Classic Pulp

Fifteen Western Tales was a pulp magazine published by Popular Publications, first appearing in 1931 and running until 1951. The “fifteen” in its title referred to the promise of fifteen complete western stories in every issue, a marketing hook that gave readers a sense of value for their dime.

Like other Popular Publications titles, Fifteen Western Tales was a classic hard-riding, gun-blazing pulp, delivering action-driven tales filled with cowboys, outlaws, sheriffs, and frontier justice. It was never aimed at highbrow readers but instead at working-class audiences who wanted fast-paced entertainment rooted in the mythic American West.

Over its two-decade run, Fifteen Western Tales became one of the more reliable entries in the western pulp field, which at the time was one of the most dominant genres in pulp publishing. Its covers, often featuring dramatic shootouts, stagecoach chases, or rugged heroes rescuing imperiled heroines, were designed to grab attention on crowded newsstands.

The magazine published contributions from both veteran western pulp writers and journeyman authors trying to break into the field, helping maintain the constant demand for new frontier tales. While the western pulp boom faded in the 1950s with the rise of television and paperback westerns, Fifteen Western Tales remains a representative example of the mass-market western magazine, remembered for its blend of affordability, abundance, and consistent cowboy action.

Here’s a Top 5 list of standout tales from Fifteen Western Stories:

1. “Gun-Smoke Justice” — Walt Coburn (Fifteen Western Stories, Feb. 1934)

Coburn was one of the most popular western writers of the pulp era, known for his gritty, authentic cowboy stories. This tale exemplifies his ability to blend action with a genuine feel for ranch life, setting a high standard for the magazine.

2. “The Last Badge” — T.T. Flynn (Fifteen Western Stories, Aug. 1935)

Flynn, a frequent contributor, often explored themes of honor and redemption. In this story, a lawman’s fading career collides with a violent outlaw gang, creating a classic “one last stand” narrative that resonated with readers.

3. “Guns at Sundown” — L.L. Foreman (Fifteen Western Stories, Dec. 1937)

Foreman’s work was known for tight plotting and high tension. This story of feuding cattlemen and a drifting gunfighter helped cement the magazine’s reputation for delivering reliable frontier action.

4. “Ride Back from Hell’s Canyon” — Tom Roan (Fifteen Western Stories, July 1940)

A hard-edged adventure with a survival twist, this Roan tale stood out for its dramatic setting and relentless pace. It’s often remembered as one of the magazine’s more visceral frontier thrillers.

5. “Six-Gun Law” — Oscar Schisgall (Fifteen Western Stories, Jan. 1943)

Schisgall, who also wrote mystery and adventure fiction, brought a fast-paced, cinematic flair to his westerns. This tale of frontier justice and vengeance made for a particularly striking wartime issue when western pulps competed with other genres for attention.

A NIGHT OF TERROR

Dare to read this chilling tale of legacy, love, and the shadows that linger in the moonlight.

Step into the ancestral halls of Robert Mercer, where a single October night shatters the boundary between the ordinary and the supernatural.

Haunted by a luminous, faceless apparition and a sudden, unexplainable change within himself, Mercer must confront an unknown terror that threatens his very soul.

Produced and Directed by Keith Brian Shaw [human]

Our A.I. Repertory Theater Cast

Host  . . . . . . . . . . . . . . . . . . . . . . . Adam Stone

Bob Mercer  . . . . . . . . . . . . . . . . . Samuel A. Cranston

Howard Crandal  . . . . . . . . . . . . . Chris Ruffin

John Alcot . . . . . . . . . . . . . . . . . . Nigel Bruce

Mrs. Crumb . . . . . . . . . . . . . . . . . Katherine Rivers

Spirit  . . . . . . . . . . . . . . . . . . . . . . Kevin Wendt

Sylvia Blanding . . . . . . . . . . . . . . Julia Penske

Audio production © 2025 Keith Brian Shaw

A.I.R.T. actors created using elevenLabs.ai

Source text is in the Public Domain

Terror Tales was one of the flagship “weird menace” pulp magazines, first published in 1934 by Popular Publications. It quickly became infamous for its lurid blend of horror, crime, and sadistic thrills, setting the tone for the entire subgenre.

The stories usually followed a formula in which seemingly supernatural horrors plagued the protagonists, only to be explained away by the end as the schemes of criminals or madmen. Despite these rational explanations, the magazine leaned heavily on graphic descriptions of torture, depravity, and bizarre cruelty, which made it both popular with thrill-seeking readers and controversial among critics and reformers.<

The magazine was known as much for its sensational covers as for its content. Painted by artists like Rudolph Belarski and John Newton Howitt, the covers typically depicted terrified women in peril—chained, menaced by masked villains, or threatened with gruesome deaths. This imagery was designed to shock and entice newsstand buyers, and it played a major role in cementing the “weird menace” aesthetic. 

Terror Tales ran through the late 1930s and into the early 1940s before declining, as public pressure against violent and sexually charged pulp content grew stronger. While short-lived compared to other pulp genres, the magazine remains a notorious example of the extremes of pulp publishing, remembered today for its mix of horror, exploitation, and high-octane sensationalism.

Here’s a Top 5 list of standout tales from Terror Tales:

1. “Cavern of the Damned” — Arthur Leo Zagat, Terror Tales, September 1934

Zagat was one of the magazine’s star contributors, and this story exemplified the early weird menace formula—dungeons, grotesque villains, and heroines in peril. Its combination of atmosphere and relentless menace helped define the pulp’s identity.

2. “Death Holds the Stakes” — Wyatt Blassingame, Terror Tales, January 1935

Blassingame’s work was particularly grisly, and this tale cemented his reputation as a master of shocking imagery. It is important because it set the tone for the magazine’s willingness to push the boundaries of violence and sadism.

3. “Slaves of the Blood Wolves” — Wayne Rogers, Terror Tales, April 1935

Rogers specialized in lurid horror plots, and this one, with its cult-like villains and animalistic savagery, became one of the pulp’s most talked-about stories. It highlighted the magazine’s fascination with both the supernatural and its rational unmasking.

4. “The Corpse Caravan” — Arthur Leo Zagat, Terror Tales, June 1936

One of the most memorable Zagat entries, this tale delivered both shocking imagery and relentless action. It is remembered by collectors as a quintessential Terror Tales yarn, balancing pulp thrills with grotesque spectacle.

5. “The Devil’s Virgin” — Russell Gray (pseudonym of Bruno Fischer), Terror Tales, October 1936

Fischer, under his Russell Gray pseudonym, wrote some of the most notorious weird menace fiction. This story is a prime example of how the magazine reveled in taboo-breaking scenarios, making it both infamous in its time and highly collectible now.

PRISON PLANET 7

On the bleak prison satellite of Jupiter, where radite dust eats at men’s souls and the overseer Marnick rules with torture and insane laughter, forty convicts whisper of murder and escape.

But when the defiant McGowan hurls his challenge, a secret tunnel and a deadly scheme are revealed—a plot of betrayal, vengeance, and cosmic irony that will pit madness against madness in a final reckoning beneath the cruel stars!

Produced and Directed by Keith Brian Shaw [human]

Our A.I. Repertory Theater Cast

Host  . . . . . . . . . . . . . . . . . . . . . Adam Stone

Narrator/Reed  . . . . . . . . . . . . . Charlie Phelps

Marnick . . . . . . . . . . . . . . . . . . . Mark Oswald

McGowan . . . . . . . . . . . . . . . . . Leo Nesbit

V'Narik  . . . . . . . . . . . . . . . . . . . Gary Phelps

Wilkinson  . . . . . . . . . . . . . . . . . Kevin Wendt

Millie Wagner  . . . . . . . . . . . . . . Carol Zimmerman

Morgue Clerk  . . . . . . . . . . . . . . Buster Gorman

Lee Riley  . . . . . . . . . . . . . . . . . . Oscar Rayburn

Audio production © 2025 Keith Brian Shaw

A.I.R.T. actors created using elevenLabs.ai

Source text is in the Public Domain

Planet Stories was a pulp science fiction magazine published by Fiction House from 1939 to 1955. Aimed at younger readers and adventure fans, it specialized in fast-paced, action-heavy tales set on exotic alien worlds. Its stories leaned toward “space opera,” often filled with interplanetary battles, daring heroes, and glamorous heroines caught up in cosmic intrigue.

Unlike some of the more cerebral science fiction pulps of the era, Planet Stories was unabashedly focused on thrills, romance, and spectacle. This gave it a reputation for colorful escapism, drawing in readers who craved imaginative adventure rather than scientific speculation.

Despite its pulpy style, the magazine attracted contributions from major science fiction authors. Early on, it published writers like Ray Bradbury, Clifford D. Simak, and Leigh Brackett, who would later become known as one of the masters of planetary romance.

The artwork, particularly covers by artists like Allen Anderson and Alexander Leydenfrost, was equally important in cementing its identity—vivid, often provocative images of alien landscapes and scantily clad space adventurers became its trademark. While Planet Stories eventually fell victim to the decline of pulps in the 1950s, it remains fondly remembered as one of the most influential titles in shaping the “space opera” tradition and fueling the imaginations of science fiction fans during the Golden Age

Here’s a Top 5 guide to standout stories from Planet Stories:

1. “The Sword of Rhiannon” — Leigh Brackett (June 1949)

Often called the definitive Planet Stories tale, this novella fuses planetary romance with myth, as a space rogue is hurled into Mars’s ancient past. It’s Brackett’s masterpiece and remains one of the most reprinted works from the magazine.

2. “Lorelei of the Red Mist” — Ray Bradbury & Leigh Brackett (Summer 1946)

Begun by Bradbury and finished by Brackett, this tale features body-swapping and eerie alien settings. It’s an important transition piece showing Bradbury’s lyrical style before he turned to more mainstream venues.

3. “Enchantress of Venus” — Leigh Brackett (Fall 1949)

Part of her Eric John Stark cycle, this novella is a lush planetary romance with pulp action and a Venusian underworld. It’s one of Brackett’s most atmospheric contributions.

4. “Black Friar of the Flame” — Isaac Asimov (Spring 1942)

Unusual in Asimov’s career, this story blends religion, rebellion, and galactic politics. It’s a rare pulp adventure from an author who usually wrote “hard” science fiction.

5. “Queen of the Martian Catacombs” — Leigh Brackett (Summer 1949)

The debut of Eric John Stark, one of pulp’s most iconic characters. A blend of sword-and-planet adventure with Brackett’s gift for alien landscapes, it became a cornerstone of Planet Stories.

HARDBOILED IN HOLLYWOOD

[Rated MA] Experience the intrigue and spectacle of “BULLET FROM NOWHERE,” where Hollywood illusion collides with the legend of Mata Hari in a daring scene too provocative for American censors.

Step onto the set and witness secrets, artistry, and danger unfold beneath the studio lights.

Produced and Directed by Keith Brian Shaw [human]

Our A.I. Repertory Theater Cast

Host  . . . . . . . . . . . . . . . . . . . . . Adam Stone

Dan Turner . . . . . . . . . . . . . . . . Charlie Phelps

Billy Blackwood . . . . . . . . . . . . Quentin Margolies

Felipe Gonzalez . . . . . . . . . . . . Ramon Espisito

Dave Donaldson . . . . . . . . . . . . Simon Daub

Raquel Gonzales  . . . . . . . . . . . Esmer Santiago

Millie Wagner  . . . . . . . . . . . . . . Carol Zimmerman

Morgue Clerk  . . . . . . . . . . . . . . Buster Gorman

Lee Riley  . . . . . . . . . . . . . . . . . . Oscar Rayburn

Audio production © 2025 Keith Brian Shaw

A.I.R.T. actors created using elevenLabs.ai

Source text is in the Public Domain

Dan Turner, Hollywood Detective was a pulp magazine that spun out of the immense popularity of Robert Leslie Bellem’s hardboiled character, Dan Turner. The title ran from 1942 to 1950, published by Culture Publications, and specialized in breezy, slang-filled detective yarns set against the glitzy but seedy backdrop of Hollywood. Turner was a wisecracking private eye who mixed tough talk with a relentless eye for trouble, often embroiled in cases that blended murder, scandal, and sensational showbiz intrigue.

The stories leaned heavily into colorful language—Turner’s slang-heavy narration was a hallmark—and offered readers a unique mix of crime fiction and satirical takes on Hollywood’s glamour and grime.

The magazine was also notable for its bold and often risqué presentation. Covers frequently depicted glamorous women in compromising or dangerous situations, emphasizing both sex appeal and menace, in keeping with the broader “spicy” pulp tradition.

The stories themselves, while formulaic, were fast-paced and heavy on action, with Turner out-talking, out-fighting, and out-charming crooks and femmes fatales alike. Though the magazine eventually faded with the decline of the pulp market in the early 1950s, Dan Turner, Hollywood Detective remains a memorable part of pulp history, representing the collision of hardboiled detective fiction with Hollywood excess, all delivered with a wink, a wisecrack, and a smoking gun.

Here’s a Top 5 list of standout Dan Turner, Hollywood Detective tales:

1. “Murder on the Sound Stage” — Dan Turner, Hollywood Detective (Vol. 1, No. 1, June 1942)

The debut issue’s lead story set the tone for the entire magazine. Packed with wisecracks, dames in distress, and studio intrigue, it introduced readers to Turner’s slang-heavy narration and cemented him as the archetypal Hollywood gumshoe.

2. “Death’s Dress Rehearsal” — Dan Turner, Hollywood Detective (Oct. 1943)

One of the most lurid and colorful Turner tales, this story combined showbiz glamour with backstage murder. It’s remembered for Bellem’s over-the-top prose and for being frequently reprinted in later Turner collections.

3. “Pin-up Corpse” — Dan Turner, Hollywood Detective (Nov. 1944)

A quintessential Turner yarn, this story highlighted Bellem’s knack for outrageous titles and Hollywood-themed crime plots. Its mix of cheesecake, violence, and Turner’s zany wisecracks makes it one of the magazine’s most collectible issues.

4. “Homicide Highball” — Dan Turner, Hollywood Detective (Spring 1945)

This tale is often cited by pulp historians as a showcase for Bellem’s slang-saturated style. With Turner wading through a cocktail of murder, booze, and bombshells, it captures the excess that made the magazine both beloved and mocked.

5. “The Book of the Phantom Bullet” — Hollywood Detective (Sept. 1948)

A later standout that demonstrated Turner’s staying power. While the pulp market was shrinking, Bellem kept the formula fresh with outrageous plots, rapid-fire dialogue, and studio satire—hallmarks that made the character iconic.

Emma and Josh Flynn are the perfect couple.

All they want is to take their newborn daughter home.

BEFORE SAM SPADE

Dashiell Hammett's Continental Op starts with a seemingly routine hit-and-run investigation—but nothing is routine in this city’s underworld. What begins as a straightforward case spirals into a tangled web of murder, counterfeiting, and betrayal, all leading to a luxury hotel where three bodies lie in wait and danger lurks in every hallway.

As the Op peels back the layers of deception, he finds himself locked in a high-stakes game with one of the West Coast’s most dangerous criminals—where a single misstep could mean the difference between justice and his own body on the pile. Sharp dialogue, grit, and suspense fuel this noir thriller from start to finish.

This is not just an audiobook version of the short story. Its multi-layered story draws inspiration from Dashiell Hammett’s own rich legacy of detective stories.

The series is not epic in scale, with vast landscapes and multiple points of view. It is a personal story of redemption. The series belongs to The Op. Except in episodes where he recounts the exploits of an associate, The Op is in every scene. The viewer only knows what he knows, what he sees, staying true to the narrative style of the stories. Each case unfolds as it happens. But ultimately, the story is not about the cases The Op works. It is about his inner struggle, which plays out over a three-season span.

Produced, Adapted, and Directed by Keith Brian Shaw [human]

Our A.I. Repertory Theater Cast

Host . . . . . . . . . . . . . . . . . . . . . Adam Stone

Narrator . . . . . . . . . . . . . . . . . . Charlie Phelps

The Continental Op  . . . . . . . . Edward Thurman

Soules  . . . . . . . . . . . . . . . . . . . Quentin Margolies

Officer Coffee . . . . . . . . . . . . . Barry Eubanks

Sean O'Meara . . . . . . . . . . . . . Davy Gibbs

Meghan O'Meara  . . . . . . . . . . Julia Penske

Ernesto  . . . . . . . . . . . . . . . . . . Angel Ruiz

Stacey  . . . . . . . . . . . . . . . . . . . Larry Eardman

Detective McNeil . . . . . . . . . . . Kevin Wendt

Maid . . . . . . . . . . . . . . . . . . . . . Trini Soleda

The Old Man  . . . . . . . . . . . . . . Ozzie Rayburn

Dick Foley  . . . . . . . . . . . . . . . . Richard Wells

Iva Archer . . . . . . . . . . . . . . . . . Bette Nance

Ross Orrett . . . . . . . . . . . . . . . . Jerry Jamison

Audio production © 2025 Keith Brian Shaw

A.I.R.T. actors created using elevenLabs.ai

Source text is in the Public Domain