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clickhere Visit the Radio America Store web site.Buy your 50 mp3 for &5.00 creative commons license click here visit creative commons license The Lone Ranger was an early, long-running radio and television show based on characters created by George W. Trendle of Detroit, Michigan and developed by writer Fran Striker of Buffalo, New York. Their inspiration may have come from The Lone Star Ranger, a novel by Zane Grey. The basic premise is that a masked cowboy in the Old West gallops about righting injustices, usually with the aid of a clever and laconic American Indian called Tonto. Karl May's tales of Old Shatterhand and Chief Winnetou may have influenced the creation of the concept; but the main source for the Lone Ranger and many other masked heroes of the 1920s, 1930s, and on into the 21st century is Zorro.

clickhere Visit the Radio America Store web site.Buy your 50 mp3 for &5.00 creative commons license click here visit creative commons license The Lone Ranger was an early, long-running radio and television show based on characters created by George W. Trendle of Detroit, Michigan and developed by writer Fran Striker of Buffalo, New York. Their inspiration may have come from The Lone Star Ranger, a novel by Zane Grey. The basic premise is that a masked cowboy in the Old West gallops about righting injustices, usually with the aid of a clever and laconic American Indian called Tonto. Karl May's tales of Old Shatterhand and Chief Winnetou may have influenced the creation of the concept; but the main source for the Lone Ranger and many other masked heroes of the 1920s, 1930s, and on into the 21st century is Zorro.

Radio series Between 1971 and 1973 the TV series scripts were adapted for radio for broadcast in South Africa, which did not have television until 1976. The Tara King episodes had the character effectively renamed Emma Peel. Donald Monat played Steed, and Diane Appleby, Mrs Peel. The stories were adapted into between 5 and 7 episodes of approximately 15 minutes each (including adverts) and stripped across the week on the SABC. Currently 19 complete serials survive, all from original reel-to-reel off-air recordings, as well as three episodes of "Escape In Time", from a mixture of sources.

Radio series Between 1971 and 1973 the TV series scripts were adapted for radio for broadcast in South Africa, which did not have television until 1976. The Tara King episodes had the character effectively renamed Emma Peel. Donald Monat played Steed, and Diane Appleby, Mrs Peel. The stories were adapted into between 5 and 7 episodes of approximately 15 minutes each (including adverts) and stripped across the week on the SABC. Currently 19 complete serials survive, all from original reel-to-reel off-air recordings, as well as three episodes of "Escape In Time", from a mixture of sources.

clickhere Visit the Radio America Store web site.Buy your 50 mp3 for &5.00 creative commons license click here visit creative commons license Richard “Red” Skelton was born in Vincennes, Indiana in 1913. He worked as a circus clown and a medicine show pitchman before hitting the burlesque circuit in the 1920’s, performing impersonations and pantomime. Skelton performed several times on Rudy Vallee’s Royal Gelatin Hour before joining NBC’s 1939 variety series Avalon Time. Broadcast from Chicago, Avalon Time featured country singer Red Foley and Skelton’s wife and gag writer, Edna Stillwell.

clickhere Visit the Radio America Store web site.Buy your 50 mp3 for &5.00 creative commons license click here visit creative commons license Richard “Red” Skelton was born in Vincennes, Indiana in 1913. He worked as a circus clown and a medicine show pitchman before hitting the burlesque circuit in the 1920’s, performing impersonations and pantomime. Skelton performed several times on Rudy Vallee’s Royal Gelatin Hour before joining NBC’s 1939 variety series Avalon Time. Broadcast from Chicago, Avalon Time featured country singer Red Foley and Skelton’s wife and gag writer, Edna Stillwell.

clickhere Visit the Radio America Store web site.Buy your 50 mp3 for &5.00 creative commons license click here visit creative commons license Lum and Abner, an American radio comedy which aired as a network program from 1932 to 1954, became an American institution in its low-keyed, arch rural wit. One of a series of 15-minute serial comedies that dotted American radio at its height as America's number one home entertainment---others included Amos 'n' Andy, Easy Aces, The Goldbergs, and Vic and Sade---Lum and Abner included various elements of each but yielded something as singular as the others and became somewhat more of an institution. The creation of co-stars Chester Lauck (as Columbus "Lum" Edwards) and Norris Goff (as Abner Peabody), Lum and Abner was as low-keyed as Easy Aces, as cheerfully absurdist as Vic and Sade, and raised The Goldbergs ethnic focus by amplifying the protagonists' regional identities. As the co-owners of the Jot 'em Down Store in the then-fictional town of Pine Ridge, Arkansas, who were always stumbling upon moneymaking ideas only to get themselves fleeced by nemesis Squire Skimp, before finding one or another way to redeem themselves, Lum and Abner played the hillbilly theme with deceptive cleverness: the hillbillies just knew the slickers were going to get theirs, sooner or later, and either didn't mind or knew more than they let on that the slickers getting theirs was a matter of fortunate circumstance.

clickhere Visit the Radio America Store web site.Buy your 50 mp3 for &5.00 creative commons license click here visit creative commons license Lum and Abner, an American radio comedy which aired as a network program from 1932 to 1954, became an American institution in its low-keyed, arch rural wit. One of a series of 15-minute serial comedies that dotted American radio at its height as America's number one home entertainment---others included Amos 'n' Andy, Easy Aces, The Goldbergs, and Vic and Sade---Lum and Abner included various elements of each but yielded something as singular as the others and became somewhat more of an institution. The creation of co-stars Chester Lauck (as Columbus "Lum" Edwards) and Norris Goff (as Abner Peabody), Lum and Abner was as low-keyed as Easy Aces, as cheerfully absurdist as Vic and Sade, and raised The Goldbergs ethnic focus by amplifying the protagonists' regional identities. As the co-owners of the Jot 'em Down Store in the then-fictional town of Pine Ridge, Arkansas, who were always stumbling upon moneymaking ideas only to get themselves fleeced by nemesis Squire Skimp, before finding one or another way to redeem themselves, Lum and Abner played the hillbilly theme with deceptive cleverness: the hillbillies just knew the slickers were going to get theirs, sooner or later, and either didn't mind or knew more than they let on that the slickers getting theirs was a matter of fortunate circumstance.

clickhere Visit the Radio America Store web site.Buy your 50 mp3 for &5.00 creative commons license click here visit creative commons licenses scam.

clickhere Visit the Radio America Store web site.Buy your 50 mp3 for &5.00 creative commons license click here visit creative commons licenses scam.

click here Visit the Radio America Store web site.Buy your 50 mp3 for &5.00 creative commons license click here visit creative commons license Dragnet debuted inauspiciously. The first several months were bumpy, as Webb and company worked out the program’s format and eventually became comfortable with their characters. Gradually, Friday’s deadpan, fast-talking persona emerged, described by John Dunning as "a cop's cop, tough but not hard, conservative but caring." (Dunning, 210) Friday’s first partner was Sgt. Ben Romero, portrayed by Barton Yarborough, a longtime radio actor. When Dragnet hit its stride, it became one of radio’s top-rated shows. Webb insisted on realism in every aspect of the show. The dialogue was clipped, understated and sparse, influenced by the hard boiled school of crime fiction. Scripts were fast moving but didn’t seem rushed. Every aspect of police work was chronicled, step by step: From patrols and paperwork, to crime scene investigation, lab work and questioning witnesses or suspects. The detectives’ personal lives were mentioned, but rarely took center stage. "Underplaying is still acting," Webb told Time. "We try to make it as real as a guy pouring a cup of coffee.” (Dunning, 209) Los Angeles police chiefs C.B. Horrall and (later) William H. Parker were credited as consultants, and many police officers were fans.

click here Visit the Radio America Store web site.Buy your 50 mp3 for &5.00 creative commons license click here visit creative commons license Dragnet debuted inauspiciously. The first several months were bumpy, as Webb and company worked out the program’s format and eventually became comfortable with their characters. Gradually, Friday’s deadpan, fast-talking persona emerged, described by John Dunning as "a cop's cop, tough but not hard, conservative but caring." (Dunning, 210) Friday’s first partner was Sgt. Ben Romero, portrayed by Barton Yarborough, a longtime radio actor. When Dragnet hit its stride, it became one of radio’s top-rated shows. Webb insisted on realism in every aspect of the show. The dialogue was clipped, understated and sparse, influenced by the hard boiled school of crime fiction. Scripts were fast moving but didn’t seem rushed. Every aspect of police work was chronicled, step by step: From patrols and paperwork, to crime scene investigation, lab work and questioning witnesses or suspects. The detectives’ personal lives were mentioned, but rarely took center stage. "Underplaying is still acting," Webb told Time. "We try to make it as real as a guy pouring a cup of coffee.” (Dunning, 209) Los Angeles police chiefs C.B. Horrall and (later) William H. Parker were credited as consultants, and many police officers were fans.

clickhere Visit the Radio America Store web site.Buy your 50 mp3 for &5.00 creative commons license click here visit creative commons license Skelton was the son of a Hagenbeck-Wallace Circus clown who died shortly before he was born. Skelton himself got one of his earliest tastes of show business with the same circus as a teenager. Before that, however, he had been given the show business bug at age ten by entertainer Ed Wynn, who spotted him selling newspapers trying to help his family. After buying every newspaper in Skelton's stock, Wynn took the boy backstage and introduced him to every member of the show with which he was traveling. By age fifteen, Skelton had hit the road full-time as an entertainer, working everywhere from medicine shows and vaudeville to burlesque, showboats, minstrel shows, and circuses. [edit]

clickhere Visit the Radio America Store web site.Buy your 50 mp3 for &5.00 creative commons license click here visit creative commons license Skelton was the son of a Hagenbeck-Wallace Circus clown who died shortly before he was born. Skelton himself got one of his earliest tastes of show business with the same circus as a teenager. Before that, however, he had been given the show business bug at age ten by entertainer Ed Wynn, who spotted him selling newspapers trying to help his family. After buying every newspaper in Skelton's stock, Wynn took the boy backstage and introduced him to every member of the show with which he was traveling. By age fifteen, Skelton had hit the road full-time as an entertainer, working everywhere from medicine shows and vaudeville to burlesque, showboats, minstrel shows, and circuses. [edit]

clickhere Visit the Radio America Store web site.Buy your 50 mp3 for &5.00 creative commons license click here visit creative commons license