CBS European News and CBS News of the World had a baby during World War II, and its name was World News Today.
Larry LeSeur. (Photo: CBS.)
Anchored customarily by George Bryan or Larry Elliott (European News) and Harry Mottle (News of the World), the original two news programs established what World News Today would solidify: smart pacing, smart spacing, perhaps the best such pace and space of any World War II regular newscasts. For a nation relying far more often upon radio for immediate war news, it was a game plan that worked.
Helion’s memoir made a sober radio drama.
Vichy France signed its 1940 armistice with Hitler’s Reich with stipulations that included, formally, French armed forces in German-occupied territory to be moved to unoccupied territory and discharged. The provision proved a dupe to the French soldiers, allowing them to allow the Nazis to surround and herd them into camps, where they only thought they were awaiting their discharges.
Good luck with that.
While many Hollywood stars and starlets thought nothing of turning to radio work to make ends meet between pictures, Myrna Loy didn’t take the same attitude. Once she achieved her stardom she rarely had to look back, and she tended for the most part to restrict her radio work to adaptations of her films.
But she did make the occasional exception. And tonight she makes arguably the best such exception of the radio side of her career.
TUNE IN TONIGHT:
Suspense: The Library Book (Mystery/thriller; CBS, 1945)
Myrna Loy, who knew how to work a radio mystery. (Photo: CBS.)
Nimitz, one of three admirals who believe taking the Gilberts is critical for the forthcoming, important campaign in the Marshall Islands. (U.S. Navy photo.)
Today in 1943 the Allies have begun pecking away at targets throughout the Gilberts, including Tarawa, in advance of a full-scale operation in the Gilbert and Marshall Islands, almost two years after Japan swept in to occupy the islands following the Pearl Harbour attacks.
Alice Faye, Anne Whitfield, Phil Harris, and Jeanine Roos at the mike. (Photo: NBC.)
“The writing,” John Dunning (in On the Air: The Encyclopedia of Old-Time Radio) wrote of The Phil Harris-Alice Faye Show, “was razor sharp; the scripts by Ray Singer and Dick Chevillat were so raucous that four-to-five minute cuts were often necessary to allow for audience laughter. The principle of contagious laughter was maximised in the overhead placement of audience microphones, making it one of the loudest shows on the air. Some of the brilliance went out of the scripts when Singer and Chevillat departed . . .”