George Burns and Gracie Allen was one of the funniest duos in the history of American comedy. Both came from vaudeville, where they performed from childhood, honing their skills. When they met and decided to work together, they created an act that is unforgettable. While their earlier shows continued their standup vaudeville act, they gradually transformed their format to create one of the earliest situation comedies.

The two employed running gags, including George’s purported jealousy of Gracie’s latest crush, and Gracie’s search for her missing brother—a gimmick that was incorporated into the popular culture of the day. Numerous major stars of the period appeared on their shows; regulars included Harry Von Zell, Hans Conreid, and Meredith Willson.

The comedic skill of the two is legendary. George’s writing and dry wit were a perfect foil for the dazzling dizziness of the brilliant Gracie. For sheer fun, Burns and Allen ranks among the best of the Old Time Radio programs

Podcast: Play in new window | Download

George Burns and Gracie Allen was one of the funniest duos in the history of American comedy. Both came from vaudeville, where they performed from childhood, honing their skills. When they met and decided to work together, they created an act that is unforgettable. While their earlier shows continued their standup vaudeville act, they gradually transformed their format to create one of the earliest situation comedies.

The two employed running gags, including George’s purported jealousy of Gracie’s latest crush, and Gracie’s search for her missing brother—a gimmick that was incorporated into the popular culture of the day. Numerous major stars of the period appeared on their shows; regulars included Harry Von Zell, Hans Conreid, and Meredith Willson.

The comedic skill of the two is legendary. George’s writing and dry wit were a perfect foil for the dazzling dizziness of the brilliant Gracie. For sheer fun, Burns and Allen ranks among the best of the Old Time Radio programs

Podcast: Play in new window | Download

George Burns and Gracie Allen was one of the funniest duos in the history of American comedy. Both came from vaudeville, where they performed from childhood, honing their skills. When they met and decided to work together, they created an act that is unforgettable. While their earlier shows continued their standup vaudeville act, they gradually transformed their format to create one of the earliest situation comedies.

The two employed running gags, including George’s purported jealousy of Gracie’s latest crush, and Gracie’s search for her missing brother—a gimmick that was incorporated into the popular culture of the day. Numerous major stars of the period appeared on their shows; regulars included Harry Von Zell, Hans Conreid, and Meredith Willson.

The comedic skill of the two is legendary. George’s writing and dry wit were a perfect foil for the dazzling dizziness of the brilliant Gracie. For sheer fun, Burns and Allen ranks among the best of the Old Time Radio programs

Podcast: Play in new window | Download

The biggest names in Hollywood and Broadway recorded for AFRS during the war years, The American Forces Network can trace its origins back to May 26, 1942, when the War Department established the Armed Forces Radio Service (AFRS). The U.S. Army began broadcasting from London during World War II, using equipment and studio facilities borrowed from the British Broadcasting Corporation (BBC). The first transmission to U.S. troops began at 5:45 p.m. on July 4, 1943, and included less than five hours of recorded shows, a BBC news and sports broadcast. That day, Corporal Syl Binkin became the first U.S. Military broadcasters heard over the air. The signal was sent from London via telephone lines to five regional transmitters to reach U.S. troops in the United Kingdom as they prepared for the inevitable invasion of Nazi-occupied Europe. Fearing competition for civilian audiences the BBC initially tried to impose restrictions on AFN broadcasts within Britain (transmissions were only allowed from American Bases outside London and were limited to 50 watts of transmission power) and a minimum quota of British produced programming had to be carried. Nevertheless AFN programmes were widely enjoyed by the British civilian listeners who could receive them and once AFN operations transferred to continental Europe (shortly after D-Day) AFN were able to broadcast with little restriction with programmes available to civilian audiences across most of Europe (including Britain) after dark. As D-Day approached, the network joined with the BBC and the Canadian Broadcasting Corporation to develop programs especially for the Allied Expeditionary Forces. Mobile stations, complete with personnel, broadcasting equipment, and a record library were deployed to broadcast music and news to troops in the field. The mobile stations reported on front line activities and fed the news reports back to studio locations in London.
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Entertainment Radio Stations Live 24/7 Sherlock Holmes/CBS Radio Mystery Theater
https://live365.com/station/Sherlock-Holmes-Classic-Radio–a91441
https://live365.com/station/CBS-Radio-Mystery-Theater-a57491
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Podcast: Play in new window | Download

The biggest names in Hollywood and Broadway recorded for AFRS during the war years, The American Forces Network can trace its origins back to May 26, 1942, when the War Department established the Armed Forces Radio Service (AFRS). The U.S. Army began broadcasting from London during World War II, using equipment and studio facilities borrowed from the British Broadcasting Corporation (BBC). The first transmission to U.S. troops began at 5:45 p.m. on July 4, 1943, and included less than five hours of recorded shows, a BBC news and sports broadcast. That day, Corporal Syl Binkin became the first U.S. Military broadcasters heard over the air. The signal was sent from London via telephone lines to five regional transmitters to reach U.S. troops in the United Kingdom as they prepared for the inevitable invasion of Nazi-occupied Europe. Fearing competition for civilian audiences the BBC initially tried to impose restrictions on AFN broadcasts within Britain (transmissions were only allowed from American Bases outside London and were limited to 50 watts of transmission power) and a minimum quota of British produced programming had to be carried. Nevertheless AFN programmes were widely enjoyed by the British civilian listeners who could receive them and once AFN operations transferred to continental Europe (shortly after D-Day) AFN were able to broadcast with little restriction with programmes available to civilian audiences across most of Europe (including Britain) after dark. As D-Day approached, the network joined with the BBC and the Canadian Broadcasting Corporation to develop programs especially for the Allied Expeditionary Forces. Mobile stations, complete with personnel, broadcasting equipment, and a record library were deployed to broadcast music and news to troops in the field. The mobile stations reported on front line activities and fed the news reports back to studio locations in London.
—————————————————————————
Entertainment Radio Stations Live 24/7 Sherlock Holmes/CBS Radio Mystery Theater
https://live365.com/station/Sherlock-Holmes-Classic-Radio–a91441
https://live365.com/station/CBS-Radio-Mystery-Theater-a57491
—————————————————————————-

Podcast: Play in new window | Download

The biggest names in Hollywood and Broadway recorded for AFRS during the war years, The American Forces Network can trace its origins back to May 26, 1942, when the War Department established the Armed Forces Radio Service (AFRS). The U.S. Army began broadcasting from London during World War II, using equipment and studio facilities borrowed from the British Broadcasting Corporation (BBC). The first transmission to U.S. troops began at 5:45 p.m. on July 4, 1943, and included less than five hours of recorded shows, a BBC news and sports broadcast. That day, Corporal Syl Binkin became the first U.S. Military broadcasters heard over the air. The signal was sent from London via telephone lines to five regional transmitters to reach U.S. troops in the United Kingdom as they prepared for the inevitable invasion of Nazi-occupied Europe. Fearing competition for civilian audiences the BBC initially tried to impose restrictions on AFN broadcasts within Britain (transmissions were only allowed from American Bases outside London and were limited to 50 watts of transmission power) and a minimum quota of British produced programming had to be carried. Nevertheless AFN programmes were widely enjoyed by the British civilian listeners who could receive them and once AFN operations transferred to continental Europe (shortly after D-Day) AFN were able to broadcast with little restriction with programmes available to civilian audiences across most of Europe (including Britain) after dark. As D-Day approached, the network joined with the BBC and the Canadian Broadcasting Corporation to develop programs especially for the Allied Expeditionary Forces. Mobile stations, complete with personnel, broadcasting equipment, and a record library were deployed to broadcast music and news to troops in the field. The mobile stations reported on front line activities and fed the news reports back to studio locations in London.
—————————————————————————
Entertainment Radio Stations Live 24/7 Sherlock Holmes/CBS Radio Mystery Theater
https://live365.com/station/Sherlock-Holmes-Classic-Radio–a91441
https://live365.com/station/CBS-Radio-Mystery-Theater-a57491
—————————————————————————-

Podcast: Play in new window | Download

The biggest names in Hollywood and Broadway recorded for AFRS during the war years, The American Forces Network can trace its origins back to May 26, 1942, when the War Department established the Armed Forces Radio Service (AFRS). The U.S. Army began broadcasting from London during World War II, using equipment and studio facilities borrowed from the British Broadcasting Corporation (BBC). The first transmission to U.S. troops began at 5:45 p.m. on July 4, 1943, and included less than five hours of recorded shows, a BBC news and sports broadcast. That day, Corporal Syl Binkin became the first U.S. Military broadcasters heard over the air. The signal was sent from London via telephone lines to five regional transmitters to reach U.S. troops in the United Kingdom as they prepared for the inevitable invasion of Nazi-occupied Europe. Fearing competition for civilian audiences the BBC initially tried to impose restrictions on AFN broadcasts within Britain (transmissions were only allowed from American Bases outside London and were limited to 50 watts of transmission power) and a minimum quota of British produced programming had to be carried. Nevertheless AFN programmes were widely enjoyed by the British civilian listeners who could receive them and once AFN operations transferred to continental Europe (shortly after D-Day) AFN were able to broadcast with little restriction with programmes available to civilian audiences across most of Europe (including Britain) after dark. As D-Day approached, the network joined with the BBC and the Canadian Broadcasting Corporation to develop programs especially for the Allied Expeditionary Forces. Mobile stations, complete with personnel, broadcasting equipment, and a record library were deployed to broadcast music and news to troops in the field. The mobile stations reported on front line activities and fed the news reports back to studio locations in London.
—————————————————————————
Entertainment Radio Stations Live 24/7 Sherlock Holmes/CBS Radio Mystery Theater
https://live365.com/station/Sherlock-Holmes-Classic-Radio–a91441
https://live365.com/station/CBS-Radio-Mystery-Theater-a57491
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Podcast: Play in new window | Download

The Anderson Family is a fairly typical Family Situation Comedy, featuring a noble but semi-inept father, a loving and sometimes acid wife, and a precocious scamp who seems to have more on the ball than his parents. In this case, the program is a showcase for one of radio’s longest lasting scamps, Walter Tetley, also known for playing nephew Leroy on The Great Gildersleeve and the delivery boy Julius who had a crush on Alice Faye on the Phil Harris-Alice Faye Show.

Podcast: Play in new window | Download

The Anderson Family is a fairly typical Family Situation Comedy, featuring a noble but semi-inept father, a loving and sometimes acid wife, and a precocious scamp who seems to have more on the ball than his parents. In this case, the program is a showcase for one of radio’s longest lasting scamps, Walter Tetley, also known for playing nephew Leroy on The Great Gildersleeve and the delivery boy Julius who had a crush on Alice Faye on the Phil Harris-Alice Faye Show.

Podcast: Play in new window | Download

The Anderson Family is a fairly typical Family Situation Comedy, featuring a noble but semi-inept father, a loving and sometimes acid wife, and a precocious scamp who seems to have more on the ball than his parents. In this case, the program is a showcase for one of radio’s longest lasting scamps, Walter Tetley, also known for playing nephew Leroy on The Great Gildersleeve and the delivery boy Julius who had a crush on Alice Faye on the Phil Harris-Alice Faye Show.

Podcast: Play in new window | Download