“I haven’t got a farm; I haven’t even got a windowbox,” the magazine columnist admits, when she realizes her habit of spinning fables about country living may destroy her career — just in time for the holidays.
The original stars of the 1945 movie, Dennis Morgan and Barbara Stanwyck, either never got to recreate their roles in front of a radio studio audience, or the transcription recordings haven’t made their way to collector-supplied online archives.
“Mr. & Mrs. North” was a long-running husband and wife detective series in books and radio, reminiscent of the “Thin Man” movie series.
The Internet Archive holds about 80 episodes from the 12-year run of the series, but collector J.David Goldin’s plot summaries only mention one with a journalist character, “The Heavenly Body.”
A Winchell-like newspaper columnist is featured in the tale, possibly offering to suppress one story in exchange for a better tip. He’s arrogant — and risking his life, since his last column involves an old murder and a bunch of folks who still carry guns.
Would journalism students learn anything from this story? Probably not, beyond “don’t get in deep with murderers.”
“Sorry, I can’t use the story,” is one of columnist Sam Zacary’s lines of dialogue here, but maybe not at the right time.
Soon, there’s a love story about a talented singer, and then a murder or two. Can the Norths sort it out? Will there be anyone left to write a headline?
Frontier Gentleman was a high-class radio Western about a London Times reporter sending home dispatches from the American Frontier… frequently about people being dispatched.
In this episode, a colorful lady named Calamity Jane introduces the legendary Wild Bill Hickok to the intrepid reporter J.B. Kendall, played by John Dehner. For anyone familiar with Western lore, the story does not have a surprise ending. But the telling is well done… And the opening draws you in, like a good newspaper “lede.”
“In a card game, aces and eights are known throughout the West as a ‘dead man’s hand.’ There’s a good reason for it, and this is the story of how the hand got its name…”
I may have to update this post and one about the radio version of the more juvenile “Wild Bill Hickok” TV series if I find time to browse through an intriguing new book about Hickok’s career in Western legends, pulp fiction, and Hollywood iconography: Imagining Wild Bill, by my former University of Tennessee colleagues, Paul Ashdown and Ed Caudill.
As their publisher’s website summarizes:
“When it came to the Wild West, the nineteenth-century press rarely let truth get in the way of a good story. James Butler “Wild Bill” Hickok’s story was no exception. Mythologized and sensationalized, Hickok was turned into the deadliest gunfighter of all, a so-called moral killer, a national phenomenon even while he was alive.
“Rather than attempt to tease truth from fiction, coauthors Paul Ashdown and Edward Caudill investigate the ways in which Hickok embodied the culture of glamorized violence Americans embraced after the Civil War and examine the process of how his story emerged, evolved, and turned into a viral multimedia sensation full of the excitement, danger, and romance of the West.”
“Big sister, literary amazon, female abolitionist, why you can’t be up to the five-foot mark… I was good and scared after all we heard about you, Jane…”
That’s her brother-in-law talking, before she learns about a Missouri slave owner who has been bringing his slaves north to work his property. The brother-in-law just happens to own a printing press, which is the beginning of some dramatic confrontations and an emotional conclusion.
The story is based on an episode in Swisshelm’s life reported in the 1950 book Female Persuasion: Six strong-minded women by Margaret Farrand Thorp.
In the Cavalcade episode, Swisshelm is played by Ruth Hussey, whom newspaper-movie fans may know as the independent-minded photojournalist in the The Philadelphia Story, which was also adapted for radio several times, at least once with Hussey recreating her Academy-Award-nominated role.
Note: Thanks to Radford University Professor Bill Kovarik and his students for inviting me to talk about “JHeroes: Newspaper Heroes on the Air” in class today, which set me off editing pages and reviving broken links, and discovering I had never given this episode a Cavalcade a space of its own, but made it a long section of a page about women profiled in the series, most of whom I had already written about elsewhere.
“Five-Gun Final,” an episode of “Frontier Town,” finds a wild west lawyer hero and his W.C. Fields sound-alike sidekick investigating a new newspaper that is trying to put the responsible competition out of business through the 19th century equivalent of insider stock-market information.
It’s a pretty good mystery at the start … with gun-toting Atty. Chad Remington looking for an apparent leak in the news flow. Telegraphed out-of-town livestock prices are showing up in the “Dobe City Democrat” before they are printed by its competition, “The Independent” — whose correspondents gathered the cattle sale info in the first place. His solution: A couple of attempts at fake news to trap the opportunistic publisher.
With only a half hour to tell the tale, there is not a lot of character development beyond the cliches of the dedicated editor, his pretty daughter, and a printer who — surprise — drinks. These won’t surprise anyone who has listened to other programs where the Western genre crosses trails with the newspaper drama. The story even has a couple of red herrings and a bar room scene, but not much surprise at the end. Still, it does argue for the importance of newspapers as a source of information even on the cattle trail.
The announcer’s scene-setting opening speech for “Frontier Town,” given over rising chords from a studio organ, is also reminiscent of the intro to early episodes of “Big Town” a decade earlier… Paul Franklin also had a hand in that series.
In “Big Town” every episode had a newspaper focus, while in “Frontier Town” this is the only newspaper story mentioned in Goldin’s plot summaries at Radiogoldindex.com
The audio recording above is from the old time radio collection of Frontier Town episodes at the internet archive. If you are a fan of this series and run into other episodes mentioning newspaper editors or reporters, please let me know!
It’s not every dabbler in journalism who uncovers a murder, reports the crime despite a threat to his life, then goes on to get a doctorate from Harvard and years later win the Nobel Peace Prize, like Ralph Bunche.
“See here kid you’re valedictorian of your high school, but that don’t mean a thing on a newspaper… I know, I know you’ve got some fool notion about studying government and political science… Concentrate on being a good cub reporter… go around the suburbs and pick up anything your valedictorian soul regards as news… In a few years you’ll understand more about how the government really runs than all the books in the world can teach you.”
But then on a quiet road he discovers a corpse. And recognizes the vigilantes who killed the man. He tells his editor, who is afraid to handle the story. The dead man was Jewish, and the editor tells Bunche, “If I printed that they’d bust up my newspaper in no time… There’s sort of a gentleman’s agreement about things like this… Just keep your mouth shut. You’re colored; they’ll get you next.”
(Clever bit of media name-dropping. This 1949 broadcast wasn’t too long after the Academy Award winning film and radio adaptations of the book “Gentleman’s Agreement.”)
In the radio story, Bunche goes to the police, the criminals are caught and convicted. He even gets to meet the mayor, who gives him a $1,000 award from the citizens of Los Angeles to further his studies, with a heavy hint that he should become a precinct captain instead.
In the end, what did he get out of journalism?
“The newspaper job had made him more certain that he had to learn why there was one rule for the majority and another for the minority.” And on to Harvard. Or so says the radio drama.
In fact, the newspaper-reporter murder-story anecdote about Ralph Bunche in this broadcast doesn’t even appear on his Wikipedia Page, unless it was a reference to his UCLA school paper. Or maybe there’s just too much to say about his later accomplishments. Wikipedia does mention his later almost-journalistic work as an investigative researcher on Swedish sociologist Gunnar Myrdal’s landmark study of racial dynamics in the U.S., An American Dilemma. And of course his distinguished career at the U.N., which led to that Nobel Prize in 1950.
The next time I’m at a library, I’ll do a little more looking into that murder story in more authoritative biographies. But even if some dramatic liberties were taken, it sure makes for good radio-drama!
“New World A-Coming” was a New York radio station WMCA series begun during World War II, based on a book by the same name by journalist Roi Ottley, exploring issues of patriotism and racial prejudice in the United States… including acts of discrimination at home against black American servicemen.
At least two 1944-45 episodes focused on journalists, one describing the African-American press, and the other dramatizing a black reporter’s dangerous assignment covering a trial in the segregated South.
“The Story Behind the Headline in the Negro Press” (April 23, 1944)
“The Negro Reporter” (March 25, 1945):
— — —
Forty-seven episodes of the radio series are available for streaming or downloading at the Internet Archive: New World A-Coming
Plenty of communication media here, as Hopalong Cassidy and his comedy sidekick California track The Bandit of Blackton Bend … The crime is a Post Office robbery and murder, while the editor of the financially-troubled local newspaper is too ready to jump to conclusions.
This 1951 Hopalong Cassidy radio adventure reminds me of his TV series and movies, and all the Hopalong Cassidy merchandise my parents spoiled me with when I was little. Including a Hopalong Cassidy milk glass and cocoa mug that are still in the kitchen cabinet somewhere.
William Boyd, who played the sixgun hero, was a pioneer of media marketing, merchandising and personal branding, which I remember seeing written up in one of the communication research academic journals when I was in graduate school.
With its commercials already removed (or not yet inserted), this archived broadcast is only 27 minutes, with more action than character development… a saloon fight, an explosion, the robbery, a posse pursuit, and even some history along the Oklahoma-Texas border. That echoes a more famous tale of a newspaper family on the Oklahoma frontier, “Cimarron,” the Edna Ferber novel and Academy Award winning film. It was filmed a second time and even adapted for radio more than once.
Like the Oklahoma land rush editor in “Cimarron,” Hopalong Cassidy’s young editor friend Matt Hardesty is rumored to be good with a gun and his fists… But Hoppy knows the editor was injured in a fall from a horse recently and may not be up to a brawl when a local troublemaker and hired gun try to start something.
Meanwhile, editor Hardesty’s father, founder of the paper, worries that he hasn’t made life easy for his son — leaving him a struggling business by writing too many impatient editorials, trying to civilize the frontier town.
“I’ve begun to realize that reform editorials can cost a paper friends and business,” the old newsman says.
Perhaps his troubles take their toll when the discouraged man breaks confidence with the sister of a wanted man, accused of a previous postal heist. She was trying to get Hopalong to bring him in for trial safely, sure that he was innocent of the first charge. Will the newspaper and a posse put out a dead or alive search for the wrong man? Not if Hopalong Cassidy can do something about it.
This is a 1951 Saturday morning style cowboy-show adventure, not one of radio’s later adult westerns like “Gunsmoke,” but the ethical issues are pretty serious… and, as usual, the program is an example of all kinds of radio series reminding their listening audience of the existence of newspapers out there in the real world, sometimes trying to make a difference, and sometimes making mistakes.
A newspaper takes on the dangers of coal mining — and the power of the local mine owner, a banker who threatens a takeover of the newspaper, in this vintage 1940 episode of Big Town, “Deep Death.” (Click the title to play or download an mp3 of the full episode.)
“Two more men die in Big Town mines” is the headline editor Steve Wilson fires across the bow of local mine owner and banker Dave Campbell after a dramatic coal-car wreck in the opening scene.
While later years of the series turned Wilson into a two-fisted crime-fighter, in this episode he is brave and tough-minded about fact-based and first-hand reporting. He lectures a reporter with statistics from an industry yearbook, accusing the owner of running an unsafe mine, with a fatal accident rate three times the national average. Before the end, he is down in the mine himself as part of a rescue team.
Wilson is played by Hollywood star Edward G. Robinson, who created the series in 1937, playing Wilson as a sensational tabloid editor who turned his scandal sheet into a “reform” newspaper, with the help of the paper’s society editor (Claire Trevor). She becomes an investigative “sob sister” in this episode, getting stories about life in the tumble-down shacks of an impoverished “company-town.” Soon, she is interviewing miners’ wives while their husbands are trapped below after another explosion and cave-in.
The dialogue is rapid, getting a lot of story into its half hour. The third-generation mine owner is still running the “company town” and mine his grandfater’s way; his mining-engineer son has new ideas.
The radio script pulls its punch a bit with disclaimers about “the vast majority” of modern mines being safe… but on the way to the conclusion we get some gritty reporting. The company police smash a news photographer’s camera, then there’s the economic attack on the newspaper, and eventually we hear the voices of wailing wives above and trapped miners crying and praying below.
Editor Wilson volunteers to join the young mining engineer’s rescue crew. Not a miner, his job includes carrying the small creatures that will detect gas in the tunnel. (That “canary in a coal mine” role actually falls to some white mice.)
Few of Robinson’s Big Town episodes are “in circulation” as online mp3s, but most include some real newspaper-work scenes and ethical decision-making, like this one from the Old Time Radio Researchers Group library. In “Deep Death” we even get some dialogue about a story being worth “only two sticks,” jargon that dates back to the days of hand-set type, a paragraph or two at a time.
Robinson starred for five years, leaving the series during World War II. Later, the revised series became a long-running hit, taking more of a crime-fighting turn, with the editor using his wits and fists more than his typewriter and pen. Movies and a comic book followed, running into the 1950s.
“Big Town” also acquired a stirring newspaper-hero invocation at the beginning of each program, “The power and the freedom of the press is a flaming sword; that it may be a faithful servant of all the people, use it justly. Hold it high. Guard it well!”— Edward J. Pawley as “Steve Wilson, fighting managing editor” of the Big TownIllustrated Press.
For more about the series, see my Big Town overview page, written a few years ago and still subject to change as a continual “work in progress,” unlike the daily miracle of a printed newspaper.
“Guest Wife” was a 1945 film and corresponding Lux Radio Theater production, with foreign correspondent Don Ameche returning from India to collect something like a Pulitzer Prize.
Unfortunately, as ethical as his reporting from India may have been, he has woven a web of deceit with his boss by creating a fictional wife in a series of not-for-publication letters, some of them praising the reporter to high heaven. To survive the New York visit with his boss, he enlists best friend Dick Foran’s wife — whose picture he had sent to the boss.
Ameche and Foran recreated their movie roles on the radio, while Olivia de Havilland got the title role that had been filled by Claudette Colbert in the movie.
Not much about journalism ethics here, although there’s quite a bit about the journalist as ethical risk-taker on a personal level, and about the hazards of marrying one of those guys.