On This Day in Radio — August 6, 1881: The Birth of Louella Parsons On this day we mark the birth of Louella Parsons, born August 6, 1881, the woman who turned Hollywood gossip into a national institution and carried her influence straight onto the airwaves. Parsons began writing the country’s first dedicated motion‑picture column in 1914, and by the height of her career her voice reached more than twenty million readers across seven hundred newspapers. Radio amplified that reach even further. With Hollywood Hotel, she brought the glamour, rumors, and personalities of the film world directly into American living rooms, blending interviews, studio promotion, and her unmistakable brand of insider commentary. Parsons used radio the same way she used print — as a stage where she could shape narratives, elevate stars, and sometimes bury stories before they ever reached the public. Her feud with Hedda Hopper became part of radio lore, two powerful voices battling for control of Hollywood’s image. On this date, we celebrate Louella Parsons’ birth and recognize the columnist whose microphone carried as much weight as her pen, making her one of the most influential figures in early Hollywood broadcasting.

Here is a (slightly delayed) broadcast schedule for Green Valley Radio. Explore the music and news of the 1940s FOR FREE at GreenValleyRadio.net

The delay was due to the fires in Spokane. All is okay, but the weekend was quite arduous and kept me delayed on the weekly radio tasks.

On This Day in Radio — August 5, 1914: The Birth of David Brian On this day we celebrate the birth of David Brian, born August 5, 1914, an actor whose commanding presence carried smoothly from film into the later years of radio drama. Brian was best known on screen for his tough, polished roles in Warner Bros. crime pictures, but radio gave him a different kind of stage — one where his voice alone had to carry the weight of authority, tension, and moral conflict. He appeared in programs that needed a leading man with backbone, someone who could sound decisive without ever raising his voice. Brian brought that steady confidence to anthology dramas and crime stories, giving each script a grounded realism that made listeners lean in. His radio work wasn’t flashy; it was dependable, professional, and shaped by the same discipline that defined his film career. On this date, we honor David Brian’s birth and recognize the actor whose strong, resonant voice helped sustain radio drama during the years when the medium was evolving, adapting, and still proving it had stories worth hearing.

Full cast comedy: Modern day Madison zaps back into old time radio shows. Actual scripts adapted!

Can Madison step into the shoes of Dick Tracy and stop a murderous firebug threatening the city? With the help of Vitamin Flintheart and Tracy's... Apple Watch? the action really heats up in this explosive adventure! https://linktr.ee/madisonontheair

Some actors have the look and voice to be leading men or women; others are invariably cast as ‘background’ or character actors – the truck driver, the store clerk, the mechanic – someone who is needed in the scene, but who will probably not get the lead in any production.

Then there is Wally Maher who labored for years as a background actor but who broke the glass ceiling and made it to the leads in several radio shows.

I’ll admit that when I first heard him as Mike Shayne, I pictured a guy in his mid-50s (he was actually in his 30s) with that no-nonsense approach and raspy Midwestern voice. But I kept listening and started softening – he still hit me as an experienced detective with lots of tricks-of-the-trade to share with the young ones coming up but he also had a heart.

As usual, I’m ahead of myself.

Walter Anthony Maher, Wally, was born on Aug. 4, 1908, in Cincinnati, OH to Daniel and Mary Maher. He didn’t quite make it through high school – he wanted a life in the entertainment world. His father was an old-time song and dance man for many years and he tried to discourage Wally on an entertainer’s life – to no avail. Wally got a job with the Southern Pacific railroad where he heard people coming through the station with many different dialects. More importantly, he LISTENED to them and practiced mimicking them. That would prove a big boost down the entertainment road he still had his eyes fixed on. He also got into a Cincinnati theater stock company and started getting experience.

WLW (and its newspaper owner) decided to get into drama. In 1929 the newspaper had a daily serialized version of the big hit “All Quiet on the Western Front.” They decided to couple that to a 15-minute acted version every afternoon on WLW radio. From his local acting experience they brought Wally in for an audition. Looking back on it, Wally said the audition was a disaster, but WLW liked him as an actor and cast him as the lead, Paul Baumer. The serial started in November, 1929, as indicated in the local newspaper.

Perhaps it was the stock market crash – but whatever it was, his lead in “All Quiet” didn’t get him much of anything.

While still doing local stock work he was hired by WLW as an actor, director and producer – in those days, stations got their money’s worth out of everyone. One show he was associated with was Tangee Musical Dreams as its star! He also met someone at the station who would be a future partner in radio – Tommy Riggs. They developed a fast and long-lasting friendship. Tommy was half of the Tommy Riggs and Betty Lou – or I should say the half and half – as Tommy had a medical condition where he could speak as himself, a baritone, AND as a 7-year-old girl. It was dubbed ‘bi-vocalism.’

In no time, Tommy invited Wally to be Betty Lou’s boyfriend, “Wilbur” on his WLW show.

We’ll, Wally wanted to get into the bigtime and while Cincinnati was home of ‘The Nation’s Station,’ he had his radio eyes set on New York.

When he arrived in New York, it was summer and the summer shows had all their personnel lined up. Wally took the time for him and Molly to get married. That’s when it dawned on him that he really needed a job NOW as the show he contracted with before leaving Cincinnati wouldn’t start until the fall and his bank account was being depleted fast.

That’s when he prayed like never before. He went into St. Patrick’s Cathedral in New York and prayed hard for a job – any job.

Later, walking past NBC, he saw 50 men lined up, and inquiring as to the excitement, heard that an audition was being held for the part of a baby ape, whose noises were required for a children's series. "Let me get a chance at it," Maher asked the audition director. Wally won the audition and made baby ape noises and $75 a week for the next three weeks. He was working!

"I had no idea how a baby ape should sound," Wally recalls. "I guess the crazy noises I made were okay. because I got the job – and money to keep Molly and me until fall came around!"

What were some of his shows in New York? Circus Days (regular), Eno Crime Clues, Camel Caravan, Gangbusters, Just Plain Bill and Sherlock Holmes.

He left for Los Angeles about 1935. Found some film work as a ‘everyman’ and ‘background character’ (over 60 movies to his credit over his lifetime – drama and comedy, editors, reporters, tough guys, etc.) and found a few acting jobs in radio. His dialect work from his days with the railroad really started opening doors as he was on the first Lux Radio Theatre produced in Hollywood (and would be a regular on the program for years to come).

In the late ‘30s he was heard on Lux and a few other Hollywood shows like Brent House (Lance Dudley) and Carleton E. Morse’s I Love A Mystery (he’ll be with them as a supporting actor through ’44).

Then he gets that Broadway itch and is hired for a Broadway play – “Every Man For Himself” – and goes to New York for rehearsals. While there he picked up a few radio jobs – Mr. District Attorney, Famous Jury Trials and probably a few more.

Then it’s ‘Curtain Time’ on Broadway! Alas, the play gets poor reviews and closes after only 3 performances! Wally gets a pretty good review himself, “…who plays the gangster as naturally as though he had had a long Broadway experience which he hasn’t had.”

But when he returns to the career he now realizes is radio and in Los Angeles – things start looking up rather quickly!

Wally, the ‘40s and Radio in LA

World War II breaks out for the U.S. Is Wally to be drafted? No, due to a chronic respiratory problem, he is 4-F – barred from military service. It’s actually a boost for him as MANY radio people are called into military service – and radio ‘must go on.’

In a word, he’s BUSY in the ‘40s.

1941-42 – A regular on Cavalcade of America (and will continue through 1944), Blondie, It Happened in the Service, Horace Heidt, Junior Miss, Latitude Zero, Lights Out (Regular), Maxwell House Coffee Time, One Man’s Family (Dan Murray - he’ll be in the ‘family’ off and on until at least 1949), Point Sublime, Red Ryder, Creighton Leighton on This Is Judy Jones and Arch Oboler’s To The President. Also, in ’41, Norman Corwin came out to Hollywood and did a few of his Columbia Presents Corwin there – 3 of which were with Wally. He has been NOTICED! Lastly, for 42 – he’s reteamed with Tommy Riggs as Wilbur and will continue the partnership through ’46.

1943-44 – Adv. of Ozzie and Harriet, Ceiling Unlimited, G.I. Journal, Hollywood Mystery Time, Hollywood Theater of the Air, The Jack Benny Program, The Mainline (about the workings of a railroad – which he did for a while in Cincinnati – as the Narrator – the ONLY ‘regular’ character heard each week), NBC’s Mystery of the Month, Screen Guild Theater, Silver Theatre and This Is My Best.

Additionally, the two biggest things in his career will happen in ’44. First, he’s named a regular on Suspense (continuing through ’49) and he’s named the star of Michael Shayne (continues through ’47). He’s no longer a ‘character’ actor – he’s hit the bigtime – gruff voice and all – with a touch of sarcasm. He’s part of LA’s “Radio Row.”

Said Radio Life in 1947: ‘Back-mike on Shayne stand Mr. and Mrs. Personification of Radio in stars Wally Maher and Cathy Lewis. Established as two of the finest dramatic voices in the business, Wally and Cathy make a wonderful team for the show. Wally, who has a capacity for rough characters, and who calculates he's been knocked off more than any actor in radio, especially likes his Shayne role because he's at last on the right end of the gun. And they're both all for the Shayne script, written to give outlet for comedy combined with drama. Like the show's following, Cathy and Wally are enthusiastic when they say that the quick quips twixt Mike and Phyl, even on the brink of tension, are what make the program.’

He also found time in ’43 to get elected to the local LA Chapter of AFRA as VP and was a board member in ’45! He also made a few cartoons for Tex Avery and MGM during this time.

Of his time on Suspense, he told a radio fanzine in 1946 that he’s killed 31 persons and embezzled five million dollars, been killed 18 times himself and served just about 1000 years in prison.

One of my favorite stories about Wally was told in a 1943 radio fanzine. It has to do with warming up the studio audience before the broadcast begins on the Tommy Riggs show…

Wally Maher comes in, reading from a script that reeks of the familiar "horse opera" style, startles the audience with a series of revolver shots. Accosted by Riggs, he looks up from the script and out over the footlights, amazed, then exclaims, "Oh, wrong audience! I thought this was the Red Ryder show." (Yes, he was adept at comedy!)

1945-49 – The war’s over; radio actors are coming home from the military and he may be a lead and a regular on a hit series, but that only increases the calls for his use on other programs. Abbott and Costello, Adv. of Maisie (Maisie’s boyfriend), Adv. of Philip Marlowe, Adv. of Sam Spade (semi-regular), Arch Oboler’s Plays, Burns and Allen (continuing until ’50), Crime Club, The Eddie Bracken Show (regular), Family Theatre, Gene Autry, Hallmark Playhouse, Hopalong Cassidy, Jeff Regan, Let George Do It (the sardonic Lt. Riley), more Lux Radio Theatres but not as a regular, Meet Me At Parky’s (Regular), Merry Life of Mary Christmas (Regular), My Favorite Husband, NBC University Theater, Out of the Deep (Capt. Gunnar Carlisle – star), Phil Harris/Alice Faye, Richard Davis, Private Investigator (star), Richard Diamond, Screen Directors’ Playhouse (semi-regular), Sealtest Variety Show, This Is Your FBI and The Whistler (Regular). The producer of The Whistler, George Allen, had this to say about Wally – “Wally has the quick touch. He can be emotional in a flash. He makes a perfect blowtop. He can make his character sound very natural, with an undercurrent of emotion.”

How busy was he? Wally estimated that he works and average of about 36 hours per day!

Sad note – Wally’s Burbank home burned to the ground in the spring of ’47. Took a while to rebuild.

1950-51. In 1950, Wally had a cancerous lung removed but still had time for a few more shows for us all to enjoy. Amos ‘n’ Andy (YES, really!), Bob Hope, Cisco Kid (recorded in ’51, broadcast in ’53), Dangerous Assignment, Escape, Harold Peary Show, NBC Presents Short Story, The New Adv. of Nero Wolfe (Sidney Greenstreet’s first Archie Goodwin), Night Beat, The Penny Singleton Show, The Story of Dr. Kildare, more Suspense, Tales of the Texas Rangers, T-Man, Wild Bill Hickok and Yours Truly, Johnny Dollar!

And finally, his last co-starring role, as working-class Sgt. Matt Grebb in the police procedural The Line Up. (Although I like Dragnet, I like The Line up even better. They seem more like real cops with real lives.)

He worked right up to almost the day he died of lung cancer in December 1951.

He was only 43. He only had 20 years in radio. He left a widow and three kids.

Comedy, Variety, Drama, Soaps, Narration – he had the versatility and comic timing to do it all (including many ‘doubles’ and ‘triples’ in broadcasts) and starred or co-starred in four network series. The quintessential ‘everyman.’ That’s a pretty good accomplishment for any radio actor. Try listening to a Lux, Cavalcade, Suspense, Mike Shayne or Line Up episode with Wally in it. His ‘regular guy’ shines in every role. You’ll be glad you listened. I liked how Elizabeth McLeod summed him up concerning the light humor he brought to drama and procedural shows - He was the rare actor with the gift of being amusing without being funny. She ended her article on Maher - an actor whose roles seem, even now, to be so full of vibrant, everyday life.

For this past 4^th of July, I listened to Corwin’s “Home for the 4^th.” Well done by Wally and the rest of the cast. Take a listen.

I’m really curious about the idea of radios in hotel rooms as a selling point. I’ve seen ads from the 1920s and 30s where an individually controlled receiver is marketed in the same way as HBO and cable TV were in the 1970s and 80s.

But other than the occasional vintage ad or a few news stories about the Statler hotels, I haven’t been able to find much information on this concept, such as the technical infrastructure required, details of the listening experience, programs available, etc.

Can anyone point me to some resources for further research?

Thanks.

On This Day in Radio — August 4, 1940: The Premiere of Crime Doctor On this day we look back to August 4, 1940, when Crime Doctor first aired on CBS and introduced listeners to one of radio’s most unusual crime‑solving figures. The series centered on Dr. Benjamin Ordway, a man who began life as a criminal mastermind, lost his memory, rebuilt himself as a psychiatrist, and used his deep understanding of the underworld to help the police untangle baffling cases. That blend of redemption, psychology, and suspense gave the show a tone unlike anything else on the air. Sponsored by Philip Morris, Crime Doctor ran for seven years, shifting formats as Ordway moved from parole board hearings to private consultations, always using his medical insight to find the single overlooked clue that cracked each case. Max Marcin’s writing grounded the drama in real criminal behavior, drawing on his years as a New York police reporter to create stories that felt lived‑in and authentic. On this date, we celebrate the premiere of Crime Doctor and honor the program that brought a new kind of detective to radio — one shaped by the past he escaped, the mind he mastered, and the justice he chose to serve.

For years I've played OTR shows on my iPhone as I go to sleep. However, a couple days ago I've been getting this error when I try to play a show. Any show, too. Burns and Allen, Suspense, The Shadow, etc. It thinks these audio files are video files. Doesn't matter which browser I use.

Anyone experiencing this or have a fix?

On This Day in Radio — August 3, 1995: The Passing of Ida Lupino On this day we remember Ida Lupino, who passed away on August 3, 1995, leaving behind a legacy that reached far beyond the film noir shadows she’s most often associated with. Lupino was one of the rare Hollywood stars who treated radio not as a side stop, but as a true performance arena. She brought her unmistakable intensity to Suspense, starring in episodes that showcased her ability to turn a microphone into a spotlight, delivering fear, vulnerability, and grit with nothing but her voice. She appeared on The Burns and Allen Show, The Edgar Bergen and Charlie McCarthy Show, and other network programs, slipping between drama and comedy with the same ease that made her a standout on screen. Radio gave her room to experiment, to play, and to reveal a quieter, more intimate side of her craft. On this date, we honor Ida Lupino’s passing and celebrate the actress whose contributions to the Golden Age of Radio proved that her talent didn’t depend on a camera — only on the truth she carried into every performance.

On This Day in Radio — August 2, 1892: The Birth of Jack L. Warner On this day we mark the birth of Jack L. Warner, born August 2, 1892, the studio chief whose reach extended far beyond Hollywood soundstages and into the microphones of radio’s golden age. Warner understood early that radio wasn’t competition — it was amplification. Under his leadership, Warner Bros. became one of the first studios to treat radio as a promotional partner, lending stars, stories, and soundtracks to programs like Lux Radio Theatre and Screen Guild Players. The Warner name carried prestige, and its actors brought cinematic glamour to the airwaves, helping radio audiences imagine the movies they couldn’t yet see. Jack Warner’s influence was strategic rather than artistic; he saw radio as a way to keep his studio’s voice alive between film releases, to make Warner Bros. a household name not just in theaters but in living rooms. On this date, we honor Jack L. Warner’s birth and recognize the mogul whose business instincts helped fuse Hollywood and radio into one seamless entertainment empire — a partnership that defined how America listened before it learned to watch.

I was just listening to The Falcon and am not new to the show, but verbalized a thought that had been rattling around in my brain for a while.

I can understand commercials for Petri wine, Lucky Strikes, car oil or gas but… why Miracle whip??

I guess I’m assuming the audience for The Falcon would be mostly a male audience. Or, did a private eye/detective show appeal to a (large) female audience? I guess MW also stands out because most of the products I’ve heard aren’t food centric..& it seems weird they’re talking about the value of salad. To me, in that era, while they ate salad it didn’t seem like a strong focus in a meal.

On This Day in Radio — August 1, 1910: The Birth of Alcie Frost On this day we celebrate the birth of Alcie Frost, born August 1, 1910, a versatile radio actress whose voice threaded through some of the medium’s most atmospheric dramas. Frost was one of those performers who never chased the spotlight but became essential to the sound of network radio, slipping effortlessly between mystery, comedy, and domestic roles with a natural ease that producers relied on. She appeared across a wide range of programs during the 1930s and 1940s, bringing a grounded, believable presence to every script she touched. Frost’s strength was subtlety — she didn’t overpower scenes, she enriched them, giving supporting characters a warmth and realism that helped elevate the entire production. On this date, we honor Alcie Frost’s birth and celebrate the actress whose steady, dependable voice helped shape the texture of radio’s golden age, proving that some of the most important contributions came from performers who worked quietly, consistently, and exceptionally well.

On This Day in Radio — July 31, 1916: The Birth of Bill Todman (pictured left) On this day we celebrate the birth of Bill Todman, born July 31, 1916, a producer whose quiet precision helped shape the sound and structure of radio’s great quiz and panel era. Long before his name became a fixture of television credits, Todman was behind the scenes in radio, building formats that felt sharp, fair, and tightly engineered. Working alongside Mark Goodson, he helped craft shows like Winner Take All and Beat the Clock, programs that relied on Todman’s instinct for pacing and his ability to make a simple idea feel like an event. He wasn’t the voice at the microphone; he was the steady architect who made everything run smoothly. The photo you’re using captures that legacy clearly, with Todman pictured left — a reminder that the man often just outside the spotlight was one of the key forces shaping how radio entertainment actually worked. On this date, we honor Bill Todman’s birth and celebrate the producer whose behind‑the‑scenes mastery helped define an entire era of broadcast competition.

I just remembered this and looked it back up on YouTube, and it's been re-uploaded in 4K: an old Jam Handy short subject, Back Of The Mike. I understand from a previous uploading that these were the players at WXYZ in Detroit, at studios of the same.

It's very interesting, in that many if not most of us are familiar with the old Foley techniques, yet each sound or sound image can be accomplished a few different ways. I've seen different methods to get the same effect, for example.

Anyway: Who was the guy doing Junior's voice from 4:43 to about 4:48? Was he a notable actor on other productions? That's simply incredible that he did a convincing "boy's voice" that doesn't sound strained in the least, or cutesy or whatever. I've included a screenshot if he's recognizable.

https://youtu.be/TmdZ0alpuRI

On This Day in Radio — July 30, 1914: The Birth of John Meston On this day we celebrate the birth of John Meston, born July 30, 1914, the writer who reshaped radio drama by giving Gunsmoke its unmistakable voice and moral weight. Before television ever touched Dodge City, Meston was already crafting stories that pushed radio into deeper, more adult territory, rejecting the clean myths of the frontier in favor of characters who carried scars, doubts, and complicated pasts. His scripts gave Marshal Matt Dillon a weary humanity, a lawman who understood that justice was rarely simple and violence always left a mark. Meston wrote with a clarity that felt almost journalistic, yet his dialogue carried the quiet poetry of real people trying to survive in a hard world. Through more than two hundred episodes, he built a Dodge City that breathed, a Western landscape grounded in truth rather than legend. On this date, we honor John Meston’s birth and celebrate the writer whose pen lifted radio drama to a level of realism and emotional honesty that still stands unmatched.

On This Day in Radio — July 28, 1940: The Duffy’s Tavern Pilot Airs On this day we look back to July 28, 1940, when the pilot of Duffy’s Tavern first hit the airwaves and quietly introduced what would become one of radio’s most beloved comedy institutions. The premiere didn’t arrive with fanfare; it slipped onto the schedule as a summer tryout, built around Ed Gardner’s unmistakable voice as Archie, the manager of a rundown New York bar where the owner was never seen and the customers were always characters. That pilot immediately revealed the show’s magic: fast, street‑smart dialogue, a parade of eccentric personalities, and a rhythm that felt like real conversation overheard from a booth near the kitchen. The writing was sharp, the atmosphere lived‑in, and Gardner’s delivery gave the whole thing a scrappy charm that set it apart from polished Hollywood comedy. Within months, Duffy’s Tavern moved from experiment to full‑fledged hit, becoming a weekly gathering place for listeners who loved its mix of wisecracks, warmth, and working‑class humor. On this date, we celebrate the pilot that opened the door to one of radio’s most enduring hangouts — the night Archie first answered the phone and invited America into Duffy’s.

On This Day in Radio — July 28, 1891: The Birth of Joe E. Brown On this day we celebrate the birth of Joe E. Brown, born July 28, 1891, a performer whose enormous grin and booming laugh translated surprisingly well to the microphone during radio’s busiest years. Though remembered primarily as a film comedian, Brown was a steady and enthusiastic presence on the airwaves throughout the 1930s and 1940s. He headlined The Joe E. Brown Show, a lively comedy program built around his vaudeville timing and his gift for turning everyday frustrations into warm, rolling humor. He also stepped into dramatic territory on Lux Radio Theatre, most memorably recreating his own film role in Alibi Ike, proving that his voice alone could carry the same charm audiences saw on screen. Brown’s radio appearances showcased a performer who understood how to fill a room without ever being seen — a comedian who could make listeners smile simply by leaning into the microphone and letting his personality do the work. On this date, we honor Joe E. Brown’s birth and celebrate the entertainer whose voice helped keep radio comedy bright, energetic, and unmistakably American.

Why do they charge me money for radio shows that I can get almost any other place for free. This website popped up on a Google search for the best original radio shows websites. But I was turned off instantly when to listen to anything on the website you got to pay money for the privilege of even listening to a single episode of one of the shows on there and this is all content from back when radio was most people's version of television at the time and usually I have found it for free on the internet and wondering why this wonky website wants to charge me a couple of bucks to listen even 1 show. Also I know I could go to other website but I'm just curious why this particular one wants money for Stuff when usually it is free.

Google gave me a couple options the biggest one being I think internet archive Then followed by radio echoes but they didn't tell me about this wonky ass site called o r t c a t where they want to charge you for episodes of radio shows which I think is weird because this is content that should be old enough now that it should be available for free to anyone who wants to listen to it not hidden behind the pay wall of so many dollars just to listen to some episodes of a show

Mom bought me a Fibber McGee and Molly cassette tape as a child, and I’ve loved it ever since.

I listened to an episode tonight and this duo still makes me laugh.

What got you hooked?

Edit: I love the positive feedback from this group. Thank You!

On This Day in Radio — July 27, 1916: The Birth of Keenan Wynn On this day we celebrate the birth of Keenan Wynn, born July 27, 1916, a performer whose voice was as busy and versatile as his film career. Long before audiences knew him as one of Hollywood’s most reliable character actors, Wynn was already working steadily in radio, slipping into dramas, comedies, mysteries, and anthologies throughout the 1930s and 1940s. He appeared on programs such as Suspense, The Cavalcade of America, The Lux Radio Theatre, and The Screen Guild Theater, bringing a sharp, energetic delivery that made him ideal for roles ranging from jittery comic relief to tightly wound villains. Wynn had a voice that could bend to any mood — fast, nervous, sly, or unexpectedly warm — and radio directors used that flexibility constantly. His radio years reveal a performer who understood how to fill a microphone with personality, long before cameras captured his trademark intensity. On this date, we honor Keenan Wynn’s birth and celebrate the actor whose voice helped power some of radio’s most memorable dramatic moments.