Hot Copy: Smooth as Silk (EP4660)

Summary

Summary of "Hot Copy: Smooth as Silk (EP4660)" from The Great Detectives of Old Time Radio

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Introduction

In episode EP4660 titled "Hot Copy: Smooth as Silk," released on March 25, 2025, The Great Detectives of Old Time Radio delves into a classic episode of the 1940s radio detective series "Hot Copy." Hosted by Adam Graham, this episode not only presents the captivating detective drama but also offers insightful commentary, historical context, and an exclusive interview with Rhonda Sigler Ware, the voice behind Ann Rogers in the "Hot Copy Radio Theater" recreations.

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Episode Overview: "Smooth as Silk"

"Smooth as Silk" centers around Ann Rogers, a tenacious newspaper columnist who uncovers a black market in nylons during World War II. Set against the backdrop of wartime America, the episode weaves a narrative of intrigue, deception, and courageous investigation.

Key Plot Points:

1. Discovery of the Black Market:

   • Ann Rogers purchases a pair of nylons for her wife, unaware they are sourced from the black market. Her colleague, Mike, alerts her to the implications of her purchase.

     Betty Lou Gerson (Ann Rogers): "I just paid the guy what he asked." [09:38]

2. Investigation Begins:

   • Determined to trace the source, Ann and Mike visit a local shop suspected of supplying the black market nylons. Their investigation puts them in the crosshairs of the racketeers involved.

     Betty Lou Gerson (Ann Rogers): "We brought you here to make you listen to reasons, Rogers." [26:07]

3. Confrontation and Resolution:

   • Utilizing a clever trick with nail polish remover, Ann incapacitates the criminals, leading to their arrest and dismantling the black market operation.

     Betty Lou Gerson (Ann Rogers): "With a little bottle of nail polish remover, officer." [31:02]

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Host’s Commentary and Insights

Adam Graham enriches the episode with his thorough research and personal insights into the "Hot Copy" series.

1. Chicago Origins:

   • Graham confirms through extensive research that "Hot Copy" was indeed a Chicago-based program, correcting misinformation previously found on sources like Wikipedia.

     Adam Graham: "Wikipedia is wrong about a lot of things, so I'm glad I was able to independently confirm it." [07:00]

2. Talent Migration:

   • He discusses how many Chicago radio stars, including Betty Lou Gerson, migrated to Hollywood, leading to a decline in the preservation and recognition of Chicago radio talent.

     Adam Graham: "Top talent in Chicago radio would be lured to Hollywood by the promise of films." [48:00]

3. Episode Analysis:

   • Graham critiques the episode's plot, suggesting it leans towards wartime propaganda while still maintaining entertainment value.

     Adam Graham: "This has the feel of one of those wartime stories that was written with the educational angle as a top consideration." [37:30]

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Interview with Rhonda Sigler Ware

Rhonda Sigler Ware, the voice behind Ann Rogers in "Hot Copy Radio Theater," shares her experiences and insights into reviving the classic series.

1. Casting and Role:

   • Rhonda explains her journey into the role, highlighting her previous work with Jim Goodluck and her passion for vintage radio dramas.

     Rhonda Sigler Ware: "I've enjoyed it ever since." [50:37]

2. Acting for Audio:

   • She discusses the challenges and nuances of performing in audio dramas compared to stage acting, emphasizing the importance of vocal expression.

     Rhonda Sigler Ware: "You have to have listeners be able to see through your voice..." [52:04]

3. Favorite Episode:

   • Rhonda highlights "Trouble in Tunisia" as her favorite episode, noting its humorous interplay and memorable character accents.

     Rhonda Sigler Ware: "It's just kind of a really funny episode to me." [54:43]

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Conclusion

"Hot Copy: Smooth as Silk" offers a compelling glimpse into the world of wartime radio detective dramas. Through Ann Rogers' daring investigation, listeners are treated to a narrative that intertwines suspense with historical context. Adam Graham's insightful commentary provides depth, highlighting the series' Chicago roots and the challenges of preserving such classic programs. The interview with Rhonda Sigler Ware further enriches the episode, shedding light on modern efforts to revive and honor old-time radio through the "Hot Copy Radio Theater."

This episode not only entertains but also educates listeners on the significance of preserving radio history, making it a must-listen for fans of detective dramas and vintage radio alike.

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Notable Quotes with Attribution and Timestamps

• Ann Rogers: "I just paid the guy what he asked." [09:38]
• Ann Rogers: "We brought you here to make you listen to reasons, Rogers." [26:07]
• Ann Rogers: "With a little bottle of nail polish remover, officer." [31:02]
• Adam Graham: "Wikipedia is wrong about a lot of things, so I'm glad I was able to independently confirm it." [07:00]
• Adam Graham: "Top talent in Chicago radio would be lured to Hollywood by the promise of films." [48:00]
• Adam Graham: "This has the feel of one of those wartime stories that was written with the educational angle as a top consideration." [37:30]
• Rhonda Sigler Ware: "You have to have listeners be able to see through your voice..." [52:04]
• Rhonda Sigler Ware: "It's just kind of a really funny episode to me." [54:43]

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The Great Detectives of Old Time Radio continues to bring classic detective tales to modern audiences, offering both nostalgia and fresh perspectives through detailed summaries and expert commentary.

Transcript

[Adam Graham]

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[Don Down]

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[Adam Graham]

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[Betty Lou Gerson]

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[Don Down]

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[Erma Glenn]

Foreign.

[Adam Graham]

Welcome to the Great Detectives of Old Time Radio from Boise, Idaho. This is your host, Adam Graham. In a moment, we're going to bring you this week's episode of Hot Copy, but I do want to encourage you, if you're enjoying the podcast, to follow us using your favorite podcast software. And I do want to highlight our other podcast. Today I'm highlighting the Old Time Radio Snack Wagon where each week, every Monday, we bring you a different snack size bit of Old Time Radio. Each snack gives you a different flavor for the golden age of radio. Whether we're talking original audio dramas or comedic sketches, historical lessons or storytellers doing their finest, we always offer something [e-mail]. you can find that there or wherever you get your podcast. The Old Time Radio Snack Wagon well, before we get into the episode itself, I do want to say I've been doing quite a bit of research on Hot Copy and one thing I found myself wondering about was whether this was a Chicago program at the time Betty Lou Gerson was in it and also who played Sprightly Pool. I was able to verify first of all that the series originated in Chicago. I feel a little bit silly about it because when I was going through I spent like two hours on newspapers.com searching for an article and finally I found one that confirmed that it was recorded in Chicago. And and then I found out that Wikipedia stated it was recorded in Chicago. Well, nevertheless, Wikipedia is wrong about a lot of things, so I'm glad I was able to independently confirm it. Now, this means that Hot Copy is the second program we featured that originated from Chicago. The other is Crime Files of Le Monde. And I know that Chicago is our biggest metro area, so that's a special treat for all of you out in the Chicagoland area. And one thing I uncovered, and it was not on Wikipedia at the time. Who knows, it may be by the time you look at it, because I'll probably update Wikipedia with some of the other information I came across on this series, is that Sprightly Poole was played by Virginia Payne, at least in this episode. And I will talk more about the research I did on Hot Copy and then also about Hot Copy Radio Theater, which we talked about last week, but we're going to talk about more in detail this week. We'll also have an interview with Rhonda Sigler Ware, who plays Ann Rogers in the Hot Copy Radio Theater Recreations. All that coming up after today's program. But now, from August 7, 1944, here is the episode Smoothest Silk O Cedar.

[Olin Sule]

The Greatest Name in Housekeeping presents Hot Copy.

[Betty Lou Gerson]

Or would you rather be a. Hey, what's this? Looks like an accident at home. I better see it. Hey, what's the matter? Car in the middle of the road, no light, no answer. Hey, you all right? Anybody hurt? Oh, John, Nobody's gonna get hurt if you behave. Hey, where are you? Where did you come from? I'll ask the question. Carrying Nylon Sud in this truck, ain't you? Why? Yeah. No, no, I mean, I thought. Okay, get out. Oh, you heard me. Climb out of that chair. I get it. Hold up. Huh? Hijackers. Unless there's government property, you can't swipe that gun. I'm warning you. Crazy fool. Hey, Tony Red, throw this guy in the bushes. We gotta get out of here, but quick.

[Olin Sule]

And now, before we bring you today's hot coffee, drama, a word for most.

[Erma Glenn]

As one woman to another, do you really enjoy getting down on your hands and knees and scrubbing the kitchen linoleum? Of course you don't. And you know, you may be scrubbing that kitchen floor much too often. Too many soap and water scrubbings are almost as hard on linoleum as they are on you. And that, as Don Dodd would say, is where O Cedar Self Polishing Wax steps into the picture.

[Betty Lou Gerson]

Yes.

[Olin Sule]

And solves the problem. Kay. You see, friends.

[Erma Glenn]

Oh.

[Olin Sule]

Cedar Self Polishing Wax is a truly protective finish. It not only makes your linoleums and all your Floors glisten with beauty. It seals them against dirt, dust and wear ends. Hard scrubbing makes even sticky spilled things easy to wipe up. And there's no work to using O Cedar Self Polishing Wax. Just apply, then let it dry. No rubbing or buffing is necessary. Ask your store for O Cedar Self Polishing Wax. Take the irk out of summer. Work the O Cedar way. And now a new and exciting chapter in the career of Ann Rogers, girl reporter whose newspaper stories are always in the words of her adventurous profession. Hot copy. Today's story.

[Betty Lou Gerson]

Move too.

[Erma Glenn]

Come here. Annie, Lieutenant Flanagan's here.

[Betty Lou Gerson]

Hello, Anne.

[Erma Glenn]

Oh, my. That's all the whispering about. Annie bumped into something important. Really? What is it? Not that litter last night? That truck?

[Betty Lou Gerson]

Oh, no, no, nothing like that. St Business.

[Erma Glenn]

But you said it was something important.

[Betty Lou Gerson]

Is. I just bought the wife a birthday present. Seeing as it's a female present, I brought it by to see what you two think of it.

[Erma Glenn]

Is that what it is? You. Where's the present?

[Betty Lou Gerson]

Like right here. Wait, I'll show you.

[Erma Glenn]

Oh, whatever it is, you bought it at one of the better shops. I'll say. That label Stealth class.

[Betty Lou Gerson]

Well, I wanted to get something nice, you know. There. There they are. Oh, Captain, they okay.

[Erma Glenn]

Oh, look. Nylon holes. Oh, I say something beautiful. Oh, I believe Mike, I'm positively mean. Yeah, me too, Papa. For those, I could almost be married to you myself. Almost.

[Betty Lou Gerson]

Do you think she likes them?

[Erma Glenn]

If she does, he's got to have her head examined. Oh, she'll love them. Nylons are as rare as Hennessy's nowadays.

[Betty Lou Gerson]

Judging by the price. You're not kidding.

[Erma Glenn]

The prize mall.

[Betty Lou Gerson]

6.50 a pair. I asked the guy if they was diamond studded. Seems like they ought to be at that price. Well, what's the matter, Anne?

[Erma Glenn]

Oh, nothing. Like just.

[Betty Lou Gerson]

What? Why do you look at me so.

[Erma Glenn]

Funny as if you didn't know? Maybe I'm a little disappointed in you.

[Betty Lou Gerson]

Disappointed in me? Well, what did I do?

[Erma Glenn]

Certainly didn't think you would buy from the black market.

[Betty Lou Gerson]

What's that again? Black market?

[Erma Glenn]

You didn't pay five and dime copy.

[Betty Lou Gerson]

But then, listen, I didn't have any idea these was black market. Honest at $6.50 a page. Oh, golly. I never bought a pair of female stockings before in my life. I didn't know what they ought to cost. I just paid the guy what he asked.

[Erma Glenn]

You bought black market without knowing it? Mike, ceiling prices vary, but nylons used to sell for about $1.65 a pair. Yeah, in the good Old days was.

[Betty Lou Gerson]

Them robbers tripped me and the law at the same time. Would they? Okay, it won't take me long to settle their hat.

[Erma Glenn]

Oh, wait a minute, I.

[Betty Lou Gerson]

Where are you going to put the pinch? In the store that sold me. These are corks.

[Erma Glenn]

Well, how come they sold them to you in the first place? I shouldn't think they'd be so damn as to sell to a policeman in uniform.

[Betty Lou Gerson]

And I wasn't in uniform when I bought them sprightly. I was off duty all.

[Erma Glenn]

I see. But didn't you have any trouble buying a mic? Didn't they want to know who you were or anything?

[Betty Lou Gerson]

No, no, not a bit of both of them. I just asked for a pair of nylons and he asked how much I was willing to pay. And I said whatever the price was and thought, hey, look, Anne, maybe you're mistaken, huh? Maybe these ain't nylons at all.

[Erma Glenn]

Don't be so. They're nylons, Mike.

[Betty Lou Gerson]

Well then. Well, maybe they're allowed to sell them again. And you just ain't heard, Mike.

[Erma Glenn]

Anyone can sell old stock at pre war prices. But the government's taking all the nylon thread now. They use it to make parachutes.

[Betty Lou Gerson]

Oh, is that right?

[Erma Glenn]

Yeah, that's why a black market. Nylons is vicious. Anyone who's making new nylon hose these days is stealing the material from our fighting men. Great heavens. Of course.

[Betty Lou Gerson]

Of course. What, Aunt?

[Erma Glenn]

What is it, Peter? Mike, I can show to something. That driver who was murdered last night, his body found by the road.

[Betty Lou Gerson]

Yeah, yeah.

[Erma Glenn]

Well, what about him? He was transporting a load of government nylon thread that was hijacked, see? That's right, he was.

[Betty Lou Gerson]

Oh, you don't think these here stockings was whipped up overnight out of that there stolen thread?

[Erma Glenn]

Oh, no, Mike, of course not. Not these particular hoes. Last night's theft was one of a long series. But no one's even so much as found a clue to the criminals before.

[Betty Lou Gerson]

Before?

[Erma Glenn]

You mean you think we got one now? He found an office, Mike. We should have a very good chance of tracing the goods back to the distributor. The distributor is certainly a lawbreaker. And maybe a killer. Too brightly. Get your hat on, darling. Hi, Annie. Where are we going? We're going shopping for nylon hose and information. Now remember, Spider, don't mention my name. If salesman finds out I'm a new kid.

[Betty Lou Gerson]

Evening.

[Erma Glenn]

We won't have a dog chance of getting either the evidence or the information we want. Okay, as far as I'm concerned, your name is Susan plus Mark this Carson's face.

[Betty Lou Gerson]

Okay? The Shop right around the corner.

[Erma Glenn]

Yeah. You better wait here, Mark. We'll be right back. Come on, Sutton. I've a coming, honey child. That old black mar got me in his slightly. Know why, sir? Maybe ticklish figure. Okay, I'll be good. But you don't really expect to make him open up and talk to you. No, I doubt that. But it's nothing else. You can buy some hoes from him. But Mike's already done that. He's got evidence. He didn't know he was doing it and he doesn't have any dope on it. Maybe I can get enough to write the affair out in the column. Make things hot for the boys behind him. Well, he can't kill us for trying. Here we are.

[Betty Lou Gerson]

You go ahead, Spidey.

[Erma Glenn]

Okay.

[Betty Lou Gerson]

Good afternoon, miss. What can I do for you?

[Erma Glenn]

Oh, how do you do? I'm looking for some nylon hose. Do you have any?

[Betty Lou Gerson]

Well, how much did you find?

[Erma Glenn]

Oh, price doesn't matter, just as long as I get something decent to wear. I get so bored with these awful wartime substitutes.

[Betty Lou Gerson]

Of course. Well, what size, miss?

[Erma Glenn]

Nine.

[Betty Lou Gerson]

Nine. Just a moment, please.

[Erma Glenn]

Where's he going, Mommy? Getting a Reno powder? No, I imagine he keeps them in the back room for safety. Don't you wish they were legitimate? Oh, boy.

[Betty Lou Gerson]

Yes, here we are. Size 9. You like to see the Miss?

[Erma Glenn]

Yes, if you please. Oh, yeah, Lovely. I suppose they're old stocks.

[Betty Lou Gerson]

Oh, no, miss. Quite new, I assure you.

[Erma Glenn]

I'm glad of that. The old ones don't wear well at all. If you get them. I've looked all over town for them.

[Betty Lou Gerson]

Well, we managed to keep a small supply in stock for those who can afford them. That's wonderful.

[Erma Glenn]

So how much are they?

[Betty Lou Gerson]

It's 50 a pair, miss.

[Erma Glenn]

Wow. A little high, isn't it?

[Betty Lou Gerson]

Well, you know how it is.

[Erma Glenn]

Yeah, so. So. Well, okay. Let me have sweet air, please.

[Betty Lou Gerson]

That'll be 1950. There you are. Thank you. I'll wrap these for you. Excuse me, please.

[Erma Glenn]

Julie. Annie, what's the idea of doing Kelly? You can't prove anything that way. Well, he wouldn't take a check by now. No. You know, I couldn't write one without exposing my knees. I'll try to get a feel for it. If that fails and I still have you as a witness that I. Ah.

[Betty Lou Gerson]

There you are, miss.

[Erma Glenn]

Thank you. Now, if I might have a voucher. Dan.

[Adam Graham]

How are you, darling?

[Erma Glenn]

Darling who? Oh, Stardew Vandermeer. Hello. I haven't seen you for a long time, darling. We've been simply ages, darling. Do you know slightly? Of course. How are you, darling? How you doubt what's hard? Please say the quaintest thing. Oh, can't you Simply adore by Mr. Willows? I think he has a darling things. Really I do. It's my desperate. My field slip, Mr. Willows.

[Betty Lou Gerson]

Tail slip, miss. That won't be necessary. If you should find the merchandise unsatisfactory in any way, just return it. I'll remember you, Mr. Willows.

[Erma Glenn]

I didn't know Miss Rogers was one of your customers. Oh, darling, I just went to lunch. Would you join us? No. Hey, darling would not do good. My package, Mr. Willows.

[Betty Lou Gerson]

Excuse me. Did you say Miss Rogers?

[Erma Glenn]

Yes, that's right. Didn't you know? Really? Partly. We must go now. Nice seeing you, darling.

[Betty Lou Gerson]

Is Ann Rogers the newspaper columnist?

[Erma Glenn]

But of course. Everybody knows Aaron Rogers. She solved those awful murder cases and exposes. All those terrible black markets and everything. Awful clever of you, darling. I can be and say how you do it.

[Betty Lou Gerson]

Oh, well. Good day, Miss Rogers. I. I'm sorry I didn't have what you wanted. Perhaps some other time.

[Erma Glenn]

Hey, what next here. My package, Mr. Willows.

[Betty Lou Gerson]

Package? Did you say package, miss? You didn't have a package when you came in here.

[Erma Glenn]

No, but I just paid you $19.50 for three pair of nylon hose.

[Betty Lou Gerson]

Nylon hose? Why, you Must be joking, Ms. Rogers. I haven't seen any nylon hose for years.

[Erma Glenn]

Of course not, Anne. There's no such thing anymore. Didn't he know? I know that just five minutes ago I gave Mr. Willows 1950 for three pairs.

[Betty Lou Gerson]

There must be some mistake, miss. Oh, why, yes. Here's your money lying on the counter. I'm sorry, Ms. Rogers, if you were laboring under the delusion. We sell nylons here, but we do not deal in black market merchandise.

[Erma Glenn]

Why, you. You merely not cook. You're laughing privately. Never mind. Mr. Willows wants to play a little game. Let him. Game? Who's playing games? Anne, our friend here.it very dangerous game.

[Betty Lou Gerson]

I'm sure I haven't any idea what you're talking about, Ms. Rogers.

[Erma Glenn]

No, that. You better think things over. Good day, Mr. Willow. Bartley coming in and darling, wait for me. I was going to have lunch together. What is this all about? I'm simply bewildered.

[Betty Lou Gerson]

Yeah? Hello, Pete. Henry Willows. Well, what do you want? Listen, Pete, I'm in trouble. Have you heard of Ann Rogers, the newspaper columnist? Yeah, what about her? Well, she was just in here trying to buy some nylon.

[Olin Sule]

I almost sold them to her.

[Betty Lou Gerson]

You fool. How many times have I told you not to sell nylons to anybody you don't know. But I've never had any trouble before, Pete. Most of my customers are so glad to get you. Let me think a minute. You think this doll will suspect something, huh? I'm sure she does. She tried to make me give her a sales slip and. Okay, okay. I ought to let you stew in your own gravy. But this time I'll save your hide. What are you going to do, Pete? I'm going to make a little date with this Ann Rogers game. And after I get done discussing matters with her, there won't be no more trouble.

[Olin Sule]

We return to hot coffee and Ann Rogers in just a moment. Now, a word from O Cedar.

[Erma Glenn]

Shiny, smooth, satiny, sparkly, sunny.

[Olin Sule]

What's up, Kay? You reciting the dictionary just for fun?

[Erma Glenn]

So I'm thinking of all the words that describe the grand things old Cedar Self Polishing Wax does for floors. It leaves them shiny, leave them smooth, they sparkle.

[Olin Sule]

Well, that's not half of the case. Oh, Cedar Self Polishing Wax is not only a beauty treatment for floors, it helps keep them beautiful, seals them against dirt, dust and wear. And ladies, this is grand news. O Cedar Self Polishing Wax is an all round floor wax ideal for use on all types of wood flooring and of course, on your linoleum and composition floors, blended at the famous OH Cedar Laboratories. Oh, Cedar Self Polishing Wax always flows easily, spreads evenly and it dries shining hard in just 17 minutes without rubbing or buffing. And when you ask for O Cedar Self Polishing Wax, you're sure of peacetime quality. The high carnava wax content that's always been an important part of O Cedar formula has been maintained in spite of wartime difficulties. That's something to remember. And now back to hot copy. Ann Rogers attempt to learn the identity of the distributor of black market nylons. Fell through when a talkative acquaintance revealed Anne's purpose. Disappointed at not having achieved complete success, Ann does not realize her investigation has.

[Betty Lou Gerson]

Stirred the Racketeer killers to action. Oh, and don't be discouraged. After all, you made a good stab at it.

[Erma Glenn]

Stab at it? Mike, I tell you, I had him right in the palm of my hand. Well, Dorothy Vandermeer blunted in and upset everything. Feather brained little nitwit.

[Betty Lou Gerson]

It was a tough break, Anne, but anyhow, we got something to start on. Now that's more than we had before.

[Erma Glenn]

Then you agree with me about a tie up between Willows and the racketeers who killed the truck driver?

[Betty Lou Gerson]

It looks like It Willows admitted them whores he sold you was brand new. Therefore he must have been made from stolen nylon threads.

[Erma Glenn]

Well then, what's our next move?

[Betty Lou Gerson]

Report Willis to the office of Price administration. You and Anne will be called to testify you bought nylons from him at black market prices.

[Erma Glenn]

But we didn't buy them, Mike. The moment he discovered my name, he whipped them out of sight and pretended he'd never even shown them to us.

[Betty Lou Gerson]

Ah, but don't forget I got some evidence. Three pairs. Maybe if we can throw a scare into him he'll open up and tell us what he got up to. That's what we really want.

[Erma Glenn]

Yeah.

[Betty Lou Gerson]

Well, I'll be getting going now. I'll see what I can do. See you guys later.

[Erma Glenn]

A ball on that Moody. Well, what else that time being. Anyway, what's next on the program? Annie? Back to the chain gang for the little sprightly. I haven't anything for you to do right now. Spritely tomorrow's column type. Yep. Okay then I'll do a little filing. Filing? The desk is completely clear. I mean fingernail Foxy. Where did I put that absorbent cotton? Oh yeah, it is. I wish someone would invent a chip proof nail polish. Annie, I get awfully weary of cleaning it off. Putting it on, cleaning it off, putting it on.

[Betty Lou Gerson]

Never mind.

[Erma Glenn]

But I get it. Hello, Ann Rogers office.

[Betty Lou Gerson]

Hello, is this Miss Rogers?

[Erma Glenn]

Yes.

[Betty Lou Gerson]

Miss Rogers, my name is Watson, Peter Watson. I'm with the local office of prices administration.

[Erma Glenn]

Yes, Mr. Watson, what can I do for you?

[Betty Lou Gerson]

We believe we run across a big story. I thought perhaps you would like to have it.

[Erma Glenn]

Do hurry. Well, of course. What is it?

[Betty Lou Gerson]

A black market, miss.

[Erma Glenn]

Rodent in night on black market in nylon. Mr. Watson. Listen, I've just been working on the very same subject.

[Betty Lou Gerson]

Really? And with any success?

[Erma Glenn]

Well, I think so. At least we've got a lead. I believe we found one of their outlets.

[Betty Lou Gerson]

Wonderful, Ms. Roger. Listen, let's get together and talk things over. I think I can set you on the trail of a real story.

[Erma Glenn]

Well, when?

[Betty Lou Gerson]

Well, the sooner the better. How about now?

[Erma Glenn]

I can be ready in five minutes.

[Betty Lou Gerson]

Very well. I'll drive by for you in five minutes. Goodbye.

[Erma Glenn]

Well, frighten, we're getting somewhere after all. Come on baby, we've got a date with a man in five minutes. A man? And me with my nails in this condition. Oh, Annie. Oh, you can finish him later, darling. Hurry. He'll be downstairs waiting for us. Just one man? Doesn't he have a friend? So that's about as far as I got, Mr. Watson. Not very conclusive, really. But I'm convinced there's a tie up between this business and the murder of that truck driver last night.

[Betty Lou Gerson]

Maybe. But your testimony and that of your friend here is the only thing definite against Mr. Willows.

[Erma Glenn]

That's right. But we did see the hoes, Mr. Watson, and they were in nylon.

[Betty Lou Gerson]

Well, something must be done.

[Erma Glenn]

Yes, it's still a little better. Where are we going, Mr. Watson?

[Betty Lou Gerson]

We're not going. We've arrived.

[Erma Glenn]

Do you mean this warehouse?

[Betty Lou Gerson]

Yes, that's right. Can you guess what it is?

[Erma Glenn]

No, I'm afraid not.

[Betty Lou Gerson]

Well, Ms. Rogers, if our institution is correct, this is a distributing center for the black market in ladies Hosier.

[Erma Glenn]

What, Here? In this Texas house?

[Betty Lou Gerson]

Why not? There's no easier place to conceal criminal activity than a crowded business district.

[Erma Glenn]

Well, yes, I suppose you're right. It said too much activity going on for anyone to notice anything unusual. This place is right across the street from the 9th Precinct Police.

[Betty Lou Gerson]

Yes, and are we going to have a good laugh on the police when we snatch the racketeers right out from under their noses? Well, let's go inside.

[Erma Glenn]

Is it safe to go in?

[Betty Lou Gerson]

Oh, perfectly safe.

[Erma Glenn]

Now, go ahead, Sally. It's d in here.

[Betty Lou Gerson]

Wait until I close the door. Then we have a little light.

[Erma Glenn]

Mr. Watson, why did you bolt that door?

[Betty Lou Gerson]

Who's there? Who is it? Okay, Willows, it's just us.

[Erma Glenn]

Me and the snoop. Will. Hey, what is it?

[Betty Lou Gerson]

Oh, you got in the company. Wonderful. Now, only listen.

[Erma Glenn]

Wait a minute. You're. You're not an OPA man.

[Betty Lou Gerson]

That's right, baby. That's a nice one, Will. And you, baby, stand still before I mess up that pretty kiss of yours. Might as well save your win pipe, Ms. Pool. Nobody outside can hear your stalking.

[Erma Glenn]

How dare you.

[Betty Lou Gerson]

Talks pretty, don't you, Willows? What did you mean? You be. Wait, sweetheart. You'll find out. Tire up, Willows. She's got worse. I don't see any rope. So what? Tear open one of them cartons. Oh, one of these over here? Sure.

[Erma Glenn]

Stocking.

[Betty Lou Gerson]

That's right. That's some old rayon socks. Toughest things in the world. Ever tried to tear one hand them here, see? Make nice cuts.

[Erma Glenn]

Not you, racketeer.

[Betty Lou Gerson]

Lie down, sweetheart. Your neck gotta be real proud. I mean, everybody gets tied up in fine rounds nowadays. That'll do it. Now, if you lay real quiet, them things won't tuck your wrists and ankles.

[Erma Glenn]

Thank you. Are you quite finished? Maybe you'll be kind enough to explain the meaning of this.

[Betty Lou Gerson]

We brought you here? To make you listen to reasons, Rogers place us in the most embarrassing position. All we want is your word of honor that you'll drop your investigation, isn't it? I will even pay you to forget the whole matter, you kitten. Why, no. I thought you said you wanted to discuss matters with Ms. Ro. Now, be a dope. You can't buy off a doll like this. The only way to shut her mouth is get it for key, you mean.

[Olin Sule]

Well, no, you can't.

[Betty Lou Gerson]

Shut up. I'll handle this. Guess that pictures you up. This pool. I got a couple of the boys loading a truck out back. As soon as it's ready, we're going for a little ride. You mean you're going to murder them? I ain't going to play Patrick Gate with them, pal. No, no. I don't want to get mixed up. Listen, stupid, we've already got a murder rat hanging over us. We can't take chances. No. Selling nylons is one thing, but murder? I'll not be a party to it. I'll go to the police right across the street. Oh, no, you won't. Willows, come in.

[Erma Glenn]

Let go of me.

[Betty Lou Gerson]

Let go, I say. Well, looks like the party's going, eh, Miss Rogers? That makes three for that riot in the country. As soon as I finish tying this one up, I'll go see if that station wagon's ready.

[Erma Glenn]

Well, fight me, will I? I can't budge him any. That mean I was out of time. Now that's Willow. He's coming, too. Is Willows. Mr. Willows, I will act.

[Betty Lou Gerson]

I think so. Where is it, Pete?

[Erma Glenn]

Outside getting his truck ready.

[Betty Lou Gerson]

Why did I ever get mixed up in this awful business?

[Erma Glenn]

A little late to think about that now.

[Betty Lou Gerson]

But he can't murder us. He'll burn for it.

[Erma Glenn]

Yeah, but we'll be de. Burn. Burn rightly. My bag. Could you reach it? Well, I. I think so. Yeah, I got it. Well, push it over here.

[Betty Lou Gerson]

Okay.

[Erma Glenn]

Little close up. I can get it open.

[Betty Lou Gerson]

Ms. Rogers, what are you doing?

[Erma Glenn]

My cigarette lighter. Here it is. Willows, turn your back to me and lie still.

[Betty Lou Gerson]

I don't feel anything.

[Erma Glenn]

Well, Annie, it doesn't light. Must be out of fluid.

[Betty Lou Gerson]

What are we going to do? Oh, I never should have gotten tied up in this nylon business.

[Erma Glenn]

You're tied up now, pal, but good. Only in rayons instead of black market nylons. Rayons? Tenderload. I wonder. Great heavens. Might be. It might work. Annie. What do you get that little bottle in your bag? Can you get to him? You mean this? Yes, yes.

[Rhonda Sigler Ware]

Hurry.

[Erma Glenn]

Now open it. Pour some of it on these knots. But an. Oh, I know. I'm not sure it will work. But it's our only chance. Erase it rightly. Don't spill it. Our lives may depend on that little bottle.

[Betty Lou Gerson]

All loaded, Tony. Good. Keep the motor running. I'll go ahead and pick up our little playmates and be right back. Okay, it is bedtime. The truck's ready now, so if you're ready too, we'll be. Hey, where are we? Looking for somebody, mister. What, the. The cop? That's right. Now stick him up.

[Olin Sule]

Hey, stop.

[Betty Lou Gerson]

You hear me? Okay, if that's the way you want it.

[Erma Glenn]

Bill.

[Betty Lou Gerson]

Yeah, sure. Get those two in the truck. Okay, Ms. Rogers. You can come on in now.

[Erma Glenn]

Officers, everything.

[Betty Lou Gerson]

Oh, no, no. Just wing them. They'll take care of him for killing that truck driver. Well, that's good. Men like that deserve it. Now, what are you doing here, Willows? You're under arrest yourself. I am?

[Erma Glenn]

But I'm afraid your troubles aren't over yet, Mr. Willows. The judge may go easy on you for the way you helped in the showdown. After all, you did run a black market, you know.

[Betty Lou Gerson]

Yes, I know. You say this man helped you escape, Ms. Rogers. How did you manage it, anyway?

[Erma Glenn]

With a little bottle of nail polish remover, officer. Plain nail polish remover?

[Betty Lou Gerson]

Yes. What good did that do?

[Erma Glenn]

Luckily, we were tied with rayon hose. Rayon contains some kind of acetate. Nail polish remover contains a stuff called acetone, which heats up rayon.

[Betty Lou Gerson]

Is that the truth?

[Erma Glenn]

Yes. Where did that little bit of information come from? I spilled some nail polish on that rayon dress once. Tried to take it off with polish remover. Mister, you should have seen that hole. Just luck I remembered it.

[Betty Lou Gerson]

It's luck these wise guys thought they were pulling a fast one, locating their headquarters right across the street from a police station. It's nice going, Miss Rogers.

[Erma Glenn]

Thanks, Sergeant.

[Betty Lou Gerson]

Boy, what a haul. Just look at those piles of boxes. Most of them full of black market nylon.

[Erma Glenn]

Annie, are you sure that crime doesn't pay? Sure. It's brightly white. Then let's get away from these nylons fast before I weaken.

[Olin Sule]

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[Erma Glenn]

Why, that's the greatest name in housekeeping.

[Olin Sule]

Your announcer is Don Down.

[Betty Lou Gerson]

This feature has been a transcribed rebroadcast from the Blue Network.

[Don Down]

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[Adam Graham]

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[Don Down]

You just realized your business needed to hire someone yesterday. How can you find amazing candidates fast? Easy. Just use Indeed. Stop struggling to get your job post seen on other job sites with Indeed sponsored Jobs. Your post jumps to the top of the page for your relevant candidates so you can reach the people you want faster. According to Indeed data, Sponsored jobs posted directly on indeed have 45% more applications than non sponsored jobs. Don't wait any longer. Speed up your hiring right now with Indeed and listeners of this show will get a $75 sponsored job credit. To get your jobs more visibility at indeed.com just go to indeed.comarts right now and support our show by saying you heard about Indeed on this podcast. Terms and conditions apply. Hiring Indeed is all you need.

[Adam Graham]

Welcome back. A decent case overall, but a case where the criminal chose a dupe as an accomplice and it wasn't hard for our heroine to be break down his defenses in terms of their escape at the end. The principle of how Ann escaped was actually quite sound. Acetone does eat through rayon. Now, there are some variables, with the main question being whether the size of bottle that Sprightly was likely to have in her purse in 1944 would be enough to eat through the rayon. Personally, I will gladly suspend my disbelief on that point. Also a nod to Spritely for essentially coming up with the demand for gel nail polish for decades before it was invented. Now I will say that having listened to Hot Copy Radio Theater, which recreates episodes of Hot Copy, I did think at this thought that if there were only two episodes of Hot Copy that could have been saved, this would not be one I'd pick. While it's not bad, when I first listened to it a decade back, I imagine that a lot of episodes were spent on Ann investigating things with a special woman's angle to it, like nylons. Ann has a keen deductive mind, and this particular case didn't really tax it. And even beyond listening to Hot Copy Radio Theater, what I've read in newspapers indicates that her cases were usually far more interesting than this. This has the feel of one of those wartime stories that was written with the educational angle as a top consideration. Who knows, maybe the PSA angle is why the episode was preserved in the first place. Regardless, it does illustrate the perils found in a couple episodes of A and thinking those couple episodes really give us an idea of what this series is all about. And certainly, once again, this was not a bad episode, but it was not a representation of what the series could be at its very best. Now I'm going to talk a little bit about some of the research I did on Hot Copy and then I'm going to talk about Hot Copy Radio Theater and will feature the interview with Rhonda Sigler Warehouse and present a preview clip of Hot Copy. I will say that this is going to be a bit of a deep dive, although I think you'll want to listen if you enjoyed Hot Copy and are hungry for more. And I will say that's also why we're going to talk about Hot Copy Radio Theater. It's not a paid advertisement or promotion by them. I think they just offer a really interesting opportunity if you enjoyed Hot Copy and would like to explore the series further, because usually that's not an option. And I find their approach of taking a series like this and dedicating the podcast to just that one series to be something I appreciate. Now I do want to go ahead and thank our Patreon supporter of the day because I want to be sure he gets recognized here. Before we go too much further, I want to thank Charlie. Charlie's been one of our patreon supporters since July 2020, currently supporting the podcast at the Psalmist level of $4 or more per month. Thank you so much for your support, Charlie. Now there's a lot of information I could share, but I'm going to try to limit it a little bit. Now. When the series was launched in 1941 in October, Fern Parsons played Ann Rogers and she was replaced near the end of 1942 by Alois Klummer, who was replaced by by Betty Lou Gerson at the end of 1943. Outside of Betty Lou Gerson, those names probably sound very unfamiliar and the same could be true with nearly everyone involved. There were multiple directors on the series. In addition to Nelson Bond, there were two other writers before him. There was another actress who played sprightly and when the series started and sidekick was actually an assistant district attorney. But even if you're an old time radio fan, I could read off the name of all of these actors, writers and directors. And you probably haven't heard of any of them. And this is because of the nature of Chicago as a radio town. And it actually had an incredible history. In the 1930s there were many programs that originated from Chicago. Amos and Andy Lum and abner and fibber, McGee and Mully among them. In addition to that, they had a lot of soaps which originated in Chicago. And there were very popular anthology programs like the first Nighter program, the Chicago Theater of the Air, the Knickerbocker Playhouse and Curtain Time. Yet as the radio networks developed the poll on Chicago, radio talent took a toll. Top talent in Chicago radio would be lured to Hollywood by the promise of films. They'd be lured to Broadway by the promise of stage success and later television. In many cases being on a national program that originated from Chicago or to get you the attention that would get you out of Chicago. Probably one of the earliest examples of this was Don Amito, who was a major Hollywood film star who actually got his start in Chicago on the first Nighter program. And there were others. Bob Bailey started out in Chicago, and of course Betty Lou Gerson would follow the trend and go to Hollywood soon after Hot Copy concluded. And over the years, many of the programs that originated in Chicago relocated so that the stars could do picture work and could also have access to the best guest stars. In addition to that, for various reasons, Chicago based radio programs have not had as many episodes survive and be in circulation as those that came out of New York and Hollywood. So modern listeners who might gain an appreciation for the performance of radio character actors like Ralph Bell or Howard McNear or Virginia Gregg, just don't have the same opportunity with the Chicago talent of the same era. Now, one name that's not completely obscure is, is Olin Sule. He would actually join the cast of Hot Copy at the end of August of 1944. He had already become the male lead on the First Nighter program and would make that move to Hollywood, where he would become one of these long standing character actors. Always think of Sule for playing police scientist in Dragnet. He played Ray pinker in the 1950s Dragnet TV series and then Ray Murray in the 1960s Dragnet TV series. He was also Batman in animation. And he replaced Bob Bailey as George Valentine in Let George do it in 1953. In hot copy, he played Jeff Warren a private investigator, and he'd become a major character in the closing weeks of the series. O Cedar ended its sponsorship of Hot Copy in November of 1944 and instead would sponsor a news program for 15 minutes, something that Billboard described as post war retrenchment. The idea that it was cheaper to sponsor 15 minutes rather than 30. And there also might have been a post war mindset in O Cedar's decision. Hot Copy had really good timing in that it began right before Pearl harbor, as women began entering into the workplace and Ann Rogers fit into that trend. Oeter might have suspected with the way the war was going, that women would be exiting the workplace as men returned and that Hot Copy would not be as relatable to listeners in that regard. We played the only two episodes in circulation and there are two others that are reportedly held by private collectors. All of them come from the Betty Lou Gerson era. I'd be shocked if we ever hear episodes outside of those four. There are so many Chicago radio series that are lost entirely. We're kind of fortunate that four out of these 150 episodes survive. We'd be even more lucky if we could listen to all four, but you get the idea now with so many episodes lost to time. That brings me to what Hot Copy Radio Theater is doing. Each month on the 10th they post a new podcast where they recreate an episode of Hot Copy based on one of the original scripts by Nelson Bond. The series was created by Jim Goodluck. He developed an interest in Old Time Radio and really got interested in obscure programs. The more obscure the better, and I can definitely sympathize with that sentiment. He stumbled on a blog post from the jheroes.com site about the series and listened to those two episodes that were in circulation, forgot about it, then ended up coming back to the site four years later and noticed that a college archive had 49 scripts and got the idea of getting all the scripts and recreating them. He emailed the college and the college was actually supportive of it. They saw no point in just keeping the scripts sitting around collecting dust and sent him all of the scripts they have as PDFs at no charge. I would interject a lesson here because some people will email me about projects that they want to do about Old Time Radio and I will ask you know, what should I do? Particularly when it comes to dealing with what other people who might have an interest or might be able to control or limit what you can do with Old Time Radio program and sometimes the best thing you can do is just ask. Now, the college could have said absolutely not. But you take that risk and you find out after this. He held auditions, found his cast, and launched the Hot Copy Radio Theater, which has gotten around 75,000 downloads in the three years that it's been out. The series won't end until they've recreated all the scripts that they have access to, which will probably take a bit more than a year. But as of right now, there are more than 30 episodes that you can listen to wherever you get your podcast from. And in those episodes, the woman who plays Ann Rogers is voice actress and educator Rhonda Sigler Ware, who joined me for an interview. All right. Well, joining us now is Rhonda Sigler Ware, who plays Ann Rogers on the new Hot Copy Radio Theater. Rhonda, welcome to the Great Detectives of Old Time Radio.

[G]

Well, thank you. I am so happy I get to talk to you today.

[Adam Graham]

So how did you come to play Ann Rogers?

[G]

Well, actually, I had gotten to know Jim through one of his other podcasts, the Forgotten News Radio, the police blotter program. And I had done a couple of small roles for him there. I think the one I remember is the Cat lady, and he had sent me an audition for Ann Rogers and there were several others, and I got chosen as Anne and have been enjoying it ever since.

[Adam Graham]

Now, we we've heard Ann Rogers the last couple of weeks in these two circulating episodes of Hot Copy. Now, obviously you've had a lot more experience with her in the 30 plus episodes you've read and performed at this point. How would you describe her?

[G]

Well, she's definitely smart. Obviously she notices details that a lot of people don't pick up on in order to help solve her cases. And she really is courageous. She's going against the times, you know, in the 40s when this is set, women journalists, although there were a lot of them, they still faced a lot of prejudice and they certainly wouldn't have been sent into a battlefront like Anne has where she's one of the episodes she's in the belly of a military plane going overseas, and she takes it all in stride like she's supposed to be there. But back then that wasn't. That wasn't really a thing.

[Adam Graham]

So, yeah, that definitely very different. Now, you've done quite a bit of stage work. Now, how would you say that acting for radio or doing audio drama over podcast differs in acting for the stage? And have there been any adjustments you've had to make along the way when it comes to working in the audio drama Medium well.

[G]

I'm really disappointed I don't get to hear the laughter at some of my lines. That's a big adjustment. Obviously, they, you know, I'm used to people being able to see me and reactions and, you know, I have very big gestures and things. And so working with audio, although you can't be seen, you have to have listeners be able to, you know, see through your voice, like have your voice convey whatever emotion that. Whatever reaction, what you're feeling. And I still find. And you're probably noticing it now, gesturing quite a bit, although you can see me, you know, I still do a lot of facial expression in order to help, you know, over, I guess, over emote so that it can be picked up on audio. So that's a big adjustment to being bigger, I guess.

[Adam Graham]

Yeah. Not. Not. So not having the audience's energy to kind of feed the performance is a big difference that you've noticed.

[G]

Oh, yeah. The way in live theater. Yeah, the. The audience can have a huge impact on how the show goes, but when you're recording, you have no idea. You just have to record your lines a few times and hope that one of them sounds, you know, sounds okay and. And sounds like what. What we're trying to go for. For the emotion or the. The tone of the show.

[Adam Graham]

So, as I said, you've recorded 34 episodes. Could you tell us about what your favorite episode is that you've done so far?

[G]

I would say that my favorite would have to be Trouble in Tunisia. It was probably, I want to say, maybe a year ago or so. And Anne and Sprightly are overseas, and of course, she gets herself into trouble because she and Sprightly are kind of having a banter and playing back and forth. And she calls me princess, which I absolutely hate being called princess. And she. We get overheard while we're doing this banter, and one of the bad guys thinks that I am actually a princess and worth ransoming. So I get kidnapped, as Anne does, you know, quite often in the show, and gets kidnapped. And they're holding her because they think she is. She is a princess of some sort. And part of the reason why I like the episode also is my husband's accent. He plays the. The character that actually kidnaps me, and he does a hilarious Peter Laurie accent. And it. The. He. And unfortunately, he does end up dying in. In the show. Spoilers. But, yeah, it's just kind of a really funny episode to me. And Anne ends up having to correct Sprightly on some of the things that she's saying about the captors and the people around. So I, I don't know, it just really stands out to me as being quite a humorous show.

[Adam Graham]

Well, and we will we'll play a little bit of that as we end the podcast. But Rhonda, thank you so much for joining us today. And all the best as you continue to work on Hot Copy Radio Theater.

[G]

Thank you so much for having me. I've enjoyed being here with you.

[Adam Graham]

Thank you so much. And it was such a pleasure to talk to Rhonda, particularly after hearing some of her performances as Ann Rogers. And we will close with a clip from that episode. I do want to let you know we will be back next Tuesday with Charlie Chan and listen tomorrow for Broadway's Mob 8. And typically we'll close with a clip of tomorrow's episode. But let's go ahead and listen to this clip from the Hot Copy Radio Theater and the episode Trouble in Tunisia. If you wish to hear the rest of the episode, you can follow the link to Hot Copy Radio Theater in the show notes or search for Hot Copy Radio Theater wherever you download your podcast from. But from Boise, Idaho, this is your host, Adam Graham, signing off. It's time for Hot Copy, the vivid drama behind the paragraphs of a daily newspaper column. Hot Copy is the absorbing story of a young newspaper woman, Ann Rogers, a smart, attractive girl with a nationally syndicated column, Second Glance, in which she covers many events which other, less courageous reporters would be afraid to touch. Her stories, in the words of her adventurous profession, are always Hot Copy. And now listen to today's new and exciting chapter, trouble in Tunisia, adapted from the original script as broadcast on radio on Sunday, January 2, 1944.

[H]

Dateline Somewhere over Germany. I'm writing this from the belly of an American flying fortress approaching one of the greatest industrial cities of Nazi Germany. There is no real reason for not telling you the name of this city, for by the time you read this column, all the world will know that Emden was struck again today by the crew of our aircraft.

[Erma Glenn]

Bombs away.

[H]

It is no pleasure to our flyers to destroy these cities, but it is a job that has to be done, and they are doing it. DATELINE Somewhere in Italy, it is almost impossible to describe in mere words the courage and daring of our American soldiers here in these rugged hills. I have seen them bravely overcome roaring waters, the terrible cold and sleet, and the blistering flame of enemy gunfire to win positions held by a retreating Nazi army, an army that was once considered the strongest military power in the world. DATELINE Somewhere in The Adriatic Sea. We're commandos tonight, flashing across electric blue Italian waters to make a lightning like raid on the German positions in Yugoslavia. The time is not yet ripe for a large scale invasion of this unconquered country. But meanwhile, on small boats, our troops are nightly bringing weapons and supplies to the underground anti Nazi resistance so that they can doggedly continue to fight.

[Erma Glenn]

It.

[Rhonda Sigler Ware]

Last. Here we are, Princess. And am I glad.

[H]

What's the matter, Sprightly? Don't you like flying?

[Rhonda Sigler Ware]

Oh, flying is all right, but the way we've been doing it in army bombers with Nazis looking in every pretty pink cloud to give you a bullet shower. No, I'll take good old terra firma every time. And with more firmer and less terra.

[H]

Oh, Sprightly. What an ancient wheeze.

[Rhonda Sigler Ware]

Why not, honey child? After everything we've gone through. We ancient, ain't we? Golly, Listen.

[H]

What's the matter?

[Rhonda Sigler Ware]

Nothing. All that beautiful, beautiful silence. Don't you love it, Princess?

[H]

Please, Sprightly. Don't call me Princess.

[Rhonda Sigler Ware]

Sorry, Annie. I keep forgetting. Well, we'd better be hunting for a hotel, shouldn't we? Or is there such a thing in Tunisia?

[H]

Yes, I'm sure there is. With plenty of hot water, I hope.

[Rhonda Sigler Ware]

Hot water? What's that? Hey, you, soldier.

[Adam Graham]

Yes, miss?

[Rhonda Sigler Ware]

We've got some bags in this overgrown go kart with wings. Can we get him carried to our hotel?

[Adam Graham]

Yes, miss.

[Betty Lou Gerson]

They'll be taken care of.

[Rhonda Sigler Ware]

Thank you all.

[H]

But the typewriter. Spritely, we'll take that with us. Too precious to take chances with, you know.

[Rhonda Sigler Ware]

Yeah, I know. Okay, I'll carry the crown jewels. Princess.

[H]

Sprightly, I asked you not to call me.

[Rhonda Sigler Ware]

Okay, okay. Sorry, sugarplum.