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0107 Cecil and Sally Really Do Like Each Other 0108 Cecil's on Top of World 0109 Cecil Had to Change a Tire on Ben Hur 0110 Cecil's Going to Teach Sally to Fish We begin with episode 63. There’s about 298 episodes available. Because each episode is about 7 minutes, I combined four per video (approx. 30 minutes) with titles listed in the description. One of the earliest popular old time radio shows, Cecil and Sally broadcast out of San Francisco. It was one of the earliest old-time radio shows to be syndicated nationally via electrical transcriptions and by 1930 they had over 15 million fans. The two met while working in KYA radio station in San Francisco where Helen Troy was an organist and Johnny Patrick was an announcer. The two created Cecil and Sally with fun office banter when Helen picked up her mail. She would talk in a baby voice with a lisp, and he would speak in a Yiddish dialect. Eventually they came up with skits and put on the air until the working title The Funniest Things first broadcast in 1928. This show soon changed to Cecil and Sally and ran until 1933 as a short format program. The 15 minute "Cecil & Sally Show" was the brainchild of American playwright / screenwriter, Johnny Patrick and his co-worker/partner, Helen Troy. In the late 1920s, companies sprang up across America for the purpose of recording music or programs which could be sold, or syndicated, to a number of local or distant city radio stations. One such station, a San Francisco firm by the name of MacGregor & Sollie Inc., produced the "Cecil & Sally" radio program. Mailed to many radio stations across America on large electrical transcription discs (ETs), these radio companies could then plug the "Cecil & Sally" show into whatever time was convenient for their schedule. An example of one such station was WKAV radio in Laconia, New Hampshire, which in 1931, was under contract to pay MacGregor & Sollie $17.50 for each episode, over a 26-week run. In 1928 at KYA, the serial program debuted on the West Coast connection of the short-lived ABC network, and moved to KPO and NBC after the former network went bankrupt in 1929. The program ran on NBC until 1933 and was among the earliest radio shows to be nationally syndicated via these "ETs." Johnny Patrick as Cecil, & Helen Troy as Sally, rolled this screwball comedy serial into one of the first nationally syndicated, transcribed (pre-recorded) programs. Patrick wrote over 1,000 scripts for Cecil & Sally; Troy sang with him, playing either the piano or the organ. Her character, "Sally," endeared herself to West Coast listeners with her girlish lisp, referring to her partner not as Cecil but as "Thee-thill."

0111 Sally Drops Cecil's Camera Overboard 0112 Sally Loses an Oar and Falls in Lake 0113 Cecil Rescues Sally 0114 Sally's Catch Gets Away We begin with episode 63. There’s about 298 episodes available. Because each episode is about 7 minutes, I combined four per video (approx. 30 minutes) with titles listed in the description. One of the earliest popular old time radio shows, Cecil and Sally broadcast out of San Francisco. It was one of the earliest old-time radio shows to be syndicated nationally via electrical transcriptions and by 1930 they had over 15 million fans. The two met while working in KYA radio station in San Francisco where Helen Troy was an organist and Johnny Patrick was an announcer. The two created Cecil and Sally with fun office banter when Helen picked up her mail. She would talk in a baby voice with a lisp, and he would speak in a Yiddish dialect. Eventually they came up with skits and put on the air until the working title The Funniest Things first broadcast in 1928. This show soon changed to Cecil and Sally and ran until 1933 as a short format program. The 15 minute "Cecil & Sally Show" was the brainchild of American playwright / screenwriter, Johnny Patrick and his co-worker/partner, Helen Troy. In the late 1920s, companies sprang up across America for the purpose of recording music or programs which could be sold, or syndicated, to a number of local or distant city radio stations. One such station, a San Francisco firm by the name of MacGregor & Sollie Inc., produced the "Cecil & Sally" radio program. Mailed to many radio stations across America on large electrical transcription discs (ETs), these radio companies could then plug the "Cecil & Sally" show into whatever time was convenient for their schedule. An example of one such station was WKAV radio in Laconia, New Hampshire, which in 1931, was under contract to pay MacGregor & Sollie $17.50 for each episode, over a 26-week run. In 1928 at KYA, the serial program debuted on the West Coast connection of the short-lived ABC network, and moved to KPO and NBC after the former network went bankrupt in 1929. The program ran on NBC until 1933 and was among the earliest radio shows to be nationally syndicated via these "ETs." Johnny Patrick as Cecil, & Helen Troy as Sally, rolled this screwball comedy serial into one of the first nationally syndicated, transcribed (pre-recorded) programs. Patrick wrote over 1,000 scripts for Cecil & Sally; Troy sang with him, playing either the piano or the organ. Her character, "Sally," endeared herself to West Coast listeners with her girlish lisp, referring to her partner not as Cecil but as "Thee-thill."

0115 Landing on Island 0116 Cecil Tries to Take a Nap 0117 Sally Reads Poetry 0118 A Storm Is Looming We begin with episode 63. There’s about 298 episodes available. Because each episode is about 7 minutes, I combined four per video (approx. 30 minutes) with titles listed in the description. One of the earliest popular old time radio shows, Cecil and Sally broadcast out of San Francisco. It was one of the earliest old-time radio shows to be syndicated nationally via electrical transcriptions and by 1930 they had over 15 million fans. The two met while working in KYA radio station in San Francisco where Helen Troy was an organist and Johnny Patrick was an announcer. The two created Cecil and Sally with fun office banter when Helen picked up her mail. She would talk in a baby voice with a lisp, and he would speak in a Yiddish dialect. Eventually they came up with skits and put on the air until the working title The Funniest Things first broadcast in 1928. This show soon changed to Cecil and Sally and ran until 1933 as a short format program. The 15 minute "Cecil & Sally Show" was the brainchild of American playwright / screenwriter, Johnny Patrick and his co-worker/partner, Helen Troy. In the late 1920s, companies sprang up across America for the purpose of recording music or programs which could be sold, or syndicated, to a number of local or distant city radio stations. One such station, a San Francisco firm by the name of MacGregor & Sollie Inc., produced the "Cecil & Sally" radio program. Mailed to many radio stations across America on large electrical transcription discs (ETs), these radio companies could then plug the "Cecil & Sally" show into whatever time was convenient for their schedule. An example of one such station was WKAV radio in Laconia, New Hampshire, which in 1931, was under contract to pay MacGregor & Sollie $17.50 for each episode, over a 26-week run. In 1928 at KYA, the serial program debuted on the West Coast connection of the short-lived ABC network, and moved to KPO and NBC after the former network went bankrupt in 1929. The program ran on NBC until 1933 and was among the earliest radio shows to be nationally syndicated via these "ETs." Johnny Patrick as Cecil, & Helen Troy as Sally, rolled this screwball comedy serial into one of the first nationally syndicated, transcribed (pre-recorded) programs. Patrick wrote over 1,000 scripts for Cecil & Sally; Troy sang with him, playing either the piano or the organ. Her character, "Sally," endeared herself to West Coast listeners with her girlish lisp, referring to her partner not as Cecil but as "Thee-thill."

Bold Venture was a syndicated radio series starring Humphrey Bogart and Lauren Bacall that aired from 1951 to 1952. Morton Fine and David Friedkin scripted the taped series for Bogart's Santana Productions. Salty seadog Slate Shannon (Bogart) owns a Cuban hotel, Shannon's Place, sheltering an assortment of treasure hunters, revolutionaries, and other shady characters. With his sidekick and ward, the sultry Sailor Duval (Bacall), tagging along, he encounters modern-day pirates and other tough situations while navigating the waters around Havana. Aboard his boat, the Bold Venture, Slate and Sailor experience "adventure, intrigue, mystery and romance in the sultry settings of tropical Havana and the mysterious islands of the Caribbean." Calypso singer King Moses (Jester Hairston) provided musical bridges by threading plot situations into the lyrics of his songs. Music for the series was by David Rose. The series combined elements of a number of past Bogart/Bacall film collaborations, most notably To Have and Have Not which also cast Bogart as a boat owner in the Caribbean who reluctantly becomes involved in intrigue while romancing Bacall. The relationship between Shannon and King Moses, and his ownership of an inn, is strongly reminiscent of the dynamic between Rick Blaine and Sam in Casablanca.

Bold Venture was a syndicated radio series starring Humphrey Bogart and Lauren Bacall that aired from 1951 to 1952. Morton Fine and David Friedkin scripted the taped series for Bogart's Santana Productions. Salty seadog Slate Shannon (Bogart) owns a Cuban hotel, Shannon's Place, sheltering an assortment of treasure hunters, revolutionaries, and other shady characters. With his sidekick and ward, the sultry Sailor Duval (Bacall), tagging along, he encounters modern-day pirates and other tough situations while navigating the waters around Havana. Aboard his boat, the Bold Venture, Slate and Sailor experience "adventure, intrigue, mystery and romance in the sultry settings of tropical Havana and the mysterious islands of the Caribbean." Calypso singer King Moses (Jester Hairston) provided musical bridges by threading plot situations into the lyrics of his songs. Music for the series was by David Rose. The series combined elements of a number of past Bogart/Bacall film collaborations, most notably To Have and Have Not which also cast Bogart as a boat owner in the Caribbean who reluctantly becomes involved in intrigue while romancing Bacall. The relationship between Shannon and King Moses, and his ownership of an inn, is strongly reminiscent of the dynamic between Rick Blaine and Sam in Casablanca.

Bold Venture was a syndicated radio series starring Humphrey Bogart and Lauren Bacall that aired from 1951 to 1952. Morton Fine and David Friedkin scripted the taped series for Bogart's Santana Productions. Salty seadog Slate Shannon (Bogart) owns a Cuban hotel, Shannon's Place, sheltering an assortment of treasure hunters, revolutionaries, and other shady characters. With his sidekick and ward, the sultry Sailor Duval (Bacall), tagging along, he encounters modern-day pirates and other tough situations while navigating the waters around Havana. Aboard his boat, the Bold Venture, Slate and Sailor experience "adventure, intrigue, mystery and romance in the sultry settings of tropical Havana and the mysterious islands of the Caribbean." Calypso singer King Moses (Jester Hairston) provided musical bridges by threading plot situations into the lyrics of his songs. Music for the series was by David Rose. The series combined elements of a number of past Bogart/Bacall film collaborations, most notably To Have and Have Not which also cast Bogart as a boat owner in the Caribbean who reluctantly becomes involved in intrigue while romancing Bacall. The relationship between Shannon and King Moses, and his ownership of an inn, is strongly reminiscent of the dynamic between Rick Blaine and Sam in Casablanca.

Bold Venture was a syndicated radio series starring Humphrey Bogart and Lauren Bacall that aired from 1951 to 1952. Morton Fine and David Friedkin scripted the taped series for Bogart's Santana Productions. Salty seadog Slate Shannon (Bogart) owns a Cuban hotel, Shannon's Place, sheltering an assortment of treasure hunters, revolutionaries, and other shady characters. With his sidekick and ward, the sultry Sailor Duval (Bacall), tagging along, he encounters modern-day pirates and other tough situations while navigating the waters around Havana. Aboard his boat, the Bold Venture, Slate and Sailor experience "adventure, intrigue, mystery and romance in the sultry settings of tropical Havana and the mysterious islands of the Caribbean." Calypso singer King Moses (Jester Hairston) provided musical bridges by threading plot situations into the lyrics of his songs. Music for the series was by David Rose. The series combined elements of a number of past Bogart/Bacall film collaborations, most notably To Have and Have Not which also cast Bogart as a boat owner in the Caribbean who reluctantly becomes involved in intrigue while romancing Bacall. The relationship between Shannon and King Moses, and his ownership of an inn, is strongly reminiscent of the dynamic between Rick Blaine and Sam in Casablanca.

Bold Venture was a syndicated radio series starring Humphrey Bogart and Lauren Bacall that aired from 1951 to 1952. Morton Fine and David Friedkin scripted the taped series for Bogart's Santana Productions. Salty seadog Slate Shannon (Bogart) owns a Cuban hotel, Shannon's Place, sheltering an assortment of treasure hunters, revolutionaries, and other shady characters. With his sidekick and ward, the sultry Sailor Duval (Bacall), tagging along, he encounters modern-day pirates and other tough situations while navigating the waters around Havana. Aboard his boat, the Bold Venture, Slate and Sailor experience "adventure, intrigue, mystery and romance in the sultry settings of tropical Havana and the mysterious islands of the Caribbean." Calypso singer King Moses (Jester Hairston) provided musical bridges by threading plot situations into the lyrics of his songs. Music for the series was by David Rose. The series combined elements of a number of past Bogart/Bacall film collaborations, most notably To Have and Have Not which also cast Bogart as a boat owner in the Caribbean who reluctantly becomes involved in intrigue while romancing Bacall. The relationship between Shannon and King Moses, and his ownership of an inn, is strongly reminiscent of the dynamic between Rick Blaine and Sam in Casablanca.

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.

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.

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.

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, 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.

0087 Going Through Uncle Thomas' Basement 0088 Waiting in Courthouse 0089 Telling Stories to Judge 0090 Judge Makes His Decision We begin with episode 63. There’s about 298 episodes available. Because each episode is about 7 minutes, I combined four per video (approx. 30 minutes) with titles listed in the description. One of the earliest popular old time radio shows, Cecil and Sally broadcast out of San Francisco. It was one of the earliest old-time radio shows to be syndicated nationally via electrical transcriptions and by 1930 they had over 15 million fans. The two met while working in KYA radio station in San Francisco where Helen Troy was an organist and Johnny Patrick was an announcer. The two created Cecil and Sally with fun office banter when Helen picked up her mail. She would talk in a baby voice with a lisp, and he would speak in a Yiddish dialect. Eventually they came up with skits and put on the air until the working title The Funniest Things first broadcast in 1928. This show soon changed to Cecil and Sally and ran until 1933 as a short format program. The 15 minute "Cecil & Sally Show" was the brainchild of American playwright / screenwriter, Johnny Patrick and his co-worker/partner, Helen Troy. In the late 1920s, companies sprang up across America for the purpose of recording music or programs which could be sold, or syndicated, to a number of local or distant city radio stations. One such station, a San Francisco firm by the name of MacGregor & Sollie Inc., produced the "Cecil & Sally" radio program. Mailed to many radio stations across America on large electrical transcription discs (ETs), these radio companies could then plug the "Cecil & Sally" show into whatever time was convenient for their schedule. An example of one such station was WKAV radio in Laconia, New Hampshire, which in 1931, was under contract to pay MacGregor & Sollie $17.50 for each episode, over a 26-week run. In 1928 at KYA, the serial program debuted on the West Coast connection of the short-lived ABC network, and moved to KPO and NBC after the former network went bankrupt in 1929. The program ran on NBC until 1933 and was among the earliest radio shows to be nationally syndicated via these "ETs." Johnny Patrick as Cecil, & Helen Troy as Sally, rolled this screwball comedy serial into one of the first nationally syndicated, transcribed (pre-recorded) programs. Patrick wrote over 1,000 scripts for Cecil & Sally; Troy sang with him, playing either the piano or the organ. Her character, "Sally," endeared herself to West Coast listeners with her girlish lisp, referring to her partner not as Cecil but as "Thee-thill." 0087 Going Through Uncle Thomas' Basement 0088 Waiting in Courthouse 0089 Telling Stories to Judge 0090 Judge Makes His Decision

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.

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.

0095 Cecil Scares Sugarpie Up a Telephone Pole 0096 Sally Gets Cecil to Ring Fire Alarm 0097 Firemen Arrive and Save Sugarpie 0098 Cecil Is Jealous of Fireman We begin with episode 63. There’s about 298 episodes available. Because each episode is about 7 minutes, I combined four per video (approx. 30 minutes) with titles listed in the description. One of the earliest popular old time radio shows, Cecil and Sally broadcast out of San Francisco. It was one of the earliest old-time radio shows to be syndicated nationally via electrical transcriptions and by 1930 they had over 15 million fans. The two met while working in KYA radio station in San Francisco where Helen Troy was an organist and Johnny Patrick was an announcer. The two created Cecil and Sally with fun office banter when Helen picked up her mail. She would talk in a baby voice with a lisp, and he would speak in a Yiddish dialect. Eventually they came up with skits and put on the air until the working title The Funniest Things first broadcast in 1928. This show soon changed to Cecil and Sally and ran until 1933 as a short format program. The 15 minute "Cecil & Sally Show" was the brainchild of American playwright / screenwriter, Johnny Patrick and his co-worker/partner, Helen Troy. In the late 1920s, companies sprang up across America for the purpose of recording music or programs which could be sold, or syndicated, to a number of local or distant city radio stations. One such station, a San Francisco firm by the name of MacGregor & Sollie Inc., produced the "Cecil & Sally" radio program. Mailed to many radio stations across America on large electrical transcription discs (ETs), these radio companies could then plug the "Cecil & Sally" show into whatever time was convenient for their schedule. An example of one such station was WKAV radio in Laconia, New Hampshire, which in 1931, was under contract to pay MacGregor & Sollie $17.50 for each episode, over a 26-week run. In 1928 at KYA, the serial program debuted on the West Coast connection of the short-lived ABC network, and moved to KPO and NBC after the former network went bankrupt in 1929. The program ran on NBC until 1933 and was among the earliest radio shows to be nationally syndicated via these "ETs." Johnny Patrick as Cecil, & Helen Troy as Sally, rolled this screwball comedy serial into one of the first nationally syndicated, transcribed (pre-recorded) programs. Patrick wrote over 1,000 scripts for Cecil & Sally; Troy sang with him, playing either the piano or the organ. Her character, "Sally," endeared herself to West Coast listeners with her girlish lisp, referring to her partner not as Cecil but as "Thee-thill."

0099 Sally Wants Fame and Fortune 0100 Sally Fancies Herself an Artist 0101 Sally Wants to Go to a Movie 0102 Pet Names and Baby Talk We begin with episode 63. There’s about 298 episodes available. Because each episode is about 7 minutes, I combined four per video (approx. 30 minutes) with titles listed in the description. One of the earliest popular old time radio shows, Cecil and Sally broadcast out of San Francisco. It was one of the earliest old-time radio shows to be syndicated nationally via electrical transcriptions and by 1930 they had over 15 million fans. The two met while working in KYA radio station in San Francisco where Helen Troy was an organist and Johnny Patrick was an announcer. The two created Cecil and Sally with fun office banter when Helen picked up her mail. She would talk in a baby voice with a lisp, and he would speak in a Yiddish dialect. Eventually they came up with skits and put on the air until the working title The Funniest Things first broadcast in 1928. This show soon changed to Cecil and Sally and ran until 1933 as a short format program. The 15 minute "Cecil & Sally Show" was the brainchild of American playwright / screenwriter, Johnny Patrick and his co-worker/partner, Helen Troy. In the late 1920s, companies sprang up across America for the purpose of recording music or programs which could be sold, or syndicated, to a number of local or distant city radio stations. One such station, a San Francisco firm by the name of MacGregor & Sollie Inc., produced the "Cecil & Sally" radio program. Mailed to many radio stations across America on large electrical transcription discs (ETs), these radio companies could then plug the "Cecil & Sally" show into whatever time was convenient for their schedule. An example of one such station was WKAV radio in Laconia, New Hampshire, which in 1931, was under contract to pay MacGregor & Sollie $17.50 for each episode, over a 26-week run. In 1928 at KYA, the serial program debuted on the West Coast connection of the short-lived ABC network, and moved to KPO and NBC after the former network went bankrupt in 1929. The program ran on NBC until 1933 and was among the earliest radio shows to be nationally syndicated via these "ETs." Johnny Patrick as Cecil, & Helen Troy as Sally, rolled this screwball comedy serial into one of the first nationally syndicated, transcribed (pre-recorded) programs. Patrick wrote over 1,000 scripts for Cecil & Sally; Troy sang with him, playing either the piano or the organ. Her character, "Sally," endeared herself to West Coast listeners with her girlish lisp, referring to her partner not as Cecil but as "Thee-thill."

0103 Cecil's Secret Nickname Is Boz 0104 Doing A Crossword Puzzle 0105 Cecil's Castle 0106 Ideal We begin with episode 63. There’s about 298 episodes available. Because each episode is about 7 minutes, I combined four per video (approx. 30 minutes) with titles listed in the description. One of the earliest popular old time radio shows, Cecil and Sally broadcast out of San Francisco. It was one of the earliest old-time radio shows to be syndicated nationally via electrical transcriptions and by 1930 they had over 15 million fans. The two met while working in KYA radio station in San Francisco where Helen Troy was an organist and Johnny Patrick was an announcer. The two created Cecil and Sally with fun office banter when Helen picked up her mail. She would talk in a baby voice with a lisp, and he would speak in a Yiddish dialect. Eventually they came up with skits and put on the air until the working title The Funniest Things first broadcast in 1928. This show soon changed to Cecil and Sally and ran until 1933 as a short format program. The 15 minute "Cecil & Sally Show" was the brainchild of American playwright / screenwriter, Johnny Patrick and his co-worker/partner, Helen Troy. In the late 1920s, companies sprang up across America for the purpose of recording music or programs which could be sold, or syndicated, to a number of local or distant city radio stations. One such station, a San Francisco firm by the name of MacGregor & Sollie Inc., produced the "Cecil & Sally" radio program. Mailed to many radio stations across America on large electrical transcription discs (ETs), these radio companies could then plug the "Cecil & Sally" show into whatever time was convenient for their schedule. An example of one such station was WKAV radio in Laconia, New Hampshire, which in 1931, was under contract to pay MacGregor & Sollie $17.50 for each episode, over a 26-week run. In 1928 at KYA, the serial program debuted on the West Coast connection of the short-lived ABC network, and moved to KPO and NBC after the former network went bankrupt in 1929. The program ran on NBC until 1933 and was among the earliest radio shows to be nationally syndicated via these "ETs." Johnny Patrick as Cecil, & Helen Troy as Sally, rolled this screwball comedy serial into one of the first nationally syndicated, transcribed (pre-recorded) programs. Patrick wrote over 1,000 scripts for Cecil & Sally; Troy sang with him, playing either the piano or the organ. Her character, "Sally," endeared herself to West Coast listeners with her girlish lisp, referring to her partner not as Cecil but as "Thee-thill."

0091 Sally Gets Fined by Judge Instead 0092 Cecil's Not Ready for Marriage 0093 Sally Washes Cecil's Face 0094 Cecil Tries to Train Sugarpie We begin with episode 63. There’s about 298 episodes available. Because each episode is about 7 minutes, I combined four per video (approx. 30 minutes) with titles listed in the description. One of the earliest popular old time radio shows, Cecil and Sally broadcast out of San Francisco. It was one of the earliest old-time radio shows to be syndicated nationally via electrical transcriptions and by 1930 they had over 15 million fans. The two met while working in KYA radio station in San Francisco where Helen Troy was an organist and Johnny Patrick was an announcer. The two created Cecil and Sally with fun office banter when Helen picked up her mail. She would talk in a baby voice with a lisp, and he would speak in a Yiddish dialect. Eventually they came up with skits and put on the air until the working title The Funniest Things first broadcast in 1928. This show soon changed to Cecil and Sally and ran until 1933 as a short format program. The 15 minute "Cecil & Sally Show" was the brainchild of American playwright / screenwriter, Johnny Patrick and his co-worker/partner, Helen Troy. In the late 1920s, companies sprang up across America for the purpose of recording music or programs which could be sold, or syndicated, to a number of local or distant city radio stations. One such station, a San Francisco firm by the name of MacGregor & Sollie Inc., produced the "Cecil & Sally" radio program. Mailed to many radio stations across America on large electrical transcription discs (ETs), these radio companies could then plug the "Cecil & Sally" show into whatever time was convenient for their schedule. An example of one such station was WKAV radio in Laconia, New Hampshire, which in 1931, was under contract to pay MacGregor & Sollie $17.50 for each episode, over a 26-week run. In 1928 at KYA, the serial program debuted on the West Coast connection of the short-lived ABC network, and moved to KPO and NBC after the former network went bankrupt in 1929. The program ran on NBC until 1933 and was among the earliest radio shows to be nationally syndicated via these "ETs." Johnny Patrick as Cecil, & Helen Troy as Sally, rolled this screwball comedy serial into one of the first nationally syndicated, transcribed (pre-recorded) programs. Patrick wrote over 1,000 scripts for Cecil & Sally; Troy sang with him, playing either the piano or the organ. Her character, "Sally," endeared herself to West Coast listeners with her girlish lisp, referring to her partner not as Cecil but as "Thee-thill."

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.