Radio Archive

Gang Busters - the show, a police-based dramatic crime anthology, ran from 1935-1957 and focused on dramatizing crimes from police files. The show also broadcast alerts, known as Gang Buster Clues, of suspects wanted by police around the country. Sadly only a limited number of episodes are known to survive.

Mr. District Attorney is a popular radio crime drama, produced by Samuel Bischoff, which aired on NBC and ABC from April 3, 1939 to June 13, 1952 (and in transcribed syndication through 1953). The series focused on a crusading D.A., initially known only as "Mister District Attorney," or "Chief", and was later translated to television. On television the D.A. had a name, Paul Garrett, and the radio version picked up this name in the final years when David Brian played the role. A key figure in the dramas was the D.A.'s secretary, Edith Miller (Vicki Vola). Created, written, and directed by former law student Ed Byron, the series was inspired by the early years of New York governor Thomas E. Dewey. It was Dewey's public war against racketeering which led to his election as governor. Phillips H. Lord, creator of Gangbusters, helped to develop the concept and coined the title. Byron lent an air of accuracy and immediacy to his scripts through close study of crime statistics, a library of criminology texts, following the newspapers, and even going around rough bars to gain tips, background, and color from crooks and police alike. His techniques sometimes enabled Byron to predict major crime waves before the news broke. Produced throughout its run in New York City, the series began as a fifteen minute serial, becoming a half hour, self-contained series three months later. During 1942, Mr. District Attorney began battling Nazis, leading to conflicts with the FBI when the scripts reflected life too closely. Cast and characters: Mr. District Attorney - The nameless title role was played by several actors throughout the run, with the breakdown as follows: Dwight Weist (1939 serials); Raymond Edward Johnson (1939 half hour shows); Jay Jostyn (1940 through 1952 - Jostyn also guest starred in the role in mystery sketches for the game show Quick as a Flash); David Brian (1952-1953 syndication). Voice of the Law - The show's signature was the opening announcer, known as the "Voice of the Law," who defined the creed and duties of Mr. District Attorney. The role was played by Maurice Franklin and also Jay Jostyn, prior to taking over the lead role Miss Miller - Edith Miller was the district attorney's faithful secretary, played throughout the run by Vicki Vola Len Harrington - The D.A.'s chief investigator, a former cop; played by Walter Kinsella, who had been heard in various police roles during the early years, and by Len Doyle from 1940 onward. Other supporting players and guests on the series includeded such noted actors as Paul Stewart and Frank Lovejoy.

Opening in 1875, the Crime Museum at Scotland Yard is the oldest museum in the world purely for recording crime. The name "Black Museum" was coined in 1877 by a reporter from "The Observer", a London newspaper, although the museum is still referred to as the Crime Museum. It is this museum that inspired The Black Museum radio series, produced in London by Harry Alan Towers. From Jay Hickerson's "The Ultimate History of Network Radio Programming and Guide To All Circulating Shows", the earliest US broadcast date was January 1, 1952. Thirty nine shows, from the full syndication of fifty two shows, aired over Mutual stations from January 1, 1952 through June 24, 1952 and September 30, 1952 through December 30, 1952. This may be the earliest broadcast of the series worldwide. It was later broadcast over Radio Luxembourg starting May 7, 1953. Radio Luxembourg broadcast sponsored programs at night to England (the BBC was state-owned and had no commercials). The shows were sponsored by Dreft and Mirro (cleaning products). The series continued to be offered in syndication and was heard on AFRTS broadcasts and in the US on NPR stations through the 1960's, 70's and 80's. Some shows were broadcast by the BBC in England in 1994. This murder mystery series was based on true life cases from Scotland Yard's files. Each episode was based on an item or items of evidence in the museum.

"Adventure wanted -- will go anywhere, do anything -- Box 13." The premise of the program was that Dan Holiday was an author who wrote mystery novels. To get ideas for his novels he placed an advertisement in a newspaper saying "Adventure wanted, will go anywhere, do anything, Box 13." The ads always brought fun adventures of all kinds: from racketeer's victim to psychotic killer looking for fun. Most of the episodes were based on Dan Holiday replying to a letter he received at Box 13. He would generally solve a mystery in the process, and return to his office in time to enjoy a hearty laugh at the expense of Suzy, his amusingly stupid secretary. He would certainly not meet the strictest requirements for private eyes (not licensed, collected no fees from clients), but the definition should stretch to sneak him in under the rope. In total there were 52 episodes of this radio program created. It was heard over the Mutual Broadcasting System as well as being syndicated. The series was produced by Mayfair Productions. Box 13, starring Alan Ladd as Dan Holiday. Sylvia Picker played Suzy, Dan Holiday's secretary and Edmond MacDonald as Lt. Kling. Other stars in the series were Betty Lou Gerson, Lurene Tuttle, Alan Reed, Luis Van Rooten, John Beal and Frank Lovejoy. Music was by Rudy Schrager and the writer was Russell Hughes. Announcer/Director was Vern Carstensen. The series was produced by Richard Sanville with Alan Ladd as co-producer.

This hard boiled spy drama began as an RKO Radio Pictures theatrical serial in the 1940s, went on radio in 1943, and then came to TV around ten years later in a Syndicated series produced for distribution by NBC Films; the series was about an American agent whose code name was "Falcon". The success of the films led to a radio series that premiered on the American Blue Network in April 1943, and aired for the next ten years on various networks. It was here that his transition into a private eye was finalized, with The Falcon, now called Michael Waring working as a hardboiled insurance investigator, with an office and a secretary, Nancy. Barry Kroeger was the first radio voice of the Falcon, followed by James Meighan, Les Tremayne, George Petrie, and Les Damon. Nearly all the shows were broadcast from New York. Each show usually started out with a telephone call to The Falcon from a beautiful woman. Answering in his slightly British accent, he would reply to her and another adventure would follow. Waring was snappy and sarcastic with the incompetent police who were inevitably unable to solve the mysteries without his help. Like the films, the radio plots mixed danger, romance and comedy in equal parts.

The anthology series featured stories of mystery, terror and suspense, and its tongue-in-cheek introductions were in sharp contrast to shows like Suspense and The Whistler. The early 1940s programs opened with Raymond Edward Johnson introducing himself as, "Your host, Raymond," in a mocking sardonic voice. A spooky melodramatic organ score (played by Lew White) punctuated Raymond's many morbid jokes and playful puns. Raymond's closing was an elongated "Pleasant dreeeeaams, hmmmmm?" His tongue-in-cheek style and ghoulish relish of his own tales became the standard for many such horror narrators to follow, from fellow radio hosts like Ernest Chappell (on Wyllis Cooper's later series, Quiet, Please) and Maurice Tarplin (on The Mysterious Traveler). When Johnson left the series in May 1945 to serve in the Army, he was replaced by Paul McGrath, who did not keep the "Raymond" name and was known only as "Your Host" or "Mr. Host" (Berry Kroeger had substituted earlier for a total of four episodes). McGrath was a Broadway actor who turned to radio for a regular income. Beginning in 1945, Lipton Tea sponsored the series, pairing first Raymond and then McGrath with cheery commercial spokeswoman Mary Bennett (aka the "Tea Lady"), whose blithesome pitches for Lipton Tea contrasted sharply with the macabre themes of the stories. She primly chided the host for his trademark dark humor and creepy manner. The Creaking Door: The program's familiar and famed audio trademark was the eerie creaking door which opened and closed the broadcasts. Himan Brown got the idea from a door in the basement that "squeaked like Hell." The door sound was actually made by a rusty desk chair. The program did originally intend to use a door, but on its first use, the door did not creak. Undaunted, Brown grabbed a nearby chair, sat in it and turned, causing a hair-raising squeak. The chair was used from then on as the sound prop. On at least one memorable occasion, a staffer innocently repaired and oiled the chair, thus forcing the sound man to mimic the squeak orally. Guest Stars: Its campy comedy notwithstanding, the stories were usually effective little chillers, mixing horror and humor in equal doses. Memorable episodes included "Terror by Night" (September 18, 1945) and an adaptation of "The Tell-Tale Heart" (August 3, 1941). The latter starred Boris Karloff, who was heard regularly in the first season, starring in more than 15 episodes and returning sporadically thereafter. Other established stars in the early years included Mary Astor, Helen Hayes, Peter Lorre, Paul Lukas, Claude Rains, Frank Sinatra, and Orson Welles. Most of the lead and supporting players were stalwarts of New York radio. These included Santos Ortega, Mercedes McCambridge, Berry Kroeger, Lawson Zerbe, Arnold Moss, Leon Janney, and Mason Adams. Players like Richard Widmark, Everett Sloane, Burgess Meredith, Agnes Moorehead, Ken Lynch, and Anne Seymour, also found fame via the Inner Sanctum Mysteries.

Lum and Abner was an American network radio comedy program created by Chester Lauck and Norris Goff that was aired from 1931 to 1954. Modeled on life in the small town of Waters, Arkansas, near where Lauck and Goff grew up, the show proved immensely popular. In 1936, Waters changed its name to Pine Ridge after the show's fictional town.

Philo Vance was the detective creation of S. S. Van Dine first published in the mid 1920s. Vance, in the original books, is an intellectual so highly refined he seems he might be ghostwritten by P. G. Wodehouse. Take this quote from The Benson Murder Case, 1924, as Vance pontificates in his inimitable way: "That's your fundamental error, don't y' know. Every crime is witnessed by outsiders, just as is every work of art. The fact that no one sees the criminal, or the artist, actu'lly at work, is wholly incons'quential." Thankfully, the radio series uses only the name, and makes Philo a pretty normal, though very intelligent and extremely courteous gumshoe. Jose Ferrer played him in 1945. From 1948-1950, the fine radio actor Jackson Beck makes Vance as good as he gets. George Petrie plays Vance's constantly impressed public servant, District Attorney Markham. Joan Alexander is Ellen Deering, Vance's secretary and right-hand woman. The organist for the show is really working those ivories, and fans of old time radio organ will especially enjoy this series. Perhaps one reason the organist "pulls out all the stops" is because there seems to be little, if any, sound effects on the show. Philo Vance, the radio series, does pay homage to the original books in that both were, even in their own time, a bit out of date and stilted.

Fibber McGee and Molly. Starring the wonderful husband and wife team of Jim and Marian Jordan as the named characters, the show chronicles the life, foibles and follies of Fibber and his understanding -and perhaps long-suffering - wife, Molly. The show was a stalwart of the golden days of radio, airing from 1935-1953 as 30-minute weekly episodes, 1953-1956 as five day-a-week 15-minute episodes, and then every weekend on NBC's Monitor, in five 3-to-5 minute vignettes throughout the day each Saturday and Sunday from 1957-1959. Full of heart, sincerity and never-ending comedy, the show reflected the sensibilities and values of Jim and Marian, as well as writer Don Quinn. Throughout the 1940s, Fibber McGee and Molly was consistently a top-5 program, frequently sitting number 1 in the ratings. In my opinion, the show was, without a doubt, one of the greatest in all of Old Time Radio. I believe this collection contains virtually all known circulating episodes. There are 644 (out of 740) of the 30 minute episodes, 548 (out of 580) of the 15 minute episodes, and 36 (out of 238) Monitor episodes (although many of those are incomplete). Also included are 4 special shows, including one episode of the Jordans' prior show, Smackout, an anniversary party for the show, and two later interviews with Jim Jordan from the 1980s. I have done extensive work trying to track down and confirm all of the episode dates and numbers using various sources. In doing so, I have discovered some errors in versions circulating around the web and have renamed/renumbered them accordingly. I believe that my dates and episode numbers are correct, but any corrections are welcome. The goal is to try to put together the most accurate and complete set as possible so that everyone can enjoy this wonderful program.

Let George Do It was a radio drama series produced by Owen and Pauline Vinson from 1946 to 1954. It starred Bob Bailey as detective-for-hire George Valentine (with Olan Soule stepping into the role in 1954). Clients came to Valentine's office after reading a newspaper carrying his classified ad: Personal notice: Danger's my stock in trade. If the job's too tough for you to handle, you've got a job for me. George Valentine. The few earliest episodes were more sitcom than private eye shows, with a studio audience providing scattered laughter at the not-so-funny scripts. Soon the audience was banished, and George went from stumbling comedic hero to tough guy private eye and the music from wah-wah-wah to suspenseful. Valentine's secretary was Claire Brooks, aka Brooksie (Frances Robinson, Virginia Gregg, Lillian Buyeff). As Valentine made his rounds in search of the bad guys, he usually encountered Brooksie's kid brother, Sonny (Eddie Firestone), Lieutenant Riley (Wally Maher) and elevator man Caleb (Joseph Kearns). For the first few shows, Sonny was George's assistant, but he was soon relegated to an occasional character. Sponsored by Standard Oil, the program was broadcast on the West Cast Mutual Broadcasting System from October 18, 1946 to September 27, 1954, first on Friday evenings and then on Mondays. In its last season, transcriptions were aired in New York, Wednesdays at 9:30pm, from January 20, 1954 to January 12, 1955. John Hiestand was the program's announcer. Don Clark directed the scripts by David Victor and Jackson Gillis. The background music was supplied by Eddie Dunstedter, initially with a full orchestra. When television supplanted radio as the country's primary home entertainment, radio budgets got skimpier and skimpier and Dunstedter's orchestra was replaced by an organ.

The Great Gildersleeve is a radio situation comedy broadcast from August 31, 1941, to March 21, 1957. Initially written by Leonard Lewis Levinson, it was one of broadcast history's earliest spin-off programs. The series was built around the character Throckmorton P. Gildersleeve, a regular element of the radio situation comedy Fibber McGee and Molly. The character was introduced in the October 3, 1939 episode (number 216) of that series. The Great Gildersleeve enjoyed its greatest popularity in the 1940s. Actor Harold Peary played the character during its transition from the parent show into the spinoff and later in four feature films released at the height of the show's popularity. In Fibber McGee and Molly, Peary's Gildersleeve had been a pompous windbag and nemesis of Fibber McGee. "You're a haa-aa-aa-aard man, McGee!" became a Gildersleeve catchphrase. The character went by several aliases on Fibber McGee and Molly; his middle name was revealed to be "Philharmonic" in "Gildersleeve's Diary" episode on October 22, 1940. "Gildy" grew so popular that Kraft Foods—promoting its Parkay margarine—sponsored a new series featuring Peary's somewhat mellowed and always befuddled Gildersleeve as the head of his own family.

You're walking alone on the street at night, but then you hear another set of footsteps and a haunting tune being whistled by an unseen stranger. Fritz Lang used an similar premise in his 1930s German movie with Peter Lorre playing M, a psychopathic murderer of children. But the American radio series was even creepier. The unseen Whistler didn't kill anyone (that we know of), but he certainly loved watching murders take place, narrating them for us, and chuckling at the suffering of others instead of doing anything to stop it. Unlike M, he was never caught. He kept walking the streets every week for thirteen long years, whistling his ominous thirteen notes and telling us another tale of bizarre fate. Perhaps Fate is who the Whistler really was? He never provided any sir name, and the killer was usually punished by some twist of fate that only The Whistler seemed to expect. It is very likely The Whistler was inspired by The Shadow, which began nearly a decade earlier. Like the Shadow, the Whistler seemed to enter and exit the criminal underworld without ever being seen. He would watch the evil doers carry out their schemes, yet they never saw him, even though he would tell us what they were thinking in their presence. His voice sounded equally sinister to The Shadow, too. It was was a slithering tenor, hissing the "s's" and often laughing "heh-heh-heh-hehheh!" at the foolishness of the guilty. Both series had similar opening lines: The Shadow "knew what evil lurked in the hearts of men", whereas The Whistler "knows many strange tales hidden in the hearts of men and women who have stepped into the shadows." When Bill Forman served 1/2 year in the military, Marvin Miller substituted as The Whistler. Also like The Shadow, several different actors played the title role over the course of The Whistler series. Bill Forman played it the most, but his announcer (Marvin Miller) substituted for him during the six months of his army duty (Buxton, 256). Gale Gordon and Joseph Kearns voiced the Whistler in earlier days, while Everett Clarke played the character in 1947 and Bill Johnstone did in 1948 (Dunning, 719). The last similarity was the saddest one. Both series ended about the time frame (in the mid 1950s). Crime increased in the following decades, maybe because the guilty felt they were no longer being watched and could get away with murder. Or could it be that the Whistler is saving up some more great stories to tell us about in the future?

Nero Wolfe first appeared on radio on July 5, 1943 on the NBC Blue Network in The Adventures Of Nero Wolfe. This series didn't last long and starred Santos Ortega as Wolfe and Luis Van Rooten as Archie. The second series was during 1945 on the Mutual network in The Amazing Nero Wolfe. This lasted only until December 15, 1946 and starred Francis X. Bushman and Elliot Lewis as Archie. The third series was known as The New Adventures of Nero Wolfe. Starting on October 20, 1950 it lasted only until April 27, 1951. It starred Sidney Greenstreet as Nero Wolfe. The part of Archie was played by Lawrence Dobkin for the first twelve shows. Gerald Mohr took over for the next four shows after making a guest appearance in the twelfth show. Harry Bartell was Archie for the remainder of the series. Nero Wolfe, also known as the galloping gourmet, was an armchair detective. He rarely left the house; instead his assistant, Archie Goodwin, would collect the facts and report back. Nero Wolfe would probably not have taken on many cases had he not needed the clients' money to pay for his two true passions: fine food and the collecting of orchids. Archie Goodwin, Wolfe's male secretary, prodded him into taking cases whenever the bank balance got a little low. Wolfe, as a character, is difficult to like. He's a self-assured type that does nothing unless he wants to, making his assistant, Archie Goodwin, deal with the outside world. The New Adventures of Nero Wolfe is based on a series of books begun in 1934 by Rex Stout. There were two previous incarnations of the radio series: The Adventures of Nero Wolfe which ran in 1943 and 1944 and The New Adventures of (aka The Amazing) Nero Wolfe which ran in 1945 to 1946. Very few episodes from these earlier series are in circulation today. There was also one later series created by the Canadian Broadcasting Company in 1982.

Ranger Bill, Warrior of the Woodland, struggling against extreme odds, traveling dangerous trails, fighting the many enemies of nature. This is the job of the guardian of the forest, Ranger Bill. Pouring rain, freezing cold, blistering heat, snows, floods, bears, rattlesnakes, mountain lions. Yes, all this in exchange for the satisfaction and pride of a job well done." That was the opening of Ranger Bill, a Christian radio adventure serial produced under the auspices of the Moody Broadcasting Network and the Moody Bible Institute. There were 206 episodes of Ranger Bill, which ran from 1950 to 1954 in a 15-minute format on WMBI in Chicago, and in syndication as a 30-minute show from 1954 to 1962. The series followed the adventures of Park Ranger Bill Jefferson. Miron Canaday starred as Bill, the chief forest ranger in the small Rocky Mountain town of Knotty Pine, where the former US Marine lived with his mother. Ranger Bill was your standard radio hero, a paragon of fitness and virtue who could resolve nearly any situation. Ranger Bill and his friends were faced with many situations to solve over the years, from the mundane, like finding lost kids or investigating the problems racing boats were causing on the lake, to the fantastic, including several elephant attacks, spacemen apparently coming from a meteor and trying to find a lost treasure in the Amazon, all the while stressing positive Christian values for young people. Friends that figured prominently in Bill's adventures included Stumpy Jenkins, an eagle-eyed ranger known for his marksmanship and often called "the Old Timer"; Henry Scott, Bill's teenage ward, was learning the ways of the woods by helping out Bill in the park, along with young ranger Ralph Carpenter; and Gray Wolf, a ranger and a member of the Dakota tribe. Gray Wolf spoke in the typical broken English for the era and genre, but knew how to use the traditional ways of his people and modern forest management methods to help Bill protect the woods. The first episode introduced Bill's boss, Colonel Anders, who sent Bill and Henry to blow up the Pine Ridge Dam in order to stop a forest fire threatening the Pendleton Valley. The program is still broadcast on the Children's Sonshine Network and on His Kids Radio, both on regional radio stations and internet simulcasts, along with several other similarly Christian-themed programs.

The Adventures of Sam Spade was first heard on ABC July 12, 1946, as a Friday-night summer series. The show clicked at once, and went into a regular fall lineup on CBS September 29, 1946. From then until 1949, Sam Spade was a Sunday-night thriller for Wildroot Cream Oil, starring Howard Duff in the title role. With Duff's departure, NBC took the series, leaving it on Sunday for Wildroot and starring Stephen Dunne as Spade. This version lasted until 1951, the last year running as a Friday sustainer. Spade's appearance on the air marked an almost literal transition from Dashiell Hammett's 1930 crime classic, The Maltese Falcon, where he first appeared. Spade was a San Francisco detective, one of the most distinctive of the hardboiled school. His jump to radio was wrought by William Spier, who had already carved out a reputation as a master of mystery in his direction of another highly rated CBS thriller, Suspense. Spier was editor, producer, director. A lifelong radio man, he had broken in during the primitive days of 1929 and earned his stripes serving on such pioneering shows as The March of Time. Spier assembled the writing team of Bob Tallman and Ann Lorraine and began putting Spade together. He was impressed by the deep, cynical, tough qualities in Howard Duff's voice. Duff had long experience as an actor, a career that traced back to his high school days in Seattle. He had originally wanted to be a cartoonist, but the sound of applause in a senior-year play at Roosevelt High changed all that. Suddenly stagestruck, Duff began hitting the boards. He worked in local theatre groups and craked radio as an announcer on a local station. When the war came, Duff went with Armed Forces Radio as a correspondent, a job he held for more than four years. He emerged in Hollywood in 1945, a seasoned but unsung microphone veteran. With his perfect voice and polished delivery, it wasn't long before Duff was playing supporting parts in top dramas of the air. Sam Spade shot him to national fame. The character, as Spier saw it, would Have many easily identifiable traits. The first thing Spade usually wanted to know was, "How much money you got on you?" "Two hundred? Okay, I'll take that and you can pay me the rest later." But Spade wasn't a spendthrift -- he never threw silver-dollar tips a la Johnny Dollar, even if he could have put it on his expense account. Spade favorite way to travel was by streetcar; it took him almost anywhere for a dime. He disliked cabs and liked cheap booze. You didn't need more than an occasional, subtle reminder: those glasses clinking every week as Sam opened his desk drawer and began dictation were enough. We knew Sam and Effie weren't toasting each other with Sal Hepatica. Sam was a man who worked out of his desk, and the thing closest at hand in that top drawer just might be a half-empty bottle of Old Granddad. His clients got bumped off with startling regularity. Then Sam sent his report (and presumably his bill) to the widows. He dictated his cases to his faithful secretary, Effie Perrine, a babbling, man-hungry female who might have been the adult Corliss Archer. Each case came out as a report, dated, signed, and delivered. Spade license number - 137596 - was always included in the report. The cases unfolded in chronological order, the scenes shifting between Sam and Effie and the dramatization of Sam's dictation. Effie, who always seemed on the verge of tears whenever Sam became involved (as he did weekly) with a curvy client, was beautifully played by Lurene Tuttle, Jerry Hausner played Sam's lawyer, Sid Weiss. Lud Gluskin directed the music and Dick Joy announced. Soon after the series began, Ann Lorraine dropped her writing duties, and Gil Doud became Bob Tallman's writing partner. The show ran in its original format through the episode of September 17, 1950. Then Howard Duff quit for a fling at movies, and Sam Spade languished for two months. On November 17, 1950, it returned on NBC. Duff's...

Broadway's My Beat, a radio crime drama, ran on CBS from February 27, 1949 to August 1, 1954. With music by Robert Stringer, the show originated from New York during its first three months on the air, with Anthony Ross portraying Times Square Detective Danny Clover. John Dietz directed for producer Lester Gottlieb. Beginning with the July 7, 1949 episode, the series was broadcast from Hollywood with producer Elliott Lewis directing a new cast in scripts by Morton Fine and David Friedkin. The opening theme of "I'll Take Manhattan" introduced Detective Danny Clover (played by Larry Thor), a hardened New York City cop who worked homicide "from Times Square to Columbus Circle -- the gaudiest, the most violent, the lonesomest mile in the world." Danny Clover narrated the tales of the Great White Way to the accompaniment of music by Wilbur Hatch and Alexander Courage, and the recreation of Manhattan's aural tapestry required the talents of three sound effects technicians (David Light, Ralph Cummings, Ross Murray). Bill Anders was the show's announcer. The supporting cast included regulars Charles Calvert (as Sgt. Gino Tartaglia) and Jack Kruschen (as Sgt. Muggavan), with episodic roles filled by such radio actors as Irene Tedrow, Barney Phillips, Lamont Johnson, Herb Ellis, Hy Averback, Edgar Barrier, Betty Lou Gerson, Harry Bartell, Sheldon Leonard, Martha Wentworth, Lawrence Dobkin and Mary Jane Croft.

Lux Radio Theatre was indisputably the biggest, most important, most expensive drama anthology program on radio. It ran from October 14, 1934 until June 7, 1955, then continued on television as Lux Video Theatre until 1957. In all, some 926 episodes were broadcast, providing a record of the most important entertainment events in American theatre and, later, film. The show was first broadcast on the NBC Blue Network on Sundays at 2:30 PM. The show featured adaptations of successful Broadway plays when it was produced out of New York, such as Seventh Heaven, the first production starring Miriam Hopkins, Smilin' Through, Berkeley Square, Daddy Long Legs, Peg O' My Heart and Way Down East. On July 29, 1935, the show moved to Monday night at 9:00 PM on CBS, where it would stay until June 29, 1954. The show moved to Hollywood on May 25, 1936 with the production of The Legionnaire and the Lady, based on the film Morocco, starring Marlene Dietrich and Clark Gable. The audience for this production was estimated as high as 40 million. The show featured many of the most important films of the period, adapted to fit the 60 minute time slot. Some of the titles for 1939 should indicate the caliber and range of shows: Stage Door, Ceiling Zero, So Big, It Happened One Night, The Lives of a Bengal Lancer, Lady for a Day, The Life of Emile Zola, Tovarich, Only Angels Have Wings, The Prisoner of Zenda, The Awful Truth, Wuthering Heights, You Can't Take It With You, The Old Maid and Goodbye, Mr Chips. For its last season, (1954-1955), the show moved to Tuesday nights at 9 on NBC. Lux Radio Theatre was always broadcast live, with a studio audience and a full orchestra accompanying the performance and providing musical transitions between scenes. As many film actors were used to numerous takes and not live performance, they sometimes suffered acute stage fright before the show. However, since most received $5,000 for their performance -- in addition to free publicity for upcoming pictures -- actors appeared in their original screen roles if they were available. Indeed, production would halt if necessary on a film if performers were called to appear on Lux. When the actors were not available, others stepped in. The plays were assembled and rehearsed for a week, in sharp contrast to many other shows, which required a minimal of an actor's time. Regular players for the series included Jim and Marian Jordan, otherwise known as Fibber McGee and Molly. Hosts included Cecil B. DeMille (1936-1945), William Keighley (1945-1952) and Irving Cummings (1952-1955). Directors included Tony Stanford, Frank Woodruff, Fred MacKaye and Earl Ebi. When broadcast on the Arms Forces Radio Services in the early 1950s, the show was re-titled Hollywood Radio Theatre and hosted by Don Wilson. Similar shows include Academy Award Theater (OTRR Academy Award Theater), The Campbell Playhouse, Screen Directors Playhouse (OTRR Screen Directors' Playhouse), and The Screen Guild Theater.

In 1945, Dick Powell portrayed Phillip Marlowe in the movie "Murder My Sweet" based on Raymond Chandler's novel "Farewell My Lovely". This was a radical departure in character for Mr. Powell from a Hollywood song and dance man to a hard-boiled detective. On June 11,1945, Lux Radio Theatre brought "Murder My Sweet" to radio, again with Dick Powell in the lead. These two performances prompted his selection for the part of Richard Rogue, in Rogue's Gallery after his role for Lux Radio Theatre and Richard Diamond came four years later. Richard Diamond, Private Detective came to NBC in 1949. Diamond was a slick, sophisticated detective, with a sharp tongue for folks who needed it. Diamond enjoyed the detective life, but not as much as entertaining his girl, Helen Asher. After each show, he would croon a number to his Park Avenue sweetheart. Mr. Powell, a former song and dance man, was perfect for the role. He added an extra dimension to the 40's hokey private eye drama. Diamond was a rough gumshoe that would often get knocked on the head with a revolver butt or other items. His counterpart on the police force was Lt. Levinson who often accepted Diamond's help reluctantly. Levinson would claim to get stomach trouble whenever Diamond would call him and would take bicarbonate to settle his aching stomach. Although they always seem at odds with each other, Diamond and Levinson were best friends. The plot theme remained fairly constant throughout the entire run of the show, Diamond getting beat up and solving a tough murder case with the support of the police department. Remarkably, for all the gun fights, Diamond never got shot. And for all his bravado, he had a serious case of vertigo. Helen Asher was portrayed by Virginia Gregg, who also played the part of Brooksie on Let George Do It and Betty Lewis on Yours Truly, Johnny Dollar. Blake Edwards wrote the early shows and also directed a few. Music was composed by David Baskerville and later by Frank Wirth. In January of 1951, the series moved to ABC under the full sponsorship of Camel cigarettes. Then in May of 1953, the series moved to CBS but all shows were repeats from the 1950-51 Rexall sponsored season on NBC. Richard Diamond was one of the radio shows which successfully moved to television with David Janssen, later of The Fugitive fame, in the title role of Richard Diamond. The opening scene of the television show often featured the long lovely legs of Mary Tyler Moore, who went on to fame in The Dick Van Dyke Show and The Mary Tyler Moore Show. Mary was replaced on the Richard Diamond show when it became known that she owned the mystery legs.

After the real-life terrors of World War II, it must have been hard for most Americans to settle down to a more peaceful life and a relatively gentle radio world. Radio waves were populated, to a certain extent, with characters like Dr. Christian, Lum and Abner, and Ozzie and Harriet. When the war was over, and the GIs returned, audiences craved more dramatic programming. To fill this void, radio producers began to promote macabre and terrifying thrillers including shows like Inner Sanctum Mysteries, Lights Out, and Obsession. Obsession was produced independently by C. P. 'Chick' MacGregor, and its first episode aired on October 9, 1950. It began on WBBM, Chicago as a filler until January 15, 1951, when Obsession earned its own time slot. The program lasted only seventeen months. Its final broadcast aired May 12, 1952. The program starred many radio greats including Vincent Price, Ruth Warrick, William Gargan, Miriam Hopkins, and Barton Yarborough. Various writers have noted that the music was eerie and the acting was first-rate, but the quality of the scripts varied from week to week. Nevertheless, enthusiasts insist that it is well worth listening to. This classic radio horror series is based on the premise that the human mind is often dark and twisted; that we never truly know what is going on in the mind of those around us; that our own personal obsessions can lead to shocking, even brutal, ends.

"A Life of Bliss," a BBC Sitcom and a new radio sitcom, was introduced by the BBC on the 29th of July, 1953, starring George Cole as awkward, absent-minded bachelor David Bliss. In the early episodes, Nora Swinburne played his sister, Pamela Batten & Esmond Knight his brother-in-law, Robert Batten. Later on, these roles were absorbed by Diana Churchill & Colin Gordon The writer of the series, Geoffrey Harrison, was often late in the completion of his scripts, to the extent that he would still be typing them at the recording sessions, while Percy Edwards (the "bark" of 'Psyche,' the dog in the series) entertained the studio audience with his animal impressions. This series ran for 118 episodes before it moved (in the early 60s) to television at which time, castmate Petula Clark went to musical super-stardom!