stories, never before heard on the air, isinaugurated over an NBC- WEEI networktonight at 8 o'clock. Although the identity ofThe Shadow remains a secret, his dramas ofthe strange and unusual are familiar to radiolisteners." The mystery of the sinister voicewas still being publicized, while newspapersacross the nation had already divulged theidentity. The October 5 issue of the AkronTimes-Press claimed that the new Shadowwas "not Columbia's Frank Readick, and hisidentity will remain a secret." The October 14issue of the Grand Rapid Chronicle reportedthe Shadow's return, contradicting the Ohiopaper: "He's on the NBC-WEAF net andhis name, in case you haven't heard, is FrankReadick. Last year he was just 'The Shadow'and enjoyed hearing remarks about his pro-gram, but now he takes his place among theheadliners." It should be noted, however,that the newspapers could only work withpress releases issued from the network andoften contradicted each other, leaving oneto wonder whether The Shadow's identitytruly remained a secret to anyone other thantheir readers. The October 2 issue of RadioGuide revealed Frank Readick as the formerannouncer, claiming a press agent revealedthe fact and "now everybody knows 'TheShadow.'"

For almost fiveyears (1925-30), the SilverMasked Tenor entertained in the dual role

of delighting and mys-tifying his radio friendswhile wearing a real masksupposedly made of sil-ver that covered the tophalf of his face. It wasn'tuntil 1930 that his iden-

tity became public knowledge after muchspeculation that the Silver Masked Tenorwas a famous celebrity. The tenor was JoeWhite, who never had a singing career untilhe donned the mask and premiered on theGoodrich program.

The Goodrich Silvertown Orchestra be-came one of the most popular aggregationsof musicians featured on the radio, partly be-cause of the mystery surrounding the masked .tenor. William Sweets knew The DetectiveStoryMagazine Hour needed a similar aura toaccompany the dramatic productions. WhileSweets and Harry Charlot were adapting shortstories from the mystery magazine into feasi-ble radio scripts, one ofthem decided to havethe prelude and introduction to the scenesdelivered by an anonymous announcer withan ethereal presence who acted like a guiltyconscience to the protagonists who couldnot hear him. It was Charlot who created the

This article features excerpts from the new book, The Shadow: The History and Mystery of the RadioProgram, 1930-1954 by Martin Grams, due for publication in December. The author gratefully ac-knowledges assistance from Jack French, Jo Bagwell, David S.Siegel and Bob Cockrum.

"After publishing in thiscolumn some weeks agothat the real name of 'TheShadow' had never been re-vealed, we received severalconfidential letters statingthat his name was FrankReadick. We have sinceverified this information."

Editor's MailboxRadio GuideMay 22,1932

idea and name of"The Shadow." Itshould be notedthat at this pointthat a few refer-ence guides claimthe title of theprogram switchedfrom Detective Sto-ry Hour to Detec-tive Story Programafter the first fewbroadcasts. This isinaccurate, how-ever. The sourceof this informa-tion may haveoriginated fromnewspapers, whichoften failed to re-port the corrector full title amongthe radio listings.The correct titlewas Detective StoryMagazine Hour and never changed during the52 weeks it was on the air. Even though theprogram ran a half-hour, programs referredto as "Hour" were broadcast on the hour,or on the half-hour; the designation did notindicate the program length. Newspaperlistings should never be taken as the gospel,hence what started the confusion in the firstplace-now carried over into numerous en-cyclopedias and websites-especially whenone considers that the Washington Post listedthis program as Tales of Mystery in their radiolistings!

Eight weeks after the Detective StoryMagazine Hour ended in July of 1931, TheShadow supposedly made an appearance ona radio broadcast heard over KMOX, KSDand KWK in S1. Louis. Sponsored by theSeventh Annual Southwest National Radioand Allied Products Exposition, the S1.Louisradio show was heard twice a day from 4:45 to5:15 and 7:30 to 9:30 p.m. CST in a week-longspecial broadcast (Monday through Saturday,September 21-26, 1931) from the Crystal Coli-seum. Most of the performances were musicalin nature, with the Hawaiian Melodists (Joeand Dick), Eddie Jackson's Crackerjacks, Ro-meo and Juliet (performed by Robert Betts,tenor, and Grace McGowan, soprano), andHelen Traubel. Not all of the stage perfor-mances were broadcast, but on the evening ofFriday, September 25, The Shadow was heardover the ether in a rare public appearance. Aspictured in this advertisement, the Shadowwas scheduled to unmask in front of those in

attendance!According to a

number of news itemsfollowing the unmask-ing, Frank Readickwas the actor onstage portraying themysterious Shadow.When The Shadowlater made a returnto radio, newspapersreprinted a press re-lease issued by theradio stations that themasked man's iden-tity still remained amystery, hoping thestaged event was for-gotten in the mindsof radio listeners. Anumber of columnistswho recalled the newsitem of September1931 were quick topoint out that Frank

Readick's name had been reported as the elu-sive figure and questioned the validity of thepress release. At the time of the unmasking,Street & Smith may have had no intentionsto revive The Shadow and therefore createdthe confusion that mounted throughout themonths following.

The October 5 issue of The WashingtonEvening Star commented, "the stories in whichhe is to appear have never before been on theair." This, however, was not entirely correct.Jumping on board with scripter Edith Meiserwas Alonzo Deen Cole, a major contributorto the bone-chilling stories. On May 28, 1931,radio station WOR in New York premieredThe Witch's Tale, one of radio's earliest horrorseries-tales of ancient curses coming true,severed hands that crawled and mad scientistscreating unearthly creatures. The scripts wereboth original stories and adaptations of classicliterature, including Frankenstein, "Rapac-cini's Daughter" and Faust.

Cole started as an actor in S1. Paul, hishome town, in his late teens and touredin dramatic shows and played extensivelyin stock companies prior tohis developmentof radio drama. Itwas about this timehe convinced thestation managerat WOR to lethim put on TheWitch's Tale, aseries of creepy

ANNOUNCER:Ladies and gentlemen, the Blue Coal dealers of yourcity bring you that well-known chararterofthe air ..• TheShadow!SOUND: Cymbal Crash ..• Misterioso Music •.• THE SHADOW:AgainThe Shadow •.• ha, ha ..• Weird, fantastic shape .•. He is silentlywatching - life and death - they march under his piercing gaze.What chance has mere man? Ha, ha ••• The Shadow knows!

~ plays hosted by an oldcackling witch to com-

pete against the ballroom music on rivalnetworks. When an offer opened the door forhim to contribute to the Shadow broadcasts,some of his scripts were rewrites of previousWitch's Tale broadcasts. The program stillfeatured adaptations of short stories that hadappeared in Street & Smith magazines, butnow original stories were added to the mixwith an emphasis of horror and ghosts ratherthan detectives.

The second broadcast of the series, "TheImage" (October 12, 1932), was a tale abouta professor of the occult who discovers, to hishorror, how to transform into a werewolf. Theepisode ends on a high note when a police of-ficer shoots and kills the beast only to witnessthe professor's niece accidentally falling forthe same curse and transforming into a were-wolf before his very eyes. "The Image" waspreviously dramatized on The Witch's Tale onFebruary 8,1932. For the rewrite, the charac-ter of old Nancy (the host of the program) wasreplaced with The Shadow's narratives. Forthe most part the script remained the same,but the names of the characters were changed.

Another early Shadow thriller was "ManBeast" (October 26, 1932), which told thestory of a pair of lovebirds named Johannaand Rudolph who stab the local sheriff wholonged to make young Johanna his bride.Johanna and Rudolph are apprehendedwhile attempting to flee, and the woundedsheriff accuses Johanna of being the cause ofsuspected witchcraft in the community. Afterbeing sentenced to burn at the stake for beinga witch, Johanna discovers Rudolph signedover his soul to the devil, officially becominga warlock for the purpose of joining her inthe other world.

The November 12, 1932, issue ofBillboardreviewed this episode, commenting that thisparticular story "is more like a fairy tale forolder children, with the general theme differ-ent than such stories .... The stories shouldbe along the modern detective style or else thetitle of the half hour period means nothing .... Naturally, such a dramatization leaves thegood old Shadow in the lurch and hardshipshim terribly. He really has nothing to do withsuch a story except act wise and so nullifiesthe value of the title."

Alonzo Deen Cole not only scripted "Man10 IRADIOGRAM·OCTOBER2010....---------------------------------------------< '.perdIlBc

Beast" but also played the lead along withhis real-life wife, Marie O'Flynn. Composedoriginally for The Shadow, this script wouldbe performed again three years later for TheWitch's Tale under the same name for thebroadcast of June 6, 1935.

The May 1933 issue of Science FictionDigest noted: "The Witch's Tale, written bythe versatile Alonzo Deen Cole, is rated byradio critics as one of the five leading acts onthe air." After a seven-year run, Cole retiredold Nancy and struck up a friendship withPhillips H. Lord, writing scripts for his SethParker and Gang Busters programs.

Other cast members playing supportingroles included Paul Huber, future voice ofthe fictional John Barclay; J. Scott Smart,before his years in the title role of The FatMan; future screen actor Brian Donlevy intwo episodes, "Live Bait" (February15, 1933)and "Framed In" (March 8, 1933); SantosOrtega and Alan Reed (under the nameof Teddy Bergman), both future leads forCommissioner Weston; Ted De Corsia andEverett Sloane, who would ultimately playthe recurring role of Shreevy the cab driver;and two pre-Margot Lanes with MarjorieAnderson in "Dance Hall Murder" (Febru-ary 22, 1933) and Agnes Moorehead as thementally-tortured June Conway in "TheDrums of Death" (November 2, 1932).

The format of the series generally depict-ed a crime being committed and the detective(or protagonist playing the role of a detective)defying the odds in order to solve the mystery,even when the story involved supernatural el-ements. The city editor of a major newspaperplays detective in an effort to solve the murderof two crime reporters in "Death Warrant"(November 16, 1932).A female detective goesundercover as a replacement dance hall girlin "Dance Hall Murder" (February 22,1933).A detective on the bottle is fired from his joband, to reclaim his dignity, sets out to solvea crime he believes his nephew did not com-mit in "Fighting Comeback" (November 30,1932). The ex-detective learns the witness tothe case was a gambler working with a crimekingpin and attempts to force a confessionfrom the guilty man. Having accepted onedrink too many, he becomes the intendedvictim as the murderer laughs and confessesthe truth, but the police barge inside, hav-ing overheard the confession. Then the ex-

detective reveals a surprise-he was playingdrunk to get the confession.

The episode "When Wolf Meets Wolf'(January 18, 1933)was adapted from the shortstory of the same name by Frank RichardsonPierce, originally published not in an issue ofDetective Story Magazine but in the June 20,1931, issue of WesternStoryMagazine, provingthat while adaptations were from Street &Smith periodicals they were not necessarilyfrom the most likely one. One noticeabledifference between the NBC series and theformer Detective Story Magazine Hour wasthe announcer did not close each broadcastwith a sales pitch for the magazine that cor-responded with the evening's thriller, butrather a pitch for the radio host's appear-ance: "The Shadow appears on this programthrough the courtesy of the publishers of TheShadow magazine." This same promotion nodoubt began with the five-episode Perfect-O-Lite series titled The Shadow in January andFebruary 1932.

According to a press release, eachstory was to have an appropriate musicalbackground. The music for the broadcasts,by George Earle and his orchestra, did notsuggest any original composition but rathera selection of previously composed musicscores to bridge scenes and add emphasis forselected scenes. The theme song for theseearly Shadow broadcasts was not "Omphale'sSpinning Wheel" from Le Rouet d'Omphale,Opus 31, by Saint-Saens which was used dur-ing the continuity series. As revealed in musicsheets accompanying scripts from the 1932-33season, the theme was "The Sorcerer's Ap-prentice" by Paul Dukas (Durand). Radiohistorians Reginald M. Jones and TerrySalomonson have revealed that in March andApril of 1938,TheLone Ranger radio programbegan using "Ornphale's Spinning Wheel" aspart of the midpoint music between the firstand second acts of the program. This lastedonly a few weeks and was used only for se-lected episodes.

No longer competing against the popularSherlock Holmes dramas (also scripted byEdith Meiser) which aired an hour later ona rival network, the October 11, 1932, issueof Variety reviewed: "Through a tie-in withStreet & Smith, publisher of Shadow maga-zine, the Delaware, Lackawanna & WesternCoal Company has the basso pipes with thesinister chuckle back on the airlanes alongthe east coast only, to help scare the kidsaround the bedtime hour. It's the same old'the Shadow knows!' folderol, but backed upthis time, judging from the debut script, by aweak collection of mystery stories.

"It is assumed that Blue Coal in startingoff the series picked out the best of the scriptsit had available. First plot dealt neither withcrime, crooks or gangsters, but, apparently

to be original,picked on a shab-bily and looselywritten war sto-ry, in which theShadow's menac-ing intrusions nomore fitted thanthe introductionof a Rasch ballet into a'What Price Glory' trenchscene. This initial programhad an ear-tickling cast ofplayers but the aimless,poorly paced and punch-less story must have leftthem wondering what itwas all about.

"For the use of 'TheShadow' character, men-tion of Street & Smithand their mag by that titleis given in the credit copy.One 'John Barclay,' described as the 'BlueCoal heating engineer,' shoulders the plugassignment with a none too lengthy spiel onthe proper way of caring for the furnace thatgently leads up to the suggestion of how thebest results to that end can be obtained. Samecommercial is supporting a Sunday afternoonmusical show on a CBS eastern hookup."

For the NBC season, the role of JohnBarclay was played by actor Tim Frawley, whowas usually listed on the scripts as T. DanielFrawley. He made his Broadway debut in1887, and later organized the internationallyacclaimed Frawley Stock Company whichtoured America and the Far East. Afterretiring from the stage, he turned to radiowhere he was best known as the voice of theOld Ranger, the weekly narrator oftheDeathValley Days program, and was a regular onthe adventure serial East of Cairo (February5 to October 8, 1930). Because Frawley was astaff member at the NBC studios, and becauseThe Shadow made a transition to there, itcomes as no surprise that Frawley receivedthe all-important task of making the sponsorlook good.

A review of the radio scripts from the1932-33season reveals the earliest impressionof the creepy dramas. Like many early radiodramatizations of the early thirties, the scriptsapplied the technique of the stage, includinglots of dialogue and very little action. Musicwas used to bridge scenes but rarely used to

heighten the emotional

impact of a particularscene. Drama was cre-ated through a represen-tational illusion of thesetting and characters,often taking a while forthe momentum to pickup. The same could besaid for many early talk-ies in cinema. The mi-crophone was mobile soactors were not limited tostanding in the same spotexchanging their lines,but they often stood inplace for the camera. Ac-tion sequences, in turn,bore little or no dialogue.

About two weeks af-ter the premiere of the1932-33 season, stationWHAM in Rochesterbegan broadcasting the

same Wednesday evening scripts in consecu-tive order on Thursday evenings. Sponsoredby area Blue Coal distributor H.H. BabcockCompany, Jack Lee directed these repeatproductions with a completely different cast,marking his only contribution to the series.Lee was a talented thespian who worked onthe New York stage, including playing therole of a corpse in Martha Madison and EvaKay Flint's murder mystery, Subway Express.Charles Siverson supplied the music whichwas also his only contribution. Each scriptwas performed two weeks behind the NewYork City productions, but an episode wasskipped shortly before Christmas and theRochester broadcasts were only one weekbehind after the holiday. Only 29 of the 30episodes were broadcast during this repeatrun on Thursday evenings from October 20,1932, to May 4, 1933.

Radio Guide described the spooky broad-casts in dramatic fashion: "Rain laden windmoans about the turrets of an isolated castle, aforlorn dog howls at the eerie, cloud-shutteredmoon. Tense whispers disturb the oppressivesilence of vaulted corridors. The Shadow, thatawesome specter of the radio, glances appre-hensively at a chronometer, crunches the glowfrom a cigarette and tensely awaits a whiteshirted youth's permission to strike terror tothe hearts of his followers. Weird music-climactic chords in minor keys-solemnlycalculated to provide mysterious atmospherein the absence of the motion picture industry'S

A Problemwith Live Radio

James La Curto as the mysteriousnarrator known as "the shadow" in theoriginal CBS series, The DetectiveStory Hour sponsored by Street &Smith's Detective Story Magazine.

flitting bats and flickering neon tubes."In the same manner as Rochester, Street

& Smith expanded the Detective Story Maga-zine Hour program in Houston. According tonewspaper archives, the KXYZ Players werethe real stars of the program. New and originalradio scripts were created for the Houstonbroadcasts. For the premiere broadcast ofSeptember 16, 1932, for example, the storywas titled "The Kid's Last Chance." For Oc-tober 28, the drama was titled simply "TheKid." This leads one to suspect the scriptsdramatized were not the same ones featuredacross the rest of the country. Street andSmith's name was clearly promoted in news-papers dated September 16 and October 14.One local newspaper described the evening'sscheduled presentation as "KXYZ PlayersBurlesque, a detective story." There has beennothing to verify whether The Shadow wasthe horror host. The broadcast schedule wasas follows: September 16, 1932-Friday, 10to 10:15 p.m.; September 23, 1932-Friday,10:15 to 10:45 p.m.; September 30, 1932-nobroadcast; October 7, 1932-Friday, 10:15 to10:45p.m.; October 14and 21, 1932-Friday,7:30 to 8 p.m.; October 28, 1932 to March 5,1933-Friday, 9 to 9:30 p.m.;n March 12 toJuly 2, 1933-SuIl:day, 8:30 to 9 p.m.

On April 17, 1933, Ormond Gerald Smith,president of Street & Smith and founder of

12 IRADIOGRAM· OCTOBER 2010 ------------------------------------------<',sperdvl!lc

Like many liveradio programsof the era, TheShadow program

would on occasion run over-time. The broadcast of De-cember 21, 1932, ran over15 seconds, delaying syn-chronization. It worked theother way around when, onJanuary 25,1933, The RoyalGelatin Program ran over 15seconds, delaying synchro-nization and the start of TheShadow presentation.

Because Frawley was a staff member at the NBCstudios, andbecause The Shadow made a transition to there, it comes as nosurprise that Frawley received the all-important task of makingthe sponsor look good.

many popular magazines of the time, died of astroke at his East 78th Street residence. A re-view ofthe script for the broadcast of April 19shows no mention by the announcer regardingthe death, but this doesn't rule out such a spe-cial statement being made at the start or endofthe broadcast and separate from the script.George C. Smith, vice president and treasurerof the company, died of pneumonia at hisPark Avenue residence, surviving his brotherby only 11 days. A friend of the two brotherstold reporters the work and responsibility ofdirecting the large publishing business wasevenly divided between the two. Both nameswere featured at the bottom of the table ofcontents pages along with the edition notice,publishing information, copyright column ofeach issue of Detective Story Magazine. Thefinal episode of The Shadow concluded onApril 26, so a mention of George C. Smith'spassing would not have been heard on theprogram. WHAM in Rochester, which wasbehind a week, with the final broadcast onMay 4, and a mention over those airwavesremains possible.

The Blue Coal Mystery Revue was broad-cast on a network of 10stations across the EastCoast via hookup on Wednesday eveningsfrom 8 to 8:30 p.m., EST. WFBR Baltimore;WCSH Portland, OR; WEEI Boston; WJAR,Providence, RI; WTIC Hartford, CT; WGYSchenectady, NY; WEAF New York City;WRC Washington; WLIT Philadelphia;WTAG Worchester, MA.

The popularity of The Shadow reachedas far as the Midwest. In December 1933,the Knox Company of St. Louis approachedStreet & Smith seeking broadcast rights forThe Shadow, unaware that NBC was airingthe program as the Blue Coal Mystery Revuealong the East Coast. Street & Smith repliedfavorably with a counter-offer to sponsor aseries of radio dramas based on another oftheir successful pulp magazines, Doc Savage.A series of 26 scripts had been produced forsyndication, broadcast on various local radiostations as early as spring of 1934. In NewYork City, the series was heard beginningNovember 1934.

Weeks after the 1932-33Blue CoalMysteryRevue concluded, The Shadow made a returnto the airwaves this time in the form of a satire.Comedian Jack Benny evolved slowlyfrom hisvaudeville roots to become a weekly comedyaddition on variety programs featuring rous-ing orchestras and clever vocals. When theCanada Dry Ginger Ale Program droppedsponsorship in January 1933,Benny was hiredas the weekly comedian on The ChevroletPro-gram in March. Frank Black and his orchestra,tenor James Melton and singer Grace Hayessupplied the musical entertainment whileBenny and his cast supplied the comedy. Afour-part comedy skit called "Who Killed

Mr. X?" spoofed radio mys-tery thrillers and premieredon the evening of May 26,1933, and concluded June 16.Throughout the installments,Benny questioned those in thecourtroom, Sherlock Holmes(played by Benny) is broughtinto the case, King Kong getsinvolved, and The Shadow(played by Ralph Ashe) ap-pears as the sinister voicewho laughs, informing theaudience that Benny has thewrong suspect. The Shadowdoes not make an appearancein the first installment, butplays the role of the spookynarrator for the remainingthree broadcasts. Ashe wasable to mimic Frank Read-ick's Shadow laugh almostto perfection and radio audi-ences might have thought itwas Readick playing the role.

The "Who Killed Mr. X?"skit was dramatized previouslyon the Canada Dry GingerAleprogram of October 24, 1932.The courtroom murder mys-tery about a headless victimwas not broadcast in install-ments, and Fran Frey playedthe role of a phantom. It wascommon for skits to be recycled throughoutthe early Jack Benny broadcasts.

Less than a year after the mystery spoofreached the airwaves, the musical segmentshad blended into comedic format, but the fullydeveloped comedy skits were not agreeableto an executive at Chevrolet, who rewardedBenny with a pink slip and replaced him withan all-music series featuring the Victor Youngorchestra. Spoofing the Shadow characteralongside such nationwide characters as KingKong and Sherlock Holmes was not unusual.The character of the horror host also was na-tionally known, thanks to the six film shorts,mystery magazine, and prior Shadow radiobroadcasts in Oregon, Utah, Texas, Kansasand Louisiana. None of the Blue Coal MysteryRevue broadcasts are known to exist in re-corded form, but a couple of these early JackBenny broadcasts do, offering us a glimpse ofwhat the Shadow sounded like. A sound clip ofFrank Readick's rendition as the Shadow fromone of Universal's film shorts is also availableon a number of websites. The opening tag linefor the later Orson Welles broadcasts wasrecited by Readick, and in the episode "TheShadow Challenged" (January 19, 1941), thevillain masquerading as the fake Shadow wasFrank Readick, a brilliant stroke of casting.

One year later, from June 22 to August

Frank Readick looking more like the clutching clawin character before the NBC microphone as themysterious storyteller known as the shadow.

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3,1934, The General Tire Program featured areprise of the apparently successful mysteryskit. In a comedy bit titled "Who Killed Mr.Stooge?" (also known as "The Stooge Mur-der Case" on the scripts), The Shadow madea return appearance as played by characteractor Joe Franz. This was no doubt becausethe Jack Benny program had moved from theEast Coast to the California, which affordedan entirely different selection of supportingactors. The character of the Shadow, how-ever, lasted a mere two broadcasts. With thebroadcast of July 6, Franz was mimicking acharacter known as "The Phantom" in thesame capacity as that of the Shadow, whichlasted four consecutive broadcasts. Had Street& Smith objected to the unauthorized use ofthe Shadow character in the comedy skits?Quite possibly, considering the Shadow char-acter was never featured in any future JackBenny programs even though a number ofother horror and mystery hosts were, includingthe Whistler. ,

RADIO BROADCAST LOG FORBLUE COAL MYSTERY REVUE

#1 "SPECIALORDERS"October 5, 1932#2 "THE IMAGE" October 12,1932#3 [TITLE UNKNOWN] October 19, 1932#4 "MAN BEAST" October 26, 1932#5 "THE DRUMS OFDEATH" November 2, 1932#6 "THE BROTHERHOODOFMAN" November 9, 1932#7 "DEATHWARRANT" November 16, 1932#8 "JADE" November 23,1932#9 "FIGHTING COMEBACK" November 30,1932#10 "MURDER BYACCIDENT" December 7, 1932#11 "THE MISSING COBRA" December 14, 1932#12 "THE YELLOW FINGER" December 21, 1932#13 "DEATH ATLONELYPOINT" December 28, 1932#14 "THE GUILLOTINE" January 4,1933#15 "THE ACEOFSPADES" January 11, 1933#16 "WHEN WOLF MEETSWOLF" January 18, 1933#17 "BEGGAR'SRANSOM" January 25,1933#18 "CROONINGFORCRIME" February 1,1933#19 "BOOMERANG" February 8,1933#20 "LIVE BAIT" February 15, 1933#21 "DANCE HALL MURDER" February 22,1933#22 "SKYSCRAPERRACKET" March 1, 1933#23 "FRAMED IN" March 8,1933#24 "BLASTED ALIBI" March 15, 1933#25 "OVERBURNING WIRES" March 22, 1933#26 "FANGS" March 29, 1933#27 "BLIND" AprilS, 1933#28 "HARBOR RAT" April 12, 1933#29 "NIGHT CLUBRACKET" April 19, 1933#30 "HANDS IN THE DARK" April 26, 1933

14 IRADIOGRAM' OCTOBER 2010 ---,--------