An Old-Time Radio Yuletide: Hear 20+ Hours of Vintage Christmas Radio Shows (1938-1956)

in Radio | December 23rd, 2022

As Christmas approaches, we reach for our bookshelves and pull down Charles Dickens’ beloved tale of hardship, revelation, and a miser’s redemption in the holiday season. I speak, of course, of The Cricket on the Hearth, published in 1845 as the third of what would be Dickens’ five Christmas books. (The first, of which you may have heard, was A Christmas Carol.) From the very year of its publication, The Cricket on the Hearth found great success as a stage production, and it continued to be adapted even in the age of radio. The story was a century old by the time it aired on NBC, in the broadcast that opens the five-and-a-half-hour compilation of Christmas old-time radio above.

That video is just one of three uploaded in the past few weeks by the Youtube channel An Evening of Old-Time Radio. It collects a variety of Christmas-themed specials and broadcasts from shows like Lux Radio Theatre, The Coronet Little Show, and CBS Ceiling Unlimited (an aviation-promoting wartime effort created by Orson Welles).

The second volume features more than six hours of holiday episodes from the hit series of the Golden Age of Radio, including sitcoms like Our Miss Brooks, The Life of Riley, Fibber McGee and Molly, and its spinoff The Great Gildersleeve. Their characters, much like their listeners, struggle to do their shopping and organize their parties — and amid it all, of course, find their way to the true meaning of Christmas.

The latest video in An Evening of Old Time Radio’s “Yuletide OTR” series includes radio adaptations of It’s a Wonderful Life, which now defines the genre of the Christmas movie, followed by one of Dickens’ Christmas Carol. Scheduled for release this Christmas day, the fourth installment promises yet more seasonally appropriate stories — with the requisite gags, complications, and final swells of good cheer — from such mid-century domestic comedies as The Aldrich Family, Lum and Abner, and The Adventures of Ozzie and Harriet. But as you’ll hear, neither could thriller, mystery, and western shows like The Man Called X, The New Adventures of Nero Wolfe, and The Six Shooter resist telling a Christmas tale — nor can we, all these decades later, resist hearing one.

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Based in Seoul, Colin Marshall writes and broadcasts on cities, language, and culture. His projects include the Substack newsletter Books on Cities, the book The Stateless City: a Walk through 21st-Century Los Angeles and the video series The City in Cinema. Follow him on Twitter at @colinmarshall or on Facebook.

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Hear 149 Vintage Halloween Radio Shows from the Golden Age of Radio

in Radio | October 28th, 2022

As Halloween radio broadcasts go, it would be hard to displace in American cultural memory the adaptation of H. G. Wells’ The War of the Worlds that aired in 1938. Not every Halloween special can be directed by a young Orson Welles, of course, but that’s hardly a reason to ignore the countless other Halloween broadcasts from the Golden Age of Radio. This year you can tune them in with the Youtube playlist above, which collects 149 such spookiest-time-of-the-season episodes from such beloved shows as Lum and Abner, The Aldrich Family, Fibber McGee and Molly, Our Miss Brooks, The Great Gildersleeve, The Jack Benny Program, The Shadow, and more.

Whether comedy, drama, or another genre besides, old-time radio programs tended to seize upon the theme of every holiday that came down the pike, and Halloween — with its costume parties, ever-present threat of pranks, and door-to-door demands — offered their writers and performers a once-in-a-year opportunity for unwonted degrees of mischief.

For normally lighthearted shows, it was also a chance to go at least a little bit dark; for a show like Suspense, whose long and often chilling run began with an Alfred Hitchcock production, most weeks were Halloween right up until the end of radio’s Golden Age. (This playlist features a broadcast from August of 1961 that still entertains in October of 2022.)

If you’d just like a soundtrack straight from the classic American airwaves for next Monday night (or a weekend party beforehand), have a listen to the newly uploaded vintage Halloween playlist just above. Its fifteen tracks include seasonally suitable songs from Tommy Dorsey, Glenn Miller, Bing Crosby, Ella Fitzgerald, Sammy Davis Jr., and Sarah Vaughan (not to mention its opener, a not-exactly-“Monster Mash” number from Bobby Pickett), with vintage advertisements and other broadcast ephemera in between. It was as true in radio’s heyday of the late nineteen-twenties through the early sixties as it is now: Halloween is the time to let blur the boundaries between light and dark, myth and reality, the ordinary and the grotesque — and to make more than a few corny gags while you’re at it.

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Based in Seoul, Colin Marshall writes and broadcasts on cities, language, and culture. His projects include the Substack newsletter Books on Cities, the book The Stateless City: a Walk through 21st-Century Los Angeles and the video series The City in Cinema. Follow him on Twitter at @colinmarshall or on Facebook.

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Harper Lee Gives Advice to Young Writers in One of Her Only Interviews Captured on Audio (1964)

in Books, K-12, Literature, Radio, Writing | January 3rd, 2022

You know the character Boo Radley? Well, if you know Boo, then you understand why I wouldn’t be doing an interview. Because I am really Boo. 

— Harper Lee, in a private conversation with Oprah Winfrey

Author Harper Lee loved writing but resisted interviews, granting just a handful in the fifty-six years that followed the publication of her Pulitzer Prize winning 1960 novel, To Kill a Mockingbird. 

Go Set a Watchman, her second, and final, novel began as an early draft of To Kill a Mockingbird, and was published in 2015, a year before her death.

Roy Newquist, interviewing Lee in 1964 for WQXR’s Counterpoint, above, probably expected the hotshot young novelist had many more books in her when he solicited her advice for “the talented youngster who wants to carve a career as a creative writer.”

Presumably Lee did too. “I hope to goodness that every novel I do gets better and better, not worse and worse,” she remarked toward the end of the interview.

She obliged Newquist by offering some advice, but stopped short of offering career tips to those eager for the lowdown on how to write an instant bestseller that will be adapted for stage and screen, earn a perennial spot in middle school curriculums, and — just last week — be crowned the Best Book of the Past 125 Years in a New York Times readers’ poll, beating out titles by well regarded, and vastly more prolific authors on the order of J.R.R. Tolkien, George Orwell, Gabriel García Márquez, and Toni Morrison.

“People who write for reward by way of recognition or monetary gain don’t know what they’re doing. They’re in the category of those who write; they are not writers,” she drawled.

Harper Lee’s Advice to Young Writers

  • Hope for the best and expect nothing in terms of recognition
  • Write to please an audience of one: yourself
  • Write to exorcise your divine discontent
  • Gather material from the world around you, then turn inward and reflect
  • Don’t major in writing

Listening to the recording, it occurs to us that this interview contains some more advice for young writers, or rather, those bringing up children in the digital age.

When Newquist wonders why it is that “such a disproportionate share of our sensitive and enduring fiction springs from writers born and reared in the South,” Lee, a native of Monroeville, Alabama, makes a strong case for cultivating an environment wherein children have no choice but to make their own fun:

I think … the absence of things to do and see and places to go means a great deal to our own private communication. We can’t go to see a play; we can’t go to see a big league baseball game when we want to. We entertain ourselves.

This was my childhood: If I went to a film once a month it was pretty good for me, and for all children like me. We had to use our own devices in our play, for our entertainment. We didn’t have much money. Nobody had any money. We didn’t have toys, nothing was done for us, so the result was that we lived in our imagination most of the time. We devised things; we were readers, and we would transfer everything we had seen on the printed page to the backyard in the form of high drama.

Did you never play Tarzan when you were a child? Did you never tramp through the jungle or refight the battle of Gettysburg in some form or fashion? We did. Did you never live in a tree house and find the whole world in the branches of a chinaberry tree? We did.

I think that kind of life naturally produces more writers than, say, an environment like 82nd Street in New York.

Hear that, parents and teachers of young writers?

  • Nurture the creative spirit by regularly prying the digital device’s from young writers’ hands (and minds.)

Bite your tongue if, thus deprived, they trot off to the theater, the multiplex, or the sports stadium. Remember that iPhones hadn’t been invented when Lee was stumping for the tonic effects of her chinaberry tree. These days, any unplugged real world experience will be to the good.

If the young writers complain — and they surely will — subject yourself to the same terms.

Call it solidarity, self-care, or a way of upholding your New Year’s resolution…

Read an account of another Harper Lee interview, during her one day visit to Chicago to promote the 1962 film of To Kill a Mockingbird and attend a literary tea in her honor, here.

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Ayun Halliday is the Chief Primatologist of the East Village Inky zine and author, most recently, of Creative, Not Famous: The Small Potato Manifesto.  Follow her @AyunHalliday.

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Stream 160 In-Depth Radio Interviews with Clive James, Pico Iyer, Greil Marcus & Other Luminaries from the Marketplace of Ideas Archive

in Archives, Podcasts, Radio | June 15th, 2021

Would you like to to hear a long-form conversation about the history of the vinyl LP? Or about the history of human rights? About the plight of book reviewing in America? The wild excesses of the art market? The nature of boredom? The true meaning of North Korean propaganda? What it’s like to live in Bangkok? What it’s like to go on a road trip with David Foster Wallace? The answer to all of the above: of course you do. And now you can hear these conversations and many more besides in the complete archive of the public radio show The Marketplace of Ideas, which has just now come available to stream on Youtube.

How, you may wonder, did I get such early word of this interview trove’s availability? Because, in the years before I began writing here on Open Culture, I created, produced, and hosted the show myself. The project grew, in a sense, out of my dissatisfaction with the radio interviews I’d been hearing, the vast bulk of which struck me as too brief, fragmentary, and programmatic to be of any real value.

What’s more, it was often painfully obvious how little interest in the subject under discussion the interviewers had themselves. With The Marketplace of Ideas, I set out to do the opposite of practically everything I’d heard done on the radio before.

Like all worthwhile goals, mine was paradoxical: to conduct interviews of the deepest possible depth as well as the widest possible breadth. On one week the topic might be evolutionary economics, on another the philosophical quarrel between David Hume and Jean-Jacques Rousseau, on another the history of American film comedy, on another the legacy of Robert Pirsig’s Zen and the Art of Motorcycle Maintenance, and on another still the ascent of Californian wine over French. (This principle also applied to the political spectrum: I delighted in bringing on, say, the granddaughter of Barry Goldwater as well as a former member of the Weather Underground.) An interesting person is, as they say, an interested person, and throughout the show’s run I trusted my listeners to be interesting people.

The same went for my interviewees, whatever their cultural domain: novelists like Alexander Theroux, Tom McCarthy, Joshua Cohen, and Geoff Dyer; scientists like David P. Barash, Alan Sokal (he of the “Sokal Hoax”), and Sean Carroll; critics like James Wood, Greil Marcus, Jonathan Rosenbaum, Dave Kehr, and J. Hoberman; economists like Tyler Cowen (twice), Robin Hanson, Steven E. Landsburg, and Tim Harford (twice); biographers of Brian Eno, Nick Drake, and Michel de Montaigne;  translators of Jorge Luis Borges, César Aira, and Robert Walser; broadcasters like Peter Sagal, Robert Pogue Harrison (of Entitled Opinions), Jesse Thorn, and Michael Silverblatt; philosophers like Kwame Anthony Appiah and Simon Blackburn; technologists like Steve Wozniak and Kevin Kelly; filmmakers like Ramin Bahrani (director of the existential Werner Herzog-narrated plastic-bag short previously featured here on Open Culture), So Yong Kim, Andrew Bujalski, Aaron Katz; and musicians like Nick Currie, a.k.a Momus (twice), Jack Hues of Wang Chung, and Chaz Bundick of Toro y Moi.

The Marketplace of Ideas aired between 2007 and 2011, and the passage of a decade since the show’s end prompted me to take a look — or rather a listen — back at it. So  did the fact that a fair few of its guests have since shuffled off this mortal coil: Arts & Letters Daily founder Denis Dutton, film critic Peter Brunette, literary scholar Angus Fletcher, documentarian Pepita Ferrari, writer and editor Daniel Menaker, cultural polymath Clive James. That interview with James was a dream fulfilled, due not just to my personal enthusiasm for his writing but the ideal of intellectual omnivorousness he represented — an ideal toward which I strove on the show, and continue to strive in my pursuits today.  Even more than our conversation itself, I fondly remember an exchange after we finished recording but before we hung up the phone. He thanked me for actually reading his book, and I told him I’d thought all interviewers did the same. His response: “That’s the first naïve thing you’ve said all hour.”

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Based in Seoul, Colin Marshall writes and broadcasts on cities, language, and culture. His projects include the Substack newsletter Books on Cities, the book The Stateless City: a Walk through 21st-Century Los Angeles and the video series The City in Cinema. Follow him on Twitter at @colinmarshall or on Facebook.

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Radio vs. Podcasting: A Discussion with Jason Bentley (KCRW, The Backstory) on Pretty Much Pop: A Culture Podcast #81

in Podcasts, Pretty Much Pop, Radio | February 11th, 2021

Jason was music director at KRCW, the LA NPR station, is also a DJ with a lot of experienced interviewing musicians, and now hosts a new podcast, The Backstory. He joins Mark and Erica to discuss the creative and business possibilities of podcasting in comparison to radio, what their futures may hold, and his own journey between the two media.

Follow Jason @thejasonbentley. Listen to his Backstory interview with Kristen Bell and his current radio show, Metropolis.

Here’s some comparison data and other basic information on radio and podcasts:

Hear more of this podcast at prettymuchpop.com. This episode includes bonus discussion that you can access by supporting the podcast at patreon.com/prettymuchpop. This podcast is part of the Partially Examined Life podcast network.

Pretty Much Pop: A Culture Podcast is the first podcast curated by Open Culture. Browse all Pretty Much Pop posts.

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Stream 48 Hours of Vintage Christmas Radio Broadcasts Featuring Orson Welles, Bob Hope, Frank Sinatra, Jimmy Stewart, Ida Lupino & More (1930-1959)

in History, Radio | December 25th, 2020

The Golden Age of American Radio began in the 1930s and lasted well into the 50s. That makes nearly thirty Christmases, not one of which passed without special broadcasts by the major networks. This Christmas, thanks to The World War II News and Old Time Radio Channel on Youtube, you can experience the Golden Age’s three decades through 48 straight hours of holiday broadcasts. Strung like an audio garland in chronological order, these begin with an episode of NBC’s Empire Builders, quite possibly the first-ever Western radio drama, first broadcast on December 22nd, 1930 — a rare year from which to hear a recorded radio show at all, let alone a Christmas special. The compilation ends one day shy of 29 years later, with a Top 40 broadcast from WMGM in New York.

Throughout this all-Christmas listening experience, old-time radio enthusiasts will recognize many of America’s very favorite shows: Lum and Abner, Amos and Andy, Fibber McGee and Molly and The Great Gildersleeve, The Jack Benny Program and The Charlie McCarthy Show. For many seasonally appropriate episodes of those series as well as one-off variety broadcasts, networks would wrangle as many big names as they could into the studio, from Bob Hope and Lionel Barrymore to Gary Cooper and Frank Sinatra to Carmen Miranda and Ida Lupino (director, film noir fans know, of The Hitch-Hiker).

In 1947, CBS’ Lux Radio Theater put on a full production of It’s a Wonderful Life with Jimmy Stewart and Donna Reed, stars of the film that had come out just the year before. Even U.S. presidents like Franklin D. Roosevelt and Dwight D. Eisenhower turn up to deliver Christmas addresses.

Open Culture readers may well remember CBS’ 1941 production of Oscar Wilde’s “The Happy Prince” featuring Orson Welles and Bing Crosby, but even those of us who know our classic radio will hear a good deal in these 48 hours of broadcasts that we’ve never heard before. Though all of them celebrate the season in one way or another, they do so in a host of different forms and genres, even beyond the broad divisions of drama, comedy, music, and celebrity chat. In gradually passing from living memory, the golden age of American radio comes to seem a longer era than it was. But through that relatively brief window, opened by the household adoption of radio and closed by the rise of television, came an abundance of creativity that can still surprise us — and indeed inspire us — here at the close of the year 2020.

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Based in Seoul, Colin Marshall writes and broadcasts on cities, language, and culture. His projects include the Substack newsletter Books on Cities, the book The Stateless City: a Walk through 21st-Century Los Angeles and the video series The City in Cinema. Follow him on Twitter at @colinmarshall, on Facebook, or on Instagram.

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Take a Virtual Drive through London, Tokyo, Los Angeles & 45 Other World Cities

in Radio, Travel | June 15th, 2020

When asked once about his beliefs, This American Life creator Ira Glass replied that he believes “the car is the best place to listen to the radio.” That seems to be a culturally supported perception, or at least it has been in over the past half-century in America. But does it hold true in other countries? Does listening to the radio in the car feel as good in London, Buenos Aires, Mumbai, and Tokyo as it does in Chicago, New York, Miami, and Los Angeles?

You can see and hear for yourself with the wealth of virtual urban-driving-and-radio-listening experiences on offer at Drive & Listen, where you can take your pick from any of the aforementioned cities and 40 others besides. The site makes this possible by bringing together two forms of media that have come into their own on the internet of the 21st century: streaming radio and streaming video.

In most every major metropolitan area, radio stations now make their broadcasts available online. At the same time, Youtubers have by now shot and uploaded a great many through-the windshield views of all those places, creating the once-unlikely entertainment genre of the driving video.

Here we’ve included some prime examples from popular Youtube driver J Utah, whose scope includes American cities large and small as well as such world capitals as Tokyo, Paris, Singapore, Hong Hong, and São Paulo. All in 4K video.

Click on one of the cities on Drive & Listen’s menu, and chances are you’ll see one of J Utah’s videos. It will come with a streaming-radio soundtrack, sourced from one of the stations in the city or country on display. Your virtual Havana drive may be accompanied by announcements of the news of the day, your virtual Istanbul drive by Turkish rock, your virtual Chicago drive by an NPR affiliate (perhaps even WBEZ, home of This American Life), your virtual Guadalajara drive by soccer scores, your virtual Miami drive by straight-ahead jazz, your virtual Berlin drive by Patti Smith.

Each time you select a city, you’ll get a different combination of radio station and driving footage. As every driver knows, day driving and night driving — to say nothing of rush hour versus the wee hours — feels completely different, and so the drivers of Youtube have shot at all possible times. Some of their routes thread right between downtown skyscrapers, while others stick to freeways along the outskirts. As a resident of Seoul, I can tell you that Drive & Listen accurately conveys the experience of riding in a cab through that city — provided you first crank the video speed up to 2x.

Enter Drive & Listen here.

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Based in Seoul, Colin Marshall writes and broadcasts on cities, language, and culture. His projects include the book The Stateless City: a Walk through 21st-Century Los Angeles and the video series The City in Cinema. Follow him on Twitter at @colinmarshall, on Facebook, or on Instagram.

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The Original Star Wars Trilogy Adapted into a 14-Hour Radio Drama by NPR (1981-1996)

in Film, Radio, Sci Fi | May 20th, 2020

When it opened in 1977, Star Wars revived the old-fashioned swashbuckling adventure film. Within a few years, National Public Radio made a bet that it could do the same for the radio drama. Though still well within living memory, the “golden age of radio” in America had ended decades earlier, and with it the shows that once filled the airwaves with stories of every kind. Radio dramas seemed extinct, but then, before George Lucas’ space opera turned blockbuster, so had movie serials like Flash Gordon and Buck Rogers. The episodic nature of such source material resonated with the similarly episodic nature of classic radio drama, and that must have brought within the realm of possibility a bold and near-scandalous proposition: to re-make Star Wars for NPR.

The idea came from a student at the University of California, who suggested it to USC School of the Performing arts dean and radio-drama enthusiast Richard Toscan. There could have been no institution better-placed to take on such a project. Since Toscan had already produced dramas on the school’s NPR-affiliated radio station KUSC, he made an ideal collaborator in the network’s effort to breathe new life into its dramatic programming. And as Lucas’ alma mater, USC inspired in him a certain generosity: Lucas sold KUSC Star Wars‘ radio rights, along with use of the film’s music and sound effects, for one dollar. Founded just a decade earlier, NPR still lacked the experience and resources to handle such an ambitious project itself, and so entered into a co-production deal with the BBC, which had never let radio drama go into eclipse.

When the Star Wars radio drama was first broadcast in the spring of 1981, fans of the movie would have heard a mixture of the familiar (including the voices of Mark Hamill as Luke Skywalker and Anthony Daniels as C-3PO) and the unfamiliar. With science-fiction novelist Brian Daley brought on to add or restore scenes to the script of the original dialogue-light feature film, the story stretches out to thirteen episodes for a total runtime of six hours. The series thus stands as an early example of the expansion of the Star Wars universe that, in all kinds of media, has continued apace ever since. An Empire Strikes Back radio drama followed in 1983, with Return of the Jedi following, after prolonged development challenges, in 1996.

You can hear all fourteen hours of these original Star Wars trilogy radio dramas at the Internet Archive (Star Wars, The Empire Strikes Back, Return of the Jedi), or on a Youtube playlist with fan edits combining the originally discrete episodes into continuous listening experiences. NPR’s gamble on adapting a Hollywood hit paid off: the first Star Wars radio drama drew 750,000 new listeners, many from the youthful demographic the network had hoped to capture. It was the biggest science-fiction event on American radio since Orson Welles scared the country with his adaptation of H.G. Welles’ The War of the Worlds more than 40 years earlier — a broadcast produced by John Houseman, who in his capacity as USC’s artistic directory in the 1970s, encouraged Toscan to bring radio drama back. In recent years, NPR’s audience has continued to age while the Star Wars franchise has in theaters, on television and elsewhere, gone from strength to strength. Has the time come for radio to use the Force once again?

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Based in Seoul, Colin Marshall writes and broadcasts on cities, language, and culture. His projects include the book The Stateless City: a Walk through 21st-Century Los Angeles and the video series The City in Cinema. Follow him on Twitter at @colinmarshall, on Facebook, or on Instagram.

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