Old Time Radio

Serving Joliet/Plainfield IL

2013 Essington Road - Joliet, IL 60435

1640 Am America App

Old time radio

Radio's Golden Age

Sunday Nights

7pm-9pm

USA Central Time

For Vip Listeners

 

8:00pm - 10:00pm

For Non Vip Listeners

(Times May Vary by 15 Mins)

Daily Schedule

 

USA Central Time Zone

12:00 AM - 2:00 AM

Mystery/Thrillers

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2:00 AM

CBS Mystery Theater

 

3:00 AM

The Whistler (Serials)

 

4:00 AM

Frontier Stories

 

5:00 AM

Police Stories

 

6:00 AM - 10:00 AM

Detectives

 

10:00 AM

CBS Mystery Theater

 

11:00 AM

Police Stories

 

12:00 PM

Frontier Stories

 

1:00 Pm - 4 PM

Comedy

 

4:00 PM - 8 PM

Detectives

 

8:00 PM

Suspense (serials)

 

9:00 PM

The Whistler (serials)

 

10:00 PM

CBS Mystery Theater

 

11:00 PM

Mystery/Thrillers

 

 

 

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Radio Show Of The Month

Airs 10am & 10pm (Central Time)

THE CBS RADIO MYSTERY THEATER, dramatic mystery anthology, initiated many years after the demise of network radio broadcasting in hopes of promoting a resurgence. BROADCAST HISTORY: Jan. 6, 1974–Dec. 31, 1982, CBS. 60m, seven nights a week. CAST: A mix of television stars and oldtime New York radio people, including, from the latter ranks, Leon Janney, Evie Juster, Ralph Bell, Jackson Beck, Teri Keane, Mason Adams, Roger DeKoven, Robert Dryden, Bryna Raeburn, Joseph Julian, Ian Martin, Mary Jane Higby, William Redfield, Mandel Kramer, Paul McGrath, Amzie Strickland, Joan Lorring, Joan Banks, Elspeth Eric, Santos Ortega, Arnold Moss, Grace Matthews, Bret Morrison, Berry Kroeger. Also taped occasionally in Hollywood with Jim Jordan, Les Tremayne, etc. HOST-NARRATOR: E. G. Marshall; later Tammy Grimes. PRODUCER-DIRECTOR: Himan Brown. WRITERS: Sam Dann, George Lowther. SOUND EFFECTS: Peter Prescott, Joe Cabbibo. For years after radio died, oldtime producer-director Himan Brown had been sounding a forlorn lament: that the medium did not deserve such a fate, that radio drama could still be viable and hold its own with the video monster that had killed it. In 1973 CBS agreed, and Brown was given a slot for the most ambitious comeback attempt in radio’s over-the-hill history. He would produce 195 original shows, on tape, which would be fed to the CBS affiliates along the line. There would be 170 repeat broadcasts, but this still amounted to a show from scratch every 1.9 days, an awesome job that Brown tackled with joy. The series premiered to mixed reviews. There was interest from every quarter. Radio as a dramatic medium had been absent from the scene long enough to again be a novelty, and the show was covered by journals ranging from the New Yorker to Newsweek. Reporters were also interested in the lineup that Brown had announced for starring roles. Such stars as Agnes Moorehead, Zero Mostel, and Richard Widmark had agreed to work for the $100 base pay, and weaned-on-TV talents Joseph Campanella, Lois Nettleton, and their like would also spice up the casts. Newsweek said the series would infuse “radio’s hallowed horror show format with such topical themes as abortion and unwed motherhood.” The trouble, from the beginning, was the writing. The premiere wasted Agnes Moorehead, Newsweek continued, “and the most frightening thing about this Wednesday’s show, which features Kim Hunter as a housewife with an animal phobia, is actor Gilbert Mack’s uncanny imitation of a howling mongrel.” The conclusion: what Mystery Theater needed above all else was help from scripters like Paddy Chayefsky and Reginald Rose. But at $350 for a 52-minute script, Brown wasn’t about to go shopping among TV’s best playwrights. Staff writers Sam Dann and George Lowther did heroic duty in the trenches, but many of the scripts were written by people who were by nature performers—Ian Martin, Mary Jane Higby, Elspeth Eric, and even oldtime announcer Fielden Farrington. That they were all talents was never questioned: that they all desperately loved radio was self-evident. Whether they were writers was another question, and their efforts were finally doomed. But the show went beyond its original year and scored some notable successes: a Peabody Award in 1975; a public relations campaign that focused attention on radio drama at a time when transcriptions of old shows were turning up by the hundred. A good mix of classic and original stories was aired. Lowther adapted seven from Poe to begin the second year; a “Mark Twain Week,” beginning the third season, revealed that Clemens had written many stories that could legitimately be called mysteries. O. Henry was celebrated in the fourth year. The format followed Brown’s Inner Sanctum: a creaking door and a host, Marshall, who walked a listener into and through the story. Brown gave it the good fight, slugging it out for eight years and more than 1,500 shows. But it was still a poor man’s version of what radio once was, an echo of its unfulfilled promise. CBS gave the time but precious little money, and the affiliates felt free to tape-delay or drop it from the schedule at will. At KOA in Denver, it was often a casualty of the station’s sports docket. A complaining listener was told that, in effect, he was lucky they were carrying it at all. Sports pays, drama doesn’t: that was the bottom line in the ’70s and continued to be in the ’90s. To have any chance of success, radio drama would have to be approached as it is on the BBC in England, where it has never been allowed to die. As radio actress Virginia Gregg once put it, “The British know a good medium when they hear it.”

 

 

Dunning, John (1998-03-19). On the Air: The Encyclopedia of Old-Time Radio (pp. 142-143). Oxford University Press. Kindle Edition.

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