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Radio was called “theater of the mind” because the listener had to imagine everything that was happening. That meant, of course, that if was a fight, someone had to make the sound of that fight while the actors performed the dialog.
Take for example, this section from the first chapter of THE DARKNESS KNOWS.
“The well-choreographed struggle began on cue. The organ hummed. The soundman punched a fist into his open palm once, twice while he scuffled his feet through the small tray of gravel in the corner. Graham growled, “Take that!” There was the sound of a single gunshot – a blank fired into the air from a real pistol – then a beat of silence.”
And this is from HOMICIDE FOR THE HOLIDAYS (during a live production of The Scarlet Pimpernel).
“The head soundman opened and closed a metal door on its special stand. It clanged ominously.
Another soundman stood far off in the corner, covering his mouth with his hand to muffle the sound. “Ready!”
The head soundman and his assistant picked the prop muskets off the table and locked them.”
A pause. All was silence in the studio. Vivian looked at Graham, his eyes trained on his script, waiting for the blast. Her eyes flicked to the control room. All were rapt with attention, mouths agape, including the ad man practically on his toes in anticipation.
Then the thunderous sound of rifles firing filled the studio. Vivian flinched, even though they’d been through this scene ad nauseam in the past week.”
Depending on the size and importance of the production there were likely several people at a table off to the side in the studio behind a table full of sound props. They were responsible for anything beyond dialog that was needed for the production: rain, gunshots, doors slamming, footsteps, car engines revving, squealing tires, thunder, wind… use your imagination – the list is endless. Plungers were used to mimic the sound of horse’s hooves slogging through mud. A crackling fire might be made by crinkling cellophane in front of a microphone. Car doors were often the actual doors detached from the car itself and brought into the studio. And believe it or not, real guns were often fired in the studio (as in the excerpt above) to simulate gunshots.
Later on, after recording became popular, they started to use sound effect records for the more unusual or hard to produce sounds.
Here’s a Chevrolet-produced short from 1938 that shows the behind the scenes of how it was done:
You may know that Chicago’s O’Hare Airport is named for WWII flying ace Butch O’Hare who was shot down over the Pacific in 1943. What you may not know is that the only reason Butch became a pilot at all was because of his father – lawyer, crook, and known associate of Al Capone.
Edward (Easy Eddie) O’Hare was never the most upstanding of lawyers. He bamboozled a client’s widow out of the patent to those mechanical rabbits that greyhounds chase around the racetrack.
That’s how he made his fortune, and that’s how he met Al Capone. Capone owned a greyhound track outside Chicago. They eventually became associates and business partners (and the greyhound track was turned into Sportsman’s Park for horse racing. Conveniently, Eddie became its president).
Needless to say, the 1920s were a high time for Easy Eddie, that is until the apple of his eye, his eldest son Edward Jr (known as Butch), told Eddie that he wanted to attend the Naval Academy in Annapolis, MD and become a pilot. Eddie could deny his boy nothing. The problem was that the sitting local congressman needed to nominate Butch to attend the academy, and no congressman in his right mind would nominate the son of a known Capone associate. Not even in Chicago.
What was a father to do? Well, Eddie decided he needed to change his ways. Through a journalist intermediary, he made it clear to the Feds he would give them info on Capone’s organization if they helped him get his son into the Naval Academy. He did – and they did. Butch went to the academy and eventually became a fighter pilot and hero over the Pacific, but Eddie wouldn’t live long enough to witness that. Eddie was gunned down while driving his Lincoln on Ogden Avenue in November 1939. His murder remains technically unsolved, but it’s pretty safe to assume that his double-crossing of The Outfit finally caught up to him.
I’m telling you all of this, because it’s a fascinating story, but also because Easy Eddie O’Hare was the inspiration for Viv’s father, “Easy Artie” Witchell, in HOMICIDE FOR THE HOLIDAYS.
If you’ve read The Darkness Knows you’ll know that Vivian is a daughter of privilege. You’ll see even more evidence of that in the second book in the series, Homicide for the Holidays. You’ll also learn that Vivian’s mother, Julia Witchell, is the youngest daughter of a Chicago meatpacking scion (and what could be more late 19th/early 20th century Chicago than a meatpacking dynasty? (But that’s another rabbit hole topic).
Vivian’s mother had wanted her to “come out” on her 18th birthday just as she had. However, times had changed since Julia’s 18th birthday in 1907 and Vivian’s in 1932. Times had changed drastically.
WWI (or The Great War as they called it at the time) happened ushering in the flapper era of the 1920s. Women coming of age in the 1920s (like Vivian) experienced a good deal more freedom than their mothers had. It became acceptable for women to smoke and drink in public, for example, and for single women to have jobs outside the home. Then the stock market crashed in October 1929 throwing the country and world into The Great Depression. There were still wealthy families in the US (the Witchells remained well off during this period), but the vast majority were struggling. Overt expressions of wealth displayed in lavish coming out parties were viewed as more than a little tone deaf – as young Woolworth heiress, Barbara Hutton, found out when she came out in November of 1930.
Her party was held at the Ritz Carlton, and she was skewered in the press for spending $50,000 on flowers alone. Invitees included stars Maurice Chevalier and Rudy Vallee. Other guests included society bigshots with names like Vanderbilt, Astor, and Rockefeller.
One of the things that surprised me when I started researching Chicago in the 1930s was the ubiquity of streetcars They’ve disappeared from the city entirely since – gradually phased out by buses during the 1950s.
That’s a photo of streetcars operating on State Street at Christmastime in the late 1930s/early 1940s. You can see that the passengers waited and boarded from that island-like space in the middle of the north and southbound lanes. Seems awfully dangerous to me and judging from this silent safety film from the early 1930s… it was.
Vivian rides the streetcar several times in the first two books in the series – mostly in book two. A one-way trip cost 7 cents in 1938. Oncoming passengers entered from the back and paid cash to ride – the conductor at the back wore a change belt. The seats inside were rattan and the interior was sparsely heated and I imagine it was terribly drafty in the winter and incredibly stuffy in the summer. The driver often shoved papers between the bell and the clacker above his head to mute the constant dinging on the inside of the car (and save his sanity, I assume). I found a great first-hand account of riding a Chicago streetcar of this period in an old edition of Nostalgia Digest. You can read it here if you like: Streetcar Info.
I just found this home movie that shows Chicago in 1937 and had to share. It starts at a train station (possibly Dearborn Station?) then shows State Street. Roman Navarro was appearing in person at the State Lake Theater? What I wouldn’t give to see that. 🙂 I was especially excited to see the bustling street scene that starts at 1:50 that showcases the marquee of the Chicago Theater and the L rumbling behind it. I have a scene in Homicide for the Holidays that happens in that very spot. After that, it moves on to Michigan Avenue (at the 2:53 mark) and the camera pans down the street to the Art Institute. Charlie and Viv drive this very route in The Darkness Knows!
Here’s some home movie footage of Wrigley Field in 1938 – also mentioned in The Darkness Knows.
Winter scenes from 1937 – those kids are so darn cute.
This is a Pathé Newsreel – so not a home movie, but it’s too fun not to share. It’s the “Windy City” at its literal finest in 1938. This appears to be about the time Homicide for the Holidays is set – December 1938.