1
" The Benny of the air was a fraud, a myth, a creation. It should have surprised no one to learn—after years of toupee jokes that played so well into the vanity theme—that Benny never wore one. He overtipped in restaurants, gave away his time in countless benefit performances, and was lavish in his praise of almost everyone else. “Where would I be today without my writers, without Rochester, Dennis Day, Mary Livingstone, Phil Harris, and Don Wilson?” he asked a Newsweek profiler in 1947. "
― John Dunning , On the Air: The Encyclopedia of Old-Time Radio
2
" Throughout his life, he was the opposite of all show business clichés. His marriage endured: by all accounts, he dearly loved his wife. Words most often used by those who knew him were “decent,” “genial,” “gentle,” and “generous.” He was a constant target of panhandlers and always had a roll of money in his pockets for handouts. He was not, apparently, a chummy man. His few real intimates, old friends like Doc Rockwell and Uncle Jim Harkins, had been with him in vaudeville and appeared occasionally on his show. He and Portland avoided crowds, lived simply in a New York apartment, and never owned a car. “I don’t want to own anything,” he once told a reporter, “that won’t fit in my coffin. "
― John Dunning , On the Air: The Encyclopedia of Old-Time Radio
3
" The ever-reliable Bill Thompson filled the gap with a new character, Wallace Wimple. Wallace gave new meaning to the word “wimp,” for this was the nickname pinned on him by Fibber McGee. Wimple was terrified of his “big old wife,” the ferocious, often-discussed but never-present “Sweetie Face.” Also in 1941 came Gale Gordon as Mayor LaTrivia, who would arrive at the McGee house, start an argument, and become so tongue-tied that he’d blow his top. A year later, all these characters disappeared: Gordon went into the Coast Guard, and when Thompson joined the Navy, four characters went with him. With LaTrivia, Boomer, Depopoulous, Wimple, the Old Timer, and Gildersleeve all on the “recently departed” list, Fibber found a new devil’s advocate in the town doctor. Arthur Q. Bryan, who had played the voice of Elmer Fudd in the Warner Brothers cartoons, became Doc Gamble, continuing the verbal brickbats begun by Gildersleeve. Their squabbles could begin over a disputed doctor bill—McGee always disputed doctor bills—or erupt out of nowhere about anything at all. "
― John Dunning , On the Air: The Encyclopedia of Old-Time Radio
5
" It seems strange that George Burns and Gracie Allen would be discovered, as radio properties, by the British. They were doing a vaudeville tour in England, playing to packed houses everywhere. The British just loved Gracie; her routines became so well known during the six-month trip that the audience would sometimes shout out the punchline in unison. They were aided in this by radio, using the infant medium to promote their stage shows, doing short bits from their act on various BBC stations as they traveled. From the beginning, Gracie had severe mike fright. She never really lost her fear of the microphone, Burns would say in interviews and in his books, but she always coped with it. Returning home, they auditioned for NBC and Grape Nuts in 1930. But the agency executive thought Gracie would be “too squeaky” on the air, and they lost the job. It was an irony: a few years later, the same product would be carrying their radio show, then one of the most successful in the nation. "
― John Dunning , On the Air: The Encyclopedia of Old-Time Radio
7
" When President Roosevelt suggested to Archibald MacLeish that radio be prodded to help celebrate the 150th anniversary of the Bill of Rights, Corwin was given the job. It was an enormous undertaking, a 60-minute broadcast to air on the four national networks simultaneously. But We Hold These Truths was to have a special meaning, for the Japanese had attacked Pearl Harbor the week before, and the show arrived on an unprecedented wave of patriotism. It was estimated by Crossley, the national barometer of radio listenership, that 60 million people tuned in that night, Dec. 15, 1941. Corwin had arranged a stellar cast. James Stewart played the lead, “a citizen” who was the sounding board for the cascade of opinions, historical perspectives, and colloquialisms that flooded the hour. Also in the cast were Edward Arnold, Lionel Barrymore, Walter Brennan, Bob Burns, Walter Huston, Marjorie Main, Edward G. Robinson, Rudy Vallee, and Orson Welles. Bernard Herrmann conducted in Hollywood, "
― John Dunning , On the Air: The Encyclopedia of Old-Time Radio
9
" In the storyline, Judy’s father Melvyn owned the Foster Can Company. Her mother was a typical radio housewife. Her brother Randolph had a large vocabulary and a “supreme distaste for girls” (Radio Life). Oogie Pringle, Judy’s boyfriend, was a paragon of radio adolescents. Her friends were named Gloria, Mitzi, Eleanor, Stinky Edwards, and Jo-Jo Duran. The plots were almost interchangeable with others involving teenagers of either sex: less zany, certainly, than The Aldrich Family, about on a par with Corliss Archer, and perhaps more palatable than Archie Andrews. "
― John Dunning , On the Air: The Encyclopedia of Old-Time Radio
14
" The fight spilled out into the press. Allen blasted the censors. “They are a bit of executive fungus that forms on a desk that has been exposed to conference. Their conferences are meetings of men who can do nothing but collectively agree that nothing can be done.” The thin-skinned network reacted again, cutting Allen off in the middle of a barb. Now other comics joined the fray. That week Red Skelton said on his show that he’d have to be careful not to ad-lib something that might wound the dignity of some NBC vice president. “Did you hear they cut Fred Allen off on Sunday?” That’s as far as he got—the network cut him off. But Skelton went right on talking, for the studio audience. “You know what NBC means, don’t you? Nothing but cuts. Nothing but confusion. Nobody certain.” When the network put him back on the air, Skelton said, “Well, we have now joined the parade of stars.” Bob Hope, on his program, was cut off the air for this joke: “Vegas is the only town in the world where you can get tanned and faded at the same time. Of course, Fred Allen can be faded anytime.” Allen told the press that NBC had a vice president who was in charge of “program ends.” When a show ran overtime, this individual wrote down the time he had saved by cutting it off: eventually he amassed enough time for a two-week vacation. Dennis Day took the last shot. “I’m listening to the radio,” he said to his girlfriend Mildred on his Wednesday night NBC sitcom. “I don’t hear anything,” said Mildred. “I know,” said Dennis: “Fred Allen’s on.” On that note, the network gave up the fight, announcing that its comedians were free to say whatever they wanted. It didn’t matter, said Radio Life: “They all were anyway.” Allen took a major ratings dive in 1948. Some "
― John Dunning , On the Air: The Encyclopedia of Old-Time Radio
16
" Cassidy had been created by Clarence Mulford, writer of formula western novels and pulpy short stories. In the stories, Cassidy was a snorting, drinking, chewing relic of the Old West. Harry Sherman changed all that when he bought the character for the movies. Sherman hired Boyd, a veteran of the silent screen whose star had faded, to play a badman in the original film. But Boyd seemed more heroic, and Sherman switched the parts before the filming began. As Cassidy, Boyd became a knight of the range, a man of morals who helped ladies cross the street but never stooped to kiss the heroine. He was literally black and white, his silver hair a vivid contrast to his black getup. He did not smoke, believed absolutely in justice, honor, and fair play, and refused to touch liquor. Boyd’s personal life was not so noble. Born in Ohio in 1898, he had arrived in Hollywood for the first golden age, working with Cecil B. DeMille in a succession of early silents. By the mid-1920s he was a major star. Wine, women, and money were his: he drank and gambled, owned estates, married five times. But it all ended when another actor named William Boyd was arrested for possession of whiskey and gambling equipment. "
― John Dunning , On the Air: The Encyclopedia of Old-Time Radio
19
" Among the best shows were these, some of which have attained cult followings: The Most Dangerous Game (Oct. 1, 1947), a showcase for two actors, Paul Frees and Hans Conried, as hunted and hunter on a remote island; Evening Primrose (Nov. 5, 1947), John Collier’s too-chilling-to-be-humorous account of a misfit who finds sanctuary (and something else that he hadn’t counted on) when he decides to live in a giant department store after hours; Confession (Dec. 31, 1947), surely one of the greatest pure-radio items ever done in any theater—Algernon Blackwood’s creepy sleight-of-hand that keeps a listener guessing until the last line; Leiningen vs. the Ants (Jan. 17, 1948) and Three Skeleton Key (Nov. 15, 1949), interesting as much for technical achievement as for story or character development (soundmen Gould and Thorsness utilized ten turntables and various animal noises in their creation of Three Skeleton Key’s swarming pack of rats); Poison (July 28, 1950), a riveting commentary on intolerance wrapped in a tense struggle to save a man from the deadliest snake in the world—Jack Webb stars "
― John Dunning , On the Air: The Encyclopedia of Old-Time Radio
