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Original Tales of Tomorrow header art

The Tales of Tomorrow Radio Program

Dee-Scription: Home >> D D Too Home >> Radio Logs >> Tales of Tomorrow

Tales of Tomorrow first aired over Television live in Kinescope beginning in August of 1951
Tales of Tomorrow first aired over Television live in Kinescope beginning in August of 1951


Tales of Tomorrow tied its fate to selections from Galazy Magazine
Tales of Tomorrow tied its fate to selections from Galazy Magazine


The kinescope process involved filming a television pgogram directly from the cathode ray tube (kinescope) over which it was being captured during a live performance
The kinescope process involved filming a television pgogram directly from the cathode ray tube (kinescope) over which it was being captured during a live performance


George Foley's The TeeVee Company was one of the early syndicators of Kinescoped programming over Television
George Foley's The TeeVee Company was one of the early syndicators of Kinescoped programming over Television

Background

With a handful of the programming of the early 1950s, the mass appeal of Television persuaded producers to air a small screen version of their work prior to running a Radio version of the same program. This was an era of difficult decisions for both networks, producers, and sponsors. The traditional route for dramas of the era was to air a couple of seasons over Radio before making the jump to Television. There were clearly persuasive arguments for either strategy during the early 1950s.

Television sales were growing exponentially. Viewer expectations were still low, given the novelty of Television of the era. As with Radio during the 1920s, early Television viewers were so hungry for the novelty of the medium itself, that they were willing to endure all of early TV's warts and gaffes just to see something new. Filmed features over Television were the most successful, and by 1950 had been airing for as long as five to seven years.

Live Television was understandably the most vulnerable to gaffes, but most viewers found those shortcomings as entertaining as the rest of the production. Tales of Tomorrow began airing over Television in August of 1951 as a live dramatic presentation, including the commercial messages by the time they'd acquired a sponsor.

ABC brings Tales of Tomorrow to Radio

While the Television first strategy worked well for several of the programs of the era, Tales of Tomorrow didn't enjoy the same success. Have Gun, Will Travel, for example, fared very well indeed for two seasons over Radio arriving as it did two years into its Television incarnation. Much of Have Gun, Will Travel's comparative success over Radio was attributed to the great number of Television scripts adapted for its Radio version.

Tales of Tomorrow over Radio elected to employ a different tack. The short stories for each program were selected from Galaxy Magazine. Galaxy Magazine was a popular science fiction digest published between 1950 and 1980. It was a showcase for many of the better science fiction authors of the era. George Foley, creator of the Television series, produced the Radio series as well. Clark Andrews and Warren Sommerville directed the series. The Galaxy Magazine short stories were adapted for Radio by Michael Sklar and Don Witty.

The series was hosted by 'Omentor' (Raymond Edward Johnson). As the series unfolds, it would appear that Johnson's narration and the Galaxy Magazine stories were the only two redeeming qualities of the short-lived series. The sound effects for the series were somewhat irritating, in this reviewer's opinion--in particular the introductory music. Running for only three and a half months, the program was yanked with Raymond Edward Johnson thanking Galaxy Magazine and stating, "Tonight we conclude our current series of Tales of Tomorrow . . ."

The original run of the Television version of Tales of Tomorrow folded at about the time that George Foley was considering a film version of the concept. The existing Television episodes up to that point had been produced in kinescope only from live productions. Even though filmed episodes of Tales of Tomorrow apparently fell through, the kinescope episodes of Tales of Tomorrow continued on in syndication for several years. Kinescopes of the era became a point of contention between the American Federation of Television and Radio Artists (AFTRA) and producers and networks of the era, owing to their live origination status. Foley continued to market twenty-six kinescoped episodes through 1955, but only after coming to an agreement with AFTRA to distribute them.

The kinescope process in itself was somewhat problematic, but proved to be an important bridge for live television while better television camera technologies continued to evolve. The kinescope itself was the name of the cathode ray tube that Vladimir Zworykin developed for RCA prior to the 1939 World's Fair. With live television of the 1940s and 1950s a 35mm film recorder was trained on a kinescope tube as transmitted from the early television cameras of the era. But whereas the kinescope tube transmitted 30 frames per second for the illusion of motion, the 35mm film camera captured at 24 frames per second for sound synchronization. A compromise at best, the resulting loss of 12 frames per second of content (by the time the film was retransmitted over coaxial cable and microwave) reduced the television images from an effective 60 frames per second to an effective 48 frames per second. The very problem in restoring the thousands of early kinescoped programs of the era lies in that loss of 12 frames per second.

Science fiction series' over Radio had gained network traction with the success of Dimension X (1950) and throughout the 1950s other adult science fiction series continued to find a niche in Radio. At the same time, science fiction over Television was taking off in its own right. Television, however, proved to be the more successful medium for science fiction of the era.

Series Derivatives:

Tales of Tomorrow [Television program]; AFRS 'Tales of Tomorrow'
Genre: Anthology of Golden Age Radio Science Fiction Dramas
Network(s): NBC, ABC Blue Network [West], The AFRS, and several other local affiliates and networks while in syndication.
Audition Date(s) and Title(s): Unknown
Premiere Date(s) and Title(s): 53-01-01 01
Run Dates(s)/ Time(s): 53-01-01 to 53-04-09; ABC; Fifteen, 30-minute programs;
Syndication: George Foley
Sponsors: Galaxy Magazine
Director(s): Clark Andrews, Warren Sommerville [Directors]
George Foley [Associate Producer]
Principal Actors: Lawson Zerbe, Dick York, John Raby, Maurice Tarplin, Rolly Bester, Leon Janney, Barry Michaels, Gerald Keene, Lesley Woods, George Petrie, Lynn Cook, Fran Collins
Recurring Character(s): Omentor (Host)
Protagonist(s): None
Author(s): Murray Leinster, H. L. Gold, Theodore Sturgeon, Robert Sheckley, Paul Anderson, Lucas Daniels, Frank M. Robinson, John Christopher
Writer(s) Michael Sklar, Don Witty [Adapter]
Murray Leinster [Writer]
Music Direction: Ed Blaney, Bob Prescott [Special Effects]
Joe Durante [Engineer]
Musical Theme(s): Bobby Christian [Composer/Conductor]
Announcer(s): Dorian St. George [ABC]
'Omentor' [Raymond Edward Johnson] as Host
Estimated Scripts or
Broadcasts:
15
Episodes in Circulation: 7
Total Episodes in Collection: 7
Provenances:

Hickerson Guide, Billboard magazine.

Notes on Provenances:

The most helpful provenances were newspaper listings.

Digital Deli Too RadioLogIc


OTRisms:

Much had been made of an audition of the proposed program, Beyond This World, as the supposed audition for Tales of Tomorrow. The element purportedly linking the two programs is the host. The host of Tales of Tomorrow is 'Omentor', portrayed by Raymond Edward Johnson. The Beyond This World host was called 'Astrator.' The story selected for Beyond This World audition was Graham Doar's science fiction story The Outer Limit. We're more persuaded that Beyond This World may have been an audition for Dimension X, than for Tales of Tomorrow. The short story selected for the Beyond This World was the same story adapted for the season premiere of Dimension X. The polish, west coast origination, sound engineering and the quality of the adaptation are more reminiscent of Dimension X than Tales of Tomorrow. George Foley reportedly never envisioned Tales of Tomorrow as a Radio series in 1950 and Tales of Tomorrow never adapted Doar's The Outer Limit as a Tales of Tomorrow script.


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[Date, title, and episode column annotations in
red refer to either details we have yet to fully provenance or other unverifiable information as of this writing. Red highlights in the text of the 'Notes' columns refer to information upon which we relied in citing dates, date or time changes, or titles.]







The Tales of Tomorrow Program Log

Date Episode Title Avail. Notes
53-01-01
1
Made To Measure
N
53-01-01 Wisconsin State Journal
8 p.m. -- Tales of Tomorrow (WENR): dramatizations of adult science-fiction tales.
53-01-08
2
The Biography Project
N
53-01-08 Wisconsin State Journal
8 p.m. -- Tales of Tomorrow (WISC): new series of science-fiction plays for adults.
53-01-15
3
Betelgeuse Bridge
Y
53-01-15 Wisconsin State Journal
8 p.m. -- Tales of Tomorrow (WISC): monsters arrive from Betelguese.

53-01-15 Huronite and The Daily Plainsman
8 Tales of Tomorrow, "
Betelgeuse Bridge."
53-01-22
4
The Other Now
Y
53-01-22 Wisconsin State Journal
8 p.m. -- Tales of Tomorrow (WISC): "
The Other Now".
53-01-29
5
The Stars Are the Styx
N
53-01-29 Wisconsin State Journal
8 p.m. -- Tales of Tomorrow (WISC):
rocket trip to Nexus.

53-01-26 Huronite and The Daily Plainsman
8 Tales of Tomorrow "
The Stars are Styx."
53-02-05
6
Syndrome Johnny
N
53-02-05 Wisconsin State Journal
8 p.m. -- Tales of Tomorrow (WISC): crazed scientist tries to destroy world.

53-02-05 Huronite and The Daily Plainsman - 8 Tales of Tomorrow, "
Syndrome Johnny."
53-02-12
7
The Unimars Plot
N
53-02-12 Huronite and The Daily Plainsman
8 Tales of Tomorrow "
Unimars Plot."
53-02-19
8
Watch Bird
Y
53-02-19 Wisconsin State Journal
8 p.m. -- Tales of Tomorrow (WISC):
flying robots curb crime.

53-02-19 Huronite and The Daily Plainsman
8 Tales of Tomorrow, "
WatchBird."
53-02-26
9
Inside Earth
N
53-02-26 Wisconsin State Journal
8 p.m. -- Tales of Tomorrow (WISC):
international revolution.

53-02-26 Huronite and The Daily Plainsman - 8 Tales of Tomorrow "
Inside Earth."
53-03-05
10
The Moon Is Green
N
53-03-05 Huronite and The Dadily Plainsman
8 Tales of Tomorrow "
The Moon Is Green."
53-03-12
11
Martians Never Die
Y
[Title and air date verfied by original script]

53-03-12 The Progress
9 Tales of Tomorrow, "
Martins Never Die."
53-03-19
12
The Girls From Earth
Y
[Tape stretch]

53-03-19 Austin Daily Herald
8 Tales of Tomorrow, "
Girls from Earth."
53-03-26
13
The Old Die Rich
N
[AFRS Only]

53-03-26 The Bee
9 Tales of Tomorrow, "
Old Die Rich."
53-04-02
14
Morrow On Mars
Y
53-04-02 Tucson Daily Citizen
9:30 Tales of Tomorrow
53-04-09
15
The Drop
N
[Title and air date verfied by original script]

53-04-09 Tucson Daily Citizen
9:30--Tales of Tomorrow.
After the earth has been demolished by atomic wars descendents of the survivors encounter many strage adventures (KCNA).
--
--

AFRS 'Tales of Tomorrow' Program Log

Date Episode Title Avail. Notes
53-03-26
13
The Old Die Rich
Y






The Tales of Tomorrow Radio Program Biographies




Raymond Edward Johnson
('Omentor')

Stage, Screen, Television and Radio Actor
(1911-2001)

Birthplace: Kenosha, Wisconsin, U.S.A.

Education: Goodman School of Drama, Chicago, IL

Radiography:
1938 Welcome Valley
1938 The Royal Desserts Hour
1939 Arch Oboler's Plays
1939 Great Plays
1940 Mandrake the Magician
1941 Inner Sanctum
1941 Behind the Mike
1941 Metropolitan Opera Auditions Of the Air
1942 Cavalcade Of America
1942 The Man Behind the Masterpiece
1942 Don Winslow Of the Navy
1943 Lights Out
1943 Treasury Star Parade
1943 Doctor Christian
1943 Radio Hall Of Fame
1943 Words At War
1944 The Pause That Refreshes
1944 The Kemtone Hour
1945 War Town
1945 The Radio Edition Of the Bible
1945 The Adventures Of Ellery Queen
1946 Treasury Salute
1946 The Eternal Light
1946 Murder At Midnight
1947 Crime Club
1947 Fibber McGee and Molly
1947 Treasury Agent
1947 The Gabriel Heatter Show
1947 Studio One
1947 Casey, Crime Photographer
1948 A Program About A Lot Of Things
1948 The Golden Door
1948 Gang Busters
1948 The Big Story
1948 Candid Microphone
1948 Ford Theatre
1948 Secret Missions
1948 You Are There
1949 Name Your Poison
1950 Crime Fighters
1950 Mysterious Traveler
1950 Cloak and Dagger
1950 Dimension X
1950 MGM Theatre Of the Air
1950 Chandu the Magician
1952 Best Plays
1953 American Jewish Caravan Of Stars
1953 Tales Of Tomorrow
1953 Twenty-First Precinct
1954 Inheritance
1956 X Minus One
1961 Yours Truly, Johnny Dollar
1961 Suspense
The Lone Ranger
The Lonesome Train
Raymond Edward Johnson circa 1941
Raymond Edward Johnson circa 1941

Raymond Edward Johnson with Arch Oboler circa 1947
Raymond Edward Johnson with Arch Oboler circa 1947

Inner Sanctum spot ad from August 4, 1944
Inner Sanctum spot ad from August 4 1944

Raymond Johnson -- stars in Oboler drama on Station WIBA tonight at 7:30.
Raymond Johnson -- stars in Oboler drama on Station WIBA tonight at 7:30.

Inner Sanctum spot ad from 1942
Inner Sanctum spot ad from 1942


Raymond Edward Johnson . . . plays the star role, ''Mr. District Attorney,'' tonight over Station WIBA at 8 o'clock
Raymond Edward Johnson . . . plays the star role 'Mr. District Attorney' tonight over Station WIBA at 8 o'clock
From the September 16, 2001 edition of the The New York Times:

Raymond E. Johnson, Radio Host,
Dies at 90

September 16, 2001
By RICHARD GOLDSTEIN

Raymond Edward Johnson, a versatile radio and stage actor who provided a signature moment for radio as the ghoulish host with the creaking door in the long-running "Inner Sanctum," died on Aug. 15 in Wallingford, Conn. He was 90.

Mr. Johnson was a familiar presence in the radio serials of the 1940's and won acclaim playing Thomas Jefferson in Sidney Kingsley's 1943 Broadway play "The Patriots." But he was best known as Raymond, the original host for the gothic tales of "Inner Sanctum," which made its debut in January 1941 and ran for 11 years, on NBC, CBS and ABC.

"I didn't have Leonard Bernstein and 200 musicians doing `The Ride of the Valkyries,' " Himan Brown, the director of "Inner Sanctum," remembered long afterward. "All I used was a creaking door. There are only two sounds in radio that are trademarked — the creaking door and the NBC chimes."

After three bars of organ music, "Inner Sanctum" opened with the sound of Raymond turning a doorknob and then the creaking of rusted hinges. "Good evening, friends," intoned Raymond. "This is your host, inviting you through the gory portals of the squeaking door." Then came a gruesome joke, laughter intended to make his listeners shiver, and finally an improbable episode with ghosts and bloodcurdling sound effects.

When the stories — featuring actors like Boris Karloff, Paul Lukas, Peter Lorre, Claude Rains and Raymond Massey — reached their climax, Raymond offered another round of macabre laughter. Then he concluded the evening by wishing his listeners "pleasant dreams."

Mr. Johnson also played the lead role in "Don Winslow of the Navy" and "Mandrake the Magician" in his busy radio career.

In the summer of 1945, after four years of fan mail sometimes accompanied by oil cans for that creaking door, Mr. Johnson stepped down as host of "Inner Sanctum" and was replaced by Paul McGrath.

By then, Mr. Johnson had achieved success in his Broadway debut as Jefferson in "The Patriots," a tribute to democratic ideals in a wartime America fighting fascism.

While appearing in the play, he continued as the host of "Inner Sanctum" on Sunday nights.


In his review of "The Patriots" in The New York Times, Lewis Nichols wrote that Mr. Johnson "conveys excellently the various moods of Jefferson."

Raymond Edward Johnson was born in Kenosha, Wis., worked as a bank teller, and then studied acting at the Goodman School of Drama in Chicago. His sister, Dora Johnson Remington, who died in 1989, was a radio soap opera actress, best known for playing Evey Fitz, the married daughter in "Ma Perkins."

Mr. Johnson, who suffered from multiple sclerosis for many years, nevertheless revisited his starring years in radio in 1997, when he appeared at a gathering of the Friends of Old Time Radio. He delivered a reading from a portable bed.

His co-star on "Inner Sanctum" was not always a reliable presence, as Terry Ross, a soundman, recalled in telling how a young man setting up the equipment once tried too hard to please.

"We got the hinges and buried them in the dirt out back and watered them down like plants for a couple of weeks or so, till they got nice and rusty, then mounted them on the door a little bit askew, so they would squeak," Mr. Ross recalled in an interview for Leonard Maltin's "Great American Broadcast" (Dutton, 1997). "One of the setup boys came to me and said: `Terry, I fixed the door for you. I oiled the hinges.' This was just before showtime. What do you do when the signature of the show was a squeaky door?"

Mr. Ross became the door. He imitated its creak with his voice, and Raymond and the eerie plot did the rest.

Copyright 2001 The New York Times Company


Raymond Edward Johnson certainly never let any grass grow under his feet as he pursued one of Radio's most successful acting careers. One of Radio's busiest and longest appearing Radio actors, Johnson's radiography comprises many of the Golden Age of Radio's most popular and longest running programming.

From the July 19, 1947 edition of the Cumberland Evening Times:

''Raymond Edward Johnson left Inner Sanctum approximately two years ago to enter the service and upon his release declined to take over his former role in the mystery thriller. He believed that to continue might type him with other producers as a ghostly voice and hinder his chances of portraying lead characters. Currently he may be heard Saturday mornings over NBC as the father in Archie Andrews, in addition to frequent, appearances on ABC's Theatre Guild On The Air.''

When Raymond Johnson returned from the service, he understandably increased his efforts to distance himself from the supernatural thriller typecasting he'd been most associated with through both Arch Oboler's various productions and Himan Brown's successful Inner Sanctum series. He took the name "Raymond" with him, leaving his replacement on the series, Paul McGrath, to his own devicies.

Reinventing himself payed off, finishing out his last years performing over Radio in a wide variety of straight dramatic roles. Stricken with Multiple Sclerosis while in his forties, Johnson's appearances on the small screen were limited to a few appearances behind the scenes as a narrator. He continued to perform over Radio until the early 1960s by which point the effects of his disability forced his retirement from the acting profession.

As indicated in his obituary above, Raymond Johnson's Radio fans continued to make demands on him for the remainder of his life, in spite of the advancing effects of his infirmity. Indeed, while in his 80s and bed-ridden, the OTR community prevailed upon him to appear at one of their OTR-selling conventions with a portable bed and help re-enact their favorite exemplars of his work. While this doesn't say a great deal about the commercial otr community that took grotesque advantage of his circumstances, it speaks volumes about Johnson's continued dedication to the memory of The Golden Age of Radio that he'd both performed in, and loved, for most of his adult working life.

It's that very sense of dedication and love of the craft of acting that endears so many of these great Radio performers to collectors of vintage Radio recordings. With an estimated 3,000 radio appearances to his credit, and hundreds of those exemplars in current circulation, Raymond Edward Johnson's extraordinary versatility as an actor, announcer, narrator, and personality of the era are increasing his avid fan base with each passing year.

Justifiably so.




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