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Percy Eastman Fletcher (12 December 1879 – 10 September 1932) was a British composer of classical music best known today for his brass and military band music. He also worked as a highly successful musical director at London theatres.

Episode 47 aired on March 1, 1941 over the Mutual network. The David Rose Orchestra plays Humoresque by Dvorak, Intermezzo and Green Eyes. Maxine Gray sings Do I Worry. The Rose Orchestra with Old Folks at Home and Can't You See. Maxine Gray and Fiesta in Monterrey. Concluding with Rose Get Me Out Of This Trouble. Announcer is Bill Gordon.

Box 13 is a syndicated radio drama about the escapades of newspaperman-turned-mystery novelist Dan Holiday, played by film star Alan Ladd. Created by Ladd's company, Mayfair Productions, Box 13 aired in different cities over different dates and times. It first aired in several United States radio markets in October 1947.

February 24, 1960 -CBS Radio

Bill Stewart was a Los Angeles disc jockey who was heard on Armed Forces Radio Service for nearly 50 years.

Born in New Brunswick, Canada, Stewart served in the Canadian Air Force during World War II and was discharged due to a medical disability.

He came to the United States and worked shortly at a radio station in Idaho until he was drafted into the U. S. Army. And later had a long and extensive career as a DJ in Southern California.

January 4, 1949. A mystery writer and old friend of Steve Wilson confines herself in a lighthouse to seek inspiration. It’s her habit to confine herself in old, haunted houses to get her inspiration to write, although her assistant is terrified, the old writer is more practical. Is there anything to worry about?

An AFRTS transcription. Sidney Joseph Bechet (May 14, 1897 – May 14, 1959) was an American jazz saxophonist, clarinetist, and composer. He was one of the first important soloists in jazz, and first recorded several months before trumpeter Louis Armstrong. His erratic temperament hampered his career, and not until the late 1940s did he earn wide acclaim. Bechet spent much of his later life in France.

From an AFRS transcription around August 23, 1943. Born Robert Wiedefeld in Baltimore, Maryland, Weede studied voice at the Eastman School of Music and in Milan. He made his Metropolitan Opera debut in 1937, as Tonio in Pagliacci. His other roles at the Metropolitan included the name part in Rigoletto (opposite Jussi Björling), Amonasro (Aïda), Manfredo (L'amore dei tre re), Shaklovity (Khovanshchina) and Baron Scarpia (Tosca). It was with Rigoletto that he made his debuts in Chicago (1939), San Francisco (1940), and at the New York City Opera (1948). At the New York City Opera, Weede also sang in Pagliacci and in the world premiere of William Grant Still's Troubled Island, opposite Marie Powers, Marguerite Piazza and Robert McFerrin. In Mexico City, the baritone appeared with Maria Callas in 1950, in Aïda and Tosca. Later, he sang again with Callas in Chicago, in Il trovatore and Madama Butterfly. In 1956, he scored a great success on Broadway as Tony Esposito in the original production of Frank Loesser's The Most Happy Fella, which was recorded by Columbia Records. He was also seen on Broadway in Milk and Honey (1961–63, also recorded) and Cry for Us All (1970).  

Alan brings back middle of the road music from the mid 20th century by Perry Como, Doris Day, Linda Ronstadt and Bill and Laura Purcell. Also comedy from Abbott and Costello and contemporary new age sound of Richard Souther. Plus some instrumental favorites from Alan's hideaway record collection.

Karl Haas (December 6, 1913 – February 6, 2005) was a German-American classical music radio host, known for his sonorous speaking voice, humanistic approach to music appreciation. Miklós Rózsa (Hungarian: [ˈmikloːʃ ˈroːʒɒ]; April 18, 1907 – July 27, 1995) was a Hungarian-American composer trained in Germany (1925–1931) and active in France (1931–1935), the United Kingdom (1935–1940), and the United States (1940–1995), with extensive sojourns in Italy from 1953 onward. Best known for his nearly one hundred film scores, he nevertheless maintained a steadfast allegiance to absolute concert music throughout what he called his "double life".