Radio America

clickhere Visit the Radio America Store web site.Buy your 50 mp3 for &5.00clickhere Visit the Radio America Store web site.Buy your 50 mp3 for &5.00Affordable Web Hosting & Podcasting $5.99 A month Classic Radio Pictures Enjoy The Blues Visit The Uncleshag Gospel Round Up

clickhere Visit the Radio America Store web site.Buy your 50 mp3 for &5.00Affordable Web Hosting & Podcasting $5.99 A month Classic Radio Pictures Enjoy The Blues Visit The Uncleshag Gospel Round Up Listen To Belinda Subraman

clickhere Visit the Radio America Store web site.Buy your 50 mp3 for &5.00Affordable Web Hosting & Podcasting $5.99 A month Classic Radio Pictures Enjoy The Blues Visit The Uncleshag Gospel Round Up Listen To Belinda Subraman

clickhere Visit the Radio America Store web site.Buy your 50 mp3 for &5.00 The Shadow was long believed to have debuted on radio as a program in its own right September 26, 1937, on the Mutual Broadcasting System. But the character actually premiered in September 1931, on CBS, as part of the hour-long The Blue Coal Radio Revue (named for the show's sponsor), featuring Frank Readick — the "Shadow" announcer of Detective Stories — as the Shadow, and playing Sundays at 5:30 p.m. Eastern standard time. The stories also appeared on Thursday nights for a month, when Love Story Drama (another Street and Smith creation) took the Thursday night slot — but also featured occasional portrayals of the Shadow. Blue Coal had a long relationship with the Shadow, moving the radio series to NBC in October 1932 with Readick playing the character on Wednesday nights now. Two years later, NBC ran the stories on Mondays and Wednesdays, both at 6:30 p.m., with LaCurto taking occasional turns as the title character. Three years later came the beginning of the half-hour drama radio buffs have remembered so well, with the then-unknown Orson Welles as the Shadow, the show moving to Mutual, and the famous catch phrase now in full play. Welles did not speak that signature line — Readick did, using a water glass next to his mouth for the echo effect. But Welles did make a credible Shadow, two years before his notoriety as the mastermind of Mercury Theatre on the Air's production of War of the Worlds. After Welles left the role for a career in the cinema, The Shadow was portrayed by such actors as Bill Johnstone, Bret Morrison (the longest tenure, with ten years in two separate runs), John Archer, and Steve Courtleigh as Lamont Cranston/The Shadow. The radio show also introduced female characters into the Shadow's realm, most notably Margot Lane (played by Agnes Moorehead among others) as Cranston's love interest and crime-solving partner (the character was eventually integrated into Gibson's pulp novels). In the 1994 movie, Margot's name was spelled "Margo." However, early scripts of the radio show clearly show that the character's name was spelled "Margot". Once The Shadow joined Mutual as a half-hour series, it did not leave Sunday evenings radio until December 26, 1954. It outlasted the magazine that gave birth to it: The Shadow Magazine ended with the summer 1949 issue, although Gibson wrote three new "official" stories between 1963 and 1980. Gibson started off a short series of updated Shadow novels for Belmont with Return of the Shadow under his own name, followed by The Shadow Strikes, Beware Shadow, Cry Shadow, The Shadow's Revenge, Mark of The Shadow, Shadow Go Mad, Night of The Shadow, and Destination: Moon. The Shadow had mental powers in these books, to cloud men's minds so he effectively became invisible, to conquer pain, etc.

clickhere Visit the Radio America Store web site.Buy your 50 mp3 for &5.00 The Shadow was long believed to have debuted on radio as a program in its own right September 26, 1937, on the Mutual Broadcasting System. But the character actually premiered in September 1931, on CBS, as part of the hour-long The Blue Coal Radio Revue (named for the show's sponsor), featuring Frank Readick — the "Shadow" announcer of Detective Stories — as the Shadow, and playing Sundays at 5:30 p.m. Eastern standard time. The stories also appeared on Thursday nights for a month, when Love Story Drama (another Street and Smith creation) took the Thursday night slot — but also featured occasional portrayals of the Shadow. Blue Coal had a long relationship with the Shadow, moving the radio series to NBC in October 1932 with Readick playing the character on Wednesday nights now. Two years later, NBC ran the stories on Mondays and Wednesdays, both at 6:30 p.m., with LaCurto taking occasional turns as the title character. Three years later came the beginning of the half-hour drama radio buffs have remembered so well, with the then-unknown Orson Welles as the Shadow, the show moving to Mutual, and the famous catch phrase now in full play. Welles did not speak that signature line — Readick did, using a water glass next to his mouth for the echo effect. But Welles did make a credible Shadow, two years before his notoriety as the mastermind of Mercury Theatre on the Air's production of War of the Worlds. After Welles left the role for a career in the cinema, The Shadow was portrayed by such actors as Bill Johnstone, Bret Morrison (the longest tenure, with ten years in two separate runs), John Archer, and Steve Courtleigh as Lamont Cranston/The Shadow. The radio show also introduced female characters into the Shadow's realm, most notably Margot Lane (played by Agnes Moorehead among others) as Cranston's love interest and crime-solving partner (the character was eventually integrated into Gibson's pulp novels). In the 1994 movie, Margot's name was spelled "Margo." However, early scripts of the radio show clearly show that the character's name was spelled "Margot". Once The Shadow joined Mutual as a half-hour series, it did not leave Sunday evenings radio until December 26, 1954. It outlasted the magazine that gave birth to it: The Shadow Magazine ended with the summer 1949 issue, although Gibson wrote three new "official" stories between 1963 and 1980. Gibson started off a short series of updated Shadow novels for Belmont with Return of the Shadow under his own name, followed by The Shadow Strikes, Beware Shadow, Cry Shadow, The Shadow's Revenge, Mark of The Shadow, Shadow Go Mad, Night of The Shadow, and Destination: Moon. The Shadow had mental powers in these books, to cloud men's minds so he effectively became invisible, to conquer pain, etc.

clickhere Visit the Radio America Store web site.Buy your 50 mp3 for &5.00s sober, gentle humor captured a large, sustaining audience, even if it never reached the top ten in the actual ratings and later critics tended to dismiss it as fostering a slightly unrealistic picture of post-World War II American family life.

clickhere Visit the Radio America Store web site.Buy your 50 mp3 for &5.00s sober, gentle humor captured a large, sustaining audience, even if it never reached the top ten in the actual ratings and later critics tended to dismiss it as fostering a slightly unrealistic picture of post-World War II American family life.

clickhere Visit the Radio America Store web site.Buy your 50 mp3 for &5.00

clickhere Visit the Radio America Store web site.Buy your 50 mp3 for &5.00

clickhere Visit the Radio America Store web site.Buy your 50 mp3 for &5.00s Rockefeller Center complex.

clickhere Visit the Radio America Store web site.Buy your 50 mp3 for &5.00s Rockefeller Center complex.

clickhere Visit the Radio America Store web site.Buy your 50 mp3 for &5.00 It is Thursday night, July 31,1930. The time is 9:40 PM. Radio listeners tuned to CBS hear the first appearance of "The Shadow" as James La Curto portrays the part in the Detective Story Hour. Street and Smith publishers sponsored this show (which lasted about a year), along with their magazine series The Shadow, A Detective Monthly. In September 1931, The Blue Coal Radio Revue, starring Frank Readick, Jr. (who was the star in the later Detective Story Hour shows), continued the adventures of "The Shadow". The show remained an hour long, but was heard on Sundays at 5:30 PM. For a short time, lucky CBS listeners were able to hear The Shadow on both Thursdays and Sundays. In October, 1931, the 9:30 Thursday slots were taken by Love Story Drama or Love Story Hour (sponsored by Street and Smith), which also had portrayals of The Shadow! The program shifted to Mutual on September 26, 1937, and was heard on Sundays at 5:30 PM. It maintained the same sponsor (Blue Coal), but had a new voice for Lamont Cranston, the young and relatively new theater and radio personality: Orson Welles. The 1937 programs also began to feature "The Shadow" as a character in the stories, rather than merely as a narrator. (Mr Welles was "The Shadow" through 1938, while the now syndicated program was sponsored by Goodrich.) Here is a log of The Shadow while Orson Welles played the part, as well as the famous "Weed of Crime" ending from 1938. [Experts state this voice is really that of Frank Readick rather than Orson Welles]

clickhere Visit the Radio America Store web site.Buy your 50 mp3 for &5.00 It is Thursday night, July 31,1930. The time is 9:40 PM. Radio listeners tuned to CBS hear the first appearance of "The Shadow" as James La Curto portrays the part in the Detective Story Hour. Street and Smith publishers sponsored this show (which lasted about a year), along with their magazine series The Shadow, A Detective Monthly. In September 1931, The Blue Coal Radio Revue, starring Frank Readick, Jr. (who was the star in the later Detective Story Hour shows), continued the adventures of "The Shadow". The show remained an hour long, but was heard on Sundays at 5:30 PM. For a short time, lucky CBS listeners were able to hear The Shadow on both Thursdays and Sundays. In October, 1931, the 9:30 Thursday slots were taken by Love Story Drama or Love Story Hour (sponsored by Street and Smith), which also had portrayals of The Shadow! The program shifted to Mutual on September 26, 1937, and was heard on Sundays at 5:30 PM. It maintained the same sponsor (Blue Coal), but had a new voice for Lamont Cranston, the young and relatively new theater and radio personality: Orson Welles. The 1937 programs also began to feature "The Shadow" as a character in the stories, rather than merely as a narrator. (Mr Welles was "The Shadow" through 1938, while the now syndicated program was sponsored by Goodrich.) Here is a log of The Shadow while Orson Welles played the part, as well as the famous "Weed of Crime" ending from 1938. [Experts state this voice is really that of Frank Readick rather than Orson Welles]

clickhere Visit the Radio America Store web site.Buy your 50 mp3 for &5.00 Dragnet debuted inauspiciously. The first several months were bumpy, as Webb and company worked out the program’s format and eventually became comfortable with their characters (Friday was originally portrayed as more brash and forceful than his later usually relaxed demeanor). Gradually, Friday’s deadpan, fast-talking persona emerged, described by John Dunning as "a cop's cop, tough but not hard, conservative but caring." (Dunning, 210) Friday’s first partner was Sgt. Ben Romero, portrayed by Barton Yarborough, a longtime radio actor. When Dragnet hit its stride, it became one of radio’s top-rated shows. Webb insisted on realism in every aspect of the show. The dialogue was clipped, understated and sparse, influenced by the hard boiled school of crime fiction. Scripts were fast moving but didn’t seem rushed. Every aspect of police work was chronicled, step by step: From patrols and paperwork, to crime scene investigation, lab work and questioning witnesses or suspects. The detectives’ personal lives were mentioned, but rarely took center stage. (Friday was a bachelor who lived with his mother; Romero was an ever-fretful husband and father) "Underplaying is still acting," Webb told Time. "We try to make it as real as a guy pouring a cup of coffee.” (Dunning, 209) Los Angeles police chiefs C.B. Horrall and (later) William H. Parker were credited as consultants, and many police officers were fans. Webb was a stickler for accurate details, and Dragnet used many authentic touches, such as the LAPD's actual radio call sign (KMA-367), and the names of many real department officials, such as Ray Pinker and Lee Jones of the crime lab or Chief of Detectives Thad Brown. Episodes began with an announcer describing the basic premise of the show. "Big Saint" (April 26, 1951) for example, begins with, "You're a Detective Sergeant, you're assigned to auto theft detail. A well organized ring of car thieves begins operations in your city. It's one of the most puzzling cases you've ever encountered. Your job: break it." Friday offered voice-over narration throughout the episodes, noting the time, date and place of every scene as he and his partners went through their day investigating the crime. The events related in a given episode might occur in a few hours, or might span a few months. At least one episode unfolded in real time: in "City Hall Bombing" (July 21, 1949), Friday and Romero had less than 30 minutes to stop a man who was threatening to destroy the City Hall with a bomb. At the end of the episode, the announcer would relate the fate of the suspect. They were usually convicted of a crime and sent to "the State Penitentiary, San Quentin" or a mental hospital, but other occasions the cases had ambiguous, unusual or even disappointing resolutions. Sometimes, criminals avoided justice or escaped, at least on the radio version of Dragnet. In 1950, Time quoted Webb: "We don’t even try to prove that crime doesn’t pay ... sometimes it does" (Dunning, 210) Specialized terminology was mentioned in every episode, but was rarely explained. Webb trusted the audience to determine the meanings of words or terms by their context, and furthermore, Dragnet tried to avoid the kinds of awkward, lengthy exposition that people wouldn’t actually use in daily speech. Several specialized terms (such as "A.P.B." for "All Points Bulletin" and "M.O." for "Modus Operandi") were rarely used in popular culture before Dragnet introduced them to everyday America. While most radio shows used one or two sound effects experts, Dragnet needed five; a script clocking in at just under 30 minutes could require up to 300 separate effects. Accuracy was underlined: The exact number of footsteps from one room to another at Los Angeles police headquarters were imitated, and when a telephone rang at Friday’s desk, the listener heard the same ring as the telephones in L(continued)

clickhere Visit the Radio America Store web site.Buy your 50 mp3 for &5.00 Dragnet debuted inauspiciously. The first several months were bumpy, as Webb and company worked out the program’s format and eventually became comfortable with their characters (Friday was originally portrayed as more brash and forceful than his later usually relaxed demeanor). Gradually, Friday’s deadpan, fast-talking persona emerged, described by John Dunning as "a cop's cop, tough but not hard, conservative but caring." (Dunning, 210) Friday’s first partner was Sgt. Ben Romero, portrayed by Barton Yarborough, a longtime radio actor. When Dragnet hit its stride, it became one of radio’s top-rated shows. Webb insisted on realism in every aspect of the show. The dialogue was clipped, understated and sparse, influenced by the hard boiled school of crime fiction. Scripts were fast moving but didn’t seem rushed. Every aspect of police work was chronicled, step by step: From patrols and paperwork, to crime scene investigation, lab work and questioning witnesses or suspects. The detectives’ personal lives were mentioned, but rarely took center stage. (Friday was a bachelor who lived with his mother; Romero was an ever-fretful husband and father) "Underplaying is still acting," Webb told Time. "We try to make it as real as a guy pouring a cup of coffee.” (Dunning, 209) Los Angeles police chiefs C.B. Horrall and (later) William H. Parker were credited as consultants, and many police officers were fans. Webb was a stickler for accurate details, and Dragnet used many authentic touches, such as the LAPD's actual radio call sign (KMA-367), and the names of many real department officials, such as Ray Pinker and Lee Jones of the crime lab or Chief of Detectives Thad Brown. Episodes began with an announcer describing the basic premise of the show. "Big Saint" (April 26, 1951) for example, begins with, "You're a Detective Sergeant, you're assigned to auto theft detail. A well organized ring of car thieves begins operations in your city. It's one of the most puzzling cases you've ever encountered. Your job: break it." Friday offered voice-over narration throughout the episodes, noting the time, date and place of every scene as he and his partners went through their day investigating the crime. The events related in a given episode might occur in a few hours, or might span a few months. At least one episode unfolded in real time: in "City Hall Bombing" (July 21, 1949), Friday and Romero had less than 30 minutes to stop a man who was threatening to destroy the City Hall with a bomb. At the end of the episode, the announcer would relate the fate of the suspect. They were usually convicted of a crime and sent to "the State Penitentiary, San Quentin" or a mental hospital, but other occasions the cases had ambiguous, unusual or even disappointing resolutions. Sometimes, criminals avoided justice or escaped, at least on the radio version of Dragnet. In 1950, Time quoted Webb: "We don’t even try to prove that crime doesn’t pay ... sometimes it does" (Dunning, 210) Specialized terminology was mentioned in every episode, but was rarely explained. Webb trusted the audience to determine the meanings of words or terms by their context, and furthermore, Dragnet tried to avoid the kinds of awkward, lengthy exposition that people wouldn’t actually use in daily speech. Several specialized terms (such as "A.P.B." for "All Points Bulletin" and "M.O." for "Modus Operandi") were rarely used in popular culture before Dragnet introduced them to everyday America. While most radio shows used one or two sound effects experts, Dragnet needed five; a script clocking in at just under 30 minutes could require up to 300 separate effects. Accuracy was underlined: The exact number of footsteps from one room to another at Los Angeles police headquarters were imitated, and when a telephone rang at Friday’s desk, the listener heard the same ring as the telephones in L(continued)