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Mystery House -- that strange publishing firm owned by Dan and Barbara Glenn -- where each new novel is acted out by the Mystery House staff, before it is accepted for publication. Mystery House was a program in the 1940s, but not your "run of the mill"-type program. It was more of a proving ground for novels. Dan and Barbara Glenn owned a publishing company named "Mystery House" located at 70 Park Avenue, New York City. Dan and Barbara decided to test some of their novels on a real listening audience. Each episode was taken from a novel they were planning on publishing. The entire staff at Mystery House was involved, everyone doing their part, whether it was rewriting to adapt it to radio, playing the parts, or doing sound effects -- everyone joined in.

Mystery House -- that strange publishing firm owned by Dan and Barbara Glenn -- where each new novel is acted out by the Mystery House staff, before it is accepted for publication. Mystery House was a program in the 1940s, but not your "run of the mill"-type program. It was more of a proving ground for novels. Dan and Barbara Glenn owned a publishing company named "Mystery House" located at 70 Park Avenue, New York City. Dan and Barbara decided to test some of their novels on a real listening audience. Each episode was taken from a novel they were planning on publishing. The entire staff at Mystery House was involved, everyone doing their part, whether it was rewriting to adapt it to radio, playing the parts, or doing sound effects -- everyone joined in.

Mystery House -- that strange publishing firm owned by Dan and Barbara Glenn -- where each new novel is acted out by the Mystery House staff, before it is accepted for publication. Mystery House was a program in the 1940s, but not your "run of the mill"-type program. It was more of a proving ground for novels. Dan and Barbara Glenn owned a publishing company named "Mystery House" located at 70 Park Avenue, New York City. Dan and Barbara decided to test some of their novels on a real listening audience. Each episode was taken from a novel they were planning on publishing. The entire staff at Mystery House was involved, everyone doing their part, whether it was rewriting to adapt it to radio, playing the parts, or doing sound effects -- everyone joined in.

Mystery House -- that strange publishing firm owned by Dan and Barbara Glenn -- where each new novel is acted out by the Mystery House staff, before it is accepted for publication. Mystery House was a program in the 1940s, but not your "run of the mill"-type program. It was more of a proving ground for novels. Dan and Barbara Glenn owned a publishing company named "Mystery House" located at 70 Park Avenue, New York City. Dan and Barbara decided to test some of their novels on a real listening audience. Each episode was taken from a novel they were planning on publishing. The entire staff at Mystery House was involved, everyone doing their part, whether it was rewriting to adapt it to radio, playing the parts, or doing sound effects -- everyone joined in.

Mystery House -- that strange publishing firm owned by Dan and Barbara Glenn -- where each new novel is acted out by the Mystery House staff, before it is accepted for publication. Mystery House was a program in the 1940s, but not your "run of the mill"-type program. It was more of a proving ground for novels. Dan and Barbara Glenn owned a publishing company named "Mystery House" located at 70 Park Avenue, New York City. Dan and Barbara decided to test some of their novels on a real listening audience. Each episode was taken from a novel they were planning on publishing. The entire staff at Mystery House was involved, everyone doing their part, whether it was rewriting to adapt it to radio, playing the parts, or doing sound effects -- everyone joined in.

Before anyone leaves a comment and asks why it is spelled Mike and not Mic in the title, I do not know. This is how it was billed back then, so I followed their way of doing it. Behind the Mike was a Blue Network (NBC) radio series hosted by Graham McNamee, spotlighting behind-the-scenes stories in radio broadcasting. The sustaining show aired Sundays at 4:30 p.m. ET from September 15, 1940, to April 19, 1942. The program featured interviews with on-air personalities and announcers, musicians and other performers, composers, the creators of sound-effects, producers, engineers and other technicians involved in radio production. As many as six stories were covered in each broadcast, and questions from listeners were answered in the "Correspondence Corner" segment. Music was provided by Ernie Watson and his orchestra. After McNamee's death May 9, 1942, the name of the series changed to This is the Truth, then Nothing But the Truth and continued until June 7, 1942. Another program with the title Behind the Mike ran on CBS Radio during the 1931–32 season.

Before anyone leaves a comment and asks why it is spelled Mike and not Mic in the title, I do not know. This is how it was billed back then, so I followed their way of doing it. Behind the Mike was a Blue Network (NBC) radio series hosted by Graham McNamee, spotlighting behind-the-scenes stories in radio broadcasting. The sustaining show aired Sundays at 4:30 p.m. ET from September 15, 1940, to April 19, 1942. The program featured interviews with on-air personalities and announcers, musicians and other performers, composers, the creators of sound-effects, producers, engineers and other technicians involved in radio production. As many as six stories were covered in each broadcast, and questions from listeners were answered in the "Correspondence Corner" segment. Music was provided by Ernie Watson and his orchestra. After McNamee's death May 9, 1942, the name of the series changed to This is the Truth, then Nothing But the Truth and continued until June 7, 1942. Another program with the title Behind the Mike ran on CBS Radio during the 1931–32 season.

Before anyone leaves a comment and asks why it is spelled Mike and not Mic in the title, I do not know. This is how it was billed back then, so I followed their way of doing it. Behind the Mike was a Blue Network (NBC) radio series hosted by Graham McNamee, spotlighting behind-the-scenes stories in radio broadcasting. The sustaining show aired Sundays at 4:30 p.m. ET from September 15, 1940, to April 19, 1942. The program featured interviews with on-air personalities and announcers, musicians and other performers, composers, the creators of sound-effects, producers, engineers and other technicians involved in radio production. As many as six stories were covered in each broadcast, and questions from listeners were answered in the "Correspondence Corner" segment. Music was provided by Ernie Watson and his orchestra. After McNamee's death May 9, 1942, the name of the series changed to This is the Truth, then Nothing But the Truth and continued until June 7, 1942. Another program with the title Behind the Mike ran on CBS Radio during the 1931–32 season.

Before anyone leaves a comment and asks why it is spelled Mike and not Mic in the title, I do not know. This is how it was billed back then, so I followed their way of doing it. Behind the Mike was a Blue Network (NBC) radio series hosted by Graham McNamee, spotlighting behind-the-scenes stories in radio broadcasting. The sustaining show aired Sundays at 4:30 p.m. ET from September 15, 1940, to April 19, 1942. The program featured interviews with on-air personalities and announcers, musicians and other performers, composers, the creators of sound-effects, producers, engineers and other technicians involved in radio production. As many as six stories were covered in each broadcast, and questions from listeners were answered in the "Correspondence Corner" segment. Music was provided by Ernie Watson and his orchestra. After McNamee's death May 9, 1942, the name of the series changed to This is the Truth, then Nothing But the Truth and continued until June 7, 1942. Another program with the title Behind the Mike ran on CBS Radio during the 1931–32 season.

Gunsmoke is an American western radio series, which was developed for radio by John Meston and Norman MacDonnell. The series ran for nine seasons and was broadcast by CBS. The first episode of the series originally aired in the United States on April 26, 1952, and the final first-run episode aired on June 11, 1961. During the series, a total of 480 original episodes were broadcast, including shows with re-used or adapted scripts. A television version of the series premiered in 1955. Gunsmoke is set in and around Dodge City, Kansas, in the post-Civil War era and centers around United States Marshall Matt Dillon (William Conrad) as he enforces law and order in the city. The series also focuses on Dillon's friendship with three other citizens of Dodge City: Doctor Charles "Doc" Adams (Howard McNear), the town's physician; Kitty Russell (Georgia Ellis), owner of the Long Branch Saloon; and Chester Wesley Proudfoot (Parley Baer), Dillon's deputy. Other roles were played by a group of supporting actors consisting of John Dehner, Sam Edwards, Harry Bartell, Vic Perrin, Lou Krugman, Lawrence Dobkin, Barney Phillips, Jack Kruschen, Ralph Moody, Ben Wright, James Nusser, Richard Crenna, Tom Tully, Joseph Kearns, Virginia Gregg, Jeanette Nolan, Virginia Christine, Helen Kleeb, Lillian Buyeff, Vivi Janiss, and Jeanne Bates. The entire nine-season run of Gunsmoke was produced by Norman MacDonnell. Episodes The original pilot episode of Gunsmoke was entitled "Mark Dillon Goes to Gouge Eye" and was recorded twice. The first was on June 11, 1949, with Rye Billsbury as Dillon and the second on July 15, 1949, with Howard Culver in the lead. Neither pilot was aired, and the hero's name was eventually changed from Mark Dillon to Matt Dillon.

Gunsmoke is an American western radio series, which was developed for radio by John Meston and Norman MacDonnell. The series ran for nine seasons and was broadcast by CBS. The first episode of the series originally aired in the United States on April 26, 1952, and the final first-run episode aired on June 11, 1961. During the series, a total of 480 original episodes were broadcast, including shows with re-used or adapted scripts. A television version of the series premiered in 1955. Gunsmoke is set in and around Dodge City, Kansas, in the post-Civil War era and centers around United States Marshall Matt Dillon (William Conrad) as he enforces law and order in the city. The series also focuses on Dillon's friendship with three other citizens of Dodge City: Doctor Charles "Doc" Adams (Howard McNear), the town's physician; Kitty Russell (Georgia Ellis), owner of the Long Branch Saloon; and Chester Wesley Proudfoot (Parley Baer), Dillon's deputy. Other roles were played by a group of supporting actors consisting of John Dehner, Sam Edwards, Harry Bartell, Vic Perrin, Lou Krugman, Lawrence Dobkin, Barney Phillips, Jack Kruschen, Ralph Moody, Ben Wright, James Nusser, Richard Crenna, Tom Tully, Joseph Kearns, Virginia Gregg, Jeanette Nolan, Virginia Christine, Helen Kleeb, Lillian Buyeff, Vivi Janiss, and Jeanne Bates. The entire nine-season run of Gunsmoke was produced by Norman MacDonnell. Episodes The original pilot episode of Gunsmoke was entitled "Mark Dillon Goes to Gouge Eye" and was recorded twice. The first was on June 11, 1949, with Rye Billsbury as Dillon and the second on July 15, 1949, with Howard Culver in the lead. Neither pilot was aired, and the hero's name was eventually changed from Mark Dillon to Matt Dillon.

Gunsmoke is an American western radio series, which was developed for radio by John Meston and Norman MacDonnell. The series ran for nine seasons and was broadcast by CBS. The first episode of the series originally aired in the United States on April 26, 1952, and the final first-run episode aired on June 11, 1961. During the series, a total of 480 original episodes were broadcast, including shows with re-used or adapted scripts. A television version of the series premiered in 1955. Gunsmoke is set in and around Dodge City, Kansas, in the post-Civil War era and centers around United States Marshall Matt Dillon (William Conrad) as he enforces law and order in the city. The series also focuses on Dillon's friendship with three other citizens of Dodge City: Doctor Charles "Doc" Adams (Howard McNear), the town's physician; Kitty Russell (Georgia Ellis), owner of the Long Branch Saloon; and Chester Wesley Proudfoot (Parley Baer), Dillon's deputy. Other roles were played by a group of supporting actors consisting of John Dehner, Sam Edwards, Harry Bartell, Vic Perrin, Lou Krugman, Lawrence Dobkin, Barney Phillips, Jack Kruschen, Ralph Moody, Ben Wright, James Nusser, Richard Crenna, Tom Tully, Joseph Kearns, Virginia Gregg, Jeanette Nolan, Virginia Christine, Helen Kleeb, Lillian Buyeff, Vivi Janiss, and Jeanne Bates. The entire nine-season run of Gunsmoke was produced by Norman MacDonnell. Episodes The original pilot episode of Gunsmoke was entitled "Mark Dillon Goes to Gouge Eye" and was recorded twice. The first was on June 11, 1949, with Rye Billsbury as Dillon and the second on July 15, 1949, with Howard Culver in the lead. Neither pilot was aired, and the hero's name was eventually changed from Mark Dillon to Matt Dillon.

Dragnet, the brainchild of Jack Webb, may very well be the most well-remembered, and the best, radio police drama series. From September, 1949 through February 1957, Dragnet's 30 minute shows, broadcast on NBC, brought to radio true police stories in a low-key, documentary style. The origins of Dragnet can be traced to a semi-documentary film, "He Walked by Night" from 1948, in which Webb had a small role. Both employed the same Los Angeles Police Department technical adviser, used actual police cases, and presented the case in "just the facts" manner that became a hallmark of Dragnet. It is interesting to note that Webb employed that format in other radio series, some pre-dating the film mentioned above. Dragnet was a long running radio and television police procedural drama, about the cases of a dedicated Los Angeles police detective, Sergeant Joe Friday, and his partners. The show takes its name from an actual police term, a dragnet, meaning a system of coordinated measures for apprehending criminals or suspects. Dragnet was perhaps the most famous and influential police procedural drama in American media history. The series gave millions of Americans a feel for the boredom and drudgery, as well as the danger and heroism, of real-life police work. Dragnet earned praise for improving the public opinion of police officers. Actor and producer Jack Webb's aims in Dragnet were for realism and unpretentious acting. He achieved both goals and Dragnet remains a key influence on subsequent police dramas in many media. The shows cultural impact is demonstrated by the fact that even after five decades, elements of Dragnet are known to those who have never heard nor seen the program. The ominous four note introduction to the brass and tympani theme music, titled Danger Ahead, is instantly recognizable as well as the shows opening narration: "Ladies and gentlemen, the story you are about to hear is true. Only the names have been changed to protect the innocent." When Dragnet hit its stride, it became one of radio's top rated shows. Webb insisted on realism in every aspect of the show. The dialogue was clipped, understated, and sparse -- influenced by the hard-boiled school of crime fiction. Scripts were fast moving, but didn't seem rushed. Every aspect of police work was chronicled, step-by-step, from patrols and paperwork, to crime scene investigation, lab work and questioning witnesses or suspects. Webb was a stickler for accurate details, and Dragnet used many authentic touches, such as LAPD's actual radio call sign, KMA-367, and the names of many real department officials, such as Ray Pinker and Lee Jones of the Crime Lab, or Chief of Detectives, Thad Brown. Two announcers were used. Episodes began with announcer George Fennemen intoning the series opening: "The story you are about to hear is true. Only the names have been changed to protect the innocent." Hal Gibney described the basic premise of the episode. For example, "Big Saint", from April 26th, 1951, begins with: "You're a detective sergeant. You're assigned to auto theft detail. A well organized ring of car thieves begins operations in your city. It's one of the most puzzling cases you've ever encountered. Your job -- break it." The story usually began with footsteps and a door closing, followed by Joe Friday intoning something like: "Tuesday, February 12th. It was cold in Los Angeles. We were working the day watch out of Robbery Division. My partner's Ben Romero. The boss is Ed Backstrom, Chief of Detectives. My name's Friday."

Dragnet, the brainchild of Jack Webb, may very well be the most well-remembered, and the best, radio police drama series. From September, 1949 through February 1957, Dragnet's 30 minute shows, broadcast on NBC, brought to radio true police stories in a low-key, documentary style. The origins of Dragnet can be traced to a semi-documentary film, "He Walked by Night" from 1948, in which Webb had a small role. Both employed the same Los Angeles Police Department technical adviser, used actual police cases, and presented the case in "just the facts" manner that became a hallmark of Dragnet. It is interesting to note that Webb employed that format in other radio series, some pre-dating the film mentioned above. Dragnet was a long running radio and television police procedural drama, about the cases of a dedicated Los Angeles police detective, Sergeant Joe Friday, and his partners. The show takes its name from an actual police term, a dragnet, meaning a system of coordinated measures for apprehending criminals or suspects. Dragnet was perhaps the most famous and influential police procedural drama in American media history. The series gave millions of Americans a feel for the boredom and drudgery, as well as the danger and heroism, of real-life police work. Dragnet earned praise for improving the public opinion of police officers. Actor and producer Jack Webb's aims in Dragnet were for realism and unpretentious acting. He achieved both goals and Dragnet remains a key influence on subsequent police dramas in many media. The shows cultural impact is demonstrated by the fact that even after five decades, elements of Dragnet are known to those who have never heard nor seen the program. The ominous four note introduction to the brass and tympani theme music, titled Danger Ahead, is instantly recognizable as well as the shows opening narration: "Ladies and gentlemen, the story you are about to hear is true. Only the names have been changed to protect the innocent." When Dragnet hit its stride, it became one of radio's top rated shows. Webb insisted on realism in every aspect of the show. The dialogue was clipped, understated, and sparse -- influenced by the hard-boiled school of crime fiction. Scripts were fast moving, but didn't seem rushed. Every aspect of police work was chronicled, step-by-step, from patrols and paperwork, to crime scene investigation, lab work and questioning witnesses or suspects. Webb was a stickler for accurate details, and Dragnet used many authentic touches, such as LAPD's actual radio call sign, KMA-367, and the names of many real department officials, such as Ray Pinker and Lee Jones of the Crime Lab, or Chief of Detectives, Thad Brown. Two announcers were used. Episodes began with announcer George Fennemen intoning the series opening: "The story you are about to hear is true. Only the names have been changed to protect the innocent." Hal Gibney described the basic premise of the episode. For example, "Big Saint", from April 26th, 1951, begins with: "You're a detective sergeant. You're assigned to auto theft detail. A well organized ring of car thieves begins operations in your city. It's one of the most puzzling cases you've ever encountered. Your job -- break it." The story usually began with footsteps and a door closing, followed by Joe Friday intoning something like: "Tuesday, February 12th. It was cold in Los Angeles. We were working the day watch out of Robbery Division. My partner's Ben Romero. The boss is Ed Backstrom, Chief of Detectives. My name's Friday."

Dragnet, the brainchild of Jack Webb, may very well be the most well-remembered, and the best, radio police drama series. From September, 1949 through February 1957, Dragnet's 30 minute shows, broadcast on NBC, brought to radio true police stories in a low-key, documentary style. The origins of Dragnet can be traced to a semi-documentary film, "He Walked by Night" from 1948, in which Webb had a small role. Both employed the same Los Angeles Police Department technical adviser, used actual police cases, and presented the case in "just the facts" manner that became a hallmark of Dragnet. It is interesting to note that Webb employed that format in other radio series, some pre-dating the film mentioned above. Dragnet was a long running radio and television police procedural drama, about the cases of a dedicated Los Angeles police detective, Sergeant Joe Friday, and his partners. The show takes its name from an actual police term, a dragnet, meaning a system of coordinated measures for apprehending criminals or suspects. Dragnet was perhaps the most famous and influential police procedural drama in American media history. The series gave millions of Americans a feel for the boredom and drudgery, as well as the danger and heroism, of real-life police work. Dragnet earned praise for improving the public opinion of police officers. Actor and producer Jack Webb's aims in Dragnet were for realism and unpretentious acting. He achieved both goals and Dragnet remains a key influence on subsequent police dramas in many media. The shows cultural impact is demonstrated by the fact that even after five decades, elements of Dragnet are known to those who have never heard nor seen the program. The ominous four note introduction to the brass and tympani theme music, titled Danger Ahead, is instantly recognizable as well as the shows opening narration: "Ladies and gentlemen, the story you are about to hear is true. Only the names have been changed to protect the innocent." When Dragnet hit its stride, it became one of radio's top rated shows. Webb insisted on realism in every aspect of the show. The dialogue was clipped, understated, and sparse -- influenced by the hard-boiled school of crime fiction. Scripts were fast moving, but didn't seem rushed. Every aspect of police work was chronicled, step-by-step, from patrols and paperwork, to crime scene investigation, lab work and questioning witnesses or suspects. Webb was a stickler for accurate details, and Dragnet used many authentic touches, such as LAPD's actual radio call sign, KMA-367, and the names of many real department officials, such as Ray Pinker and Lee Jones of the Crime Lab, or Chief of Detectives, Thad Brown. Two announcers were used. Episodes began with announcer George Fennemen intoning the series opening: "The story you are about to hear is true. Only the names have been changed to protect the innocent." Hal Gibney described the basic premise of the episode. For example, "Big Saint", from April 26th, 1951, begins with: "You're a detective sergeant. You're assigned to auto theft detail. A well organized ring of car thieves begins operations in your city. It's one of the most puzzling cases you've ever encountered. Your job -- break it." The story usually began with footsteps and a door closing, followed by Joe Friday intoning something like: "Tuesday, February 12th. It was cold in Los Angeles. We were working the day watch out of Robbery Division. My partner's Ben Romero. The boss is Ed Backstrom, Chief of Detectives. My name's Friday."

Dragnet, the brainchild of Jack Webb, may very well be the most well-remembered, and the best, radio police drama series. From September, 1949 through February 1957, Dragnet's 30 minute shows, broadcast on NBC, brought to radio true police stories in a low-key, documentary style. The origins of Dragnet can be traced to a semi-documentary film, "He Walked by Night" from 1948, in which Webb had a small role. Both employed the same Los Angeles Police Department technical adviser, used actual police cases, and presented the case in "just the facts" manner that became a hallmark of Dragnet. It is interesting to note that Webb employed that format in other radio series, some pre-dating the film mentioned above. Dragnet was a long running radio and television police procedural drama, about the cases of a dedicated Los Angeles police detective, Sergeant Joe Friday, and his partners. The show takes its name from an actual police term, a dragnet, meaning a system of coordinated measures for apprehending criminals or suspects. Dragnet was perhaps the most famous and influential police procedural drama in American media history. The series gave millions of Americans a feel for the boredom and drudgery, as well as the danger and heroism, of real-life police work. Dragnet earned praise for improving the public opinion of police officers. Actor and producer Jack Webb's aims in Dragnet were for realism and unpretentious acting. He achieved both goals and Dragnet remains a key influence on subsequent police dramas in many media. The shows cultural impact is demonstrated by the fact that even after five decades, elements of Dragnet are known to those who have never heard nor seen the program. The ominous four note introduction to the brass and tympani theme music, titled Danger Ahead, is instantly recognizable as well as the shows opening narration: "Ladies and gentlemen, the story you are about to hear is true. Only the names have been changed to protect the innocent." When Dragnet hit its stride, it became one of radio's top rated shows. Webb insisted on realism in every aspect of the show. The dialogue was clipped, understated, and sparse -- influenced by the hard-boiled school of crime fiction. Scripts were fast moving, but didn't seem rushed. Every aspect of police work was chronicled, step-by-step, from patrols and paperwork, to crime scene investigation, lab work and questioning witnesses or suspects. Webb was a stickler for accurate details, and Dragnet used many authentic touches, such as LAPD's actual radio call sign, KMA-367, and the names of many real department officials, such as Ray Pinker and Lee Jones of the Crime Lab, or Chief of Detectives, Thad Brown. Two announcers were used. Episodes began with announcer George Fennemen intoning the series opening: "The story you are about to hear is true. Only the names have been changed to protect the innocent." Hal Gibney described the basic premise of the episode. For example, "Big Saint", from April 26th, 1951, begins with: "You're a detective sergeant. You're assigned to auto theft detail. A well organized ring of car thieves begins operations in your city. It's one of the most puzzling cases you've ever encountered. Your job -- break it." The story usually began with footsteps and a door closing, followed by Joe Friday intoning something like: "Tuesday, February 12th. It was cold in Los Angeles. We were working the day watch out of Robbery Division. My partner's Ben Romero. The boss is Ed Backstrom, Chief of Detectives. My name's Friday."

Dragnet, the brainchild of Jack Webb, may very well be the most well-remembered, and the best, radio police drama series. From September, 1949 through February 1957, Dragnet's 30 minute shows, broadcast on NBC, brought to radio true police stories in a low-key, documentary style. The origins of Dragnet can be traced to a semi-documentary film, "He Walked by Night" from 1948, in which Webb had a small role. Both employed the same Los Angeles Police Department technical adviser, used actual police cases, and presented the case in "just the facts" manner that became a hallmark of Dragnet. It is interesting to note that Webb employed that format in other radio series, some pre-dating the film mentioned above. Dragnet was a long running radio and television police procedural drama, about the cases of a dedicated Los Angeles police detective, Sergeant Joe Friday, and his partners. The show takes its name from an actual police term, a dragnet, meaning a system of coordinated measures for apprehending criminals or suspects. Dragnet was perhaps the most famous and influential police procedural drama in American media history. The series gave millions of Americans a feel for the boredom and drudgery, as well as the danger and heroism, of real-life police work. Dragnet earned praise for improving the public opinion of police officers. Actor and producer Jack Webb's aims in Dragnet were for realism and unpretentious acting. He achieved both goals and Dragnet remains a key influence on subsequent police dramas in many media. The shows cultural impact is demonstrated by the fact that even after five decades, elements of Dragnet are known to those who have never heard nor seen the program. The ominous four note introduction to the brass and tympani theme music, titled Danger Ahead, is instantly recognizable as well as the shows opening narration: "Ladies and gentlemen, the story you are about to hear is true. Only the names have been changed to protect the innocent." When Dragnet hit its stride, it became one of radio's top rated shows. Webb insisted on realism in every aspect of the show. The dialogue was clipped, understated, and sparse -- influenced by the hard-boiled school of crime fiction. Scripts were fast moving, but didn't seem rushed. Every aspect of police work was chronicled, step-by-step, from patrols and paperwork, to crime scene investigation, lab work and questioning witnesses or suspects. Webb was a stickler for accurate details, and Dragnet used many authentic touches, such as LAPD's actual radio call sign, KMA-367, and the names of many real department officials, such as Ray Pinker and Lee Jones of the Crime Lab, or Chief of Detectives, Thad Brown. Two announcers were used. Episodes began with announcer George Fennemen intoning the series opening: "The story you are about to hear is true. Only the names have been changed to protect the innocent." Hal Gibney described the basic premise of the episode. For example, "Big Saint", from April 26th, 1951, begins with: "You're a detective sergeant. You're assigned to auto theft detail. A well organized ring of car thieves begins operations in your city. It's one of the most puzzling cases you've ever encountered. Your job -- break it." The story usually began with footsteps and a door closing, followed by Joe Friday intoning something like: "Tuesday, February 12th. It was cold in Los Angeles. We were working the day watch out of Robbery Division. My partner's Ben Romero. The boss is Ed Backstrom, Chief of Detectives. My name's Friday."

BRIGHT STAR Bright Star, also called The Irene Dunne and Fred MacMurray Show, used big film stars to add to the appeal of the show and gain listeners. Lasting only one season, Bright Star is about Susan Armstrong (Dunne) the editor of a struggling newspaper the Hillsdale Morning Star. MacMurray plays George Harvey an idealist star reporter who often conflicts with his editor over stories. MacMurray and Dunne have a good rapport as both have excellent comedic timing. Overall, this is a charming show that will delight fans of both Fred MacMurray and Irene Dunne.

The Casebook of Gregory Hood was a radio detective program in the United States. It existed in several versions - with different stars on different networks in different years. Hood was an importer in San Francisco who dealt in rare items. John Dunning summarized the show's premise as follows: "With his sidekick Sanderson ('Sandy') Taylor, Hood traveled the world seeking artifacts for his import house. Each item found by Hood had an intriguing history and was inevitably linked to some present-day mystery." The character of Hood was based on real-life importer Richard Gump, who lived in San Francisco. Gump also was a consultant for the program. Hood was a character with a multi-faceted personality. One website devoted to old-time radio wrote about him as follows: Gregory Hood was also an accomplished pianist and composer, a self-taught forensics expert, spoke several languages fluently, was an expert in ancient and modern armament, had a military intelligence background, was a wine expert with an extensive rare wine cellar, and was an acknowledged expert in oriental tapestry. He lived in a penthouse on San Francisco's Nob Hill and employed a Chinese valet, Fong. On June 3, 1946, The Casebook of Gregory Hood began on the Mutual Broadcasting System, replacing The New Adventures of Sherlock Holmes for the summer. Although intended to be just a summer replacement, it continued in the fall, sponsored by Petri Wine. Jeffrey Marks, in his biography of co-creator Anthony Boucher, explained, "The show had originally been planned as a summer replacement for The New Adventures of Sherlock Holmes in 1946, but continued for the next year when the radio network had difficulty in reaching an agreement with the Conan Doyle estate." The program had another full-season run on ABC in 1949-50 and also "resurfaced periodically in summer slots." The show was written by Boucher and Denis Green, who also teamed to write the Holmes show. Marks provided this background: Boucher and Green did such a good job for the Holmes show that they were asked about writing an original series for Mutual Radio. Radio shows relied on new episodes. Just as TV airs re-runs during the summer, radio shows gave their actors a summer hiatus of 13 weeks. Networks frequently ran original short-run programming during the summer. Boucher and Green came up with "The Casebook of Gregory Hood" a San Francisco-based antiquities expert who seemed to find current day crimes in the artifacts that he dealt with. The Casebook of Gregory Hood was nearly identical to The New Adventures of Sherlock Holmes in its opening: same sponsor, same announcement, same narrator frame for storytelling, and the same music. The narrator stopped by to visit Gregory either in his office or home, and the story was told by Hood. Hood's own Watson, Sandy Taylor, accompanied him. Taylor was Hood's lawyer and friend. Book reviewer Bertil Falk noted that the technique Boucher and Green used had deep roots in storytelling. He wrote: "The structure was of a very ancient kind, a frame story where Gregory Hood and his friend tell Harry Bartell a story from the casebook of Gregory Hood. It is a literary method well known from The Arabian Nights and much older than that, since it was used in the Sanskrit work Panchatantra more than two thousand years ago.] Gale Gordon played Gregory Hood in the initial version of the program. Others who had the leading role later were Elliott Lewis, Jackson Beck, Paul McGrath, Martin Gabel and George Petrie. Sidekick Sanderson Taylor was portrayed at various times by Art Gilmore, Carl Harbord, William Bakewell and Howard McNear. Changes in stars, time slots and networks undoubtedly hindered the show's success. Marks wrote: "The show suffered from a constantly rotating cast. ... Boucher grew increasingly annoyed with the lack of support for the series." Boucher indicated his dissatisfaction in some personal correspondence: "As to myself and the contest -- the excellent idea you proposed of entering a Gregory Hood short story no longer appeals to me. My relations with the agency controlling the Hood program have become so unsatisfactory that I have no desire to build up their property for them, nor to associate myself too closely with it."] In 2009, Crippen & Landru Publishers produced a volume of their Lost Classic Series devoted to The Casebook of Gregory Hood. The book contains 14 scripts from the series.

The Casebook of Gregory Hood was a radio detective program in the United States. It existed in several versions - with different stars on different networks in different years. Hood was an importer in San Francisco who dealt in rare items. John Dunning summarized the show's premise as follows: "With his sidekick Sanderson ('Sandy') Taylor, Hood traveled the world seeking artifacts for his import house. Each item found by Hood had an intriguing history and was inevitably linked to some present-day mystery." The character of Hood was based on real-life importer Richard Gump, who lived in San Francisco. Gump also was a consultant for the program. Hood was a character with a multi-faceted personality. One website devoted to old-time radio wrote about him as follows: Gregory Hood was also an accomplished pianist and composer, a self-taught forensics expert, spoke several languages fluently, was an expert in ancient and modern armament, had a military intelligence background, was a wine expert with an extensive rare wine cellar, and was an acknowledged expert in oriental tapestry. He lived in a penthouse on San Francisco's Nob Hill and employed a Chinese valet, Fong. On June 3, 1946, The Casebook of Gregory Hood began on the Mutual Broadcasting System, replacing The New Adventures of Sherlock Holmes for the summer. Although intended to be just a summer replacement, it continued in the fall, sponsored by Petri Wine. Jeffrey Marks, in his biography of co-creator Anthony Boucher, explained, "The show had originally been planned as a summer replacement for The New Adventures of Sherlock Holmes in 1946, but continued for the next year when the radio network had difficulty in reaching an agreement with the Conan Doyle estate." The program had another full-season run on ABC in 1949-50 and also "resurfaced periodically in summer slots." The show was written by Boucher and Denis Green, who also teamed to write the Holmes show. Marks provided this background: Boucher and Green did such a good job for the Holmes show that they were asked about writing an original series for Mutual Radio. Radio shows relied on new episodes. Just as TV airs re-runs during the summer, radio shows gave their actors a summer hiatus of 13 weeks. Networks frequently ran original short-run programming during the summer. Boucher and Green came up with "The Casebook of Gregory Hood" a San Francisco-based antiquities expert who seemed to find current day crimes in the artifacts that he dealt with. The Casebook of Gregory Hood was nearly identical to The New Adventures of Sherlock Holmes in its opening: same sponsor, same announcement, same narrator frame for storytelling, and the same music. The narrator stopped by to visit Gregory either in his office or home, and the story was told by Hood. Hood's own Watson, Sandy Taylor, accompanied him. Taylor was Hood's lawyer and friend. Book reviewer Bertil Falk noted that the technique Boucher and Green used had deep roots in storytelling. He wrote: "The structure was of a very ancient kind, a frame story where Gregory Hood and his friend tell Harry Bartell a story from the casebook of Gregory Hood. It is a literary method well known from The Arabian Nights and much older than that, since it was used in the Sanskrit work Panchatantra more than two thousand years ago.] Gale Gordon played Gregory Hood in the initial version of the program. Others who had the leading role later were Elliott Lewis, Jackson Beck, Paul McGrath, Martin Gabel and George Petrie. Sidekick Sanderson Taylor was portrayed at various times by Art Gilmore, Carl Harbord, William Bakewell and Howard McNear. Changes in stars, time slots and networks undoubtedly hindered the show's success. Marks wrote: "The show suffered from a constantly rotating cast. ... Boucher grew increasingly annoyed with the lack of support for the series." Boucher indicated his dissatisfaction in some personal correspondence: "As to myself and the contest -- the excellent idea you proposed of entering a Gregory Hood short story no longer appeals to me. My relations with the agency controlling the Hood program have become so unsatisfactory that I have no desire to build up their property for them, nor to associate myself too closely with it."] In 2009, Crippen & Landru Publishers produced a volume of their Lost Classic Series devoted to The Casebook of Gregory Hood. The book contains 14 scripts from the series.

The Casebook of Gregory Hood was a radio detective program in the United States. It existed in several versions - with different stars on different networks in different years. Hood was an importer in San Francisco who dealt in rare items. John Dunning summarized the show's premise as follows: "With his sidekick Sanderson ('Sandy') Taylor, Hood traveled the world seeking artifacts for his import house. Each item found by Hood had an intriguing history and was inevitably linked to some present-day mystery." The character of Hood was based on real-life importer Richard Gump, who lived in San Francisco. Gump also was a consultant for the program. Hood was a character with a multi-faceted personality. One website devoted to old-time radio wrote about him as follows: Gregory Hood was also an accomplished pianist and composer, a self-taught forensics expert, spoke several languages fluently, was an expert in ancient and modern armament, had a military intelligence background, was a wine expert with an extensive rare wine cellar, and was an acknowledged expert in oriental tapestry. He lived in a penthouse on San Francisco's Nob Hill and employed a Chinese valet, Fong. On June 3, 1946, The Casebook of Gregory Hood began on the Mutual Broadcasting System, replacing The New Adventures of Sherlock Holmes for the summer. Although intended to be just a summer replacement, it continued in the fall, sponsored by Petri Wine. Jeffrey Marks, in his biography of co-creator Anthony Boucher, explained, "The show had originally been planned as a summer replacement for The New Adventures of Sherlock Holmes in 1946, but continued for the next year when the radio network had difficulty in reaching an agreement with the Conan Doyle estate." The program had another full-season run on ABC in 1949-50 and also "resurfaced periodically in summer slots." The show was written by Boucher and Denis Green, who also teamed to write the Holmes show. Marks provided this background: Boucher and Green did such a good job for the Holmes show that they were asked about writing an original series for Mutual Radio. Radio shows relied on new episodes. Just as TV airs re-runs during the summer, radio shows gave their actors a summer hiatus of 13 weeks. Networks frequently ran original short-run programming during the summer. Boucher and Green came up with "The Casebook of Gregory Hood" a San Francisco-based antiquities expert who seemed to find current day crimes in the artifacts that he dealt with. The Casebook of Gregory Hood was nearly identical to The New Adventures of Sherlock Holmes in its opening: same sponsor, same announcement, same narrator frame for storytelling, and the same music. The narrator stopped by to visit Gregory either in his office or home, and the story was told by Hood. Hood's own Watson, Sandy Taylor, accompanied him. Taylor was Hood's lawyer and friend. Book reviewer Bertil Falk noted that the technique Boucher and Green used had deep roots in storytelling. He wrote: "The structure was of a very ancient kind, a frame story where Gregory Hood and his friend tell Harry Bartell a story from the casebook of Gregory Hood. It is a literary method well known from The Arabian Nights and much older than that, since it was used in the Sanskrit work Panchatantra more than two thousand years ago.] Gale Gordon played Gregory Hood in the initial version of the program. Others who had the leading role later were Elliott Lewis, Jackson Beck, Paul McGrath, Martin Gabel and George Petrie. Sidekick Sanderson Taylor was portrayed at various times by Art Gilmore, Carl Harbord, William Bakewell and Howard McNear. Changes in stars, time slots and networks undoubtedly hindered the show's success. Marks wrote: "The show suffered from a constantly rotating cast. ... Boucher grew increasingly annoyed with the lack of support for the series." Boucher indicated his dissatisfaction in some personal correspondence: "As to myself and the contest -- the excellent idea you proposed of entering a Gregory Hood short story no longer appeals to me. My relations with the agency controlling the Hood program have become so unsatisfactory that I have no desire to build up their property for them, nor to associate myself too closely with it."] In 2009, Crippen & Landru Publishers produced a volume of their Lost Classic Series devoted to The Casebook of Gregory Hood. The book contains 14 scripts from the series.

The Casebook of Gregory Hood was a radio detective program in the United States. It existed in several versions - with different stars on different networks in different years. Hood was an importer in San Francisco who dealt in rare items. John Dunning summarized the show's premise as follows: "With his sidekick Sanderson ('Sandy') Taylor, Hood traveled the world seeking artifacts for his import house. Each item found by Hood had an intriguing history and was inevitably linked to some present-day mystery." The character of Hood was based on real-life importer Richard Gump, who lived in San Francisco. Gump also was a consultant for the program. Hood was a character with a multi-faceted personality. One website devoted to old-time radio wrote about him as follows: Gregory Hood was also an accomplished pianist and composer, a self-taught forensics expert, spoke several languages fluently, was an expert in ancient and modern armament, had a military intelligence background, was a wine expert with an extensive rare wine cellar, and was an acknowledged expert in oriental tapestry. He lived in a penthouse on San Francisco's Nob Hill and employed a Chinese valet, Fong. On June 3, 1946, The Casebook of Gregory Hood began on the Mutual Broadcasting System, replacing The New Adventures of Sherlock Holmes for the summer. Although intended to be just a summer replacement, it continued in the fall, sponsored by Petri Wine. Jeffrey Marks, in his biography of co-creator Anthony Boucher, explained, "The show had originally been planned as a summer replacement for The New Adventures of Sherlock Holmes in 1946, but continued for the next year when the radio network had difficulty in reaching an agreement with the Conan Doyle estate." The program had another full-season run on ABC in 1949-50 and also "resurfaced periodically in summer slots." The show was written by Boucher and Denis Green, who also teamed to write the Holmes show. Marks provided this background: Boucher and Green did such a good job for the Holmes show that they were asked about writing an original series for Mutual Radio. Radio shows relied on new episodes. Just as TV airs re-runs during the summer, radio shows gave their actors a summer hiatus of 13 weeks. Networks frequently ran original short-run programming during the summer. Boucher and Green came up with "The Casebook of Gregory Hood" a San Francisco-based antiquities expert who seemed to find current day crimes in the artifacts that he dealt with. The Casebook of Gregory Hood was nearly identical to The New Adventures of Sherlock Holmes in its opening: same sponsor, same announcement, same narrator frame for storytelling, and the same music. The narrator stopped by to visit Gregory either in his office or home, and the story was told by Hood. Hood's own Watson, Sandy Taylor, accompanied him. Taylor was Hood's lawyer and friend. Book reviewer Bertil Falk noted that the technique Boucher and Green used had deep roots in storytelling. He wrote: "The structure was of a very ancient kind, a frame story where Gregory Hood and his friend tell Harry Bartell a story from the casebook of Gregory Hood. It is a literary method well known from The Arabian Nights and much older than that, since it was used in the Sanskrit work Panchatantra more than two thousand years ago.] Gale Gordon played Gregory Hood in the initial version of the program. Others who had the leading role later were Elliott Lewis, Jackson Beck, Paul McGrath, Martin Gabel and George Petrie. Sidekick Sanderson Taylor was portrayed at various times by Art Gilmore, Carl Harbord, William Bakewell and Howard McNear. Changes in stars, time slots and networks undoubtedly hindered the show's success. Marks wrote: "The show suffered from a constantly rotating cast. ... Boucher grew increasingly annoyed with the lack of support for the series." Boucher indicated his dissatisfaction in some personal correspondence: "As to myself and the contest -- the excellent idea you proposed of entering a Gregory Hood short story no longer appeals to me. My relations with the agency controlling the Hood program have become so unsatisfactory that I have no desire to build up their property for them, nor to associate myself too closely with it."] In 2009, Crippen & Landru Publishers produced a volume of their Lost Classic Series devoted to The Casebook of Gregory Hood. The book contains 14 scripts from the series.

BRIGHT STAR Bright Star, also called The Irene Dunne and Fred MacMurray Show, used big film stars to add to the appeal of the show and gain listeners. Lasting only one season, Bright Star is about Susan Armstrong (Dunne) the editor of a struggling newspaper the Hillsdale Morning Star. MacMurray plays George Harvey an idealist star reporter who often conflicts with his editor over stories. MacMurray and Dunne have a good rapport as both have excellent comedic timing. Overall, this is a charming show that will delight fans of both Fred MacMurray and Irene Dunne.

BRIGHT STAR Bright Star, also called The Irene Dunne and Fred MacMurray Show, used big film stars to add to the appeal of the show and gain listeners. Lasting only one season, Bright Star is about Susan Armstrong (Dunne) the editor of a struggling newspaper the Hillsdale Morning Star. MacMurray plays George Harvey an idealist star reporter who often conflicts with his editor over stories. MacMurray and Dunne have a good rapport as both have excellent comedic timing. Overall, this is a charming show that will delight fans of both Fred MacMurray and Irene Dunne.

BRIGHT STAR Bright Star, also called The Irene Dunne and Fred MacMurray Show, used big film stars to add to the appeal of the show and gain listeners. Lasting only one season, Bright Star is about Susan Armstrong (Dunne) the editor of a struggling newspaper the Hillsdale Morning Star. MacMurray plays George Harvey an idealist star reporter who often conflicts with his editor over stories. MacMurray and Dunne have a good rapport as both have excellent comedic timing. Overall, this is a charming show that will delight fans of both Fred MacMurray and Irene Dunne.