Our Miss Brooks’ Halloween Party

evearden2Halloween is about letting the kids have some fun. Of course, just because the kids get a little older they don’t seem to outgrow the desire to have a little bit of haunted fun! What about the grownups? Should they be denied a bit of Halloween fun? Not according to Eve Arden as Our Miss Brooks.

To be fair, Principal Osgood Conklin, played by Gale Gordon, may not agree with those sentiments. We must remember that Mr. Conklin has been under an enormous amount of strain lately. Who wouldn’t be with the responsibilities that a high school principal faces? When you add that to the trials of raising an attractive teenage daughter like Harriet, well… What Mr. Conklin needs is a quiet weekend up at Crystal Lake where it is quiet and soothing. Thank goodness Halloween falls on Saturday so that he can get away from all that silliness.

Luckily for Harriet, her friends Walter and Stretch decide to hold a Halloween Party on Friday night. The only problem is where to have the party. What would be wrong with having it at Miss Brooks’ house? Everything! At least, until Miss Brooks discovers that the good looking biology teacher, Mr. Boynton (played by Jeff Chandler), is coming. Then a party at Connie Brooks’ house is a wonderful idea!

When Connie hears what a hard time Mr. Conklin has been having, having the party at the Conklin’s house seems like an even better idea! What could possibly go wrong? Listen Here to the old time radio classic Our Miss Brooks halloween broadcast find out:

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Fibber and Molly Go To Gildersleeve’s Halloween Party

FMcG&MThe holiday at the end of October was actually the lead into All Saints Day, November 1, and All Souls Day, Nov 2. The religious feast is a time to remember those Saints who don’t already have a feast day of their own, and then to remember the recently departed. In ancient times they often said Feast when what they really meant was sitting in church for hours praying. Not an appealing prospect for kids who realized that the harvest was in and there would be precious few nice days left before the hardships of winter set in.

To help burn off some of this youthful energy, wise parents and community leaders began to encourage the celebration of All Hallows Eve, what we now know as Halloween. What they may not have counted on was that the kids are not the only one’s who enjoy an evening of autumnal merriment.

It is hard to find a supposed grown up who is a bigger kid than Wistful Vista’s own Fibber McGee. In 1939, Fibber and Molly receive an invitation to the party next door at the Gildersleeve’s house.

For those of you keeping track of Beloved Characters, The Great Gildersleeve first appeared before the Johnson’s Wax microphone in June of 1939, when Howard Peary appeared as a dentist treating Fibber’s tooth ache. The dentist in the episode is Dr. Wilber Gildersleeve, sowe can see that writer Don Quinn was still developing the character (some have raised the theory that Dr. Wilbur may in fact have been Throckmorton P. Gildersleeve’s brother).

By Halloween, Throckmorton had established himself as the McGee’s pompous neighbor. If there was anything that the Fibber McGee and Molly crew loved as much as watching Fibber go through the motions as town busy body, it was deflating pomposity. As we will see, sometimes even the most pompous can get the last laugh on Fibber.

great-gildersleeveThe evening starts out innocently enough, with Fibber enjoying a fine cigar, which Gildersleeve must have meant for his guests to enjoy. After all, he left them sitting in the bottom of his dresser drawer where anyone could find them! The evening is filled with traditional Halloween games and activities, like Mrs. Uppington telling fortunes and Harlow Wilcox telling a ghost story (you get three guesses to determine whether or not the ghost walked across a floor treated with Johnson’s Glo Coat).

Halloween would not be complete without a prank or two. What is Fibber doing in Gildy’s garage? Surely it is harmless fun… Wait, isn’t Gildy’s car at the mechanics? Where is Fibber’s car? Would some one have moved it off the street for safe keeping? Listen here to learn more :

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“If You Frighten Easily…”: Lights Out Old Time Radio Show

CASTOne of the most enduring images of an old time radio fan is the youngster, awake long past his bedtime, in bed with the sheets pulled over his head, listening to a late night horror program.

Listeners who are new fans of OTR can be forgiven for thinking that horror radio shows were the dominant program during the Golden Age of Radio. They were not, in fact there were relatively few of them. However, those that survive are some of fans favorite series.

No genre is as uniquely suited to radio as horror. We can escape horror on the printed page by simply looking up from the book and see that it is all just fantasy. The fantasy of horror on the screen depends upon the director’s use of special effects to create the terrifying images. No special effects can create as intense images of horror as a good script writer can put in our minds, and even if we shut our eyes, the terror is still there, waiting and daring us to quit listening.

That school yard dare was one of the few campy elements of radio’s most effective horror programs, Lights Out. The tongue in cheek horror hosts and creaking doors would come later, perhaps to make the programs better suited to a wider audience.

The announcer’s voice ominously tells us “Lights out, everybody!” and a gong tolls thirteen times, punctuating the warning “It… is… later… than… you… think!” these Lights Out stories are definitely not for the timid soul, so we tell you calmly and very sincerely, if you frighten easily, turn off your radio now.”

Of course, no listener can resist a dare like that, although they may wish they did.

Wyllis CooperAt 17, Wyllis Cooper was a bugler with the 131st Illinois Infantry in WWI, chasing bandits on the Mexican Border. His unit was shipped to France and he was gassed in the Argonne. After mustering out, Cooper got into the advertising game, eventually heading the continuity departments at CBS and NBC in Chicago. Some of his earliest dramatic include scripts for NBC’s pioneering dramatic anthology, The Empire Builder, sponsored by the Great Northern Railroad. On of his stories took place in the copper mines of Butte, MT. Cooper actually traveled to Butte to get a feel for the mining industry, an indication of the level of detail which would mark his later projects.

Late in 1933, Cooper began toying with the idea for “a midnight mystery serial to catch the attention of the listeners at the witching hour.” Most of the competition was just playing music at this hour, so perhaps thinking he could do little harm that late, WENR gave Cooper 15 minutes on Wednesday midnights beginning in January, 1934. The serial format was dropped in favor of an anthology of supernatural and crime thrillers, and Lights Out was successful enough to grow to a half hour in April.

Few, if any recordings of these early Lights Out episodes exist, but several of the scripts were used when Lights Out were brought back as a summertime revival during the forties. These scripts show that Cooper was experimenting with stream of consciousness writing and first person narration long before Orson Welles and Arch Oboler popularized them.

Lights Out radio showCharacters in these stories could expect to be decapitated, eaten alive by a giant amoeba, vaporized in a ladle of molten steel or beaten to a bloody pulp. Chicago actor Sidney Ellstrom joked that he had “died a thousand deaths”, most of them unspeakably violent. Studio technicians spent many hours in pre production, devising just the right sound effects for heads being removed from shoulders, thousands of skulls being crushed and cannibalistic plants consuming their victims.

Cooper rode the success of Lights Out to Hollywood in 1936 to work on movie scripts, including The Son Of Frankenstein(1939). He never completely left radio, giving us several scripts for The Campbell Playhouse, The Army Hour, and one of radio’s most creative shows, Quiet, Please.

Although it was without a sponsor because of its late hour, Lights Out was too popular to let die, so it was turned over to another rising talent in NBC’s writing pool, Arch Oboler.

Oboler was the scion of poor but cultured Latvian Jews. Born in Chicago, he was a precocious child, a largely self taught intellectual and amateur boxer. He became fascinated with the possibilities of radio as a storytelling medium and disgusted that the potential was being wasted on soap operas.

NBC saw potential in Oboler’s talent (he would be seen later as NBC’s answer to CBS’s Norman Corwin), but had no real outlet for him. He was assigned to several “potboilers” until the helm of Lights Out became available. The lack of sponsorship and the late hour kept the program out of the censor’s attention, and Oboler thrived creatively.

While maintaining, perhaps even elevating the level of gore from Cooper’s days, Oboler’s stories were often more deeply psychological thrillers. Although NBC policy was to remain neutral in regards to the Nazi’s during the Thirties, Oboler managed to sneak in a few anti-Fascist messages. For most OTR fans, Oboler’s tenure with Lights Out is a high point in radio horror.

There is a story about one of Oboler’s most famous episodes being rebroadcast over AFRS during the War. The battle hardened troops, who knew they would face the Germans the next day, were relaxing in their barracks, listening to the radio. Just as the expanding chicken heart was about to engulf the world, the camp gener

The actor at the microphone is Sidney Ellstrom, but the “corpse” on top of the pile of bodies appears to be Harold Peary, who would later star as The Great Gildersleeve.

The actor at the microphone is Sidney Ellstrom, but the “corpse” on top of the pile of bodies appears to be Harold Peary, who would later star as The Great Gildersleeve.

ator went out and the barracks was plunged into darkness. The combat veterans scrambled like Girl Scouts from around a campfire!

By 1938 Oboler was ready to leave horror behind, but those thirteen gongs reverberated throughout the rest of his career. In 1942, Oboler reopened Lights Out on CBS, with a sponsor and a prime time slot this time around. There were few new stories, however, using scripts from the NBC series and some of the more psychological fare from Arch Oboler’s Plays.

The 1945 and 46 summer revivals of Lights Out brought back Cooper’s old scripts, but did not go over in 1947, as the sponsor felt the stories too gruesome for the modern audiences. Lights Out was briefly adapted to experimental TV broadcasts in 1946, and became a regular series in 1949. However, there was no way that TV could replicate the vivid imagery of Lights Out on the radio.

Besides, TV really loses its effect when you have the sheets pulled up over your head.

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Fibber And Molly’s Lasting Appeal

Twenty four years is a long time to do anything, especially to have America come visit you at home every Tuesday night. That is just what Jim and Marian Jordan did from April 1935 until Sept 6, 1959, playing the beloved Fibber McGee and Molly.

In the TV world, a show that lasts more than four seasons is considered a classic. The characters on such a classic will have evolved dramatically in that time, but the Fibber who was still getting laughs at the twilight of his career on NBC’s Monitor had not changed all that much from the Fibber who drove his jalopy to the seashore on April 16, 1935.

As much as any situation comedy, Fibber McGee and Molly found a workable formula and pretty much stuck with it. Some of those elements changed in the later years of the run, which reflected the real lives of the players. The successful formula took a while to be fully developed, but when it did come together, it was one of the most successful in radio.

For the audience, the foundation of that success was Fibber and Molly themselves, played by real life couple Jim and Marian Jordan. A marriage bond as strong as the one enjoyed by the Jordans, especially in the pressure cooker world of show business, will strike us as exceptional today. Jim and Marian’s success, both in marriage and show business, are reflections of their mid-western values.

As important as the characters and the actors who play them are to the success of a comedy program, they would not last without great scripts to work from. This was important enough that from the beginning the fees paid for Fibber McGee and Molly were split three ways- a share apiece for Jim and Marion, and the third full share for their writer, Don Quinn. Quinn was not the most disciplined of writers; often he would wait until the last minute before actually writing the script, and in the final hours would lock himself in his office with a typewriter, a big plate of sandwiches, a big pot of coffee and two cartons of cigarettes. What emerged was usually comic genius, rarely in need of revision.

For most of the years Fibber and Molly were on the radio, the program stuck to a regular framework in its half hour format. The show never forgot that Johnson’s Wax was paying the bills. To that end, Quinn became a genius at working the sponsor’s plug into the storyline. Announcer Harlow Wilcox became more than the guy who introduced the show and read the commercials, he was an important character who always had a comment for Fibber’s foible of the week. For Fibber’s part, he was always amazed at Wilcox’s ability to sneak a plug for the Wax Company into any conversation, and commiserated with the audience who knew the commercial was coming.

Fibber McGee and Molly followed a format that lent itself to running gags. Some of these were the supporting characters themselves, most of whom could get a laugh just by walking up to the microphone. These included Mr. Old Timer, whose amazing powers never quite matched his aged persona, Wallace Wimple who lived in constant fear of his wife, Mayor LaTrivia who Fibber would reduce from civility to a near nervous breakdown on a regular basis, and pompous neighbor Throckmorton P. Gildersleeve who proved popular enough to get his own show. Another spinoff from Fibber and Molly was Beulah, who started as the McGee’s maid; Beulah always got a laugh in the studio, not just for her character, but because she was played by a white male actor.

Fibber McGee and Molly are more than a reflection of a simpler time. They were part of a world which never existed but which we all know as well as we know our own home town. How else could Fibber have gone 24 years with no job other than town busy-body? The time we spend in Wistful Vista is more than a visit home, it is a time to laugh and forget about the trouble of the real world.

 

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Murder By Experts: Origins of a Classic Old Time Radio Show

Murder By Experts was a commercial. By itself, that is not a bad thing. After all, radio itself was built as a means of marketing. The empires of the huge networks were based on selling things. So the last thing on my mind is to berate Experts for being a commercial. In fact, the purpose of this post is to praise it for being such a subtle, yet effective one.

screamPart of the subtlety came from the fact that Murder By Experts was broadcast over the Mutual Network. NBC and CBS programs were more disciplined, in that they usually had sponsors of their own, or they were sustained by the network until they could find a sponsor. Many Mutual programs were syndicated, meaning that the local broadcaster would insert the local commercials. Because they were syndicated, Mutual programs had to be good enough to sell themselves to the local stations. A show on another network may have been written to appeal to the audience in the big eastern cities, but it was still heard by affiliates in the rural Midwest.

There was little worry about the appeal of Murder By Experts. It was put together by one of the most successful writing teams in radio, David Kogan and Robert A. Arthur. Kogan had grown up on radio drama and pulp fiction stories, and wanted to create stories of his own. While attending class in writing for radio at Columbia University, he met Arthur. Arthur was a world traveler, having grown up in an Army family, had a master’s degree in journalism, and a compulsive need to tell stories. The pair began collaborating on programs for Mutual affiliate WOR.

Ellery_Queen_NYWTSTheir first effort was Dark Destiny, which set their working relationship. Generally, they would begin with a brainstorming session where plotting and characters would be developed. One partner or the other then sat before the typewriter and put the script together, and Kogan would usually finish by directing the show. After Dark Destiny, the duo went on to create their signature program, The Mysterious Traveler, and they also worked on The Sealed Book, Master Detective, Nick Carter and others.

Murder By Experts was a departure for the writing team, but that was the ingenious subtlety of the program. Rather than inventing new plots, they would adapt the recommendation of an “expert”, another writer of thriller fiction. The subtlety was that each program would gain attention for three different mystery writers. The first would be the show’s host, John Dickson Carr. By the time of the broadcasts, Carr was already a well recognized name in the Mystery fiction game, but his latest project got a nice plug in each episode (the same would be true of his replacement, Brett Halliday after Carr left the series in mid-1950).

CN 012464Along with the host, the guest “expert” would get a plug for his latest story as well as giving a plug to the author whose tale was presented in that episode. With their own success seemingly in hand, Kogan and Arthur were willing to do what they could to help other writers to make a living. In fact, it may have led to their demise. Murder By Experts is included in the list of victims of McCarthyism; Kogan and Arthur were involved in the Radio Writers Guild, a labor union which fell under the spotlight of the House Un-American Activities Committee. By then, Experts was already the victim of Mutual’s lack of sponsor support.

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Good Night Lauren Bacall

She was only 19 when she turned what could have been a rather mediocre film into one of Hollywood’s greatest romantic classics. The film was also the starting point for one of Hollywood’s greatest romances. It also launched the career of a young woman who would become one of the biggest stars of all time.
When Lauren Bacall asked Humphrey Bogart “You know how to whistle, don’t you Steve? You just put your lips together and blow” audiences fell in love. Of course, so did Bogie. Bogart was trapped in an unhappy marriage to Mayo Methot. Methot and Bogie enabled one another’s alcoholism, but Mayo was a mean and violent drunk. The couple were nicknamed the Battling Bogarts. By the time Bacall came along, Bogart had enough, and divorcing Methot and starting a relationship with a girl 26 years his junior was the most natural thing in the world.

Humphrey-Bogart-and-Lauren-Bacall-on-their-wedding-day-May-21-1945-01Born Betty Joan Perske in the Bronx, Bacall became very close to her mother after her parents divorced. Her mother began using her maiden name and put her daughter through private school while working as a secretary. Betty often played hookie to to watch her idol, Bette Davis, at the movies. She took acting lessons and worked as a theater usher, but had better luck as a fashion model.
Howard Hawks’ wife saw a small picture of Betty in a magazine, and insisted that the director give her a screen test. Hawks’ secretary sent her a ticket to Hollywood by accident (her instructions were to find out more about the model), and Hawks put her in To Have and To Have Not (1944).
During the screen test, Betty was so nervous that the only way she could keep from trembling was to tuck her chin to her chest and tilt her eyes up toward the camera. This became “the Look”, Lauren Bacall’s trademark. Hawks changed her name to Lauren, and the nicknames “Steve” and “Slim”, those of Hawks and his wife, were used by the characters in the film.
Married to Bogie, Lauren Bacall became “den mother” to the Holmby Hills Rat Pack. Bogie was smitten with his glamorous young wife, who inspired him during one of the richest periods of his career. The couple starred in a number of classic films together. Betty joined Bogie in Africa while he was filming The African Queen (1951), where they became good friends with Katharine Hepburn and Spencer Tracy.

Bold Venture Radio Show starring Bacall and Bogart

Upon their return from Africa, the Bogarts went to work taping the syndicated radio program Bold Venture. A recording studio was set up in their home, and profits from the project were earmarked for their son’s trust fund. The characters and situations of Bold Venture were loosely based on some of their most popular movie roles, especially To Have and Have Not and Casablanca where Bogie played a fiercely independent American hotel owner.
After Bogie passed away, Bacall was briefly engaged to Rat Pack leader Frank Sinatra. She was married to Jason Robards (Lauren Bacall is the only Oscar winner to have been married to two other Oscar Winners). She also starred in several pictures, including The Shootist (1976), John Wayne‘s last picture (Wayne and Bacall became great friend despite their “significant political differences”). In 1999, the American Film Institute selected Lauren Bacall as one of the 25 most significant female movie stars in history.
Ms. Bacall kept a residence at the Dakota on Manhattan’s Upper West Side since the early Sixties. Her passing on August 12, 2014, was announced on a Twitter message from the Bogart Estate. She was 89.
Good Night Lauren Bacall, say Hi to Bogie for us.

Enjoy this 1952 broadcast of Humphrey Bogart and Lauren Bacall appearing on Bing Crosby’s variety show:

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Cigarette Advertising in Old Time Radio

smokingLight ‘em if You’ve Got ‘em Jack Webb Fatima Ad
Many OTR fans will tell you that Jack Webb’s Dragnet is as close to a perfect Radio Drama as you can find. The show makes great use of Audio Branding. From the ominous four note theme music (titled “Danger Ahead”), to the catchphrase “only the names have been changed to protect the innocent, to Jack Webb’s terse and direct narration style, there is no doubt in the listener’s mind that they are enjoying another exciting episode of the prototypical Police Procedural Drama.

This strong audio branding may be part of the reason that cigarette company Liggett & Myers was such an enthusiastic sponsor of the show from the  18th episode forward. In fact, the one complaint that many modern OTR listeners have about Dragnet is that after listening to an exciting episode, they are nearly overcome by the desire to light-up a refreshing Fatima, “the best of All Long Cigarettes”.

A strong testimony of Radio’s effectiveness as an advertising medium during the Golden Age is that modern OTR listeners can feel this desire for a cigarette brand which was beginning to be seen as “old fashioned” in the 1950′s and discontinued from the market since 1980!

Different Times, Different Values

Racist Cigarette Ad

Racist Cigarette Advertisement Example

Radio’s relationship with the tobacco industry is one of OTR’s “dirty little secrets”, not unlike the racial stereotyping which made shows like Beulah and Amos ‘n’ Andy not only possible but popular. Although the programs were and are comic masterpieces, their subject matter makes the skin of a modern listener crawl. Although no modern producer or sponsor would condone the material, ignoring it will deny hours of fun listening.

When the federal government first began licensing broadcasters, there was an effort to keep radio free from commercial advertisement. This sentiment was short-lived as radio’s marvelous potential for advertising was seen. The business model developed by the networks and the advertising agencies differed from print advertising. Newspapers and magazines sold “space” in their publications to the advertisers. The ad agency was responsible for filling the space while the publishers filled the rest of the page with their own content.

Commercial Radio Means CommercialsborngentleL
On radio, the advertising agency was sold a block of time, and it was the agency’s job to fill the time for their clients. Since “dead air” would have been unacceptable, blocks of airtime that could not be sold to a sponsor or ad agency were filled with programs which were “sustained” by the network.

As the networks began serving a nationwide audience, airtime blocks which would reach the greatest number of listeners became very profitable, and therefore, only affordable to the richest advertisers. During the years we call the Golden Age of Radio few businesses were as large of as profitable as the Cigarette Industry.

Smoking Through The YearsEarly Cigarette Ad During the 17th century, tobacco became the first and most important cash crop for England’s North American colonies. Cigarettes, which means “Little Cigar” were developed as an alternative smoking device to pipes or their larger cousin, the cigar. Making a cigar requires a large, high quality tobacco leaf in which the rest of the tobacco is rolled into a tube for smoking. Wrapping flakes of tobacco in a paper tube allows the use of lower quality tobacco (flavor is maintained by blending tobaccos).

Cigarettes can to the English speaking world when soldiers in the Crimean War began wrapping Turkish tobacco in scraps of old newspaper for smoking, and it was not long before finer papers for rolling came on the market. In 1865,Washington Duke of North Carolina began rolling cigarettes to sell, and 1883 James Bosnak founded the American Tobacco Company on the basis of the machine he invented which could roll thousands of cigarettes a day.tobacco_cards_gypsy_queen

By the end of the 19th century, factory made cigarettes were marketed across the US in paper packs. The packs often contained a card to protect the smokes. The card was often imprinted by the cigarette manufacturer to make their product even more attractive, and were some of the first trading cards. Cigarettes were part of soldier’s rations in both World Wars, often provided to the government at a deep discount or even free but the tobacco companies. The first World War was followed by the Jazz Age. After seeing so many dashing Veterans light up, it was natural that cigarettes became as much a part of the flapper’s image as bath-tub gin.

American Tobacco and The Jazz Singer 1928 Al Jolson Advertisement
Radio and Talking Motion Pictures grew up together and fed off one-another’s success. The American Tobacco Company, makers of Lucky Strikes, gained notoriety in the late twenties with a print and radio campaign built around The Jazz Singer himself, Al Jolson. In the ad, Jolson claimed that the toasting of Lucky Strike Tobacco eliminated the throat irritants and that a singer could maintain his shape by reaching for a Lucky rather than a fattening sweet.

American Tobacco was notorious for taking advantage of marketing psychology to find new ways to promote its product. One of the more infamous was the claim that the green print on Lucky Strike packs at the beginning of the Second World War was being changed in support of the War Effort. In actuality, the color change was part of the effort to remove the stigma of women smoking in public. The white pack had already been planned as more appealing to feminine sensibilities, and the War Effort rumor was just a happy coincidence.

Another fortunate War-time break for Lucky was the loss of Jack Benny‘s longtime sponsor, General Foods’ Jello. With Wartime sugar rationing, the company was having a hard enough time keeping its product on the shelves, let alone support a popular radio program. A switch to Grapenuts cereal was tried, but eventually it was more expedient to let the tobacco company begin writing the checks. The cast singing “J…E…L-L…Ooo” was more musical and friendly than “LS/MFT” (Lucky Strike Means Fine Tobacco”, but even with the addition of a pair of tobacco auctioneers, it was pretty much the same Jack Benny Program.

Infamy Of Other Brands Benny Goodman and his Orchestra
Camel Cigarettes came on the market in 1913 and were very popular with the doughboys of WWI. On the radio during the Thirties, they sponsored Blondie on Monday nights, The Dixieland Music Shop on Tuesday, and Tommy Dorsey, “the King of Swing” on Saturday’s Camel Caravan. The catch-phrase “I’d walk a mile for a Camel” is thought to be as old as the brand itself, but the assertion in the late 1940s that “More Doctors Smoke Camels Than Any Other Cigarette” was easier to trace. CBS newsman Edward R. Murrow supposedly smoked as many as 4 packs a day of Camels, making the cigarette a personal trademark.

Liggett & Myers, producers of the Fatima Cigarettes which sponsored the early Dragnet programs, also brought a series of music programs to the air to promote Chesterfields, at the time their flagship brand. Chesterfield Time featured “music from the movies” while The Chesterfield Supper Club took listeners to a swanky nightclub for an after dinner smoke. The Supper Club was a nightly 15 minute broadcast, hosted by Perry Como on Monday, Wednesday and Friday, Jo Stafford on Tuesday and Peggy Lee on Thursdays. The Chesterfield Show was a much simpler affair featuring the number one swing band, Benny Goodman’s outfit before the war, and the number one trio, the Andrews Sisters. When Fatimas began to fade, Chesterfields took over the sponsorship of Dragnet. Chesterfields also put the smoke in Gunsmoke.

The Simpler Times Conundrum
Tobacco Advertising on Television and Radio has been outlawed in the US since the early 70′s, which is part of the reason hearing the ads on OTR is surprising to new listeners. In a time when smokers are forced to walk to a “designated smoking area”, often several yards away from the activity they are a part of, it is hard to imagine a world where almost everyone carried matches or a Zippo Lighter and there was an ashtray on every workbench, desk, nightstand and dining table.

Before the health dangers of smoking were widely known, any objection to smoking was for “moral reasons”. The real genius of cigarette advertising in the Golden Age was overcoming these social stigma. This success is seen in the movies of the time- how many times do we see the romantic leads of a film making eye contact through a swirl of cigarette smoke?

When the health dangers did become known, cigarette advertising was effectively doomed. The efforts of the industry to overcome the warnings of the medical profession are documented and dramatized extensively. However, it should be noted that truth turned out to be stronger than entertainment.

 

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