffaker, nationally syndicated political cartoonist, fine artist and illustrator.Othello is a best selling multi-genre author of numerous books which range in scope and variety from suspense novels to children's books to non-fiction "How-to" books. Her memoir "Cry into the Wind," chronicles an abusive childhood, including 11 years in an orphanage. Although a non-reader until the eighth grade, she wrote and sold her first novel to Avon Books when she was 22. Othello often composes music and lyrics to accompany her children's stories, and celebrities Joel Grey, Tammy Grimes and Sandy Duncan have recorded her books and songs. She is a motivational speaker who loves to share "the tools" that helped her overcome an abusive past.https://www.amazon.com/Cry-Into-Wind-True-Story/dp/1522890521/ref=sr_1_1?crid=1GHZGGPHF878E&keywords=Cry+Into+the+Wind%3A+A+True+Story&qid=1662839358&sprefix=cry+into+the+wind+a+true+story%2Caps%2C249&sr=8-1https://www.othellobach.com/http://www.bluefunkbroadcasting.com/root/twia/obachec.mp3
This is a Summer Hiatus-Busting Bonus Episode of ScreamQueenz to help tide you over until the new season launches in September. "It Came From The 70s!" is one of the Premium Podcasts available only to our ScreamQueenz Patrons at https://www.patreon.com/screamqueenz (Patreon). "The Horror at 37,000 Feet" episode of "It Came From The 70s!" first aired on Patreon on April 29, 2022. Unlock all of our exclusive bonus content while supporting ScreamQueenz by becoming a Patron at https://www.patreon.com/screamqueenz (Patreon.com/ScreamQueenz.) Welcome aboard, time travelers! "It Came From the 70s!" in conjunction with Polyester Airlines is proud to have you join us on our very first flight into Made For TV Terrors from the time when Kojack was King! Our final destination this evening is the year 1973 for https://bit.ly/horror37 (THE HORROR AT 37,000 FEET) in which passengers on a red eye transatlantic flight begin to realize there's something ancient and evil lurking in the cargo hold. Fortunately, https://www.imdb.com/name/nm0000638/?ref_=nv_sr_srsg_0 (WILLIAM SHATNER), https://www.imdb.com/name/nm0342245/?ref_=fn_al_nm_1 (TAMMY GRIMES), https://www.imdb.com/name/nm0168035/?ref_=fn_al_nm_1 (CHUCK CONNERS) and https://www.imdb.com/name/nm0001171/?ref_=nv_sr_srsg_0 (BUDDY EPSEN) are on hand, because in times of emergency, it's always best to have actors committed to chewing the scenery, freaking out and going full Lord of the Flies in a confined space with pressurized oxygen. My co-pilot tonight and the Tennile to my Captain is the luscious https://smellcast.wordpress.com/ (TOPPIE SMELLIE) from Thttps://smellcast.wordpress.com/ (HE SMELLCAST) . Toppie and I may not be able to tell you what the Horror at 37,000 feet actually is. But we do know one thing... IT CAME FROM THE 70s! Watch the movie on YouTubehttps://www.youtube.com/watch?v=8LYxO_LKYq0&t=6s&ab_channel=TheCelluloidHighway ( here).
Our thanks to our mysterious listener Joe, whose extraordinary effort convinced us to visit a corner of the Listener Library we've been known to avoid, the CBS Radio Mystery Theater section! Based on Joe's recommendation, we're listening to an episode entitled, "The Chess Master," featuring a performance by Fred Gwynn! The story features a man who has recently lost his job sitting down for a game of chess with a stranger. Although the stakes seem innocuous at first, it soon becomes apparent that a much deeper game is being played! Can this man out-maneuver his opponent? Where's E.G. Marshall and who is this Tammy Grimes person? How much does the Muzio Gambit have to do with the drunk horsies? Listen for yourself and find out! Then vote and let us know what you think!
A big parade of songs by The Music Man's music man. Robert Preston, Barbara Cook, Tammy Grimes lead off, of course, but Perry Como, Ray Charles, Sammy Davis Jr., and a famous quartet (not barbershop) from Liverpool follow right behind.
The Equalizer Season 2 Episode 3: A Community of Civilized Men Aired on CBS: October 22, 1986 Directed by: Alan Metzger Written by : Daniel Pyne, Scott Shepherd Featuring: Jennifer Grey, Tammy Grimes, Zach Grenier Listen. Episode 2 of season 2 was amazing. Episode 4 is amazing too. But they're not all winners. You'd think an episode starring Jennifer Grey which aired halfway Ferris Bueller and Dirty Dancing would be can't miss TV. Every show is entitled to a dip in quality every once in a while. But is it so bad it's good? Is it an underappreciated gem? Yeah I guess and probably not, respectively. But are we still here recapping it? Man, we had a hazy few years where we were accepting deals with gypsies and witches left and right and we're still sorting through a lot of paperwork, but yes yes we're still here. @equalizerspod equalizerspodcast at gmail dot com
STONECREST WEEKLY'S CITY COUNCIL ELECTION SERIES.Tune in to hear each candidate answer 10 questions in relationship their view on the City of Stonecrest. Each candidate will answer the same 10 questions, giving you a clear perspective of each candidate without any outside influence.Today's episode features for Councilwoman Tammy Grimes District 5.BIO:Tammy L. Grimes, a veteran educator, working mother and longtime community leader is the current District 5 councilwoman in the City of Stonecrest. A 34-year resident of DeKalb County, Grimes works in the school system and worships in her community. A faithful member and volunteer at New Life Church, she is also the Co-President of her homeowners' association, a board member of the Simba Foundation, and a proud member of Delta Sigma Theta Sorority, Incorporated.Grimes is a firm believer in the knowledge that relationships matter. She is a true servant leader and is genuinely concerned about people.Grimes and her husband Reginald will have been married for 32 years as of September 23rd. They were partners in a successful venture that led to the development of The Estates at Trinity Village, a family-oriented community in Stonecrest, where they raised three children: their eldest, Reginald II, and daughters Taylor and Tylar – all of whom attended DeKalb County schools.Grimes is well-known in her community and beloved by her former students, parents and colleagues. She has served the DeKalb County School System for over 26 years. Grimes received her B.A. degree in Marketing from Clark College and her M. Ed. in Educational Leadership from Georgia State University.She is seeking re-election on November 2nd for the District 5 Council seat, as she is looking forward to……“Moving Stonecrest Forward…TOGETHER”.CONTACT:https://www.votetammygrimes.com/https://www.facebook.com/tammygrimesd5/Subscribe to the Stonecrest Weekly Newsletter so you don't miss a thing!https://instagram.us10.list-manage.com/subscribe?u=32dcbcb351d2cf1f1e904fd20&id=ec295d5610Support the show
This week, Lucy comes to you from backstage at Broadway's old Alvin Theater (now The Neil Simon Theater), to speak with Tony award winning actress Tammy Grimes. They discuss Tammy's runs in The Unsinkable Molly Brown and High Spirits and their respective journeys to the apex of stardom on stage and screen. Then Tammy turns the tables and begins to question Lucy, giving unheard insight into her feelings about her self, her audience and her art. Let's Talk To Lucy is produced by SiriusXM. Click here for a special offer:https://www.siriusxm.com/offers/lets-talk-to-lucy
Today is the 154th birthday of the larger-than-life Molly Brown. If Thelma Ritter, Tammy Grimes, Debbie Reynolds, Cloris Leachman and Kathy Bates play you in a film, you have won at life. Watch the Debbie Reynolds film, I am not sure how accurate it is, but it is a lot of fun. The world is a better place because she was in it and still feels the loss that she has left. This episode is also available as a blog post: http://waldina.com/2021/07/18/happy-154th-birthday-molly-brown/ --- Send in a voice message: https://anchor.fm/waldina/message
Skipper & Ray review The Last Unicorn (1982), which features a wise & witty kitty played by Don Messick. Writer Peter S. Beagle & Directors Rankin & Bass. Mia Farrow, Alan Arkin, Tammy Grimes, Jeff Bridges, Angela Lansbury, Christopher Lee, America The Band. Transcript bit.ly/CFPtranscript-LastUnicorn Get exclusive bonus content by supporting Skipper and Ray at pod.fan/catsonfilmpodCats on Film Pod is voiced and produced by Ray Ilyn, with music by The DōsMan, and additional sounds from FreeSound.org. Our videos have captions & illustrations to help you follow along with each episode! https://youtu.be/jgYVbc0uPfcVisit www.catsonfilmpod.com for cat pix, updates, and more! Instagram @CatsOnFilmPodTwitter @CatsOnFilmPod
Phebe Berkowitz-Tanners grew up in the Central City Opera House. Her family made a second home in our magical, old western town during the summers of 1953-1963 when her father, Metropolitan Opera violist David Berkowitz, played the Festival season with the Central City Opera Orchestra. Now a dedicated supporter of the company, Phebe reminisces with CCO Director of Development Katie Nicholson about mounting backyard opera productions with other children of the Festival company (attended by famous singers and actors of the main stage!), experiencing the world premiere of The Ballad of Baby Doe from behind the scenes and the expansive and international Central City Opera community that she found throughout her career as an opera stage director and production professional. Guest host Katherine (Katie) Nicholson was recently featured on the Central City Opera blog, take a read get to know her better! Those of you watching the video version of this interview will notice the poster for Central City Opera’s Voice Your Dreams Endowment Campaign behind Katie. If you want to learn more and/or contribute to the Campaign to help our company endure long into the future, contact Katie at knicholson@centralcityopera.org or 303-331-7015! Special thanks to Central City Opera Office Administrator Wanda M. Larson who’s helped us keep in close contact with our guest, Phebe, throughout the years and continues to show her passion for unforgettable Central City Opera experiences and community. You’ll probably recognize her if you’ve been up to the summer Festival, she’s the Gift Shop Admin/Buyer, too! Historical preservation is a pillar of Central City Opera’s mission. Learn about the dozens of historic properties we own and maintain. Explore more Central City history, and even schedule a tour at www.gilpinhistory.org. “The famous ghost town” of Nevadaville is just up the street from Central City. Learn more about it at www.uncovercolorado.com. Like many patrons and visitors, Phebe mentions paranormal experiences in and around our properties. Have you encountered something ghostly in Central City? Phebe talks about many exciting moments and incredible figures from Central City Opera, including: Phebe spent her first summer at Central City Opera in 1953, the production was Bizet’s Carmen. She was 7 and her sister was 9. They fell in love with the music, sitting in on every rehearsal, and they began the tradition of performing their own versions of the season’s operas in their backyard with the other children of the Festival company. They’d string up a sheet to make a stage curtain, and star actors and singers would even come to see their shows! According to Phebe, these “parodies” and performances went on to inspire the tradition of our famous singing ushers. You’ll hear the famous Risë Stevens recording of Carmen that Phebe and her sister loved so much as background music during this podcast. Wonderful performers Phebe recalls knowing as a child—some of whom attended her backyard productions—were Julie Harris, Tammy Grimes, Shirley Booth, Arlene Saunders. One of Phebe’s favorite memories of Central City Opera was the world premiere of The Ballad of Baby Doe in 1956. She was 10 years old at the time, and she remembers all the excitement and artistry of composer Douglas Moore, librettist John La Touche, director and renowned choreographer Hanya Holm, director Edwin Levy and starring sopranos Dolores Wilson and Leyna Gabriele, all working together on this brand new opera. Read more about Baby Doe Tabor as a historical figure and the opera based on her life on the Central City Opera blog! Cyril Richard—perhaps best remembered as Captain Hook in the Mary Martin musical production of Peter Pan—played Don Andres in La Perichole at Central City Opera in 1958. Phebe talks about how he kindly reassured her little brother, who had made a loud mistake on stage while playing a non-singing role in the production. Over her summers at Central City Opera, Phebe memorized 17 operas along with the other children. “It was incredible musical education,” she says, “it was all about the music.” Phebe points out, “in those days all the operas [in Central City] were performed in English.” Throughout history it’s been common practice for operas to be adapted to the vernacular of the place they’re being performed. In recent years—especially in the United States—operas are more commonly performed in their original language. Wonder where the performance trends in this 400-year-old artform will take us next! Since various opera companies and orchestras perform during different times of the year, many musicians play in multiple ensembles like Phebe’s dad. For instance many orchestra members at Central City Opera also played with the Metropolitan Opera, and today our orchestra shares many musicians with the Colorado Symphony. The Berkowitz family stayed in a historic house that, during those years, was named after Gypsy Rose Lee (1911-1970). Famous for her burlesque act, Lee was also an actor, author, playwright and all-around fascinating figure that inspired and captured the kids’ imagination. As an adult, Phebe went on to build a career as an opera director and production professional, herself. Learn more about some of the figures and references she makes in this interview: She snagged a job as an intern in makeup and costumes with Hamburg State Opera as a young woman. As she was such a keen observer during rehearsals, Gian Carlo Menotti—the composer of the world-premiere production of Help, Help, the Globolinks! they were producing—asked her to call the light cues. Even with her very limited German vocabulary, she was up to the task! After that, Hamburg State Opera Artistic Director Rolf Liebermann hired her on as lighting stage manager. Later, he took Phebe with him as a stage director when he joined Paris Opera as Artistic Director. Phebe enjoyed many years as a part of the Metropolitan Opera Company, as an assistant stage director, director for revivals and Executive Stage Director (1974-2016). Her time with the Met Opera began when August Everding brought her along as his personal assistant for Tristan und Isolde (1971), which was Rudolf Bing’s last new production. Central City Opera Artistic Director Emeritus John Moriarty is also a close friend and mentor to Phebe. While they didn’t cross paths at CCO, he taught her to stage manage at Lake George Opera—now Opera Saratoga—where they worked together for three years. Read Phebe’s general bio at centralcityopera.org/opera-central Join Phebe in supporting the community and artistry of Central City Opera for many years to come. Find all kinds of ways to donate at centralcityopera.org/support-us Thanks for listening! Musical excerpts featured in this podcast: Carmen by Georges Bizet. Mezzo-soprano Risë Stevens (1913-2013) sings the Act 1 “Habanera.” Recording with the Metropolitan Opera Orchestra in approximately 1948 and conducted by Erich Leinsdorf. The Ballad of Baby Doe by Douglas Moore, Act 1, Scene 2 “Willow Song.” Recorded in 1959 at the New York City Opera Company with soprano Beverly Sills (1929 – 2007) as Baby Doe and Walter Cassel (1910-2000) as Horace Tabor. Conducted by Emerson Buckley (1916-1989). (Cassel and Buckley were part of the original 1956 production at Central City Opera in these same roles.) The Girl of the Golden West by Giacomo Puccini, Act 1 with soprano Eva-Maria Westbroek as Minnie and tenor Yusif Eyvazov as Dick Johnson. Recorded at the Metropolitan Opera and featured on PBS’s Great Performances.
This week we review the animated classic The Last Unicorn! Starring Mia Farrow, Jeff Bridges, Alan Arkin, Robert Klein, Tammy Grimes, Paul Frees, Christopher Lee, and Angela Lansbury.
In this very special episode of Adapt or Perish, we get REAL small and discuss the classic children’s book The Borrowers! For this episode, we read and watched: Mary Norton’s original 1952 novel. The Borrowers (Hallmark, 1973), directed by Walter C. Miller, written by Jay Presson Allen, and starring Eddie Albert, Tammy Grimes, and Judith Anderson. The Borrowers (BBC, 1992), directed by John Henderson, written by Richard Carpenter, and starring Ian Holm, Penelope Wilton, Rebecca Callard, and Siân Phillips. The Borrowers (PolyGram, 1997), directed by Peter Hewitt, written by Gavin Scott and John Kamps, and starring John Goodman, Jim Broadbent, Celia Imrie, Flora Newbigin, Mark Williams, and Hugh Laurie. Arrietty/Arrietty the Borrower/The Secret World of Arrietty (Studio Ghibli, 2010), directed by Hiromasa Yonebayashi, written by Keiko Niwa and Hayao Miyazaki. The Borrowers (BBC, 2011), directed by Tom Harper, written by Ben Vanstone, and starring Christopher Eccleston, Sharon Horgan, Aisling Loftus, Anne Hirsch, and Stephen Fry. Footnotes: Mary Norton’s Borrowers sequels: The Borrowers Afield (1955), The Borrowers Afloat (1959), The Borrowers Aloft (1961), and The Borrowers Avenged (1982) Bedknobs and Broomsticks (Disney, 1971) The Return of the Borrowers (BBC, 1993) I, Podius Bill & Ted’s Bogus Journey (Orion, 1991) and Small Soldiers (DreamWorks, 1998) GQ: John Goodman Breaks Down His Most Iconic Characters Hayao Miyazaki and Studio Ghibli You can follow Adapt or Perish on Twitter, Instagram, and Facebook, and you can find us and all of our show notes online at adaptorperishcast.com. If you want to send us a question or comment, you can email us at adaptorperishcast@gmail.com or tweet using #adaptcast.
This Week: Julie Andrews gets snubbed and Tammy Grimes becomes a baritone Every week director Robert W Schneider and actor Kevin David Thomas pull back the curtain on neglected, forgotten, and under appreciated musicals, as well as bizarre performances, endearing television appearances, and all things show business. Become a sponsor of Behind The Curtain and get early access to interviews, private playlists, and advance knowledge of future guests so you can ask the legends your own questions. Go to: http://bit.ly/2i7nWC4 To book a room at Shetler Studios, head on over to: https://www.shetlerstudios.com
Front and center, the most fierce and fearless heroines of the America musical demonstrate their performative persistence. Jennifer Holliday, Barbra Streisand, Tammy Grimes, Julie Andrews, and more.
A decade after William Shatner starred in the Twilight Zone episode “The Nightmare at 20,000 Feet,” he took a lead role in this TV horror movie with a similar name. Did it outdo his original fight against otherworldly forces on an airplane? No. But did it give actresses like Tammy Grimes and Paul Winfield a chance to play bigger than they would have in a cinematic outing? Oh my goodness, yes. Critic Alonso Duralde joins Sam to revel in this exercise in cost-effective terror. Official website: https://www.mondayafternoonmovie.com/ Episode page: https://www.mondayafternoonmovie.com/episodes/terror-at-37000-feet-alonso-duralde On Facebook: https://facebook.com/mondayafternoonmovie/ Sam on Twitter: https://twitter.com/jsampancake Alonso on Twitter: https://twitter.com/ADuralde Alonso’s podcast Linoleum Knife: http://www.linoleum-knife.com/ Alonso’s other podcast Who Shot Ya?: http://www.maximumfun.org/shows/who-shot-ya Buy Alonso’s book about Christmas movies: http://www.alonsoduralde.com/movielittlechristmas/
The CBS Radio Mystery Theater (or CBSRMT) was an ambitious and sustained attempt to revive the great drama of old-time radio in the 1970s. Created by Himan Brown (who had by then become a radio legend due to his work on Inner Sanctum Mysteries and other shows dating back to the 1930s), and aired on affiliate stations across the CBS Radio network, the series began its long run on January 6, 1974. The final episode ran on December 31, 1982. The show was broadcast nightly and ran for one hour, including commercials. Typically, a week consisted of three to four new episodes, with the remainder of the week filled out with reruns. There were a total of 1399 original episodes broadcast. The total number of broadcasts, including reruns, was 2969. The late E.G. Marshall hosted the program every year but the final one, when actress Tammy Grimes took over. Each episode began with the ominous sound of a creaking door, slowly opening to invite listeners in for the evening's adventure. At the end of each show, the door would swing shut, with Marshall signing off, "Until next time, pleasant...dreams?"THIS EPISODE:October 19, 1977. Program #725. CBS network. "The Island On Silver Tree Lake". Commercials deleted. E. G. Marshall (host), Victoria Dann (writer), Patricia Elliot, Lloyd Batista, Teri Keane, Earl Hammond. 46 minutes.
The CBS Radio Mystery Theater (or CBSRMT) was an ambitious and sustained attempt to revive the great drama of old-time radio in the 1970s. Created by Himan Brown (who had by then become a radio legend due to his work on Inner Sanctum Mysteries and other shows dating back to the 1930s), and aired on affiliate stations across the CBS Radio network, the series began its long run on January 6, 1974. The final episode ran on December 31, 1982. The show was broadcast nightly and ran for one hour, including commercials. Typically, a week consisted of three to four new episodes, with the remainder of the week filled out with reruns. There were a total of 1399 original episodes broadcast. The total number of broadcasts, including reruns, was 2969. The late E.G. Marshall hosted the program every year but the final one, when actress Tammy Grimes took over. Each episode began with the ominous sound of a creaking door, slowly opening to invite listeners in for the evening's adventure. At the end of each show, the door would swing shut, with Marshall signing off, "Until next time, pleasant...dreams?"THIS EPISODE:August 19, 1974. Program #135. CBS network. "The Hands Of Mrs. Mallory". Sponsored by: Budweiser, Buick. There is a brief loss of audio during two public service announcements. E. G. Marshall (host), Henry Slesar (writer), Celeste Holm, Patricia Elliot, Evie Juster, Arnold Moss, Leon Janney. 52 minutes.
The CBS Radio Mystery Theater (or CBSRMT) was an ambitious and sustained attempt to revive the great drama of old-time radio in the 1970s. Created by Himan Brown (who had by then become a radio legend due to his work on Inner Sanctum Mysteries and other shows dating back to the 1930s), and aired on affiliate stations across the CBS Radio network, the series began its long run on January 6, 1974. The final episode ran on December 31, 1982. The show was broadcast nightly and ran for one hour, including commercials. Typically, a week consisted of three to four new episodes, with the remainder of the week filled out with reruns. There were a total of 1399 original episodes broadcast. The total number of broadcasts, including reruns, was 2969. The late E.G. Marshall hosted the program every year but the final one, when actress Tammy Grimes took over. Each episode began with the ominous sound of a creaking door, slowly opening to invite listeners in for the evening's adventure. At the end of each show, the door would swing shut, with Marshall signing off, "Until next time, pleasant...dreams?"
The CBS Radio Mystery Theater (or CBSRMT) was an ambitious and sustained attempt to revive the great drama of old-time radio in the 1970s. Created by Himan Brown (who had by then become a radio legend due to his work on Inner Sanctum Mysteries and other shows dating back to the 1930s), and aired on affiliate stations across the CBS Radio network, the series began its long run on January 6, 1974. The final episode ran on December 31, 1982. The show was broadcast nightly and ran for one hour, including commercials. Typically, a week consisted of three to four new episodes, with the remainder of the week filled out with reruns. There were a total of 1399 original episodes broadcast. The total number of broadcasts, including reruns, was 2969. The late E.G. Marshall hosted the program every year but the final one, when actress Tammy Grimes took over. Each episode began with the ominous sound of a creaking door, slowly opening to invite listeners in for the evening's adventure. At the end of each show, the door would swing shut, with Marshall signing off, "Until next time, pleasant...dreams?" THIS EPISODE: March 31, 1977. Program #625. CBS network. "Death Is Blue". Sponsored by: True Value Hardware, Buick, True Temper Tools, Mogen David Wines. Allied Van Lines. E. G. Marshall (host), Sam Dann (writer), Frances Sternhagen, Marian Seldes, Bryna Raeburn, Ralph Bell, Ian Martin. 52 minutes.
The CBS Radio Mystery Theater (or CBSRMT) was an ambitious and sustained attempt to revive the great drama of old-time radio in the 1970s. Created by Himan Brown (who had by then become a radio legend due to his work on Inner Sanctum Mysteries and other shows dating back to the 1930s), and aired on affiliate stations across the CBS Radio network, the series began its long run on January 6, 1974. The final episode ran on December 31, 1982. The show was broadcast nightly and ran for one hour, including commercials. Typically, a week consisted of three to four new episodes, with the remainder of the week filled out with reruns. There were a total of 1399 original episodes broadcast. The total number of broadcasts, including reruns, was 2969. The late E.G. Marshall hosted the program every year but the final one, when actress Tammy Grimes took over. Each episode began with the ominous sound of a creaking door, slowly opening to invite listeners in for the evening's adventure. At the end of each show, the door would swing shut, with Marshall signing off, "Until next time, pleasant...dreams?" THIS EPISODE: August 26, 1974. Program #139. CBS network. "The Deadliest Favor". Sponsored by: Budweiser, Buick. E. G. Marshall (host), Sam Dann (writer), Norman Rose, Marian Seldes, Dan Ocko, Ralph Bell. 52 minutes.
The CBS Radio Mystery Theater (or CBSRMT) was an ambitious and sustained attempt to revive the great drama of old-time radio in the 1970s. Created by Himan Brown (who had by then become a radio legend due to his work on Inner Sanctum Mysteries and other shows dating back to the 1930s), and aired on affiliate stations across the CBS Radio network, the series began its long run on January 6, 1974. The final episode ran on December 31, 1982. The show was broadcast nightly and ran for one hour, including commercials. Typically, a week consisted of three to four new episodes, with the remainder of the week filled out with reruns. There were a total of 1399 original episodes broadcast. The total number of broadcasts, including reruns, was 2969. The late E.G. Marshall hosted the program every year but the final one, when actress Tammy Grimes took over. Each episode began with the ominous sound of a creaking door, slowly opening to invite listeners in for the evening's adventure. At the end of each show, the door would swing shut, with Marshall signing off, "Until next time, pleasant...dreams?" THIS EPISODE: January 24, 1975. Program #211. CBS network. "Flowers Of Death". Sponsored by: Vigne Wine, Buick, Sine-Off. E. G. Marshall (host), Sam Dann (writer), Mercedes McCambridge, Larry Haines, Roberta Maxwell, Gilbert Mack. 52 minutes.
The CBS Radio Mystery Theater (or CBSRMT) was an ambitious and sustained attempt to revive the great drama of old-time radio in the 1970s. Created by Himan Brown (who had by then become a radio legend due to his work on Inner Sanctum Mysteries and other shows dating back to the 1930s), and aired on affiliate stations across the CBS Radio network, the series began its long run on January 6, 1974. The final episode ran on December 31, 1982. The show was broadcast nightly and ran for one hour, including commercials. Typically, a week consisted of three to four new episodes, with the remainder of the week filled out with reruns. There were a total of 1399 original episodes broadcast. The total number of broadcasts, including reruns, was 2969. The late E.G. Marshall hosted the program every year but the final one, when actress Tammy Grimes took over. Each episode began with the ominous sound of a creaking door, slowly opening to invite listeners in for the evening's adventure. At the end of each show, the door would swing shut, with Marshall signing off, "Until next time, pleasant...dreams?" THIS EPISODE: January 25, 1974. Program #20. CBS net. "Speak Of The Devil". Sponsored by: Kellogg's, Budweiser. E. G. Marshall (host), Ian Martin (writer, performer), Jada Rowland, Bryna Raeburn, Nick Pryor. 52 minutes.
Familiar Ghost (Aired December 18, 1978) The CBS Radio Mystery Theater (or CBSRMT) was an ambitious and sustained attempt to revive the great drama of old-time radio in the 1970s. Created by Himan Brown (who had by then become a radio legend due to his work on Inner Sanctum Mysteries and other shows dating back to the 1930s), and aired on affiliate stations across the CBS Radio network, the series began its long run on January 6, 1974. The final episode ran on December 31, 1982.The show was broadcast nightly and ran for one hour, including commercials. Typically, a week consisted of three to four new episodes, with the remainder of the week filled out with reruns. There were a total of 1399 original episodes broadcast. The total number of broadcasts, including reruns, was 2969. The late E.G. Marshall hosted the program every year but the final one, when actress Tammy Grimes took over. Each episode began with the ominous sound of a creaking door, slowly opening to invite listeners in for the evening's adventure. At the end of each show, the door would swing shut, with Marshall signing off, "Until next time, pleasant...dreams?"
The CBS Radio Mystery Theater (or CBSRMT) was an ambitious and sustained attempt to revive the great drama of old-time radio in the 1970s. Created by Himan Brown (who had by then become a radio legend due to his work on Inner Sanctum Mysteries and other shows dating back to the 1930s), and aired on affiliate stations across the CBS Radio network, the series began its long run on January 6, 1974. The final episode ran on December 31, 1982. The show was broadcast nightly and ran for one hour, including commercials. Typically, a week consisted of three to four new episodes, with the remainder of the week filled out with reruns. There were a total of 1399 original episodes broadcast. The total number of broadcasts, including reruns, was 2969. The late E.G. Marshall hosted the program every year but the final one, when actress Tammy Grimes took over.
The CBS Radio Mystery Theater (or CBSRMT) was an ambitious and sustained attempt to revive the great drama of old-time radio in the 1970s. Created by Himan Brown (who had by then become a radio legend due to his work on Inner Sanctum Mysteries and other shows dating back to the 1930s), and aired on affiliate stations across the CBS Radio network, the series began its long run on January 6, 1974. The final episode ran on December 31, 1982.The show was broadcast nightly and ran for one hour, including commercials. Typically, a week consisted of three to four new episodes, with the remainder of the week filled out with reruns. There were a total of 1399 original episodes broadcast. The total number of broadcasts, including reruns, was 2969. The late E.G. Marshall hosted the program every year but the final one, when actress Tammy Grimes took over. Each episode began with the ominous sound of a creaking door, slowly opening to invite listeners in for the evening's adventure. At the end of each show, the door would swing shut, with Marshall signing off, "Until next time, pleasant...dreams?"THIS EPISODE:February 15, 1977. Program #600. CBS net. "The Star Killers". Sponsored by: Buick, Ex Lax, Ballantine Books. E. G. Marshall (host), Sam Dann (writer), Mercedes McCambridge, Norman Rose, Court Benson, Judith Light. 52 minutes.
The CBS Radio Mystery Theater was an ambitious effort by veteran radio producer Himan Brown to revive interest in American radio drama. Every night from 1974 to 1982, host E. G. Marshall (later Tammy Grimes) ushered listeners through a creaking door -- similar to the one Brown used on Inner Sanctum decades earlier -- for an hour of âthe fear you can hear.â Brown produced nearly 200 new episodes of Mystery Theater every year, using both original scripts and adaptations of classic stories by Edgar Allen Poe, Mark Twain, Robert Louis Stevenson and Sir Arthur Conan Doyle. The Mystery Theater brought many veterans from radioâs golden age back before the microphone, including Agnes Moorehead, Richard Widmark, Celeste Holm, Mercedes McCambridge and Howard daSilva. The show also featured performances from many up-and-coming stage and film actors, including Tony Roberts, John Lithgow, Morgan Fairchild, Mandy Patinkin and Sarah Jessica Parker. The CBS Radio Mystery Theater won the George A. Peabody Award in 1975. After eight years and over 1,500 shows, the show ended its run on December 30, 1982. E. G. Marshall died on August 24, 1998. The CBS Radio Mystery Theater was inducted into the Radio Hall of Fame in 1990.
The CBS Radio Mystery Theater (or CBSRMT) was an ambitious and sustained attempt to revive the great drama of old-time radio in the 1970s. Created by Himan Brown (who had by then become a radio legend due to his work on Inner Sanctum Mysteries and other shows dating back to the 1930s), and aired on affiliate stations across the CBS Radio network, the series began its long run on January 6, 1974. The final episode ran on December 31, 1982. The show was broadcast nightly and ran for one hour, including commercials. Typically, a week consisted of three to four new episodes, with the remainder of the week filled out with reruns. There were a total of 1399 original episodes broadcast. The total number of broadcasts, including reruns, was 2969. The late E.G. Marshall hosted the program every year but the final one, when actress Tammy Grimes took over. Each episode began with the ominous sound of a creaking door, slowly opening to invite listeners in for the evening's adventure. At the end of each show, the door would swing shut, with Marshall signing off, "Until next time, pleasant...dreams?"THIS EPISODE:IN THE DARK - 1/8/1981In a totalitarian state, a woman's husband fails to return home. Her best friend has mysteriously "divorced" her husband, and her friends refuse to talk to her. Despite evidence, she cannot believe the secret police have kidnapped her husband. Teri Keane, Carol Teitel, Ray Owens, Ralph Bell.
The CBS Radio Mystery Theater (or CBSRMT) was an ambitious and sustained attempt to revive the great drama of old-time radio in the 1970s. Created by Himan Brown (who had by then become a radio legend due to his work on Inner Sanctum Mysteries and other shows dating back to the 1930s), and aired on affiliate stations across the CBS Radio network, the series began its long run on January 6, 1974. The final episode ran on December 31, 1982. The show was broadcast nightly and ran for one hour, including commercials. Typically, a week consisted of three to four new episodes, with the remainder of the week filled out with reruns. There were a total of 1399 original episodes broadcast. The total number of broadcasts, including reruns, was 2969. The late E.G. Marshall hosted the program every year but the final one, when actress Tammy Grimes took over. Each episode began with the ominous sound of a creaking door, slowly opening to invite listeners in for the evening's adventure. At the end of each show, the door would swing shut, with Marshall signing off, "Until next time, pleasant...dreams?"
The CBS Radio Mystery Theater was an ambitious effort by veteran radio producer Himan Brown to revive interest in American radio drama. Every night from 1974 to 1982, host E. G. Marshall (later Tammy Grimes) ushered listeners through a creaking door -- similar to the one Brown used on Inner Sanctum decades earlier -- for an hour of âthe fear you can hear.â Actors were paid union scale at around $73.92 per show. Writers earned a flat rate of $350.00 per show. The production took place with assembly-line precision. Brown would meet with actors at 9:00 AM for the first reading of the script. He would then assign roles and recording would begin. By noon the recording of the actors was complete and Brown handed everyone their checks. Post-production would take place in the afternoon. In 1975, CBSRMT won the prestigious Peabody Award, and in 1990 it was inducted into the Radio Hall of Fame. In 1998, the still-active Brown attempted a brief revival of the series, rebroadcasting selected old episodes with his own introductions replacing Marshall's.
The CBS Radio Mystery Theater (or CBSRMT) was an ambitious and sustained attempt to revive the great drama of old-time radio in the 1970s. Created by Himan Brown (who had by then become a radio legend due to his work on Inner Sanctum Mysteries and other shows dating back to the 1930s), and aired on affiliate stations across the CBS Radio network, the series began its long run on January 6, 1974. The final episode ran on December 31, 1982. The show was broadcast nightly and ran for one hour, including commercials. Typically, a week consisted of three to four new episodes, with the remainder of the week filled out with reruns. There were a total of 1399 original episodes broadcast. The total number of broadcasts, including reruns, was 2969. The late E.G. Marshall hosted the program every year but the final one, when actress Tammy Grimes took over. Each episode began with the ominous sound of a creaking door, slowly opening to invite listeners in for the evening's adventure. At the end of each show, the door would swing shut, with Marshall signing off, "Until next time, pleasant...dreams?"
The CBS Radio Mystery Theater (or CBSRMT) was an ambitious and sustained attempt to revive the great drama of old-time radio in the 1970s. Created by Himan Brown (who had by then become a radio legend due to his work on Inner Sanctum Mysteries and other shows dating back to the 1930s), and aired on affiliate stations across the CBS Radio network, the series began its long run on January 6, 1974. The final episode ran on December 31, 1982.The show was broadcast nightly and ran for one hour, including commercials. Typically, a week consisted of three to four new episodes, with the remainder of the week filled out with reruns. There were a total of 1399 original episodes broadcast. The total number of broadcasts, including reruns, was 2969. The late E.G. Marshall hosted the program every year but the final one, when actress Tammy Grimes took over. Each episode began with the ominous sound of a creaking door, slowly opening to invite listeners in for the evening's adventure. At the end of each show, the door would swing shut, with Marshall signing off, "Until next time, pleasant...dreams?" Go To GoDaddy, use the promo code blu19 and save 10%
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