Radio In Oklahoma

Written and Printed by The Oklahoma Museum of History

Education Staff 800 Nazih Zudhi Drive

Oklahoma City, Oklahoma 73105 Copyright Oklahoma Historical Society 2011

1

Table of Contents

Note to the teacher

Audio and Video Resources

Context for D-Day Audio Resource

Radio Timeline

Theater of the Mind

Questions for Theater of the Mind

Answer Key for Questions for

Theater of the Mind

1889 Land Run Radio Play

How to Build Sound Effects Devices

1940s Radio Show Assignment

Group Plan Sheet

Bibliography

Page 2

Page 3

Page 4

Page 5

Pages 6 – 13

Page 14

Pages 15 – 16

Pages 17 – 33

Pages 34 – 40

Pages 41 – 44

Pages 45 - 46

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A Note to the Teacher

Before your students produce the land run radio play, it may be useful

to have them read Theater of the Mind in order to get acquainted with basic

radio theater concepts and with some of the methods that were used in

radio before your students’ time. The questions that follow the text are

intended to check their comprehension of the information and to encourage

them to apply critical thinking skills.

Theater of the mind is an overview of radio. Your students are familiar

with television and probably the internet and other technologies that have

developed since radio. However if they are not familiar with radio drama

and comedy, this overview should help to acquaint them with some key

concepts to understanding this type of entertainment.

Theater of the Mind also touches on how radio works and how theater

in a radio setting works. This information combined with the equipment

provided in the radio education trunk and the land run play script should

expose your students to something that they are familiar with, theater, but

in a different form, radio theater.

It may be useful to let the students listen to all or some of the CD that

comes in the education trunk. It has examples of actual radio shows that

come from the golden age of radio and some contemporary shows. In

addition to reading Theater of the Mind, this may help them to make the

transition from television to radio.

Funding for this education trunk is provided courtesy of the Kirkpatrick

Foundation.

Audio Resources

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Included in this education trunk is a CD that has several radio programs, sound

clips, and one video that will help students to understand what a radio show is and

how it works.

Numbers 1 and 2 are sounds that were commonly used to identify the NBC

radio network or to identify the Monitor program on NBC.

Numbers 3, 4, and 5 are radio show adventures from the Golden Age of

Radio, 1922 to 1962.

Number 6 is a comedy show that was popular in the Golden Age of Radio.

Numbers 7 and 8 are from a radio talent show that was like American Idol is

on television today.

Number 9 is a video that shows how a radio play is made. It starts out from

the point of view of a boy listening to a show on his radio and then gradually

transitions to the studio where the play is being produced and broadcast.

Number 10 is live coverage of the D-Day invasion of Normandy during World

War II. It is commentary on how people were feeling that day about the

invasion. It comes mostly from WKY in Oklahoma City but was being

broadcast to the whole NBC radio network.

Numbers 11-14 are from a modern radio comedy show.

1. NBC chimes- used to identify the station as an NBC affiliate.

2. The Monitor beacon from the NBC weekend program. The beacon introduced

the show and was used in transitions, for example, going to station breaks

and accompanied by the tag line: "You're on the Monitor beacon”.

3. Dick Tracy episodes (2) The Dick Tracy comic strip was written by an

Oklahoman, Chester Gould.

4. Tom Mix western adventure show. Tom Mix was from Oklahoma and worked

on the 101 Ranch in north central Oklahoma.

5. Burns and Allen comedy show

6. Arthur Godfrey Talent Scouts two clips

7. Back of the Mike one video

8. NBC/WKY coverage of the D Day invasion

9. Car Talk four clips

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Context for NBC and WKY D-Day Coverage

On the audio CD in the radio education trunk, there is a clip of a broadcast that was

made on the occasion of the invasion of Nazi-occupied Normandy in France by Allied

forces on June 6, 1944, also known as D-Day. Most students will probably need some

background for this clip to have meaning.

During World War II, Nazi Germany had occupied all of northern France. However,

by June 6, 1944, the Allied forces, consisting of American, British, Australian, and

Canadian forces, were prepared to invade Normandy and fight the German army and air

force.

“War time” is mentioned in the clip. During World War II, Congress enacted the

War Time Act on January 20, 1942. Year-round daylight savings time, DST, was

established in the United States on February 9, 1942, as a wartime measure to conserve

energy resources. This remained in effect until after the end of the war in 1945. During

this period, the official designation “War Time” was used for year-round DST. For

example, Central War Time (CWT) would be the equivalent of Central Daylight Savings

Time during this period. Oklahoma is in the central time zone.

Allied forces crossed the English Channel from England to the beaches of Normandy.

England

Normandy

5

Radio Timeline

1920________1922_______________1924___________1934________1947___1955______2001________2004_

1920 KDKA in

Pittsburg, the

first AM

commercial

radio station

in the world,

begins

broadcasting

1922 WKY becomes the first

Oklahoma AM commercial

radio station. Opera singer

Alma Gluck was the first

program.

WNAD AM goes on the air as

the first Oklahoma

noncommercial station

1924 WKY does the first broadcast

that came from a network it was

singer, Reginald Werrenrath

1934 AM radios

are available in

cars for the

first time

1947 KWGS,

the first FM

station in

Oklahoma,

goes on the air

1955 90% of

Oklahoma

homes have

an AM radio

2001 XM, the

first satellite

radio station,

goes on the

air

2004

Oklahoma’s

first High

Definition

(HD)

station

goes on the

air KWTU

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Theater of the Mind

Notice the man on the left side of this picture. He is looking at a show script in his right hand and with the other hand, he is about to close a door for a

sound effect.

Theater Of The Mind

Radio is theater that you cannot see. Have you

ever been in one room listening to a television that was in

a different room? You probably have. In a way, that was

like a radio show. All of the voices, music and sound

effects were easy for you to hear. When that happened,

were you able to imagine what was on the TV screen at

the time? You probably were. So even if you have never

listened to a show that was made just for radio, you have

experienced something similar to it.

How Does Radio Work?

Radio is electrical energy that is sent through the air. A

device called a transmitter sends out people’s voices, music or

other sounds transmitted as electrical signals to the top of a

broadcasting tower. At the top of the tower is an antenna

which sends the signals out through the air. Instantly those

signals reach radios in homes and cars where the electrical

signals are changed into sounds that we recognize.

Radio Shows

Drama and Comedy

In the pictures below, you see groups of actors performing radio

shows. Notice that they are not looking at an audience. They are looking at

their scripts, the microphone or at each other. Looking at each other helps

them to get across to the audience how the characters feel about each

other.

A mother and daughter

listen to the radio next to them. They are not looking at the radio because they see the show in their imaginations.

Notice the concentration in these

actors' faces. They are thinking of how their characters would feel.

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Theater of the Mind

Since a radio audience cannot see the actors’ facial expressions or

other body language, it is important for the actor to get across the

character’s feelings through his or her voice.

Radio Tricks

To create the effect of someone being far away, speak further away from the

microphone. Gradually move closer to the microphone to create the effect of the

character moving closer to the action.

Hold a sound effect device close to the microphone if the device makes a soft

sound. If the device is particularly loud, hold it further away. Be sure that the

sound effect does not drown out the actors’ voices.

Use your ability to pretend; change your voice to sound older or younger.

Remember the audience cannot see you.

Pronounce your words very clearly. Remember that the audience cannot read your

lips.

If you don’t already have what you need to create a sound effect, use your

imagination. Look around the room, think about what is there. Also think about

what sounds can be made by using your hands, feet, legs, voice, and so on.

Help the audience to know what a sound effect is supposed to be by speaking about

it, such as “I hear horses coming!”.

Remember that you can stop and start the recorder if you need to fix a problem.

Choose music to use in the background to get across an idea, but be careful that

the music does not drown out the actors’ voices. Also be sure that the music is

appropriate for the story.

Music can also be used to change from one time and place to another. Have music

fade in and fade out to show that the story is going from one thing to another.

Think of what your character is feeling in the scene that you’re performing, and

with your voice get that feeling across to the audience. Remember they cannot see

you, so your voice has to carry the message.

Are these actors putting a lot of feeling into their performances? Even though the radio audience cannot see their gestures, these actors shake their fists to help produce the emotion of the story.

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Theater of the Mind

Radio’s Early Years

For forty years, from 1922 to 1962, millions of

people counted on radio for drama and comedy. Before

television replaced radio for comedy and dramatic

entertainment, people regularly gathered around a

nearby radio just as people do now with television.

Today people enjoy shows like American Idol to

watch ordinary people sing, tell jokes, or play an instrument. The same was

true during a time called the Golden Age of Radio. Arthur Godfrey’s Talent

Scouts was a popular show that did the same thing as American Idol except

that it was sixty years ago. You can hear some of the talent scout show on

the CD that came with this education trunk.

During its golden age, 1922 to 1962, radio was

especially important because America was more rural

than it is now. That is, more people lived out in the

country. There was no television or internet, and more

people lived out of town where they did not have easy

access to live theater, newspapers, or movies. So radio

was the only source of news and entertainment that they

had beyond what they provided for themselves.

Comedy

There is still a lot of comedy on radio with shows like a Prairie Home

Companion and Car Talk, but drama has mostly moved to

television, and movies. Examples of modern radio comedy are

A Prairie Home Companion which is about a make-believe

town in Minnesota called Lake

Wobegone and Car Talk, a call-in

show about car repair and anything

else that the callers want to talk

about. You can hear Car Talk, Golden Age drama

and comedy, and the Talent Scouts show on the CD that came with this

radio education trunk.

A battery powered radio in the 1920s

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Theater of the Mind

Clear Channel

Today you can easily listen to recorded books or music as you travel

anywhere. It is simple and not very expensive. Before the 1960s though, if

you were far away from a town in the daytime, there was little or nothing

available on radio, and there was no other way to get music, news, or

anything else.

However, once the sun went down, things changed. You could be

almost anywhere in the United States, and there would be entertainment

that you could get through your radio. In the car, at home, or at work,

music, sports and other programs were readily available way out in the

country after sundown.

Special radio stations called clear channel stations could be heard

hundreds of miles away from where the stations were located. Some were

heard over a thousand miles away. In the mid-1900s, the United States was

more rural that it is today, and people in the country

and small towns depended on clear channel stations

at night. This was before cable, the internet and

satellite television. Also these people could not get

television in daytime or the nighttime. Therefore

clear channel radio was the only way to hear what

was happening across the country and around the

world, but it only worked after sunset.

On most radios you can hear AM and FM

stations. FM is more popular now, but AM used to be

more popular. What made clear channel stations

special is that there were places on

the AM band where only clear

channels stations could broadcast after sundown. Some

stations across the United States had to turn off their

transmitters after sundown. For instance, if there were a station

broadcasting on 1520 on the AM band in Kansas City, they would have to

shut down at sundown because in Oklahoma City there was a

clear channel station, KOMA, that was also on 1520, and the

Kansas City station would interfere with the radio signal

coming from KOMA if they had kept broadcasting. KOMA could

be heard in Alaska 3,000 miles away because no other station

This radio gets both AM and FM stations

KVOO is a Tulsa clear

channel station

KRMG is a Tulsa

clear channel station

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Theater of the Mind

This map shows that the signal from WSM reaches Oklahoma.

could broadcast on KOMA’s frequency, 1520, after sundown. Think of a

person speaking in a large room filled with people. If everyone in the room

is quiet except the speaker, the people who are far from the speaker can still

hear him or her. In this example, the person speaking is a clear channel.

The Air Castle of the South

Another clear channel station that

can be heard in Oklahoma is WSM in

Nashville, Tennessee. WSM started a very

popular radio show in 1927. It was

originally called the WSM Barn Dance, but

it has been known as the Grand Ol’ Opry

for 83 years. The Opry has been a show in

which the best country music artists in the

nation perform before an audience, and a large radio

audience listens in. WSM is called the Air Castle of the South because its

signal covers most of the eastern half of the nation and almost the entire

South.

High Definition Radio

All television stations in Oklahoma and the rest of the nation switched

from analog, the older type of TV signal, to digital. You might remember

when this happened; however, radio stations were not

required to make this change. Most radio stations are still

analog. Most stations that are digital are also high definition or HD. High

definition means that the sound is much better; however, in order to get

that better sound you must be listening using a radio that is designed to pick

up an HD signal.

Both AM and FM stations can use HD. If they do use HD, AM stations

will sound as good as nondigital FM stations do now, and FM will sound as

good as a CD. Not only is the sound better on HD radio, but also the station

can have as many as four channels. For instance, a station could have one

channel for music, news on another, weather reports on a third one, and

community events on a fourth channel. Also an HD station can send

information to be displayed on the front of an HD radio.

Twenty-nine stations, about a third of the radio stations in Oklahoma,

have made the change to high definition signals. In smaller Oklahoma

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Theater of the Mind

towns, about one fifth of the stations have made the switch. It is expensive

for radio stations to make the change over to high definition, but in time,

more stations will probably decide it is worth the expense.

CONELRAD Control of Electromagnetic Radiation

During the 1950s, 60s and 70s there was a great deal of

tension between the United States and the Soviet Union. It was

so tense that many believed that a war between the two

nations could start at any time. To prepare for a possible

attack, a new type of radio station was started in 1951 called

CONELRAD. It is spelled with all capital letters because it is an

acronym. If the United States were attacked, only the

CONELRAD stations would be allowed to be on the air, and they

would provide only emergency information.

Between 1953 and 1963 all new radios were

required to have the locations of the CONELRAD

stations marked on their tuning dials.

The CONELRAD broadcast system was never used

because the Soviet Union did not attack the United States. It

has been replaced by the Emergency Alert System, EAS.

The EAS makes it possible for the president to talk to the

The red circles above show the locations of the two Conelrad stations.

This poster explained how to get information in case of an enemy attack.

640 and 1240 were the frequencies of the CONELRAD stations. They were also

the locations of the CONELRAD triangles on the radio dial.

Did you know? The University of Tulsa started the first FM station in Oklahoma and the first HD station in Oklahoma.

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Theater of the Mind

nation through all radio and television stations within ten minutes of the

time that he is notified of an emergency that makes it necessary for him to

talk to the nation as a whole.

New Developments

Satellite Radio

In recent years, radio has become available from two new sources,

satellite and the internet. Satellite radio is available day or

night in even the most remote areas. If you are on a long drive across the country and listening to an AM or FM radio,

you will pick up stations and then lose them as you drive in and then out of the range of their transmitters. Satellite

radio does not have that problem. You can listen to your favorite program and not worry about it going away as you

drive. Satellite radio offers a very wide variety of programming. There are specialty shows from satellite radio that you cannot get on AM or FM.

But there are two disadvantages to satellite radio. One is that a person must pay a monthly subscription to get that service. Another is that

it may be necessary to buy an extra piece of equipment called a receiver to get satellite programs in your car or home. Almost all cars have AM and FM

receivers, but only certain ones come with satellite receivers already installed.

Internet Streaming

The internet has made it possible to listen to radio stations from all over the

world. A quick internet search can bring up hundreds of radio stations from around the

globe. These stations broadcast the music and language of their countries, so it is

possible to easily listen to other countries’ radio stations and sample their cultures with a

few keystrokes of a computer keyboard.

The Oklahoma Association of Broadcasters (OAB)

Radio and television broadcasters have come together in an

organization that works to help both of them. There are many laws that affect broadcasters, and the OAB works with the state and national

governments to make those laws helpful to the public and to broadcasters.

Mumbai is a city in India. A radio station there is easy to listen to.

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Theater of the Mind

The OAB also works with universities across Oklahoma to promote

broadcasting education, and the OAB helps those who are looking for a job to find employment.

Also the OAB encourages cooperation among Oklahoma broadcasters to share their

experiences so that they can learn from each other’s experiences.

In Conclusion

For almost a hundred years, radio has provided music, comedy, news,

sports, and special events to millions. Old time radio shows teach us a lot

about the music of the past, what comedy was like, and how people spoke in

those days. Modern radio programs continue to keep us informed, provide

opportunities for discussion and to be heard. Even now with television and

the internet being a part of everyday life, radio still provides services that

nothing else does.

For instance, people who go to a sporting event listen to radio

coverage of the game even though it is being played in front of them. The

radio commentator provides additional information about the players and the

game that might not otherwise be obvious.

Radio is very useful to people on the road in their cars. Motorists are

saved from driving into a traffic jam by a traffic report

on the radio. They can avoid dangerous weather by

hearing reports in their cars. A complete description of

the latest news comes to motorists without it interfering

with their driving. Frustrated drivers can be soothed

with comedy and music that makes them relax and

reduce road rage.

Housework and home repairs are made more pleasant by listening to

music, comedy, sports, or news. Radio leaves the eyes and hands free to

work. There are also radio shows that give tips on how to make house work

easier and more effective.

Radio can always help out whenever someone is driving or doing

anything in which they need to keep their eyes on what they are doing. This

has been true for the better part of a century, and it continues to be today.

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Questions to Theater of the Mind

1. What are two ways that television is similar to radio? What are two ways that

it is different?

2. What four things are necessary for radio to work?

3. Why does it help for radio actors to look at each other during a performance?

4. What is the most important tool that a radio actor has to tell the story and get

across the character’s feelings?

5. How do radio actors create the illusion that a character is moving away from

the scene?

6. What two purposes can music serve in a radio show?

7. In what years was the golden age of radio?

8. What do you think is meant by “the golden age of radio”?

9. Shows like American Idol on television and Arthur Godfrey’s Talent Scouts on

radio are similar to each and both were very popular. Why do you think that

this type of show was popular then and now? Provide at least two ways that

the two shows are different.

10. Comedy has continued to do well on radio today but not drama. Why do you

think that is?

11. If you operated an AM radio station on the 1520 frequency in

Tulsa what would you have to do at sundown? Why would you

have to do that?

12. What part of Oklahoma might not be able to listen to The

Grand Ole Opry on WSM?

13. What are three ways that HD radio stations make a better listening

experience?

14. In 1958, if the Soviet Union had attacked the United States, what should a

radio listener do and why?

15. Today what would the president use to speak to the whole nation in an

emergency?

16. If you are on a long trip in your car, what advantage does satellite radio

have over AM and FM?

17. If you could listen to a radio station from anywhere in the world, where

would that be?

18. The Oklahoma Association of Broadcasters works to make better laws about

broadcasting. If you could make a law about radio or television, what would

it be? Why would you make that a law?

19. Why is radio better than television when someone is driving a car or doing

housework?

15

Answer Key to Theater of the Mind

A note to the teacher: Some of the questions call for basic

reading comprehension. Others call for analysis on the students’

part. The answers to the critical thinking questions will vary

because there are different interpretations to the answer;

however, critical thinking questions provide very good

opportunities for discussion.

1. Possible answers include: Both are used for news, sports, and

entertainment. Both are received on an electronic device. Both use

sound to tell their stories. Originally both were broadcast over the air

and received with an antenna. They are different in that radio can use

only sound. Radio does not do much drama now.

2. Electrical energy, a transmitter, a tower, an antenna, a radio receiver

3. It can help to look at fellow actors to be in touch with how the

characters feel about each other.

4. A radio actor has his or her voice and nothing else. Music and sound

effects can help, but they are someone else’s job. The actor must use

every ability that his or her voice has.

5. They move further away from the microphone.

6. Music can help to get across the emotion of a scene. It can also be

used as a transition device when there is a change in time and/or

place in the story.

7. 1922 to 1962

8. Answers will vary, but it was a time when radio was very popular and

radio provided all types of programming.

9. Answers will vary, but both shows do the same thing. An ordinary

person takes a chance at acceptance or rejection. In most cases, it is

someone with whom the audience identifies, so they get involved.

They are different because the audience can see the performers on

American Idol and not on Arthur Godfrey. They are also different in

that the styles of music are different. Also a radio talent show can’t

use visual acts like jugglers because the audience would not be able to

see the juggler.

10. Answers will vary, but drama relies more on facial expressions, close-

up shots and other resources that radio does not have. On the other

hand, a joke is funny whether the audience can see the joke teller or

not.

16

Answer Key to Theater of the Mind

11. You would have to go off the air. You would have to do this because

the 1520 AM frequency is being used in Oklahoma City by KOMA, and

they are a clear channel station. If the Tulsa 1520 station continued

to broadcast after sundown, their signal would interfere with KOMA.

12. The panhandle as shown in the WSM map

13. The sound is better, the station can have as many as four channels,

and the station can send information to an HD radio that will be

displayed on the front of the radio.

14. He or she would tune their radio to one of the two CONELRAD

stations. They would do this to hear emergency information so they

would know what to do next.

15. The Emergency Alert System

16. Two answers are possible: you can pick up satellite stations in even

the most remote places, or you don’t lose satellite stations by driving

out of their range.

17. Answers will vary. There are several web sites that you and your

students can visit to listen to radio stations from all over the world.

Here are a three: http://www.live-radio.net/worldwide.shtml

http://www.radio-locator.com/cgi-

bin/nation?ccode=ec&sid=&go.x=6&go.y=4

http://radiostationworld.com/locations/Fiji/ Some of these links will

work quickly and easily while others will not. You will probably find

some that will work well with very little trouble.

18. Answers will vary, but the students’ answers should provide a

suggestion that shows original thought.

19. You can hear all kinds of programs and enjoy them without having to

look at where the programs are coming from.

17

Radio Play

The 1889 Land Run

A Radio Play for Classroom

Production

Written and Printed by The Oklahoma Museum of History 800 Nazhi Zudhi Drive

Oklahoma City, Oklahoma 73105 Jeremy Carey, Education Intern

Copyright Oklahoma Historical Society 2011

18

Radio Play

Cast of Characters

Announcer: deep, male voice

Mr. William Lee: any male voice

Mrs. Clara Lee: any female voice

Maybell Lee (Eldest Daughter of Mr. and Mrs. Lee): soft female voice

Abigail Lee (Youngest daughter of Mr. and Mrs. Lee): soft female voice

Mary Smith: any female voice

James Cook: any male voice

Soldier #1: any male voice

Soldier #2: any male voice

Brigadier General Julius A. Penn: deep, male voice

List of Items Needed for Sound Effects

(Included in Trunk)

Plungers – Used to make clopping sounds of horses walking and running

Wooden Wheel – Used to create rolling sound

Dowel Rod – Used as an axle for the wooden wheel and to be hammered as

a stake

Metal Plate and Spoon – Used for metal sounds

Metal Stakes(2) – Used for metallic sounds

Hammer – Striking device to produce sounds

2x2 Boards (2)- To be used for various wooden sounds

Plastic Knife – Used to scrape across plate for eating sounds

Leather Belt – Used to make whipping or popping sound

19

Radio Play

List of Items Needed for Sound Effects

(Not Included in Trunk)

Paper – Used to make sawing and sounds of papers being handed over Something to Make Creaking Sound – Could be many things, especially old

items

Bugle or Small Horn (if possible) – Used for signals given by soldiers. If no

student owns one of these, a student can verbally make the noise.

Imaginations – Needed to think about how to simulate human walking,

running, creaking, and other background noises.

Recording the Play

See the laminated sheet in the trunk that explains the operation of the

digital recorder. Record the play in the order that it occurs in the script.

Please do not record one portion of the show until you are finished with an

earlier portion of the show. You do not have to get it “right” on your first

attempt. If you are not happy with a portion of the recording, make the

changes that you would like to make, and then record it again. You can

listen to the recording that you have made by connecting the recorder to

your computer or other audio device.

20

Radio Play

The 1889 Land Run

Script for classroom recording of the radio show

ANNOUNCER: Good afternoon Ladies and Gentlemen! Welcome to

our broadcast on W-O-H-S radio! Today, we are featuring A Moment in Oklahoma History!

SOUND: STUDENTS APPLAUD AND CHEER

ANNOUNCER: Come with us, now, as we travel through the

hourglass of time, back to the day April 22, 1889. April 22 marked the opening of the very first Land Run in

Indian Territory! We take you now to an area near Fort

Reno in the Unassigned Lands of Indian Territory. The scene begins on the morning of the run outside of an old

white tent where two homesteaders are eagerly anticipating the run.

SOUND: BACKGROUND CROWD NOISE BEGINS AND THEN SLOWLY

QUIETS

MR. LEE: Clara, my dear, are all of the supplies ready?

MRS. LEE: Yes, William. The girls and I packed them up.

MR. LEE: Good, the tools are in the wagon and I‟ve hitched up the oxen. We should be ready for the start.

SOLDIER 1: We‟re set to begin in 30 minutes folks. We will start moving to the line immediately.

MRS. LEE: Good heavens, we need to get the tent packed up and in

the wagon or we‟ll fall behind.

SOUND: METAL CLINKING, BUMPING, AND RANDOM BANGING ON WOOD (Students use metal plate and cup to make

clinking noise and use desks or tables for bumping and banging)

ANNOUNCER: The Lees quickly break down camp, stow all of their

belongings, and hastily throw their remaining things into

21

Radio Play

the wagon. Meanwhile, their children rush to climb into

the wagon.

MAYBELL LEE: Abigail, get in the wagon. Mama and Papa said it‟s „bout time.

ABIGAIL LEE: Help me up! I can‟t climb up.

MAYBELL LEE: Come on Abby, I can‟t reach!

ABIGAIL LEE: Help!!! Mama! Help!!! Pa!! I can‟t get up and Maybell

won‟t help. (WHINING)

MRS. LEE: I will get her, William. You finish with the wagon.

MR. LEE: Thank you dear. As soon as I put the tent in the wagon,

we‟ll be off.

MRS. LEE: Ok. Abigail, up you go.

ABIGAIL: Thank you, Mama.

MR. LEE: Everybody on? All right, here we go.

SOUND: ROLLING WHEELS AND WAGON CREAKING (Use dowel rod as an axle and roll the wheel close to the

microphone. Also, students need to create creaking sounds with their voices)

ANNOUNCER: The Lees join the convoy of wagons and settlers on

foot and horseback. Soldiers meet them at the starting

line. People of every description are here to start a new life. Many families as well as single men and women

await the start of Harrison’s Horse Race, James Cook and Mary Smith among them.

SOUND: HORSES WALKING, PEOPLE WALKING, AND BACKGROUND

NOISES (Students clap together coconut halves slowly. Students

also need to randomly beat on desks (softly, but close to the microphone) to simulate people walking and talking

in the background)

GENERAL PENN: Here we go boys. Give the signal and move out.

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Radio Play

SOUND: BUGLE (Student(s) need to blow horns lightly to simulate a

signal given by the soldiers. If no students have a bugle or horn, one can simulate a bugle vocally)

SOLDIERS 1 & 2: Yes sir! Move along! Let‟s go, move out!

JAMES COOK: Almost time. Would you look at that woman? She‟s

makin‟ the run all by herself?

MARY SMITH: I would watch your mouth, sir. I wager I‟ll get a claim before you do.

JAMES COOK: No way, ma‟am. You don‟t have a chance at this race.

Only men should be starting at the front. Not any ol‟

woman.

MARY SMITH: My horse is much better than your old mule. I will see you at the land office, sir!

JAMES COOK: Good luck, ma‟am. Try not to get hurt. (LAUGHS)

ANNOUNCER: The settlers finally arrive at the starting line. As noon

approaches, anticipation continues to mount. Finally, Brigadier General Julius Penn and his soldiers appear in

front of the line.

SOUND: CROWD NOISE AND HORSE CLOPPING (Students talk excitedly in the background. They also

need to make some clopping noises with the coconuts)

GENERAL PENN: I will give you the signal once it is exactly noon.

Watch for the signal. Get in position. Do not let anyone in early. If they try, arrest them immediately.

Understood?

SOLDIER 2: Yes sir! Okay, I will take the north and you take the south.

SOLDIER 1: Sounds fine to me. Let‟s get to our posts.

SOUND: SOUND OF SOLDIERS RUNNING ON THE GROUND AND

METAL CLINKING SOUNDS

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Radio Play

(2 Students need to bang rapidly on desk to simulate

running. Students also need to make random metal clinking sounds for the soldier’s accoutrements in

conjunction with the banging)

GENERAL PENN: Troops, please keep the wagons back and wait for my signal. Keep a sharp eye for any cheaters.

SOLDIER 1: Yes sir! They don‟t have a chance of getting in early

under my watch.

SOUND: RUNNING FOOTSTEPS ON GROUND (Student bangs on desk to simulate running)

GENERAL PENN: Almost time. 30 seconds.

SOUND: WIND BLOWING, HORSES NEIGHING (Students need to blow into microphone and simulate

horse neighing vocally)

ANNOUNCER: The general stares at his watch. He raises his arm in preparation to give the signal. Finally, the time has

come, and he drops his arm with his white silk handkerchief and the race begins. Thousands of people

take off at noon. Many ride horses, families ride in wagons, and even some run on foot. Many others ride

trains and bicycles. Out in the Unassigned Lands, people begin staking their claims.

SOUND: WAVING HEAVY CLOTH

(Student waves heavy cloth near microphone)

MR. LEE: Hang on everyone. Here we go!

JAMES COOK: See you out there, ma‟am. Yah!

SOUND: HORSES AND PEOPLE RUNNING, WHEELS ROLLING, METAL

CLINKING, CREAKING NOISES, AND EXCITED YELLING (All students make noises. Students use coconut halves

to simulate horses running (beat together quickly), bang on desks, use metal items to make clinking sounds,

make creaking sounds, yell excitedly, and roll wheel close to microphone for rolling sounds).

24

Radio Play

ANNOUNCER: After a long and tiring sprint, eager homesteaders

begin staking their claims.

JAMES COOK: (LAUGHS) This looks like a good place. There‟s the stake. Thank goodness, I‟m exhausted. Ok, so I pull this

out. (GRUNTS). And put mine in. (GRUNTS)

SOUND: STAKE BEING DRIVEN INTO THE GROUND (Student taps end of dowel rod to simulate hammering)

JAMES COOK: I got a prime piece o‟ land here. Heck, I bet that little

woman didn‟t even get 2 miles away from the line. (LAUGHS)

ANNOUNCER: Meanwhile, the Lees arrive at a section of land.

SOUND: WAGON CREAKING AND WHEEL ROLLING (Students make creaking noises vocally and roll wheel)

MR. LEE: This looks great. There‟s plenty of trees over there for

wood and it looks like there‟s a stream over that way, too. Now, where is the stake?

MAYBELL LEE: It‟s over there, Pa! Just beyond those rocks!

MRS. LEE (EXCITED): I see it too. William, pull the wagon over

there.

SOUND: FEET HITTING GROUND AND THEN RUNNING (Student bangs on desk to simulate running)

MR. LEE: Ok, got our marker. Let‟s get this one out. (Grunts). And stake our claim.

SOUND: STAKE BEING DRIVEN INTO THE GROUND

(Student taps end of dowel rod to make hammering noise)

MAYBELL AND ABIGAIL: Hooray!!!

ANNOUNCER: As the day passes, the Lees set out to explore their

claim and meet their new neighbors. They hear hammering and sawing from the surrounding claims.

25

Radio Play

SOUND: HAMMERING AND SAWING IN BACKGROUND

(Away from microphone, students tap end of dowel rod to simulate hammering. For sawing, students hold three

or four sheets of paper stacked together and roughly drag across edge of table or desk)

MR. LEE: Girls, this is Mr. James Cook. He claimed the land just

west of us.

MAYBELL AND ABIGAIL: Hello, Mr. Cook.

JAMES COOK: Hello, girls. Ma‟am, how do you do?

MRS. LEE: Just fine, Mr. Cook. Tired, but glad to have a new home. Where are you from, sir?

JAMES COOK: From Missouri, ma‟am. I wanted a new start and some land of my own. Once I‟m settled, I can look for a

proper lady to start a family with.

MRS. LEE: That‟s nice. I wish you luck.

JAMES COOK: Thank you, ma‟am. William, we should be off early tomorrow. We have to get back to file our claim with the

land office.

MR. LEE: Yes, but we need to find all the markers first though. We have a few hours of light left. I need to get something

set up for my family to sleep in. We can pitch the tent fairly quickly. Would you join us for dinner?

JAMES COOK: That sounds mighty fine. I will go look for my markers and get the numbers written down for

tomorrow. See you in a few hours.

MR. LEE: See you then.

ANNOUNCER: Mr. Lee and Mr. Cook go off to look for their section markers. They each find a pile of rocks indicating the

coordinates of their claims. Mr. Lee bumps into his new neighbor to the north during his search.

MR. LEE: Hello, ma‟am. How was the run for you?

26

Radio Play

MARY SMITH: Wonderful. I‟m happy to have a claim. I was worried

my horse wouldn‟t hold up to the strain.

MR. LEE: Well it‟s a good thing he did. Glad to have you as a neighbor. If you need any help, let me know and my

family and I will do our best to help out.

MARY SMITH: Thank you, Mr. Lee. Actually, I may need some help getting some wood and building some kind of cabin. But

no need to worry about that now. I have a tent and some food. I will need to find some supplies somewhere. I

heard rumors from other neighbors that there are already plans to build shops and businesses on some of

the claims.

MR. LEE: Hmm…well it would make sense to build some shops close

by. Another neighbor and I are traveling to Kingfisher to file our claims. You are welcome to come with us in the

wagon, and we can bring back supplies for all of us.

MARY SMITH: That sounds wonderful. Thank you, sir. I will see you tomorrow then.

MR. LEE: I can‟t believe I didn‟t ask, but how about you come to

dinner over at our tent and meet my family? My wife is making stew and corn bread. One of our other neighbors

will be there, too.

MARY SMITH: That sounds delightful. Again, thank you. Tell your missus I will bring over some vegetables and meat to

add to the stew. And I‟ll make something sweet. We can

have a feast to celebrate.

MR. LEE: Wonderful, see you in a while.

ANNOUNCER: Mr. Cook walks over to the Lees. To his surprise, he finds a familiar face helping Mrs. Lee cook.

SOUND: BACKGROUND NOISE FROM GIRLS, METAL SCRAPING AND

CLINKING SOUNDS, AND MUSIC IN THE BACKGROUND (Abigail and Maybell giggle and laugh excitedly in

background. Students use metal plate, cup, and plastic utensil to make scrapping and clinking sounds)

27

Radio Play

JAMES COOK: What in tarnation?

MR. LEE: Ahh, Mr. Cook, welcome. May I introduce Miss Mary

Smith? I invited her to dinner and to come with us to town tomorrow.

MARY SMITH: I see your old mule made it.

SOUND: MULE BRAYING

(Student vocally brays like a mule)

JAMES COOK: And I see you made it, ma‟am. I do apologize for what I said earlier. You certainly proved me wrong.

Where is your claim?

MARY SMITH: Just to the north of the Lees. And yours, sir?

JAMES COOK: Just to the west of the Lees. It seems we‟re

neighbors now.

MARY SMITH: So it does, Mr. Cook. Well, hopefully I have proven that a “little woman” on a horse can do just as good as a

man on a mule.

JAMES COOK: That you did, ma‟am. My hat is off to you.

MRS. LEE: Looks like we are all acquainted, so it‟s time for supper. Ms. Smith was kind enough to make some pudding and

added more to the stew for a proper meal. Children, go wash up. We have much to celebrate for our first night

in a new home.

SOUND: ABIGAIL AND MAYBELL YELL AND CHEER EXCITEDLY

(Skip if going on to continuation) ANNOUNCER: And so, ladies and gentlemen, that was

our…MOMENT FROM OKLAHOMA HISTORY! Thank you for tuning in. This is Radio Station W-O-H-S signing off.

SOUND: STUDENTS APPLAUD AND CHEER

28

Radio Play

Cast of Characters for Part 2

Announcer: deep, male voice

Mr. William Lee: any male voice

Mary Smith: any female voice

James Cook: any male voice

Claim Official: any male voice

Michael O’Brien: any male voice

Shopkeeper: deep, male voice

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Radio Play

Continuation (Complete if time allows)

ANNOUNCER: Welcome back ladies and gentlemen.

SOUND: STUDENTS APPLAUD AND CHEER

ANNOUNCER: The scene now shifts to the morning of April 23, 1889. Mr. Lee, James Cook, and Mary Smith have made

their way to the upstart town of Kingfisher. Today, they

must register their claims and get supplies. Hopefully everything will go smoothly for them.

SOUND: CROWD NOISES MIXED WITH HAMMERING AND SAWING

IN THE BACKGROUND (Students make sounds away from microphone. Tap

dowel rod to simulate hammering while using paper to simulate sawing)

MR. LEE: Oh gracious. Things seems to have sprouted up overnight.

Look, Miss Smith. There are a couple of people building over yonder. They look like they‟ve been working all

night. It‟s almost finished.

SOUND: HAMMERING AND SAWING GETS LOUDER

(Students move closer to microphone)

MARY SMITH (Loudly to speak over sound): There is an awful lot of noise here. Hopefully we don‟t have to stay here long.

I‟m getting an awful headache.

JAMES COOK (Loudly to speak over sound): I agree, there is a lot of racket here.

SOUND: HAMMERING AND SAWING GETS CONTINUES

JAMES COOK (Loudly to speak over sound): Now where is that

blasted claim office? We need to get this taken care of and get back soon.

MR. LEE (Loudly to speak over sound): I think it‟s somewhere to the south of here. Hopefully there aren‟t a lot of people

over there yet. It‟s still is kind of early.

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Radio Play

SOUND: HAMMERING AND SAWING FADE INTO BACKGROUND

(Students quiet the noise and stop) JAMES COOK: Ok, I think I see it, Mr. Lee. Look just beyond that

tent over there.

MARY SMITH: Goodness! Look at that line. Those people must‟ve gotten up really early to get here before us.

JAMES COOK: Well, we better get in line soon. I can see more

people coming into town over to the east.

ANNOUNCER: After standing in line for over 5 hours, the settlers are almost to the Land Office. Luckily for them, the line

has grown to a mile long behind them. People have begun to set up tents for the long wait.

MICHAEL O’BRIEN (Angry): What do you mean the land was claimed already? I was the only one there yesterday! I

got there first and came here first thing this morning. That land is mine.

CLAIM OFFICIAL (Business like): I‟m sorry. That claim was filed

earlier this morning. A gentleman named Cole was here at about 8 o‟clock sharp. He paid to file his paperwork,

had a witness sign off, and we finished it promptly. There is not anything I can do for you.

MICHAEL O’BRIEN (Angry): That just isn‟t right. I made the run and

claimed that land. Then some cheater gets here and claims the land I found. That just isn‟t right. You people

need to fix this. He had to have been one of them

Sooners I heard about.

CLAIM OFFICIAL (Business like): Sorry, sir. I can‟t do anything about that. I tell you what, there‟s some lawyer shops

set up in town already. Go over and talk to one of them and see if they can help you out. Other than that, there‟s

nothing else I can do for you.

MICHAEL O’BRIEN (Dissapointed): I guess I‟ll do that. I‟m sure not happy about it, but I guess there‟s nothing I can do right

now.

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Radio Play

SOUND: FOOTSTEPS OF MAN WALKING AWAY

(Student bangs on desk to simulate walking and slowly fades to quiet)

CLAIM OFFICIAL: Next in line.

MR. LEE: Yes, sir. What was that all about? That man seemed

awfully angry.

CLAIM OFFICIAL: Oh, he got swindled by one of them Sooners. He says that no one was on the claim that he wanted. But, a

man named Cole got there first and then came to town. He was lined up at 8 A.M. this morning to file a claim.

MR. LEE: That‟s just not right. I can‟t stand cheaters. He‟ll get

what‟s comin‟ to him.

CLAIM OFFICIAL: I rightfully hope so. Oh well. Let me see your

claim information and we can get this paper work finished.

SOUND: PAPER BEING HANDED OVER

(Mr. Lee and the Claim Official hand over papers close to microphone)

ANNOUNCER: After filing their claims, Mr. Lee, Mary Smith, and

James Cook head to one of the small general stores to gather supplies. The store is a small tent with goods

spread around. A burly shopkeeper has just finished attending to another patron.

MR. LEE: Hello. How are you today, sir?

SHOPKEEPER: Just fine. What can I do for you?

MR.LEE: Well, we need some supplies for our homesteads.

SHOPKEEPER: Supplies I‟ve got. Sorry they‟re so spread out. Hopefully I‟ll have a store built soon. I may be hiring

some people to build it for me since I don‟t have much time.

JAMES COOK: Hiring? Well, sir, I might be able to help you. I have

some experience in carpentry.

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Radio Play

SHOPKEEPER: Do you? Well, then I‟m willing to hire you if you know what you‟re doing. When can you start?

JAMES COOK: I can start tomorrow if that‟s ok.

SHOPKEEPER: All right. That sounds wonderful. We can discuss pay

after our business is finished. Do you have a list of the supplies you need?

SOUND: PAPERS BEING HANDED OVER

(Students exchange papers with Shokeeper)

ANNOUNCER: The settlers hand over their lists of supplies, and the shopkeeper quickly finds everything they need. After

James Cook finishes talking with the shopkeeper about

the next day, Mr. Lee and the others talk by the wagon.

MR. LEE: So do you have a job?

JAMES COOK: I do indeed. He wants me to start building him a store. He agreed that I could keep any excess wood or

materials along with what he‟s already paying me. There should be some extra so I can start on some

improvements to my homestead.

MARY SMITH: I‟m very happy for you, Mr. Cook. That‟s awfully nice of that shopkeeper to let you have the extra. I might be

willing to take some of that off your hands if you‟re willing.

JAMES COOK: I may have some extra and I‟d be willing to give you what I don‟t use. No need to sell it to you, ma‟am.

MARY SMITH: Mr. Cook, why you are a gentleman after all. Since

you‟re an experienced carpenter, do you think you and Mr. Lee could help me build a small home? I know I can‟t

do everything, so some help would be greatly appreciated.

JAMES COOK: I could probably help some. And thank you.

MR. LEE: I‟d be willing to help.

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Radio Play

MARY SMITH: Thank you both very much. I sure did get lucky to be near some gentlemen, even if Mr. Cook didn‟t believe a

little ol‟ woman could make the run all by herself. (LAUGHS)

MR. LEE (LAUGHING): Let‟s get going. Clara and the girls will be

wondering where we are.

SOUND: FOOTSTEPS WALKING AWAY (Students bang softly to simulate footsteps and fade

slowly to quiet)

JAMES COOK: Right. After you, Ms. Smith.

MARY SMITH: Thank you, sir.

SOUND: CREAKING OF PEOPLE CLIMBING ONTO WAGON

(Students use something old to make heavy creaking sound)

MR. LEE: Everybody ready? Let‟s go.

SOUND: WHIPPING OF REINS, CLOPPING OF HORSES, AND WHEEL

ROLLING (Students fold leather belt in half, scrunch it up, and

quickly pull the ends to make whipping sound. Students also use coconuts to simulate the horses walking and

roll wheel near microphone)

ANNOUNCER: That’s the end of our show. Thank you for tuning in.

This is Radio Station W-O-H-S signing off.

SOUND: STUDENTS CHEER AND APPLAUD

34

How To Build Sound Effect Devices

Advice from Tony Palermo

It's a Wonderful Life script & SFX for radio - Details about how you can produce my radio adaptation of Frank Capra's classic film.

Also available: Stage play version of "It's a Wonderful Life"

There are only a few special devices necessary for radio sound effects. I've found it's not the props themselves, but the way they are manipulated that

make the difference. For one show, I had Crusaders venturing underneath a volcano. One scene called for them to wade through an ocean of bones. We

tried spooning a bunch of gravel, but it didn't sound right. I turned to my mentor, Cliff Thorsness, CBS's ace sound effects artist in Los Angeles from

the 1930s to the 1960s for help. At first he grabbed some hi-lighter pens and moved them in his hand, but it didn't sound big enough for an ocean of

bones. Then he went to our gravel box and started manipulating the gravel up against the sides of the wooden box--Wham, that was it! It's all in how

you use the sound effects devices. Here's how I built a number of simple SFX devices we use all the time.

CRASH BOX:

The crash box is one of the most useful SFX devices in radio drama. I've used it for car crashes, planets being destroyed, ghostly clunking

about and also as a contributing background noise under medieval wars and gun battles. It's also a fine first part for doing a thunder-

crack (followed by the rumble of a "thunder sheet" being flexed--see below).

Some of the old time radio shows had crash boxes that resembled a small metal trash can on a crank. I've found a much simpler version

that is easily manipulated in a number of ways. I use a popcorn can, the kind Christmas popcorn comes in (11 inches high and 10 inches in

diameter--a bit larger than a basketball) and fill it with junk. These popcorn cans are only sold at Christmas-time (which now starts in

early October). I just picked up several cans at one of those office superstores (Staples, Office Depot, etc.) for $5.00.

I dump the popcorn (OK, we eat it) and fill the can with broken ceramic coffee mugs, a crushed aluminum can, pennies, nails, pieces

of wood (about the size of a fist), and two handfuls of gravel. I then tape the lid shut with grey duct tape. You want to keep the lid on tight

or the junk or its soon-to-be fine dust will leak out. I don't use glasses or wine bottles anymore because they powderize too much. The

ceramic coffee mugs are sturdier and sound similar.

35

How To Build Sound Effect Devices

As in most SFX work, manipulation is everything. We use a two

handed shake and roll motion to get a variety of crashes out of it. When shaking it for a sound effects cue, you have to remember to end

the motion with the can upright or you'll create unwanted crashing/settling as you put the can down. If not, your actors will have

to ad-lib "Look the car's crashing...again!"

After a while of use, the mugs and rocks grind down and the crash may not be as loud, so you may have to put in another coffee mug. At

some point the debris will turn to such fine dust that it begins to leak out the seams. Dump everything out and start over--or get another

popcorn can and start from scratch. You may have to tape up the

seam, but don't cover the whole can with duct tape or you'll deaden the crash too much.

I suggest you buy a couple of cans at a time as they break and dent

and leak after prolonged use. Once the Christmas season is over, they're impossible to find.

THUNDER SHEET:

Convincing thunder and other low rumbles as well as odd space sounds can be wrung from a 2 x 4 foot sheet of high impact styrene

plastic--with a thickness of about 60 mil. These are sold by specialty plastic shops--try looking in the Yellow Pages. You can buy a sheet for

about $10. You can manipulate it in various ways to get different sounds. To get thunder, I grab it with two hands from the 2 foot end

and move my hands in a punch-after-punch motion (like a boxer working a speed bag at a gym.)--you ripple it. To get a really

convincing thunder-crack, have a second person quickly jerk a crash

box and then follow it up immediately with the thunder sheet. You can get some outer space "wup-wup, wup wup" sounds by grabbing each 2

foot end with a hand and flexing it in broad slow strokes. I've used that sound for giant amoebas undulating around.

THUNDER ROLL:

Shake a thunder drum close to the mic. Search Google for: schylling "thunder maker"

36

How To Build Sound Effect Devices

WIND MACHINE:

The old time radio shows used wind machines for Superman flying, storms and spooky backgrounds. The sound is produced by rotating a

drum of wooden slats against a canvas sheet that is pulled lightly against the slats. It's not too tough to make your own, but will require

some carpentry skills. I made one in an afternoon out of plywood and

a 1 -1/2 inch closet pole dowel. Total materials cost: $20.

My drum was 12 inches in diameter and 16 inches long. For the ends of the drum, I bought two pre-cut 12-inch circles of 3/4 inch particle

board at a building supply superstore (Home Depot). I drilled two 1-and-7/16 holes in the center of the circles and filed it to allow a tight

fit for the closet pole--which serves as the axle. I then cut 18 slats - 1-inch wide by 16 inches long, from a piece of 1/4 inch plywood.

NOTE: The slats must be of a fairly hard wood or they won't be loud enough when rubbing against the canvas sheet. I used tiny nails to

attach the slats to the circles leaving about an inch of space between them. They don't have to be perfectly spaced--just nail one then it's

polar opposite and continue by halves, quarters, eighths, etc., until the drum is covered with slats.

I built the drum platform out of a 20 inch by 16 inch rectangle of 3/4

plywood and used two triangles to serve as braces for the drum. The

dimensions depend upon how much axle you use. (Sorry I can't be more precise, but I don't have the machine beside me).

For the axle, I used a 1 -1/2 inch closet pole and cut it to about 19

inches. I used one of those plastic end-caps for hanging closet pole to hold the axle on one end of the dowel and just drilled a 1-and-9/16

hole through the other brace. The drum is attached to the axle just where it goes through the circles. The crank was just a short piece of 2

x 5 inch plywood with a bit more dowel for a handle. I attached them with several screws.

I used a cut up "butterfly chair" seat for the canvas sheet. It is wrapped around an extra slat at either end (like an old roll-up window

shade) and secured against the platform on one end only.

37

How To Build Sound Effect Devices

The cranking motion really makes the device slip around, so I cut out a

piece of a thin rubber-backed welcome mat and attached it to the bottom of the platform--carpet side facing the bottom of the platform--

rubber side facing whatever tabletop surface you put the device on.

To get the wind sound, you crank and, optionally, pull the canvas tighter against the rotating drum. You don't have to crank too fast to

get a convincing wind storm. You can also leave the canvas away from the slats and apply other things (playing cards, a drummer's wire

brush, etc.) against the rotating slats to get other mechanized sounds.

My wind machine isn't too loud (maybe harder slats would increase the

volume), but it really produces that classic dust storm or Superman flying sound. It's an amazing little contraption.

WALK BOARD:

The walk board is used for running, walking, dancing, and even dragging ghostly chains on. I use a piece of 2 foot by 3 foot plywood,

doubled up (two 3/4 inch pieces attached on top of one another). You may want to cover one side with tile or carpet. We have people walk

and stomp on the board, but noticed that many people wear athletic shoes which don't make much noise. You could get some leather soled

shoes and walk them on the board with your hands-but I don't bother-

-I just have people stomp louder. If you prop up one end of the walk board with a two by four, you can simulate a stair step sound.

GRAVEL BOX:

The gravel box is generally used for horse hoofs and walking. I use an

18 inch by 30 inch wooden box (I made it from 1x6's and plywood)

filled with a layer of garden gravel. We then use two coconut shells for horses and two two-by-four blocks (7 inches by 4 inches) as cowboy

"boots" to walk on the gravel. Some old shows used a canvas bag filled with gravel, but we've found the box sufficient--also having the

gravel exposed allows us to manipulate it for other sounds--such as Crusaders wading through an ocean of bones. I recently added a small

plywood "deck" covering part of the box to use for streets or bar room floors. A piece of ceramic tile might help for cobblestones. Some

wooden "boots" had spurs too. Hi-Yo, Silver!

38

How To Build Sound Effect Devices

OLD FASHIONED TELEPHONE RINGER:

A couple of years ago, I investigated using real telephones for phone

SFX and can't recommend it. The way an old Bell phone works is that two voltage levels are run through the same two copper wires. I don't

quite recall the exact low voltage, but I think it was something like 15-20 volts for the talk signal and 84 volts for the ringing. But to generate

the 84 volts, you need an expensive transformer. I just thought it was too much money and too dangerous to use with kids.

So, here's what I recommend instead: Go to a hardware store and buy a doorbell kit--not the "Ding Dong" variety, but the little 3 inch bell

with a clapper. It's about $10-$15. Then mount it on a board and remember to push the button 2 seconds on and 4 seconds off. If you

get the right kind of bell, it works fine as an old phone. I also keep an old-style desk phone nearby so people can loudly pick up and put

down the handset in conjunction with the bell.

What I don't have is the sound of the bell ringing through the phone

line--what YOU hear when you're waiting for somebody you've called to answer. So I always have characters dial or answer the phone and

only put one of them through an EQ filter to simulate the "tinny" sound of a phone voice..

ROLLER SKATE BOX:

Take an old fashioned kid's roller skate and attach it to the bottom of a wood box (10 x 4 x 4). The old skate should be the kind that would

strap onto a kid's shoe and use four metal wheels--you want something noisy, not fancy. This can serve as a horse-drawn buggy,

an elevator door opening, a double-sash window opening and even the creaking of a sailing ship at sea. You can put chains or gravel in the

box to jostle around too.

EGG MARACAS:

You can buy these plastic egg maracas at musical instrument stores or

make your own out of egg sized plastic Easter eggs filled with seeds or rice. Get two and shake them very fast, then vocalize some jungle bird

sounds and you've got an instant rainforest. This is very evocative.

39

How To Build Sound Effect Devices

SWORD FIGHT:

Bang together several large metal cooking spoons and pancake

flippers. I like the flipper with the wooden handle and a 10 x 3 inch blade. The metal spoons can be plain or have strainer holes. The crash

box and some battle cries add extra mayhem too.

FIVE GALLON BUCKET:

Get one of those plastic 5 gallon paint buckets, fill it one third full and swish water around inside. This can serve as rowboat oars or

swimming or sharks. A plumber's plunger can work as a swish stick, but what's better is an "X" shaped cross of 1/4" plywood on the end of

a stick. To get the sound of a splash you don't plunge into the bucket--that splashes water all over you--instead you put the X-stick into the

bucket and pull it out. That's how they did on the Lone Ranger. Plus you can use the bucket to carry around other small SFX gear. I also

bought a little lid/seat for $5 that fits over it, so I can sit on it during

any stretches of a show where there are no sound effects.

GUN SHOT CLIP BOARDS:

The typical office clipboards can be snapped to make decent gunshot noises. I find the wooden backed ones to be noisier. I think they really

need a resonating box to amplify the sound. Maybe snapping the

clipboard in a small metal trash would work. Another idea is to use a drum stick to hit a throw pillow or vinyl covered drummer's throne--

however this requires some skill to slam the body of the stick onto the pillow. If you're not precise with your hits, you might end up shooting

"blanks" when real bullets are called for.

Lately, I've found an old CBS gunshot slapper that's pretty easy to make. The concept is to slap a hinged ruler-sized "tongue" of 1/4

plywood on a small 12"x4" pad of chamois--that goat skin drying rag sold at auto part stores. I take a 13"x5" platform of 1/4 plywood, affix

a small cabinet hinge on one end, attach the 2"x11" ruler/tongue to it

and staple a folded bit of chamois under it. Then you pull back the tongue and slap it for the gun shot. It works really well in a theater

and can be "fired" repeatedly. If you add some reverb to the sound in post-production, it's a convincing gunshot.

40

How To Build Sound Effect Devices

WAVE DRUM:

To produce the sound of surf lapping at a beach, get one of those

black plastic witches' caldrons they sell to hold candy at Halloween and pour in a few handfuls of BBs, then slosh them around. You'll have to

use two hands to control this sound, but it's very realistic. I've tried it with marbles instead of BBs, but the marbles clack into one another

and spoil the effect. Find a cauldron that's smooth inside, so the BBs won't bump or stick when you start sloshing them around. You can

find the BBs at gun shops for about $3 for a 1/2-pint milk box. Look for "Airgun shot, steel BB Caliber (4.5mm)."

The REMO drum company makes a commercial wave drum with two different surfaces. They run about $50. You could make your own by

rolling the BBs in an 18-22 inch bass drum rim and drum head.

DOOR OPENING/CLOSING/SLAMS:

While you can try the typical prop doors used in stage plays, I suggest you

build a small SFX door to stand on the SFX table. For photos of my SFX doors, see: www.ruyasonic.com/ruya_news.htm

You can make a small door from a single panel off an old 4 or 5 panel

door--which can be found at architectural salvage yards. Build a frame out of 1”x6” pine. Use 2-1/2” non-mortise hinges. What’s important for

a good SFX door is to use an old-style mortise lockset. Search at

Amazon.com or Google for: “Mag Engineering” #8785 Brass Mort Lock. The lockset and strike

are more important than the door dimensions. Attach 1”x3” wooden feet to the frame so it can stand upright. Clamp those feet to the SFX

table so the door won’t rock when you slam it.

DOOR LOCKING:

Jiggle mortise-style door knob to get a “ka-CHINK.” Again, the old-style

mortise lockset produces a clearer “door” sound than modern (a/k/a “Kwikset”) locksets--which are too quiet.

BELL (ATTACHED TO DOOR) RINGS

Ring a small “tea time” bell or similar. This bell “hangs” on the lobby door of the Savings & Loan office and is heard when Violet makes her entrance and

exit while seeking a letter of recommendation from George. Coordinate the bell to ring when the door opens/shuts. Do NOT attach it to the door---just

41

How To Build Sound Effect Devices

open the door with one hand and ring the bell with the other. Search Google

for: “tea bell” and find one with a 1” or 1-1/2” or so diameter.

DINNER PLATES/FORKS:

Scrape a fork on small dessert plate. You may wish to drop the fork on

a particular line of dialogue--for dramatic emphasis. Have two or three different sized plates/saucers and several forks--so you can quickly

grab one on a crowded SFX table.

1940s Radio Show Assignment Group Plan Sheet

40

1940s Radio Show Assignment Group Plan Sheet

Objective: The students will write a 1930s-1940s style radio show incorporating the style and sound effects of the time period. Students will also work in groups

incorporating performance skills with an emphasis on diction, vocal variety, and projection.

In groups of 4-5, you will write an old fashioned style radio show. Each member

must speak and help write a component of the show. You may not have more

than 5 members without the permission of the teacher. You must work in a group and practice the time given. Do not allow yourself to be the weak link.

Group Members:

__________________, __________________, __________________, __________________, __________________,

You will perform behind a screen or curtain, so the emphasis must be placed on

your vocal variety, diction, and projection. The show can be about anything, but must be appropriate. It must be done in either a serial form (not breakfast food,

but serial as in a continuing series like on TV). It can be a mystery, a melodrama, adventure, horror story, or cliffhanger style. If you do not

know these forms, please look at your literature book. It is a great resource.

You will be graded on the following: Circle the Style of your Radio Show:

Melodrama Adventure Mystery Cliffhanger Horror Main Plot: _________________________________________________

_________________________________________________________

_________________________________________________________

_________________________________________________________

The following pages show an example of Radio Show script that you may

look at as an example. You must follow the script. The finished product must be no shorter than three minutes and no longer than five. (Each

commercial may be 30 seconds to 1 minute long only).

Music: There must be music to introduce your show. It must fit the

theme of the the show. Do not pick a song just because you like it. Music sets the tone.

1940s Radio Show Assignment Group Plan Sheet

41

Sound Effects: There must be at least 4 effects that is not music or

using a cell phone. Two can be sounds that you download from one of the free websites such as A1 Sound Effects that are in the old fashioned

style. You must provide the CD or sounds. You may use the computer, but you are responsible for downloading prior to your performance day.

There will be a CD player provided. For anything else such as an iPod, you must provide speakers. Two of the sound effects must be created in the

old style as recently introduced in the handout and discussion. If you

missed the discussion, then you may research the styles online.

My Groups Four Sound Effects:

Sound Effect How is it created? Member Performing Effect

1.

2.

3.

4.

Commercials: Here is your chance to create your own commercial

product. You must create two commercials. You may not use a product

that is already out there. You will create a jingle for your commercials and may add extra sound effects for extra credit or just for fun! Each

commercial may be 30 seconds to 1 minute long. Commercial 1:

Product: __________________________________________________

__________________________________________________

Jingle: __________________________________________________

__________________________________________________

Extra Effects:________________________________________________

__________________________________________________

Time:____________

1940s Radio Show Assignment Group Plan Sheet

42

Commercial 2:

Product: __________________________________________________

__________________________________________________

Jingle: __________________________________________________

__________________________________________________

Extra Effects:_____________________________________________________

___________________________________________________________

Time:____________

Radio Show Grade Breakdown & Critique:

Rehearsal Grade also known as production points:

Each student will be given 20 points per day for a total of 100 points for the week. Each student is expected to use their time working on writing,

rehearsing and putting together their radio play. If they are not with their group, working on something else, or refusing to help their group, it

will result in lost points for the day. If you are off with another group, you are not helping your group and will lose your points. Do not expect

full points for the day if you are gone to the bathroom for long periods of time. If you are absent, it is your responsibility to catch up and get the

information. Basically, you are given points for doing what is expected

of you. Do not be the person who lets two people do all the work.

Status Check Grade: Each student is expected to fill out the Radio Show Assignment Plan Sheet. The

group will be given status check for the following:

Plan Sheet Complete by: _________________ Script Completed by: _________________

Sound Effects Completed by: _________________ Commercials Completed by: _________________

1940s Radio Show Assignment Group Plan Sheet

43

Performance Critique: Vocal Quality: 1 2 3 4

Creativity: 1 2 3 4 Music 1 2 3 4

Script Quality: 1 2 3 4

Style Followed: 1 2 3 4

Sound Effect 1: 1 2 3 4

Sound Effect 2: 1 2 3 4 Sound Effect 3: 1 2 3 4

Sound Effect 4: 1 2 3 4

Commercial 1: Product Creation: 1 2 3 4

Jingle: 1 2 3 4 Commercial 2:

Product Creation: 1 2 3 4 Jingle: 1 2 3 4

Total: ______________x 2= Grade

45

Bibliography for Radio in Oklahoma

Archival

Dick Tracy episodes. Oklahoma Historical Society Research and Archives

Division. Oklahoma History Center. Oklahoma City, Oklahoma.

Tom Mix Western Adventure Shows. Oklahoma Historical Society Research

and Archives Division. Oklahoma History Center. Oklahoma City,

Oklahoma.

Websites

French, Jack. “Sound Effects.” The Original Old Time Radio Web Pages.

http://www.old-time.com/sfx.html (accessed January 13, 2011).

Genco, Louis V. “The Stories behind OTR.” The Original Old Time Radio Web

Pages. http://www.old-time.com/stories.html (accessed January 13,

2011).

Matzat, Cynthia. “Radio Days: a Webquest.” Thematzats.com.

http://www.thematzats.com/radio/ (accessed January 13, 2011).

OTR Cat.com. George Burns and Gracie Allen Radio Show. OTR Cat.com.

http://www.otrcat.com/burns-and-allen-p-1148.html (accessed

January 13, 2011).

_______. “Arthur Godfrey Radio Show. OTR Cat.com.

http://www.otrcat.com/arthur-godfrey-p-1058.html (accessed January

13, 2011).

46

Bibliography for Radio in Oklahoma

Palermo, Tony. “How to Build Sound Effects Devices.” Tony Palermos’

Ruyasonic. http://www.ruyasonic.com/sfx_make.htm (accessed

January 13, 2011).

_______. “A Catalog of Live Sound Effects.” Tony Palermos’ Ruyasonic.

http://www.ruyasonic.com/sfx_make.htm (accessed January 13,

2011).

Wikipedia. “Radio” Wikipedia Online Encyclopedia.

http://en.wikipedia.org/wiki/Radio (accessed January 13, 2011).

Online Videos

Handy (Jam) Organization. “Back of the Mike, 1938.” Prelinger Collection.

Internet Archives. http://www.archive.org/details/Backofth1938

(accessed January 13, 2011).

*Some information also included correspondence between local

radio employees and our education staff. NBC/WKY coverage of the

D-Day invasion courtesy of Michael Dean’s private collection.