Bob Hope's Radio Program on Tour

Bob Hope, radio comedian

Enshrined in the minds of servicemen of World War II, Bob Hope became a comedic legend; not for the humor he provided on stage, but for the audience he played to. Prompted by patriotism, and perhaps vaudevillian wanderlust, on the evening of May 6, 1941, months before the U.S. entry into WWII, Bob Hope's popular Pepsodent radio program was broadcast not from the NBC Studios in Hollywood, but from the March Army Air Force Field in Riverside, California. This was the first remote broadcast of Hope's coast-to-coast radio program and became the first of hundreds over a period of many years. Broadcasting in front of a live audience of soldiers and gearing the subject matter of the monolog to the troops, Hope fashioned a very successful variant on the radio comedy variety format. World War II-era stateside radio audiences, as well as the troops, appreciated Hope's soldier-directed monologs, which provided home audiences with a special affinity with the soldiers' lives and their contributions to the country. Soon, other radio comedians began following his lead: Jack Benny, Edgar Bergen and Ed Gardner to name a few. But for the soldiers who watched the comedian at work on stage before, during and after the broadcast, Bob Hope was immortalized.

"I sensed I was getting older last week when a Boy Scout helped me across the street -- and it was George Burns."

"I wanna tell you that baseball is the only game you spend eight months of the year on grass and not get busted."

"Long dresses on women don't bother me -- I've got a good memory."

Everyone knows Bob Hope's devotion to entertain for American servicemen goes unchallenged. Armed with Frances Langford and Jerry Colonna, Hope provided a sight recalled with affection by millions. If the natives on the islands did not laugh at the jokes because they did not understand, someone came out on stage to dance and the natives smiled. When Frances Langford stretched her vocal chords, the audience joined in. During the radio season (September to June), Bob Hope and his crew performed for troops stationed on military bases across the country. During the summer, they travelled abroad on USO tours, returning in time for the grand opening of the next radio season. That's right, Bob Hope entertained troops 52 weeks a year.

Bob Hope

After the war, Hope continued touring across the country, performing at various auditoriums in an effort to help raise money for community and recreational centers that helped establish stronger ties within the community, and prevent juvenile delinquency by giving kids something to do rather than hang around in the streets. His devotion never changed, even when the venues did.

Just for fun, take a quick look at the list below, the 1942-43 radio season of The Pepsodent Show, and grasp an idea of just how far he traveled in a given year. It’s one thing to hear about the comedian’s devotion, and know he dedicated his time to entertain for the soldiers – it’s another thing to see an example first-hand. And keep in mind this is just for one radio season!

The 1942 – 1943 Season

Season regulars: Frances Langford, Skinny Ennis, Jerry Colonna.

Beginning with this season, Vera Vague (Barbara Jo Allen) was added as a regular member of the cast.

Six Hits and a Miss were the weekly vocalists.

Wendell Niles, announcer.

The program was broadcast each week from service camps around the country before an audience of Servicemen or Servicewomen.

Broadcast of September 22, 1942

Broadcast originated from Fort Lewis, near Tacoma, Washington.

Guest: Howard Duff, theater actor in Seattle, Washington, who entered the military and was assigned to the U.S. Army Air Force’s Radio Service (AFRS). Duff would later become a radio actor himself, but was a serviceman at the time of this broadcast.

Broadcast of September 29, 1942

Broadcast originated from the Naval Air Station in Seattle, Washington.

Guest: Sailor Rollie Ellis

Broadcast of October 6, 1942

Broadcast originated from Presideo, San Francisco.

Guest: Pvt. Charles Heinrichs

(Bob Hope just returned from Alaska, which is why the last two broadcasts originated from Washington.)

Broadcast of October 13, 1942

Broadcast originated from the Stage Door Canteen, Hollywood, California.

Guests: Bette Davis (chairman of the Stage Door Canteen), and Yeoman Wilbur Johnson

Stage Door Canteen premiered as a radio program in July of 1942 and Bette Davis’ appearance on this program helped promote the CBS radio program, as well as the efforts of the Stage Door Canteen.

Broadcast of October 20, 1942

Broadcast originated from the Marine Barracks, San Diego, California.

Guest: First Class Private Bernard Allen

Broadcast of October 27, 1942

Broadcast originated from Terminal Island Naval Air Station, Los Angeles, California.

Guest: Basil Walker, Photographer’s Mate

Broadcast of November 3, 1942

Broadcast originated from Mather Field, Sacramento, California.

Guest: Corp. Haskell Winestein

Broadcast of November 10, 1942

Broadcast originated from Fort Sill, Oklahoma City, Oklahoma.

Guests: Princess Vivian Sonkey and Sgt. John Cuffey

Princess Sonkey was an Indian who made Bob Hope honorary Chief Eagle Beak. She gave him a War Bonnet.

Broadcast of November 17, 1942

Broadcast originated from Jefferson Barracks, St. Louis, Missouri.

Guest: Pvt. Richard Vick

Broadcast of November 24, 1942

Broadcast originated from Patterson Field, Dayton, Ohio.

Guest: Mess Sgt. Thomas Farrell

Broadcast of December 1, 1942

Broadcast originated from Camp Atterbury, near Indianapolis, Indiana.

Broadcast of December 8, 1942

Broadcast originated from Fort Des Moines, Iowa.

WAAC’s camp salute to Betty Seeley

Broadcast of December 15, 1942

Broadcast originated from Lowery Field, Denver, Colorado.

Broadcast of December 22, 1942

Broadcast originated from Camp Haan, Riverside, California.

Broadcast of December 29, 1942

Broadcast originated from Ferry Command, Long Beach, California.

Broadcast of January 5, 1943

Broadcast originated from Camp Young, Palm Springs, California.

Broadcast of January 12, 1943

Broadcast originated from Camp Pendleton, California.

Broadcast of January 19, 1943

Broadcast originated from Navy Base, Terminal Island, San Pedro, California.

This episode was broadcast from 10:05 to 10:30 p.m., following an announcement about the Casablanca Conference being held in Morocco. 

Broadcast of January 26, 1943

Broadcast originated from Luke Field, Phoenix, Arizona.

Broadcast of February 2, 1943

Broadcast originated from Las Vegas Air Gunnery School, Las Vegas, Nevada.

Broadcast of February 9, 1943

Broadcast originated from the Ordnance Training Center, California.

Broadcast of February 16, 1943

Broadcast originated from Filmarte Theater, Hollywood, California.

Broadcast of February 23, 1943

Broadcast originated from the Marine Base, Santa Barbara, California.

Broadcast of March 2, 1943

Broadcast originated from Camp Cook, California.

Broadcast of March 9, 1943

Broadcast originated from Gardner Field, California.

Broadcast of March 16, 1943

Broadcast originated from Camp Callan, San Diego, California.

Broadcast of March 23, 1943

Broadcast originated from the Naval Base, Catalina Island, California.

Broadcast of March 30, 1943

Broadcast originated from the Naval Reserve Air Station, Los Alamitos, California.

Broadcast of April 6, 1943

Broadcast originated from the Globe Theatre, San Diego, California.

Bob Hope and cast entertain nurses and WAVES of the San Diego Naval Hospital. 

Broadcast of April 13, 1943

Broadcast originated from Kingman Field, Arizona (Gunnery School).

Broadcast of April 20, 1943

Broadcast originated from Fort Hood, Texas.

Broadcast of April 27, 1943

Broadcast originated from Air Corps Navigators School, Selman Field, Monroe, Louisiana.

Broadcast of May 4, 1943

Broadcast originated from he Air Base (Naval) Pensacola, Florida.

Broadcast of May 11, 1943

Broadcast originated from Maxwell Field, Montgomery, Alabama.

Broadcast of May 18, 1943

Broadcast originated from a WAVE Camp, Georgia State Women’s College, Milledgeville, Georgia.

This was the final broadcast for Skinny Ennis, orchestra leader, who went into service and became a Sergeant. He would be a guest on the November 2, 1943 broadcast. Beginning with next week’s broadcast, the orchestra was led by a guest conductor. 

Broadcast of May 25, 1943

Broadcast originated from Camp Wheeler, an Army base near Macon, Georgia.

Guest: General of the Army Tony Romano, directs the orchestra for this broadcast.

Broadcast June 1, 1943

Broadcast originated from Fort Jackson, Columbia, South Carolina.

Guest: Governor of South Carolina, Olin Johnston

Bob Allen directs the orchestra for this broadcast.

Broadcast of June 8, 1943

Broadcast originated from Camp Peary, Williamsburg, Virginia.

Guest: Bob Chester directs the orchestra for this broadcast.

Broadcast of June 15, 1943

Broadcast originated from Camp Perry, Port Clinton, Ohio.

Guest: Johnny Mercer

Bob Hope

Johnny Mercer was a guest on the final broadcast of the season, influenced by the sponsor, Pepsodent, continuing sponsorship for the summer time slot with Johnny Mercer’s Music Shop. Stan Kenton directs the orchestra for the final broadcast of the season. Kenton would supply the orchestra music on a weekly basis when the radio program returned in the fall, beginning September 21. Jerry Colonna was a guest on Mercer’s program on July 6, 1943.

Within a week-and-a-half, Bob Hope and Frances Langford left for England and Africa to entertain troops. Hope’s five-week tour of the battlefronts under the auspices of USO Camp Shows, Inc., ended shortly before the new season of radio broadcasts on September 21, 1943.

It is surprising that the U.S. Government has yet to dedicate a calendar day to Bob Hope. I vote for May 6, in honor of the first radio broadcast dedicated to the entertainment of U.S. soldiers.

"I wanna tell you I could have retired years ago but I have a government to support."

Fredric March, Gunsmoke and Pin-Up Girls of WWII

Now there's a title for a blog post that you don't see every day....

Finally spent the afternoon catching up on a number of books that have been sent to me by the authors and the publishers, asking me to to reviews. Of the 20 plus books, more than half of them are not very good and I would rather not do a book review at all rather than do a negative review. These four, however, warrant a closer look and if they peak your interest, I recommend you grab a copy.

Fredric March book

FREDRIC MARCH: A CONSUMMATE ACTOR

by Charles Tranberg

Charles Tranberg is the same man responsible for the Agnes Moorehead and Fred MacMurray biographies published through Bear Manor Media, and as long as the archives at Wisconsin continue to provide material for such books, I suspect Charles will continue to crank them out. His recent contribution is a book about Fredric March (often mis-spelled Frederic on numerous websites), the actor best remembered as a Paramount Pictures star player whose performance in Dr. Jekyll and Mr. Hyde in 1932 was the inspiration for The Incredible Hulk comic books. According to a 1938 audience poll, Fredric March came in second for the role of Rhett Butler in Gone With the Wind (1939).

Tranberg's book is not the first to center on the stage and screen actor. That devotion has been published twice in the past and while one centered on a critical study and analysis, the other was a coffee table book with lots of photographs. What Tranberg accomplished here is perhaps the first true biography about the actor. And I would like to take a moment to explain that in my opinion, biographies are the most difficult books to write... especially when the actor is no longer around and most of the people who knew him are also six feet under and pushing up the daisies. Newspaper and magazine columns cannot be counted on as the gospel, nor the studio press releases for which most of that information originated, including motion-picture press books. Hollywood created fictitious lifestyles for their contract players and whether March really loved playing polo remains to be truly verified.

In the past few years there has been a rash of biographies published that are nothing more than a compilation of newspaper and magazine clippings. Most of those same books describe how the actor felt, but how does the authors know a dead man's thoughts or feelings? To say an actor was frustrated is almost impossible to verify unless they had the actor's personal letters and correspondence. Romantically, it might be nice to think the actor was uplifted by an inspirational moment. Or that the crowd gave a standing ovation on opening night. But what forms the basis of those statements? These books are becoming a dime and dozen and are not true biographies. I consider those a chronological listing of the actor's accomplishments, masqueraded in text and paragraph form and disguised as a "biography." And those type of books I get tiresome of very quickly.

Thankfully, Tranberg avoided the trap others have fallen into. He also avoided lengthy plot summaries of movies March appeared in. After all, a biography is about the actor and there is no purpose to include lengthy plot summaries of his movies... else the author momentarily steers away from the subject at hand. This is what I refer to as "structure."

Thanks to Tranberg, March is quoted through numerous letters exchanged between close friends and professionals, recorded interviews and actors who are still around today who knew him well. As a result, the book remains both factual and trivial. So if you love reading biographies of Hollywood legends and want something to verify this is not another hack job, take my word for it. Charles Tranberg's book about Fredric March is a welcome addition to the preservation of the actor's legacy.

The Gunsmoke Chronicles

THE GUNSMOKE CHRONICLES: A New History of Television's Greatest Western

by David R. Greenland

I have four books now on Gunsmoke, including James Arness' autobiography, and I questioned whether this book might be worthy of adding another to my growing collection of reference materials. I only have so much space in the closet and the loft for bookshelves and every summer I weed out five percent of my collection because I realize they are inferior compared to other tomes, or I simply no longer have a need for them. I find myself torn down the middle when it comes to David Greenland's book. The book has some information that, together with the rest of the Gunsmoke reference guides, makes it valuable. But 320 of the 575 pages is a television episode guide that offers very little of anything that is not found in prior reference guides. Trivia under various episodes include notes any casual viewer would notice themselves: "Brief appearance by Matt at the end of the episode," "Would have made a good hour-long episode," and "Matt once again shot in the left arm." Factual trivia includes a lot of actors who worked on other series such as "First of Lee Van Cleef's three Gunsmoke episodes," "Joanna Moore also appeared in this season's 'Colleen So Green'," and "Anne Helm appeared in more than a dozen television Westerns." I would have preferred trivia that warrants repeat viewing of the episodes such as where you can see the microphone on the screen (twice in the first season alone), music cues that were originally composed for Perry Mason used on some of the episodes, bloopers such as when Burt Reynolds' hat disappears and reappears on his head during a scene, and... well, you get the idea.

In fact, every entry in the episode guide provides one or two sentences for a plot summary, writer and director credits, an episode number, title and airdate, and a small list of cast names. This is going to sound like an insult but please don't take it the wrong way: imdb actually features more information per episode entry than this book. I never use the internet as reference, so comparing it to imdb was merely a way of verifying how comprehensive (or the lack thereof) by comparison. I still prefer the printed page because there is a difference between a 500 page book on a subject and a 5 page write up on a website. (You should have seen a book McFarland published earlier this year (title will not be disclosed out of politeness) that was literally a cut-and-paste from imdb -- no, I won't be reviewing that one. It's being used as a doorstop.)

The historical write up about the series, however, is really well done, well researched and three extensive interviews with Peggy Rea, Jeremy Slate and Morgan Woodward make wholesome reading. In fact, the write-up is so good it's the only reason I am recommending this book, even with a hefty $32.95 suggested retail price. But if the only reason you are seeking interest is because of an extensive episode guide to all 20 years of televised episodes, this is not the book for you.

The Pin-Up Girls of World War II

THE PIN-UP GIRLS OF WORLD WAR II

by Brett Kiser

Every branch of the American military adopted pin-up girls as a symbol of unification during the second World War. Soldiers did not care who she was, famous or not. The long legs and wavy hair reminded the troops what they were fighting for. From Candy Jones to Dorothy Lamour, Lynn Bari (who I always thought was the perfect girl-next-door) to Janet Blair, this book covers a brief background on the women who made contributions for the war cause. You might be surprised, as you read the book, which Hollywood actress took time to respond to every letter with a signed glossy, from a soldier who wrote to her, even when it meant spending $100 a week to answer all the letters. Veronica Lake's contribution to the war effort was to stop wearing her hair down because women attempting to reproduce the peek-a-boo hair style kept getting their hair caught in the machinery at the war production plants. This book explores the origin and definition of a pin-up girl, the rise in popularity, multiple purpose, how they effected the American soldiers, and the effect they had on men stationed overseas.

Marie Wilson, performing for troops by performing a strip-tease act, would begin her performance when Ken Murray, on the stage, told the actress that her clothes had to be rationed. Evelyn Keyes once responded to a letter from an American troop stationed in Saipan, claiming that American women were few and far between and the locals were starting to look attractive. Her response reassured the servicemen that American girls would wait, that they "desired to wed returning heroes" who were the best the nation had to offer, addressing the fear of limited female partners after the war.

Brett Kiser certainly took time to explore numerous avenues to research the subject, presenting unknown fun factoids page after page. The next time I watch a motion picture set in WII and see a glossy photo nailed to the wall in any given scene, I will have a deeper appreciation for what is evident on movies that frequently screens on Turner Classic Movies. If I had one complaint (and this is a small one) is that my idea of a pin-up girl means little clothing (usually a tight, form-fitting bathing suit), long wavy hair and legs that expose more than you usually witnessed in a screwball or romantic comedy. While this book features a lot of photographs, less than half would be considered actual pin-up glossies. A friend of mine once explained to me the difference between a "cheesecake photo" and a "studio glamour shot." More than half the photos in this book are studio glamour shots and I would have preferred more "cheesecake" photos. This is the kind of book, however, that you want to take with you to the beach and relax and read and devour every word, page by page.

Radio Journalism in America

RADIO JOURNALISM IN AMERICA

by Jim Cox

"The history of radio news reporting recounts and assesses the contributions of radio toward keeping America informed since the 1920s. It identifies distinct periods and milestones in broadcast journalism and includes a biographical dictionary of important figures who brought news to the airwaves." That's how McFarland choose to describe the book on the back cover. Since they say the cover sells the book, reading the liner notes on the back cover would not have intrigued me to open the cover and skim the pages. The first paragraph on the back of any book should explain quickly and simplistically what the book is about. After all, most people browsing bookshelves won't bother reading the second paragraph if the first paragraph did not capture their attention. But this is no fault of the author. Remember, we are talking about McFarland -- the company that specializes in selling reference books to college and university libraries. Not fan boys like myself.

On the plus side, my review here (though brief) should correct that oversight. By the time I got to page ten in this book, I was addicted to the printed page. Subject matter that might seem trivial or too scholarly to the mainstream public is actually a fascinating read and the best book Jim Cox has written in the last few years. Everything from Face the Nation to Meet the Press, the earliest milestones in radio journalism is documented with one anecdote to another. Jim covers every aspect including Censorship (always humorous by today's standards but also an education in itself), public opinion, consequences both good and bad, new gadgetry, how the evolution of technological equipment changed the way news was delivered, and the combats and rivalries between the networks are included. Have you ever been to a convention and sat in on a slide show presentation that you really had no interest in? And when the presentation was over you realized just how fascinating the subject was and your opinion about a boring topic was favorably changed? This is that kind of book.

Don't let the cover fool you. Order your copy of Jim Cox's book today.

BONANZA: The Television Series Needs Your Help!

Vintage Bonanza Advertisement

It was brought to my attention today that the "Cartwrights" are in trouble and need your help. Word is sales for BONANZA: The Official Sixth Season have been "soft," and CBS Paramount decision-makers are waiting to see if sales will pick up before going ahead with a Season Seven release and beyond. In other words, they placed a "sales expectation." So if you've been on the fence about buying any of the official DVD sets (especially Season Six), NOW is the time to do so. The sales of Season Six will be the decision maker whether CBS releases future seasons.

The Sixth Season was the final season to feature Purnell Roberts as Adam Cartwright. Roberts wanted to leave the years a year or two prior, but the producer convinced him to stay for an additional season. The program aired a total of 14 seasons, yet television reruns of BONANZA have consisted of episodes from the series' first six seasons. Television honchos have believed that most of the mainstream public won't care for episodes beyond the six seasons, which is why seasons seven through fourteen have rarely been seen since their initial telecast in the 1960s. (The Starz Encore Westerns Channel have recently begun airing season seven through 14, but unless you subscribe to the extra-paid channel, you won't see them unless the studios agree to green light DVD releases of seasons seven and up.)

There is a great website about BONANZA worth checking out:

http://ponderosascenery.homestead.com/files/episode/season6.html

Adam, Little Joe, Pa and Hoss.

The official DVD sets were executive produced by Andy Klyde -- a popular culture historian and long-time attorney for BONANZA's creator-producer David Dortort -- and a guest speaker at the Mid-Atlantic Nostalgia Convention two years ago. Each DVD set contains full-length episodes restored and digitally remastered from original 35mm film elements, and have never looked better. And every set contains tons of bonus material unavailable anywhere else, including new commentary by BONANZA alumni Ben Cooper, Stella Stevens, Sue Ane Langdon, Audrey Dalton, Lisa Lu, Patricia Crowley, Greg Walcott, Keir Dullea among others, plus original Chevrolet commercials (some also featuring the cast of "My Three Sons," "Route 66," "Bewitched," and "The Man From UNCLE"), episode trailers, rare "behind-the-scenes" photos, and footage of the "Cartwrights" making appearances off the Ponderosa with notables like Henry Fonda, Buster Keaton, Ed Wynn and Allan Sherman.

But future seasons (seven through 14) may never happen unless you send the message. So log on to Amazon.com and buy Season Six today!!! And spread the word so more people know about this!

AMAZON DIRECT LINK: 

http://www.amazon.com/Bonanza-Official-Sixth-Season-2-Pack/dp/B00CD45JDE/ref=sr_1_1?ie=UTF8&qid=1391730648&sr=8-1&keywords=bonanza+season+six

The Lone Ranger: The "Lost" 1933 Adventures

Earle Graser, radio's Lone Ranger

The origin of the December 17, 1937 radio broadcast of The Lone Ranger existing in recorded form is the result of an in-joke Fran Striker slipped into a Green Hornet radio broadcast. During the broadcast of January 13, 1938, The Green Hornet pays a late-night visit to the house of Judge Woodbury, known for being strict in his courtroom and in need of a little push to set a trap and expose a crooked attorney. The Green Hornet climbs through the window of the judge’s bedroom. As the announcer describes ...

ANNOUNCER: The slick black car of The Green Hornet with its super-powered motor was parked in the drive of Judge Woodbury’s home a few minutes later. The Judge was listening to The Lone Ranger, one of his favorite radio programs, half dozing in his chair. 

To accomplish this trick, Striker’s notes on the script suggested playing back a recording of The Lone Ranger. But to date, Trendle had never arranged to any of the Ranger broadcasts recorded. (One was recorded back in September of 1937 in New York, more than likely without Trendle's knowledge or permission.) The series had always been broadcast live on a coast-to-coast hookup. So the Ranger broadcast of December 17, 1937, was recorded solely for the purpose of this Green Hornet scene and was the spark that launched Trendle into the transcription business, leading to a transcription of every episode of The Lone Ranger beginning with the broadcast of January 17, 1938. Trendle obviously wanted to give it a "go" for that one recording before contractually committing to a regular recording scedule.

Pictorial image of the early Lone Ranger.

The earliest announcement came on Monday, January 10, 1938, when King-Trendle released a public statement that The Lone Ranger was riding cross country and not just the western plains. Coincident with the Republic Pictures movie serial in February, King-Trendle announced it would market transcriptions of the radio series for February 1 assignments. The strong growth of the series since it premiered four years previous showed promise and broke all records for mail response for WXYZ. Then heard over 27 stations, Trendle wanted to expand his empire with transcription discs and began advertising the series, claiming the discs would be available for broadcast starting February 15.

Sales were certainly impressive and profitable, leading to Trendle’s second transcribed series, Ann Worth, Housewife. (Many of the Green Hornet radio transcriptions were marked not just with an episode number, but the letter 'B'. It was originally assumed that 'B' meant the second series to be transcribed for Trendle, but is not the case.) By August 1938, King-Trendle Broadcasting was still feeding The Green Hornet live to Mutual stations and it was not transcribed. A business meeting in July 1938 discussed the possibility of expansion. Sponsor interest was growing in various sections of the country, giving them guide to how many transcriptions would need to be produced to meet the demand. Thus the reason why we have so many Green Hornet radio broadcasts in collector hands today.

Since recordings of pre-1938 Lone Ranger radio broadcasts are not going to surface in the coming decades (or centuries), I offer you a selection of episodes from the calendar year of 1933, along with plot summaries and assorted notes and trivia. Enjoy!

Adults, as well as children, listened to The Lone Ranger.

Episode #110  [TITLE NOT LISTED ON SCRIPT]
Broadcast October 12, 1933
Plot: Sally Perkins, is truly a most attractive girl. Her father has always looked forward to the time when she would marry the son of his nearest friend, Ben Eastman. He has hoped for this uniting of two of the finest families in the west, and is not well pleased with the attention Sally gives the newcomer, Bert DeForest. Bert is an Easterner who knows nothing of cattle raising and ranching; only how to dress fancy and spend money. At the urging of the Lone Ranger, Tonto kidnaps the girl. Her father searches all night in vain for his daughter, but the Masked Man visits the saloon and suggests if they want the girl returned, they need to send Bert DeForest after her, suggesting he can buy her back. Scared, Bert is persuaded by the men in the saloon to visit the rendezvous, where Tonto strikes a bargain in exchange for the girl. But Ben would rather see her harmed than be harmed and when Ben proves his worth, the Lone Ranger steps in and explains the ruse. Upset, Sally orders Bert to leave and never come back… knowing who would prove their worth as a husband.

Episode #111  [TITLE NOT LISTED ON SCRIPT]
Broadcast October 14, 1933
Plot: In the small mining community of Parmalee, wealthy Bill Turner is offered a financial opportunity involving six precious diamonds, each worth over $5,000. Galdberry wants to have the diamonds sold and hopes Turner will provide a means of resale. Late one night, after a lively party, the diamonds are stolen and Galdberry attempts to hold Turner accountable. The Lone Ranger and Tonto, aware that Galdberry is a con man, stole the diamonds in the hopes of revealing Galdberry is a crook. Tonto sets up the stage to make both parties believe he knows where the diamonds are, offering to return them to the man who pays him the most money. When the men agree to double-cross the Indian, at the insistence of Galdberry, by keeping the diamonds, turning the red skin over to the sheriff and forcing Turner to sell them later for money he already paid out, the Lone Ranger overhears their plans. During the transaction, Galdberry gives himself away and the Lone Ranger, accompanied with the sheriff, explain how the setup was created. Galdberry is ordered to leave town and never return.

Episode #112  [TITLE NOT LISTED ON SCRIPT]
Broadcast October 17, 1933
Plot: Jim Rockwell, a gold prospector who believes sweat and hard work are the true riches to a man’s happiness, allows his cousin, Matt Manover, to help him with the latest claim. Matt’s father, Ike, believes the hard work might make a man out of the boy, who spends much of his day sleeping and most evenings gambling and drinking. The Lone Ranger and Tonto, observing how the boy isn’t much of a laborer, suspects foul play will come of Jim and hangs around long enough to observe Jim, moments after discovering a rich vein, create a rockslide from the soft shale along the hill, sealing Jim in the tunnel for good. Hoping to cut his cousin out of a share of the goldmine, Matt believes he got away with the crime until the Lone Ranger arrives and pulls Jim out of the tunnel. It seems the Masked Man had a tunnel of his own dug from the other side and was quickly able to rescue Jim. Racing on the great horse Silver, Jim arrives at the claim office in time to file the claim, and then steps aside as Matt walks in to make his claim and announce the death of his cousin -- unaware that his verbal claim is about to hang him.

Trivia, etc. Silver is referred to as “the Wonder Horse,” carrying a double load with both Jim and the Lone Ranger which “means nothing to those tremendous legs, and the ground flies beneath his silver shod hoofs.”

Episode #113  [TITLE NOT LISTED ON SCRIPT]
Broadcast October 19, 1933
Plot: General Gonzales and his band of Mexican revolutionists orders Fisheye and Squint to prevent the delivery of cattle and horses from the Circle Box Ranch, just outside the town of Fariday, which was recently sold to the United States Army. Days later, Lem Peabody, owner of the Ranch, is unaware that the men in the cab of the engine are Fisheye and Squint, no longer employed by the railroad, and had killed the regular employees to take their place. Tonto, meanwhile, arranges for the sheriff to find the two dead bodies so the lawman will know about the murders. When the killers attempt to double cross Gonzales by stranding the cattle on a side track, the Lone Ranger assists Lem with getting the merchandise delivered in the hands of the United States Army by allowing the cars to move on their own accord, because they are on the down grade, and from there they will coast down hill to their destination. There is a wheel on the last car that will brake the cars to slow them down when they reach the turns. While Lem finishes the job that was almost foiled by the killers, the Lone Ranger takes charge of the two murderers at the point of his heavy guns and takes them to the sheriff.

Trivia, etc. According to the script notes, John Todd not only played the role of Tonto in this episode, but doubled for the role of Fisheye. The Federal Men were referred by the Lone Ranger as the United States Army in this episode, while Lem remarked that it was a new name for them.

Episode #114  [TITLE NOT LISTED ON SCRIPT]
Broadcast October 21, 1933
Plot: Sheriff Bart Cummings of the small town of Showdown is on the lookout for Black Hoss Billy, who robbed at least three stagecoaches and shot each of the drivers. Known for riding a black horse, the sheriff mistakes innocent Ben Gridley for the killer. Gridley attempts to verify his identity, knowing the only person who can vouch is a half breed named Tonto whom he recently helped across the river. While Ben resided in jail for a short time that preceded the hanging of criminals in the early days, the Lone Ranger races back to Kansas to fetch proof that Black Hoss Billy was already hung for his crimes. Upon returning to Showdown in the nick of time, the Lone Ranger combats a stubborn sheriff that Ben, standing on top of the gallows, is innocent. The letter, Billy’s neckerchief and Tonto’s testimony finally serve as a reminder that one good turn deserves another.

Trivia, etc. Broadcast during the times when certain phrases and stereotypes were depicted without any sense of “political correctness,” this episode expressed one such example. Ben Gridley, in the opening scene, refers to his black horse by name -- “Nigger.” Yet, in the same scene, Ben offers Tonto a ride across the river on his horse. Tonto is reluctant at first, even reminding Ben that most white men hesitate assisting a half breed, but Ben shows no reluctance. 

Ranger:    I’ve just been finishing a little business with Black Horse Billy.
Tonto:    Um.  Gitum?
Ranger:    He wont be around here any more Tonto.
Tonto:    Killum?
Ranger:    No, I can’t shoot a man in cold blood Tonto, but I did manage to get him across the state line where the men in Kansas were waiting for him with lynching ropes.
Tonto:    Humph!  Better you shootum!
Ranger:    (LAUGH)  You bloodthirsty old fellow…

More Trivia, etc. The Lone Ranger laughing? Yes, this happened for the first 170 or so radio scripts. That aspect of the Masked Man gradually faded away but is very obvious is Gaylord DuBois' novel, The Lone Ranger, the first of 18 Grossett & Dunlap novels published from the 1930s to the 1960s.

Ben Gridley was also a negro in this episode, who expresses joy when he is served chicken as his last meal before hanging. John Todd not only played the role of Tonto, but doubled for the role of “Whitey.” According to script notes, the Earl Graser also doubled for a voice in the crowd sequence.

Episode #115  [TITLE NOT LISTED ON SCRIPT]
Broadcast October 24, 1933
Plot: Sally Simms is without the prettiest girl in Osage, especially those of Dale Martin, deputy sheriff at the town of Forks.  Shortly after the shooting in which both the Sheriff and his murderer were killed by fast bullets, Dale Martin accepts the position -- with a price. Now known for a fast draw, Dale must defend his quick draw against those like Injun’ Joe and Lightin’ Harris, against the protests of Sally. The Lone Ranger takes a hand and kidnaps Dale, only to teach him that a good sheriff can stop a fight without a firing a shot. Late one evening, Lightnin’ Harris arrives at the Silver Dollar Saloon and provokes a fight with Sally’s father. Dale removes a shotgun and order Lightnin’ to surrender his firearms as according to the law that hasn’t been enforced. Realizing he is cornered, Lightnin’ leaves town, never to return again. Sally cries for joy -- her future husband will be the kind of sheriff she wants him to be.

Trivia, etc. John Todd not only plays the role of Tonto in this episode, but doubles for Smoky Snyder in the opening scene.

Episode #116  [TITLE NOT LISTED ON SCRIPT]
Broadcast October 26, 1933
Plot: Silas Withersby was found shot to death with a gun owned by Steve Thatcher, who now resides in Sheriff Tenebre’s jail in the town of Shelby. Sid Fields, an Easterner from Ohio, fell victim to the chaos of the night before and is also accused of the crime. The Lone Ranger knows time is against him when a lynch mob is bent on hanging a man and determined to do it, before morning when the highly respected Texas Rangers arrive to help the Sheriff guard his prisoners. Single handed, the Lone Ranger holds up thirty odd men in the saloon to inspect their cash, hoping to find someone with a bankroll damaged by a bullet that passed through Withersby. Tonto, meanwhile, unlocks the jail and helps disguise the prisoners as Texas Ranger, even arming them with loaded guns to fool the approaching mob. When the mob breaks, believing Steve was a Texas Ranger, the Lone Ranger arrives to clear Steve and Sid’s good name and brings Rusty Redpath, the real murderer, into the office to verify the money found on his possession -- with burn marks from the fatal bullet that killed Withersby.

Trivia, etc. Beginning with this episode, the program opens with the Lone Ranger encouraging his horse Silver with the call of “Hi Yo Silver!” after the opening narrator delivers his prologue, remarking that the speedy white horse and his rider just rode past. The speed at which Silver muscles is described by deputy Jim Fowler when he tells the sheriff, “Yuh caint hit a feller travelin’ like that Sheriff. Gosh, he’s goin’ faster’n the bullets is…”

Episode #117  [TITLE NOT LISTED ON SCRIPT]
Broadcast October 28, 1933
Plot: Sheriff Snead of Carson City leads a posse to catch Pete Lorenzo, a notorious outlaw who just killed honest Jim Fawcett and made off with a pile of new paper money from Washington. A witness named Andy Daiglish witnessed the crime and identified Lorenzo to the sheriff. The posse catches up to a man who claims his name is Pete Atwill, even though he fit’s the description given by Daiglish. Too late in the day to return to town, the sheriff orders the posse to make camp for the night while their prisoner remains tied until they can decide what to do with him. After dark, Pete attempts to make a break for it. The posse catches up to him and a struggle ends with the sheriff being shot through the heart. The posse prepares for a hanging until the Lone Ranger interferes, and points out that Pete had a gun loaded with blanks… supplied by Daiglish. After comparison to the bullets in Daiglish’s gun and the stolen money found on his possession, the posse discovers they had the wrong person and seeks justice against the true murderer while the Lone Ranger rides away.

Trivia, etc. It is referenced in this episode that Tonto rides a jackass. Obviously he later graduated to a pint horse named "White Feller," later renamed "Scout."

Episode #118  [TITLE NOT LISTED ON SCRIPT]
Broadcast October 31, 1933
Plot: Bob Ryder has masqueraded as a masked bandit who robs from the rich and, on occasion, giving to the needy. His wife Betty is unaware of her husband’s activities, believing he spends his afternoons panning for gold. The Lone Ranger plays detective and quickly discovers the identity of the notorious bandit. The Lone Ranger and Tonto trail him to a cabin and taking custody of the goods, escorts him back to Virginia City. Along the way, Bob pleads his sad sob story of being swindled -- twice -- and his newborn son being the primary reason why he turned to theft. Riding along a treacherous mountain side, Tonto’s horse loses its footing and Bob, without hesitation, plunges his horse front on Tonto’s, saving the life of the Indian, but taking the life of Bob as he plunges to his death. Realizing Bob could have had his chance to escape, but instead chose to do the right thing, the Lone Ranger brings in the body for identification and tells the story of how an Indian was masquerading as the masked bandit. Tonto is arrested for the crime but before a lynch mob can seek justice, the Lone Ranger arrives to free Tonto and ride out of the territory, content knowing Bob’s good name will not be tarnished. As the Lone Ranger remarked, “I didn’t know whether to bring him in, or let him go.  I’m glad I didn’t have to decide.”

Trivia, etc. Beginning with this episode, the series began the opening catch-phrase: “A fiery horse with speed of light, a cloud of dust, a hearty laugh!”