Episodes
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Get the commercial-free version by joining the Darkness Syndicate at - https://weirddarkness.com/syndicate! *** Get full-length pulp audiobooks, pulp eBooks, and old-time radio shows ABSOLUTELY FREE FOR IMMEDIATE DOWNLOAD by emailing [email protected]!
“I am the Whistler and I know many things, for I walk by night. I know many strange tales hidden in the hearts of men and women who have stepped into the shadows. Yes, I know the nameless terrors of which they dare not speak!”
Haunting stories of fate, dramas of crime, deception, and manipulation building to a sudden and shocking denouement...and, through it all, the sardonic, mocking laughter of — The Whistler!
One of radio’s most memorable thriller anthologies, The Whistler was a west-coast favorite for over a decade but, despite two attempts to go nationwide, never was able to achieve the same success as a coast to coast feature. But for listeners across the western states served by the Signal Oil Company, the program’s eerie theme music opened a weekly window into the very darkest corners of the human soul. It was so popular, in fact, that Columbia Pictures produced eight second-feature films based on the concept, all but one of which starred Richard Dix.
The Whistler himself was an omniscient narrator -- the voice of Fate itself, one might suggest, or perhaps of conscience. And his stories revolved around ordinary people, pushed by the pressures of daily life into taking drastic actions. Or perhaps a sudden circumstance, an unexpected twist of life’s path, suddenly placed these protagonists on a road leading inexorably to their own destruction. Greed, lust, and perfidy of every kind figure in the plots -- and when Fate inevitably catches up with these unfortunate, driven souls, The Whistler is always ready, at the very end, to see that the knife is properly twisted.
Produced by George W. Allen, with hauntingly evocative musical scores by Wilbur Hatch, The Whistler was a prime outlet for the cream of Hollywood’s top radio performers - actors such as Wally Maher, Cathy and Elliott Lewis, Gerald Mohr, Lurene Tuttle, and Betty Lou Gerson, who emphasized skill over star power - as well as announcer Bill Forman in the title role, with Marvin Miller voicing the commercials.
YOUTUBE CHAPTERS GUIDE...
00:00:00.000 = Introduction
00:01:54.231 = Two Year Plan (November 25, 1946)
00:32:57.784 = Next Year Is Mine (December 23, 1946)
01:03:11.928 = Murder On Rourke Island (December 30, 1946)
01:33:17.532 = Dear Roger (January 06, 1947)
02:03:49.286 = The Choice (January 13, 1947)
02:33:57.650 = Eight To Twelve (February 24, 1947)
03:04:34.682 = The Blue Legend (March 03, 1947)
03:34:43.029 = The Sheriff’s Assistant (April 07, 1947)
04:05:52.705 = Maid of Honor (April 14, 1947)
04:36:21.437 = Windfall (May 05, 1947)
SOURCES AND ESSENTIAL WEB LINKS…
This episode is sponsored by http://RadioArchives.com
Weird Darkness Retro Radio theme by Storyblocks.
= = = = = = = = = = = = = = = = = = = = = = = = = = = = = =
"I have come into the world as a light, so that no one who believes in me should stay in darkness." — John 12:46
Find out how to escape eternal darkness at https://weirddarkness.com/eternaldarkness
WeirdDarkness® - is a registered trademark. Copyright, Weird Darkness, 2024.
= = = = = = = = = = = = = = = = = = = = = = = = = = = = = =
CUSTOM WEBPAGE: https://weirddarkness.com/whistler-marathon-014 -
Get the commercial-free version by joining the Darkness Syndicate at https://weirddarkness.com/syndicate! Get full-length pulp audiobooks, pulp eBooks, and old-time radio shows ABSOLUTELY FREE FOR IMMEDIATE DOWNLOAD by emailing [email protected]!
One of the most popular radio shows in history, “The Shadow” went on the air in August of 1930. "Who knows what evil lurks in the hearts of men? The Shadow knows!" The opening lines of the "Detective Story" program captivated listeners and are instantly recognizable even today. Originally the narrator of the series of macabre tales, the eerie voice known as The Shadow became so popular to listeners that "Detective Story" was soon renamed "The Shadow," and the narrator became the star of the old-time mystery radio series, which ran until 1954. A figure never seen, only heard, the Shadow was an invincible crime fighter. He possessed many gifts which enabled him to overcome any enemy. Besides his tremendous strength, he could defy gravity, speak any language, unravel any code, and become invisible with his famous ability to "cloud men's minds." Along with his team of operatives, the Shadow battled adversaries with chilling names like The Black Master, Kings of Crime, The Five Chameleons, and, of course, The Red Menace. The Shadow's exploits were also avidly followed by readers in The Shadow magazine, which began in 1931 following the huge success of the old-time mystery radio program. The magazine was published by Street & Smith, who had also sponsored the old-time mystery radio program. Over the course of 18 years, Street & Smith published 325 issues of The Shadow, each one containing a novel about the sinister crime fighter. These stories were written by Maxwell Grant, a fictional name created by the publishing company. Although several different people wrote under the pseudonym, Walter B. Gibson wrote most of the stories, 282 in all. Most of the novels published have been reprinted in paperback and The Shadow adventures remain popular today, with Shadow comic books, magazines, toys, games, cds and cassettes of old-time radio shows, and books bringing top dollar among collectors the world over.
YOUTUBE CHAPTERS GUIDE...
00:00:00.000 = Introduction
00:01:54.735 = The Wig Makers of Doom Street (November 28, 1948)
00:32:02.306 = Death And The Crown Odalph (January 02, 1949)
00:59:51.393 = Trail of the Knifer (February 20, 1949)
01:29:55.434 = Collectors of Death (February 27, 1949)
01:59:37.365 = Unto Death Do Us Part (March 06, 1949)
02:29:56.952 = The Ring of Mahlalaylee (March 13, 1949)
02:55:44.114 = Monkey Woman (May 29, 1949)
03:21:46.493 = The Bridge of Tragedy – Australian Episode (March 22, 1951)
03:49:37.714 = Return To Life – Australian Episode (September 23, 1951)
04:16:14.876 = The Vengeance of Angela Nolan (June 27, 1954)
04:42:52.794 = Death House Rescue (September 26, 1937)
SOURCES AND ESSENTIAL WEB LINKS…
This episode is sponsored by http://RadioArchives.com
Weird Darkness Retro Radio theme by Storyblocks.
= = = = = = = = = = = = = = = = = = = = = = = = = = = = = =
"I have come into the world as a light, so that no one who believes in me should stay in darkness." — John 12:46
Find out how to escape eternal darkness at https://weirddarkness.com/eternaldarkness
WeirdDarkness® - is a registered trademark. Copyright, Weird Darkness, 2024.
= = = = = = = = = = = = = = = = = = = = = = = = = = = = = =
CUSTOM WEBPAGE: https://weirddarkness.com/theshadow-marathon-014 -
Missing episodes?
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00:00:00.000 = INTRODUCTION
00:03:49.400 = Caliber Pistol (AKA Little Blue 22)
00:30:04.638 = .32 Calibre Bullet
00:54:13.612 = Bath Tub
01:18:08.600 = The Black Gladstone Bag
01:48:45.115 = The Brick
02:12:03.741 = The Brass Button
02:36:57.859 = Can Of Weed Killer
03:02:13.049 = Canvas Bag
03:28:27.300 = The Car Tire
03:52:47.800 = The Champagne Glass
04:19:38.442 = A Claw Hammer
04:45:44.689 = Door Key
SOURCES AND ESSENTIAL WEB LINKS…
This episode is sponsored by http://RadioArchives.com
Weird Darkness Retro Radio theme by Storyblocks.
= = = = = = = = = = = = = = = = = = = = = = = = = = = = = =
"I have come into the world as a light, so that no one who believes in me should stay in darkness." — John 12:46
Find out how to escape eternal darkness at https://weirddarkness.com/eternaldarkness
WeirdDarkness® - is a registered trademark. Copyright, Weird Darkness, 2024.
= = = = = = = = = = = = = = = = = = = = = = = = = = = = = =CUSTOM WEBPAGE: https://weirddarkness.com/blackmuseum-marathon-001 -
Get full-length pulp audiobooks, pulp eBooks, and old-time radio shows ABSOLUTELY FREE FOR IMMEDIATE DOWNLOAD by emailing [email protected]! Get the commercial-free version by joining the Darkness Syndicate at https://weirddarkness.com/syndicate!
After September 30, 1962, commercial radio drama was as dead as the doornail described in the opening pages of Dickens' A Christmas Carol (1843), and everyone understood that television killed it. People who worked in both mediums realized that working in radio was a much better overall experience than television could ever be. Sure, TV had pictures to go along with the stories, but putting those pictures on the air involved a highly technical and expensive technology, and by the time those images reached the audience they were grainy, blurry, and sometimes nearly impossible to see. One actor could play different parts on several different radio programs, even in a single episode, but once they were seen in a TV show their face was recognizable enough that they had a hard time working on another show, and even a twenty-second appearance meant hours in makeup and wardrobe. Appearing in a radio drama required just a couple rehearsals and then remaining as quiet as possible in the studio, following along in the script until time to perform your lines, which you also read from the script. There was one important thing that television could offer over radio work; money. The accounting in TV and radio was fundamentally different. A radio program was usually paid for by a single sponsor while commercial time on TV shows was sold piecemeal, but there was still a phenomenal amount of money involved in TV production and the networks and sponsors were happy to pay it. Unable to compete with the huge amount of money being spread around by TV, after the final broadcasts of Suspense and Yours Truly Johnny Dollar on September 30, 1960, the Golden Age of Radio came to an end. Or did it? In the decade after the end of the Golden Age of Radio, TV matured artistically and technically. There had been a rejection by the networks of "rural" programming which helped launch a nostalgia craze. This craze began with the release of George Lucas's American Graffiti (1973), and suddenly everything old seemed new again. One of the genres which were best suited to radio was the horror shows which made listeners sit up in bed and pull the sheets over their heads. This sort of program had been pioneered Wyliss Cooper and Arch Oboler on Lights Out as well as The Whistler, Suspense, and Inner Sanctum Mysteries. This was the type of show creators decided upon for his radio nostalgia project, which became The CBS Radio Mystery Theater. They were convinced that there was enough interest from those who had heard similar shows growing up during the Golden Age, but the show built a following of younger fans for whom radio drama was a new and exciting experience. In many ways, CBSRMT was more like a TV program on the radio than a typical Old Time Radio show. The shows were taped rather than broadcast live, which allowed for greater post-production editing and creative control. The scripts generally ran 45 minutes, and the action was broken at points to allow for separately produced commercials and news bulletins to be inserted. The opening featured the "creaking door" effect which had been part of The Inner Sanctum. Host E.G. Marshall was never as campily creepy earlier horror hosts, but his closing, "Until next time, pleasant… dreams?" was sure to inspire nightmares. Production of CBSRMT was efficient almost to the point of cheapness. Creators drew upon radio row veterans working in New York as well as up-and-coming television personalities. The show used original stories from a wide variety of genres as well as literary classics. Writers were paid a flat $350 for each recorded script, and actors received union scale rates of $73.92 per episode. The actors would come into the studio for an initial script reading at 9:00 am, and the episode was generally completed by noon. Paychecks were handed out and the tape would be edited in the afternoon.
00:00:00.000 = INTRODUCTION
00:01:54.482 = The Deadly Blind Man’s Bluff (September 25, 1974)
00:47:32.000 = The Spectral Bride (September 26, 1974)
01:33:04.000 = Murder To Perfection (September 30, 1974)
02:18:37.287 = The Bride That Wasn’t (October 01, 1974)
03:04:34.000 = The Golden Blood of the Sun (October 03, 1974)
03:50:24.000 = Sister of Death (October 07, 1974)
04:36:05.000 = Trapped (October 09, 1974)
SOURCES AND ESSENTIAL WEB LINKS…
This episode is sponsored by http://RadioArchives.com
Weird Darkness Retro Radio theme by Storyblocks.
= = = = = = = = = = = = = = = = = = = = = = = = = = = = = =
"I have come into the world as a light, so that no one who believes in me should stay in darkness." — John 12:46
Find out how to escape eternal darkness at https://weirddarkness.com/eternaldarkness
WeirdDarkness® - is a registered trademark. Copyright, Weird Darkness, 2024.
CUSTOM WEBPAGE: https://weirddarkness.com/cbsrmt-marathon-018 -
Get full-length pulp audiobooks, pulp eBooks, and old-time radio shows ABSOLUTELY FREE FOR IMMEDIATE DOWNLOAD by emailing [email protected]! Get the commercial-free version by joining the Darkness Syndicate at https://weirddarkness.com/syndicate!
When the dramatic anthology series "Suspense" premiered over CBS Radio on June 17, 1942, it did so as both a summer series and as a sustaining program. The network had no idea how well the series would perform - its only previous showcase was as an hour-long audition on the 1940 series "Forecast" - so running out and getting a sponsor didn’t seem to be important at that particular stage. Besides, in the show’s salad days, the guest stars that did appear were of considerably low wattage. But as "Suspense" grew in popularity and began to attract a more upscale acting clientele anxious to participate in “radio’s outstanding theater of thrills,” finding someone to pick up the weekly tab became a top priority for CBS. Luckily, in December 2, 1943, the series found its 'angel' in the sponsorship of Roma Wines. "Suspense’s" long association with Roma (and co-branded Cresta Blanca) was good for both the series and the company; a bigger budget attracted bigger guest stars and, as the program began to climb in the ratings, the company began to enjoy substantial profits. This fruitful arrangement came to an end on November 20, 1947. Roma had been admittedly seeing other programs behind "Suspense’s" back and the bright array of top Hollywood talent began to dim a bit as many of the stars began to tire of the program. CBS rolled the dice and took one heck of a chance in keeping "Suspense" on the air; the network still felt that the series was popular with audiences and they agreed to sustain the program until another sponsor could be found. How serious was CBS about keeping its prestige show? Beginning January 3, 1948, "Suspense" was moved to Saturday nights and was broadcast from 8:00 to 9:00 PM Eastern Standard Time. That’s right: a full hour of “Suspense.” Hour-long dramatic shows were a gamble at best; many stars tended to shun these programs - a half-hour show was grueling enough to get through - and only a few, "The Lux Radio Theater" being the best example, managed to continue on the air for very long. But Lux had a sponsor all too willing to write checks on a weekly basis...while CBS, without a sponsor to back them up, was still the sole support of "Suspense." What's more, the network learned soon enough that by doubling the show from half-hour to hour-long status, they had to double the pay of the individuals working on the show as well. (Networks, as a rule, cringe at the thought of giving money away.) To jazz up "Suspense," CBS hired actor Robert Montgomery to be the host and occasional performer, figuring that on the weeks when they had to resort to a less-than "A" list of guest stars, at least Montgomery would be around to provide a certain degree of glitter. Montgomery, at it turned out, made appearances in quite a few of the hour-long shows, including both the premiere, “The Black Curtain”, and most notably in “Night Must Fall”, which allowed him to reprise the role he had created in the 1937 Metro-Goldwyn-Mayer motion picture of the same name. "Suspense’s" hour-long experiment closed up shop on May 15, 1948 and the show moved back to Thursday night in its familiar half-hour form through September 1962.
00:00:00.000 = INTRODUCTION
00:01:54.350 = The Lucky Lady (February 14, 1946)
00:32:10.863 = Consequences (February 21, 1946)
01:02:27.676 = Black Path of Fear (March 07, 1946)
01:28:53.720 = No More Alice (March 14, 1946)
01:59:25.121 = The Lonely Road (March 21, 1946)
02:30:10.968 = Out Of Control (March 28, 1946)
03:00:17.665 = Post Mortem (April 04, 1946)
03:30:40.306 = The Name of the Beast (April 11, 1946)
04:01:08.422 = The Night Reveals (April 18, 1946)
04:31:23.782 = Dark Journey (April 25, 1946)
SOURCES AND ESSENTIAL WEB LINKS…
This episode is sponsored by http://RadioArchives.com
Weird Darkness Retro Radio theme by Storyblocks.
= = = = = = = = = = = = = = = = = = = = = = = = = = = = = =
"I have come into the world as a light, so that no one who believes in me should stay in darkness." — John 12:46
WeirdDarkness® - is a registered trademark. Copyright, Weird Darkness, 2024.
CUSTOM WEBPAGE: https://weirddarkness.com/suspense-marathon-013 -
Get the COMMERCIAL-FREE VERSION by joining the Darkness Syndicate at https://weirddarkness.com/syndicate! *** Get full-length pulp audiobooks, pulp eBooks, and old-time radio shows ABSOLUTELY FREE FOR IMMEDIATE DOWNLOAD by emailing [email protected]!
By the mid 1950s, science fiction had largely fallen into a familiar pattern, regardless of medium. When fans tuned into the radio or caught the latest science fiction movie, they either encountered space opera adventures or fare aimed largely at a juvenile audience. Only in magazines such as Astounding Science Fiction and Galaxy were stories grounded firmly in science fiction being told with mature themes aimed at character development, true literature taking off to the stars. The debut of X Minus One in April 1955 changed that on radio, making this program not only the best of its type, but in many ways one of the only shows from Radio’s Golden Age to present science fiction for a well-rounded adult audience. It is an often debated point among experts and fans as to whether or not X Minus One was simply a new season of Dimension X, a program that ran on NBC in 1950-51, or a revival of sorts of this previous show. The latter is probably more accurate since the first 15 episodes of X Minus One were new productions of Dimension X episodes. What makes X Minus One stand out, however, is the fact that the remaining programs were actually adaptations of works from two of the best science fiction magazines of the period. NBC staff writers, primarily Ernest Kinoy and George Lefferts, scoured the pages of Astounding Science Fiction and then later Galaxy Magazine for tales that would thrill and chill their listeners, aiming most assuredly at the more sophisticated science fiction fans. Stories penned by noted science fiction and genre authors such as Philip K. Dick, Robert Heinlein, Frederik Pohl, and Isaac Asimov, and many others found themselves expertly adapted for radio over the program’s nearly three-year run. Listen to X Minus One and rocket to new heights of top-notch science fiction old time radio!
00:00:00.000 = INTRODUCTION
00:01:54.470 = The Parade (January 25, 1956)
00:30:54.070 = The Cave of Night (February 01, 1956)
01:00:04.761 = The C-Chute (February 08, 1956)
01:29:22.699 = Skulking Permit (February 15, 1956)
01:58:50.451 = Junkyard (February 22, 1956)
02:27:51.015 = Hello, Tomorrow (February 29, 1956)
02:52:41.472 = A Gun For A Dinosaur (March 07, 1956)
03:21:17.387 = Tunnel Under The World (March 14, 1956)
03:49:56.913 = Thousand Dollars A Plate (March 21, 1956)
04:18:30.168 = A Pail of Air (March 28, 1956)
04:47:34.238 = How-To (April 03, 1956)
SOURCES AND ESSENTIAL WEB LINKS…
This episode is sponsored by http://RadioArchives.com
Weird Darkness Retro Radio theme by Storyblocks.
= = = = = = = = = = = = = = = = = = = = = = = = = = = = = =
"I have come into the world as a light, so that no one who believes in me should stay in darkness." — John 12:46
Find out how to escape eternal darkness at https://weirddarkness.com/eternaldarkness
WeirdDarkness® - is a registered trademark. Copyright, Weird Darkness, 2024.
= = = = = = = = = = = = = = = = = = = = = = = = = = = = = =
CUSTOM WEBPAGE: https://weirddarkness.com/xminusone-marathon-013 -
Get the commercial-free version by joining the Darkness Syndicate at https://weirddarkness.com/syndicate! Get full-length pulp audiobooks, pulp eBooks, and old-time radio shows ABSOLUTELY FREE FOR IMMEDIATE DOWNLOAD by emailing [email protected]!
A creaking door and a chorus of haunting organ music. No radio show opening is more memorable for many fans than the one heard on Inner Sanctum Mysteries. This disturbing simple salvo led people into thirty minutes of suspense and horror sprinkled with puns from a creepy host, all of which can now be heard again in sparkling audio quality from Radio Archives. Inner Sanctum Mysteries was the brainchild of producer Himan Brown, inspired by the unsettling creaking door in the basement of a studio where he once worked. Brown took that inspiration and built around it a formula that lived on beyond the show itself. Listeners tuned in every week to hear that door open and be welcomed by the sinister, yet often humorous host to join him in a chair near the fire inside the Inner Sanctum for a story sure to chill them to the bone. Stories on Inner Sanctum Mysteries originally included both classic and original tales, the new stories taking center stage as the show continued. With writers like pulp scribes Emile Tepperman and Robert Newman, as well as Robert Sloan, Milton Lewis, and others, it is little surprise that Inner Sanctum is still beloved by fans today. Utilizing numerous clichés and literary devices, Inner Sanctum Mysteries carried listeners into the heart of horror, a liberal dose of camp often thrown in. Using voices ranging from star Boris Karloff to a veteran crew of New York radio actors, Inner Sanctum set the standard for horror programs both on radio and even inspired decades of horror hosts on television. Inner Sanctum Mysteries features some of the best of fright, terror, and fantastic storytelling old time radio has to offer!
YOUTUBE TIME STAMPS…
00:00:00.000 = INTRODUCTION
00:01:54.794 = Mark My Grave (January 17, 1949)
00:29:21.389 = Deadly Dummy (January 24, 1949)
00:55:26.749 = The Devil’s Fortune (January 31, 1949)
01:21:43.959 = Death Demon (February 07, 1949)
01:48:37.048 = Birdsong For A Murderer (February 14, 1949)
02:14:36.805 = Flame of Death (February 21, 1949)
02:41:30.415 = Only The Dead Die Twice (March 21, 1949)
03:07:47.968 = Appointment With Death (March 28, 1949)
03:34:40.573 = Death Wears A Lonely Smile (April 04, 1949)
03:59:59.059 = Murder Off The Record (April 11, 1949)
04:22:57.123 = Death Deal (April 18, 1949)
SOURCES AND ESSENTIAL WEB LINKS…
This episode is sponsored by http://RadioArchives.com
Weird Darkness Retro Radio theme by Storyblocks.
= = = = = = = = = = = = = = = = = = = = = = = = = = = = = =
"I have come into the world as a light, so that no one who believes in me should stay in darkness." — John 12:46
Find out how to escape eternal darkness at https://weirddarkness.com/eternaldarkness
WeirdDarkness® - is a registered trademark. Copyright, Weird Darkness, 2024.
= = = = = = = = = = = = = = = = = = = = = = = = = = = = = =
CUSTOM WEBPAGE: https://weirddarkness.com/innersanctum-marathon-012 -
Get full-length pulp audiobooks, pulp eBooks, and old-time radio shows ABSOLUTELY FREE FOR IMMEDIATE DOWNLOAD by emailing [email protected]! Get the commercial-free version by joining the Darkness Syndicate at https://weirddarkness.com/syndicate!
“I am the Whistler and I know many things, for I walk by night. I know many strange tales hidden in the hearts of men and women who have stepped into the shadows. Yes, I know the nameless terrors of which they dare not speak!”
Haunting stories of fate, dramas of crime, deception, and manipulation building to a sudden and shocking denouement...and, through it all, the sardonic, mocking laughter of — The Whistler!
One of radio’s most memorable thriller anthologies, The Whistler was a west-coast favorite for over a decade but, despite two attempts to go nationwide, never was able to achieve the same success as a coast to coast feature. But for listeners across the western states served by the Signal Oil Company, the program’s eerie theme music opened a weekly window into the very darkest corners of the human soul. It was so popular, in fact, that Columbia Pictures produced eight second-feature films based on the concept, all but one of which starred Richard Dix.
The Whistler himself was an omniscient narrator -- the voice of Fate itself, one might suggest, or perhaps of conscience. And his stories revolved around ordinary people, pushed by the pressures of daily life into taking drastic actions. Or perhaps a sudden circumstance, an unexpected twist of life’s path, suddenly placed these protagonists on a road leading inexorably to their own destruction. Greed, lust, and perfidy of every kind figure in the plots -- and when Fate inevitably catches up with these unfortunate, driven souls, The Whistler is always ready, at the very end, to see that the knife is properly twisted.
Produced by George W. Allen, with hauntingly evocative musical scores by Wilbur Hatch, The Whistler was a prime outlet for the cream of Hollywood’s top radio performers - actors such as Wally Maher, Cathy and Elliott Lewis, Gerald Mohr, Lurene Tuttle, and Betty Lou Gerson, who emphasized skill over star power - as well as announcer Bill Forman in the title role, with Marvin Miller voicing the commercials.
YOUTUBE CHAPTERS GUIDE...
00:00:00.000 = Introduction
00:01:54.231 = Two Year Plan (November 25, 1946)
00:32:57.784 = Next Year Is Mine (December 23, 1946)
01:03:11.928 = Murder On Rourke Island (December 30, 1946)
01:33:17.532 = Dear Roger (January 06, 1947)
02:03:49.286 = The Choice (January 13, 1947)
02:33:57.650 = Eight To Twelve (February 24, 1947)
03:04:34.682 = The Blue Legend (March 03, 1947)
03:34:43.029 = The Sheriff’s Assistant (April 07, 1947)
04:05:52.705 = Maid of Honor (April 14, 1947)
04:36:21.437 = Windfall (May 05, 1947)
SOURCES AND ESSENTIAL WEB LINKS…
This episode is sponsored by http://RadioArchives.com
Weird Darkness Retro Radio theme by Storyblocks.
= = = = = = = = = = = = = = = = = = = = = = = = = = = = = =
"I have come into the world as a light, so that no one who believes in me should stay in darkness." — John 12:46
Find out how to escape eternal darkness at https://weirddarkness.com/eternaldarkness
WeirdDarkness® - is a registered trademark. Copyright, Weird Darkness, 2024.
= = = = = = = = = = = = = = = = = = = = = = = = = = = = = =
CUSTOM WEBPAGE: https://weirddarkness.com/whistler-marathon-014 -
Get full-length pulp audiobooks, pulp eBooks, and old-time radio shows ABSOLUTELY FREE FOR IMMEDIATE DOWNLOAD by emailing [email protected]! Get the commercial-free version by joining the Darkness Syndicate at https://weirddarkness.com/syndicate!
One of the most popular radio shows in history, “The Shadow” went on the air in August of 1930. "Who knows what evil lurks in the hearts of men? The Shadow knows!" The opening lines of the "Detective Story" program captivated listeners and are instantly recognizable even today. Originally the narrator of the series of macabre tales, the eerie voice known as The Shadow became so popular to listeners that "Detective Story" was soon renamed "The Shadow," and the narrator became the star of the old-time mystery radio series, which ran until 1954. A figure never seen, only heard, the Shadow was an invincible crime fighter. He possessed many gifts which enabled him to overcome any enemy. Besides his tremendous strength, he could defy gravity, speak any language, unravel any code, and become invisible with his famous ability to "cloud men's minds." Along with his team of operatives, the Shadow battled adversaries with chilling names like The Black Master, Kings of Crime, The Five Chameleons, and, of course, The Red Menace. The Shadow's exploits were also avidly followed by readers in The Shadow magazine, which began in 1931 following the huge success of the old-time mystery radio program. The magazine was published by Street & Smith, who had also sponsored the old-time mystery radio program. Over the course of 18 years, Street & Smith published 325 issues of The Shadow, each one containing a novel about the sinister crime fighter. These stories were written by Maxwell Grant, a fictional name created by the publishing company. Although several different people wrote under the pseudonym, Walter B. Gibson wrote most of the stories, 282 in all. Most of the novels published have been reprinted in paperback and The Shadow adventures remain popular today, with Shadow comic books, magazines, toys, games, cds and cassettes of old-time radio shows, and books bringing top dollar among collectors the world over.
00:00:00.000 = INTRODUCTION
00:01:54.735 = The Giant of Madras (May 16, 1948)
00:27:03.054 = The Ruby of Karavahl (May 30, 1948)
00:57:26.772 = Revenge Is Murder (September 19, 1948)
01:27:54.467 = Death Is A Colored Dream (September 26, 1948)
01:58:59.079 = Phantom Racketeer (October 03, 1948)
02:27:47.080 = A Mask For Murder (October 10, 1948)
02:55:44.830 = Dead Man’s Ride (October 17, 1948)
03:26:14.433 = The Drum of Obi (October 24, 1948)
03:56:23.501 = Murder By A Corpse (October 31, 1948)
04:26:31.122 = Evil In The House (November 07, 1948)
SOURCES AND ESSENTIAL WEB LINKS…
This episode is sponsored by http://RadioArchives.com
Weird Darkness Retro Radio theme by Storyblocks.
= = = = = = = = = = = = = = = = = = = = = = = = = = = = = =
"I have come into the world as a light, so that no one who believes in me should stay in darkness." — John 12:46
Find out how to escape eternal darkness at https://weirddarkness.com/eternaldarkness
WeirdDarkness® - is a registered trademark. Copyright, Weird Darkness, 2024.
= = = = = = = = = = = = = = = = = = = = = = = = = = = = = =
CUSTOM WEBPAGE: https://weirddarkness.com/theshadow-marathon-013 -
Get full-length pulp audiobooks, pulp eBooks, and old-time radio shows ABSOLUTELY FREE FOR IMMEDIATE DOWNLOAD by emailing [email protected]!
00:00:00.000 = INTRODUCTION
00:05:32.039 = Nightmare (January 18, 1964)
00:32:55.785 = Squaw (January 24, 1964)
01:02:39.933 = Boarded Window (February 12, 1964)
01:35:45.051 = Mirror Mirror (February 12, 1964)
01:51:04.269 = Death Of Halpin Fraser (May 20, 1964)
02:22:12.173 = Proof Positive (June 03, 1964)
02:29:54.443 = A Predicament / Tell Tale Heart (June 20, 1964)
02:59:17.180 = Rats In The Walls (July 08, 1964)
03:31:20.846 = Disillusionment / The Feeder (July 01, 1964)
03:57:43.984 = The Imp Of The Perverse / The Manuscript Found In A Bottle (July 29, 1964)
04:33:12.423 = A Country Doctor (August 14, 1964)
SOURCES AND ESSENTIAL WEB LINKS…
This episode is sponsored by http://RadioArchives.com
Weird Darkness Retro Radio theme by Storyblocks.
= = = = = = = = = = = = = = = = = = = = = = = = = = = = = =
"I have come into the world as a light, so that no one who believes in me should stay in darkness." — John 12:46
Find out how to escape eternal darkness at https://weirddarkness.com/eternaldarkness
WeirdDarkness® - is a registered trademark. Copyright, Weird Darkness, 2024.
= = = = = = = = = = = = = = = = = = = = = = = = = = = = = =CUSTOM WEBPAGE: https://weirddarkness.com/blackmass01 -
Get full-length pulp audiobooks, pulp eBooks, and old-time radio shows ABSOLUTELY FREE FOR IMMEDIATE DOWNLOAD by emailing [email protected]!
After September 30, 1962, commercial radio drama was as dead as the doornail described in the opening pages of Dickens' A Christmas Carol (1843), and everyone understood that television killed it. People who worked in both mediums realized that working in radio was a much better overall experience than television could ever be. Sure, TV had pictures to go along with the stories, but putting those pictures on the air involved a highly technical and expensive technology, and by the time those images reached the audience they were grainy, blurry, and sometimes nearly impossible to see. One actor could play different parts on several different radio programs, even in a single episode, but once they were seen in a TV show their face was recognizable enough that they had a hard time working on another show, and even a twenty-second appearance meant hours in makeup and wardrobe. Appearing in a radio drama required just a couple rehearsals and then remaining as quiet as possible in the studio, following along in the script until time to perform your lines, which you also read from the script. There was one important thing that television could offer over radio work; money. The accounting in TV and radio was fundamentally different. A radio program was usually paid for by a single sponsor while commercial time on TV shows was sold piecemeal, but there was still a phenomenal amount of money involved in TV production and the networks and sponsors were happy to pay it. Unable to compete with the huge amount of money being spread around by TV, after the final broadcasts of Suspense and Yours Truly Johnny Dollar on September 30, 1960, the Golden Age of Radio came to an end. Or did it? In the decade after the end of the Golden Age of Radio, TV matured artistically and technically. There had been a rejection by the networks of "rural" programming which helped launch a nostalgia craze. This craze began with the release of George Lucas's American Graffiti (1973), and suddenly everything old seemed new again. One of the genres which were best suited to radio was the horror shows which made listeners sit up in bed and pull the sheets over their heads. This sort of program had been pioneered Wyliss Cooper and Arch Oboler on Lights Out as well as The Whistler, Suspense, and Inner Sanctum Mysteries. This was the type of show creators decided upon for his radio nostalgia project, which became The CBS Radio Mystery Theater. They were convinced that there was enough interest from those who had heard similar shows growing up during the Golden Age, but the show built a following of younger fans for whom radio drama was a new and exciting experience. In many ways, CBSRMT was more like a TV program on the radio than a typical Old Time Radio show. The shows were taped rather than broadcast live, which allowed for greater post-production editing and creative control. The scripts generally ran 45 minutes, and the action was broken at points to allow for separately produced commercials and news bulletins to be inserted. The opening featured the "creaking door" effect which had been part of The Inner Sanctum. Host E.G. Marshall was never as campily creepy earlier horror hosts, but his closing, "Until next time, pleasant… dreams?" was sure to inspire nightmares. Production of CBSRMT was efficient almost to the point of cheapness. Creators drew upon radio row veterans working in New York as well as up-and-coming television personalities. The show used original stories from a wide variety of genres as well as literary classics. Writers were paid a flat $350 for each recorded script, and actors received union scale rates of $73.92 per episode. The actors would come into the studio for an initial script reading at 9:00 am, and the episode was generally completed by noon. Paychecks were handed out and the tape would be edited in the afternoon.
00:00:00.000 = INTRODUCTION
00:01:54.482 = Double Exposure (September 09, 1974)
00:47:02.196 = The Hand That Refused To Die (September 11, 1974)
01:32:06.177 = The Trouble With Murder (September 12, 1974)
02:17:02.229 = What Happened To Mrs. Forbush (September 16, 1974)
03:01:48.871 = Thicker Than Water (September 17, 1974)
03:46:40.018 = The Garden (September 19, 1974)
04:31:25.928 = Island Of The Lost (September 23, 1974)
SOURCES AND ESSENTIAL WEB LINKS…
This episode is sponsored by http://RadioArchives.com
Weird Darkness Retro Radio theme by Storyblocks.
= = = = = = = = = = = = = = = = = = = = = = = = = = = = = =
"I have come into the world as a light, so that no one who believes in me should stay in darkness." — John 12:46
Find out how to escape eternal darkness at https://weirddarkness.com/eternaldarkness
WeirdDarkness® - is a registered trademark. Copyright, Weird Darkness, 2024.
CUSTOM WEBPAGE: https://weirddarkness.com/cbsrmt-marathon-017 -
Get full-length pulp audiobooks, pulp eBooks, and old-time radio shows ABSOLUTELY FREE FOR IMMEDIATE DOWNLOAD by emailing [email protected]!
When the dramatic anthology series "Suspense" premiered over CBS Radio on June 17, 1942, it did so as both a summer series and as a sustaining program. The network had no idea how well the series would perform - its only previous showcase was as an hour-long audition on the 1940 series "Forecast" - so running out and getting a sponsor didn’t seem to be important at that particular stage. Besides, in the show’s salad days, the guest stars that did appear were of considerably low wattage. But as "Suspense" grew in popularity and began to attract a more upscale acting clientele anxious to participate in “radio’s outstanding theater of thrills,” finding someone to pick up the weekly tab became a top priority for CBS. Luckily, in December 2, 1943, the series found its 'angel' in the sponsorship of Roma Wines. "Suspense’s" long association with Roma (and co-branded Cresta Blanca) was good for both the series and the company; a bigger budget attracted bigger guest stars and, as the program began to climb in the ratings, the company began to enjoy substantial profits. This fruitful arrangement came to an end on November 20, 1947. Roma had been admittedly seeing other programs behind "Suspense’s" back and the bright array of top Hollywood talent began to dim a bit as many of the stars began to tire of the program. CBS rolled the dice and took one heck of a chance in keeping "Suspense" on the air; the network still felt that the series was popular with audiences and they agreed to sustain the program until another sponsor could be found.How serious was CBS about keeping its prestige show? Beginning January 3, 1948, "Suspense" was moved to Saturday nights and was broadcast from 8:00 to 9:00 PM Eastern Standard Time. That’s right: a full hour of “Suspense.” Hour-long dramatic shows were a gamble at best; many stars tended to shun these programs - a half-hour show was grueling enough to get through - and only a few, "The Lux Radio Theater" being the best example, managed to continue on the air for very long. But Lux had a sponsor all too willing to write checks on a weekly basis...while CBS, without a sponsor to back them up, was still the sole support of "Suspense." What's more, the network learned soon enough that by doubling the show from half-hour to hour-long status, they had to double the pay of the individuals working on the show as well. (Networks, as a rule, cringe at the thought of giving money away.) To jazz up "Suspense," CBS hired actor Robert Montgomery to be the host and occasional performer, figuring that on the weeks when they had to resort to a less-than "A" list of guest stars, at least Montgomery would be around to provide a certain degree of glitter. Montgomery, at it turned out, made appearances in quite a few of the hour-long shows, including both the premiere, “The Black Curtain”, and most notably in “Night Must Fall”, which allowed him to reprise the role he had created in the 1937 Metro-Goldwyn-Mayer motion picture of the same name. "Suspense’s" hour-long experiment closed up shop on May 15, 1948 and the show moved back to Thursday night in its familiar half-hour form through September 1962.
00:00:00.000 = INTRODUCTION
00:01:54.350 = The Bluebeard Of Bellac (September 21, 1944)
00:31:24.702 = Drury’s Bones (January 25, 1945)
01:00:50.179 = A Tale Of Two Sisters (February 08, 1945)
01:30:19.574 = Sell Me Your Life (February 15, 1945)
01:59:40.041 = John Barbey And Son (February 22, 1945)
02:29:09.451 = My Wife Geraldine (March 01, 1945)
02:58:27.676 = Love’s Lovely Counterfeit (March 08, 1945)
03:27:59.046 = Cricket (March 15, 1945)
03:57:28.431 = Hearts Desire (March 22, 1945)
04:26:57.668 = The Taming Of The Beast (March 29, 1945)
SOURCES AND ESSENTIAL WEB LINKS…
This episode is sponsored by http://RadioArchives.com
Weird Darkness Retro Radio theme by Storyblocks.
= = = = = = = = = = = = = = = = = = = = = = = = = = = = = =
"I have come into the world as a light, so that no one who believes in me should stay in darkness." — John 12:46
WeirdDarkness® - is a registered trademark. Copyright, Weird Darkness, 2024.
CUSTOM WEBPAGE: https://weirddarkness.com/suspense-marathon-012 -
Get full-length pulp audiobooks, pulp eBooks, and old-time radio shows ABSOLUTELY FREE FOR IMMEDIATE DOWNLOAD by emailing [email protected]!
By the mid 1950s, science fiction had largely fallen into a familiar pattern, regardless of medium. When fans tuned into the radio or caught the latest science fiction movie, they either encountered space opera adventures or fare aimed largely at a juvenile audience. Only in magazines such as Astounding Science Fiction and Galaxy were stories grounded firmly in science fiction being told with mature themes aimed at character development, true literature taking off to the stars. The debut of X Minus One in April 1955 changed that on radio, making this program not only the best of its type, but in many ways one of the only shows from Radio’s Golden Age to present science fiction for a well-rounded adult audience. It is an often debated point among experts and fans as to whether or not X Minus One was simply a new season of Dimension X, a program that ran on NBC in 1950-51, or a revival of sorts of this previous show. The latter is probably more accurate since the first 15 episodes of X Minus One were new productions of Dimension X episodes. What makes X Minus One stand out, however, is the fact that the remaining programs were actually adaptations of works from two of the best science fiction magazines of the period. NBC staff writers, primarily Ernest Kinoy and George Lefferts, scoured the pages of Astounding Science Fiction and then later Galaxy Magazine for tales that would thrill and chill their listeners, aiming most assuredly at the more sophisticated science fiction fans. Stories penned by noted science fiction and genre authors such as Philip K. Dick, Robert Heinlein, Frederik Pohl, and Isaac Asimov, and many others found themselves expertly adapted for radio over the program’s nearly three-year run. Listen to X Minus One and rocket to new heights of top-notch science fiction old time radio!
00:00:00.000 = INTRODUCTION
00:01:54.470 = Dwellers In Silence (November 10, 1955)
00:25:39.232 = The Outer Limit (November 16, 1955)
00:53:40.316 = Zero Hour (November 23, 1955)
01:07:54.802 = The Vital Factor (November 30, 1955)
01:36:54.438 = Nightfall (December 07, 1955)
02:05:38.741 = To The Future (December 14, 1955)
02:34:25.759 = Marionettes Inc. (December 21, 1955)
03:03:27.465 = A Logic Named Joe (December 28, 1955)
03:30:30.208 = The Roads Just Roll (November 04, 1956)
03:58:09.807 = Time And Time Again (January 11, 1956)
04:26:24.683 = Perigi’s Wonderful Dolls (January 18, 1956)
SOURCES AND ESSENTIAL WEB LINKS…
This episode is sponsored by http://RadioArchives.com
Weird Darkness Retro Radio theme by Storyblocks.
= = = = = = = = = = = = = = = = = = = = = = = = = = = = = =
"I have come into the world as a light, so that no one who believes in me should stay in darkness." — John 12:46
Find out how to escape eternal darkness at https://weirddarkness.com/eternaldarkness
WeirdDarkness® - is a registered trademark. Copyright, Weird Darkness, 2024.
= = = = = = = = = = = = = = = = = = = = = = = = = = = = = =
CUSTOM WEBPAGE: https://weirddarkness.com/xminusone-marathon-012 -
Get full-length pulp audiobooks, pulp eBooks, and old-time radio shows ABSOLUTELY FREE FOR IMMEDIATE DOWNLOAD by emailing [email protected]!
A creaking door and a chorus of haunting organ music. No radio show opening is more memorable for many fans than the one heard on Inner Sanctum Mysteries. This disturbing simple salvo led people into thirty minutes of suspense and horror sprinkled with puns from a creepy host, all of which can now be heard again in sparkling audio quality from Radio Archives.
Inner Sanctum Mysteries was the brainchild of producer Himan Brown, inspired by the unsettling creaking door in the basement of a studio where he once worked. Brown took that inspiration and built around it a formula that lived on beyond the show itself. Listeners tuned in every week to hear that door open and be welcomed by the sinister, yet often humorous host to join him in a chair near the fire inside the Inner Sanctum for a story sure to chill them to the bone.
Stories on Inner Sanctum Mysteries originally included both classic and original tales, the new stories taking center stage as the show continued. With writers like pulp scribes Emile Tepperman and Robert Newman, as well as Robert Sloan, Milton Lewis, and others, it is little surprise that Inner Sanctum is still beloved by fans today. Utilizing numerous clichés and literary devices, Inner Sanctum Mysteries carried listeners into the heart of horror, a liberal dose of camp often thrown in. Using voices ranging from star Boris Karloff to a veteran crew of New York radio actors, Inner Sanctum set the standard for horror programs both on radio and even inspired decades of horror hosts on television.
Inner Sanctum Mysteries features some of the best of fright, terror, and fantastic storytelling old time radio has to offer!
YOUTUBE TIME STAMPS...
00:00:00.000 = INTRODUCTION
00:01:54.794 = Next Time I Live (August 30, 1948)
00:27:29.411 = Death Rides a Riptide (September 06, 1948)
00:52:21.294 = Hangman’s Island (September 20, 1948)
01:16:43.133 = Murder By Prophecy (September 27, 1948)
01:41:32.277 = Death Of A Doll (October 18, 1948)
02:06:33.436 = Front Page Murder (November 08, 1948)
02:32:15.147 = Death Watch In Boston (November 15, 1948)
02:58:41.103 = Cause Of Death (December 06, 1948)
03:22:55.957 = Murder Faces East (December 13, 1948)
03:46:22.015 = Between Two Worlds (December 20, 1948)
04:10:22.335 = Fearful Voyage (January 03, 1949)
04:35:42.567 = Murder Comes To Life (January 10, 1949)
SOURCES AND ESSENTIAL WEB LINKS…
This episode is sponsored by http://RadioArchives.com
Weird Darkness Retro Radio theme by Storyblocks.
= = = = = = = = = = = = = = = = = = = = = = = = = = = = = =
"I have come into the world as a light, so that no one who believes in me should stay in darkness." — John 12:46
Find out how to escape eternal darkness at https://weirddarkness.com/eternaldarkness
WeirdDarkness® - is a registered trademark. Copyright, Weird Darkness, 2024.
= = = = = = = = = = = = = = = = = = = = = = = = = = = = = =
CUSTOM WEBPAGE: https://weirddarkness.com/innersanctum-marathon-011 -
Get full-length pulp audiobooks, pulp eBooks, and old-time radio shows ABSOLUTELY FREE FOR IMMEDIATE DOWNLOAD by emailing [email protected]!
“I am the Whistler and I know many things, for I walk by night. I know many strange tales hidden in the hearts of men and women who have stepped into the shadows. Yes, I know the nameless terrors of which they dare not speak!”
Haunting stories of fate, dramas of crime, deception, and manipulation building to a sudden and shocking denouement...and, through it all, the sardonic, mocking laughter of — The Whistler!
One of radio’s most memorable thriller anthologies, The Whistler was a west-coast favorite for over a decade but, despite two attempts to go nationwide, never was able to achieve the same success as a coast to coast feature. But for listeners across the western states served by the Signal Oil Company, the program’s eerie theme music opened a weekly window into the very darkest corners of the human soul. It was so popular, in fact, that Columbia Pictures produced eight second-feature films based on the concept, all but one of which starred Richard Dix.
The Whistler himself was an omniscient narrator -- the voice of Fate itself, one might suggest, or perhaps of conscience. And his stories revolved around ordinary people, pushed by the pressures of daily life into taking drastic actions. Or perhaps a sudden circumstance, an unexpected twist of life’s path, suddenly placed these protagonists on a road leading inexorably to their own destruction. Greed, lust, and perfidy of every kind figure in the plots -- and when Fate inevitably catches up with these unfortunate, driven souls, The Whistler is always ready, at the very end, to see that the knife is properly twisted.
Produced by George W. Allen, with hauntingly evocative musical scores by Wilbur Hatch, The Whistler was a prime outlet for the cream of Hollywood’s top radio performers - actors such as Wally Maher, Cathy and Elliott Lewis, Gerald Mohr, Lurene Tuttle, and Betty Lou Gerson, who emphasized skill over star power - as well as announcer Bill Forman in the title role, with Marvin Miller voicing the commercials.
00:00:00.000 = INTRODUCTION
00:01:54.231 = Quiet Sunday (June 10, 1946)
00:31:24.976 = The Affair At Stoney Ridge (June 17, 1946)
01:00:53.392 = The Blind Bet (June 24, 1946)
01:30:20.208 = Solid Citizen (July 01, 1946)
01:59:50.079 = Confession (July 08, 1946)
02:29:18.596 = Custom Built Blonde (July 15, 1946)
02:58:48.394 = My Love Comes Home (July 29, 1946)
03:28:13.472 = Bullet Proof (August 05, 1946)
03:57:42.796 = Stolen Murder (August 12, 1946)
04:27:08.120 = Delivery Guaranteed (August 19, 1946)
SOURCES AND ESSENTIAL WEB LINKS…
This episode is sponsored by http://RadioArchives.com
Weird Darkness Retro Radio theme by Storyblocks.
= = = = = = = = = = = = = = = = = = = = = = = = = = = = = =
"I have come into the world as a light, so that no one who believes in me should stay in darkness." — John 12:46
Find out how to escape eternal darkness at https://weirddarkness.com/eternaldarkness
WeirdDarkness® - is a registered trademark. Copyright, Weird Darkness, 2024. -
Get full-length pulp audiobooks, pulp eBooks, and old-time radio shows ABSOLUTELY FREE FOR IMMEDIATE DOWNLOAD by emailing [email protected]!
One of the most popular radio shows in history, “The Shadow” went on the air in August of 1930. "Who knows what evil lurks in the hearts of men? The Shadow knows!" The opening lines of the "Detective Story" program captivated listeners and are instantly recognizable even today. Originally the narrator of the series of macabre tales, the eerie voice known as The Shadow became so popular to listeners that "Detective Story" was soon renamed "The Shadow," and the narrator became the star of the old-time mystery radio series, which ran until 1954. A figure never seen, only heard, the Shadow was an invincible crime fighter. He possessed many gifts which enabled him to overcome any enemy. Besides his tremendous strength, he could defy gravity, speak any language, unravel any code, and become invisible with his famous ability to "cloud men's minds." Along with his team of operatives, the Shadow battled adversaries with chilling names like The Black Master, Kings of Crime, The Five Chameleons, and, of course, The Red Menace. The Shadow's exploits were also avidly followed by readers in The Shadow magazine, which began in 1931 following the huge success of the old-time mystery radio program. The magazine was published by Street & Smith, who had also sponsored the old-time mystery radio program. Over the course of 18 years, Street & Smith published 325 issues of The Shadow, each one containing a novel about the sinister crime fighter. These stories were written by Maxwell Grant, a fictional name created by the publishing company. Although several different people wrote under the pseudonym, Walter B. Gibson wrote most of the stories, 282 in all. Most of the novels published have been reprinted in paperback and The Shadow adventures remain popular today, with Shadow comic books, magazines, toys, games, cds and cassettes of old-time radio shows, and books bringing top dollar among collectors the world over.
00:00:00.000 = INTRODUCTION
00:01:54.735 = The Chill of Death (January 04, 1948)
00:27:16.807 = The Bones Of The Dragon (January 11, 1948)
00:55:36.028 = Death And The Black Fedora (January 18, 1948)
01:24:05.208 = The House That Death Built (January 25, 1948)
01:49:32.626 = The Terror At Wolf’s Head Knoll (February 15, 1948)
02:14:05.683 = The Nursery Rhyme Murders (February 22, 1948)
02:36:41.262 = The Man Who Was Death (February 29, 1948)
03:00:35.094 = The Beast of Darrow House (March 07, 1948)
03:29:23.314 = Stake Out (March 14, 1948)
03:53:26.506 = Death And The Easter Bonnet (March 28, 1948)
04:22:13.636 = The Ghost That Gleams (April 04, 1948)
SOURCES AND ESSENTIAL WEB LINKS…
This episode is sponsored by http://RadioArchives.com
Weird Darkness Retro Radio theme by Storyblocks.
= = = = = = = = = = = = = = = = = = = = = = = = = = = = = =
"I have come into the world as a light, so that no one who believes in me should stay in darkness." — John 12:46
Find out how to escape eternal darkness at https://weirddarkness.com/eternaldarkness
WeirdDarkness® - is a registered trademark. Copyright, Weird Darkness, 2024.
= = = = = = = = = = = = = = = = = = = = = = = = = = = = = =
CUSTOM WEBPAGE: https://weirddarkness.com/theshadow-marathon-012 -
Get full-length pulp audiobooks, pulp eBooks, and old-time radio shows ABSOLUTELY FREE FOR IMMEDIATE DOWNLOAD by emailing [email protected]!
===
Let us journey "into the land that lies beyond midnight, into a world of ghost hunters, men going mad, and DEATH DEATH DEATH! Written by Michael McCabe. These South African radio show episodes are rarely heard outside of those who collect old time radio shows. Being a South African radio program, they will sometimes use language, phrases, and terms that we would see – especially today – as politically incorrect. So be forewarned about that – just in case it pops up in these stories. “Beyond Midnight” doesn’t seem to have much information available about the show itself, and for the American ear it might sound extremely odd, as it does not seem to have an introduction to each episode – at least none that I’ve heard or been able to find. It just plops you in right at the beginning of the story with the characters already in their scenes and action already taking place. It’s quite jarring. Much of this series is also very low quality, with lots of hiss, clicks, and even some episodes that are almost barely audible aside from large clicks in the recordings. I have tried to go in and digitally fix the audio whenever possible – using processing, noise reduction, limiting, normalization, etc., to even out the volume levels and try to bring up some of the less-distinguishable vocals. In many cases however, the audio was simply too degraded for me to make listenable and I’ve decided not to insert those episodes to spare you the audible torture.
00:00:00.000 = INTRO
00:03:36.496 = Mrs. Smiff
00:31:56.041 = The Party
01:03:08.436 = The Signalman
01:31:29.557 = Something On His Mind
02:00:43.073 = Tangled Way
02:26:42.495 = Terror Killed Laughter
02:56:13.214 = The Party
03:27:24.175 = The Room
03:56:44.716 = The Visits
04:25:40.254 = 40th Birthday
04:55:58.397 = Paxton’s House
05:21:06.177 = Harry
SOURCES AND ESSENTIAL WEB LINKS…
This episode is sponsored by http://RadioArchives.com
Weird Darkness Retro Radio theme by Storyblocks.
= = = = = = = = = = = = = = = = = = = = = = = = = = = = = =
"I have come into the world as a light, so that no one who believes in me should stay in darkness." — John 12:46
Find out how to escape eternal darkness at https://weirddarkness.com/eternaldarkness
WeirdDarkness® - is a registered trademark. Copyright, Weird Darkness, 2024.
= = = = = = = = = = = = = = = = = = = = = = = = = = = = = =
CUSTOM WEBPAGE: https://weirddarkness.com/beyond-midnight-marathon-02 -
Get full-length pulp audiobooks, pulp eBooks, and old-time radio shows ABSOLUTELY FREE FOR IMMEDIATE DOWNLOAD by emailing [email protected]!
After September 30, 1962, commercial radio drama was as dead as the doornail described in the opening pages of Dickens' A Christmas Carol (1843), and everyone understood that television killed it. People who worked in both mediums realized that working in radio was a much better overall experience than television could ever be. Sure, TV had pictures to go along with the stories, but putting those pictures on the air involved a highly technical and expensive technology, and by the time those images reached the audience they were grainy, blurry, and sometimes nearly impossible to see. One actor could play different parts on several different radio programs, even in a single episode, but once they were seen in a TV show their face was recognizable enough that they had a hard time working on another show, and even a twenty-second appearance meant hours in makeup and wardrobe. Appearing in a radio drama required just a couple rehearsals and then remaining as quiet as possible in the studio, following along in the script until time to perform your lines, which you also read from the script. There was one important thing that television could offer over radio work; money. The accounting in TV and radio was fundamentally different. A radio program was usually paid for by a single sponsor while commercial time on TV shows was sold piecemeal, but there was still a phenomenal amount of money involved in TV production and the networks and sponsors were happy to pay it. Unable to compete with the huge amount of money being spread around by TV, after the final broadcasts of Suspense and Yours Truly Johnny Dollar on September 30, 1960, the Golden Age of Radio came to an end. Or did it? In the decade after the end of the Golden Age of Radio, TV matured artistically and technically. There had been a rejection by the networks of "rural" programming which helped launch a nostalgia craze. This craze began with the release of George Lucas's American Graffiti (1973), and suddenly everything old seemed new again. One of the genres which were best suited to radio was the horror shows which made listeners sit up in bed and pull the sheets over their heads. This sort of program had been pioneered Wyliss Cooper and Arch Oboler on Lights Out as well as The Whistler, Suspense, and Inner Sanctum Mysteries. This was the type of show creators decided upon for his radio nostalgia project, which became The CBS Radio Mystery Theater. They were convinced that there was enough interest from those who had heard similar shows growing up during the Golden Age, but the show built a following of younger fans for whom radio drama was a new and exciting experience. In many ways, CBSRMT was more like a TV program on the radio than a typical Old Time Radio show. The shows were taped rather than broadcast live, which allowed for greater post-production editing and creative control. The scripts generally ran 45 minutes, and the action was broken at points to allow for separately produced commercials and news bulletins to be inserted. The opening featured the "creaking door" effect which had been part of The Inner Sanctum. Host E.G. Marshall was never as campily creepy earlier horror hosts, but his closing, "Until next time, pleasant… dreams?" was sure to inspire nightmares. Production of CBSRMT was efficient almost to the point of cheapness. Creators drew upon radio row veterans working in New York as well as up-and-coming television personalities. The show used original stories from a wide variety of genres as well as literary classics. Writers were paid a flat $350 for each recorded script, and actors received union scale rates of $73.92 per episode. The actors would come into the studio for an initial script reading at 9:00 am, and the episode was generally completed by noon. Paychecks were handed out and the tape would be edited in the afternoon.
00:00:00.000 = INTRODUCTION
00:01:54.482 = The Case of MJH (August 22, 1974)
00:46:43.193 = The Deadliest Favor (August 26, 1974)
01:31:38.360 = The Fatal Marksman (August 28, 1974)
02:16:41.790 = Medium Rare (August 29, 1974)
03:01:39.324 = The Return of Anatole Chevenic (September 02, 1974)
03:46:35.909 = The Imp In The Bottle (September 03, 1974)
04:31:42.592 = Deadline For Death (September 05, 1974)
SOURCES AND ESSENTIAL WEB LINKS…
This episode is sponsored by http://RadioArchives.com
Weird Darkness Retro Radio theme by Storyblocks.
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"I have come into the world as a light, so that no one who believes in me should stay in darkness." — John 12:46
Find out how to escape eternal darkness at https://weirddarkness.com/eternaldarkness
WeirdDarkness® - is a registered trademark. Copyright, Weird Darkness, 2024.
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When the dramatic anthology series "Suspense" premiered over CBS Radio on June 17, 1942, it did so as both a summer series and as a sustaining program. The network had no idea how well the series would perform - its only previous showcase was as an hour-long audition on the 1940 series "Forecast" - so running out and getting a sponsor didn’t seem to be important at that particular stage. Besides, in the show’s salad days, the guest stars that did appear were of considerably low wattage. But as "Suspense" grew in popularity and began to attract a more upscale acting clientele anxious to participate in “radio’s outstanding theater of thrills,” finding someone to pick up the weekly tab became a top priority for CBS. Luckily, in December 2, 1943, the series found its 'angel' in the sponsorship of Roma Wines. "Suspense’s" long association with Roma (and co-branded Cresta Blanca) was good for both the series and the company; a bigger budget attracted bigger guest stars and, as the program began to climb in the ratings, the company began to enjoy substantial profits. This fruitful arrangement came to an end on November 20, 1947. Roma had been admittedly seeing other programs behind "Suspense’s" back and the bright array of top Hollywood talent began to dim a bit as many of the stars began to tire of the program. CBS rolled the dice and took one heck of a chance in keeping "Suspense" on the air; the network still felt that the series was popular with audiences and they agreed to sustain the program until another sponsor could be found.How serious was CBS about keeping its prestige show? Beginning January 3, 1948, "Suspense" was moved to Saturday nights and was broadcast from 8:00 to 9:00 PM Eastern Standard Time. That’s right: a full hour of “Suspense.” Hour-long dramatic shows were a gamble at best; many stars tended to shun these programs - a half-hour show was grueling enough to get through - and only a few, "The Lux Radio Theater" being the best example, managed to continue on the air for very long. But Lux had a sponsor all too willing to write checks on a weekly basis...while CBS, without a sponsor to back them up, was still the sole support of "Suspense." What's more, the network learned soon enough that by doubling the show from half-hour to hour-long status, they had to double the pay of the individuals working on the show as well. (Networks, as a rule, cringe at the thought of giving money away.) To jazz up "Suspense," CBS hired actor Robert Montgomery to be the host and occasional performer, figuring that on the weeks when they had to resort to a less-than "A" list of guest stars, at least Montgomery would be around to provide a certain degree of glitter. Montgomery, at it turned out, made appearances in quite a few of the hour-long shows, including both the premiere, “The Black Curtain”, and most notably in “Night Must Fall”, which allowed him to reprise the role he had created in the 1937 Metro-Goldwyn-Mayer motion picture of the same name. "Suspense’s" hour-long experiment closed up shop on May 15, 1948 and the show moved back to Thursday night in its familiar half-hour form through September 1962.
00:00:00.000 = INTRODUCTION
00:01:54.350 = The Ten Grand (June 22, 1944)00:31:15.744 = The Walls Came Tumbling Down (June 29, 1944)01:00:28.813 = The Search For Henri LeFevre (July 06, 1044)01:30:02.526 = The Beast Must Die (July 13, 1944)01:59:29.689 = The Black Shawl (July 27, 1944)02:28:49.817 = Banquo’s Chair (August 03, 1944)02:58:17.500 = The Diary of Saphronia Winters (August 17, 1944)03:27:47.412 = Black Path Of Fear (August 31, 1944)03:57:20.238 = Voyage Through Darkness (September 07, 1944)04:26:51.081 = You’ll Never See Me Again (September 14, 1944)
SOURCES AND ESSENTIAL WEB LINKS…
This episode is sponsored by http://RadioArchives.com
Weird Darkness Retro Radio theme by Storyblocks.
= = = = = = = = = = = = = = = = = = = = = = = = = = = = = =
"I have come into the world as a light, so that no one who believes in me should stay in darkness." — John 12:46
WeirdDarkness® - is a registered trademark. Copyright, Weird Darkness, 2024.
CUSTOM WEBPAGE: https://weirddarkness.com/suspense-marathon-011 -
Get full-length pulp audiobooks, pulp eBooks, and old-time radio shows ABSOLUTELY FREE FOR IMMEDIATE DOWNLOAD by emailing [email protected]!
By the mid 1950s, science fiction had largely fallen into a familiar pattern, regardless of medium. When fans tuned into the radio or caught the latest science fiction movie, they either encountered space opera adventures or fare aimed largely at a juvenile audience. Only in magazines such as Astounding Science Fiction and Galaxy were stories grounded firmly in science fiction being told with mature themes aimed at character development, true literature taking off to the stars. The debut of X Minus One in April 1955 changed that on radio, making this program not only the best of its type, but in many ways one of the only shows from Radio’s Golden Age to present science fiction for a well-rounded adult audience. It is an often debated point among experts and fans as to whether or not X Minus One was simply a new season of Dimension X, a program that ran on NBC in 1950-51, or a revival of sorts of this previous show. The latter is probably more accurate since the first 15 episodes of X Minus One were new productions of Dimension X episodes. What makes X Minus One stand out, however, is the fact that the remaining programs were actually adaptations of works from two of the best science fiction magazines of the period. NBC staff writers, primarily Ernest Kinoy and George Lefferts, scoured the pages of Astounding Science Fiction and then later Galaxy Magazine for tales that would thrill and chill their listeners, aiming most assuredly at the more sophisticated science fiction fans. Stories penned by noted science fiction and genre authors such as Philip K. Dick, Robert Heinlein, Frederik Pohl, and Isaac Asimov, and many others found themselves expertly adapted for radio over the program’s nearly three-year run. Listen to X Minus One and rocket to new heights of top-notch science fiction old time radio!
00:00:00.000 = INTRODUCTION
00:01:54.470 = The Embassy (July 28, 1955)
00:25:49.998 = The Veldt (August 04, 1955)
00:49:44.039 = Almost Human (August 11, 1955)
01:13:13.099 = Courtesy (August 18, 1955)
01:36:44.580 = Cold Equation (August 25, 1955)
02:00:18.990 = Shanghaied (September 01, 1955)
02:23:11.605 = The Martian Death March (September 08, 1955)
02:46:33.950 = The Castaways (September 15, 1955)
03:08:36.379 = The Moon Be Still As Bright (September 22, 1955)
03:32:25.135 = First Contact (October 06, 1955)
03:55:03.177 = Child’s Play (October 20, 1955)
04:18:08.170 = Requiem (October 27, 1055)
04:41:50.103 = Hello, Tomorrow (November 03, 1955)
SOURCES AND ESSENTIAL WEB LINKS…
This episode is sponsored by http://RadioArchives.com
Weird Darkness Retro Radio theme by Storyblocks.
= = = = = = = = = = = = = = = = = = = = = = = = = = = = = =
"I have come into the world as a light, so that no one who believes in me should stay in darkness." — John 12:46
Find out how to escape eternal darkness at https://weirddarkness.com/eternaldarkness
WeirdDarkness® - is a registered trademark. Copyright, Weird Darkness, 2024.
= = = = = = = = = = = = = = = = = = = = = = = = = = = = = =
CUSTOM WEBPAGE: https://weirddarkness.com/xminusone-marathon-011 - Show more
