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

The man you just heard was Raymond Edward Johnson. He is best-remembered for being the longtime host on Inner Sanctum Mysteries on CBS. After returning from the War, Johnson left the show to pursue more diversified acting interests. However by then, NBC had launched their own mystery program which Johnson often found himself appearing in. It was called The Molle Mystery Theater.

Launched on September 7th, 1943 and sponsored by Molle Brushless Shaving Cream, Mystery Theater was hosted by Bernard Lenrow as Geoffrey Barnes, crime fiction connoisseur. Veteran radio actor Bernard Lenrow routinely read one-hundred mystery novels each year and personally selected the stories to be dramatized on the show.

Molle featured ’‘the best in mystery and detective fiction,” with tales running from classics by Poe, to moderns by Raymond Chandler. The trademarks were high tension and shocking endings.

In July of 1944 it was pulling a rating of 9.1 Tuesdays at 9PM. Many of New York’s most-famous radio actors appeared, like Richard Widmark, Elspeth Eric, Anne Seymour, and Joseph Julian.

Opposite of A Date With Judy at 8:30PM, CBS broadcast Theater of Romance, hosted by the just-heard Arnold Moss, who was also known for his acting prowess.

Romance first took to the air on April 19th, 1943 with host Frank Gallop as “your guide through the pages of the great stories of all-time.” It went off the airwaves June 20th, 1944 before re-debuting on July 4th as Theater of Romance, sponsored by Colgate Tooth Powder.

This episode featured Gertrude Warner and Karl Swenson in James Hilton’s Goodbye Mr. Chips. In 1975 Swenson was interviewed with his wife and fellow actress, Joan Tompkins, by Chuck Schaden.

Debuting on June 24th, 1941, A Date With Judy was the teenage girl’s answer to Archie Andrews and The Aldrich Family. Billed as the adventures of the “lovable teenage girl who’s close to all our hearts,” it initially starred Ann Gillis in a summer replacement for Bob Hope.

While filming at Paramount, Hope met Gillis and introduced her to his radio sponsors. They cast her in the adolescent comedy being prepared by writer Aleen Leslie.

Leslie had come up through the Hollywood ranks working for Columbia Pictures, and writing for Deanna Durbin, Mickey Rooney, and Henry Aldrich films.

Leslie wrote the lead with her friend Helen Mack in mind, but Mack was pregnant and declined. After the birth of her child. Mack came in as producer-director, the only woman to do so in a prime-time role at the time. In three summertime runs, two for Hope and one for Eddie Cantor, Judy was played by Gillis, Joan Lorring, and finally Louise Erickson. Erickson also played Marjorie on The Great Gildersleeve. In January of 1944, Judy was given a full-time run and Erickson held the role for the next six years.

In July of 1944 the show was pulling a rating of 9.1 on NBC. On Independence Day at 8:30PM, an overheard election mixup causes comedic embarrassment for Judy’s father.

Virginia Ellen, “Ginny” Simms was born in San Antonio, Texas on May 25rd, 1913. Her family moved to California, where she attended Fresno High School and Fresno State Teachers College. There she studied piano and began performing. Singing with her sorority sisters, she formed a popular vocal trio.

In 1932, Simms became the vocalist for the Tom Gerun band in San Francisco. In 1934, she joined the Kay Kyser Orchestra, receiving her first national exposure on his radio program.

Simms appeared in three films with Kyser: That's Right—You're Wrong in 1939, You'll Find Out, in 1940, and Playmates in 1941.

On April 6th, 1941, Simms and Kyser co-starred in an original comedy, “Niagara to Reno,” on CBS' Silver Theater. The two nearly married, but upon breaking up, she left his orchestra in September.

Just a few days later, on September 19th 1941, Simms was on CBS solo for five minutes on Fridays at 9:55. Then on Tuesday September 8th, 1942 at 8PM, she took to the air with her own show for Philip Morris. Originally called Johnny Presents, it was later changed to The Purple Heart Show, with an emphasis on wounded and decorated servicemen. Edgar “Cookie” Fairchild led the orchestra.

She starred in more films, including Here We Go Again in 1942, Hit The Ice, in 1943, and Broadway Rhythm, which premiered in January of 1944.

On Independence Day 1944 at 8PM, Ginny Simms took to the air with her Purple Heart Show. Opposite in New York, CBS aired Big Town, and both ABC and Mutual aired news commentary.

In early 1942 Norman Corwin began a unique show over all four major radio networks. It was a thirteen episode, non-commercial broadcast called This is War, bringing together the best talent and resources of the broadcast and entertainment industry, like actor Joe Julian.

That summer, Corwin went to England to produce a series helping to improve relations between the English and Americans, which were, surprisingly, strained.

People like aviation legend Charles Lindbergh were anticommunism, but pro-isolationism and pro-eugenics. All three views were supported by the Nazi party. President Roosevelt was deeply angry at Lindbergh's opposition to his administration's interventionist policies. He told Treasury Secretary Henry Morgenthau in 1941, "If I should die tomorrow, I want you to know this, I am absolutely convinced Lindbergh is a Nazi."

Linbergh publicly denounced anti-semitism in 1941, but many people remained anti-anglo throughout the country, with some even citing the American Revolution and the War of 1812 as reasons.

Called An American In England, it was a joint effort from BBC and U.S. broadcasters. Edward R. Murrow would produce. The entire available London Philharmonic Orchestra would be used.

The series would be sent back to the states by short-wave. Because it was to be heard live at 10PM for Eastern War time, that meant it was broadcast overnight in England. The result was a limited-release series considered to be among the most important works Corwin ever produced.

At 5:30PM eastern time over Mutual Broadcasting on Independence Day, 1944, The Tom Mix Ralston Straight Shooters took to the air. Originally airing from NBC in Chicago in 1933, it featured the just-heard Hal Peary, and the ever-present Willard Waterman.

Tom Mix was created as an advertising vehicle for the Ralston Purina Company. Its format was devised by Charles Claggett, a St. Louis adman and based on the life of a real cowboy, Tom Mix. Born in Pennsylvania in 1880, he became a soldier and champion roper, winning a national title in 1909. Mix began appearing in movies, and much like Buffalo Bill Cody, his legend soon outgrew his actual exploits thanks to natural showmanship. By the time radio got him, he was seldom mentioned in print without a platoon of fantastic adjectives.

Perhaps the most famous actor to play Tom Mix was Russell Thorson, who held the role for the Blue Network in the early 1940s, until it was canceled on March 27th, 1942.

Tom Mix was revived and moved to Mutual beginning June 5th, 1944 in a fifteen minute serial. By then, Mix joined others like Jack Armstrong, Captain Midnight, and even Superman in the war against the axis. The show became known as “radio’s biggest western-detective program.”

Joe “Curley” Bradley played Mix throughout the later run. Bradley was a former Oklahoma cowboy and Hollywood stuntman who had learned to sing around bonfires. As for the real Tom Mix, he had nothing to do with the serial. He died in a car accident near Florence, Arizona on October 12th, 1940.

At 6:15PM it was Hop Harrigan’s turn to sign on, over The Blue Network’s WJZ. It starred Chester Stratton as Hop Harrigan, young aviator known as “America’s ace of the airways,” with Jackson Beck as Tank Tinker. Beck was all over radio.

Hop Harrigan first took to the air on August 31st, 1942, running on The Blue Network and later ABC until August 2nd, 1946. It was revived from October 2nd, 1946 through February 6th, 1948 over Mutual Broadcasting.

Hop went on missions in dangerous territory behind enemy lines. He had dogfights, went underground in war-torn Berlin, and saw heavy service in the Pacific during the battle for Okinawa.

At 4:45PM on Independence Day 1944, The Raymond Scott Orchestra took to the air for fifteen minutes of music on CBS’ WABC in New York.

Born Harry Warnow on September 10th, 1908 in Brooklyn to Ukrainian Jewish parents, his older brother Mark, also a musician, encouraged Harry’s career.

He graduated from the Juilliard School of Music in 1931 where he studied piano, theory, and composition. He began his professional career as a pianist for the CBS Radio house band under his birth name. Mark, older by eight years, conducted the orchestra. Harry adopted the pseudonym "Raymond Scott" to spare his brother charges of nepotism when the orchestra began performing the pianist's unique compositions.

In late 1936, Scott assembled a band from among his CBS colleagues. Although it was a six-piece group, he called it the Raymond Scott Quintette, joking with a reporter that calling at a sextet might take one’s mind off the music.

Scott believed in composing and playing by ear. He composed not on paper, but "on his band"—by humming phrases to his sidemen or by demonstrating riffs and rhythms on the keyboard, instructing players to interpret his cues.

Also a sound engineer, he recorded the band's rehearsals, using them as references to develop his compositions. Scott reworked, re-sequenced, and deleted passages, and added themes from other discs to construct finished pieces. While he controlled the band's repertoire and style, he rarely took piano solos, preferring to direct the band from the keyboard and leave solos and leads to his sidemen. He also had a penchant for adapting classical motifs into his work.

Independence Day 1944 was celebrated with remembrance, prayer, and War Bond drives.

Norman Rockwell’s July 1st Saturday Evening Post cover featured a wounded veteran holding up a $100 war bond. The July 3rd cover of LIFE Magazine featured a G.I with a leg wound being helped by a compatriot. There was a prominent sticker on top that said “buy war bonds.”

Meanwhile in Bedford, New Hampshire, an unexpected explosion at the John P. Bedricks powder works sent nearly seventy-miles of New England into a panic as windows as far away as Worchester, Massachusetts were destroyed. Despite this, there were no fatalities.

At 4PM, NBC celebrated the Treasury Department’s “Salute To the Navy” from Philadelphia’s Navy Yard. Speakers included Secretary of the Treasury Henry Morgenthaur Jr., and Secretary of the Navy James Forrestal.

In New York, Edward J. Nathan, Manhattan’s Borough President, addressed a rally of Jewish war veterans at the Soldiers and Sailors Monument in Riverside Drive, while the Knights of Columbus and sixty-seven affiliated councils, sponsored a parade and band concert in Prospect Park, Brooklyn. That evening, a Special Fifth War Bond Rally was held at Lewisohn Stadium in City College.

On Tuesday July 4th, 1944 at 11:15AM, the homespun Vic and Sade took to the air over NBC’s WEAF in New York.

First airing on June 29th, 1932, Vic and Sade was created by Paul Rhymer. Known as “radio’s home folks,” the show was broadcast from The Merchandise Mart in Chicago. Rhymer wrote the script each morning before heading to watch the rehearsal and broadcast. On good days, one rewrite sufficed. On difficult days, the script would be ripped up again and again and poured over.

The result was a standalone twelve-minute sketch that, over time, told the life story of Mr. and Mrs Victor Gook and their family and friends at “the small house halfway up in the next block” in a rural town somewhere in Illinois. The town was populated by strange eccentrics with some of the most wonderful names ever heard in fiction.

Most of the characters were only spoken about and sound effects were purposely sparse, save for the ever-present telephone.

In radio circles, the show was regarded as one of the all-time best. Among its devoted fans were Jean Shepherd, Norman Corwin, Jim and Marion Jordan, Carlton E. Morse, Stan Freberg, Ray Bradbury, and Franklin and Eleanor Roosevelt.

Tuesday, July 4th, 1944. It’s been twenty-nine days since the Allies first stormed the beaches of Normandy. They’ve continued to slowly push inland, but the battle for control of the Caen has raged onward. CBS is there with up-to-the-minute news.

On Saturday July 1st, A counterattack by German Panzer Corps failed to dislodge the British Second Army around Caen. When OB West Gerd von Rundstedt phoned Berlin to report the failure, Chief of Staff Wilhelm Keitel asked, “what shall we do?” Rundstedt replied, “Make peace you fools!” He was fired the next day.

Meanwhile the U.S. 133rd Infantry Regiment captured Cecina in Tuscany, Italy. They’d enter Siena on Monday the 3rd. At the same time Allies and Japanese forces began battling in New Guinea and The Battle of Imphal in India ended in Allied victory.

On the morning of the Fourth, Minsk, the last big German stronghold on Soviet soil, finally fell.

This kind of war created a need for fast news relays, so much so that for the first time, news was being recorded on the battlefront.

On Independence Day 1944, needing to push further inland from Normandy, the task fell to the 79th and 90th Divisions as well as the 82nd Airborne, all of whom had to assault uphill and around a large marsh in the low ground, while twelve Nazi divisions lay in wait, including several Panzer units.

The troops fought yard by yard, making slow but steady progress at a high cost. The 90th Division alone lost over 500 men that day.

This same day, General Omar Bradley had artillery units in the US First Army open fire on the German lines precisely at noon. Some units fired red, white, and blue smoke shells at the Germans. The message was clear: The Americans were in Western Europe and they wouldn’t be leaving until victory was achieved.

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The man you just heard was Norman Lewis Corwin. He was born on May 3rd, 1910 in Boston, Massachusetts. The third of four children, his mother Rose was a homemaker, and his father, Samuel, a printer.

Norman graduated from Winthrop High School, but unlike his brothers, he did not attend college. Instead, he got a job at the Greenfield Reporter as a Cub newsman at seventeen. Corwin was later hired by the Springfield Republican where he worked as an editor. He became known for his column "Radiosyncracies."

His first exposure to professional Radio broadcasting came with an opportunity to air an interview regarding one of the human interest stories he'd written. Station WBZA soon needed a newsreader and sought to have the position filled with someone from the local paper. Corwin got the job.

By 1929 Corwin fashioned his own broadcast over WBZA, a combination of piano interludes interwoven with Corwin's original poetry readings. He called the program Rhymes and Cadences.

In 1931, Corwin traveled to Europe with his older brother, witnessing the growing fascism, social and religious unrest, and political turmoil. It helped shape his broadcasting career.

In June 1935, he went to Cincinnati to work at WLW. He soon learned that any on-air reportage of collective bargaining efforts were grounds for immediate dismissal. Objecting, he was fired. Eventually he got the ACLU’s backing and got the policy changed.

Corwin came to New York, finding work as a publicist for 20th Century-Fox. He soon proposed a poetry and music program for WQXR. The program was called Poetic License, and it wasn’t long before both NBC and CBS took notice.

A few days shy of his twenty-eighth birthday in 1938, CBS hired Corwin as a director for One-Hundred-Twenty-Five-Dollars per-week. Within a few months he directed his first Columbia Workshop experimental drama, “The Red Badge of Courage,” airing July 9th, 1938.

On the night of Sunday October 30th, 1938, Corwin was rehearsing the pilot for a new program, Words Without Music. Downstairs, Orson Welles was broadcasting his infamous Mercury Theater “War of The Worlds.”

Here we are, back at Bill Pogue’s. It’s after 11PM. What do we know? Well, there are less people drinking here than last night, most would rather stay in and listen for updates. On the air over CBS right now is Joan Brooks. Me? I’m just trying to have that nightcap I started yesterday.

There are still news bulletins coming out of Europe. It’s almost dawn there. The men will be continuing their missions with D-Day: Plus 1

So far, we know that at least four-thousand Allied soldiers have been killed in the initial attack, but the German forces on the Normandy peninsula have either been killed, captured or forced to withdraw to Caen.

I’m sure as we speak troops and equipment are being ferried across the Channel. I know the hope is that by the end of June we’ll have nearly a million men in western Europe as we advance north from Italy simultaneously. With the Russians pushing Germany west it’s only a matter of time, but the Germans won’t go down without a fight.

But, I know American resolve. We’ll be up for the task, no matter how long it takes. It’s why next month on Breaking Walls we’ll move just a few weeks into the future and focus on Independence Day, 1944.

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The reading material used in today’s episode was:

• Radio Speakers--A Biographical Dictionary — By Jim Cox

• On The Air — By John Dunning

• Network Radio Ratings — By Jim Ramsburg

As well as articles from

• Broadcasting Magazine

• CBSNews.com

• GlobalNews.ca

• LIFE Magazine

• Military-History.org

• The New York Times

• The New York Daily News

• Presidency.UCSB.edu

• RadioArchives.com

• Radio Daily

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On the interview front:

• André Baruch, Mel Blanc, Ken Carpenter, Norman Corwin, Alice Frost, Barbara Luddy, Bret Morrison, Ken Roberts, Kate Smith, and Olan Soule spoke with Chuck Schaden. Hear these full chats at Speakingofradio.com.

• Himan Brown, Staats Cotsworth, Jim Jordan, Mandel Kramer, and Jan Miner, spoke to Dick Bertel and Ed Corcoran for WTIC’s The Golden Age of Radio. Hear these interviews at Goldenage-WTIC.org

• Joan Banks spoke to SPERDVAC. For more info, go to SPERDVAC.com

• Fran Carlon, John Daly, and Ben Grauer spoke for Westinghouse’s 50th anniversary.

• Ned Calmer, Doug Edwards, Lowell Thomas, Charles Osgood, and Bob Trout spoke to CBS for their 50th anniversary.

• HV Kaltenborn spoke to NBC for their 50th anniversary

• Charles Collingwood and Bob Trout spoke to the makers of Please Stand By

• Bob Trout also spoke to the Television Academy

• George Burns spoke with Barbara Walters

• Red Skelton spoke with Dini Petty

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Selected music featured in today’s episode was:

• Romanian Folk Dances #3 — By Béla Bartók, played by Avi Avital

• Wilderness Trail — By Walter Scharf for National Geographic

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A massive special thank you to Walden Hughes for supplying so many master quality recordings used in this D-Day episode. Listen to Walden’s shows on the Yesterday USA radio network.