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    History

    Breaking Walls

    Breaking Walls: The Podcast on the History of American Network Radio Broadcasting.

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    Latest Episodes:
    BW - EP132—003: Mutual Mystery Shows Of The 1940s—Mystery Is My Hobby Oct 06, 2022
    Show notes

    Mystery is My Hobby originally came to Don Lee’s west coast airwaves in April of 1945, before going full network over Mutual that October as Murder Is My Hobby. It starred Glenn Langan as Barton Drake, a police inspector and the author of the book Mystery Is My Hobby. Drake combined his professions by collecting material for stories while he solved crimes. The program went off the air in July of 1946, but returned the next summer under the Mystery title. Barton Drake was now a writer who worked with the police. Each episode was presented as cases from his book. The October 29th, 1947 episode was called “Death Speaks with Ten Fingers,” and guest-starred Barney Phillips, Gloria Blondell, Ken Christy, and Jean Vander Pyl, who was later famous as the voice of Wilma Flintsone.


    BW - EP132—002: Mutual Mystery Shows Of The 1940s—The Mysterious Traveler Oct 04, 2022
    Show notes

    Written and directed by Robert Arthur and David Kogan, The Mysterious Traveler first aired over the Mutual Broadcasting System on December 5th, 1943. Mostly sustained, the show was heard on virtually every night of the week. There were frequent gaps in its runs, but it was always good for a revival. It was cheap to produce; there were no major film stars to pay, and plenty of New York radio actors willing to work for union scale. With that said, it was popular enough to spawn a comic book and magazine. Maurice Tarplin played the title role with a good-natured malevolence. The traveler mostly narrated from an omniscient perch. He came to his listeners in the night, riding a phantom train. The opening signature was the distant wail of a locomotive whistle, fading in gradually until the rumble of the train could be heard. The stories ran from crime drama to wild science fiction. David Kogan later recalled that he broke into radio with Bulldog Drummond, Shadow and Thin Man scripts. He met Robert Arthur in Greenwich Village, suggesting they team up. The pair developed Dark Destiny, which aired on Mutual from August 26th, 1942 through March 11th, 1943. They came up with the Mysterious Traveler concept and prepared three sample scripts. Norman Livingston bought it for WOR. As independent producers, they were paid a flat rate for the whole package. Any money they saved by using the same actor in multiple roles went into their own pockets, so they used the best character actors in New York radio. Kogan also directed the series. This episode, “Death is My Caller” featured Santos Ortega, Agnes Young, Ted Jewett, and Neil O’Malley. Along with The Mysterious Traveler, Kogan and Arthur also wrote a season of Nick Carter, The Strange Dr. Weird, The Sealed Book, and later Murder By Experts. The Mysterious Traveler would air until September of 1952.


    BW - EP132—001: Mutual Mystery Shows Of The 1940s—The Seedy Underworld Of Coney Island Oct 02, 2022
    Show notes

    By October of 1947, nearly eleven million babies had been born in the U.S. since the end of World War II. Young parents were staying home with their children. Movie attendance bombed. The 1947-48 season had the largest radio audience in history. Homes with radios jumped 6%, car radios 29%. NBC, CBS, ABC, and Mutual added nearly one-hundred fifty affiliates. Ninety-seven percent of the nation’s AM stations were now linked to one of the big four. Network revenue topped $200 Million. World War two had created fundamental changes in society. While men of all races and creeds were overseas spilling the same colored blood, women mobilized and took charge of the workforce. When veterans were discharged, they returned home with different ideals, and what we’d now call PTSD. As new cars, roads, and homes brought young families to the suburbs, racial descrimination came to the forefront in the face of the G.I. Bill, where a much higher percentage of white Americans were having their applications accepted. On October 29th, the national civil rights committee delivered a report to the White House. The document made thirty-five specific recommendations, including asking the President to create a permanent Federal commission on civil rights. President Truman said that he’d study the report with great care and recommend that all citizens do the same thing. Americans were organizing. In the year after VJ Day, more than five million struck for better wages and benefits. This hurt key sectors of the economy and stifled production. Consumer goods in high-demand were slow to appear on shelves and in showrooms, frustrating Americans who desperately wanted to purchase items forsaken during the war. It caused the largest inflation rise in the country’s modern history, and the Taft-Hartley Act, limiting the power of Labor Unions. President Truman was seemingly at odds with Congress over every domestic policy and his approval rating sank to 32%. Reelection the following year seemed unlikely. The U.S. War Debt topped two-hundred-forty billion dollars. Emerging as one of the world’s leaders, America was expected to have the largest hand in rebuilding Europe. News outlets reported that, to create European stability, Americans should resume sacrifices they made during the war. Not agreeing to do so could result in political enemies taking over the continent. That October, as the major networks were enjoying the largest ratings in radio history, one network, The Mutual Broadcasting System, was still struggling to grab audiences. Airing out of WOR in New York, The Shadow was the network’s most-listened to program. While it pulled a rating of thirteen — strong for a show airing on Sundays at 5PM easten — it was nowhere near radio’s top fifty. Mutual’s top stations — WOR in New York, WGN in Chicago, and Don Lee’s KHJ in Los Angeles — all boasted powerful signals and had equal shares in the network. And, while Mutual reached four-hundred affiliates in 1947 and would add another hundred over the next year, many of these were small stations in rural areas. This limited their advertiser appeal. Mutual was run as a cooperative, rather than a corporation. As families left cities and farms for the suburbs, the network’s shared programming structure left it at a distinct disadvantage against NBC, CBS, and ABC. Those three networks would use their soaring revenue to move into TV. Although some Mutual affiliates developed television programming, the full network was never able to launch into TV. That’s not to say MBS didn’t have quality programming. Just the opposite, and with Halloween around the corner, tonight we’ll delve into Mutual’s horror, mystery, and suspense shows of the late 1940s.


    BW - EP131: Orson Welles is The Shadow (1937 - 1938) Sep 27, 2022
    Show notes

    In Breaking Walls episode 131 we spotlight Orson Welles’ time as The Shadow in 1937-38. —————————— Highlights: • Orson Welles’ on The March of Time and The Columbia Workshop • The Shadow as Narrator • Les Misérables • WOR and Network Radio In The Fall of 1937 • The Shadow Launches With Orson Welles • Jeanette Nolan and The Temple Bells of Neban • Early Reviews • Agnes Moorehead and The Three Ghosts • The Circle of Death • The Mercury Theater Leaves The Shadow • Orson In The Fall of 1938 • Looking Ahead to Halloween with Mutual Broadcasting —————————— The WallBreakers: http://thewallbreakers.com Subscribe to Breaking Walls everywhere you get your podcasts. To support the show: http://patreon.com/TheWallBreakers —————————— The reading material used in today’s episode was: • This is Orson Welles — by Peter Bogdanovich with Orson Welles • Citizen Welles — by Frank Brady • On the Air — By John Dunning • The Shadow: History and Mystery of the Radio Program — By Martin Grams Jr. • Network Radio Ratings — By Jim Ramsburg • Discovering Orson Welles — by Jonathan Rosenbaum • WOR: The First Sixty Years As well as articles from • Billboard • The New York Times • Variety —————————— On the interview front: • Agnes Moorhead spoke to Chuck Schaden. Hear the full chat at SpeakingOfRadio.com. • Rosa Rio and William N. Robson spoke with Dick Bertel and Ed Corcoran for WTIC’s The Golden Age of Radio. Hear these full chats at Goldenage-WTIC.org • Jeanette Nolan spoke with SPERDVAC. For more info, go to SPERDVAC.com. • Agnes Moorehead and Orson Welles spoke with Dick Cavett. • Orson Welles also spoke with Peter Bogdanovich, Johnny Carson, Merv Griffin, and Dinah Shore. • Jack Poppele spoke with Westinghouse. • And Walter B. Gibson, Rosa Rio, Ken Roberts, and Sidney Sloan spoke for the 1984 documentary, The Story of the Shadow —————————— Selected music featured in today’s episode was: • Teenage Brain Surgeon — By Spike Jones and His Orchestra —————————— A special thank you to Ted Davenport, Jerry Haendiges, and Gordon Skene. For Ted go to RadioMemories.com, for Jerry, visit OTRSite.com, and for Gordon, please go to PastDaily.com. —————————— Thank you to: Tony Adams Steven Allmon Orson Orsen Chandler Phil Erickson Jessica Hanna Perri Harper Briana Isaac Thomas M. Joyce Ryan Kramer Earl Millard Gary Mollica Barry Nadler Christian Neuhaus Aimee Pavy Ray Shaw Filipe A Silva John Williams —————————— WallBreakers Links: Patreon - patreon.com/thewallbreakers Social Media - @TheWallBreakers


    BW - EP131—012: Orson Welles Is The Shadow—Looking Ahead To Halloween With Mutual Broadcasting Sep 26, 2022
    Show notes

    In the fall of 1938 as Orson Welles was launching The Mercury Theater of The Air, radio character actor Bill Johnstone became The Shadow. Johnstone held the role until March 21st, 1943, when Brett Morison took over. Morison had the title role for most of the rest of the radio run. The Shadow would air until December 26th, 1954. We’re going to stop here. I’ve covered Welles from his birth through Pearl Harbor in episode 79 and from there to the early 1950s in episode 104. While we’re wrapping up our coverage of The Shadow, we’re staying with The Mutual Broadcasting System in October and getting into the Halloween spirit. Next time on Breaking Walls, we’ll spend Halloween with Mutual Broadcasting mystery shows of the 1940s.


    BW - EP131—011: Orson Welles Is The Shadow—Orson In The Fall Of 1938 Sep 22, 2022
    Show notes

    In late June 1938, Orson Welles was approached by CBS. He was offered a one-hour, network sustained time slot on Mondays at 9PM. William Paley’s concept: A Mercury Theater of the air for a nine-week trial run. Unlike Welles and Houseman’s theater productions which had several weeks of rehearsal, the show would begin in just two, on July 11th. Houseman was nervous. He’d never done radio. Welles would direct, narrate, and star. The Mercury theater troupe would support. Bernard Hermann would be musical director and Davidson Taylor supervisor. Welles called the show First Person Singular. A take on Bram Stoker's Dracula was selected for the first episode. Welles and Houseman had total creative control. The premiere set the tone. Over the next nine weeks, listeners heard adaptations of classics like Treasure Island, A Tale of Two Cities, The 39 Steps, The Man Who Was Thursday, The Affairs of Anatole, and The Count of Monte Cristo, for which, Welles simulated the sound of a dungeon by having the actors play their scene from the floor of the CBS restroom. He placed two dynamic microphones against the bases of the toilet seat in order to achieve realistic subterranean reverberations. After September 5th, 1938, CBS renewed the series under a new name: The Mercury Theater of The Air, moving it to Sundays at 8PM, opposite NBC’s highest-rated show: Edgar Bergen’s Chase and Sanborn Hour. It set the stage for a series of events which would forever alter the course of Orson Welles’ life.


    BW - EP131—010: Orson Welles Is The Shadow—The Mercury Theater Leaves The Shadow Sep 19, 2022
    Show notes

    The success of The Shadow was shared by Blue Coal. Billboard reported that twelve months after the premiere their sales were up nearly eleven percent. Blue Coal was selling for as much as two dollars per ton more than their competitors. In February of 1938 Orson Welles opined that “radio’s future big-wigs will be college graduates.” By then more than ninety colleges offered courses in radio speech, while radio writing was taught at fifty-seven colleges, and fifty-three colleges were teaching radio acting. Both radio music and radio law were also becoming class offerings. The last episode of The Shadow’s autumn run aired on March 20th, 1938. Although everyone knew who played Lamont, for the first time on air, Orson Welles was given credit for his role. Welles was contracted to produce twenty-six more episodes for a syndicated summer run. They co-starred Margot Stevenson as Margot Lane. Ironically, the character was named for Miss Stevenson who was originally supposed to play the role that fall. Goodrich Tires would sponsor the summer run, with Blue Coal immediately signing on for another season in the fall. Agnes Moorehead would again play Margot, but Welles would be leaving for CBS that summer and taking the Mercury Theater troupe with him. Welles was contracted to produce twenty-six more episodes for a syndicated summer run. They co-starred Margot Stevenson as Margot Lane. Ironically, the character was named for Miss Stevenson who was originally supposed to play the role that fall. Goodrich Tires would sponsor the summer run, with Blue Coal immediately signing on for another season in the fall. Agnes Moorehead would again play Margot, but Welles would be leaving for CBS that summer and taking the Mercury Theater troupe with him.


    BW - EP131—009: Orson Welles Is The Shadow—The Circle Of Death Sep 18, 2022
    Show notes

    Orson Welles opened in Julius Caesar on November 11th, 1937. He also made time to perform in guest appearances elsewhere on radio with Tallulah Bankhead and Cedric Hardwicke. Thursday, November 25th, 1937 was Thanksgiving Day. The New York Daily News headline spoke of Consolidated Edison finally getting on board with F.D.R.’s new deal program. November 28th’s episode of The Shadow was called “The Circle of Death.” It’s a story about a mad man who plants bombs across the city, creating a reign of terror in his wake.


    BW - EP131—008: Orson Welles Is The Shadow—The Three Ghosts Sep 15, 2022
    Show notes

    On Halloween 1937, Benito Mussolini removed Italy’s foreign minister to France due to strained relations between the two countries over Italy's participation in the Spanish Civil War. Adolph Hitler gave the Order of the German Eagle to the Japanese emperor’s son, while Chinese forces abandoned its defense of the Sihang Warehouse. Sunday was Halloween and at 5:30PM eastern, The Shadow took to the air over Mutual with a story called “The Three Ghosts.”


    BW - EP131—007: Orson Welles Is The Shadow—Early Reviews Sep 13, 2022
    Show notes

    The September 29th, 1937 issue of Variety said “that melodramatic and at times astonishing crime fighter, “The Shadow,” returns to the ether to probably find a rather sizable slice of listeners waiting for him. In this series the sponsor will benefit from having a program aimed right at the vulnerability of the audience it seeks. Orson Welles, a young and good actor still riding a crest of recognition won with the Federal Theatre Project, does the title role. “The Shadow is a bit fantastic, but as with these things, the stunt stands muster with the show’s listeners and appreciably colors the proceedings. Well done, both as to script, acting, and producing.” Both Billboard and Radio Daily also gave the program positive reviews. A blizzard of mail came into WOR. Shadow fan clubs sprang up across the country. Welles would occasionally appear at promotions donning a black cape, hat, and mask. Oddly enough, because Welles was constantly rushing from one part of New York to the other, Frank Readick, who’d previously voiced the Shadow as narrator, was kept on to record the show’s opening signature, giving Welles a few more minutes to get into the studio.


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