Just in case you missed the first time . . .
- 31 December: Here’s to the New Year
- 24 December: ‘Tis the night before Christmas
- 20 December: From Macy’s to Dickens on the plains
- 12 December: Eden rocked
- 9 December: The aftermath, continued . . .
- 8 December: Immediate aftermath
- 7 December: The date still lives in infamy
- 5 December: The mean widdle man-kid
- 21 November: Freed fall
- 20 November: A twin triumph for Lurene Tuttle
We’re building a history here . . .
Tag Archives: Nightbeat
In 1938, the Sudeten crisis comes to a boil; in 1940, the London Blitz continues apace, with a particularly understated but gripping report from CBS legend Eric Sevareid.
WORLD WAR II: A CRISIS AND A BLITZ
Czechoslovakia’s English-speaking radio station denies Czech pressure against German-born citizens being restricted or under arrest, as Nazi and Hungarian propaganda broadcasts have charged. The broadcast also discusses Il Duce, Benito Mussolini of Italy, calling for a plebiscite to resolve the Sudetenland crisis—a plebiscite the embattled Czech government fears will not resolve the Sudeten crisis or questions about nationality relations within the country itself.
Nicknamed “Mr. Radio” because of his versatility and practically daily employment as an actor, director, producer, and writer, Elliott Lewis’s heart is deeper in directing, writing, and producing, than it’s ever been in acting. “I never enjoyed acting,” he’ll say many years later. “I was able to do it, because it’s a trick, and it’s a trick that somehow I knew how to do, without any training.”
“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 . . .”