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Raised on Radio
In the late 1920s radio exploded almost overnight into being America's dominant entertainment, just as television would do twenty-five years later. Gerald Nachman, himself a product of the radio years, takes us back to the heyday of radio, bringing to life the great performers and shows, as well as the not-so-great and not-great-at-all. Nachman analyzes the many genres that radio exploited or invented, from the soap opera to the sitcom to the quiz show, zooming in to study closely key performers like Jack Benny, Bob Hope, and Fred Allen. Raised on Radio is a generous, instructive, and sinfully readable salute to an extraordinary American phenomenon.
- GenresHistoryNonfiction
544 pages, Paperback
First published January 1, 1998
About the author
Gerald Nachman
10 books6 followersGerald Weil Nachman is a San Francisco journalist and author.
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Displaying 1 - 10 of 10 reviews
December 24, 2012
Reading Raised on Radio was simply supposed to be a pleasant diversion. I would be reminded of all of those old radio programs I used to listen to when KGO re-ran them as part of a regular late-night nostalgia show. I had been too young to experience “The Whistler,” “Mr. Keen, Tracer of Lost Persons,” or “The Fred Allen Show” when they were originally on the air and had only discovered “The Life of Riley,” “Father Knows Best,” “The Lone Ranger,” “Gunsmoke,” “Dragnet,” and “Sgt. Preston of the Yukon” through their television incarnations. I have since listened to dozens of old radio programs on cassette and CD (as well as digital streaming) and I enjoy them very much. But I was totally unaware of how many shows I’d never heard. Raised on Radio will be prompting me to look for some others.
This book was even better researched than I expected. I learned a lot that I didn’t know. I never realized that it was Kenny Delmar on Fred Allen’s “Gasoline Alley” segment who introduced “That’s a joke, son!” with his Senator Claghorn character instead of Mel Blanc with his Foghorn Leghorn character (p. 111). I didn’t know about the silver-haired (Nachman calls it the “Dorian Gray” version of the puppet) head for Charlie McCarthy that was apparently, never used or about Edgar Bergen dying one day after he had performed a farewell run at Caesars Palace (p. 138). I pretty well knew about the blacklist in Hollywood, but I didn’t know that Ozzie Nelson had refused to fire an alleged Communist actor from his radio show because we needed to have proof in “America.” However, as in many cases, the actor resigned rather than have the sponsor cancel the entire show and put everyone else out of work (p. 235).
I knew that sponsors had tremendous power in those days and I was amused to read how the Leo Burnett agency in Chicago disliked the idea of Digger O’Dell, the friendly mortician, in “The Life of Riley.” They demanded that he be taken off the show, but the producer refused and the public loved the bad puns (p. 247). Nachman didn’t cite any of those puns, but I’ll add a couple of discussions. Riley says, “Digger, I bet if all your customers were laid end to end…” and before Riley can finish, Digger says, “They are!” And, of course, I even remember my grandparents saying Digger’s tag line about how he must “…be shoveling off.”
I really enjoyed reading the announcer test quoted in Raised on Radio. It read: “Penelope Cholmondely raised her azure eyes from the crabbed scenario. She meandered along the congeries of her memoirs. There was kinetic Algernon, a choleric artificer of icons and triptychs, who wanted to write a trilogy. For years she had stifled her risibilities with dour moods. His asthma caused him to sigh like the zephyrs among the tamarack.” (p. 264)
While I knew about the crooked quiz shows in television’s early years, I didn’t realize that the radio quiz shows had an unwritten rule that civilians were almost never allowed to beat servicemen in uniforms. As one former uniformed contestant remembers, “The uniforms wouldn’t be visible to people listening on their radios, but radio shows drew their energy from the enthusiasm and applause of the studio audience, and back then, soldier was a synonym for winner. A guy in a suit meant nothing.” (pp. 348-9)
I was enlightened by what would, today, be considered a sexist comment, but which very much rings true to the daytime drama listener of the past. One of the dominant creators of many “daytime dramas,” Anne Hummert, once said, “Worry, for women, is entertainment.” (p. 381). And I really enjoyed David Mamet’s comment about what a great training ground it was to write radio drama: “Good drama has no stage directions…The better the play, the better it will fare on the radio.” (p. 500)
Nachman is less enthusiastic about most of these old radio shows than I am, but his research is rather delightful. At times, Raised on Radio reads more like a catalog than a celebration, but I empathize with the vast scope of his effort.
This book was even better researched than I expected. I learned a lot that I didn’t know. I never realized that it was Kenny Delmar on Fred Allen’s “Gasoline Alley” segment who introduced “That’s a joke, son!” with his Senator Claghorn character instead of Mel Blanc with his Foghorn Leghorn character (p. 111). I didn’t know about the silver-haired (Nachman calls it the “Dorian Gray” version of the puppet) head for Charlie McCarthy that was apparently, never used or about Edgar Bergen dying one day after he had performed a farewell run at Caesars Palace (p. 138). I pretty well knew about the blacklist in Hollywood, but I didn’t know that Ozzie Nelson had refused to fire an alleged Communist actor from his radio show because we needed to have proof in “America.” However, as in many cases, the actor resigned rather than have the sponsor cancel the entire show and put everyone else out of work (p. 235).
I knew that sponsors had tremendous power in those days and I was amused to read how the Leo Burnett agency in Chicago disliked the idea of Digger O’Dell, the friendly mortician, in “The Life of Riley.” They demanded that he be taken off the show, but the producer refused and the public loved the bad puns (p. 247). Nachman didn’t cite any of those puns, but I’ll add a couple of discussions. Riley says, “Digger, I bet if all your customers were laid end to end…” and before Riley can finish, Digger says, “They are!” And, of course, I even remember my grandparents saying Digger’s tag line about how he must “…be shoveling off.”
I really enjoyed reading the announcer test quoted in Raised on Radio. It read: “Penelope Cholmondely raised her azure eyes from the crabbed scenario. She meandered along the congeries of her memoirs. There was kinetic Algernon, a choleric artificer of icons and triptychs, who wanted to write a trilogy. For years she had stifled her risibilities with dour moods. His asthma caused him to sigh like the zephyrs among the tamarack.” (p. 264)
While I knew about the crooked quiz shows in television’s early years, I didn’t realize that the radio quiz shows had an unwritten rule that civilians were almost never allowed to beat servicemen in uniforms. As one former uniformed contestant remembers, “The uniforms wouldn’t be visible to people listening on their radios, but radio shows drew their energy from the enthusiasm and applause of the studio audience, and back then, soldier was a synonym for winner. A guy in a suit meant nothing.” (pp. 348-9)
I was enlightened by what would, today, be considered a sexist comment, but which very much rings true to the daytime drama listener of the past. One of the dominant creators of many “daytime dramas,” Anne Hummert, once said, “Worry, for women, is entertainment.” (p. 381). And I really enjoyed David Mamet’s comment about what a great training ground it was to write radio drama: “Good drama has no stage directions…The better the play, the better it will fare on the radio.” (p. 500)
Nachman is less enthusiastic about most of these old radio shows than I am, but his research is rather delightful. At times, Raised on Radio reads more like a catalog than a celebration, but I empathize with the vast scope of his effort.
July 22, 2015
Being a huge fan of old time radio, it is kind of surprising that I had this book for about 10 years before ever plunging into it. It is a nicely organized encyclopedia of all the major genres, shows, and performers of the Golden Age of Radio without ever becoming pedantic or "text-bookish." Nachman does a wonderful job of theorizing on why certain performers and shows became huge hits and why others failed miserably after only a short time, despite the big names involved. I would heartily recommend this book to any devotee of radio history or to anyone interested in the development of entertainment in the 20th century. You won't be bored or disappointed.
March 24, 2011
The 30-year meteoric rise and fall of radio's influence on our lives may not appeal to readers who have not actually had the opportunity to listen to old time radio. For those OTR fans, however, this book is encyclopedic in its coverage. The "thematic" coverage for each chapter (comedians, soaps, news, etc.) helps avoid a confusing chronological description of radio's entire gamut of stars and events.
May 6, 2020
From soup to nuts and everything in between! This book covers everything imaginable and more about the history of radio in America. From the beginning to the end, the topics covered were divided into chapters that were well researched and written. I found that I needed to take a break and read fluff to digest what I had learned. Not a quick read.
Read
August 21, 2022Terrific survey of the golden age of radio from about 1920 to 1962. Hit many of my favorites--I'm 82 and remember radio from WWII on--and several I didn't know about. It's hard to avoid repeating adjectives in such a subject treatment, but Nachman does a pretty good job of not repeating himself overmuch. I loved it and hated to read the last page, which I did at 3:30am.
October 5, 2016
This book provides an exhaustive overview of all the genres of radio programming from its golden age. Unfortunately though, it is riddled with errors on many details.
February 15, 2010
Informative and entertaining survey of Old Time Radio programs and how they came together. The book is marred by some copy editing misses, a couple of muddled statements, and a few factual errors. It is good enough to render previous surveys unnecessary.
May 4, 2011
What starts as personal reminiscences about old time radio and the roll it played in the author's life turns into a very informative survey of the history of OTR.
November 9, 2014
Got lost in research. I enjoyed the personal stories of the radio stars, but it became cumbersome and hard to read the further along in the book.
Read
January 16, 2018nostalgic and somewhat politically incorrect but also fascinating. Radio seems underrated to me.
Displaying 1 - 10 of 10 reviews