When Columbia Workshop debuted on CBS in 1936, the concept of network radio was still in its infancy, just ten years old. Many within the radio business were undecided about various aspects of this new medium, including whether or not it could yield anything of value, something that can be seen as art and not simply a forgettable derivative of popular culture. The concept of Columbia Workshop, conceived by Irving Reis, was essentially to try new innovations on radio, to push the medium's boundaries. Although early shows struggled to strike a balance between what the actors and the production crew contributed to the programs, the best shows from the program focused on both the cutting edge work of sound techs and producers as well as the ability of performers to push themselves in ways other shows did not require them to. Extreme attention was paid to every aspect of the show's production. Music became more specialized and new tricks and techniques for sound proved to be one of the hallmarks of th
When Columbia Workshop debuted on CBS in 1936, the concept of network radio was still in its infancy, just ten years old. Many within the radio business were undecided about various aspects of this new medium, including whether or not it could yield anything of value, something that can be seen as art and not simply a forgettable derivative of popular culture. The concept of Columbia Workshop, conceived by Irving Reis, was essentially to try new innovations on radio, to push the medium's boundaries. Although early shows struggled to strike a balance between what the actors and the production crew contributed to the programs, the best shows from the program focused on both the cutting edge work of sound techs and producers as well as the ability of performers to push themselves in ways other shows did not require them to. Extreme attention was paid to every aspect of the show's production. Music became more specialized and new tricks and techniques for sound proved to be one of the hallmarks of th
When Columbia Workshop debuted on CBS in 1936, the concept of network radio was still in its infancy, just ten years old. Many within the radio business were undecided about various aspects of this new medium, including whether or not it could yield anything of value, something that can be seen as art and not simply a forgettable derivative of popular culture. The concept of Columbia Workshop, conceived by Irving Reis, was essentially to try new innovations on radio, to push the medium's boundaries. Although early shows struggled to strike a balance between what the actors and the production crew contributed to the programs, the best shows from the program focused on both the cutting edge work of sound techs and producers as well as the ability of performers to push themselves in ways other shows did not require them to. Extreme attention was paid to every aspect of the show's production. Music became more specialized and new tricks and techniques for sound proved to be one of the hallmarks of th
The Comic Weekly Man combined two pastimes important to American families, Radio and Comic strips. The Comic Weekly Man brought comic strip favorites to life in a way most strips had never been heard. One amazing aspect of this program is just how many voices were heard each week. The Comic Weekly Man, voiced by veteran radio actor Lon Clark, voiced all the male parts while Little Miss Honey, a young girl, assisted with the female roles. A whole cast of comic strip heroes and villains performed by two actors.
The Comic Weekly Man combined two pastimes important to American families, Radio and Comic strips. The Comic Weekly Man brought comic strip favorites to life in a way most strips had never been heard. One amazing aspect of this program is just how many voices were heard each week. The Comic Weekly Man, voiced by veteran radio actor Lon Clark, voiced all the male parts while Little Miss Honey, a young girl, assisted with the female roles. A whole cast of comic strip heroes and villains performed by two actors.
The Comic Weekly Man combined two pastimes important to American families, Radio and Comic strips. The Comic Weekly Man brought comic strip favorites to life in a way most strips had never been heard. One amazing aspect of this program is just how many voices were heard each week. The Comic Weekly Man, voiced by veteran radio actor Lon Clark, voiced all the male parts while Little Miss Honey, a young girl, assisted with the female roles. A whole cast of comic strip heroes and villains performed by two actors.
In the early months of World War II, radio producer Louis G. Cowan was faced with a problem. Not long before the bombing of Pearl Harbor in December of 1941, Cowan had joined the radio arm of the War Department's Special Services division, where his primary duties had been to produce radio-based propaganda for civilian audiences. Now, however, hundreds of thousands of newly enlisted soldiers were in desperate need of mainstream entertainment - in particular, the sort of radio shows they had enjoyed while they were civilians. In anticipation of the conflict to come, a 'Buddy Disc' program had already been established to distribute recorded music and comedy programs to recreation centers and mess halls, but for troops stationed far away from home, there was a constant need for the sort of morale-building entertainment that radio could best provide. Cowan considered the audience for such a show. As a result of the attack the previous December, in a short three months, hundreds of thousand s of outrage
The Doubleday Publishing Company introduced its series of 'Crime Club' imprints in 1928 with Kay Cleaver Strahan's 'The Desert Moon Mystery', an imprint which earned them a major mint thanks to a long run of dime-store novels that continued to be released until 1991. Among the books featured under the 'Crime Club' banner were all fifty novels of 'The Saint', written by Leslie Charteris, and several of the Fu Manchu first editions by Sax Rohmer. The popularity of the novels even stretched to motion pictures, with Universal Studios producing eleven B-mysteries between 1937 and 1939, several of which ('The Westland Case', 'The Lady in the Morgue') featured Crime Club stalwart Detective Bill Crane (played by Preston Foster), as created by mystery author Jonathan Latimer. When 'The Eno Crime Club' premiered over CBS Radio on February 9, 1931, many of the 'Crime Club' imprints were adapted for the six-day-a-week quarter hour series by writers Stewart Sterling and Albert G. Miller. ('The Eno Crime Club' switched
Though the romantic drama anthology nature of 'Curtain' usually eschewed any kind of 'star', actor Olan Soule essayed most of the male leads on the program, often opposite actresses like Betty Lou Gerson and Louise Fitch. (Soule later graduated to 'Nighter' in 1943, frequently acting opposite Barbara Luddy.) Directed by Blair Walliser, with music by Henry Weber and the announcing chores handled by Don Gordon, the production offered plenty of the same fare as that featured on 'First Nighter': light and innocuous boy-girl romances that were always lighthearted and entertaining. The show continued to become more and more like its predecessor, 'First Nighter' adding an usher to the proceedings who would show listeners to their seats in 'seventh row center'. The featured performers during this run were Harry Elders and Nannette Sergeant, with Chicago pros like Betty Winkler, Hope Summers, Art Van Harvey, and Arthur Peterson providing solid support. 'Curtain Time's' ABC status lasted until July 13, 1946, whe
The 1950s in America was a period of both prosperity and paranoia, of families and fear. Even though victorious in World War II, American society still saw criminals in every shadow, villains around the corner, all laying in wait to disrupt the American way of life. Movies, television, books, and entertainment of all sorts capitalized on this anxiety, turning out tales of foreign infiltrators, nefarious plots to overthrow America, and the broad shouldered, barrel chested heroes who stood up for the United States. Radio was no different and one of the best examples of this type of program was Dangerous Assignment. Dangerous Assignment featured tough guy actor Brian Donlevy as Steve Mitchell, a troubleshooting agent of some sort, no real title or number is identified, for an unnamed agency established to protect the country and prevent unrest and turmoil from abroad. Given orders each week by The Commissioner, Mitchell embarked on globe hopping adventures in each episode, usually posing as a forei
Tom Collins played the lead role of American-born Frank Chandler, who had learned occult secrets from a yogi in India. Known as Chandu, he possessed several supernatural skills, including astral projection, teleportation and the ability to create illusions. Chandu's goal was to 'go forth with his youth and strength to conquer the evil that threatens mankind'. 'Time and space are only an illusion' to the American called Chandler. Endowed with strange gifts, in the first episode he teleported himself to his sister's Beverly Hills home. Starring Tom Collins as Chandu and Luis van Rooten as the villainous Roxor, plotting world domination. Chandu's sister, Dorothy Regent, was portrayed by Irene Tedrow. Cyril Armbrister directed the scripts by Vera Oldham which took Chandu to far-flung locales, both real and mythical. Romantic interludes for Chandu were introduced with Egyptian Princess Nadji played by Veola Vonn. Also appearing in the cast were Norman Field, Lee Millar, and Joy Terry. Created by Ha
Tom Collins played the lead role of American-born Frank Chandler, who had learned occult secrets from a yogi in India. Known as Chandu, he possessed several supernatural skills, including astral projection, teleportation and the ability to create illusions. Chandu's goal was to 'go forth with his youth and strength to conquer the evil that threatens mankind'. 'Time and space are only an illusion' to the American called Chandler. Endowed with strange gifts, in the first episode he teleported himself to his sister's Beverly Hills home. Starring Tom Collins as Chandu and Luis van Rooten as the villainous Roxor, plotting world domination. Chandu's sister, Dorothy Regent, was portrayed by Irene Tedrow. Cyril Armbrister directed the scripts by Vera Oldham which took Chandu to far-flung locales, both real and mythical. Romantic interludes for Chandu were introduced with Egyptian Princess Nadji played by Veola Vonn. Also appearing in the cast were Norman Field, Lee Millar, and Joy Terry. Created by Ha
