1001 Radio Crime Solvers

HE NEW ADVENTURES OF NERO WOLFE Nero Wolfe first appeared on radio on July 5, 1943 on the NBC Blue Network in The Adventures Of Nero Wolfe. This series didn't last long and starred Santos Ortega as Wolfe and Luis Van Rooten as Archie. The second series was during 1945 on the Mutual network in The Amazing Nero Wolfe. This lasted only until December 15, 1946 and starred Francis X. Bushman and Elliot Lewis as Archie. The third series was known as The New Adventures of Nero Wolfe. Starting on October 20, 1950 it lasted only until April 27, 1951. It starred Sidney Greenstreet as Nero Wolfe. The part of Archie was played by Lawrence Dobkin for the first twelve shows. Gerald Mohr took over for the next four shows after making a guest appearance in the twelfth show. Harry Bartell was Archie for the remainder of the series. Nero Wolfe, also known as the galloping gourmet, was an armchair detective. He rarely left the house; instead his assistant, Archie Goodwin, would collect the facts and report back. Nero Wolfe would probably not have taken on many cases had he not needed the clients' money to pay for his two true passions: fine food and the collecting of orchids. Archie Goodwin, Wolfe's male secretary, prodded him into taking cases whenever the bank balance got a little low. Wolfe, as a character, is difficult to like. He's a self-assured type that does nothing unless he wants to, making his assistant, Archie Goodwin, deal with the outside world. The New Adventures of Nero Wolfe is based on a series of books begun in 1934 by Rex Stout. There were two previous incarnations of the radio series: The Adventures of Nero Wolfe which ran in 1943 and 1944 and The New Adventures of (aka The Amazing) Nero Wolfe which ran in 1945 to 1946. Very few episodes from these earlier series are in circulation today. There was also one later series created by the Canadian Broadcasting Company in 1982.

This upload contains 88 episodes of the Old Time Radio program, Gang Busters.  The show, a police-based dramatic crime anthology, ran from 1935-1957 and focused on dramatizing crimes from police files.  The show also broadcast alerts, known as Gang Buster Clues, of suspects wanted by police around the country.  Sadly only a limited number of episodes are known to survive

Revival A young Bob Bailey (1937) CBS Radio revived Yours Truly, Johnny Dollar in October 1955 with a new leading man, a new director, and a new format. The program changed from a 30-minute, one-episode-per-week program to a 15-minute, five-nights-a-week serial[2] (Monday through Friday, 8–8:15 pm EST) produced and directed by radio veteran Jack Johnstone. The new Johnny Dollar was Bob Bailey, who had just come off another network detective series, Let George Do It. With a new lead and 75 minutes of air time each week, it became possible to develop each storyline with more detail and with more characters. Almost all of the Johnny Dollar serials were presented by CBS Radio on a sustaining basis (unsponsored, with no commercials); only two of the 55 serials take time out for a sponsor's message. Bob Bailey was exceptionally good in this format, making Johnny more sensitive and thoughtful in addition to his other attributes. Vintage-radio enthusiasts often endorse Bailey as the best of the Johnny Dollars, and consider the 13-month run of five-part stories to be some of the greatest drama in radio history.[8] The serial scripts were usually written by Johnstone, "John Dawson" (a pseudonym for E. Jack Neuman), Les Crutchfield, or Robert Ryf. The show was always produced and directed by Johnstone. Under his "John Dawson" pseudonym, Neuman reworked several of his scripts from the John Lund period, expanding and/or combining them into scripts for the serial format. The show featured a stock company of supporting actors, including Virginia Gregg, Harry Bartell, Vic Perrin, Lawrence Dobkin, Stacy Harris, Parley Baer, Howard McNear, John Dehner, Barney Phillips, Lillian Buyeff, Tony Barrett, Don Diamond, Alan Reed, and Forrest Lewis. Movie character actors appeared occasionally, including Jay Novello, Hans Conried, Frank Nelson, Leon Belasco, William Conrad, Edgar Barrier, Jeanne Bates, Gloria Blondell, and Billy Halop. In late 1956, CBS Radio retooled the show, which reverted to a weekly half-hour drama, airing on late Sunday afternoons. Bob Bailey continued in the leading role until 1960 and wrote one episode, "The Carmen Kringle Matter," under his first and middle names (Robert Bainter). Staff announcer Dan Cubberly introduced the program during the Edmond O'Brien run; Roy Rowan was the announcer for the first two years of Bob Bailey's run; he also was an announcer on CBS's I Love Lucy. In "The Laird Douglas Matter," Roy Rowan was written into the script as dog-show expert "Ray Roland." In 1957, Rowan was succeeded by Dan Cubberly, returning to the series.

Revival A young Bob Bailey (1937) CBS Radio revived Yours Truly, Johnny Dollar in October 1955 with a new leading man, a new director, and a new format. The program changed from a 30-minute, one-episode-per-week program to a 15-minute, five-nights-a-week serial[2] (Monday through Friday, 8–8:15 pm EST) produced and directed by radio veteran Jack Johnstone. The new Johnny Dollar was Bob Bailey, who had just come off another network detective series, Let George Do It. With a new lead and 75 minutes of air time each week, it became possible to develop each storyline with more detail and with more characters. Almost all of the Johnny Dollar serials were presented by CBS Radio on a sustaining basis (unsponsored, with no commercials); only two of the 55 serials take time out for a sponsor's message. Bob Bailey was exceptionally good in this format, making Johnny more sensitive and thoughtful in addition to his other attributes. Vintage-radio enthusiasts often endorse Bailey as the best of the Johnny Dollars, and consider the 13-month run of five-part stories to be some of the greatest drama in radio history.[8] The serial scripts were usually written by Johnstone, "John Dawson" (a pseudonym for E. Jack Neuman), Les Crutchfield, or Robert Ryf. The show was always produced and directed by Johnstone. Under his "John Dawson" pseudonym, Neuman reworked several of his scripts from the John Lund period, expanding and/or combining them into scripts for the serial format. The show featured a stock company of supporting actors, including Virginia Gregg, Harry Bartell, Vic Perrin, Lawrence Dobkin, Stacy Harris, Parley Baer, Howard McNear, John Dehner, Barney Phillips, Lillian Buyeff, Tony Barrett, Don Diamond, Alan Reed, and Forrest Lewis. Movie character actors appeared occasionally, including Jay Novello, Hans Conried, Frank Nelson, Leon Belasco, William Conrad, Edgar Barrier, Jeanne Bates, Gloria Blondell, and Billy Halop. In late 1956, CBS Radio retooled the show, which reverted to a weekly half-hour drama, airing on late Sunday afternoons. Bob Bailey continued in the leading role until 1960 and wrote one episode, "The Carmen Kringle Matter," under his first and middle names (Robert Bainter). Staff announcer Dan Cubberly introduced the program during the Edmond O'Brien run; Roy Rowan was the announcer for the first two years of Bob Bailey's run; he also was an announcer on CBS's I Love Lucy. In "The Laird Douglas Matter," Roy Rowan was written into the script as dog-show expert "Ray Roland." In 1957, Rowan was succeeded by Dan Cubberly, returning to the series.

Gang Busters is an American dramatic radio program heralded as "the only national program that brings you authentic police case histories." It premiered on January 15, 1936 and was broadcast for more 21 years through November 27, 1957.[1] History Magazines of the true crime variety were highly popular in the 1930s and the film G Men starring James Cagney, released in the spring of 1935, found a large audience. Producer-director Phillips H. Lord believed that there was a place on radio for a show of the same type. To emphasize the authenticity of his dramatizations, Lord produced the initial radio show, G-Men, in close association with FBI director J. Edgar Hoover, who was not favorable to the idea of such a program, but U. S. attorney general Homer Stille Cummings contributed his full support.[2] Phillips H. Lord created the radio series. G-Men dramatized FBI cases, but Hoover insisted that only closed cases would be used. Hoover also demanded that he or a top-level aide review and approve every script. Hoover preferred that scripts downplay gunfights and car chases and spend more time on systematic investigation and legwork, with agents depicted as intelligent, hard-working and essentially faceless cogs in his technically savvy crime-fighting organization.[2] Those restrictions hampered Lord, who saw his creation as a public service, but one that had to entertain as well as inform. The first program dramatized the story of the notorious gangster John Dillinger,[3] who was pursued and killed by FBI agents in 1934. The second covered Lester Joseph Gillis, a.k.a. Baby Face Nelson. Although the shows were a hit with the general public, some[who?] deplored this sensational new style of radio show. Hypersensitive to any criticism, Hoover proved difficult for Lord and almost squelched the project altogether.[4] G-Men, using only FBI cases, was subject to Hoover's whims and restrictions. Gang Busters, however, featured interesting and dramatic crimes from the files of law-enforcement organizations all over the country.[2] G-Men aired on NBC Radio from July 20 to October 12, 1935, sponsored by Chevrolet. The second series of Gang Busters programs debuted in mid-January 1936. The opening sound effects became even more elaborate and aggressive,[5] including a shrill police whistle, convicts marching in formation, police sirens wailing, machine guns firing and tires squealing. An authoritative voice would then announce the title of that night's program, followed by more blasts from a police whistle. This intrusive introduction led to the popular catchphrase "came on like gangbusters." Joan Banks was a regular cast member of the radio series. To lend an extra air of authenticity to the presentation, Lord had Norman Schwarzkopf Sr., former head of the New Jersey State Police, deliver a brief introduction to lead into the actual dramatization.[5] That authentic voice became even more important after Lord ended his connection with the FBI. After about 1945, New York City police commissioner Lewis Joseph Valentine replaced Schwarzkopf as the authoritative opening speaker.[5] Gang Busters aired on CBS from January 15, 1936 to June 15, 1940, sponsored by Colgate-Palmolive and Cue magazine. From October 11, 1940 to December 25, 1948, it was heard on the Blue Network, with various sponsors that included Sloan's Liniment, Waterman pens and Tide. Returning to CBS on January 8, 1949, it ran until June 25, 1955, sponsored by Grape-Nuts and Wrigley's chewing gum. The final series aired on the Mutual Broadcasting System from October 5, 1955 to November 27, 1957. Gang Busters often featured prominent names in radio broadcasting, many of whom also starred in films and television, including Richard Widmark and Art Carney. Joan Banks, who later played many television roles, was a regular cast member, and her husband Frank Lovejoy also appeared often. Larry Haines was another regular on the show and would later enjoy an extensive career in television soap operas.

Gang Busters is an American dramatic radio program heralded as "the only national program that brings you authentic police case histories." It premiered on January 15, 1936 and was broadcast for more 21 years through November 27, 1957.[1] History Magazines of the true crime variety were highly popular in the 1930s and the film G Men starring James Cagney, released in the spring of 1935, found a large audience. Producer-director Phillips H. Lord believed that there was a place on radio for a show of the same type. To emphasize the authenticity of his dramatizations, Lord produced the initial radio show, G-Men, in close association with FBI director J. Edgar Hoover, who was not favorable to the idea of such a program, but U. S. attorney general Homer Stille Cummings contributed his full support.[2] Phillips H. Lord created the radio series. G-Men dramatized FBI cases, but Hoover insisted that only closed cases would be used. Hoover also demanded that he or a top-level aide review and approve every script. Hoover preferred that scripts downplay gunfights and car chases and spend more time on systematic investigation and legwork, with agents depicted as intelligent, hard-working and essentially faceless cogs in his technically savvy crime-fighting organization.[2] Those restrictions hampered Lord, who saw his creation as a public service, but one that had to entertain as well as inform. The first program dramatized the story of the notorious gangster John Dillinger,[3] who was pursued and killed by FBI agents in 1934. The second covered Lester Joseph Gillis, a.k.a. Baby Face Nelson. Although the shows were a hit with the general public, some[who?] deplored this sensational new style of radio show. Hypersensitive to any criticism, Hoover proved difficult for Lord and almost squelched the project altogether.[4] G-Men, using only FBI cases, was subject to Hoover's whims and restrictions. Gang Busters, however, featured interesting and dramatic crimes from the files of law-enforcement organizations all over the country.[2] G-Men aired on NBC Radio from July 20 to October 12, 1935, sponsored by Chevrolet. The second series of Gang Busters programs debuted in mid-January 1936. The opening sound effects became even more elaborate and aggressive,[5] including a shrill police whistle, convicts marching in formation, police sirens wailing, machine guns firing and tires squealing. An authoritative voice would then announce the title of that night's program, followed by more blasts from a police whistle. This intrusive introduction led to the popular catchphrase "came on like gangbusters." Joan Banks was a regular cast member of the radio series. To lend an extra air of authenticity to the presentation, Lord had Norman Schwarzkopf Sr., former head of the New Jersey State Police, deliver a brief introduction to lead into the actual dramatization.[5] That authentic voice became even more important after Lord ended his connection with the FBI. After about 1945, New York City police commissioner Lewis Joseph Valentine replaced Schwarzkopf as the authoritative opening speaker.[5] Gang Busters aired on CBS from January 15, 1936 to June 15, 1940, sponsored by Colgate-Palmolive and Cue magazine. From October 11, 1940 to December 25, 1948, it was heard on the Blue Network, with various sponsors that included Sloan's Liniment, Waterman pens and Tide. Returning to CBS on January 8, 1949, it ran until June 25, 1955, sponsored by Grape-Nuts and Wrigley's chewing gum. The final series aired on the Mutual Broadcasting System from October 5, 1955 to November 27, 1957. Gang Busters often featured prominent names in radio broadcasting, many of whom also starred in films and television, including Richard Widmark and Art Carney. Joan Banks, who later played many television roles, was a regular cast member, and her husband Frank Lovejoy also appeared often. Larry Haines was another regular on the show and would later enjoy an extensive career in television soap operas.

Gang Busters is an American dramatic radio program heralded as "the only national program that brings you authentic police case histories." It premiered on January 15, 1936 and was broadcast for more 21 years through November 27, 1957.[1] History Magazines of the true crime variety were highly popular in the 1930s and the film G Men starring James Cagney, released in the spring of 1935, found a large audience. Producer-director Phillips H. Lord believed that there was a place on radio for a show of the same type. To emphasize the authenticity of his dramatizations, Lord produced the initial radio show, G-Men, in close association with FBI director J. Edgar Hoover, who was not favorable to the idea of such a program, but U. S. attorney general Homer Stille Cummings contributed his full support.[2] Phillips H. Lord created the radio series. G-Men dramatized FBI cases, but Hoover insisted that only closed cases would be used. Hoover also demanded that he or a top-level aide review and approve every script. Hoover preferred that scripts downplay gunfights and car chases and spend more time on systematic investigation and legwork, with agents depicted as intelligent, hard-working and essentially faceless cogs in his technically savvy crime-fighting organization.[2] Those restrictions hampered Lord, who saw his creation as a public service, but one that had to entertain as well as inform. The first program dramatized the story of the notorious gangster John Dillinger,[3] who was pursued and killed by FBI agents in 1934. The second covered Lester Joseph Gillis, a.k.a. Baby Face Nelson. Although the shows were a hit with the general public, some[who?] deplored this sensational new style of radio show. Hypersensitive to any criticism, Hoover proved difficult for Lord and almost squelched the project altogether.[4] G-Men, using only FBI cases, was subject to Hoover's whims and restrictions. Gang Busters, however, featured interesting and dramatic crimes from the files of law-enforcement organizations all over the country.[2] G-Men aired on NBC Radio from July 20 to October 12, 1935, sponsored by Chevrolet. The second series of Gang Busters programs debuted in mid-January 1936. The opening sound effects became even more elaborate and aggressive,[5] including a shrill police whistle, convicts marching in formation, police sirens wailing, machine guns firing and tires squealing. An authoritative voice would then announce the title of that night's program, followed by more blasts from a police whistle. This intrusive introduction led to the popular catchphrase "came on like gangbusters." Joan Banks was a regular cast member of the radio series. To lend an extra air of authenticity to the presentation, Lord had Norman Schwarzkopf Sr., former head of the New Jersey State Police, deliver a brief introduction to lead into the actual dramatization.[5] That authentic voice became even more important after Lord ended his connection with the FBI. After about 1945, New York City police commissioner Lewis Joseph Valentine replaced Schwarzkopf as the authoritative opening speaker.[5] Gang Busters aired on CBS from January 15, 1936 to June 15, 1940, sponsored by Colgate-Palmolive and Cue magazine. From October 11, 1940 to December 25, 1948, it was heard on the Blue Network, with various sponsors that included Sloan's Liniment, Waterman pens and Tide. Returning to CBS on January 8, 1949, it ran until June 25, 1955, sponsored by Grape-Nuts and Wrigley's chewing gum. The final series aired on the Mutual Broadcasting System from October 5, 1955 to November 27, 1957. Gang Busters often featured prominent names in radio broadcasting, many of whom also starred in films and television, including Richard Widmark and Art Carney. Joan Banks, who later played many television roles, was a regular cast member, and her husband Frank Lovejoy also appeared often. Larry Haines was another regular on the show and would later enjoy an extensive career in television soap operas.

Gang Busters is an American dramatic radio program heralded as "the only national program that brings you authentic police case histories." It premiered on January 15, 1936 and was broadcast for more 21 years through November 27, 1957.[1] History Magazines of the true crime variety were highly popular in the 1930s and the film G Men starring James Cagney, released in the spring of 1935, found a large audience. Producer-director Phillips H. Lord believed that there was a place on radio for a show of the same type. To emphasize the authenticity of his dramatizations, Lord produced the initial radio show, G-Men, in close association with FBI director J. Edgar Hoover, who was not favorable to the idea of such a program, but U. S. attorney general Homer Stille Cummings contributed his full support.[2] Phillips H. Lord created the radio series. G-Men dramatized FBI cases, but Hoover insisted that only closed cases would be used. Hoover also demanded that he or a top-level aide review and approve every script. Hoover preferred that scripts downplay gunfights and car chases and spend more time on systematic investigation and legwork, with agents depicted as intelligent, hard-working and essentially faceless cogs in his technically savvy crime-fighting organization.[2] Those restrictions hampered Lord, who saw his creation as a public service, but one that had to entertain as well as inform. The first program dramatized the story of the notorious gangster John Dillinger,[3] who was pursued and killed by FBI agents in 1934. The second covered Lester Joseph Gillis, a.k.a. Baby Face Nelson. Although the shows were a hit with the general public, some[who?] deplored this sensational new style of radio show. Hypersensitive to any criticism, Hoover proved difficult for Lord and almost squelched the project altogether.[4] G-Men, using only FBI cases, was subject to Hoover's whims and restrictions. Gang Busters, however, featured interesting and dramatic crimes from the files of law-enforcement organizations all over the country.[2] G-Men aired on NBC Radio from July 20 to October 12, 1935, sponsored by Chevrolet. The second series of Gang Busters programs debuted in mid-January 1936. The opening sound effects became even more elaborate and aggressive,[5] including a shrill police whistle, convicts marching in formation, police sirens wailing, machine guns firing and tires squealing. An authoritative voice would then announce the title of that night's program, followed by more blasts from a police whistle. This intrusive introduction led to the popular catchphrase "came on like gangbusters." Joan Banks was a regular cast member of the radio series. To lend an extra air of authenticity to the presentation, Lord had Norman Schwarzkopf Sr., former head of the New Jersey State Police, deliver a brief introduction to lead into the actual dramatization.[5] That authentic voice became even more important after Lord ended his connection with the FBI. After about 1945, New York City police commissioner Lewis Joseph Valentine replaced Schwarzkopf as the authoritative opening speaker.[5] Gang Busters aired on CBS from January 15, 1936 to June 15, 1940, sponsored by Colgate-Palmolive and Cue magazine. From October 11, 1940 to December 25, 1948, it was heard on the Blue Network, with various sponsors that included Sloan's Liniment, Waterman pens and Tide. Returning to CBS on January 8, 1949, it ran until June 25, 1955, sponsored by Grape-Nuts and Wrigley's chewing gum. The final series aired on the Mutual Broadcasting System from October 5, 1955 to November 27, 1957. Gang Busters often featured prominent names in radio broadcasting, many of whom also starred in films and television, including Richard Widmark and Art Carney. Joan Banks, who later played many television roles, was a regular cast member, and her husband Frank Lovejoy also appeared often. Larry Haines was another regular on the show and would later enjoy an extensive career in television soap operas.

  ANDROID USERS- 1001 Stories From The Old West at Spotify - https://open.spotify.com/show/0c2fc0cGwJBcPfyC8NWNTw 1001 Radio Crime Solvers at Spotify- https://open.spotify.com/show/0UAUS12lnS2063PWK9CZ37 1001's Best of Jack London at Spotify https://open.spotify.com/show/2HzkpdKeWJgUU9rbx3NqgF 1001 Radio Days at Spotify https://open.spotify.com/show/5jyc4nVoe00xoOxrhyAa8H 1001 Classic Short Stories & Tales at Spotify https://open.spotify.com/show/6rzDb5uFdOhfw5X6P5lkWn 1001 Heroes, Legends, Histories & Mysteries at Spotify https://open.spotify.com/show/6rO7HELtRcGfV48UeP8aFQ 1001 Sherlock Holmes Stories & The Best of Sir Arthur Conan Doyle at Spotify https://open.spotify.com/show/4dIgYvBwZVTN5ewF0JPaTK 1001 Ghost Stories & Tales of the Macabre on Spotify: https://open.spotify.com/show/5P4hV28LgpG89dRNMfSDKJ 1001 Stories for the Road on Spotify https://open.spotify.com/show/6FhlsxYFTGNPiSMYxM9O9K 1001 Greatest Love Stories on Spotify https://open.spotify.com/show/5sUUFDVTatnGt7FiNQvSHe 1001 History's Best Storytellers: (INTERVIEWS) on Spotify https://open.spotify.com/show/3QyZ1u4f9OLb9O32KX6Ghr APPLE USERS New! 1001 Tales of Escape and Suspense at Apple Podcasts https://podcasts.apple.com/us/podcast/1001-tales-of-escape-and-suspense/id1689248043 Catch 1001 Stories From The Old West- https://podcasts.apple.com/us/podcast/1001-stories-from-the-old-west/id1613213865 Catch 1001's Best of Jack London- https://podcasts.apple.com/us/podcast/1001-best-of-jack-london/id1656939169 Catch 1001 Radio Crime Solvers- https://podcasts.apple.com/us/podcast/1001-radio-crime-solvers/id1657397371 Catch 1001 Heroes on Apple https://podcasts.apple.com/us/podcast/1001-heroes-legends-histories-mysteries-podcast/id956154836?mt=2  Catch 1001 Classic Short Stories at Apple Podcast https://podcasts.apple.com/us/podcast/1001-classic-short-stories-tales/id1078098622 Catch 1001 Stories for the Road at Apple Podcast now:  https://podcasts.apple.com/us/podcast/1001-stories-for-the-road/id1227478901 NEW Enjoy 1001 Greatest Love Stories on Apple Devices here: https://podcasts.apple.com/us/podcast/1001-greatest-love-stories/id1485751552 Catch 1001 RADIO DAYS now at Apple iTunes!  https://itunes.apple.com/us/podcast/1001-radio-days/id1405045413?mt=2 NEW 1001 Ghost Stories & Tales of the Macabre is now playing at Apple Podcasts! https://podcasts.apple.com/us/podcast/1001-ghost-stories-tales-of-the-macabre/id1516332327 NEW Enjoy 1001 History's Best Storytellers (Interviews) on Apple Devices here: https://podcasts.apple.com/us/podcast/1001-historys-best-storytellers/id1483649026 NEW Enjoy 1001 Sherlock Holmes Stories and The Best of Arthur Conan Doyle https://podcasts.apple.com/us/podcast/1001-sherlock-holmes-stories-best-sir-arthur-conan/id1534427618 Get all of our shows at one website: https://.1001storiespodcast.com My email works as well for comments: 1001storiespodcast@gmail.com SUPPORT OUR SHOW BY BECOMING A PATRON! https://.patreon.com/1001storiesnetwork. Its time I started asking for support! Thank you. Its a few dollars a month OR a one time. (Any amount is appreciated). YOUR REVIEWS ARE NEEDED AND APPRECIATED! Learn more about your ad choices. Visit podcastchoices.com/adchoices

The Adventures of Philip Marlowe was a radio series featuring Raymond Chandler's private eye, Philip Marlowe. Robert C. Reinehr and Jon D. Swartz, in their book, The A to Z of Old Time Radio, noted that the program differed from most others in its genre: "It was a more hard-boiled program than many of the other private detective shows of the time, containing few quips or quaint characters." In 1948, the series moved to CBS, where it was called The Adventure of Philip Marlowe, with Gerald Mohr playing Marlowe. This series also began with an adaptation of "Red Wind", using a script different from the NBC adaptation. By 1949, it had the largest audience in radio. The CBS version ran for 114 episodes. That series ran 26 September 1948 – 29 September 1950.. Try the new "Tales of Escape & Suspense"- links below! ANDROID USERS- 1001 Tales of Escape & Suspense at Spotify - https://open.spotify.com/show/2HQYk53AJHTOgBTLBzyP3w 1001 Stories From The Old West at Spotify - https://open.spotify.com/show/0c2fc0cGwJBcPfyC8NWNTw 1001 Radio Crime Solvers at Spotify- https://open.spotify.com/show/0UAUS12lnS2063PWK9CZ37 1001's Best of Jack London at Spotify https://open.spotify.com/show/2HzkpdKeWJgUU9rbx3NqgF 1001 Radio Days at Spotify https://open.spotify.com/show/5jyc4nVoe00xoOxrhyAa8H 1001 Classic Short Stories & Tales at Spotify https://open.spotify.com/show/6rzDb5uFdOhfw5X6P5lkWn 1001 Heroes, Legends, Histories & Mysteries at Spotify https://open.spotify.com/show/6rO7HELtRcGfV48UeP8aFQ 1001 Sherlock Holmes Stories & The Best of Sir Arthur Conan Doyle at Spotify https://open.spotify.com/show/4dIgYvBwZVTN5ewF0JPaTK 1001 Ghost Stories & Tales of the Macabre on Spotify: https://open.spotify.com/show/5P4hV28LgpG89dRNMfSDKJ 1001 Stories for the Road on Spotify https://open.spotify.com/show/6FhlsxYFTGNPiSMYxM9O9K 1001 Greatest Love Stories on Spotify https://open.spotify.com/show/5sUUFDVTatnGt7FiNQvSHe 1001 History's Best Storytellers: (INTERVIEWS) on Spotify https://open.spotify.com/show/3QyZ1u4f9OLb9O32KX6Ghr APPLE USERS New! 1001 Tales of Escape and Suspense at Apple Podcasts https://podcasts.apple.com/us/podcast/1001-tales-of-escape-and-suspense/id1689248043 Catch 1001 Stories From The Old West- https://podcasts.apple.com/us/podcast/1001-stories-from-the-old-west/id1613213865 Catch 1001's Best of Jack London- https://podcasts.apple.com/us/podcast/1001-best-of-jack-london/id1656939169 Catch 1001 Radio Crime Solvers- https://podcasts.apple.com/us/podcast/1001-radio-crime-solvers/id1657397371 Catch 1001 Heroes on Apple https://podcasts.apple.com/us/podcast/1001-heroes-legends-histories-mysteries-podcast/id956154836?mt=2  Catch 1001 Classic Short Stories at Apple Podcast https://podcasts.apple.com/us/podcast/1001-classic-short-stories-tales/id1078098622 Catch 1001 Stories for the Road at Apple Podcast now:  https://podcasts.apple.com/us/podcast/1001-stories-for-the-road/id1227478901 Get all of our shows at one website: https://.1001storiespodcast.com My email works as well for comments: 1001storiespodcast@gmail.com SUPPORT OUR SHOW BY BECOMING A PATRON! https://.patreon.com/1001storiesnetwork. Its time I started asking for support! Thank you. Its a few dollars a month OR a one time. (Any amount is appreciated). YOUR REVIEWS ARE NEEDED AND APPRECIATED! Learn more about your ad choices. Visit podcastchoices.com/adchoices

The Adventures of Philip Marlowe was a radio series featuring Raymond Chandler's private eye, Philip Marlowe. Robert C. Reinehr and Jon D. Swartz, in their book, The A to Z of Old Time Radio, noted that the program differed from most others in its genre: "It was a more hard-boiled program than many of the other private detective shows of the time, containing few quips or quaint characters." In 1948, the series moved to CBS, where it was called The Adventure of Philip Marlowe, with Gerald Mohr playing Marlowe. This series also began with an adaptation of "Red Wind", using a script different from the NBC adaptation. By 1949, it had the largest audience in radio. The CBS version ran for 114 episodes. That series ran 26 September 1948 – 29 September 1950.. Learn more about your ad choices. Visit podcastchoices.com/adchoices

Dragnet, the brainchild of Jack Webb, may very well be the most well-remembered, and the best, radio police drama series. From September, 1949 through February 1957, Dragnet's 30 minute shows, broadcast on NBC, brought to radio true police stories in a low-key, documentary style. The origins of Dragnet can be traced to a semi-documentary film, "He Walked by Night" from 1948, in which Webb had a small role. Both employed the same Los Angeles Police Department technical adviser, used actual police cases and presented the case in "just the facts" manner that became a hallmark of Dragnet. It is interesting to note that Webb employed that format in other radio series, some pre-dating the film mentioned above. Dragnet was a long running radio and television police procedural drama, about the cases of a dedicated Los Angeles police detective, Sergeant Joe Friday, and his partners. The show takes its name from an actual police term, a dragnet, meaning a system of coordinated measures for apprehending criminals or suspects. Dragnet was perhaps the most famous and influential police procedural drama in American media history. The series gave millions of Americans a feel for the boredom and drudgery, as well as the danger and heroism, of real life police work. Dragnet earned praise for improving the public opinion of police officers. Actor and producer Jack Webb's aims in Dragnet were for realism and unpretentious acting. He achieved both goals and Dragnet remains a key influence on subsequent police dramas in many media. The shows cultural impact is demonstrated by the fact that even after five decades, elements of Dragnet are known to those who have never heard nor seen the program. The ominous four note introduction to the brass and tympani theme music, titled Danger Ahead, is instantly recognizable as well as the shows opening narration: "Ladies and gentlemen, the story you are about to hear is true. Only the names have been changed to protect the innocent."

Dragnet, the brainchild of Jack Webb, may very well be the most well-remembered, and the best, radio police drama series. From September, 1949 through February 1957, Dragnet's 30 minute shows, broadcast on NBC, brought to radio true police stories in a low-key, documentary style. The origins of Dragnet can be traced to a semi-documentary film, "He Walked by Night" from 1948, in which Webb had a small role. Both employed the same Los Angeles Police Department technical adviser, used actual police cases and presented the case in "just the facts" manner that became a hallmark of Dragnet. It is interesting to note that Webb employed that format in other radio series, some pre-dating the film mentioned above. Dragnet was a long running radio and television police procedural drama, about the cases of a dedicated Los Angeles police detective, Sergeant Joe Friday, and his partners. The show takes its name from an actual police term, a dragnet, meaning a system of coordinated measures for apprehending criminals or suspects. Dragnet was perhaps the most famous and influential police procedural drama in American media history. The series gave millions of Americans a feel for the boredom and drudgery, as well as the danger and heroism, of real life police work. Dragnet earned praise for improving the public opinion of police officers. Actor and producer Jack Webb's aims in Dragnet were for realism and unpretentious acting. He achieved both goals and Dragnet remains a key influence on subsequent police dramas in many media. The shows cultural impact is demonstrated by the fact that even after five decades, elements of Dragnet are known to those who have never heard nor seen the program. The ominous four note introduction to the brass and tympani theme music, titled Danger Ahead, is instantly recognizable as well as the shows opening narration: "Ladies and gentlemen, the story you are about to hear is true. Only the names have been changed to protect the innocent."

Dragnet, the brainchild of Jack Webb, may very well be the most well-remembered, and the best, radio police drama series. From September, 1949 through February 1957, Dragnet's 30 minute shows, broadcast on NBC, brought to radio true police stories in a low-key, documentary style. The origins of Dragnet can be traced to a semi-documentary film, "He Walked by Night" from 1948, in which Webb had a small role. Both employed the same Los Angeles Police Department technical adviser, used actual police cases and presented the case in "just the facts" manner that became a hallmark of Dragnet. It is interesting to note that Webb employed that format in other radio series, some pre-dating the film mentioned above. Dragnet was a long running radio and television police procedural drama, about the cases of a dedicated Los Angeles police detective, Sergeant Joe Friday, and his partners. The show takes its name from an actual police term, a dragnet, meaning a system of coordinated measures for apprehending criminals or suspects. Dragnet was perhaps the most famous and influential police procedural drama in American media history. The series gave millions of Americans a feel for the boredom and drudgery, as well as the danger and heroism, of real life police work. Dragnet earned praise for improving the public opinion of police officers. Actor and producer Jack Webb's aims in Dragnet were for realism and unpretentious acting. He achieved both goals and Dragnet remains a key influence on subsequent police dramas in many media. The shows cultural impact is demonstrated by the fact that even after five decades, elements of Dragnet are known to those who have never heard nor seen the program. The ominous four note introduction to the brass and tympani theme music, titled Danger Ahead, is instantly recognizable as well as the shows opening narration: "Ladies and gentlemen, the story you are about to hear is true. Only the names have been changed to protect the innocent."

Dragnet, the brainchild of Jack Webb, may very well be the most well-remembered, and the best, radio police drama series. From September, 1949 through February 1957, Dragnet's 30 minute shows, broadcast on NBC, brought to radio true police stories in a low-key, documentary style. The origins of Dragnet can be traced to a semi-documentary film, "He Walked by Night" from 1948, in which Webb had a small role. Both employed the same Los Angeles Police Department technical adviser, used actual police cases and presented the case in "just the facts" manner that became a hallmark of Dragnet. It is interesting to note that Webb employed that format in other radio series, some pre-dating the film mentioned above. Dragnet was a long running radio and television police procedural drama, about the cases of a dedicated Los Angeles police detective, Sergeant Joe Friday, and his partners. The show takes its name from an actual police term, a dragnet, meaning a system of coordinated measures for apprehending criminals or suspects. Dragnet was perhaps the most famous and influential police procedural drama in American media history. The series gave millions of Americans a feel for the boredom and drudgery, as well as the danger and heroism, of real life police work. Dragnet earned praise for improving the public opinion of police officers. Actor and producer Jack Webb's aims in Dragnet were for realism and unpretentious acting. He achieved both goals and Dragnet remains a key influence on subsequent police dramas in many media. The shows cultural impact is demonstrated by the fact that even after five decades, elements of Dragnet are known to those who have never heard nor seen the program. The ominous four note introduction to the brass and tympani theme music, titled Danger Ahead, is instantly recognizable as well as the shows opening narration: "Ladies and gentlemen, the story you are about to hear is true. Only the names have been changed to protect the innocent."

Dragnet, the brainchild of Jack Webb, may very well be the most well-remembered, and the best, radio police drama series. From September, 1949 through February 1957, Dragnet's 30 minute shows, broadcast on NBC, brought to radio true police stories in a low-key, documentary style. The origins of Dragnet can be traced to a semi-documentary film, "He Walked by Night" from 1948, in which Webb had a small role. Both employed the same Los Angeles Police Department technical adviser, used actual police cases and presented the case in "just the facts" manner that became a hallmark of Dragnet. It is interesting to note that Webb employed that format in other radio series, some pre-dating the film mentioned above. Dragnet was a long running radio and television police procedural drama, about the cases of a dedicated Los Angeles police detective, Sergeant Joe Friday, and his partners. The show takes its name from an actual police term, a dragnet, meaning a system of coordinated measures for apprehending criminals or suspects. Dragnet was perhaps the most famous and influential police procedural drama in American media history. The series gave millions of Americans a feel for the boredom and drudgery, as well as the danger and heroism, of real life police work. Dragnet earned praise for improving the public opinion of police officers. Actor and producer Jack Webb's aims in Dragnet were for realism and unpretentious acting. He achieved both goals and Dragnet remains a key influence on subsequent police dramas in many media. The shows cultural impact is demonstrated by the fact that even after five decades, elements of Dragnet are known to those who have never heard nor seen the program. The ominous four note introduction to the brass and tympani theme music, titled Danger Ahead, is instantly recognizable as well as the shows opening narration: "Ladies and gentlemen, the story you are about to hear is true. Only the names have been changed to protect the innocent."

  JEFF REGAN, INVESTIGATOR Jeff Regan, Investigator, was one of countless private detective series that proliferated in the years following WWII. The series initially featured Jack Webb in the title role, who was coming off his work in Pat Novak for Hire, followed by Johnny Madero, Pier 23. The series premiered July 10, 1948, over the CBS network. Originally promoted as Joe Canto, Private Eye, the series was never actually broadcast under that name. However, Barton Yarborough, Jack Webb's first partner in Dragnet, would make a guest appearance in the show playing a bit part named Joe Canto. The series was sometimes incorrectly called The Lyon's Eye by collectors because Regan frequently opened each show stating "I'm Jeff Regan. They call me The Lyon's Eye" or something similar. The first run of Jeff Regan ran from July 10 to December 18, 1948. Webb continued to play a hard-boiled character as in previous roles, but this time with a better relationship with the police. Webb left the show after 24 episodes when CBS declined his request for a $15 per episode raise. He returned for a brief run on a revived Pat Novak for Hire before premiering on his signature program, Dragnet, in June 1949. After 10 months, Jeff Regan was brought back to the air on October 5, 1949. After auditioning some 60 top actors for the role, Frank Graham was selected to play Regan. Regan's boss Anthony J. Lyon had been voiced by Wilms Herbert and then Herb Butterfield during the Jack Webb era. The 1949 revival cast Frank Nelson as Lyon. Nelson was best known as the sarcastic character who would pop up almost anywhere on The Jack Benny Show. Paul Dubov assumed the Jeff Regan mantle during a part of the program's run. For eight weeks between April and June 1950 he stepped in to replace an ailing Frank Graham. Frank Graham's return as Jeff Regan lasted just a couple months, with the last episodes being recorded on August 2, 1950 for broadcast later. However, the program ended after Graham's tragic death at the age of 35 on September 2, 1950. The final episode of Jeff Regan, Investigator titled "The British are Coming" aired the following day, September 3, 1950. Bob Stevenson was the primary announcer for the show. Del Castillo, Dick Aurandt, and Milton Charles were responsible for the music. Although there was indication to take it to a national audience, the show never aired beyond CBS' West Coast network. Jeff Regan, Investigator holds up as an above-average example of the mid-century detective genre. This is due to the considerable talent invested in the program which included the voice talents of Jack Webb, Herb Butterfield, and Frank Nelson as well as the writing skills of E. Jack Neuman, who created the program, Larry Roman, William Froug and William Fifield. Some of his stories were good enough that E. Jack Neuman would re-use many of the Jeff Regan scripts when he worked on other series. This synopsis was written by Patrick Andre and Ryan Ellett with information taken from John Dunning's Encyclopedia of Old Time Radio, The Great Detectives of Old Time Radio website, Jay Hickerson's Ultimate History of Network Radio Programming, and "The Secret Files of Jeff Regan, Investigator" by Stewart Wright, published in Radiogram, June 2019.

JEFF REGAN, INVESTIGATOR Jeff Regan, Investigator, was one of countless private detective series that proliferated in the years following WWII. The series initially featured Jack Webb in the title role, who was coming off his work in Pat Novak for Hire, followed by Johnny Madero, Pier 23. The series premiered July 10, 1948, over the CBS network. Originally promoted as Joe Canto, Private Eye, the series was never actually broadcast under that name. However, Barton Yarborough, Jack Webb's first partner in Dragnet, would make a guest appearance in the show playing a bit part named Joe Canto. The series was sometimes incorrectly called The Lyon's Eye by collectors because Regan frequently opened each show stating "I'm Jeff Regan. They call me The Lyon's Eye" or something similar. The first run of Jeff Regan ran from July 10 to December 18, 1948. Webb continued to play a hard-boiled character as in previous roles, but this time with a better relationship with the police. Webb left the show after 24 episodes when CBS declined his request for a $15 per episode raise. He returned for a brief run on a revived Pat Novak for Hire before premiering on his signature program, Dragnet, in June 1949. After 10 months, Jeff Regan was brought back to the air on October 5, 1949. After auditioning some 60 top actors for the role, Frank Graham was selected to play Regan. Regan's boss Anthony J. Lyon had been voiced by Wilms Herbert and then Herb Butterfield during the Jack Webb era. The 1949 revival cast Frank Nelson as Lyon. Nelson was best known as the sarcastic character who would pop up almost anywhere on The Jack Benny Show. Paul Dubov assumed the Jeff Regan mantle during a part of the program's run. For eight weeks between April and June 1950 he stepped in to replace an ailing Frank Graham. Frank Graham's return as Jeff Regan lasted just a couple months, with the last episodes being recorded on August 2, 1950 for broadcast later. However, the program ended after Graham's tragic death at the age of 35 on September 2, 1950. The final episode of Jeff Regan, Investigator titled "The British are Coming" aired the following day, September 3, 1950. Bob Stevenson was the primary announcer for the show. Del Castillo, Dick Aurandt, and Milton Charles were responsible for the music. Although there was indication to take it to a national audience, the show never aired beyond CBS' West Coast network. Jeff Regan, Investigator holds up as an above-average example of the mid-century detective genre. This is due to the considerable talent invested in the program which included the voice talents of Jack Webb, Herb Butterfield, and Frank Nelson as well as the writing skills of E. Jack Neuman, who created the program, Larry Roman, William Froug and William Fifield. Some of his stories were good enough that E. Jack Neuman would re-use many of the Jeff Regan scripts when he worked on other series. This synopsis was written by Patrick Andre and Ryan Ellett with information taken from John Dunning's Encyclopedia of Old Time Radio, The Great Detectives of Old Time Radio website, Jay Hickerson's Ultimate History of Network Radio Programming, and "The Secret Files of Jeff Regan, Investigator" by Stewart Wright, published in Radiogram, June 2019.   

Mr. and Mrs. North are fictional American amateur detectives. Created by Frances and Richard Lockridge, the couple were featured in a series of 26 Mr. and Mrs. North novels, a Broadway play, a motion picture and several radio and television series. Mr. and Mrs. North was a radio mystery series that aired on CBS from 1942 to 1954. Alice Frost and Joseph Curtin had the title roles when the series began in 1942. The characters, publisher Jerry North and his wife Pam, lived in Greenwich Village at 24 St. Anne's Flat. They were not professional detectives but simply an ordinary couple who stumbled across a murder or two every week for 12 years. The radio program eventually reached nearly 20 million listeners. Novels The characters originated in 1930s vignettes written by Richard Lockridge for the New York Sun, and he brought them back for short stories in The New Yorker. These stories were collected in Mr. and Mrs. North (1936). Lockridge increased the readership after he teamed with his wife Frances on a novel, The Norths Meet Murder (1940), launching a series of 26 novels, including Death Takes a Bow, Death on the Aisle and The Dishonest Murderer. Their long-run series continued for over two decades and came to an end in 1963 with the death of Frances Lockridge. The series was unusual in that it was Mrs. North who often solved the cases, while Mr. North was just background much of the time. In his article, "Married Sleuths," Charles L.P. Silet captured the flavor of the novels: The Mr. and Mrs. North novels contain carefully crafted puzzles and the Lockridges usually play fair with their readers. The series also features Pam and Jerry's warmly humorous domestic environment and the couple's witty exchanges with the duller members of the police force. Although the Norths remain the focus of the series, the books contain a good deal of political and social commentary, a richly detailed look at the changing life in New York City, as well as glimpses of the outlying suburban counties. Also, the North's stable marriage relationship presents a marked contrast--and a welcome one--to the traditions of the lone detective characteristic of much other American mystery fiction. Even though the Mr. and Mrs. North novels now may appear overly deliberate in their pacing, they still prove wonderful reading as mysteries, and the glimpses they provide of our past social history give them a nostalgic and authentic period flavor. Aficionados of classic crime fiction have always appreciated this longrunning series, and new readers should be encouraged to discover this witty and charming couple.   Broadway and Film Albert Hackett and Peggy Conklin had the title roles in the Broadway production Mr. and Mrs. North, which ran 163 performances at the Belasco Theatre from January 12, 1941, to May 31, 1941. Alfred De Liagre, Jr. produced and directed the play written by Owen Davis. In that version, the North's apartment is located on Greenwich Place, realized in a scenic design by Jo Mielziner. The Owen Davis play became a 1942 MGM movie starring Gracie Allen and William Post, Jr. with Millard Mitchell repeating his role of Detective Mullins from the Broadway production. Others in the cast were Paul Kelly, Rose Hobart and Keye Luke. Radio In 1946, Mr. and Mrs. North received the first Best Radio Drama Edgar Award from the Mystery Writers of America (in a tie with CBS's Ellery Queen). The program, which was broadcast once in 1941 and continuously from December 1942 through December 1946 on NBC Radio (for Woodbury Soap), and from July 1947 to April 1955 on CBS Radio (for Colgate-Palmolive), featured Carl Eastman (1941), Joseph Curtin (1942-53) and Richard Denning (1953-55) as Jerry North. Pam North was played by Peggy Conklin (1941), Alice Frost (1942-53) and Barbara Britton (1953-55). In his book, Radio Crime Fighters, Jim Cox wrote that the couple: ... who passed themselves off as a publisher and his homemaker-spouse continued to make lighthearted wisecracks as they stepped over bodies in dark alleys and were rendered unconscious by unknown assailants dispensing blows to the head almost every week... The feminine half of the twosome was at least equal to the husband in solving cases that often baffled law-enforcement officers with years of training and practiceâexcept in reading clues. No explanation was given, of course, as to why a couple of misfits could be so successful in their preoccupation while the professionals thrashed about ineffectually."   Television In 1946, producer-director Fred Coe brought the Owen Davis play to television (on New York City's WNBT) with John McQuade and Maxine Stewart in the leads and Don Haggerty, Joan Marlowe and Millard Mitchell repeating their Broadway roles.

Mr. and Mrs. North are fictional American amateur detectives. Created by Frances and Richard Lockridge, the couple were featured in a series of 26 Mr. and Mrs. North novels, a Broadway play, a motion picture and several radio and television series. Mr. and Mrs. North was a radio mystery series that aired on CBS from 1942 to 1954. Alice Frost and Joseph Curtin had the title roles when the series began in 1942. The characters, publisher Jerry North and his wife Pam, lived in Greenwich Village at 24 St. Anne's Flat. They were not professional detectives but simply an ordinary couple who stumbled across a murder or two every week for 12 years. The radio program eventually reached nearly 20 million listeners. Novels The characters originated in 1930s vignettes written by Richard Lockridge for the New York Sun, and he brought them back for short stories in The New Yorker. These stories were collected in Mr. and Mrs. North (1936). Lockridge increased the readership after he teamed with his wife Frances on a novel, The Norths Meet Murder (1940), launching a series of 26 novels, including Death Takes a Bow, Death on the Aisle and The Dishonest Murderer. Their long-run series continued for over two decades and came to an end in 1963 with the death of Frances Lockridge. The series was unusual in that it was Mrs. North who often solved the cases, while Mr. North was just background much of the time. In his article, "Married Sleuths," Charles L.P. Silet captured the flavor of the novels: The Mr. and Mrs. North novels contain carefully crafted puzzles and the Lockridges usually play fair with their readers. The series also features Pam and Jerry's warmly humorous domestic environment and the couple's witty exchanges with the duller members of the police force. Although the Norths remain the focus of the series, the books contain a good deal of political and social commentary, a richly detailed look at the changing life in New York City, as well as glimpses of the outlying suburban counties. Also, the North's stable marriage relationship presents a marked contrast--and a welcome one--to the traditions of the lone detective characteristic of much other American mystery fiction. Even though the Mr. and Mrs. North novels now may appear overly deliberate in their pacing, they still prove wonderful reading as mysteries, and the glimpses they provide of our past social history give them a nostalgic and authentic period flavor. Aficionados of classic crime fiction have always appreciated this longrunning series, and new readers should be encouraged to discover this witty and charming couple.   Broadway and Film Albert Hackett and Peggy Conklin had the title roles in the Broadway production Mr. and Mrs. North, which ran 163 performances at the Belasco Theatre from January 12, 1941, to May 31, 1941. Alfred De Liagre, Jr. produced and directed the play written by Owen Davis. In that version, the North's apartment is located on Greenwich Place, realized in a scenic design by Jo Mielziner. The Owen Davis play became a 1942 MGM movie starring Gracie Allen and William Post, Jr. with Millard Mitchell repeating his role of Detective Mullins from the Broadway production. Others in the cast were Paul Kelly, Rose Hobart and Keye Luke. Radio In 1946, Mr. and Mrs. North received the first Best Radio Drama Edgar Award from the Mystery Writers of America (in a tie with CBS's Ellery Queen). The program, which was broadcast once in 1941 and continuously from December 1942 through December 1946 on NBC Radio (for Woodbury Soap), and from July 1947 to April 1955 on CBS Radio (for Colgate-Palmolive), featured Carl Eastman (1941), Joseph Curtin (1942-53) and Richard Denning (1953-55) as Jerry North. Pam North was played by Peggy Conklin (1941), Alice Frost (1942-53) and Barbara Britton (1953-55). In his book, Radio Crime Fighters, Jim Cox wrote that the couple: ... who passed themselves off as a publisher and his homemaker-spouse continued to make lighthearted wisecracks as they stepped over bodies in dark alleys and were rendered unconscious by unknown assailants dispensing blows to the head almost every week... The feminine half of the twosome was at least equal to the husband in solving cases that often baffled law-enforcement officers with years of training and practiceâexcept in reading clues. No explanation was given, of course, as to why a couple of misfits could be so successful in their preoccupation while the professionals thrashed about ineffectually."   Television In 1946, producer-director Fred Coe brought the Owen Davis play to television (on New York City's WNBT) with John McQuade and Maxine Stewart in the leads and Don Haggerty, Joan Marlowe and Millard Mitchell repeating their Broadway roles.