Avsnitt
-
Get full-length pulp audiobooks, pulp eBooks, and old-time radio shows ABSOLUTELY FREE FOR IMMEDIATE DOWNLOAD by emailing [email protected]!
A creaking door and a chorus of haunting organ music. No radio show opening is more memorable for many fans than the one heard on Inner Sanctum Mysteries. This disturbing simple salvo led people into thirty minutes of suspense and horror sprinkled with puns from a creepy host, all of which can now be heard again in sparkling audio quality from Radio Archives.
Inner Sanctum Mysteries was the brainchild of producer Himan Brown, inspired by the unsettling creaking door in the basement of a studio where he once worked. Brown took that inspiration and built around it a formula that lived on beyond the show itself. Listeners tuned in every week to hear that door open and be welcomed by the sinister, yet often humorous host to join him in a chair near the fire inside the Inner Sanctum for a story sure to chill them to the bone.
Stories on Inner Sanctum Mysteries originally included both classic and original tales, the new stories taking center stage as the show continued. With writers like pulp scribes Emile Tepperman and Robert Newman, as well as Robert Sloan, Milton Lewis, and others, it is little surprise that Inner Sanctum is still beloved by fans today. Utilizing numerous clichés and literary devices, Inner Sanctum Mysteries carried listeners into the heart of horror, a liberal dose of camp often thrown in. Using voices ranging from star Boris Karloff to a veteran crew of New York radio actors, Inner Sanctum set the standard for horror programs both on radio and even inspired decades of horror hosts on television.
Inner Sanctum Mysteries features some of the best of fright, terror, and fantastic storytelling old time radio has to offer!
00:00:00.000 = INTRODUCTION
00:01:54.794 = Make Ready My Grave (April 23, 1946)
00:31:33.732 = You Could Die Laughing (May 07, 1946)
01:01:14.626 = Detour to Terror (May 21, 1946)
01:30:48.100 = Eight Steps to Murder (June 04, 1946)
02:00:25.568 = I Want To Report a Murder (June 18, 1046)
02:30:03.844 = Murder Comes at Midnight (August 09, 1946) – LOW QUALITY
02:55:14.815 = Dead Laugh (September 23, 1946) – LOW QUALITY
03:21:08.827 = No Rest For The Dead (November 25, 1946)
03:48:30.221 = Death Bound (February 03, 1947)
04:18:17.845 = Terror By Night (May 19, 1947)
SOURCES AND ESSENTIAL WEB LINKS…
This episode is sponsored by http://RadioArchives.com
Weird Darkness Retro Radio theme by Storyblocks.
= = = = = = = = = = = = = = = = = = = = = = = = = = = = = =
"I have come into the world as a light, so that no one who believes in me should stay in darkness." — John 12:46
Find out how to escape eternal darkness at https://weirddarkness.com/eternaldarkness
WeirdDarkness® - is a registered trademark. Copyright, Weird Darkness, 2024.
= = = = = = = = = = = = = = = = = = = = = = = = = = = = = =
CUSTOM WEBPAGE: https://weirddarkness.com/innersanctum-marathon-009 -
Get full-length pulp audiobooks, pulp eBooks, and old-time radio shows ABSOLUTELY FREE FOR IMMEDIATE DOWNLOAD by emailing [email protected]!
“I am the Whistler and I know many things, for I walk by night. I know many strange tales hidden in the hearts of men and women who have stepped into the shadows. Yes, I know the nameless terrors of which they dare not speak!”
Haunting stories of fate, dramas of crime, deception, and manipulation building to a sudden and shocking denouement...and, through it all, the sardonic, mocking laughter of — The Whistler!
One of radio’s most memorable thriller anthologies, The Whistler was a west-coast favorite for over a decade but, despite two attempts to go nationwide, never was able to achieve the same success as a coast to coast feature. But for listeners across the western states served by the Signal Oil Company, the program’s eerie theme music opened a weekly window into the very darkest corners of the human soul. It was so popular, in fact, that Columbia Pictures produced eight second-feature films based on the concept, all but one of which starred Richard Dix.
The Whistler himself was an omniscient narrator -- the voice of Fate itself, one might suggest, or perhaps of conscience. And his stories revolved around ordinary people, pushed by the pressures of daily life into taking drastic actions. Or perhaps a sudden circumstance, an unexpected twist of life’s path, suddenly placed these protagonists on a road leading inexorably to their own destruction. Greed, lust, and perfidy of every kind figure in the plots -- and when Fate inevitably catches up with these unfortunate, driven souls, The Whistler is always ready, at the very end, to see that the knife is properly twisted.
Produced by George W. Allen, with hauntingly evocative musical scores by Wilbur Hatch, The Whistler was a prime outlet for the cream of Hollywood’s top radio performers - actors such as Wally Maher, Cathy and Elliott Lewis, Gerald Mohr, Lurene Tuttle, and Betty Lou Gerson, who emphasized skill over star power - as well as announcer Bill Forman in the title role, with Marvin Miller voicing the commercials.
00:00:00.000 = INTRODUCTION
00:01:54.231 = Harvest of Death (November 05, 1945)
00:31:21.541 = The Seeing Eye (November 12, 1945)
01:00:50.309 = Coincidence (November 19, 1945)
01:30:19.234 = The Stray Dream (November 26, 1945)
01:59:48.626 = Poison Is Quicker (December 03, 1945)
02:29:17.497 = The Cistern (December 10, 1945)
02:58:46.265 = Miracle on 49th Street (December 31, 1945)
03:28:22.321 = The Thin Line (January 07, 1946)
03:57:46.831 = Treasure Hunt (January 21, 1946)
04:27:16.015 = The Strange Sisters (January 28, 1946)
SOURCES AND ESSENTIAL WEB LINKS…
This episode is sponsored by http://RadioArchives.com
Weird Darkness Retro Radio theme by Storyblocks.
= = = = = = = = = = = = = = = = = = = = = = = = = = = = = =
"I have come into the world as a light, so that no one who believes in me should stay in darkness." — John 12:46
Find out how to escape eternal darkness at https://weirddarkness.com/eternaldarkness
WeirdDarkness® - is a registered trademark. Copyright, Weird Darkness, 2024.
= = = = = = = = = = = = = = = = = = = = = = = = = = = = = =
CUSTOM WEBPAGE: https://weirddarkness.com/whistler-marathon-011 -
Saknas det avsnitt?
-
Get full-length pulp audiobooks, pulp eBooks, and old-time radio shows ABSOLUTELY FREE FOR IMMEDIATE DOWNLOAD by emailing [email protected]!
One of the most popular radio shows in history, “The Shadow” went on the air in August of 1930. "Who knows what evil lurks in the hearts of men? The Shadow knows!" The opening lines of the "Detective Story" program captivated listeners and are instantly recognizable even today. Originally the narrator of the series of macabre tales, the eerie voice known as The Shadow became so popular to listeners that "Detective Story" was soon renamed "The Shadow," and the narrator became the star of the old-time mystery radio series, which ran until 1954. A figure never seen, only heard, the Shadow was an invincible crime fighter. He possessed many gifts which enabled him to overcome any enemy. Besides his tremendous strength, he could defy gravity, speak any language, unravel any code, and become invisible with his famous ability to "cloud men's minds." Along with his team of operatives, the Shadow battled adversaries with chilling names like The Black Master, Kings of Crime, The Five Chameleons, and, of course, The Red Menace. The Shadow's exploits were also avidly followed by readers in The Shadow magazine, which began in 1931 following the huge success of the old-time mystery radio program. The magazine was published by Street & Smith, who had also sponsored the old-time mystery radio program. Over the course of 18 years, Street & Smith published 325 issues of The Shadow, each one containing a novel about the sinister crime fighter. These stories were written by Maxwell Grant, a fictional name created by the publishing company. Although several different people wrote under the pseudonym, Walter B. Gibson wrote most of the stories, 282 in all. Most of the novels published have been reprinted in paperback and The Shadow adventures remain popular today, with Shadow comic books, magazines, toys, games, cds and cassettes of old-time radio shows, and books bringing top dollar among collectors the world over.
00:00:00.000 = INTRODUCTION
00:01:54.735 = Dreams of Death (April 28, 1946)
00:32:38.460 = They Kill With a Silver Hatchet (May 26, 1946)
01:00:10.724 = Death In a Minor Key (June 02, 1946)
01:28:05.300 = The Juggernaut (November 06, 1946 – Australian Episode)
01:56:34.171 = The Gang Doctor (November 24, 1946)
02:24:56.565 = The Devil Takes a Wife (December 08, 1946)
02:52:52.835 = Murder On The Main Stem (December 15, 1946)
03:22:44.071 = The Scent of Death (February 02, 1947)
03:50:55.383 = The Shadow’s Revenge (May 11, 1947)
04:16:05.859 = Seance With Death (May 25, 1947)
04:46:03.957 = Air Freight Fracas (June 08, 1947)
SOURCES AND ESSENTIAL WEB LINKS…
This episode is sponsored by http://RadioArchives.com
Weird Darkness Retro Radio theme by Storyblocks.
= = = = = = = = = = = = = = = = = = = = = = = = = = = = = =
"I have come into the world as a light, so that no one who believes in me should stay in darkness." — John 12:46
Find out how to escape eternal darkness at https://weirddarkness.com/eternaldarkness
WeirdDarkness® - is a registered trademark. Copyright, Weird Darkness, 2024.
= = = = = = = = = = = = = = = = = = = = = = = = = = = = = =
CUSTOM WEBPAGE: https://weirddarkness.com/theshadow-marathon-010 -
Get full-length pulp audiobooks, pulp eBooks, and old-time radio shows ABSOLUTELY FREE FOR IMMEDIATE DOWNLOAD by emailing [email protected]!
Dreadful John at Midnight is a horror/suspense radio show though it is not a traditional old-time radio show. Instead of using a script and actors, the host simply reads short stories by authors like Edgar Allen Poe and Ambrose Bierce. The show broadcast from 1963 to 1967 on WKCR. At the end of each show, the host attributed the shows production to King's Crown Radio.
00:00:00.000 = INTRO
00:01:55.012 = Born Of Man And Woman
00:11:20.546 = Ghost Hunt
00:27:02.173 = Moonlight Sonata
00:35:43.448 = Occurrence at Owl Creek Bridge
00:58:54.718 = Oil of Dog
01:09:33.209 = The Boarded Window
01:21:39.388 = The Cone
01:42:08.694 = The Hornet
01:53:49.273 = The Masque of the Red Death
02:09:06.006 = The Pit And The Pendulum
02:39:30.719 = The Tell Tale Heart
02:54:52.998 = Torture By Hope
03:10:25.670 = Was It A Dream
SOURCES AND ESSENTIAL WEB LINKS…
This episode is sponsored by http://RadioArchives.com
Weird Darkness Retro Radio theme by Storyblocks.
= = = = = = = = = = = = = = = = = = = = = = = = = = = = = =
"I have come into the world as a light, so that no one who believes in me should stay in darkness." — John 12:46
Find out how to escape eternal darkness at https://weirddarkness.com/eternaldarkness
WeirdDarkness® - is a registered trademark. Copyright, Weird Darkness, 2024.
= = = = = = = = = = = = = = = = = = = = = = = = = = = = = =
CUSTOM WEBPAGE: https://weirddarkness.com/dreadfuljohnatmidnight-marathon-001 -
Get full-length pulp audiobooks, pulp eBooks, and old-time radio shows ABSOLUTELY FREE FOR IMMEDIATE DOWNLOAD by emailing [email protected]!
After September 30, 1962, commercial radio drama was as dead as the doornail described in the opening pages of Dickens' A Christmas Carol (1843), and everyone understood that television killed it. People who worked in both mediums realized that working in radio was a much better overall experience than television could ever be. Sure, TV had pictures to go along with the stories, but putting those pictures on the air involved a highly technical and expensive technology, and by the time those images reached the audience they were grainy, blurry, and sometimes nearly impossible to see. One actor could play different parts on several different radio programs, even in a single episode, but once they were seen in a TV show their face was recognizable enough that they had a hard time working on another show, and even a twenty-second appearance meant hours in makeup and wardrobe. Appearing in a radio drama required just a couple rehearsals and then remaining as quiet as possible in the studio, following along in the script until time to perform your lines, which you also read from the script. There was one important thing that television could offer over radio work; money. The accounting in TV and radio was fundamentally different. A radio program was usually paid for by a single sponsor while commercial time on TV shows was sold piecemeal, but there was still a phenomenal amount of money involved in TV production and the networks and sponsors were happy to pay it. Unable to compete with the huge amount of money being spread around by TV, after the final broadcasts of Suspense and Yours Truly Johnny Dollar on September 30, 1960, the Golden Age of Radio came to an end. Or did it? In the decade after the end of the Golden Age of Radio, TV matured artistically and technically. There had been a rejection by the networks of "rural" programming which helped launch a nostalgia craze. This craze began with the release of George Lucas's American Graffiti (1973), and suddenly everything old seemed new again. One of the genres which were best suited to radio was the horror shows which made listeners sit up in bed and pull the sheets over their heads. This sort of program had been pioneered Wyliss Cooper and Arch Oboler on Lights Out as well as The Whistler, Suspense, and Inner Sanctum Mysteries. This was the type of show creators decided upon for his radio nostalgia project, which became The CBS Radio Mystery Theater. They were convinced that there was enough interest from those who had heard similar shows growing up during the Golden Age, but the show built a following of younger fans for whom radio drama was a new and exciting experience. In many ways, CBSRMT was more like a TV program on the radio than a typical Old Time Radio show. The shows were taped rather than broadcast live, which allowed for greater post-production editing and creative control. The scripts generally ran 45 minutes, and the action was broken at points to allow for separately produced commercials and news bulletins to be inserted. The opening featured the "creaking door" effect which had been part of The Inner Sanctum. Host E.G. Marshall was never as campily creepy earlier horror hosts, but his closing, "Until next time, pleasant… dreams?" was sure to inspire nightmares. Production of CBSRMT was efficient almost to the point of cheapness. Creators drew upon radio row veterans working in New York as well as up-and-coming television personalities. The show used original stories from a wide variety of genres as well as literary classics. Writers were paid a flat $350 for each recorded script, and actors received union scale rates of $73.92 per episode. The actors would come into the studio for an initial script reading at 9:00 am, and the episode was generally completed by noon. Paychecks were handed out and the tape would be edited in the afternoon.
00:00:00.000 = INTRODUCTION
00:01:54.482 = Ghost at High Noon (July 29, 1974)
00:46:54.396 = The Only Blood (July 31, 1974)
01:31:45.305 = The Hit Man (August 01, 1974)
02:16:26.079 = I Thought You Were Dead (August 05, 1974)
03:01:30.661 = The Headstrong Corpse (August 06, 1974)
03:46:49.707 = The Picture of Dorian Gray (August 07, 1974)
04:33:15.631 = You Only Die Once (August 08, 1974)
SOURCES AND ESSENTIAL WEB LINKS…
This episode is sponsored by http://RadioArchives.com
Weird Darkness Retro Radio theme by Storyblocks.
= = = = = = = = = = = = = = = = = = = = = = = = = = = = = =
"I have come into the world as a light, so that no one who believes in me should stay in darkness." — John 12:46
Find out how to escape eternal darkness at https://weirddarkness.com/eternaldarkness
WeirdDarkness® - is a registered trademark. Copyright, Weird Darkness, 2024.
CUSTOM WEBPAGE: https://weirddarkness.com/cbsrmt-marathon-014 -
Get full-length pulp audiobooks, pulp eBooks, and old-time radio shows ABSOLUTELY FREE FOR IMMEDIATE DOWNLOAD by emailing [email protected]!
When the dramatic anthology series "Suspense" premiered over CBS Radio on June 17, 1942, it did so as both a summer series and as a sustaining program. The network had no idea how well the series would perform - its only previous showcase was as an hour-long audition on the 1940 series "Forecast" - so running out and getting a sponsor didn’t seem to be important at that particular stage. Besides, in the show’s salad days, the guest stars that did appear were of considerably low wattage. But as "Suspense" grew in popularity and began to attract a more upscale acting clientele anxious to participate in “radio’s outstanding theater of thrills,” finding someone to pick up the weekly tab became a top priority for CBS. Luckily, in December 2, 1943, the series found its 'angel' in the sponsorship of Roma Wines. "Suspense’s" long association with Roma (and co-branded Cresta Blanca) was good for both the series and the company; a bigger budget attracted bigger guest stars and, as the program began to climb in the ratings, the company began to enjoy substantial profits. This fruitful arrangement came to an end on November 20, 1947. Roma had been admittedly seeing other programs behind "Suspense’s" back and the bright array of top Hollywood talent began to dim a bit as many of the stars began to tire of the program. CBS rolled the dice and took one heck of a chance in keeping "Suspense" on the air; the network still felt that the series was popular with audiences and they agreed to sustain the program until another sponsor could be found.How serious was CBS about keeping its prestige show? Beginning January 3, 1948, "Suspense" was moved to Saturday nights and was broadcast from 8:00 to 9:00 PM Eastern Standard Time. That’s right: a full hour of “Suspense.” Hour-long dramatic shows were a gamble at best; many stars tended to shun these programs - a half-hour show was grueling enough to get through - and only a few, "The Lux Radio Theater" being the best example, managed to continue on the air for very long. But Lux had a sponsor all too willing to write checks on a weekly basis...while CBS, without a sponsor to back them up, was still the sole support of "Suspense." What's more, the network learned soon enough that by doubling the show from half-hour to hour-long status, they had to double the pay of the individuals working on the show as well. (Networks, as a rule, cringe at the thought of giving money away.) To jazz up "Suspense," CBS hired actor Robert Montgomery to be the host and occasional performer, figuring that on the weeks when they had to resort to a less-than "A" list of guest stars, at least Montgomery would be around to provide a certain degree of glitter. Montgomery, at it turned out, made appearances in quite a few of the hour-long shows, including both the premiere, “The Black Curtain”, and most notably in “Night Must Fall”, which allowed him to reprise the role he had created in the 1937 Metro-Goldwyn-Mayer motion picture of the same name. "Suspense’s" hour-long experiment closed up shop on May 15, 1948 and the show moved back to Thursday night in its familiar half-hour form through September 1962.
00:00:00.000 = INTRODUCTION
00:01:54.350 = A Woman in Red (April 06, 1944)
00:31:11.151 = The Marvelous Barastro (April 13, 1944)
01:00:30.680 = The Palmer Method (April 20, 1944)
01:29:58.301 = The Dark Tower (May 04, 1944)
01:59:26.669 = Fugue in C-Minor (June 01, 1944)
02:28:42.004 = The Case History of Edgar Lowndes (June 08, 1944)
02:58:04.269 = A Friend to Alexander (June 15, 1944)
03:24:24.987 = The Man Who Couldn’t Lose (September 28, 1944)
03:53:53.720 = Dateline Lisbon (October 05, 1944)
04:23:30.825 = Eve (October 19, 1944)
SOURCES AND ESSENTIAL WEB LINKS…
This episode is sponsored by http://RadioArchives.com
Weird Darkness Retro Radio theme by Storyblocks.
= = = = = = = = = = = = = = = = = = = = = = = = = = = = = =
"I have come into the world as a light, so that no one who believes in me should stay in darkness." — John 12:46
WeirdDarkness® - is a registered trademark. Copyright, Weird Darkness, 2024.
CUSTOM WEBPAGE: https://weirddarkness.com/suspense-marathon-009 -
Get full-length pulp audiobooks, pulp eBooks, and old-time radio shows ABSOLUTELY FREE FOR IMMEDIATE DOWNLOAD by emailing [email protected]!
By the mid 1950s, science fiction had largely fallen into a familiar pattern, regardless of medium. When fans tuned into the radio or caught the latest science fiction movie, they either encountered space opera adventures or fare aimed largely at a juvenile audience. Only in magazines such as Astounding Science Fiction and Galaxy were stories grounded firmly in science fiction being told with mature themes aimed at character development, true literature taking off to the stars. The debut of X Minus One in April 1955 changed that on radio, making this program not only the best of its type, but in many ways one of the only shows from Radio’s Golden Age to present science fiction for a well-rounded adult audience. It is an often debated point among experts and fans as to whether or not X Minus One was simply a new season of Dimension X, a program that ran on NBC in 1950-51, or a revival of sorts of this previous show. The latter is probably more accurate since the first 15 episodes of X Minus One were new productions of Dimension X episodes. What makes X Minus One stand out, however, is the fact that the remaining programs were actually adaptations of works from two of the best science fiction magazines of the period. NBC staff writers, primarily Ernest Kinoy and George Lefferts, scoured the pages of Astounding Science Fiction and then later Galaxy Magazine for tales that would thrill and chill their listeners, aiming most assuredly at the more sophisticated science fiction fans. Stories penned by noted science fiction and genre authors such as Philip K. Dick, Robert Heinlein, Frederik Pohl, and Isaac Asimov, and many others found themselves expertly adapted for radio over the program’s nearly three-year run. Listen to X Minus One and rocket to new heights of top-notch science fiction old time radio!
00:00:00.000 = INTRODUCTION
00:01:54.470 = Volpla (August 29, 1957)
00:22:16.469 = Saucer of Loneliness (September 05, 1957)
00:50:51.099 = The Old Die Rich (September 12, 1957)
01:18:08.541 = Tsylana (September 19, 1957)
01:37:40.666 = The Native Problem (September 26, 1957)
01:58:10.558 = The Wind Is Rising (October 03, 1957)
02:18:40.709 = Death Wish (October 10, 1957)
02:39:22.511 = Point of Departure (October 17, 1957)
02:58:45.672 = The Light (October 24, 1957)
03:18:16.277 = Lulu (October 31, 1957)
03:39:15.628 = The Coffin Cure (November 21, 1957)
04:00:05.957 = Shocktroop (November 28, 1957)
04:19:45.671 = The Haunted Corpse (December 12, 1957)
04:39:36.634 = Double Dare (December 19, 1957)
SOURCES AND ESSENTIAL WEB LINKS…
This episode is sponsored by http://RadioArchives.com
Weird Darkness Retro Radio theme by Storyblocks.
= = = = = = = = = = = = = = = = = = = = = = = = = = = = = =
"I have come into the world as a light, so that no one who believes in me should stay in darkness." — John 12:46
Find out how to escape eternal darkness at https://weirddarkness.com/eternaldarkness
WeirdDarkness® - is a registered trademark. Copyright, Weird Darkness, 2024.
= = = = = = = = = = = = = = = = = = = = = = = = = = = = = =
CUSTOM WEBPAGE: https://weirddarkness.com/xminusone-marathon-009 -
Get full-length pulp audiobooks, pulp eBooks, and old-time radio shows ABSOLUTELY FREE FOR IMMEDIATE DOWNLOAD by emailing [email protected]!
A creaking door and a chorus of haunting organ music. No radio show opening is more memorable for many fans than the one heard on Inner Sanctum Mysteries. This disturbing simple salvo led people into thirty minutes of suspense and horror sprinkled with puns from a creepy host, all of which can now be heard again in sparkling audio quality from Radio Archives.
Inner Sanctum Mysteries was the brainchild of producer Himan Brown, inspired by the unsettling creaking door in the basement of a studio where he once worked. Brown took that inspiration and built around it a formula that lived on beyond the show itself. Listeners tuned in every week to hear that door open and be welcomed by the sinister, yet often humorous host to join him in a chair near the fire inside the Inner Sanctum for a story sure to chill them to the bone.
Stories on Inner Sanctum Mysteries originally included both classic and original tales, the new stories taking center stage as the show continued. With writers like pulp scribes Emile Tepperman and Robert Newman, as well as Robert Sloan, Milton Lewis, and others, it is little surprise that Inner Sanctum is still beloved by fans today. Utilizing numerous clichés and literary devices, Inner Sanctum Mysteries carried listeners into the heart of horror, a liberal dose of camp often thrown in. Using voices ranging from star Boris Karloff to a veteran crew of New York radio actors, Inner Sanctum set the standard for horror programs both on radio and even inspired decades of horror hosts on television.
Inner Sanctum Mysteries features some of the best of fright, terror, and fantastic storytelling old time radio has to offer!
00:00:00.000 = INTRODUCTION
00:01:54.794 = Creeping Wall (January 08, 1946)
00:31:27.729 = Edge of Death (January 15, 1946)
01:01:06.024 = Confession (January 22, 1946)
01:30:49.779 = Blood of Cain (January 29, 1946)
02:00:28.785 = Skeleton Bay (February 05, 1946)
02:30:05.613 = Man Who Couldn’t Die (February 12, 1946)
02:59:42.217 = I Walk In Night (February 26, 1946)
03:29:16.539 = Strands of Death (March 12, 1946)
03:59:11.121 = Death Is A Doublecrosser (March 26, 1946)
04:28:47.362 = Lady With a Plan (April 09, 1946)
SOURCES AND ESSENTIAL WEB LINKS…
This episode is sponsored by http://RadioArchives.com
Weird Darkness Retro Radio theme by Storyblocks.
= = = = = = = = = = = = = = = = = = = = = = = = = = = = = =
"I have come into the world as a light, so that no one who believes in me should stay in darkness." — John 12:46
Find out how to escape eternal darkness at https://weirddarkness.com/eternaldarkness
WeirdDarkness® - is a registered trademark. Copyright, Weird Darkness, 2024.
= = = = = = = = = = = = = = = = = = = = = = = = = = = = = =
CUSTOM WEBPAGE: https://weirddarkness.com/innersanctum-marathon-008 -
Get full-length pulp audiobooks, pulp eBooks, and old-time radio shows ABSOLUTELY FREE FOR IMMEDIATE DOWNLOAD by emailing [email protected]!
“I am the Whistler and I know many things, for I walk by night. I know many strange tales hidden in the hearts of men and women who have stepped into the shadows. Yes, I know the nameless terrors of which they dare not speak!”
Haunting stories of fate, dramas of crime, deception, and manipulation building to a sudden and shocking denouement...and, through it all, the sardonic, mocking laughter of — The Whistler!
One of radio’s most memorable thriller anthologies, The Whistler was a west-coast favorite for over a decade but, despite two attempts to go nationwide, never was able to achieve the same success as a coast to coast feature. But for listeners across the western states served by the Signal Oil Company, the program’s eerie theme music opened a weekly window into the very darkest corners of the human soul. It was so popular, in fact, that Columbia Pictures produced eight second-feature films based on the concept, all but one of which starred Richard Dix.
The Whistler himself was an omniscient narrator -- the voice of Fate itself, one might suggest, or perhaps of conscience. And his stories revolved around ordinary people, pushed by the pressures of daily life into taking drastic actions. Or perhaps a sudden circumstance, an unexpected twist of life’s path, suddenly placed these protagonists on a road leading inexorably to their own destruction. Greed, lust, and perfidy of every kind figure in the plots -- and when Fate inevitably catches up with these unfortunate, driven souls, The Whistler is always ready, at the very end, to see that the knife is properly twisted.
Produced by George W. Allen, with hauntingly evocative musical scores by Wilbur Hatch, The Whistler was a prime outlet for the cream of Hollywood’s top radio performers - actors such as Wally Maher, Cathy and Elliott Lewis, Gerald Mohr, Lurene Tuttle, and Betty Lou Gerson, who emphasized skill over star power - as well as announcer Bill Forman in the title role, with Marvin Miller voicing the commercials.
00:00:00.000 = INTRODUCTION
00:01:54.231 = What Makes a Murderer (August 13, 1945)
00:30:59.647 = X Marks The Murderer (August 20, 1945)
01:00:31.113 = I’ll Trade You Murder (August 27, 1945)
01:29:54.311 = Ambition Perilous (September 03, 1945)
01:59:07.124 = Phone Call From Death (September 10, 1945)
02:28:38.420 = Sing a Song of Murder (September 17, 1945)
02:58:10.947 = The Man Who Died Twice (September 24, 1945)
03:27:47.967 = Death Laughs Last (October 08, 1945)
03:57:22.693 = House on Sycamore Road (October 15, 1945)
04:26:41.824 = Final Returns (October 29, 1945)
SOURCES AND ESSENTIAL WEB LINKS…
This episode is sponsored by http://RadioArchives.com
Weird Darkness Retro Radio theme by Storyblocks.
= = = = = = = = = = = = = = = = = = = = = = = = = = = = = =
"I have come into the world as a light, so that no one who believes in me should stay in darkness." — John 12:46
Find out how to escape eternal darkness at https://weirddarkness.com/eternaldarkness
WeirdDarkness® - is a registered trademark. Copyright, Weird Darkness, 2024.
= = = = = = = = = = = = = = = = = = = = = = = = = = = = = =
CUSTOM WEBPAGE: https://weirddarkness.com/whistler-marathon-010 -
Get full-length pulp audiobooks, pulp eBooks, and old-time radio shows ABSOLUTELY FREE FOR IMMEDIATE DOWNLOAD by emailing [email protected]!
One of the most popular radio shows in history, “The Shadow” went on the air in August of 1930. "Who knows what evil lurks in the hearts of men? The Shadow knows!" The opening lines of the "Detective Story" program captivated listeners and are instantly recognizable even today. Originally the narrator of the series of macabre tales, the eerie voice known as The Shadow became so popular to listeners that "Detective Story" was soon renamed "The Shadow," and the narrator became the star of the old-time mystery radio series, which ran until 1954. A figure never seen, only heard, the Shadow was an invincible crime fighter. He possessed many gifts which enabled him to overcome any enemy. Besides his tremendous strength, he could defy gravity, speak any language, unravel any code, and become invisible with his famous ability to "cloud men's minds." Along with his team of operatives, the Shadow battled adversaries with chilling names like The Black Master, Kings of Crime, The Five Chameleons, and, of course, The Red Menace. The Shadow's exploits were also avidly followed by readers in The Shadow magazine, which began in 1931 following the huge success of the old-time mystery radio program. The magazine was published by Street & Smith, who had also sponsored the old-time mystery radio program. Over the course of 18 years, Street & Smith published 325 issues of The Shadow, each one containing a novel about the sinister crime fighter. These stories were written by Maxwell Grant, a fictional name created by the publishing company. Although several different people wrote under the pseudonym, Walter B. Gibson wrote most of the stories, 282 in all. Most of the novels published have been reprinted in paperback and The Shadow adventures remain popular today, with Shadow comic books, magazines, toys, games, cds and cassettes of old-time radio shows, and books bringing top dollar among collectors the world over.
00:00:00.000 = INTRODUCTION
00:01:54.735 = The Crystal Globe (October 03, 1943)
00:30:34.896 = The Juggernaut (December 26, 1943)
00:59:03.948 = Death To The Shadow (March 12, 1944)
01:28:07.124 = Brief Fame of John Cooper (March 11, 1945)
01:56:57.513 = The Case of the Burning Skull (March 18, 1945)
02:22:28.431 = The Destroyer (March 25, 1945)
02:51:02.158 = The Little Man Who Wasn’t There (April 08, 1945)
03:20:16.979 = Out of This World (October 21, 1945)
03:47:50.972 = Spotlight On The Duchess (November 04, 1945)
04:15:16.627 = Etched With Acid (Marcy 17, 1946) – LOW QUALITY
04:40:16.669 = The Walking Corpse (March 24, 1946) – LOW QUALITY
SOURCES AND ESSENTIAL WEB LINKS…
This episode is sponsored by http://RadioArchives.com
Weird Darkness Retro Radio theme by Storyblocks.
= = = = = = = = = = = = = = = = = = = = = = = = = = = = = =
"I have come into the world as a light, so that no one who believes in me should stay in darkness." — John 12:46
Find out how to escape eternal darkness at https://weirddarkness.com/eternaldarkness
WeirdDarkness® - is a registered trademark. Copyright, Weird Darkness, 2024.
= = = = = = = = = = = = = = = = = = = = = = = = = = = = = =
CUSTOM WEBPAGE: https://weirddarkness.com/theshadow-marathon-009 -
Creepy old-time radio episodes from a variety of different shows! Get full-length pulp audiobooks, pulp eBooks, and old-time radio shows ABSOLUTELY FREE FOR IMMEDIATE DOWNLOAD by emailing [email protected]!
00:00:00.000 = INTRODUCTION
00:01:54.632 = Dimension X, “Report On Barnhouse Effect” (April 22, 1950)
00:30:46.076 = Dreadful John At Midnight, “Ghost Hunt” (1963)
00:46:28.009 = Eleventh Hour, “Runaway Kid” (Broadcast Date Unknown)
01:15:57.020 = Escape, “The Vessel of Wrath” (May 10, 1953)
01:45:26.316 = Murder By Experts, “The Big Money” (July 25, 1949)
02:14:52.230 = X-Minus One, “The Convict” (December 11, 1957)
02:32:53.902 = Exploring Tomorrow, “Country Boy” (December 18, 1957)
02:51:19.931 = Five After The Hour, “Man Without a Face” (May 23, 1945)
03:15:32.949 = Hall of Fantasy, “The Tell-Tale Heart” (June 01, 1953)
03:39:26.772 = Haunted, Tales of the Supernatural, “Little Girl Lost” (June 21, 1980)
04:05:59.869 = The Haunting Hour, “Breakdown” (1944)
04:33:01.645 = The Hermit’s Cave, “Notebook on Murder” (March 17, 1947)
SOURCES AND ESSENTIAL WEB LINKS…
This episode is sponsored by http://RadioArchives.com
Weird Darkness Retro Radio theme by Storyblocks.
= = = = = = = = = = = = = = = = = = = = = = = = = = = = = =
"I have come into the world as a light, so that no one who believes in me should stay in darkness." — John 12:46
Find out how to escape eternal darkness at https://weirddarkness.com/eternaldarkness
WeirdDarkness® - is a registered trademark. Copyright, Weird Darkness, 2024.
= = = = = = = = = = = = = = = = = = = = = = = = = = = = = =
CUSTOM WEBPAGE: https://weirddarkness.com/miscellaneous-marathon-003 -
Get full-length pulp audiobooks, pulp eBooks, and old-time radio shows ABSOLUTELY FREE FOR IMMEDIATE DOWNLOAD by emailing [email protected]!
After September 30, 1962, commercial radio drama was as dead as the doornail described in the opening pages of Dickens' A Christmas Carol (1843), and everyone understood that television killed it. People who worked in both mediums realized that working in radio was a much better overall experience than television could ever be. Sure, TV had pictures to go along with the stories, but putting those pictures on the air involved a highly technical and expensive technology, and by the time those images reached the audience they were grainy, blurry, and sometimes nearly impossible to see. One actor could play different parts on several different radio programs, even in a single episode, but once they were seen in a TV show their face was recognizable enough that they had a hard time working on another show, and even a twenty-second appearance meant hours in makeup and wardrobe. Appearing in a radio drama required just a couple rehearsals and then remaining as quiet as possible in the studio, following along in the script until time to perform your lines, which you also read from the script. There was one important thing that television could offer over radio work; money. The accounting in TV and radio was fundamentally different. A radio program was usually paid for by a single sponsor while commercial time on TV shows was sold piecemeal, but there was still a phenomenal amount of money involved in TV production and the networks and sponsors were happy to pay it. Unable to compete with the huge amount of money being spread around by TV, after the final broadcasts of Suspense and Yours Truly Johnny Dollar on September 30, 1960, the Golden Age of Radio came to an end. Or did it? In the decade after the end of the Golden Age of Radio, TV matured artistically and technically. There had been a rejection by the networks of "rural" programming which helped launch a nostalgia craze. This craze began with the release of George Lucas's American Graffiti (1973), and suddenly everything old seemed new again. One of the genres which were best suited to radio was the horror shows which made listeners sit up in bed and pull the sheets over their heads. This sort of program had been pioneered Wyliss Cooper and Arch Oboler on Lights Out as well as The Whistler, Suspense, and Inner Sanctum Mysteries. This was the type of show creators decided upon for his radio nostalgia project, which became The CBS Radio Mystery Theater. They were convinced that there was enough interest from those who had heard similar shows growing up during the Golden Age, but the show built a following of younger fans for whom radio drama was a new and exciting experience. In many ways, CBSRMT was more like a TV program on the radio than a typical Old Time Radio show. The shows were taped rather than broadcast live, which allowed for greater post-production editing and creative control. The scripts generally ran 45 minutes, and the action was broken at points to allow for separately produced commercials and news bulletins to be inserted. The opening featured the "creaking door" effect which had been part of The Inner Sanctum. Host E.G. Marshall was never as campily creepy earlier horror hosts, but his closing, "Until next time, pleasant… dreams?" was sure to inspire nightmares. Production of CBSRMT was efficient almost to the point of cheapness. Creators drew upon radio row veterans working in New York as well as up-and-coming television personalities. The show used original stories from a wide variety of genres as well as literary classics. Writers were paid a flat $350 for each recorded script, and actors received union scale rates of $73.92 per episode. The actors would come into the studio for an initial script reading at 9:00 am, and the episode was generally completed by noon. Paychecks were handed out and the tape would be edited in the afternoon.
00:00:00.000 = INTRODUCTION
00:01:54.482 = The Devil God (July 11, 1974)
00:47:10.859 = The Canterville Ghost (July 15, 1974)
01:32:04.487 = The Real Printer’s Devil (July 17, 1974)
02:17:16.069 = The Dream Woman (July 18, 1974)
03:01:50.137 = The Deadly Process (July 22, 1974)
03:47:02.841 = Adam’s Astral Self (July 23, 1974)
04:32:25.822 = My Sister, Death ( July 25, 1974)
SOURCES AND ESSENTIAL WEB LINKS…
This episode is sponsored by http://RadioArchives.com
Weird Darkness Retro Radio theme by Storyblocks.
= = = = = = = = = = = = = = = = = = = = = = = = = = = = = =
"I have come into the world as a light, so that no one who believes in me should stay in darkness." — John 12:46
Find out how to escape eternal darkness at https://weirddarkness.com/eternaldarkness
WeirdDarkness® - is a registered trademark. Copyright, Weird Darkness, 2024.
CUSTOM WEBPAGE: https://weirddarkness.com/cbsrmt-marathon-013 -
Get full-length pulp audiobooks, pulp eBooks, and old-time radio shows ABSOLUTELY FREE FOR IMMEDIATE DOWNLOAD by emailing [email protected]!
When the dramatic anthology series "Suspense" premiered over CBS Radio on June 17, 1942, it did so as both a summer series and as a sustaining program. The network had no idea how well the series would perform - its only previous showcase was as an hour-long audition on the 1940 series "Forecast" - so running out and getting a sponsor didn’t seem to be important at that particular stage. Besides, in the show’s salad days, the guest stars that did appear were of considerably low wattage. But as "Suspense" grew in popularity and began to attract a more upscale acting clientele anxious to participate in “radio’s outstanding theater of thrills,” finding someone to pick up the weekly tab became a top priority for CBS. Luckily, in December 2, 1943, the series found its 'angel' in the sponsorship of Roma Wines. "Suspense’s" long association with Roma (and co-branded Cresta Blanca) was good for both the series and the company; a bigger budget attracted bigger guest stars and, as the program began to climb in the ratings, the company began to enjoy substantial profits. This fruitful arrangement came to an end on November 20, 1947. Roma had been admittedly seeing other programs behind "Suspense’s" back and the bright array of top Hollywood talent began to dim a bit as many of the stars began to tire of the program. CBS rolled the dice and took one heck of a chance in keeping "Suspense" on the air; the network still felt that the series was popular with audiences and they agreed to sustain the program until another sponsor could be found.How serious was CBS about keeping its prestige show? Beginning January 3, 1948, "Suspense" was moved to Saturday nights and was broadcast from 8:00 to 9:00 PM Eastern Standard Time. That’s right: a full hour of “Suspense.” Hour-long dramatic shows were a gamble at best; many stars tended to shun these programs - a half-hour show was grueling enough to get through - and only a few, "The Lux Radio Theater" being the best example, managed to continue on the air for very long. But Lux had a sponsor all too willing to write checks on a weekly basis...while CBS, without a sponsor to back them up, was still the sole support of "Suspense." What's more, the network learned soon enough that by doubling the show from half-hour to hour-long status, they had to double the pay of the individuals working on the show as well. (Networks, as a rule, cringe at the thought of giving money away.) To jazz up "Suspense," CBS hired actor Robert Montgomery to be the host and occasional performer, figuring that on the weeks when they had to resort to a less-than "A" list of guest stars, at least Montgomery would be around to provide a certain degree of glitter. Montgomery, at it turned out, made appearances in quite a few of the hour-long shows, including both the premiere, “The Black Curtain”, and most notably in “Night Must Fall”, which allowed him to reprise the role he had created in the 1937 Metro-Goldwyn-Mayer motion picture of the same name. "Suspense’s" hour-long experiment closed up shop on May 15, 1948 and the show moved back to Thursday night in its familiar half-hour form through September 1962.
00:00:00.000 = INTRODUCTION
00:01:54.350 = Donovan’s Brain, Part 1 (May 18, 1944)
00:31:24.931 = Donovan’s Brain, Part 2 (May 25, 1944)
01:00:41.205 = The Singing Walls (September 02, 1943)
01:30:09.809 = The Cross-Eyed Bear (September 16, 1943)
01:59:41.078 = Suspicion (February 10, 1944)
02:29:12.972 = Life Ends at Midnight (February 17, 1944)
02:58:42.004 = The Defense Rests (March 09, 1944)
03:28:11.465 = Narrative About Clarence (March 16, 1944)
03:57:28.775 = Sneak Preview (March 23, 1944)
04:27:05.414 = Cat and Mouse (March 30, 1944)
SOURCES AND ESSENTIAL WEB LINKS…
This episode is sponsored by http://RadioArchives.com
Weird Darkness Retro Radio theme by Storyblocks.
= = = = = = = = = = = = = = = = = = = = = = = = = = = = = =
"I have come into the world as a light, so that no one who believes in me should stay in darkness." — John 12:46
WeirdDarkness® - is a registered trademark. Copyright, Weird Darkness, 2024.
CUSTOM WEBPAGE: https://weirddarkness.com/suspense-marathon-008 -
Get full-length pulp audiobooks, pulp eBooks, and old-time radio shows ABSOLUTELY FREE FOR IMMEDIATE DOWNLOAD by emailing [email protected]!
By the mid 1950s, science fiction had largely fallen into a familiar pattern, regardless of medium. When fans tuned into the radio or caught the latest science fiction movie, they either encountered space opera adventures or fare aimed largely at a juvenile audience. Only in magazines such as Astounding Science Fiction and Galaxy were stories grounded firmly in science fiction being told with mature themes aimed at character development, true literature taking off to the stars. The debut of X Minus One in April 1955 changed that on radio, making this program not only the best of its type, but in many ways one of the only shows from Radio’s Golden Age to present science fiction for a well-rounded adult audience. It is an often debated point among experts and fans as to whether or not X Minus One was simply a new season of Dimension X, a program that ran on NBC in 1950-51, or a revival of sorts of this previous show. The latter is probably more accurate since the first 15 episodes of X Minus One were new productions of Dimension X episodes. What makes X Minus One stand out, however, is the fact that the remaining programs were actually adaptations of works from two of the best science fiction magazines of the period. NBC staff writers, primarily Ernest Kinoy and George Lefferts, scoured the pages of Astounding Science Fiction and then later Galaxy Magazine for tales that would thrill and chill their listeners, aiming most assuredly at the more sophisticated science fiction fans. Stories penned by noted science fiction and genre authors such as Philip K. Dick, Robert Heinlein, Frederik Pohl, and Isaac Asimov, and many others found themselves expertly adapted for radio over the program’s nearly three-year run. Listen to X Minus One and rocket to new heights of top-notch science fiction old time radio!
00:00:00.000 = INTRODUCTION
00:01:54.470 = Martian Sam (April 03, 1957)
00:23:05.410 = Something For Nothing (April 10, 1957)
00:44:10.355 = Discovery of Morniel Mathaway (April 17, 1957)
01:05:48.183 = Man’s Best Friend (April 24, 1957)
01:28:03.208 = Inside Story (June 20, 1957)
01:48:25.455 = The Category Inventor (June 27, 1957)
02:08:54.377 = Skulking Permit (July 04, 1957)
02:30:10.133 = Early Model (July 11, 1957)
02:51:34.432 = The Merchants of Venus (July 18, 1957)
03:12:40.934 = The Haunted Corpse (July 25, 1957)
03:33:34.689 = End As A World (August 01, 1957)
03:53:15.073 = The Scapegoat (August 08, 1957)
04:14:27.700 = At The Post (August 15, 1957)
04:35:52.542 = Drop Dead (August 22, 1957)
SOURCES AND ESSENTIAL WEB LINKS…
This episode is sponsored by http://RadioArchives.com
Weird Darkness Retro Radio theme by Storyblocks.
= = = = = = = = = = = = = = = = = = = = = = = = = = = = = =
"I have come into the world as a light, so that no one who believes in me should stay in darkness." — John 12:46
Find out how to escape eternal darkness at https://weirddarkness.com/eternaldarkness
WeirdDarkness® - is a registered trademark. Copyright, Weird Darkness, 2024.
= = = = = = = = = = = = = = = = = = = = = = = = = = = = = =
CUSTOM WEBPAGE: https://weirddarkness.com/xminusone-marathon-008 -
Get full-length pulp audiobooks, pulp eBooks, and old-time radio shows ABSOLUTELY FREE FOR IMMEDIATE DOWNLOAD by emailing [email protected]!
A creaking door and a chorus of haunting organ music. No radio show opening is more memorable for many fans than the one heard on Inner Sanctum Mysteries. This disturbing simple salvo led people into thirty minutes of suspense and horror sprinkled with puns from a creepy host, all of which can now be heard again in sparkling audio quality from Radio Archives.
Inner Sanctum Mysteries was the brainchild of producer Himan Brown, inspired by the unsettling creaking door in the basement of a studio where he once worked. Brown took that inspiration and built around it a formula that lived on beyond the show itself. Listeners tuned in every week to hear that door open and be welcomed by the sinister, yet often humorous host to join him in a chair near the fire inside the Inner Sanctum for a story sure to chill them to the bone.
Stories on Inner Sanctum Mysteries originally included both classic and original tales, the new stories taking center stage as the show continued. With writers like pulp scribes Emile Tepperman and Robert Newman, as well as Robert Sloan, Milton Lewis, and others, it is little surprise that Inner Sanctum is still beloved by fans today. Utilizing numerous clichés and literary devices, Inner Sanctum Mysteries carried listeners into the heart of horror, a liberal dose of camp often thrown in. Using voices ranging from star Boris Karloff to a veteran crew of New York radio actors, Inner Sanctum set the standard for horror programs both on radio and even inspired decades of horror hosts on television.
Inner Sanctum Mysteries features some of the best of fright, terror, and fantastic storytelling old time radio has to offer!
00:00:00.000 = INTRODUCTION
00:01:54.794 = Lonely Sleep (September 25, 1945)
00:31:30.615 = Shadow of Death (October 02, 1945)
01:00:18.433 = Death By Scripture (October 09, 1945)
01:30:20.033 = Till Death Do Us Part (October 16, 1945)
01:57:13.353 = Corridor of Doom (October 23, 1945)
02:26:27.655 = The Man Who Couldn’t Die (October 30, 1945)
02:55:49.378 = Wailing Wall (November 06, 1945)
03:25:10.068 = Boomerang (November 20, 1945)
03:55:00.800 = Dark Chamber (December 11, 1945)
04:24:45.523 = Undead (December 18, 1945)
SOURCES AND ESSENTIAL WEB LINKS…
This episode is sponsored by http://RadioArchives.com
Weird Darkness Retro Radio theme by Storyblocks.
= = = = = = = = = = = = = = = = = = = = = = = = = = = = = =
"I have come into the world as a light, so that no one who believes in me should stay in darkness." — John 12:46
Find out how to escape eternal darkness at https://weirddarkness.com/eternaldarkness
WeirdDarkness® - is a registered trademark. Copyright, Weird Darkness, 2024.
= = = = = = = = = = = = = = = = = = = = = = = = = = = = = =
CUSTOM WEBPAGE: https://weirddarkness.com/innersanctum-marathon-007 -
Get full-length pulp audiobooks, pulp eBooks, and old-time radio shows ABSOLUTELY FREE FOR IMMEDIATE DOWNLOAD by emailing [email protected]!
“I am the Whistler and I know many things, for I walk by night. I know many strange tales hidden in the hearts of men and women who have stepped into the shadows. Yes, I know the nameless terrors of which they dare not speak!”
Haunting stories of fate, dramas of crime, deception, and manipulation building to a sudden and shocking denouement...and, through it all, the sardonic, mocking laughter of — The Whistler!
One of radio’s most memorable thriller anthologies, The Whistler was a west-coast favorite for over a decade but, despite two attempts to go nationwide, never was able to achieve the same success as a coast to coast feature. But for listeners across the western states served by the Signal Oil Company, the program’s eerie theme music opened a weekly window into the very darkest corners of the human soul. It was so popular, in fact, that Columbia Pictures produced eight second-feature films based on the concept, all but one of which starred Richard Dix.
The Whistler himself was an omniscient narrator -- the voice of Fate itself, one might suggest, or perhaps of conscience. And his stories revolved around ordinary people, pushed by the pressures of daily life into taking drastic actions. Or perhaps a sudden circumstance, an unexpected twist of life’s path, suddenly placed these protagonists on a road leading inexorably to their own destruction. Greed, lust, and perfidy of every kind figure in the plots -- and when Fate inevitably catches up with these unfortunate, driven souls, The Whistler is always ready, at the very end, to see that the knife is properly twisted.
Produced by George W. Allen, with hauntingly evocative musical scores by Wilbur Hatch, The Whistler was a prime outlet for the cream of Hollywood’s top radio performers - actors such as Wally Maher, Cathy and Elliott Lewis, Gerald Mohr, Lurene Tuttle, and Betty Lou Gerson, who emphasized skill over star power - as well as announcer Bill Forman in the title role, with Marvin Miller voicing the commercials.
00:00:00.000 = INTRODUCTION
00:01:54.231 = Murder Will Shout (March 19, 1945)
00:31:25.707 = The Return of the Innocent (April 02, 1945)
01:00:55.357 = Meet Mr. Death (April 23, 1945)
01:30:22.226 = The Man Who Bought Death (May 21, 1945)
01:59:46.437 = The Deadly Innocent (July 02, 1945)
02:29:15.086 = Highway of Escape (July 09, 1945)
02:58:43.805 = A Pattern For Terror (July 16, 1945)
03:28:13.297 = Let George Do It (July 23, 1945)
03:57:42.479 = Summer Thunder (July 30, 1945)
04:27:12.076 = The man Who Came to Murder (August 06, 1945)
SOURCES AND ESSENTIAL WEB LINKS…
This episode is sponsored by http://RadioArchives.com
Weird Darkness Retro Radio theme by Storyblocks.
= = = = = = = = = = = = = = = = = = = = = = = = = = = = = =
"I have come into the world as a light, so that no one who believes in me should stay in darkness." — John 12:46
Find out how to escape eternal darkness at https://weirddarkness.com/eternaldarkness
WeirdDarkness® - is a registered trademark. Copyright, Weird Darkness, 2024.
= = = = = = = = = = = = = = = = = = = = = = = = = = = = = =
CUSTOM WEBPAGE: https://weirddarkness.com/whistler-marathon-009 -
Get full-length pulp audiobooks, pulp eBooks, and old-time radio shows ABSOLUTELY FREE FOR IMMEDIATE DOWNLOAD by emailing [email protected]!
One of the most popular radio shows in history, “The Shadow” went on the air in August of 1930. "Who knows what evil lurks in the hearts of men? The Shadow knows!" The opening lines of the "Detective Story" program captivated listeners and are instantly recognizable even today. Originally the narrator of the series of macabre tales, the eerie voice known as The Shadow became so popular to listeners that "Detective Story" was soon renamed "The Shadow," and the narrator became the star of the old-time mystery radio series, which ran until 1954. A figure never seen, only heard, the Shadow was an invincible crime fighter. He possessed many gifts which enabled him to overcome any enemy. Besides his tremendous strength, he could defy gravity, speak any language, unravel any code, and become invisible with his famous ability to "cloud men's minds." Along with his team of operatives, the Shadow battled adversaries with chilling names like The Black Master, Kings of Crime, The Five Chameleons, and, of course, The Red Menace. The Shadow's exploits were also avidly followed by readers in The Shadow magazine, which began in 1931 following the huge success of the old-time mystery radio program. The magazine was published by Street & Smith, who had also sponsored the old-time mystery radio program. Over the course of 18 years, Street & Smith published 325 issues of The Shadow, each one containing a novel about the sinister crime fighter. These stories were written by Maxwell Grant, a fictional name created by the publishing company. Although several different people wrote under the pseudonym, Walter B. Gibson wrote most of the stories, 282 in all. Most of the novels published have been reprinted in paperback and The Shadow adventures remain popular today, with Shadow comic books, magazines, toys, games, cds and cassettes of old-time radio shows, and books bringing top dollar among collectors the world over.
00:00:00.000 = INTRODUCTION
00:01:54.735 = The Ghost Building (January 12, 1941)
00:31:29.737 = The Shadow Challenged (January 19, 1941)
01:00:32.084 = Nightmare at Gaelsbury (February 02, 1941)
01:24:46.816 = The Man Who Lived Twice (February 09, 1941)
01:48:01.716 = The Phantom Voyage (February 16, 1941)
02:12:49.315 = The Chess Club Murders (February 23, 1941)
02:41:44.100 = Death Rides a Broomstick (March 02, 1941)
03:09:46.149 = The Ghost Walks Again (March 16, 1941)
03:34:30.812 = Death Prowls at Night (March 23, 1941)
04:00:26.672 = The Gibbering Thing (September 26, 1943)
04:28:51.731 = The Murder Underground (March 09, 1941) – LOW QUALITY
SOURCES AND ESSENTIAL WEB LINKS…
This episode is sponsored by http://RadioArchives.com
Weird Darkness Retro Radio theme by Storyblocks.
= = = = = = = = = = = = = = = = = = = = = = = = = = = = = =
"I have come into the world as a light, so that no one who believes in me should stay in darkness." — John 12:46
Find out how to escape eternal darkness at https://weirddarkness.com/eternaldarkness
WeirdDarkness® - is a registered trademark. Copyright, Weird Darkness, 2024.
= = = = = = = = = = = = = = = = = = = = = = = = = = = = = =
CUSTOM WEBPAGE: https://weirddarkness.com/theshadow-marathon-008 -
Get full-length pulp audiobooks, pulp eBooks, and old-time radio shows ABSOLUTELY FREE FOR IMMEDIATE DOWNLOAD by emailing [email protected]!
After September 30, 1962, commercial radio drama was as dead as the doornail described in the opening pages of Dickens' A Christmas Carol (1843), and everyone understood that television killed it. People who worked in both mediums realized that working in radio was a much better overall experience than television could ever be. Sure, TV had pictures to go along with the stories, but putting those pictures on the air involved a highly technical and expensive technology, and by the time those images reached the audience they were grainy, blurry, and sometimes nearly impossible to see. One actor could play different parts on several different radio programs, even in a single episode, but once they were seen in a TV show their face was recognizable enough that they had a hard time working on another show, and even a twenty-second appearance meant hours in makeup and wardrobe. Appearing in a radio drama required just a couple rehearsals and then remaining as quiet as possible in the studio, following along in the script until time to perform your lines, which you also read from the script. There was one important thing that television could offer over radio work; money. The accounting in TV and radio was fundamentally different. A radio program was usually paid for by a single sponsor while commercial time on TV shows was sold piecemeal, but there was still a phenomenal amount of money involved in TV production and the networks and sponsors were happy to pay it. Unable to compete with the huge amount of money being spread around by TV, after the final broadcasts of Suspense and Yours Truly Johnny Dollar on September 30, 1960, the Golden Age of Radio came to an end. Or did it? In the decade after the end of the Golden Age of Radio, TV matured artistically and technically. There had been a rejection by the networks of "rural" programming which helped launch a nostalgia craze. This craze began with the release of George Lucas's American Graffiti (1973), and suddenly everything old seemed new again. One of the genres which were best suited to radio was the horror shows which made listeners sit up in bed and pull the sheets over their heads. This sort of program had been pioneered Wyliss Cooper and Arch Oboler on Lights Out as well as The Whistler, Suspense, and Inner Sanctum Mysteries. This was the type of show creators decided upon for his radio nostalgia project, which became The CBS Radio Mystery Theater. They were convinced that there was enough interest from those who had heard similar shows growing up during the Golden Age, but the show built a following of younger fans for whom radio drama was a new and exciting experience. In many ways, CBSRMT was more like a TV program on the radio than a typical Old Time Radio show. The shows were taped rather than broadcast live, which allowed for greater post-production editing and creative control. The scripts generally ran 45 minutes, and the action was broken at points to allow for separately produced commercials and news bulletins to be inserted. The opening featured the "creaking door" effect which had been part of The Inner Sanctum. Host E.G. Marshall was never as campily creepy earlier horror hosts, but his closing, "Until next time, pleasant… dreams?" was sure to inspire nightmares. Production of CBSRMT was efficient almost to the point of cheapness. Creators drew upon radio row veterans working in New York as well as up-and-coming television personalities. The show used original stories from a wide variety of genres as well as literary classics. Writers were paid a flat $350 for each recorded script, and actors received union scale rates of $73.92 per episode. The actors would come into the studio for an initial script reading at 9:00 am, and the episode was generally completed by noon. Paychecks were handed out and the tape would be edited in the afternoon.
00:00:00.000 = INTRODUCTION
00:01:54.482 = Where Fear Begins (June 25, 1974)
00:46:09.444 = Yesterday’s Murder (June 27, 1974)
01:30:22.516 = Hurricane (July 01, 1974)
02:14:41.491 = The Secret Life of Bobby Deland (July 03, 1974)
02:59:07.847 = The Young Die Good (July 04, 1974)
03:43:37.985 = Too Many Women Can Kill You (July 08, 1974)
04:28:35.623 = And Death Makes Even Steven (July 09, 1974)
SOURCES AND ESSENTIAL WEB LINKS…
This episode is sponsored by http://RadioArchives.com
Weird Darkness Retro Radio theme by Storyblocks.
= = = = = = = = = = = = = = = = = = = = = = = = = = = = = =
"I have come into the world as a light, so that no one who believes in me should stay in darkness." — John 12:46
Find out how to escape eternal darkness at https://weirddarkness.com/eternaldarkness
WeirdDarkness® - is a registered trademark. Copyright, Weird Darkness, 2024.
CUSTOM WEBPAGE: https://weirddarkness.com/cbsrmt-marathon-012 -
Get full-length pulp audiobooks, pulp eBooks, and old-time radio shows ABSOLUTELY FREE FOR IMMEDIATE DOWNLOAD by emailing [email protected]!
When the dramatic anthology series "Suspense" premiered over CBS Radio on June 17, 1942, it did so as both a summer series and as a sustaining program. The network had no idea how well the series would perform - its only previous showcase was as an hour-long audition on the 1940 series "Forecast" - so running out and getting a sponsor didn’t seem to be important at that particular stage. Besides, in the show’s salad days, the guest stars that did appear were of considerably low wattage. But as "Suspense" grew in popularity and began to attract a more upscale acting clientele anxious to participate in “radio’s outstanding theater of thrills,” finding someone to pick up the weekly tab became a top priority for CBS. Luckily, in December 2, 1943, the series found its 'angel' in the sponsorship of Roma Wines. "Suspense’s" long association with Roma (and co-branded Cresta Blanca) was good for both the series and the company; a bigger budget attracted bigger guest stars and, as the program began to climb in the ratings, the company began to enjoy substantial profits. This fruitful arrangement came to an end on November 20, 1947. Roma had been admittedly seeing other programs behind "Suspense’s" back and the bright array of top Hollywood talent began to dim a bit as many of the stars began to tire of the program. CBS rolled the dice and took one heck of a chance in keeping "Suspense" on the air; the network still felt that the series was popular with audiences and they agreed to sustain the program until another sponsor could be found.How serious was CBS about keeping its prestige show? Beginning January 3, 1948, "Suspense" was moved to Saturday nights and was broadcast from 8:00 to 9:00 PM Eastern Standard Time. That’s right: a full hour of “Suspense.” Hour-long dramatic shows were a gamble at best; many stars tended to shun these programs - a half-hour show was grueling enough to get through - and only a few, "The Lux Radio Theater" being the best example, managed to continue on the air for very long. But Lux had a sponsor all too willing to write checks on a weekly basis...while CBS, without a sponsor to back them up, was still the sole support of "Suspense." What's more, the network learned soon enough that by doubling the show from half-hour to hour-long status, they had to double the pay of the individuals working on the show as well. (Networks, as a rule, cringe at the thought of giving money away.) To jazz up "Suspense," CBS hired actor Robert Montgomery to be the host and occasional performer, figuring that on the weeks when they had to resort to a less-than "A" list of guest stars, at least Montgomery would be around to provide a certain degree of glitter. Montgomery, at it turned out, made appearances in quite a few of the hour-long shows, including both the premiere, “The Black Curtain”, and most notably in “Night Must Fall”, which allowed him to reprise the role he had created in the 1937 Metro-Goldwyn-Mayer motion picture of the same name. Many of the hour-long "Suspense" shows were movie adaptations in the "Lux Radio Theater" mold, including “Deadline at Dawn,” “Crossfire” and “Nightmare” -- the last of which was filmed in 1947 as “Fear in the Night”. There were even two productions that, it could be said, acted as previews of coming attractions: the series’ 1948 productions of “In a Lonely Place” and “The House by the River” were brought to the silver screen in 1950. Several of "Suspense’s" celebrated classics were also repeated during the hour-long experiment, having been lengthened to fit the new format. "Suspense’s" hour-long experiment closed up shop on May 15, 1948 and, close to two months later, the show moved back to its cozy Thursday night berth in its familiar half-hour form through September 1962.
00:00:00.000 = INTRODUCTION
00:01:54.350 = “The Burning Court” (June 17, 1942)
00:31:24.029 = The Devil In The Summer House (November 03, 1942)
01:00:53.552 = The Bride Vanishes (December 01, 1942)
01:30:31.934 = Till Death Do Us Part (December 15, 1942)
02:00:00.615 = Nothing Up My Sleeve (January 05, 1943)
02:29:24.419 = The Devil’s Saint (January 19, 1943)
02:58:52.578 = Last Night (March 06, 1943)
03:28:25.102 = Uncle Henry’s Rose Bush (June 29, 1943)
03:57:52.047 = The White Rose Murders (July 06, 1943)
04:27:08.240 = The Fountain Plays (August 10, 1943)
SOURCES AND ESSENTIAL WEB LINKS…
This episode is sponsored by http://RadioArchives.com
Weird Darkness Retro Radio theme by Storyblocks.
= = = = = = = = = = = = = = = = = = = = = = = = = = = = = =
"I have come into the world as a light, so that no one who believes in me should stay in darkness." — John 12:46
WeirdDarkness® - is a registered trademark. Copyright, Weird Darkness, 2024.
CUSTOM WEBPAGE: https://weirddarkness.com/suspense-marathon-007 -
Get full-length pulp audiobooks, pulp eBooks, and old-time radio shows ABSOLUTELY FREE FOR IMMEDIATE DOWNLOAD by emailing [email protected]!
By the mid 1950s, science fiction had largely fallen into a familiar pattern, regardless of medium. When fans tuned into the radio or caught the latest science fiction movie, they either encountered space opera adventures or fare aimed largely at a juvenile audience. Only in magazines such as Astounding Science Fiction and Galaxy were stories grounded firmly in science fiction being told with mature themes aimed at character development, true literature taking off to the stars. The debut of X Minus One in April 1955 changed that on radio, making this program not only the best of its type, but in many ways one of the only shows from Radio’s Golden Age to present science fiction for a well-rounded adult audience. It is an often debated point among experts and fans as to whether or not X Minus One was simply a new season of Dimension X, a program that ran on NBC in 1950-51, or a revival of sorts of this previous show. The latter is probably more accurate since the first 15 episodes of X Minus One were new productions of Dimension X episodes. What makes X Minus One stand out, however, is the fact that the remaining programs were actually adaptations of works from two of the best science fiction magazines of the period. NBC staff writers, primarily Ernest Kinoy and George Lefferts, scoured the pages of Astounding Science Fiction and then later Galaxy Magazine for tales that would thrill and chill their listeners, aiming most assuredly at the more sophisticated science fiction fans. Stories penned by noted science fiction and genre authors such as Philip K. Dick, Robert Heinlein, Frederik Pohl, and Isaac Asimov, and many others found themselves expertly adapted for radio over the program’s nearly three-year run. Listen to X Minus One and rocket to new heights of top-notch science fiction old time radio!
00:00:00.000 = INTRODUCTION
00:01:54.470 = The Moon Is Green (January 02, 1957)
00:30:16.613 = Saucer of Loneliness (January 09, 1957)
00:59:01.789 = The Girls From Earth (January 16, 1957)
01:21:18.452 = Open Warfare (January 23, 1957)
01:42:35.282 = Caretaker (January 30, 1957)
02:04:13.830 = Venus Is A Man’s World (February 06, 1957)
02:25:06.654 = The Trap (February 13, 1957)
02:47:00.728 = Field Study (February 20, 1957)
03:08:36.066 = Real Gone (February 27, 1957)
03:30:43.375 = The Seventh Victim (March 06, 1957)
03:52:48.201 = The Lights on Precipice Peak (March 13, 1957)
04:13:48.162 = Protection (March 20, 1957)
04:36:00.300 = At The Post (March 27, 1957)
SOURCES AND ESSENTIAL WEB LINKS…
This episode is sponsored by http://RadioArchives.com
Weird Darkness Retro Radio theme by Storyblocks.
= = = = = = = = = = = = = = = = = = = = = = = = = = = = = =
"I have come into the world as a light, so that no one who believes in me should stay in darkness." — John 12:46
Find out how to escape eternal darkness at https://weirddarkness.com/eternaldarkness
WeirdDarkness® - is a registered trademark. Copyright, Weird Darkness, 2024.
= = = = = = = = = = = = = = = = = = = = = = = = = = = = = =
CUSTOM WEBPAGE: https://weirddarkness.com/xminusone-marathon-007 - Visa fler
