Author: Harry Heuser

Born and raised in Germany, educated in New York City (BA, MA, PhD), Harry Heuser is a writer, exhibition curator and lecturer.
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Old-time Radio Primer: B Stands for broadcastellan

Well, before I was being whisked off for a daytrip in observation of one of those red-letter days on which we are expected to celebrate the gradual approach of our inevitable demise, I subjected myself to a rather probing interview, conducted by the eminent if irascible radio reporter Wally Windchill. Are we ready, Mr. and Mrs. North America, and all the ships at sea?

As the laundry basket said to the ironing board: let’s go to press.

Windchill: You call yourself “broadcastellan.”

broadcastellan: Yes. Only in the blogosphere, mind you.

Windchill: I get it, a surfname; but what does it stand for?

broadcastellan: Well, it all started about a year ago, when, one quiet afternoon . . .

Windchill: Please, we are pressed for time.

broadcastellan: Sorry. The handle is meant to suggest that I am writing about broadcasting and that I consider myself a keeper of records, one who manages a neglected vault of half-forgotten radio treasures. A castellan in the castles on the air.

Windchill: So, it’s another one of your awful puns, basically.

broadcastellan: A pun, at any rate.

Windchill: Never mind the rate; it’s cheap. But about radio. As your first and only reviewer on one of those traffic generator sites put it so succinctly in his single-word comment: “Why?”

broadcastellan: Well, I am very much intrigued by aural drama as an alternative to visual entertainment; and, having written a dissertation on the potentialities and shortcomings of these stories in sound, as they played out in the minds of millions during the 1930s and ’40s, I thought I had something to share that . . .

Windchill: You don’t do short sentence, do you?

broadcastellan: Not true! I even “do” incomplete ones. On occasion.

Windchill: Cute. But, about radio. Why the old stuff?

broadcastellan: Radio drama has a fascinating history. It’s a tradition that, in the US at least, has been all but abandoned in favor of television.

Windchill: And that’s bad?

broadcastellan: I think so, yes.

Windchill: But why American radio? You live in England, don’t you?

broadcastellan: Wales, actually.

Windchill: As if anyone outside the UK could tell the difference. Why not British radio, then? I hear it’s still going strong over there.

broadcastellan: I am just not that impressed by what’s being done nowadays. Back in the 1930s and ’40s, radio was it, not fringe culture. The voices, the sound effects, the storytelling—the commercials. It’s the showmanship I admire, the theatricality. And nobody does showmanship better than the Americans. What I love particularly about US radio is its strong connection to old Hollywood; hearing those great stars. Everyone did radio in the 1930s and ’40s—everyone, except Garbo, who very nearly did. They don’t have stars nowadays; just celebrities.

Windchill: I see.

broadcastellan: Besides, I didn’t grow up with those voices. In Germany, where I’m from, movies are dubbed. Radio taught me a lot about the sound of American English, about idiom and jargon.

Windchill: Not that you got it down. Some queer diction you’ve got going on there, Mr. “broadcastellan.” So, you’re going to keep exposing others to your . . . radiology? Not a lot of people out there care, you know.

broadcastellan: I am aware of that, but undaunted by the general indifference. Yes, I’ll keep on blogging. My first anniversary is coming up, on 22 May.

Windchill: I guess we’re going to read all about that in a few days, then.

broadcastellan: Probably. Perhaps we could do another interview.

Windchill: It would have to be a slow newsday.

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On This Day in 1942: Marlene Dietrich Receives Some Sound Advice

Well, they aren’t quite done with me yet. Yesterday’s remarks about barbarity and journalism, that is. The problem with expository writing, when approached in the conventional, western sense, is that essays are expected to make ideas fall into place even when the subject is utterly chaotic. This is the very paper logic I was going on about only to get trapped in it. There is something troublesome about getting frustrated by a long-winded “I don’t know” when a purposeful “That’s that” should strike us as so much more suspicious.

Anyway. Ending my day with the customary late-night movie, I was all prepared for a smallscreening of The Bad and the Beautiful, which aired last week on UK channel BBC2. Instead, I never got past the film to which it had been hastily and haphazardly appended: I Cover the Waterfront. So, I quite inadvertently—but rather fittingly—followed up The Front Page (and Are You Listening?) with another sordid tale of big news and small scruples. Like Hildy Johnson, no-name reporter Joe Miller (Ben Lyon) is torn between a girl and a story; but in this case, the girl (Claudette Colbert) is the ticket to that byline-worthy scoop—and the determined newshound manages to get them both, even if it means doing away with his sweetheart’s father. How’s that for a lucky break!

Now, I’m not sure whether it was either a matter of luck or much of a break when, on this day, 10 May, in 1942, radio comedian Fred Allen announced: “[T]onight we have a scoop. One of Hollywood’s greatest stars.” The great one was German-born Marlene Dietrich, a leading lady willing to work hard—but being none-too successful—at remaining a favorite in the public’s eye. Stepping behind the microphone to prove her American patriotism was one of those attempts at salvaging her endangered career.

“You mean you brought me here to do a show just for you?” Dietrich confronted Allen, showing herself offended at his unpatriotic selfishness. “Where are the troops?” Dutifully pointing out that the star had been “touring the country for the Hollywood Victory Committee, giving shows at the various army camps and naval training stations,” Allen showed his appreciation by offering his guest “some fatherly advice about [her] movie career.” It wasn’t an offer the hits-missing actress could afford to ignore.

Dietrich assured Allen that she was perfectly “happy out in Hollywood,” to which the comedian replied: “Oh, but how long can it last, with those rough-and-tumble pictures you’ve been making?” During the shoot of her latest picture, The Lady Is Willing (released two-and-a-half months prior to the broadcast), Dietrich had tripped over some props and injured her leg; but Allen was referring to the star’s online slappings, administered by leading men like James Stewart, Broderick Crawford, George Raft and Edward G. Robinson.

“Give up pictures in Hollywood, Marlene. Come to radio,” Allen suggested, where you “can get beaten up and kicked around [. . .] and not even feel it”—the sound effects man “does everything.” Some noisy demonstrations of the soundman’s business followed. “Radio is wonderful,” Dietrich agreed and was promptly handed a script for a radio serial titled “Brave Betty Birnbaum.”

“Your part starts on page twenty-eight,” Allen informed his guest, who flicked through it in bewilderment: “But the whole script is only thirty pages.” “Well, I know,” Allen explained, “the first twenty-seven pages are a commercial.” At least the soundman was at hand when Dietrich was called upon to kiss her less-than-dashing co-star. “That’s radio, Fred,” she summed up her lesson.

Luckily for Dietrich, the big screen offers did not run out during the 1940s. Only a decade later, when she was getting rather too unsteady on her celebrated gams to keep kicking her screen partners around in scenes of rough-and-tumble glamour, she heeded Allen’s advice at last. It wasn’t exactly an act of desperation, considering that she was in the company of many Hollywood A-listers who found syndicated radio drama to be lucrative and convenient.

Still sultry and seductive in her 50s, Dietrich worked the magic of her vocal chords in the episodic adventure series Café Istanbul and Time for Love, proving that, with a little help from the soundman, it’s never too late for radio romance.

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On This Day in 1948: Radio Listeners Are Offered Free Delivery of "The Front Page"

Well, it sure was fodder for the tabloids. The case of the German cannibal, I mean, which resulted in a retrial and a life-sentence for the remaining party of one decidedly unconventional dinner date. Now, the so-called civilized world deems itself too far above bestiality to grant citizens the right to end their own lives as they see fit or to lose themselves completely in a consensual act of consuming passion. Widely exempt from the consequent criminalization of cruelty—which outlaws the animalistic it can never truly root out—remain the barbarism of capital punishment and the bane of the yellow press.

I don’t often quote journalist-turned-novelist Theodore Dreiser, mainly because his prose is among the most hideous ever to get past an editor; but this line, ripped from his Sister Carrie, is worth considering: “Our civilisation is still in a middle stage, scarcely beast, in that it is no longer wholly guided by instinct; scarcely human, in that it is not yet wholly guided by reason.”

It seems a perfectly reasonable attack on civilization; yet it is a line of attack defined by and conforming with the standards of the society it questions: a state of humanity based on the assumption that being human should mean being reasonable, the supposition that society should strive to rid individuals of their impulses and emotions—a project altogether unreasonable.

The paper logic of journalism—those well-formed, epigrammatic answers to monstrously complex questions—is as common and comforting as it is dangerous. Journalism itself is not the product of reason, but caters to the instinctual from which it derives: a curiosity at times so mean and perverse that it must be rationalized away by declaring the imagination-fertilizer being spread to constitute “news” or “information” in the public interest.

The famous American play The Front Page by Ben Hecht and Charles MacArthur, a comedy as poignant today as it was back in 1928, addresses this barbarism of the press, a force so powerful that it has been known to incite wars for the purpose of reporting them.

Adapted for the rival medium of radio by noted American critic, editor, and playwright Gilbert Seldes, “The Front Page” was spread out anew, if somewhat reduced in size, on this day, 9 May, in 1948, when it was reproduced by the Ford Theater, a venue named after its sponsor and not to be confused with Ford’s Theater, the center of cultural refinement that once was the site of a Presidential assassination.

Seldes’s edition of The Front Page makes good use of the aural medium by confronting listeners with the sound of the gallows being readied for an execution, a sound overheard in a newsroom whose occupants are paid to cash in on the event.

To those in public office, the timely execution of a cop killer is politically more advantageous than any probings into the mind of the convict. To a journalist like Hildy Johnson—a man torn between the mating instinct and the reasonable goal of making a name for himself—such a hanging not only spells good news, but excitement too great to be traded in for the state of matrimony.

The Front Page is an unflattering portrayal of the newspaper racket; but, unlike Dreiser’s brand of naturalism, it does not simplify what is complex by exposing societal corruptions only to subject them to the either-or morality of didactic fictions that aim at telling us how things are to teach us how they ought to but could not be.

Comedies and melodramas—especially plays that seem aesthetically flawed and morally ambiguous because they are as muddled as our everyday—can be instructive in their willful disorder or bewildering raggedness.

I was reminded of this last night while watching Are You Listening?, a 1932 MGM melodrama in which a young writer gets tangled up in the wireless game, the broadcast medium that offers him employment but that eventually contributes to his being hunted like a social menace and convicted of manslaughter. We, the spectators, are the only witnesses to his supposed crime—but we are sentenced, after promises of romance and gaiety, to follow the fall and disgrace of some latter-day Caleb Williams, an outcast hunted by media hounds interested in something less than justice, driven to the chase by nothing more than a desire to profit from—to feed rather than satisfy—our hunger for the sensational.

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On This Day in 1949: Helen Hayes Broadcasts Mixed Messages to Mothers, Midgets, and Miners

Well, it sure seems a lot smaller these days! The globe, I mean. Picture it, if you will: Wales, a secluded cottage, last Saturday. There they stood, unannounced and unexpected, in the middle of our garden: three strangers from Pittsburgh, Pennsylvania. One of these visitors claimed that her great-grandmother used to live in this very house some 150 years ago. Notwithstanding her disappointment at the many changes to the original interior (could we not have done without plumbing for the sake of authenticity?) we all had a nice chat, swapped stories and pictures. Turns out, Wales and Pittsburgh have more in common besides a long history of coal mining.

As is often the case in my daily diggings-up of US radio drama—and my stubborn attempts at relating the out-of-date to our present everyday—I was reminded of this connection as I browsed through my library of radio recordings. I came across a peculiar play called “No Room for Peter Pan.” It aired over CBS in the US on this day, 8 May, in 1949, on the Electric Theater, an anthology drama series starring the celebrated stage actress Helen Hayes. The Electric Theater—named after its sponsor, America’s Electric Light and Power Companies—was staged before the “live studio audience” Hayes had expressed herself to be so glad to do without; but the laughter of the crowd gathered to watch the performers may well have been genuine, given the queer situation in which Hayes, playing an Irish coalminer’s wife in Colliertown, Pennsylvania, found herself.

What to do when your son is determined to become a miner, work you know to be not only dirty but dangerous? You’d rather not have him grow up to go below ground before his time, even if it means that your son won’t grow at all. How lucky is this troubled mother to discover that her son, Danny, is a “midget” or, as the learned physician from Pittsburgh states in his official diagnosis, a “Peter Pan dwarf” (a term better suited for lily and aster varieties). So, to keep the blossoming lad out of the mines and “above the ground, as the Lord intended,” his loving parent vows to turn him into a sideshow attraction: “He’ll be a midget in a circus.”

Danny catches the eye of Mr. Bailey, owner of the Greatest Show on Earth, who is only too glad to take him on. Just then, the protective mother learns that Danny may yet continue to grow, if given the proper medication. To keep him out of the mines, she refuses to let Danny receive the prescribed injections. So, Danny is forced to tour with the circus and learns to like it. He becomes rather disdainful of his poor family home, but is soon cured of his airs when he learns about a mining disaster in which he, as a kid small enough to reach the trapped colliers, may prove his manliness.

The shot of self-esteem is followed by Danny’s first injection. Trouble is, Danny is fearful of the “dirty needle.” His mother is at hand with another sage piece of advice: “You don’t want to stay a midget, do you, lad? You don’t want to give up your growth for the amusement of lazy people. Maybe in the mines you’ll be in danger, but you’ll be living with dignity, like a man.” Seems mom has grown up at last, ready to let her son go and move on—up in height and down in the mines—as he had desired it all along. As if he hadn’t proved his worth already as a life-saving pint-sizer, doing as his mother bade him.

This play (a script of which may be found in the collection of radio and television composer Wladimir Selinksy, at the New York Public Library) sent out some confusing messages about physical individuality, social conformity, and the nature of life; but, being broadcast on the second Sunday in May, it nevertheless improved on the tired sentiments found on those cards that will give postal workers another backache this weekend.

Meanwhile, unexpected visitors notwithstanding, I’ll be back out in the garden, watching things grow or wilt under my haphazard care, pondering the challenge of arriving at just the right moment to heed advice or ignore it.

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Old-time Radio Primer: A Stands for Audience

Well, we all crave it. An audience, I mean. Not that “audience” is the most precise term for visitors, readers, or spectators. Audiences are people who come to audit—to hear and judge—a performance as sound; and to no medium does the experience of aural appreciation seem more germane than to radio, the only forum in which a single recital has been known to have come, instantaneously, to the ears of nearly half the US population. So, I am opening my “Old-time Radio Primer,” as announced yesterday (and as inspired by Norman Corwin’s 1941 play “Radio Primer”) with just that word: “audience.”

Is “audience” a synonym of “radio listeners”? “Audience” generally implies membership, partaking of something or taking something in, whether singly or jointly, as an individual belonging to a certain group—be it a group of theatregoers or Roman Catholics. Radio listening, however, requires no such membership; nor is it a group experience.

The so-called members of the radio audience are separated, often tuning in alone. They are not unlike the anonymous websurfer in their isolation; but, back in the pre-TV era of the 1930s and ’40s, tuners-in were even more remote and less interactive than today’s rovers of the blogosphere. Radio listeners might talk to friends about a certain broadcast; they might even call in or write letters to a station or sponsor; but the interactivity of what has been called “yesterday’s internet” was nonetheless limited.

It was a removal from the public eye that was rather daunting to many performers, especially those coming to radio from the defunct vaudeville circuit. Actors standing behind the microphone in an empty, austere studio might have thought something like this (you’ve got to have some rhyme in a Corwin inspired primer):

An audience before you
Is easy to assess:
Folks sneer, snore or adore you,
Respond as you address.

It’s not so for the speaker
Behind the microphone;
The limelight sure seems bleaker
Faced millionfold alone.

This sense of isolation from the public made stage-trained performers reluctant to step into the theater of the mind. A notable exception was the great Alla Nazimova, an actress who very much embraced the opportunity to dis-appear on the air. “Always,” she confessed to the delight of a decidedly catty reviewer of one of her radio performances, “I have hated audiences. Always!”

Producers and sponsors of radio entertainment were concerned about the medium’s missing group dynamic. What would induce listeners at home to sit still during commercials, let alone purchase the articles advertised? To create this sense of a shared experience, broadcasters resorted to some aural trickery that has shaped television and influences it to this day.

I am referring, of course, to the “live studio audience.” In the 1930s and ’40s, most radio broadcasting was live; and it was widely believed that radio plays would sound even more like live entertainment, or at any rate more lively and interactive, if spectators were to come to the studio to howl and clap on cue.

There was considerable dispute over this definition of “live audience” as referring to studio visitors who could testify—through laughter and applause—that a certain performer truly was there, appearing in the flesh for some to see while dematerializing as sound for all to hear.

As I discuss it in Etherized Victorians, my study on old-time radio, those who believed in the autonomy of radio drama as an art very much resented this spectacle approach to soundstaging, which gave listeners at home the impression that they were not witnessing the real thing because they never got to see the stars performing for them.

In a statement read at the close of the Campbell Playhouse presentation of Liliom (22 October 1939), Helen Hayes reminded listeners that a program barring spectators was

a real radio show, produced for the air, without a stage, without a curtain, without an audience in the studio. It allows the producer to produce and the actors to act for their real radio audience, for those millions of listeners sitting at their radio sets in their own homes all over the country.

Today, of course, “live studio audiences” in the age of time-delayed transmission and laughtrack accompaniment are neither truly live nor, for the most part, present in the studio. Given such progress, could I be hearing a chorus of disapproval?

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On This Day in 1941: Radio Listeners Get a "Primer" on Their Favorite Pastime

Well, I really ought to have it checked. My memory, I mean. Here I am celebrating the wonders of old-time radio and plum forgot the birthday of the medium’s foremost writer. Poet-journalist Norman Corwin turned 96 yesterday. He had been on my mind, however, since today, 4 May, marks the 65th anniversary of one of his most enjoyable pieces for microphone and antennae: his Radio Primer. Here is how it opens:

Soloist: This is a Radio Primer. 

Quartet: Fa la, fa la, fa la. 

Soloist: The most elementary show you’ve heard 

Quartet: By far, by far, by far. 

Soloist: An alphabetical primer. 

Quartet: A, B C, D; F, E; 

Soloist: Degree by degree, 

From A to Z 

Our Primer will prim 

The radio industry! 

Quartet: The ra-di-o in-dust-ry!

In Corwin’s “Primer,” the letter A stands for “announcers” (the suave voices that cajoled listeners with invitations like “Why not try? Have you ever wondered? Won’t you ask?”). Announcers were the most highly paid men in the business, precisely because radio was business, and the announcer served as a mediator between the sponsor footing the bill for entertainment and the listeners who were expected to express their gratitude by buying the products advertised. The announcer’s spiel linked the commercial, which he read, with the play he introduced or narrated.

Manipulative, you say? Sure, but at least the audience was given a choice to resist such temptations, free of charge, whereas today, in the post-broadcasting age of cable and satellite, we are forced to pay for it all—including the dubious privilege of receiving the commercials.

B, according to Corwin’s “Primer,” stands for “Breakfast food.” What’s that got to do with radio, you ask? Clearly, after 65 years, some footnotes are in order. The radio industry was practically running on soap suds and cereals back then. After their mothers (and quite a few male listeners who may not have had the guts to admit to it) had tuned in for another chapter of their favorite daytime soap operas, the kids returned home from school for their daily bowlful of serial adventure, which, with some justice, might have been called afternoon cereals. Thanks to the sponsor’s spokesmen, Corwin’s “Definer” reminds us, children all across America knew that “Breakfast food is what you have to eat before you can be a hero.”

Another entry in the “Primer” is a gentle mockery of radio’s most notable ham. Yes, “O stands for Orson”: “Who is Orson? What is he, / That all the critics hail him? / Holy terror of the Mercury, / Publicity doth trail him.” And V, of course, stands for the trade paper that was a must for everyone in the industry. I’ve read it myself for years—or tried to decipher it—until I came to the conclusion that, not being in the biz, I really couldn’t justify my weekly fix of nixed polysyllabics like this:

The cinema is Pix.
The hinterland is Stix,
The people there are Hix,
And critics all are Crix.

Fa la, fa la, fa la. I’ve got it in my ears now, that eminently hummable score by Lyn Murray, one of radio’s most versatile composers. Indeed, I am so cheered and inspired by Corwin’s musical perusal of the dictionary that I will inaugurate my own “Old-time Radio Primer” tomorrow. I shall endeavor to go through the alphabet, letter by letter (if not as a daily, so perhaps as a weekly feature of the broadcastellan journal), and looking forward to the lexical challenge. Any suggestions? A and B are already accounted for, but there are a lot of letters left to mull over . . .

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On This Day in 1937: Claudette Colbert Gets Her “Hands” on Lombard’s Part

Well, we’ve all got them, I guess. Those lists of favorite books, or blogs, or breakfast cereals, or some such itemized accounts of our current predilections. They are supposed to tell others something we deem important about ourselves at some point of our lives; but, looked upon in retrospect, they can become a revelation to us, confronting us with time capsules of our likes, longings, and limitations. Here, for instance, are the top three entries on a list of all-time favorite movies as I compiled it back in 1986:

  1. Holiday (George Cukor; 1938)
  2. Hands Across the Table (Mitchell Leisen; 1935)
  3. Fade to Black (Vernon Zimmerman; 1980)

Now, I have not seen Fade to Black since the 1980s. It is a slasher movie for cinemaniacs, which is why I could identify with it back then. For reasons I did not yet fully comprehend, I was drawn, fairly early in my life, to the films and figure of Mitchell Leisen, a tremendously successful designer-director, but not a particularly well-remembered or highly regarded craftsman nowadays.

Claudette Colbert and Joel McCrea
on Lux Radio Theatre

Hands Across the Table is a simple you-can-have-your-beefcake-and-eat-it romance starring Carole Lombard as a penniless manicurist, Ralph Bellamy as a rich invalid who’d like to get his hands on her, and Fred MacMurray as a carefree man-about-town with dubious work ethics who eventually sweeps her off her feet. That pretty much sums it up—unless, of course, I’d have to explain the feeling of being torn between having my nails polished by gorgeous Lombard and running my fingers through MacMurray’s hair.

On this day, 3 May, in 1937, Hands Across the Table went on the air in an adaptation produced by that most prestigious and popular of radio theatricals, the Cecil B. DeMille hosted Lux Radio Theatre. It was this series, along with my love for 1930s and early 1940s screwball comedies that got me interested in old-time radio.

Once you have exhausted the classics, you will find a worthwhile substitute in American radio programs like Lux, which give you not only an opportunity to catch a different reading of films so familiar to you that they play before your mind’s eye, but also allow you to re-imagine them with alternate casts.

What, for instance, if Suspicion had starred Olivia de Havilland, rather than her sister, Joan Fontaine? How would Barbara Stanwyck or Ida Lupino fare in Merle Oberon’s role as Cathy in Wuthering Heights [thanks to André Soares for editing]? And what, if anything, could Loretta Young do when called upon to take over for Bette Davis in Jezebel? It all happened on the Lux program.

In Lux‘s audio version of Hands Across the Table, Carole Lombard’s role was performed by Claudette Colbert, who would later be Leisen’s leading lady in Midnight (1939). It was Colbert’s fourth appearance on the show, whose sponsors not only paid handsomely for such brief encounters with the microphone (up to $5000 for top-notchers), but also promoted the stars’ movie careers (by mentioning, in Colbert’s case, the upcoming releases I Met Him in Paris and Tovarich).

Heard in the Fred MacMurray part is Colbert’s Palm Beach Story co-star Joel McCrea (pictured above, with Colbert, reading the “Hands Across” script). Introducing the two leads, showman DeMille credited himself with their discovery:

Greetings from Hollywood.  Tonight’s event, with its glittering stage, its scientific wizardry that carries our voices to all corners of the earth and its audience of millions is a thing that I couldn’t have predicted when I first knew Claudette Colbert and Joel McCrea.  The Lux Radio Theater was then as remote from Hollywood as the moon.  But I predicted the eventual triumph of these two young people and was privileged to contribute to it.  I gave Joel McCrea his first motion picture contract.  Claudette was not then the favorite of millions, allowed to choose her stories, directors, and writers. The studio insisted I give her a dialogue test before casting her.  I did—and starred her in The Sign of the Cross and Cleopatra.

For the privilege of putting her hands on Lombard’s part—and the generous remuneration on the table—Colbert was obliged to declare that they had touched nothing but Lux toilet soap ever since her first appearance on the New York stage (in the 1920s). As I put it in Etherized Victorians, my doctoral study on old-time radio, it was all a matter of one hand washing the other.

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On This Day in 1951: A Radio Sitcom Is Cited by the Chamber of Commerce

Well, I can’t say that I have been, lately. Well, I mean. My digestive system is on the fritz, and my mood is verging on the dyspeptic. So, if I am to begin this entry in the broadcastellan journal with “Well”—as I have so often done these past six or seven months—it must be a brusque and slightly contentious one, for once. My jovial, welcoming “Well,” by the way, was inspired by Paul Rhymer’s Vic and Sade, a long-running radio series whose listeners were greeted by an announcer who, as if opening the door to the imaginary home of the Gook family, ushered in each of Rhymer’s dialogues with expositions like this one:

Well, sir, it’s a few minutes or so past eleven o’clock in the morning as our scene opens now, and here in the kitchen of the small house half-way up in the next block we discover Mrs. Victor Gook industriously bending over her ironing-board. Tuesday is the time usually given over to this task, but the holidays have more or less thrown Sade off schedule. And so she irons. But there’s a newcomer approaching apparently . . . because the back door is opening. Listen.

Writing my introductions, I chose to omit the gendered address; but I hope to have retained the friendly, casual tone of the interjection.

Now, Vic and Sade was one of those shows that did not successfully transition to the radio format that became such a staple of television entertainment: the situation comedy or sitcom. Rhymer was a raconteur, not a dramatist; he allowed his characters to reveal something about themselves through their words, rather than their actions. If you, like me, enjoy the Golden Girls, imagine Rose, Blanche, Dorothy and Sophia sitting around the kitchen table, telling stories about St. Olaf, the old South, Brooklyn and Sicily—without the dramatized flashbacks. The situation comedy became popular in the mid-1940s; and it did away with the old vaudeville routines, the minstrel shows, and the quietly funny Americana in which Rhymer excelled.

On this day, 2 May, in 1951, one of the finest American radio sitcoms was being honored in Washington, where the cast performed before members of the Chamber of Commerce. The program, which had just received the prestigious Peabody Award, was the aforementioned Halls of Ivy, and the cast was led by Ronald Colman (as William Todhunter Hall, the president of an imaginary American college) and his wife, Benita Hume (as the academic’s refreshingly non-academic spouse, a former stage actress). What made The Halls of Ivy worthy of such accolades was writer-creator Don Quinn’s ability—and the sponsor’s willingness—to tackle a number of social problems, whether topical or universal.

In the spring of 1951, that problem was the Korean War and the resentment with which the draft was greeted by college students who believed to have had their future mapped out for them and now found their careers derailed, their very lives in danger. On Halls of Ivy, the resulting campus unrests were dealt with in a rather tentative and sentimental manner; but Quinn’s sophisticated prose—peppered with smart puns, metaphors, and literary allusions no other radio or television sitcom can hope to rival—make this a worthwhile entry in the annals of Ivy.

Asked to speak before the members of the Chamber of Commerce, Colman had this to say about his radio role (which he later performed on television):

I want to thank you for being such an appreciative audience and for accepting me as a college professor. Come to think of it, I can’t be too bad at that because, I believe, I am probably the only college professor in the country that can take a difficult problem and solve it in exactly half an hour. More that this, I can do it every week.

Highlighting the strength of the program, Colman was also pointing out its weakness. Today, in the post-Seinfeldian era of social irresponsibility in entertainment, the problem sitcom strikes many as simplistic and hypocritical. Of course, most of us fail to express our cynicism and anti-social rants nearly as eloquently as any of the makeshift wisdom shared by The Halls of Ivy.

Realism may lie well beyond the scope of witticisms and sentiments—but the monosyllabic insult and the actions-speak-louder-than-words approach to problem solving contribute even less in the shaping of a better reality for us all.

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On This Day in 1949: US Listeners Are Transported to Mexico

Well, it might just make it after all. Our elm tree, that is. It was uprooted and replanted over a year ago and did not take kindly to the forced relocation. This morning, when I replenished the bird feeder that dangles from its bare branches, I noticed a few tentative buds. Encouraged by those signs of life, I am going pay more attention to this horticultural casualty over the next few weeks. The uprooted and transplanted don’t always adjust well to their new environs. Sometimes, they seem altogether out of place. Take Miss Marple, for instance.

Last night, a new dramatization of Agatha Christie’s Sittaford Mystery premiered on British TV channel ITV1. Now, what was Miss Marple doing at Sittaford? She sure wasn’t sent there by her brainmother, who created Sittaford without Marple in mind.

Nothing quite fits together in this adaptation, which tries to update Christie’s early 1930s séance mystery with noirish touches and hard-boiled wit. Transport the story into the 1950s, throw in an ex-James Bond (Timothy Dalton), a dash of Indiana Jones, a taste of not-so-sweet honey (an enigmatically skeletal Rita Tushingham), and some hints at lesbianism—and, voila (now I am being Poirot), you’ve got yourself a caper with a serious identity crisis.

I have always been driven by and torn between two impulses: to stick to what I know and try to stay away from it. The familiar can be comforting and reassuring. In my readings, for instance, or in my appreciation of drama, I tend to be downright Victorian in my tastes. As much as I was intrigued by the story of (or behind) Bennett Miller’s Capote, with which I caught up this weekend, I would have preferred it to be a little less analytical. I did not get to feel for or identify with any of the characters, as fascinated as I was by the situation in which they found themselves.

Miller seems to have taken a Terrence Rattigan approach by trying to concretize ideas rather than plots and characters. Such attempts are, perhaps, best left to essays, writings in which blossoming ideas are more likely to reach maturity and take root in the mind of an audience to whose efforts in abstraction any singled-out specifics might be distracting.

And yet, the familiar can also be stultifying and stifling, making the getting away from it seem a matter of life and death. On this May Day—the celebration of spring and renewal, that, not altogether inappropriately, shares its name with the internationally recognized distress call—I am looking westward, toward my former home, observing how the subject of immigration develops in the country of immigrants, and how US-Mexican relations received yet another blow, as millions are encouraged to stay away from work or refuse the purchase of US goods. However contentious the subject, it is not one to be avoided; and, rather than being a vehicle for escape, old-time radio, once again, serves as a reminder of some of Mexico’s other migratory misfortunes.

On this day, 1 May, in 1949, listeners of You Are There, a series of fictionalized radio documentaries, were given the opportunity to witness the assassination of emperor Montezuma, presumably by his own people. Among the voices from the past “interviewed” for the program, Canada Lee can be heard as an Aztec prince, the oppression of African-Americans being thereby likened to the life of the Aztecs under Montezuma.

Also on mike to give her views of the situation is the emperor’s daughter, who vows to leave Mexico with her husband, the invading Spaniard Cortez: “If the house of my father must be overthrown to deliver my people from hideous darkness, I say let it be overthrown.” That Cortez returns to Mexico to plunder its treasures is offered as a “footnote” at the conclusion of the broadcast.

On that same day, conceited skinflint Jack Benny went down to Mexico (or some Hollywood simulacrum of it, such as the above scene from Masquerade in Mexico) in hopes of a better life—one enriched by foreign gold or by a shiny Oscar—in an irreverent take on The Treasure of the Sierra Madre. He neither succeeded in the quest, nor in its dramatization, but delighted his audience as he died trying.

The radical tourism we label “immigration” has frequently been romanticized as adventurous or trivialized as opportunist; to criminalize it now will do still less to explain, let alone discourage, such wayward and often desperate acts of displacement. I, for one, have not set foot on my country of origin for nearly sixteen years. Anxious to fall away from the family tree, to take root elsewhere or rot, I migrated to New York City. A decade and a half (and some degrees) later, I moved on, to Britain, a country that seems stranger to me than I had anticipated.

Many who leave their native land are not unlike that elm tree in our garden, struggling and unstable; but I know that whatever it is that uproots us must be stronger than that which holds us in place.

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"The Island of Death," the Radioactive Sea, and the Legacy of U235

Well, I wasn’t aware of it when I moved here. Not that such knowledge would have prevented me from moving; but it might have made me more doubtful about my seemingly pristine environs—or about picking the catch of the day from the menu of a local restaurant. The Irish Sea, I mean, and the nuclear waste it contains. Research suggests that the Irish Sea, which separates Ireland from my present home of Wales, is the most radioactive body of salt water on this planet.

Growing up in cold-war Germany, I could conceive of nothing more terrifying than atomic power. My earliest nightmare, which continued to plague me in my pre-pubescence, was of a gigantic bomb. An enormous cannon ball of mass destruction, it was surrounded by a shadowy group of scientists whose proximity to this ominous orb had, to my childish mind, already proven them to be beyond trust and reason.

It was a tableau right out of Dr. Mabuse, or some such German spy-fi horror, reconstructed in the feverish imagination of a troubled child. I have never learned to love the bomb—and never doubted that splitting the atom was nothing short of abject, indefensible madness.

There is no need to conceive of scientists as fiendish or sinister to realize the destructive force of nuclear energy. Whatever the nature of their tamperings with nature, the madmen of melodrama, figures like H. G. Wells’s Doctor Moreau help us cope with our anxieties about scientific experimentation by rendering the unfathomable so grotesque as to classify it as something entirely unrealistic and thus safely distant in the realm of futuristic or fantastic fiction.

On this day, 28 April, in 1947, for instance, one of Moreau’s lesser cousins appeared on US radio’s long-running series of Sherlock Holmes adventures, luring a group of sideshow “freaks” on his remote “Island of Terror” to serve as the guinea pigs for his secret experiments, a study designed to show that the “glandular defects” of his subjects “produce psychological alterations.”

As Holmes endeavored to prove in this decidedly unexceptional piece of run-of-the-mill hokum, truth is “stranger than anything which the mind of man could invent.” Truth is, however, that fanciful ideas may become physical fact, as the inquisitive minds of the few force man-made realities upon the suffering bodies of the many.

In the aftermath of the Hiroshima and Nagasaki bombings, little was known as yet about the long-term effects of radiation, of the cancers and mutations to threaten future generations. Radio dramatist Norman Corwin was among the first to address the tremendous legacy of the Enola Gay and its deadly mission. “Do not smile, do not smile as though knowing better,” he admonished the nonchalant in “Set Your Clock at U235,” a monologue read on 29 October 1945 by Paul Robeson (pictured above, on the cover for a recording of another radio performance).

Corwin asked Americans the uncomfortable question of what was to become of their “dear-bought, blood-begotten, towering, and grave victory”:

The secrets of the earth have been peeled back, one by one, until the core is bare:

The latest recipe is private, in a guarded book, but the stink of death is public on the wind from Nagasaki:

The nations have heard of the fission of the atom and have seen the photographs: skies aboil with interlocking fury, mushrooms of uranium smoke ascending to where angels patrol uneasily.

Perhaps, Corwin had rather too much trust in mythological figures, in those “angels” on “patrol.” He believed—or at least suggested—that the “chemicking that could destroy us, together with our pots and pans and allies, can also do as bidden by us: outperform whole teams of genii: be servile to the meek: reform our wayward systems peacefully.”

The nuclear disasters of the 1970s and ‘80s should have convinced us that the genii do not feel in any way obliged to “do as bidden by us.” Here, science must be content for once to play itself out on paper. To keep those determined to doctor with or deal in that most lethal of Promethean sparks enchained on the rocks of common sense is our debt to future generations. It’s “elementary.”