RadioGram for July, 2013

ARE YOU A GOOD AMERICAN? TAKE THE WALTER WINCHELL TEST AND FIND OUT
sperdvac
Volume 38 • Number 3
The
July 2013
graciously extends its gratitude to these individuals
who have contributed $50 or more to sperdvac during the past
12 months. If you wish to be a sponsor of sperdvac and join this
select group your tax-deductible donation to sperdvac can be
mailed to Jerry Williams at P. O. Box 125 in Oroville, CA 95965.
Thank you!
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• ALICE AKINS in memory of Glen Akins
• DAVE AMAREL in memory of Jim
Harmon
• ARTHUR J.M. ANDERSON in memory
of Orson Welles
• ERIC BAELEN
• JUDIE BARTELL in memory of Harry
Bartell, Ben Wright and Vic Perrin
• PAUL M. BENNETT
• OLIVER BERLINER in memory of John
Guedel, Martha Tilton and Lena
Romay
• FRED BONDY in memory of the whole
Gunsmoke gang
• GEORGE BRECKENRIDGE
• DAVID & LINDA BRENINGER
• BUD BRESNAHAN in memory of Richard Crenna
• RICHARD A. BROCKELMAN
• DENNIS B. BURK in memory of Phil
Harper
• CHRIS M. BUZZARD
• RICHARD CHANDLEE in memory of
Truda Marsen Chandlee
• GEROLD M. CLEMENSEN
• WARD L. COCHRAN
• BERT H. COHEN
• RICHARD F. COLAVECHIO in memory
of Bryna Raeburn, Craig McDonnell,
Bill Zuckert and Florence Robinson
• JOHN COLLINS
• THOMAS W. COLLINS in memory of
William Conrad
• TOMMY COOK in memory of Arch
Oboler
• IVAN CURY in memory of Bob Novak
• DIX DAVIS
• LLOYD DE LLAMAS
• ROSEMARY DOBBS
• JUNE FORAY DONAVAN in memory of
Hobart Donavan
• WIL DUFOUR
• BOB DUNCAN, JR.
• HERB ELLIS in memory of Larry Dobkin, Harry Bartell and Parley Baer
• JAY ELZWEIG in honor of the Long Island Radio & TV Historical Society, the
WCWP-FM Alumni Association and
Staff, John “The Movie Man” Carpenter and Eddie “The Old Philosopher”
Lawrence
• HENRY C. ENGELHARDT III in memory
of Michael Meredith
• CARMEN FINESTRA
• DAVID FOLKMAN
• ART FORSTER in memory of Gil Stratton
and William Conrad
• JACK FRANCE
• BARBARA FULLER in memory of John
Newland, Peggy Knudsen and Laughter
• JACK GAGNE
• BARRY GERBER
• STANLEY D. GINSBURG
• RICHARD GLASBAND in honor of Bobb
Lynes and Barbara Watkins
• KATHLEEN GRAMS-GIBBS in memory of
Mary Grams
• TOM J. GRIMSLEY in memory of Rosemary Dobbs, Art Linkletter and Stuart
Lubin
• JOHN F. HALLEY
• BARBARA HARMON in memory of Art
Hern, Jack Lester and Curley Bradley
• HELPING HANDS FOR THE BLIND
• BOB HICKS
• GORDON HIGBEE
• DR. MICHELE HILMES
• STEPHEN E. HOLDEN
• GERALD A. HOLZMAN
• JAMES F. HORNER in memory of The KNX
Radio Drama Hour
• SEAMAN JACOBS in memory of Fred S.
Fox
• ROBERT JANOVICI
• SALLY JANUS
• DENNIS C. JOHNSON
• RALPH M. JOHNSON
• SAM KAMLER
• CASEY KASEM
• GLENDA KELLY in memory of Stuart
Lubin
• NILAN L. KINCAID
• ALBERT J. KOPEC
• DENIS KRAY in memory of my beloved
parents, Norbert and Florence Kray, and
in memory of Glenn, Ray, Marion, Tex
and all the boys in the band
• RON LANGSETH
• JEFFREY J. LEBRUN in memory of all
departed voice artists
• ALFRED LUCAS
• LON McCARTT in memory of Smilin’ Ed
(Froggy the Gremlin) McConnell
• ROBY & JOYCE McHONE
• ESTHER GEDDES McVEY in memory of
my leading man, Tyler McVey
• JAN MERLIN in memory of Frankie
Thomas and Mona Bruns Thomas
N
A
K
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RADIOGRAM • JULY 2013
• MIKE MORITZ in gratitude for all of oldtime radio
• JAMES L. MORRISON
• MILLIE MORSE in memory of Jim
Harmon
• BOB MOTT to all the SFX artists when
radio was still radio
• GEORGE (BOB) & VIRGINIA NEWHART
in memory of Bill Quinn
• JAN ELLIS O’HARE in loving memory of
Antony Ellis
• ROBERT OLSEN
• DR. WAYNE OTT
• FORREST F. OWEN
• GARRY PAPERS
• DAVE PARKER in memory of Fred Foy
• PHIL PROCTOR
• BRIAN E. RAMSEY
• CHESTER RAWSKI in memory of Carrolyn Rawski
• MARIE RAYMOND
• RONALD M. REISNER, M.D.
• DICK RICHARDS
• D.W. RICHARDSON
• STEPHEN K. SHUTTLEWORTH
• STUART & JANIS SIMON
• CHUCK SIVERTSEN
• LOREN SLAFER
• KENNETH L. SLEEPER
• LEE SMITH
• MICKEY SMITH
• C. W. STAUFENBERG in memory of Paul
Rhymer and members of the “Vic and
Sade” cast
• RICHARD STONE
• ROBERT A. SUMMERS
• JON D. SWARTZ in memory of Jim
Harmon
• RICHARD & MADELENE TEPERSON in
memory of Gil Stratton
• JOAN TREMAYNE in memory of Les
Tremayne
• EDMUND TOTMAN
• EUGENE J. WARD
• WASHINGTON OLD TIME RADIO CLUB
in memory of Jim Harmon
• EDWARD C. WEAVER
• BETSY L. WEINBERG
• LESLIE C. WEST
• JERRY & BARBARA WILLIAMS in
memory of Michael Rye
• JAMES C. WORDEN
U
O
Y
sperdvac
Vo l u m e 3 8 • N u m b e r 3 • J u l y 2 0 1 3
The Society to
Preserve and Encourage
Radio Drama, Variety and Comedy
BOARD OF DIRECTORS
president
Larry Gassman
•••
Glenda Kelly • Barbara Harmon
John Gassman • Jerry Williams
Jerry Haendiges • Walden Hughes
Officers
Treasurer...................................................... Jerry Williams
Secretary........................................................ Glenda Kelly
Activities Chair.........................................Barbara Harmon
Acquisitions Chair...................................... John Gassman
Membership Chair......................................... Barry Opliger
Elections Chair............................................ Neil J. Mitchell
Merchandise...................................................Michael Plett
Catalogs...................................................... Bob Steinmetz
New Members................................................... Rex Quinn
Editor
PATRICK LUCANIO
RADIOGRAM is published monthly except December by
sperdvac, the Society to Preserve and Encourage Radio
Drama, Variety and Comedy, a California nonprofit public
benefit corporation, P.O. Box 125, Oroville, California 95965.
Dues are $25 for first year and $15 for renewals; $30 American currency for Canadian members. Annual subscriptions
to Radiogram only are $15 in the U.S., Canada, and Mexico,
and $20 in all other countries. Editorial submissions are
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property of sperdvac. Opinions expressed are not necessarily the opinions of sperdvac All rights to letters sent
to Radiogram will be treated as unconditionally assigned
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make every effort to ensure the accuracy of information
published in editorial and advertising material but assume
no responsibility for inconveniences or damages resulting
from editorial error or omissions. Publisher is not responsible
for typographical errors. All photographs and illustrations
are believed authorized for reproduction as set forth within.
Entire contents are copyright © 2013 by the Society to Preserve and Encourage Radio Drama, Variety and Comedy.
All rights reserved. Nothing contained in this issue may be
reproduced, in whole or in part, by any means, including the
Internet, without prior written permission from the publisher.
EDITORIAL SUBMISSIONS should be sent to Radiogram,
Patrick Lucanio, Editor, 1097 Janus Street, Springfield,
Oregon 97477; e-mail: [email protected]. E-mail
attachments in Microsoft Word are encouraged for all articles
submitted. Articles sent by U.S. Mail should be Microsoft
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ADVERTISING RATES. Full page $125; half-page $70;
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sperdvac
If you listen to Walter Winchell on the radio you know that his
patriotic quotient is high. Here’s a chance to test your own
The world is full of propagandists trying to change the land of the free and the home
of the brave into the land of tyranny and the home of the slave. Today, Americans
are waking up to the dangers of the lunatic left and the wretched right. Steering a
steady course between them, defeating them, is difficult unless certain basic American creeds of freedom and government of, by and for the people. But what are you
going to do to keep them alive? Check up on yourself by answering these questions.
1. After the war millions were left homeless
and dispossessed, many faced new and hateful
oppressions. Are you getting a little tired of
hearing about their plight?
Life, Liberty and the Pursuit of Happiness are God-given rights of every man,
everywhere. That’s the cornerstone of the
American Way. As long as one person lives
in bondage he is the concern of all Americans.
2. Do individual rights imply the privilege
to do what, when and how you please at all
times?
There are some limitations to personal
rights. They must not interfere with the equal
rights of others or with the welfare of the
people as a whole.
3. Do you agree that in time of trouble it’s
up to everyone to look out for himself?
Fairweather Americans, like “friends” of
the same kind, exploit a crisis. They hoard,
profiteer, sell America short. Your score
should be zero on these counts. There is
enough for all in the greatest producing nation in the world.
4. The idea that all men are created equal
means very little because they are not equally
clever or capable. Do you agree?
The equal rights of all men to equal opportunity, good education, to live, work and
worship where and how they please and to
share in the benefits of Democracy must be
actively supported—by you!
5. Do you believe politics are so corrupt that
it doesn’t matter whether you vote or not?
The effectiveness of Democracy depends
on how well you fulfill your duties as a citizen.
Keep well-informed, take part in community
activities, weigh both sides of controversial
issues and then act on your decision by voting.
6. Do you believe we must work equally
hard in preparing for defense and in securing
world peace?
Because we defended Korea the chances
for lasting peace are greater than at any time
in recent years. Stopping defense prepara-
tions now would be death by suicide. That’s
not the kind of peace we’re looking for.
7. Do you think children in grade school
are too young to understand what Democracy
is all about?
Understanding Democracy begins with
heart, not the head—and it begins in the home
in infancy. You can help insure America’s
future by being a living example of liberty and
freedom in action to your children.
8. Can the ideas of competition and cooperation exist together in our society?
We need both. Competition to encourage
greater effort; cooperation for the efficient
performance of community and national
undertakings.
9. Do you support any group which subtly
or openly practices religious or racial discrimination?
In America all religions are free and equal
and so is every race. Anyone who advocates
religious or racial intolerance or hatred is
beneath contempt.
10. If the cold war turns hot will you make
a cooling breeze by your speed in trying to
evade the draft?
Americans have never liked going to war.
But the man who lets his neighbor defend his
nation for him forfeits his right to call himself
an American.
000000
6 and 8 “yes,” all others “no.” You should
get all of these right. If not, you’re stealing
a free ride on Freedom. Why is Freedom
so precious? Because the only way that we
can learn, grow and become a better person
is by thinking and experiencing things for
ourselves. That requires Freedom. Dictatorships, on the other hand, crush your spirit, dull
your mind, make you easy to push around, put
you in a mental straitjacket. That’s why the
Commie way can only do one thing—make
better Commies. And the Freedom way? It
makes better Americans, but more than that,
it makes better human beings.0
Old News is Good News. A special column by Walter Winchell written exclusively for the
January 1951 issue of Radio Mirror. Happy Fourth of July!
JULY 2013 • RADIOGRAM
3
‘Fibber McGee & Molly: On the Air’ now
available in revised and enlarged edition
Author Clair Schulz is offering autographed copies with an
exclusive 11x14 print of a caricature of Jim and Marian Jordan
Originally published in 2008, Clair Schulz’s
comprehensive study of the Fibber McGee
and Molly radio show titled Fibber McGee
and Molly: On the Air is now available in an
enlarged and revised edition that includes an
entry for every episode from Marian Jordan’s
return to the program on April 18, 1939,
through the final 30-minute show on June
30, 1953. Moreover, the section of 15-minute
episodes has been extensively expanded with
many additions from October 1953 to the end
of the daily shows in March 1956.
Additions also include one appendix listing
all openings of the hall closet, an appendix of
notable occurrences such as the first and last
appearances of cast members, and a comprehensive index.
Fibber McGee and Molly was one of broadcasting’s greatest triumphs, reaching its height
during the 1940s when millions of Americans
tuned in Tuesday evenings to hear radio’s
royal couple welcome such interesting if odd
characters as the Old Timer, Gildersleeve,
Mrs. Uppington, Mayor LaTrivia, Doc Gamble and others who came calling at the most
famous address in radio, 79 Wistful Vista.
A listening favorite in many homes from the
Depression right into the space age, Fibber
McGee and Molly was unique in that it aired
in three different formats: 30-minute sitcomlike programs, 15-minute sketch-like episodes,
and vignettes heard on NBC Monitor. Schulz’s
book is a guide to over 1200 episodes and
covers all three formats with entries listing
date of broadcast, title, cast, summary, musical numbers, running gags, and comments
designed to enhance the enjoyment of listeners and readers.
The revised and greatly-expanded edition
contains 300 additional total entries (including 20 for which no transcription exists), more
appendices as noted, and a new selection of
photographs to complement the text.
As a way of making this volume a special
part of the lives of people who fondly remember Fibber McGee and Molly, Clair commissioned an artist to draw a caricature of Jim and
Marian Jordan and printed the 11 x 14 work
on 80-pound cardstock suitable for framing
(the line illustration is at upper right), and
designed a special stamp to be placed next
to the image of the Jordans. Any order sent
directly to Clair for $34.95 ($29.95 plus $5
4
RADIOGRAM • JULY 2013
shipping) will receive an autographed copy
of the book plus one print. The back of each
drawing will be consecutively numbered by
pen by Clair next to the stamp.
Clair can be reached at wistful79vista@
hotmail.com.
Clair describes himself as a dedicated
listener to vintage radio recordings since
1974, and he served as archives director at
the Museum of Broadcast Communications
and contributed to MBC’s Encyclopedia of
Radio. He is also the author of an episode
guide to The Great Gildersleeve titled Tuning
in The Great Gildersleeve, also available from
BearManor Books. BearManor had also
published a collection of his writings about
motion pictures and radio programs called On
the Screen, On the Air. On My Mind.
Lum & Abner Society still kickin’
And now let’s see what’s going on down in Pine Ridge . . . .
For all homesick citizens of Pine Ridge, AR, the National
Lum and Abner Society is still around and still kickin’ and has
been busy with two projects guaranteed to bring back that fresh
Ouachita mountain air.
First, Donnie Pitchford has been writing and illustrating the
Lum and Abner comic strip for the past three years and it continues in print editions of Arkansas newspapers as well as online.
Recently, however, the comic strip lost sponsorship, and even
though the strip will continue online, sponsorship is needed. Donnie Pitchford has mentioned that new sponsorship is forthcoming but he is always interested in
adding sponsors. Visit the website noted below for details about sponsorship as well as details
about how Lum and Abner fans as well as otr fans can contribute to the comic strip effort
without spending a dime. In brief, one can download a free ebook from the Radio Archives
and the Radio Archives will make a small donation to the comic strip.
Second, the “ossifers” of the National Lum and Abner society met in March in Carthage, TX
and recorded a baker’s dozen of the Lum and Abner comic strip adaptations. Co-founders of
the NLAS, Tim Hollis and Sam Brown, appear as Lum, Grandpap, Cedric, Cousin Cliff and
Dick and narrator/announcer, respectively, with Lum and Abner cartoonist Donnie Pitchford
as Abner and Squire. Sam Brown did sound effects. The programs were adapted by Donnie Pitchford from his own comic strip adventures. Original music was performed by Marc
Ridgway and the programs can be heard at the Lum and Abner comic strip site at http://www.
lumandabnersociety.org/Comic-Strip-Home.html.
The comics are exquisitely executed in both story and design and are visually the next best
thing to the L&A movies of yore. For those who still crave the sounds of Lum and Abner the
comic adventures are recorded for the blind and are made available on the website.
The L&A website is also a haven for info about Lum and Abner. The website hosts an
archives of articles and other bits of information about the organization and Lum and Abner
in general. A visit to the Jot’em Down store finds collectibles and memorabilia and there are
many links to L&A related material as well as otr sites.
Membership in the National Lum and Abner Society is free, and full information about the
society and its events can be found at the website, lumandabnersociety.org.
sperdvac
The Archives CDs are now up to 766 and we have
these available as well: 796-825; 953-959; 10001013; 1035-1045; 1222-1239. We hope to fill the
gaps soon. At $1.10 per CD you can order up to 15 at
a time. You have 30 days to listen and enjoy before
returning them. Order today from Bob Steinmetz at
P.O. Box 669 Manhattan Beach Ca. 90266.
The Ogden (UT) Standard-Examiner • Sunday morning, October 28, 1951
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JULY 2013 • RADIOGRAM
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2013 SPERDVAC OLD-TIME RADIO CONVENTION
Nov. 15, 16 & 17, 2013
The Beverly Garland Holiday Inn
4222 Vineland Avenue • North Hollywood, CA 91602
ADVANCE RESERVATION FORM Cancellation Deadline is November 9, 2013
Name____________________________________________________________________________________
Address________________________________________________________ Email ______________________
Day Phone_________________________________ Evening Phone___________________________________
Guest name(s)_______________ ________________ _______________ _____________________________
NOTE: If you wish to be seated with your friends, please send reservation forms and fees together.
If you worked in early radio check here ______
Convention tickets will be held at the Registration Desk. This is not a fundraiser and the full cost of tickets goes to cover costs.
Therefore no part of the ticket price is considered a tax deductible contribution.
CONVENTION RATES DEADLINE November 9, 2013 • CHECKS MUST BE RECEIVED BY THIS DATE FOR ADVANCE PRICES
“AT THE DOOR” PRICES WILL BE $10 HIGHER per event • When paying at the Door – Checks or Cash only. Thank You.
1.
2.
3.
4.
5.
Convention Package
Friday Dinner & Program
Saturday Daytime
Saturday Evening Dinner & Program
Sunday Buffet Brunch & Program
$160 $ 50 $ 25 $ 50 $ 35 x _____
x _____
x _____
x _____
x _____
=
=
=
=
=
________
________
________
________
________
TOTAL $ __________
(Optional): I am enclosing a tax-deductible donation of $_____________________ in support of SPERDVAC’s old-time radio convention.
Please Indicate Menu Selections:
Friday: Top Sirloin Steak ____ Chicken _____ Grilled Salmon _____ Vegetarian _____
Saturday: Top Sirloin Steak ____ Chicken _____ Grilled Salmon _____ Vegetarian _____
Please specify special dietary requirements so that the hotel can be advised. No host bar available Friday and Saturday evenings.
HOTEL
To make reservations call the Beverly Garland Hotel direct toll-free reservation number 1-800-BEVERLY. Ask for SPERDVAC group
rate of $125 per night or on line at www.BeverlyGarland.com & input Group Code listed: Group Code: S13 PARKING: $15.00 overnight,
$7.00 Event parking per day.
There will be a raffle and silent auction. Radio items are needed for the Raffle & Auction. If you have items
to donate or would like to place an ad in the Convention Program, please contact [email protected]
Make checks payable to SPERDVAC
Mail to SPERDVAC • P.O. 125 • Oroville, CA 95965 or you may use PayPal at Website: SPERDVAC.org
Convention Questions: Convention Chair Larry Gassman 800-251-577
Reservation Questions: Barbara Williams 530-990-4214 or [email protected]
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RADIOGRAM • JULY 2013
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sperdvac
WANT TO GET AWAY FROM IT ALL?
WE OFFER YOU . . .
by STEWART WRIGHT
AS THEATRE OF THE MIND few series from the Golden Age of Radio rivaled Escape
in the skillful combination of acting, scripts, music, direction, and sound effects to
transport the audience anywhere in the world, or, in some cases, out of it, and place
them in the middle of impossible situations. What other anthology series could
have listeners cornered by a deadly Bushmaster snake on a cruise ship in tropical
waters as in “A Shipment of Mute Fate” and the next week have them hanging by
fingertips off the sheer face of an Alpine ice cliff as in “Action”?
Escape was the wandering vagabond of
CBS radio during its seven-year run. The
series aired on every day of the week and in
a total of 10 different time slots. It is little
wonder that, with all these scheduling changes
that Escape had trouble attracting sponsors,
developing strong ratings, and maintaining
a loyal audience. During its entire run, the
series only had a single significant period
of sponsorship: four months in 1950 by the
Richfield Oil Corporation.
Sunday was the most common day of airing
with 103 Escape episodes broadcast; Saturday
and Wednesday were the next most common
broadcast days with 27 episodes each. Escape
generally aired relatively late in the evening
with 183 episodes starting at 9 o’clock or
later. (All times used in this article are for
the Eastern Time Zone.)
Quite frequently, runs of Escape were
short. Several times the series was a summer
replacement. There were long gaps, ranging
from a few months to one of over a year between the various portions of the series’ run.
But like a phoenix the series kept rising and
returning to the airwaves from the ashes of
its own cancellation. Only once did Escape
remain on the air for an entire year in the
same time slot: Sunday nights at 9:30.
Escape hooked the audience from its
unique opening, which had gradually evolved
over time into the recognizable yet anonysperdvac
mous voice (which became known as The
Voice of Escape) that was soothing but at
the same time menacing and dangerous that
asked some seemingly innocuous questions:
“Tired of the everyday routine? Ever dream
of a life of romantic adventure? Want to
get away from it all?” These questions were
followed by a second voice, that of the announcer, who dramatically stated: “We offer
you. . . Escape! Escape!. . . designed to free you
from the four walls of today for a half-hour of
high adventure.”
The Voice then returned to pull the listener
into that night’s episode such as in the 1953
production of “Wild Jack Rhett:” “You are
standing in a moonlit street of a Western cow
town. . . alone and friendless. While moving
slowly down on You. . . their horses crowding every exit is a band of killers. . . each one
of whom has been paid to shoot you dead.”
When combined with the music, it made
for an opening which was most memorable.
While the Voice of Escape was performed
by about a dozen actors, it was most frequently
and memorably done by two: William Conrad
and Paul Frees. Their voices seem to add
just the right qualities of menace, danger,
and adventure.
Escape featured a superb mix of adaptations of novels and short stories and original
scripts. The adaptations were done by some
of radio’s finest writers. Later, some of these
The
Story of
Radio’s
Vagabond
Phoenix
JULY 2013 • RADIOGRAM
9
10
and other writers would pen original stories
for the series.
The initial run of the series, July 7, 1947,
through August 18, 1947, featured adaptations of classic and contemporary fiction
that set the standard for quality scripts that
would be a hallmark of Escape. Four of the
episodes were Les Crutchfield adaptations
of classic stories including Rudyard Kipling’s
“The Man Who Would Be King,” Joseph
Conrad’s “Typhoon,” Robert Louis Stevenson’s “The Sire de Maletroit’s Door,” and
Arthur Conan Doyle’s “The Ring of Thoth.”
The other three episodes were adaptations
of more recent fiction: “Operation Fleur
De Lys” by Stewart Alsop & Thomas Bradon
and adapted by William N. Robson, “The
Diamond As Big As The Ritz” by F. Scott
Fitzgerald and adapted by Les Crutchfield,
and “The Fourth Man” by John Russell and
adapted by Irving Ravetch.
Through the end of 1949 the stories aired
on Escape were almost exclusively adaptations
of fiction stories. Adaptations would remain
a staple during the series’ entire run. Three
radio classic adaptations that had their first
airings on the series were “Leiningen versus
the Ants,” “A Shipment of Mute Fate,” and
“Three Skeleton Key;” each would terrify and
captivate audiences and would be reprised
on Escape and other series. Adaptations of
many genres of literature were aired on Escape. Here are just a few examples: science
fiction with “The Time Machine,” “Mars Is
Heaven” and “The Outer Limit;” horror with
“The Fall of the House of Usher,” “Ancient
Sorceries,” and “Snake Doctor;” western
with “Command” and “Wild Jack Rhett;”
espionage with “The Great Impersonation”
and “Confidential Agent;” and crime with
“When the Man Comes, Follow Him” and
“Crossing Paris.”
Starting in 1950, original radio plays began
to air on Escape and they too would run a
RADIOGRAM • JULY 2013
The quality of the scripts used on Escape
was confirmed by the later reuse of many of
them on other series. Script alterations were
made in the series openings and closings, and
dialog, cast and crew changes were made.
Twenty-nine Escape scripts were subsequently produced on Suspense including “A
Shipment of Mute Fate,” “Three Skeleton
Key,” “Country of the Blind,” and “Leiningen
versus The Ants.” In fact, director William
N. Robson adapted an Ambrose Bierce
short story, “An Occurrence at Owl Creek
Bridge,” for Escape in 1947 and later reused
the adaptation three times while he served as
the director of Suspense. Actor John Dehner
While the Voice of Escape was performed by about a
penned two scripts, “The Man With The
dozen actors, it was most frequently and memorably
Steel Teeth” and “Lily and the Colonel,” that
done by two: William Conrad and Paul Frees, who add
were initially produced on Escape by director
just the right qualities of menace, danger, and adventure.
Antony Ellis and later reused by Ellis when
he directed Suspense.
wide range of genres. Among the best of
A Herb Purdum script, “Macao,” was first
these original plays were “The Man from produced on Escape on July 18, 1951, and
Tomorrow” by Irving Reis, “Sundown” by approximately a year later was produced on
Joel Murcott, “The Sure Thing” by John and Romance as “The Red Angel.” For the RoGwen Bagni, “North of Polaris” by Charles mance production, Purdum made significant
Smith, “Train from Oebisfelde” by Ross changes to the final act.
Murray, “Violent Night” by Les Crutchfield,
Antony Ellis also reused some Escape
“Pressure” by Richard Chandlee, and “The scripts on the various series he directed.
Island” by Millard Kaufman. Several of these When he was the director of Suspense, he
original radio plays would be reproduced on reused some scripts from the time when he
other series.
wrote for and directed Escape including “The
During its network run, 28 scripts were Game,” “A Study In Wax,” and “Classified Sereused on Escape. Each reuse was a new pro- cret.” Ellis also wrote “The Cave” which was
duction and not simply a repeat transcribed used on at least three series: first Escape, then
broadcast. These new
Suspense, and finally
productions usually
Romance. When “The
had some rewritten diActor
Cave” was produced
alog and included new
the latter two series,
John Dehner penned on
cast and crew memEllis was also the series
bers. One script in partwo scripts, “The director.
ticular, “A Shipment of
Escape scripts relied
Man With The Steel heavily
Mute Fate,” was used
on narration.
four times on the series
Teeth”
and
“Lily
One of the lead actors
with a different actor
normally did double
playing the lead role in
and the Colonel”
duty as the narrator
each production: Jack
to set the scene, dethat
were
iniWebb (10/15/1947),
surroundings
Harry Bartell
tially produced on scribe
and, sometimes, the
(3/28/1948), John
Escape by director action. In some cases,
Lund (3/13/1949), and
the narration was used
David Ellis (7/7/1950).
Antony Ellis and
to supplement the imSix scripts were used
age conjured up by
later reused by
three times: “The
music and sound efCountry of the Blind,”
Ellis
when
he
difects. An example is
“Evening Primrose,”
found in “A Shipment
rected Suspense.
“The Fourth Man,”
of Mute Fate.” Here,
“Leiningen versus the
Chris Warner is heard
Ants,” “Three Skeleton Key,” and “The Diamond As Big As The describing the battle to the death between
Ritz.” The productions of the latter script Clara, the cat, and the deadly Bushmaster.
While Escape did not frequently feature
were unusual in that the lead role of John
Unger was played by brothers: Jack Edwards big-name stars, the series did possess an outon July 21, 1947, and Sam Edwards on August standing company of regular performers that
included many of the finest West Coast vocal
29, 1948, and March 27, 1949.
sperdvac
talent such as Parley Baer, Joan Banks, Tony
Barrett, Edgar Barrier, Harry Bartell, Jeanne
Bates, Herb Butterfield, Lillian Buyeff, William Conrad, Hans Conried, Jeff Corey,
Ted de Corsia, Don Diamond, Lawrence
Dobkin, Paul Dubov, Sam Edwards, Georgia
Ellis, Paul Frees, Will Geer, Virginia Gregg,
Wilms Herbert, Ramsey Hill, Vivi Janiss, Bill
Johnstone, Joseph Kearns, Berry Kroeger,
Lou Krugman, Jack Kruschen, Peter Leeds,
Frank Lovejoy, Charles Lung, Jeanette Nolan,
Jay Novello, Vic Perrin, Barney Phillips, Luis
Van Rooten, Jack Webb, Peggy Webber, Ben
Wright and Barton Yarborough.
Over the years I have been fortunate to
hear many actors talk about the Golden Age
of Radio and their favorite series. Several of
those actors mentioned Escape as one of the
series on which they most enjoyed performing.
Perhaps Harry Bartell best summed up how
actors felt about the series in a 1998 interview
when he shared his feelings with me about Escape, saying that, “The scripts were wonderful;
many of them were based on classics that had
stood the test of time. They offered me, as an
actor, parts that I never would have gotten on
any other program. They were exciting, fun to
do, and very rewarding from a performance
standpoint.”
Two commonly underestimated components in conveying the atmosphere and action
in any successful radio production are music
and sound effects. The efforts of the personnel in the CBS Music and Sound departments
contributed greatly in the consistent high
quality of Escape productions. Sometimes the
line between music and sound effects became
murky. For instance, an organ was very effectively used to produce a sound motif for the
army of ants in “Leiningen versus the Ants.”
After its initial seven episode run as a summer replacement in 1947, new opening and
closing music was written by Cy Feuer. These
music segments were short, but effective and
for each episode invariably enhanced the
storytelling. Several of the best composers
and arrangers at CBS Radio provided their
considerable music talents to Escape and they
included Del Castillo, Ivan Ditmars, Cy Feuer,
Wilbur Hatch, and Leith Stevens.
Because of the wide variety of storylines
and locales used on Escape, the sound effects
artists were constantly called upon to come up
with new and exotic sound patterns such as
a cat fighting a Bushmaster in “A Shipment
of Mute Fate.” It is said that a sound man
imitated a cat yowling. In other cases, bigger and more complex sound patterns were
needed. These talented performers seldom
disappointed. Sound effects artists who performed their magic on Escape included Gus
Bayz, Clark Casey, Ralph Cummings , Jack
Dick, Ray Erlenborn, Harry Essman, Billy
Gould, Tom Hanley, Bill James, Ray Kemper,
Vic Lavotti, David Light, Ross Murray, Jack
Sixsmith, Berne Surrey, Cliff Thornsness,
Gene Twombly, and Bob Wendell.
One episode of Escape that is remembered
by many fans for its sound effects is “Three
Skeleton Key.” The sound effects required for
this episode included such mundane sounds
as heavy doors being slammed shut, people
running up and down a steel staircase, the revolving light of the lighthouse, and the not so
mundane sounds made by millions of ravenous rats! The artists in the CBS Sound department were up to the challenge. Three basic
rat sounds were needed: gnawing, squealing,
and clawing. The gnawing sound was made
by crushing the old-style, thin wood, berry
boxes. The squealing sound was a composite
obtained by running simultaneous recordings
of mice, birds, monkeys, and pigs. The clawing sound required more experimentation.
A large floor buffer brush wheel was rapidly
rubbed against a piece of glass to produce the
clawing sounds of the rats. These sounds were
so effective that Thorsness and fellow sound
Several of the best composers and arrangers
at CBS Radio provided their considerable music
talents to Escape and they included Del Castillo, Ivan Ditmars, Cy Feuer, Wilbur Hatch,
and Leith Stevens.
tightly integrated with dialog of the Voice and
announcer to convey adventure, mystery, and
danger. While the opening and closing format were modified over the run of the series,
the basic music elements normally included
a short horn or orchestral figure backed by
the rolling of tympani (often repeated) and a
snippet from the composition Night on Bald
Mountain.
The interior music specifically written
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effects artists Gus Bayz and Jack Sixsmith
received the 1950 “Best of the Year Award”
from Radio and Television Life Magazine.
For most of its run, Escape was directed
by three of Hollywood’s finest: William N.
Robson, Norman Macdonnell, and Antony
Ellis. Robson was a veteran director with
over 10 years experience. For Macdonnell,
a recently returned World War II veteran,
Escape was his chance to move from acting
Harry Bartell looks pensive enough in
this publicity still to be considering just
what fate awaits him in “Ship of Mute
Fate.” Of all the performers who faced
the Bushmaster in the classic episode ol’
ed considers Harry’s to be best; a tour de
force of radio acting.
to directing. Ellis, an experienced actor and
writer, got his first extensive experience in
direction on Escape.
Robson was one of the most honored directors during Radio’s Golden Age. He was
Escape’s initial director through late March
1948. In October 1949, Robson returned to
direct Escape through Mid-August of 1950.
His other directorial credits include Calling
All Cars, The Columbia Workshop, The Man
Behind The Gun, Doorway To Life, Suspense,
Romance, and The CBS Radio Workshop.
Norman Macdonnell got his first directing
experience on Escape. Early in Escape’s run,
he was the assistant director to producerdirector William Robson. In the beginning of
1948, Macdonnell directed Escape’s Saturday
encore broadcasts for the national audience.
By late March 1948 Macdonnell became the
director and producer of the series and continued in those positions until late August of
1949. Macdonnell returned to resume directing Escape for 16 episodes in 1950, 12 episodes
in 1951, 16 episodes in 1952, 7 episodes in
1953, and 14 episodes in 1954. Macdonnell
became one of the busiest CBS radio directors
during the last 15 years of the Golden Age
of Radio. His credits include The Adventures
of Philip Marlowe, Doorway To Life, Fort
Laramie, Gunsmoke, Have Gun - Will Travel,
Rogers of the Gazette, Romance, and Suspense.
Antony Ellis had started in Hollywood as
an actor and writer. Counted in his extensive
writing experience are 27 episodes of Escape
including 14 episodes while he also directed
JULY 2013 • RADIOGRAM
11
The cover art for the May 1956 issue of Man’s Life magazine depicts an onslaught of ravenous rats similar in theme to “Three Skeleton Key,” one of the scariest and most sought after
episodes of Escape.
the series. Ellis got his directing start on the
series Pursuit. He directed most of the Escape episodes from December 1952 through
mid-October 1953 and later also directed Romance, Suspense, The CBS Radio Workshop,
and Frontier Gentleman.
For decades, old-time radio collectors have
believed that during the first three months of
1948 there were separate and easily identifiable broadcasts of Escape for the East and
West Coasts. The East Coast broadcasts
had music performed by a full orchestra and
the West Coast broadcasts had only an organ
supplying the music.
After years of intermittent research on
this topic, I have determined that the first
production (aka East Coast) was aired in
network prime-time and a second production
(aka West Coast) was aired on the network
the following Saturday morning for the entire
country.
The shows themselves contained important clues that were ignored by the old-time
radio community for decades. There was a
significant difference between all of these
“so-called” East Coast/West Coast shows in
the early 1948 part of Escape’s run: they had
different directors!
In openings for the prime-time produc-
12
RADIOGRAM • JULY 2013
tions (the reputed East Coast shows), the
announcer says, “Produced and directed by
William N. Robson.” In openings for the Saturday morning productions (the reputed West
Coast shows), the announcer says, “Produced
by William N. Robson.”
In the closing credits of the prime-time
broadcasts the announcer states, “Escape!
Produced and Directed by William N.
Robson” while in the closing credits of the
Saturday morning productions the announcer
states, “Escape! Produced by William N. Robson and Directed by Norman Macdonnell.”
Newspaper radio programming listings
have Escape airing twice a week on both the
East and West Coasts during this time period.
The East and West Coast prime-time broadcasts aired on different days during January
1948. Starting in February 1948, Escape was
heard on Sunday night on both the East Coast
at 10 o’clock and West Coast at 7 o’clock.
Starting on January 10, 1948, there were
simultaneous Saturday morning broadcasts
for both coasts.
Over the years I have been compiling extensive information on Norman Macdonnell with
the intention of publishing a book about his
radio career. I knew that Macdonnell was the
assistant director for Escape under Robson
for several months until he assumed the role
of producer/director of the series with the
March 28, 1948, production of “A Shipment
of Mute Fate.”
Norman Macdonnell didn’t give a lot of
interviews. I was finally able to track down
one of the few that he had given. Macdonnell
stated in response to a question about how he
got into directing that “I was an employee of
CBS and was assigned as Bill Robson’s assistant director on Escape . . . . In January
1948 Escape started airing twice a week for a
period of about three months. Bill directed
the prime-time show and I directed the Saturday morning show. We used the same casts.
. . . At the end of March 1948, Bill moved on
and I became the producer/director of the series.” Additional proof comes from the book
Gunsmoke by SuzAnne and Gabor Barabas,
who write that, “At the time, Robson was
producing and directing Escape at CBS, which
aired on Thursdays . . . the network decided
that it also wanted to air the show on Saturday
mornings. Robson guarded his weekends jealously and informed CBS that he was not about
to get up early on Saturdays just to rehash
the show and suggested Macdonnell, saying,
‘Let the young guy do it.’ This was a perfect
opportunity for a fledgling director, for all
Macdonnell had to do was to redirect what
Robson had done earlier in the week, and to
edit five minutes out to make room for more
sponsors. He had a cast that already knew
the script and so under minimum pressure he
could develop his skills.”
I believe that the this information conclusively debunks the myth that there were
separate East Coast and West Coast Escape
broadcasts in the first three months of 1948.
All but a handful of Escape episodes are in
circulation. Those episodes that are not in
circulation are “The Run of the Yellow Mail,”
“The Primitive,” “The Blue Wall,” “The Big
Sponge,” “Transport to Terror,” “Pagosa,”
“Nightmare in the Sun,” “Dangerous Man,”
“The Blue Hotel,” and “One-Eighth Apache.”
There were several stories that were announced on Escape as upcoming episodes but
were never broadcast. Most of these shows
had proceeded in the production process as
far as a draft script; however, there is no indication that any of these shows were ever cast,
rehearsed, or recorded. They were: “The
Haunted Man,” “The Canterville Ghost,” and
“Mute Witness.”
The thought-to-be unaired episode, “Grand
Canyon Suite,” actually did air as “The
Golden Snake.” The script for “The Golden
Snake” contains administrative information
that it was adapted by Les Crutchfield from
the story “Grand Canyon Suite” by Paul
Pierce. Probably Escape producer-director
Bill Robson wanted a more exotic atmosphere
or locale for the story. So when Crutchfield
sperdvac
adapted the Paul Pierce original he changed
the locale from Arizona to the Yucatan and
the indigenous people from Arizona Indians
to the Mayans. The title was changed from the
no longer appropriate “Grand Canyon Suite”
to “The Golden Snake.”
And now. . . we offer you . . . information
about an often reputed to be lost Escape episode. “Your Grandfather’s Necktie” is commonly listed in Escape logs as a special broadcast that either aired on August 26, 1950, or
August 31, 1950. Research has determined
that “Your Grandfather’s Necktie” was not an
Escape episode but was actually an episode of
the series Stars Over Hollywood which aired
August 26, 1950, and starred Alan Young.
This information was verified by consulting
the original Escape scripts, director Norman
Macdonnell’s personal papers, and period
radio programming sections from the New
York Times and several other newspapers.
As I mentioned in the article’s opening,
Escape was a wandering vagabond during its
seven-year run on CBS. The series changed
broadcast day and/or time slots more than 20
times. Escape’s initial run was as a summer
replacement for Lux Radio Theatre and it ran
for seven episodes on Wednesday nights from
July 7, 1947, to August 18, 1947, on Monday
nights at 9:30 o’clock
After a 43-day hiatus, on October 1, 1947,
Escape was back in the CBS lineup this time
for 48 episodes starting with 18 episodes on
Wednesday nights at 10:30 o’clock. The
first 12 episodes of 1948 had an encore performance on Saturday mornings. The series
moved to Sunday nights for 30 episodes
occupying three different late evening time
slots, one of them twice. With the September
19, 1948, broadcast of “The Man Who Could
Work Miracles,” Escape again left the CBS
line up.
The series was off the air for nearly five
months before returning for 14 episodes on
Saturday, February 12, 1949, at 10:30 a.m.
with the broadcast of “The Lost Special.”
Three of the episodes during this portion of
the run were on Sundays in March at 6:30
p.m. With the broadcast of “The Great Impersonation” on April 23,1949, the series was
gone again from the CBS lineup.
Another summer replacement run of eight
episodes started on Thursday, July 7, 1949,
at 9 p.m. This time Escape was replacing another well-sponsored series, Suspense. This
run concluded with “Evening Primrose” on
August 25, 1949.
Escape returned to the CBS airwaves less
than a month later for its most disjointed run,
a run that started on Wednesday, September
21, 1949, with two episodes at 9 p.m. Then
the series moved to Saturdays at 9:30 p.m.
for four episodes. Next, it moved to Tuesday
night at 9 o’clock for three episodes and 15
sperdvac
more at 9:30 o’clock. Finally, the series moved
to Friday nights at 10 o’clock for 25 weeks
ending on August 25, 1950, with “Crossing
Paris.”
A 16-episode run on Sunday afternoons at
3 o’clock started on October 1, 1950, with the
broadcast of “A Sleeping Draught.” This run
ended on January 14, 1951.
Four weeks later Escape began its shortest
run: Two episodes starting on February 1,
1951. The episodes “The Killer Mine” and
“The Follower” aired on Sundays at 4 p.m.
On July 11, 1951, Escape was back on the
air for eight episodes. The first seven were on
Wednesday nights at 9 o’clock with the eighth
episode, “The Man Who Stole the Bible,” airing on Thursday, August 30, 1951, at 8:30 p.m.
After being off the air for nearly 14 months,
Escape had its only extended run in a single
time slot: 53 episodes on Sunday nights at 9:30
o’clock. This extended run began with the
broadcast of “Gringo” on October 12, 1952,
and finished on October 11, 1953, with the
airing of “Elementals.” Again the scripts were
a fine mix of original radio plays, adaptations
of stories and novels, and new productions of
previously aired scripts: “Conqueror’s Isle,”
“The Island,” “The Red Forest,” “A Sleeping
Draught,” “Three Skeleton Key,” and “Wild
Jack Rhett.”
After a five month hiatus, Escape returned
to the CBS airwaves on March 11, 1954, for a
final 24 episodes. Again, there were changes
September 14
GARY ONO
West Valley Regional
Branch Library
19036 Vanowen Street
Reseda
•
October 12
IVY BETHUNE
West Valley Regional
Branch Library
19036 Vanowen Street
Reseda
ALL MEETINGS ARE SATURDAYS
12 NOON TO 2
PARKING. Parking area for the West Regional
Library is limited. The adjacent parking lot (used by
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may be accessed via Vanalden Ave.
ALSO AVAILABLE FOR $10 DONATION EACH:
SET #1 CONVENTION 2012
NERO WOLFE: “THE CASE OF THE CALCULATED RISK”
THE MYSTERIOUS TRAVELER: “ESCAPE BY DEATH” and “BLOOD ON THE MOON”
SHADOW SPOOF • IT PAYS TO BE IGNORANT • SUSPENSE: “THE KEENEST EDGE”
plus 2 panels CAPTAIN MIDNIGHT and RUDY VALLEE
SET #2 2010 & 2011 LUNCHEONS
MY FRIEND IRMA: “LONELY HEARTS CLUB • NERO WOLFE: “FRAME UP FOR MURDER”
COLUMBIA WORKSHOP: “MY CLIENT CURLEY” • I LOVE LUCY: THE UNTOLD STORY
THE SIX-SHOOTER: A COLD READ • SUSPENSE: “SORRY, WRONG NUMBER”
JULY 2013 • RADIOGRAM
13
After a five month hiatus, Escape returned
to the CBS airwaves on March 11, 1954 for
a final 24 episodes.
in broadcast nights and time slots. Still the
script, music, sound effects and acting quality
were there and several memorable episodes
were produced and aired.
The first 12 episodes were aired on Thursday nights; six from mid-March to mid-April
at 10 p.m., a single episode in May at 10:05
p.m., and the remaining five episodes on consecutive Thursday nights at 9:30 o’clock from
June 3rd through July 1st. Norman Macdonnell was again the director. Included in this
group of shows were three written by actors
who regularly performed on Escape: “Affair
at Mandrake” by Ben Wright, “Benscelina
and the Fisherman” by John Dehner, and
“Blood Waters” by Tony Barrett.
On July 10, 1954, Escape made its final
move to Saturday nights at 8 o’clock. Again
it was a summer replacement series. The
final run started with a fine adaptation of the
Daphne du Maurier story, “The Birds.” After
the first two episodes, Norman Macdonnell
turned over the directorial reins to the team
of David Friedkin and Morton Fine, who also
wrote two of the final twelve episodes: “Night
of the Guns” and “Carnival In Vienna.” In
early September, a John Dunkel adaptation
of a Vincent McHugh story, “The Boiling
Sea,” placed the listener in a most improbable
situation: on a cargo ship in the Philippines
that was being trapped inside a rapidly rising
undersea volcano. The magic of Escape was
still potent.
With the completion of the credits for
“The Heart of Kali,” written by frequent
Escape sound effects artist Ross Murray, on
September 25th announcer George Walsh
said “next week” but the audience was not
treated to the usual musical bridge used to
precede the teaser for the following week’s
episode of Escape. Instead, the theme music
of the series that Escape had filled in for those
THE SAINT
SPERDVAC ARCHIVES REEL 142
starring VINCENT PRICE
“COLOR BLIND KILLER”
BETTY LOU GERSON • JEANNE BATES • FRANK GERSTLE
WILLIAM CONRAD • BARNEY PHILLIPS • Written by MICHAEL CRAMOY
“FAKE AMNESIA KILLER”
PEGGY WEBBER • TED BANELTS • JERRY HAUSNER • TOM BROWN • DAN O’HERLIHY
written by LOU VITTES
last twelve weeks rose in volume and became
recognizable. It was the theme from Gunsmoke. Walsh turned the microphone over
to Gunsmoke star and frequent Escape Voice
and performer William Conrad who told the
audience that “today marks the last of the
current series of Escape programs and I know
you will miss it as much as I shall.” Conrad
then told the audience that Gunsmoke would
replace Escape. At least it was appropriate
that someone closely associated with Escape
would tell the audience of its demise.
This simple announcement marked the
end of one of the finest anthology series in
radio history. However, since so many Escape episodes have survived, we and future
generations still can be transported to exotic
locales for “a half-hour of high adventure”
and be placed in situations “from which there
is no Escape!”[
Barry Opliger
435 Garfield Ave. Apt. 306
South Pasadena, CA 91030-2241
McGee’s Closet is a free service to our members and honorary members. Send your wants in OTR-related material
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CD, or DAT). Also, please include your membership number
with your advertisement.
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