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The 26 By Corwin Radio Program

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Norman Corwin black and white portrait prologue

Norman Corwin composes one of 26 By Corwin ca. 1941
Norman Corwin composes one of 26 By Corwin ca. 1941

Mason City Globe-Gazette article of June 7 1941, describing 'An Afternoon With Nick'
Mason City Globe-Gazette article of June 7 1941, describing 'An Afternoon With Nick'.

Norman Corwin black and white portrait epilogue


Radio icon Norman Corwin has created some of Radio, Television, Stage and Film's most innovative, poignant, thought-provoking dramatizations of modern Entertainment history over a continuing seventy-five year career. Beginning with The Columbia Network's series of ground-breaking Radio productions, The Columbia Workshop, Norman Corwin was at the forefront of experimental Radio over the eleven year run of CBS' various Columbia Presents series'.

Over the series' run, the network showcased several distinct Corwin projects, in addition to his numerous independent contributions to the Columbia Workshop series, proper:

As each new series aired, anticipation of Corwin's next project would become even more eagerly anticipated. Corwin's ground-breaking productions attracted Radio's brightest, most talented performers and technicians, including Deems Taylor, Bernard Rogers, Lyn Murray, Bernard Herrmann, and Maurice Goldman. Corwin was basically given his head to develop whichever new production that took his interest and 26 By Corwin was specifically carved out of Columbia Workshop's schedule as a dedicated, 26-program block of exclusively Corwin-developed productions.

Corwin's extraordinary range of topics over the 26 By Corwin run spanned comedy to variety to science fiction. And as with most of Corwin's most ambitious productions, the underlying musical accompaniment to Corwin's pieces were key elements to the atmosphere and gravitas associated with the dramatic--or fanciful--arcs of Corwin's scripts.

26 By Corwin comprised twenty-six new scripts, many of which would appear in Columbia Workshop productions again and again over the following eleven years. Two of the scripts were rebroadcast during 26 By Corwin, and one script apparently remains unaired--Corwin's An Afternoon With Nick. An Afternoon With Nick remains an intriguing unanswered footnote to the series as it's purportedly the account of Corwin's daily walks with his bird dog, 'Nick', who apparently remained at his side for much of the time period during which Corwin hid away in a lodge to write the scripts for 26 By Corwin. Apparently there's something of an account of Corwin, 'Nick' and Lyn Murray and their time spent in the woods during that period in Lyn Murray's autobigraphical Musician: A Hollywood Journal, which Murray published in 1987. As a further footnote, An Afternoon With Nick should not be confused with Corwin's subsequent A Walk With Nick from Corwin's Columbia Presents Corwin production of July 31, 1945, starring John Hodiak. The two scripts bear no resemblance to each other.

[NOTE: We communicated with Mr. Corwin regarding the status of An Afternoon with Nick. This is the response we received:

“An Afternoon with Nick” was never recorded. [Mr. Corwin] couldn’t recall why, but it is not a program in his canon.

During the same query, we'd asked about Mr. Corwin's recollections regarding the actual length of 'Fourteen August', his collaboration with Orson Welles upon the announcement of V-J Day. Here's what we got back from Mr. Corwin regarding the Columbia Presents Corwin series:

On August 14, 1945, Norman broadcast his 15-minute show titled “Fourteen August” starring Orson Welles. On August 19, 1945, CBS requested that an extended 30-minute version air. This version is titled “God and Uranium” and stars Orson Welles and Olivia de Havilland.

We thank Mike Kacey of Anthracite Films for helping us place these inquiries with Mr. Corwin]

Examining the 26 by Corwin canon

Building from"Radio Primer", forward, Corwin begins to critically and often fancifully examine the Radio industry, popular culture, early Wartime dynamics--and even The Bible--over the course of the following twenty-eight weeks. Radio Primer stands as one of Radio History's most fascinating and introspective deconstructions, traced as it was literally from 'A' to 'Z'. A brief synopsis for almost all twenty-six productions is annotated in the log that follows. Notice especially the critical intertwining of the underlying musical direction as a critical element of most of these productions. You'll notice from the credit details below that Corwin attracted not only all of CBS' own greatest music composers and directors, but many of those outside of CBS as well, including:

  • Alexander Semmler - Composer/Conductor
  • Bernard Herrmann - Composer/Conductor
  • Paul Belanger - Composer
  • Deems Taylor - Composer
  • Leith Stevens - Conductor
  • Lud Gluskin - Arranger/Conductor
  • Lyn Murray - Choral Director
  • Ralph Wilkenson - Arranger
  • Mark Warnow and His Orchestra

Spanning both coasts, Corwin's productions also attracted the finest East Coast and West Coast actors and everyone in between. You may well recognize many of the composers above from the credits of the CBS Forecast series which ran for two Summer seasons between 1940 and 1941. Norman Corwin was equally adept at marshalling his extraordinary casts from the West Coast studios of KNX Radio, as from the East Coast studios of WABC (the later WCBS), CBS' east coast flagship station.

Over the span of the remaining 27-weeks, Corwin repeatedly delighted and amazed both critics and listening audiences alike with each new, innovative Radio presentation. Most noteworthy, ambitious, and innovative were his Daybreak!, Between Americans, Double Concerto, and the three Old Testament scripts that comprised his Old Testament Trilogy of three installments composed by CBS Music Director Lyn Murray. Fully seven of the 26 By Corwin productions found themselves repeated, rebroadcast, or reexplored in either Columbia Workshop, CBS Radio Workshop, or in other contemporaneous dramatic programs over the following fifteen years.

As with many of Corwin's later Columbia Workshop showcases, you'll notice many Mercury Theatre alumni among Corwin's most favored repeat performers and collaborators, including Norman Lloyd, Agnes Morehead, Everett Sloane, and Bernard Herrmann. Other favored repeat peformers were House Jameson of Henry Aldrich fame, Minerva Pious of Fred Allen's Alley fame and the Sondergaard sisters, Hester and Gale.

Corwin was rarely preachy, with the possible exception of topics in which Corwin himself was most personally invested, and invariably wove an amazingly detailed tapestry for each of his productions. Using that tapestry as a backdrop, Corwin would then overlay his key points and critiques against that backdrop. The technique provided the listener both a visual and aural image against which to compare and contrast the points Corwin attempted to highlight, dramatize, or resolve. Corwin's subjects spanned the gamut of human interaction, development, scientific aspiration, and political interaction--on a global scale. Given the often sensitive or controversial subject matter Corwin chose over the years, it's a tribute to his creativity and direction that his productions engendered almost univeral interest and admiration from supporters and critics alike.

Between 1941 and 1954, continued retrospectives of Corwin's most effective dramatizations surfaced during critical junctures of America's cultural and popular evolution, especially the key years following the onset of The Atomic Age which dramatically affected the balance of world power and ideology. Indeed, Corwin's social dramatizations and commentaries were so effective that verbatim retrospectives of his Radio broadcasts resurfaced in the 1970s, 1980s and 1990s. Corwin's universal appeal is touching even more of an audience as the World enters the 21st Century and finds it beset with a chillingly reminiscent replay of many of the social, economic, religious, and political tragedies that plaqued the first half of the 2oth Century. National Public Radio has already undertaken several retrospectives of Corwin's body of work and HBO's brilliant winner of the 2005 Oscar® for Best Documentary Short Subject, A Note of Triumph: The Golden Age of Norman Corwin, also celebrates the career of America's "poet laureate of radio drama."

Corwin's brilliant, sensitive observations on global society are as incisive today as they were when they were first broadcast. All the more reason to give them another listen--and learn from Corwin's prophetic, descriptive lessons now that we find ourselves in need of them--yet again.

Series Derivatives:

Columbia Workshop; 13 By Corwin; Columbia Presents Corwin; AFRS
Genre: Anthology of Golden Age Radio Dramas
Network(s): CBS;The AFRS
Audition Date(s) and Title(s): None
Premiere Date(s) and Title(s): 41-05-04 01 Radio Primer
Run Dates(s)/ Time(s): 41-05-04 to 41-11-09; CBS; Twenty-eight programs, comprising 26 unique, aired scripts; Sundays at varying times, depending on time zone
Syndication: AFRS
Sponsors: Sustaining
Director(s): Norman Corwin; Perry Lafferty - Director
Principal Actors:
Everett Sloane, Frank Gallop, Frank Lovejoy, Burl Ives, House Jameson, Luis Van Rooten, Peter Donald, Ted de Corsia, Larry Adler, Minerva Pious, Mildred Natwick, Eddie Mayehoff, Tom Tully, Norman Lloyd, Hester Sondergaard, Olga Quello, Joan Banks, Cliff Carpenter, Gilbert Mack, Don Morrison, Paul Stewart, Rosalyn Green, Martin Wolfson, Frank Gallop, June Havoc, Larry Robinson, Charlie Altoff, Agnes Moorehead, John McIntire, Florence Robinson, Morgan Farley, Philips Burna, Bill Watts, Jerry Macey, Eric Buroughs, Kenneth Hayden, John Dickens, Carol Marsh, Henry Morgan, Eileen Burns, Winfield Honey, Martin Gabel, Mady Christians, Arnold Moss, Joan Vietz, Winston O'Keefe, Harrison Knox, Eugene Lowenthal, Kenneth Schoen, Genevieve Rhodes, Charles Laughton, Hans Conried, Ray Collins, Roman Bonin, Ruth Gordon, Earle Ross, The Sportsmen, Art Gilmore, Thurl Ravenscroft, Elsa Lanchester, Frank Graham, Gale Sondergaard, Kenny Delmar, Roger De Koven, Lucille Meredith, Norman Ober, Juliana Taverna, Everett Ripley, Edith Wiseman, Budd Hulick, Arlene Francis, Parker Fennelly, Ian Martin
Recurring Character(s): Varied from production to production.
Protagonist(s): Varied from production to production.
Author(s): Carl Sandburg, Earl Robinson, Dore Schary, Thomas Wolfe
Writer(s) Norman Corwin
Music Direction: Alexander Semmler - Composer/Conductor; Bernard Herrmann - Composer/Conductor; Paul Belange - Composer; Deems Taylor - Composer; Leith Stevens - Conductor; Lud Gluskin - Arranger/Conductor; Lyn Murray - Choral Director; The Choralites - Sound Effects Creators; Ralph Wilkenson - Arranger; Mark Warnow and His Orchestra
Musical Theme(s): Varied from production to production.
Announcer(s): Dan Seymour, Bud Hiestand
Estimated Scripts or
Episodes in Circulation: 26
Total Episodes in Collection: 27
RadioGOLDINdex, Hickerson Guide, 'The Directory of The Armed Forces Radio Service Series'.

Notes on Provenances:

The most helpful provenances were the log of the RadioGOLDINdex and newspaper listings.

Digital Deli Too RadioLogIc

We have yet to find any reference beyond our own research regarding An Afternoon With Nick, one of apparently threee un-aired scripts of the 26 By Corwin run. The other two were "A Philadelphian in Paris"   and "Portrait of a Ham." We were unable to contact Mr. Corwin about either of the other two titles before his passing.

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26 By Corwin Radio Program Log

Date Episode Title Avail. Notes
Radio Primer
[Premiere Episode of 26 By Corwin]

41-05-05 Mason City Globe Gazette
"Radio Primer," Will Be Presented Sunday on Columbia Workshop

Norman Corwin has written a whimsical drama in which the elemental workings of radio production are exposed, as the first of Columbia Workshop's "26 By Corwin" series to be presented over KGLO Sunday from 6 to 6:30 p. m.
The title of his first production in the Workshop series is "Radio Primer," and Corwin has drawn upon his varied experience for a series of revealing incidents which he has combined into an entertaining drama to take listeners behind the scenes of radio.
An unusual alphabetical construction--radio from A to Z--makes it possible for the drama to deal with everything from announcers to the subject of zoology and its sound effects.
Corwin explained that the production is designed to "let the listeners in on just what the radio business is all about."

Log of the R-77
41-05-10 Mason City Globe Gazette

Men who are about to die in a sunken submarine are the characters in a drama "Log of the R-77" which the Columbia Workshop will present over KGLO Sunday at 6 p. m. as the second radio production in the series of "26 By Corwin."

The People, Yes
41-05-15 Mason City Globe Gazette

Lyn Murray is rehearsing a large choral choir which will be used on the Columbia Workshop over KGLO Sunday at 6 p. m.

The People, Yes," Is Set on Workshop
Columbia Workshop is to present "The People, Yes," a special radio premier of a section from a new American folk opera by Earl Robinson and Norman Corwin as the third in the current series of "26 By Corwin" over KGLO-CBS Sunday from 6 to 6:30 p. m.

This opera was suggested by Carl Sandburg's poem "The People, Yes" and is being prepared for Broadway production. This is the first Sandburg work given such extended musical form, and its presentation is an indication of the diversity of the 26 productions by Corwin to be offered by Columbia Workshop. Scoring is by Ralph Wilkinson, and Lyn Murray conducts the chorus.

The role of Tom, the principal character, an unemployed wanderer looking for a job, is to be played by CBS' folksong-singing "Wayfarin' Stranger," Burl Ives. Mark Warnow conducts the orchestra.

Lip Service
41-05-25 Wisconsin State Journal
9:30--"Lip Service" to be produced in the Columbia Workshop series of "26 by Corwin."
41-06-01 Mason City Globe Gazette
Columbia Workshop Presents "Appointment" Sunday Evening.

Norman Corwin has written a drama of vengeance, with two inmates of a concentration camp as the principal characters, in "Appointment," fifth in the series of "26 By Corwin" to be presented by Columbia Workshop over KGLO-CBS Sunday from 6 to 6:30 p. m.
Part of the dialogue is in free verse, in the form of a "hymn of hate" written by vincent Gervais, one of the prisoners, and recited to his cellmate, Peter Beloin. Peter, doing crossword puzzles, comments sarcastically on his cellmate's "adolescent" protests against their situation and laughs at their futility.
Through treachery, Peter is assassinated and Vincent swears vengeance. He succeeds in escaping from the prison and waits in ambush to kill the man responsible for Peter's deth.
Music and other sound devices are used to achieve unusual effects which greatly enhance the movement and vigor of the drama as it proceeds to a climax.

An Afternoon With Nick [Never Aired]

[NOTE: We communicated with Mr. Corwin regarding the status ofAn Afternoon with Nick. This is the response we received:

“An Afternoon with Nick” was never recorded. [Mr. Corwin] couldn’t recall why, but it is not a program in his canon.

41-06-08 Mason City Globe Gazette
Workshop Presents Drama of Man Who Walks With His Dog

The soliloquy of a man who spends an afternoon walking with his dog has been dramatized by Norman Corwin in "An Afternoon With Nick," which is to be presented by Columbia Workshop as the next in its current series of "26 By Corwin" over KGLO Sunday at 6 p. m.

It is an original story, based upon Corwin's own experiences with a bird dog, which he named Nick after the dog had moved in on him when he rented a lodge in the mountains to write the series of Workshop radio shows.

The Odyssey of Runyon Jones
6:00 p.m.--Columbia Workshop presents Norman Corwin's "
The Odyssey of Runyon Jones," a fantasy for children with musical score by Alexander Semmler.

41-06-08 Wisconsin State Journal
6 p. m. — CBS Workshop (WBBM): "The Odyssey of Runyon Jones," a boy searches for his dog in the other world.
A Soliloquy to Balance the Budget
41-06-15 Mason City Globe Gazette
One Man Show Is Planned by Corwin for Sunday Night

Norman Corwin has written an imaginative radio production requiring only one performer, in "Soliloquy To Balance the Budget," seventh in Columbia Workshop's series of "26 By Corwin," to be heard over KGLO Sunday from 6 to 6:30 p.m.
Corwin admits he wrote this show to balance the budget of Columbia Workshop for the current quarter, following production of "Radio Primer," "The People, Yes" and "Appointment" which required large casts and orchestras.
House Jameson, who has been is some of Corwin's best known radio productions, will play the solo part. He was Santa Claus in Corwin's "The Plot to Overthrow Christmas" and had a prominent fole in "They Fly Through the Air." The "Soliloquy" will mark the reunion of the two, close friends.
The "Soliloquy" includes satire, whimsy, philosophy and poetry. It calls for unusual listener collaboration.

A Philadelphian in Paris [Never Aired]
[ See Provanances]

41-06-22 Mason City Globe Gazette

Dawn, and what it means in cities, on farms, in hospitals and inprisons, on land and sea is the subject of "Daybreak," Norman Corwin's next productin for the Columbia Workshop in the series of "26 By Corwin," to be heard over KGLO Sunday from 6 to 6:30 p. m.
For this, eighth in the series written and directed by Corwin, he makes use of what he calls "superimposed narration," a technique which proved so effective in his unusually successful verse drama, "They Fly Through the Air with the Greatest of Ease" on Columbia network in 1938.
In "
Daybreak," Corwin follows dawn around the earth, with a series of dramatic episodes, starting and finishing in the middle of the atlantic ocean. In each instance, the impact of dawn upon people in different walks of life and the things that happen at that time are dramatized.

Portrait of a Ham [Never Aired]
[ See Provanances]

Old Salt
41-06-29 Mason City Globe Gazette
"Paul Bunyan of the Seas" on Workshop, Heard Later Sunday

"Old Salt," ninth in Columbia Workshop's series of"26 By Corwin" is a dramatic presentation generously sprinkled with sea brine--a tall tale of binnacles and barnacles, and men who go down to the sea in ships, to be heard over KGLO-CBS Sunday at the new time, 8:30 to 9 p. m.
The ancient mariner who is the principal character is a genial gentleman who was to the Seven Seas what Paul Bunyan was to the lumber regions of the northwest. He spins his fabulous yarns out of a fresh and fertile imagination from the bare thread of a sailing experience confined to the time he spent on a garbage scow in the East River.

Between Americans

41-07-13 Charleston Daily Mail
9:30—CBS Workshop. "26 by Corwln"— cbs

41-07-06 New York Times
10:30-WABC-Workshop Players: Drama:
Between Americans
Ann Was An Ordinary Girl
41-07-13 Mason City Globe Gazette
Sunday "Workshop" to Dramatize Life of Girl Abe Lincoln Loved
Ann Was An Ordinary Girl," the story of Ann Rutledge, the girl Abe Lincoln loved, has been written by Norman Corwin as the eleventh in the Columbia Workshop series of "26 by Corwin," to be aired over KGLO-CBS Sunday from 8:30 to 9 p. m.
Much has been written for both stage and screen about the girl whose name has come down his history because a great man fell in love with her.
Double Concerto
41-07-20 Mason City Globe Gazette
Piano Feud on Workshop Hour

"Belly-Laugh" Comedy Airs Sunday Night

After two broadcasts of serious themes, Norman Corwin turns to comedy in his Columbia Workshop "26 By Corwin" series over KGLO Sunday from 8:30 to 9 p.m. when the author-director produces "Double Concerto."
"Double Concerto" is a "belly-laugh" comedy of rivalry in the concert, or "long hair," world.
It concerns two concert pianists who are deadly rivals, and who are constantly jockeying for better notices from the music critics.
As the heat of the battle increases and they resort to playing practical jokes on each other, many new and startling concert effects are revealed.
"Double Concerto" brought up a problem of double casting. The roles of the two pianists will be played by Paul Stewart and Peter Donald, CBS actors who have appeared in a number of Workshop productions.
Their doubles at the piano will, in turn, be played by Vera Brodsky, Columbia concert pianist, and Paul Belanger, who is normally Corwin's production assistant, but who will "double in ivory" on this show because he is an expert pianist.

Special Broadcast
No Broadcast for Special Event Presentation over entire CBS Network

41-07-27 New York Times
"Effects of the World Crisis on America," Archbishop Francis J. L.
Beckman, of Dubuque, Iowa, From Chicago-WABC, 10:30-11.

Descent of the Gods

41-08-03 Charleston Daily Mail
9:30—CBS Workshop. "26 by Corwln"— cbs

41-08-03 New York Times
10 :30-WABC-Worksbop Players-
Descent of the Gods

[Old Testament Trilogy Pt 1]

41-08-10 Mason City Globe Gazette

"Samson," an original dramatization of the Biblical character, written and produced by Norman Corwin is presented by Columbia Workshop over KGLO-CBS in the "26 By Corwin" series Sunday at 8:30 p.m.
This is a verse-drama and the first of a Corwin trilogy which is to include "Esther" in the opera form, and "Job," taken literally from the Bible. Special music has been written for the three Biblical productions.

[Old Testament Trilogy Pt 2]

41-08-17 Mason City Globe Gazette

"Esther," an opera written by Norman Corwin with the Biblical heroine as principal character and original music by Lyn Murray, is presented by the Columbia Workshop over KGLO Sunday at 8:30 p. m. as second in the Old Testament trilogy "26 By Corwin."
"Esther" provided Lyn Murray an opportunity to do his first major work as a composer. For the radio production he has written music close to the Persian mode, which is yet modern in spirit--a curious mixture of ancient and modern rhythms and harmonic elements. Corwin and Murray occupy lodges in the woods overlooking the Hudson river and worked together closely through composition of the opera. For a month, the woods nearby resounded with the music of Murray's piano while the opera was being completed.

[Old Testament Trilogy Pt 3]

41-08-24 Mason City Globe Gazette
Book of "Job" Theme for Workshop Program

Norman Corwin's Old Testament trilogy is completed with the presentation of "Job" by Columbia Workshop over CBS in the "26 By Corwin" series over KGLO Sunday at 8:30 p. m.
Deems Taylor, composer and CBS commentator on the Philharmonic Symphony broadcasts, has written a score as the framework for "Job." The dramatized story is taken literally from the Bible, and Charles Laughton plays the title role.

Mary and the Fairy
An Exceptionally Good Fairy
41-08-31 Charleston Daily Mail
9:30—CBS Workshop. "26 by Corwln"— cbs

41-08-31 New York Times
Play: "
Exceptionally Good Fairy," Elsa Lanchester-WABC, 10:30-11.
The Anatomy of Sound
41-09-07 Wisconsin State Journal
8:30 p. m Columbia Workshop (WBBM): Gale Sondergaard in "
Anatomy of Sound."
Fragment from A Lost Cause
41-09-14 Mason City Globe Gazette
"Desmosthenes" Is Subject for Workshop "
Demosthenes," an original drama concerning events in Greece about 350 B. C., is to be presented by Columbia Workshop over KGLO Sunday at 8:30 p.m. nineteenth in the series of "26 By Corwin."

8:30 p. m.—Columbia Workshop (WBBM): "
Demosthenes," a story of events in Greece 350 B. C.
The Human Angle
[Announces Program 20 of 26 By Corwin]

41-09-21 Charleston Daily Gazette
9:30~CBS Workshop, "26 by Corwln"—cbs

41-09-21 New York Times
10:30-WABC-Workshop Players: Drama:
The Human Angle
Good Heavens
41-09-28 Wisconsin State Journal
7:30 p. m. — CBS Workshop (WBBM): "
Good Heavens," a salute to the University of Chicago
41-10-05 Wisconsin State Journal
7 p. m. — CBS Workshop (WBBM): "
Wolfiana," based on the stories ot Thomas Wolfe.
Murder in Studio One
[Announces Program 23 of 26 By Corwin]

41-10-12 Mason City Globe Gazette
Corwin's Original Drama on "Workshop"
Columbia Workshop presents another original drama by Norman Corwin in its current series titled "26 By Corwin" on Sunday coming in over KGLO from 7 to 7:30 p. m.

41-10-12 New York Times
Murder In Studio 1

Announces Program 24 of 26 By Corwin as next
Descent of the Gods
[Announces unscheduled repeat performance of Descent of The Gods airs as 23A, NOT one of the 26 By Corwin, due to Norman Corwin illness]

Wisconsin State Journal
7 p. m. — CBS Workshop (WBBM): , "Psalm for a Dark Year," drawn from the Bible.

New York Times
Psalm for a Dark Year

Announces a previously scheduled repeat performance of The Odyssey of Runyon Jones, a 'Listener's Choice' for an encore program. Announces Program Number 25, Psalm for A Dark Year to air on Nov 2 1941. Announces the conclusion of 26 By Corwin on Nov 9 1941.
The Odyssey of Runyon Jones
[Announces Program 24 of 26 By Corwin]

Wisconsin State Journal
7 p. m. — CBS Workshop (WBBM): "The Odessy of Runyon Jones," the dog.

Announces Program 25, A Man With A Platform as next
A Man With A Platform
[Announces Program 25 of 26 By Corwin]

Wisconsin State Journal
7 p. m. — CBS Workshop (WBBM): "A Man with A Platform," or success for the asking.

Announces 26 By Corwin's selection as
Outstanding Radio Series of 1941 by 4th American Writers' Congress. Announces Program 26, Psalm For A Dark Year as next.
Psalm For A Dark Year
[ Last Episode of 26 By Corwin ]

41-11-09 Mason City Globe Gazette

Corwin's "Psalm for a Dark Year" to End CBS Workshop Series

Norman Corwin takes a revolutionary departure from accepted forms of dramatic structure for his Sunday production over KGLO at 7 p. m. titled "Psalm For a Dark Year." which concludes the prize-winning series of "26 By Corwin" presented by Columbia Workshop.
"This program offers hope for people who are trying to maintain decency and courage in a world afflicted by war and hatreds such as it has never known before," Corwin explains.
Corwin's treatment of the theme is semi-rhapsodic, with the production taking the form of a "horizontal" drama, his term for a structure which defies the usual dramatic build." Many critics who have seen a rough draft of the script declare it to be the best writing Corwin has done in the entire series, which has won two recent awards for exceptional radio work.

26 By Corwin Radio Program Biographies

Norman Lewis Corwin

Newspaperman, Journalist, Poet, Writer, Screenwriter, Playwright, Producer, Director, Political Activist, Professor
(1910 - 2011 )

Birthplace: Boston, Massachusetts, U.S.A.


1929 Rhymes and Cadences
1938 Columbia Workshop
1938 County Seat
1939 Words Without Music
1939 The Pursuit Of Happiness
1939 So This Is Radio
1940 We Take Your Word
1940 Forecast
1940 Gulf Screen Guild Theatre
1940 Cavalcade Of America
1941 The Free Company
1941 We Hold These Truths
1942 This Is War
1942 An American In England
1942 The Victory Front
1943 The Cresta Blanca Carnival
1943 Norman Corwin (Audition)
1943 Long Name None Could Spell
1943 Passport For Adams
1944 Silver Theatre
1944 Columbia Presents Corwin
1944 Texaco Star Theatre
1944 This Is My Best
1944 The American School Of the Air
1945 On A Note Of Triumph
1946 Lady Esther Screen Guild Theatre
1946 Mercury Summer Theatre
1946 Stars In the Afternoon
1947 One World Flight
1947 Hollywood Fights Back
1949 Author Meets the Critics
1949 What's the Word
1949 The New York Philharmonic Symphony Orchestra
1950 Document A/777
1950 Faith In Our Time
1952 Lux Radio Theatre
1979 Sears Radio Theatre
1983 Six By Corwin (NPR)

Norman Corwin at his creative best, ca. 1944

Norman Corwin in NBC Studio with Peggy Burt, ca. 1937

Norman Corwin camps it up during a rare in-costume moment during RCA's Magic Key, ca. 1937

The Maestro, in his element, ca. 1942

Norman Corwin in control booth for 1945's Untitled for Columbia Presents Corwin
Norman Corwin in control booth for 1945's Untitled for Columbia Presents Corwin

Corwin's Lair, looking down from the control booth, directing Season One of Columbia Presents Corwin, ca. 1944
Corwin's Lair, looking down from the control booth, directing Season One of Columbia Presents Corwin, ca. 1944

Corwin, flanked by Regina Reynic to his right and Deems Taylor to his left, with Bernard Rogers at the piano, ca. 1947
Corwin, flanked by Regina Reynic to his right and Deems Taylor to his left, with Bernard Rogers at the piano, ca. 1947

Norman Corwin, directing live radio program, ca. 1944

Corwin discusses We Hold These Truths script with Jimmy Stewart, ca. 1941
Corwin discusses We Hold These Truths script with Jimmy Stewart, ca. 1941

On A Note of Triumph 78 RPM Record, ca. 1944
On A Note of Triumph 78 RPM Record Label, ca. 1944

Two great Radio Normans--Lear, left and Corwin, right, ca. 2005
Two great Radio Normans--Lear, left and Corwin, right, ca. 2005

Orson Welles, left and Norman Corwin, right, going over Fourteen August script, August 14, 1945
Orson Welles, left and Norman Corwin, right, going over Fourteen August script, August 14, 1945

Norman Corwin, ca. 2005

Corwin examines his first, well-deserved Oscar, ca. 2005

Norman Corwin is approaching one hundred years of age as we prepare this biography. Corwin's father Samuel lived to the age of 112. We can only hope that Samuel's sons will be as long-lived as the father. Norman Corwin's continuing legacy of thought-provoking, insightful, brilliantly crafted and prosaic commentary on the human condition have fashioned Norman Corwin into one of American History's greatest writers, visionaries, dramatists and philosophers.

Born and raised in East Boston, Corwin was transfixed by Radio as a medium from its initial broad casts. A child prodigy, Corwin was reciting poetry at the age of five, writing full-length stories at the age of seven, was a voracious reader, and an avid classical music proponent since the time he was a child. Reportedly first listening to a makeshift crystal set assembled by his older brother Al, from a cylindrical Quaker Oats box, both brothers soon became avid Radio enthusiasts.

Mentored by a devoted high school English teacher, Corwin acquired a life-long interest in poetry, especially that of Keats, Shelley and The Brownings. Upon early graduation from high school, Corwin began working as a journalist at the age of 17, with Massachusetts' Greenfield Recorder, then the Springfield Republican. Covering a variety of local community interest stories, Corwin's efforts covered sporting events--written in iambic pentameter no less, local color activities, movie reviews, and human interest stories.

His first exposure to professional Radio broadcasting came with an opportunity to air an interview regarding one of the human interest stories he'd written about. Station WBZA soon needed a newsreader and sought to have the position filled with someone from the local newspaper. Corwin fit the bill perfectly. By 1929 Corwin had fashioned his own broadcast over WBZA, a combination of piano interludes interwoven with Corwin's orginal poetry readings. He called the program Rhymes and Cadences. If this sounds a reminiscent chord, it's instructive to remember that this is how the legendary Orson Welles embarked on his own Radio career, airing a similar format entitled Musical Reveries in 1936.

Indeed, the similarities between these two great Radio visionaries is entirely appropriate. We've chronicled Orson Welles' extraordinary career elsewhere, but it's instructive to point out the fascinating series of parallels in the Radio careers of both Radio legends. You may recall that Orson Welles undertook his own wanderlust through the United Kingdom and Europe as a young man. Norman Corwin's exposure to The Continent came in 1931, as he traveled to Europe with his older brother, Emil. The fomenting fascism, social and religious unrest, and political turmoil he witnessed first-hand throughout Europe very much shaped the path Corwin's broadcasting career would take from that point forward.

Corwin returned to the U.S. and in 1935 began working as a full-fledged newsman for Radio WLW in Cinncinati, Ohio. Almost immediately encountering one of the Post-Great Depression sore spots first-hand, Corwin learned that any on air reportage of collective bargaining efforts--even organizing for collective bargaining--were grounds for immediate dismissal. He objected to the policy and soon found himself fired after only two weeks on the job. He ultimately took up the issue with the ACLU's backing and eventually got the policy changed--long after he'd departed Cincinnati.

The next stop for Corwin was The Big Apple, where he found work as an entry level publicist for 2oth Century-Fox. He soon leveraged his contacts there to yet another proposal for a local poetry/musicale format program to Radio station WQXR. He was soon airing another program similar in format to Rhymes and Cadences, this one cleverly named Poetic License. First airing in 1936, Poetic License showcased some of New York's early poetry luminaries, among them Louis Ginsberg, father of legendary Beat poet Allen Ginsberg.

The first major network to take an interest in Corwin was NBC, who invited Corwin to appear on RCA's Magic Key, beginning in 1937. NBC was less than impressed and in a moment of fortuitous serendipity for Corwin, released him from his obligation to NBC. Fortuitous, because within a year, a CBS executive would hear one of Corwin's Poetic License broadcasts and offer Corwin a position as Radio Director for $125 a week. Needless to say, that was astounding pay for a young man of that era.

So it was that a few days shy of his 28th birthday, Corwin began directing CBS' on-air engineering, writing, and production efforts for the first time. Within a few months he was tapped to direct his first Columbia Workshop experimental drama, The Red Badge of Courage, airing July 9, 1938.

In yet another ironic crossed path with Orson Welles, the night of October 31, 1938 found Corwin rehearsing the pilot for a newly proposed poetry program he was developing, tentatively titled Norman Corwin's Words Without Music. In the studio just below Corwin, none other than Orson Welles and Mercury Theatre of The Air were broadcasting their infamous War of The Worlds broadcast. Oblivious to what was taking place, Corwin reportedly only learned of it once CBS' switchboards began lighting up on every floor.

Produced by no less than legendary William N. Robson, Norman Corwin's Words Without Music ultimately aired in production a month later, with Corwin agonizing over the slightest nuance of each broadcast. It was during Corwin's Words Without Musc broadcast of December 25, 1938 that he introduced his famous "The Plot to Overthrow Christmas" to a listening audience, a program that would be repeated over and over again throughout CBS' history.

Within a year, Corwin had written, directed, produced and broadcast two of his most enduring masterpieces: The Plot to Overthrow Christmas [Words Without Music] and They Fly Through the Air with The Greatest of Ease [Columbia Workshop]. By then helping others develop their own experimental Radio dramas, Corwin found himself directing Earl Robinson's stirring Ballad for Americans, and Lucille Fletcher's biting satire, My Client, Curley. Earl Robinson would go on to collaborate with Corwin on several of his Columbia Presents Corwin productions.

Mr. Corwin took most of 1940 to work as a screenwriter for RKO Studios. Unimpressed, Corwin soon realized that he'd had far more artistic freedom back at CBS. So it was that upon returning to CBS, he was offered control of fully six months worth of Columbia Workshop programming. The resulting 26 By Corwin was Norman Corwin's first unbridled artistic opportunity in Broadcast Radio.

What followed were 26 weeks worth of Norman Corwin's dramatic passion. Corwin's creativity could be fully unleashed and fully explored for the following 26-week marathon of writing, directing, producing and agonizing over the result. But the agony couldn't last long, since from moments after each broadcast's sign-off, the process would begin anew, with carte blanche and all that a blank piece of paper means to a creative person--both the pros and the cons.

In the end, he pulled it off--in spades. 1941 became one of the most triumphant years of Corwin's creative work experience to date. Indeed to this day, several of those twenty-six Corwin efforts have become standalone classics of the Golden Age of Radio. Corwin wrapped up the year in extraordinary fashion with one of Radio History's most stirring paeans to American Democracy ever aired--We Hold These Truths. We Hold These Truths was a multimedia celebration of America's Bill of Rights. The broadcast was heard by the largest single audience in Radio History up to that point. Its timing was absolutely exquisite--indeed, almost prescient, given the life-altering developments of the morning of December 7, 1941. The project wasn't developed as a response to the bombing of Pearl Harbor. Indeed it was still under development and being written by Corwin the afternoon that he first heard the news about the attack.

Starring no less than Jimmy Stewart, Edward G. Robinson, Orson Welles, Edward Arnold, Lionel Barrymore, Walter Brennan, Walter Huston, Marjorie Main, Rudy Vallee and Bob Burns, the score was written by legendary composer Bernard Herrmann. And almost as a footnote to this remarkable production, FDR himself addressed the country during the production. The Star Spangled Banner was performed by the full New York Philharmonic Orchestra, conducted by no less than Leopold Stokowski himself. The mind reels to imagine a Radio broadcast with that much prestigious talent during one airing today. Call it 1941's version of 'We Are The Children'. That's about what it amounted to. The costs alone today would be astronomical.

We Hold These Truths holds up just as well today. I have yet to share an airing of my recording of We Hold These Truths with anyone without evoking a remarkable reaction from them--young, old, and every age in between. It's quite simply one of the most stirring, patriotic, genuinely moving reminders of what this country has fought to defend for almost 240 years as of this writing.

Needless to say, by 1942 Norman Corwin's work was rapidly approaching legendary status. Nor did he shirk from the challenge to pursue even greater triumphs. His broadcasting excellence surmounted even commercial network rivalries. He was commissioned by the Office of War Information to develop the stirring This Is War series which was mandated to air simultaneously over all four major networks.

During 1943, Norman Corwin was dispatched to England to cover the War effort from their perspective. A unique joint effort of The BBC and U.S. broadcasters, the amazing recordings Corwin returned with resulted in the wonderfully inspirational An American in England series, showcasing the indomitable spirit of Wartime Great Britain. The resulting series was quite understandably one of the War effort's most inspirational series to that date.

As hard as it is to imagine, Corwin's penultimate masterpiece had yet to be produced. I say penultimate, for good reason, as you'll soon discover. . .

With the end of the War in Europe in sight, Corwin undertook to develop an hour-long, live studio observance of the end of War in Europe. The resulting On A Note of Triumph became Corwin's crowning masterpiece. Again scored by Bernard Herrmann, not only did it set another record for largest simultaneous listening audience, it was pressed as a 78 RPM record for further distribution. The first pressing sold out almost overnight, as did a hardcover print of the script, which became an overnight best-seller in its own right. Both the records and scripts were pressed and published again and again to keep up with the unprecedented demand.

Corwin, aided by Orson Welles, rose to the occasion yet again, with even less preparation, as V.J. Day finally--and quite unexpectedly--arrived on 14 August 1945. L'Affaire Gumpert was the Columbia Presents Corwin program that had been scheduled for airing on August 14th. Never one to shirk a challenge, Norman Corwin, with less than eleven hours' notice, threw together the final epitaph on World War II, with a minimal sound track, a single sound effect and only Orson Welles' magnificent voice as his primary artistic tool. And yet, irrespective of the absurd limitations placed on this single, 15-minute program of the run, you see the effort of Radio's two giants, converging to produce a miraculous post-script to the most bloody, expensive, gut-wrenching five years our young Nation had ever experienced. And quite frankly who else could possibly have ever pulled it off but these two geniuses?

To this day, one needs to pinch oneself to be reminded of the extraordinary constraints imposed on both Welles and Corwin to pull off Fourteen August at all. And yet they did it. And they could only have done it over Radio. In the final analysis, they did what both their extraordinary backgrounds had prepared them to do--and at the time that their country needed their special individual talents the most. It's beyond prosaic. It was fated. It was beyond Kismet. It was their destiny from the moment each of them separately undertook their first independent Radio broadcasts, each in their own rendition of a mixed poetry/musicale format. The ironies and coincidences are beyond serendipity. They're cosmic.

As announced, L'Affaire Gumpert was indeed Corwin's last Columbia Presents Corwin. Anything else would have been post-climactic. What could possibly have topped Fourteen August? The entire nation was sharing a combination of mass delerium and a combined, cathartic sigh of immense relief. It was time to move on. The machinery of War was destined to be scrapped and fashioned back into the plowshares that many of those same machines of War had been manufactured from.

And so it was with the two giants of Radio. Each ultimately going their own way again. Each having shared a cosmic moment of catharsis with an entire Nation. What could possibly have topped the emotion of that singular moment of 14 August?

There's no question that Norman Corwin, despite his amazing professional triumphs of the World War II years, went on to even greater triumphs for the remander of his storied career. As recently as 2005, he worked tirelessly to help produce and promote 2005's Ocscar winning Documentary Short Subject, On A Note of Triumph: The Golden Age of Norman Corwin. How fitting a tribute, but some might well ask, what took them so long?

We love our heroes. And we need our heroes even more today, as we engage in an economic battle for our financial survival. Much the same survival effort Norman Corwin's own parents had to endure while Norman was still in high school. And so we come full circle. Asking even more from our heroes. Hoping they'll remind us why we fight, why we endure, why we never give in to adversity. And why we vainly expect our heroes to always be there for us at the very instant in history when we need them the most.

Thank God Norman Corwin isn't going anywhere, anytime soon, bless his heart.

[Update: Norman Corwin passed away in his sleep on October 18, 2011 at the age of 101. ]

Lyn Murray [ a.k.a. Lionel Breeze and Lynn Murray]
(Music Director, Composer, Arranger)

Birthplace: London, U.K.

Awards: 1986 Emmy for Best Original Score, Documentary

Town Hall Tonight
The Fred Allen Show
The Columbia Workshop
Michael Piper, Detective
This Is War
An American In England
Your All-Time Hit Parade
To Your Good Health from The House of Squibb
Music from The House of Squibb
Columbia Presents Corwin
Something for The Girls
The Adventures of Philip Marlowe
The Ford Theatre
The Hallmark Playhouse
Life with Luigi
For The Living
The CBS Radio Workshiop

Caption: Chairmaster Lyn Murray had a definite yearning to be a doctor, and play around with test tubes (1938)
Caption: Chairmaster Lyn Murray had a definite yearning to be a doctor, and play around with test tubes (1938)

Lyn Murray, ca. 1948
Lyn Murray, ca. 1948

Lyn Murray, ca. 1978

Lyn Murray, ca. 1978

Murray's Hollywood Journal

Lyn Murray was a natural to complete the last three installments of An American In England. He'd been a staple of many of Norman Corwin's cutting-edge CBS productions and he'd long since established himself as one of CBS's most talented staff vocalists, directors, composers and arrangers.

Beginning as a vocalist with CBS in 1934, his rising star led CBS to have him assemble various groups of singers and staff chorales over the next three years, each time rewarded by more and more acceptance for his beautiful arrangements.

By 1937, with CBS's encouragement, Vocal Director Lyn Murray was touring the country with his 24-voice chorale, The New Yorkers and a sixteen member ballet company--to rave reviews. If you do the math you'll note he was only 28 at the time.

Murray was often quoted as saying he approached directing his choruses as a mechanical engineering exercise, treating each unique voice as a finely tuned instrument which must fit in perfect concert with all of the other complementary vocal instruments, so as for form a perfectly functioning vocal machine. In this regard he was always obsessed with perfect timing throughout the 'machine' during rehearsals, before he'd ever enter the control room for a recording session.

This approach served him well as his star continued to rise throughout the Radio industry. He was repeatedly selected for many of CBS's most ambitious musical projects. In the 1940s, NBC also took notice of his talent, eventually appointing him as Musical Director.

His radio credits included the 'Radio Reader's Digest,' 'The March of Time,' 'Twenty-Six by Corwin' and, a program that used his mixed choir, the Lyn Murray Singers, 'Your All-Time Hit Parade.'

His first work in Film was in 1947's High Conquest, as one of three music directors. His following assignment as the uncredited vocals director for Walt Disney's Cinderella, in 1950 propelled him into the big leagues. In quick succession he composed the original scores for 1952's Son of Paleface, for Bob Hope, the breathtaking sound-track for 1954's The Bridges at Toko-Ri, and Alfred Hitchcock's masterful To Catch A Thief, in 1955, which immediately propelled him to the level of one of Hitchcock's favorite composers, Bernard Herrmann. It's worth re-screening To Catch A Thief to be reminded of its incredible sound-track alone.

Murray was also in demand for Stage work, composing the choral music for the Broadway musicals ''Panama Hattie'' and ''Finian's Rainbow.''

From 1960, through the remainder of his career he worked mostly in Television, as composer or musical director for over 40 Television projects, among them, The Alfred Hitchcock Hour, The Twilight Zone, It Takes A Thief, Dragnet, 1974's award winning Lincoln mini-series, and he won an Emmy for his 1986 National Geographic Special score for 'Miraculous Machines.'

House Baker Jameson
(Narrator, Performer)

Stage, Screen, Radio, and Television Actor

Birthplace: Austin, Texas, U.S.A.

Columbia University


1933 Eno Crime Clues
1937 Phyl Coe Mysteries
1937 Columbia Workshop
1938 Cavalcade Of America
1939 Renfrew Of the Mounted
1939 Aldrich Family (Kate Smith Show)
1939 Words Without Music
1939 Adventure In Reading
1940 The Aldrich Family
1940 Crime Doctor
1940 Behind the Mike
1941 Inner Sanctum
1943 The Cresta Blanca Carnival
1943 Words At War
1943 The New York Philharmonic Symphony Orchestra
1943 Dr Christian
1944 Columbia Presents Corwin
1944 The Kate Smith Hour
1945 The Radio Edition Of the Bible
1946 Stars In the Afternoon
1947 Building For Peace
1957 Five-Star Matinee
1957 X Minus One
1958 The Couple Next Door
1960 Suspense
1963 The Eternal Light

House Jameson with Ezra Stone and Katharine Raht as The Aldrich Family ca. 1941
House Jameson with Ezra Stone and Katharine Raht as The Aldrich Family ca. 1941

House Jameson graduated from Columbia University of the City of New York
House Jameson graduated from Columbia University of the City of New York

House Jameson with Jackie Kelk and Katharine Raht as The Aldrich Family ca. 1945
House Jameson with Jackie Kelk and Katharine Raht as The Aldrich Family ca. 1945

House Jameson as the minister in Route 66's premiere episode 1960
House Jameson as the minister in Route 66's premiere episode 1960

House Jameson as Judge Crathorne in 1967's Dark Shadows
House Jameson as Judge Crathorne in 1967's Dark Shadows

House Jameson, a yankee for most of his adult life, was born in Austin, Texas in 1902. House Jameson traveled north at the age of 21 for his education--to Columbia University of the City of New York. Upon graduation, Jameson became a member of The Theatre Guild of New York City, beginning appearances on Stage, in Film and over Radio, soon after. Jameson's Stage debut came with the revue, Garrick Gaeties (1926), followed in rapid succession by the role of Bashi Bazook in Goat Song, the comedy The Chief Thing, and the drama An American Tragedy, the latter three in 1926, and all original stage plays of the era. During his forty-three year career on Stage, his appearances took him to Canada and Australia as well. Indeed, Jameson returned to the Stage eight more times during his career, making his last applearance in Don't Drink the Water (1968), three years before his death. Jameson was a member of long standing in both The Players Club of New York City, and Actors' Equity

'Broadway Cowboy' House Jameson, eventual head of Radio's The Aldrich Family, got his first Broadway job because of something he could not do. The casting director for the Grand Street Follies learned House was a Texan and took it for granted that he could twirl a rope a la Will Rogers. House, city bred, had never glimpsed a cayuse, but he did not let on. He bought a length of hemp, practiced overnight on his apartment roof, and showed up the next day ready for his Will Rogers travesty.

A tall, strikingly handsome young man, with a clear, strong voice, Radio held the greatest promise for him early on. Jameson began appearing over Radio as early as 1928, but his first credited, regular appearances came with Eno Crime Clues (1933-1935). Thereafter, House Jameson became a fixture over Radio for a career spanning thirty years, and appearing in some of Radio's most famous, long running programs. Jameson's role as Renfrew of The Mounted (1939) ran for over three years.

As Sam Aldrich, Esq., the head of the Aldrich Family in the Radio Classic, Henry Aldrich, Jameson began a role in 1939--initially over The Kate Smith Show--that would run for over fifteen years over Radio and another five years on Television. The role paired him as father to twelve Mary Aldrich's, nine Henry Aldrich's, and as husband to six Alices. Indeed, Jameson was so ardently identified with the Sam Aldrich role that, by his own estimate, some 98% of his real life neighbors and fellow townspeople referred to him as Mr. Aldrich or 'Sam'--some even asking him for legal advice on occasion ('Sam' was the District Attorney of the mythical Centerville.)

One apocryphal story has it that he lost an opportunity to obtain a caretaker couple for his house in Connecticut one winter because the couple failed to show up to meet him at his Connecticut farm. When he called the employment agency the following day, he was told that the couple had changed their mind at the last moment upon hearing from other townspeople that the couple they were to meet was not a couple, but rather a family named The Aldrich's, who had a notoriously unruly, mischief-making son, Henry.

House Jameson also famously appeared in over 311 episodes of Radio's long-running Crime Doctor series (1940-1947) as Dr. Benjamin Ordway, the role Warner Baxter made famous in ten Crime Doctor features for Columbia Pictures between 1943 and 1949. Jameson was also a favored performer of legendary Radio Director and Writer, Norman Corwin. Jameson appeared in sixteen of Corwin's various productions over the years.

Beginning his Television career in 1949, Jameson's first role was that of Sam Aldrich in Television's The Aldrich Family (1949-1954). For the following twenty years, Jameson would appear over 400 more times in various high-profile Television dramas and soap operas. He also appeared in the first Route 66 episode (1960), Dark Shadows (1967), and Television's Naked City (1958-1963).

Indeed, Jameson's first major role in Film was in 1948's The Naked City, as Dr. Stoneman. Jameson's last Film appearance of note was in the famous Burt Lancaster vehicle, The Swimmer (1968).

A versatile performer on Stage, over Radio, in Film and on Television, House Jameson's career as an actor ran over fifty years in one form or another. Jameson was a tireless promoter for both Actors' Equity and The American Foundation for The Blind. Indeed for the last thirty-five years of his career, House Jameson served as a reader for The American Foundation for the Blind, selflessly volunteering his time and talent by recording countless books, articles and features for the sight-challenged community.

Married for most of his Radio career to Edith Taliaferro, an actress nine years Jameson's senior, the couple divorced in 1958, shortly before Edith Taliaferro's death, and Jameson married Elizabeth Mears, who survived him at his death in 1971.

The prematurely white-haired actor was often cast in more distinguished roles than his chronological age might have suggested. But showing both extraordinary maturity in every medium over which he performed, Jameson proved his durability and versatility time and time again throughout his career.

Equally remembered as either Sam Aldrich or Dr. Ben Ordway, Jameson's memory lives on through thousands of recordings from The Golden Age of Radio. But it's in the numerous counter-typecast roles of both his Radio and Television career that one finds even more to explore and enjoy of this wonderful character actor's body of work.

Too long overlooked as one of The Golden Era's greatest contributors, we hope this simple tribute will encourage more interest in House Baker Jameson's extraordinary career.

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