Arthur Anderson

Arthur John Miles Anderson was born on August 29, 1922. He was an American actor known for his work in radio, film, television, and theater. Born on Staten Island, New York, he was educated at the Professional Children's School in Manhattan. His radio career began in 1934 with Uncle Nick Kenny's Radio Kindergarten, and he gained prominence as the orphan Buddy in NBC’s Tony and Gus (1935). Anderson became a consistent presence on Nila Mack's Let's Pretend until its end in 1954, later documenting its history in a book published in 2004.

He contributed to Orson Welles's Mercury Theatre on the Air and appeared in productions like Julius Caesar and Treasure Island. His Broadway credits include 1776 and Il Trovatore. He succeeded Lionel Wilson as the voice of Eustace Bagge in Courage the Cowardly Dog. Anderson's filmography features works like Midnight Cowboy and Zelig, alongside television appearances in series such as Car 54, Where Are You? and Law & Order.

In his later years, Anderson engaged actively with Friends of Old Time Radio, participating in conventions and ultimately serving as honorary chairman for its successor event in 2012. Anderson was married to casting director Alice Middleton, and they had one daughter. He passed away at his Manhattan home on April 9, 2016, at the age of 93.

Morey Amsterdam

Moritz "Morey" Amsterdam was born on December 14 and was an American actor, comedian, writer, and producer known for his contributions to television and film. He hosted his own sitcom, The Morey Amsterdam Show, from 1948 to 1950 and was well recognized for his role as Buddy Sorrell on CBS's The Dick Van Dyke Show from 1961 to 1966. Born in Chicago, Illinois, to Jewish immigrants Max and Jennie Amsterdam from Austria-Hungary, he was the youngest of three sons. His career in entertainment began in vaudeville in 1922, where he initially served as the straight man to his older brother’s jokes.

A skilled cellist, Amsterdam demonstrated his musical talent throughout his career, including a stint at a speakeasy owned by Al Capone in 1924. Following an incident during a gunfight, he relocated to California to work as a joke writer. By the late 1940s, he was hosting a program on CBS and a daily show on WMGM in New York. His CBS program concluded in early 1949, and in 1950 he hosted Broadway Open House, a pioneering late-night comedy-variety show on NBC, which laid the groundwork for future late-night programming like The Tonight Show.

In February 1952, Amsterdam made his dramatic television debut in an episode of the DuMont series Not for Publication and later hosted Breakfast With Music on WNBT-TV. He appeared in the syndicated sitcom How to Marry a Millionaire in 1957 and played a saloon manager in a 1958 episode of the CBS western Have Gun, Will Travel. He also made guest appearances on various sitcoms, including CBS's Pete and Gladys.

Amsterdam's most notable role was that of comedy writer Buddy Sorrell on The Dick Van Dyke Show, where his character was known for quick wit and running gags, particularly with producer Mel Cooley. The character's Jewish background was significant for its time, featuring a storyline about Buddy deciding to have a Bar Mitzvah. Amsterdam wrote lyrics for the show’s theme song, although they were never aired but later performed by Dick Van Dyke in concert.

Later in his career, in the 1970s, Amsterdam appeared in a Partridge Family episode and an episode of The Littlest Hobo, where he played a con man. He occasionally participated as a panelist on game shows like Match Game and Can You Top This? and had roles on soap operas like The Young and the Restless in the 1990s. His final television appearances were alongside Rose Marie in The Hollywood Squares and NBC's Caroline in the City, both in 1996.

Amsterdam's film career included roles in low-budget movies like Machine-Gun Kelly (1958) and the film Murder, Inc. (1960), where he portrayed a nightclub owner. He also featured in two Beach Party films during the 1960s as the owner of a local nightclub. In addition to his acting work, he co-wrote and produced the film Don't Worry, We'll Think of a Title in 1966, which included appearances from other notable stars.

Amsterdam's personal life included two marriages; he wed actress Mabel Todd in 1933, but they divorced in 1945. His second marriage, to Kay Patrick, began in 1949 and lasted until his death. He passed away at Cedars Sinai Hospital in Los Angeles from a heart attack on October 28, 1996, at the age of 87.

Accordiana

 

 

Accordiana was a musical radio series broadcast on CBS in 1934, specifically airing at 8:30 p.m. on Tuesday evenings. Each 30-minute episode featured soprano Vivienne Segal and tenor Oliver Smith, accompanied by the Abe Lyman Orchestra. The show was occasionally listed in newspapers as Abe Lyman's Accordiana, highlighting Lyman's significant role as the conductor. Notably, Peter Dixon, in his 1934 column "Inside the Studios," mentioned that Lyman directed the orchestra from the control booth rather than in front of them, an unusual practice at the time.

Beyond Accordiana, Lyman's orchestra—alongside Segal—frequently appeared on numerous CBS radio programs throughout the 1930s. Abe Lyman eventually became known as the regular orchestra for the show Waltz Time, which showcased traditional music during the 1930s and 1940s. This series not only illustrates the musical culture of its time but also marks Lyman's enduring contribution to radio music programming in that era.

Academy Award Theater

Academy Award (Academy Award Theater) was a CBS radio anthology series airing from March 30, 1946, to December 18, 1946, showcasing 30-minute adaptations of plays, novels, or films. Actors portrayed their original roles in productions such as Henry Fonda in *Young Mr. Lincoln*, Humphrey Bogart in *The Maltese Falcon*, and Cary Grant in *Suspicion*. Notably, only six actors reprised their Oscar-winning roles during the series.

The series did not exclusively adapt Oscar-winning films, despite its title, instead focusing on dramas featuring at least one Oscar-nominated performer. For example, an adaptation of Robert Nathan's *Portrait of Jennie* aired on December 4, 1946, promoting its upcoming film release. Episodes included *The Front Page*, featuring Pat O'Brien and Adolphe Menjou, and *Ruggles of Red Gap* with Charles Laughton.

Frank Wilson scripted the adaptations for producer-director Dee Englebach, with music by Leith Stevens and sound effects created by Gene Twombly, Jay Roth, Clark Casey, and Berne Surrey. The premier episode of the series featured Bette Davis, Anne Revere, and Fay Bainter in *Jezebel*, introduced by Jean Hersholt, president of the Academy of Motion Picture Arts and Sciences. The show, sponsored by E.R. Squibb & Sons, was expensive to produce, costing about $4,000 a week for stars and an additional $1,600 weekly to the Academy for the show's title rights.

The program aired initially on Saturdays before moving to Wednesdays at 10 PM. The series concluded on December 18, 1946, with an episode featuring Margaret O'Brien and Jeff Chandler. The decision to cancel the show after 39 weeks was reportedly influenced by high production costs, a shortage of film scripts, and competition from similar programs, according to reports from *The New York Times*.

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Abie's Irish Rose

Abie's Irish Rose, a comedy by Anne Nichols, debuted on Broadway in 1922 and centers on the marriage of an Irish Catholic girl and a Jewish man amidst family opposition. Though initially panned by critics except The New York Times, it enjoyed remarkable box office success, running for 2,327 performances until 1927 and setting a record for Broadway at the time. The touring production also gained popularity, with George Brent and Peggy Parry in lead roles. There were Broadway revivals in 1937 and 1954.

The play spurred two films, the first in 1928 featuring Charles "Buddy" Rogers and Nancy Carroll, and a second in 1946 starring Richard Norris and Joanne Dru, which received negative reviews for being outdated. Nichols attempted to protect her work from imitators, particularly Universal Pictures' The Cohens and Kellys, but the court determined that stock character traits did not warrant copyright protection.

From 1942 to 1944, NBC aired a radio adaptation of Abie's Irish Rose, crafted by Nichols and featuring a cast that included Richard Bond and Mercedes McCambridge. Listener backlash over ethnic stereotypes led to its cancellation in 1945, despite its popularity at the time. The show's theme music was "My Wild Irish Rose."

The play's influence continued, as seen in the comedy duo Stiller and Meara, who referenced their Jewish and Irish Catholic backgrounds in their routines. Additionally, the 1972 television series Bridget Loves Bernie mirrored its premise, presenting a wealthy Irish Catholic woman and a struggling Jewish man in love. Although the series received high ratings, it faced backlash from Jewish groups for its portrayal of interfaith marriage and was canceled after one season.

In the 1990s, the television show Brooklyn Bridge echoed similar themes, featuring a Jewish boy and Irish Catholic girl in a romantic relationship. The series reflected a shift in social attitudes towards interfaith relationships and continued for two seasons. The creator, Gary David Goldberg, previously produced Family Ties, notable for its connections to his personal life and the casting of Meredith Baxter, who played a similar role in Bridget Loves Bernie.

Overall, Abie's Irish Rose left a significant cultural impact, inspiring adaptations and discussions around ethnic identities and interfaith relationships in American society across generations.

21st Precinct

 

 

 

The 21st Precinct, also known as Twenty-First Precinct, was a police drama aired on CBS radio from July 7, 1953, to July 26, 1956, initially serving as a summer replacement for My Friend Irma. The show was produced in collaboration with the Patrolmen's Benevolent Association of the City of New York and was distinctive for its storytelling, presenting adaptations derived from true criminal records in New York from the perspective of police officers.  

 

Although historically the 21st Precinct was situated near Gramercy Park in Manhattan, the precinct was reorganized in 1929, and the 21st designation was eliminated. Consequently, during the show's airing, no actual precinct by that number existed; nevertheless, its fictional territory closely resembled that of the Upper East Side's 23rd Precinct. 

Stanley Niss took on roles as producer, writer, and director for the series. Captain Frank Kennelly was portrayed by Everett Sloane in the first 109 episodes and briefly returned in episode 135 after being promoted to Deputy Inspector and reassigned from the precinct. He was succeeded by Captain Cronin, played by James Gregory from 1955 to 1956, and later by Captain Keough, portrayed by Les Damon in 1956. 

Other notable cast members included Ken Lynch as Lieutenant Matt King, Harold Stone as Sergeant Waters, Jack Orrison as Sergeant Collins, and Santos Ortega as Lieutenant Gorman. Each episode commenced with an announcer stating, "21st Precinct. It's just lines on a map of the city of New York," emphasizing the precinct’s role in ensuring the safety and security of the 173,000 residents within its jurisdiction. This was followed by Captain Kennelly introducing himself and his command, summarizing the composition and authority of the precinct's personnel, which included 160 patrolmen, 11 sergeants, and four lieutenants. The program’s announcers featured Art Hannes, Bob Hill, and Hugh Holder.

 

The series "21st Precinct" was produced by John Ives, with Stanley Niss typically handling direction and writing, although some sources mention Niss as the producer. Norman Frank served as the program supervisor. A review in Variety praised "21st Precinct" as "an exciting show," highlighting its resemblance to "Dragnet" in the authentic presentation of police procedures and the use of the standard curtain-line explanation that "names have been changed to protect the innocent." However, the review noted that "21st Precinct" provided deeper insights into the daily routine of a police captain, portraying the character in a manner that rendered him more relatable and human than in "Dragnet."