A look at Crime Correspondent

Posted by Eric Brightwell, September 8, 2014 10:48am | Post a Comment

The overwhelming success of Dragnet -- surely the greatest police procedural on radio -- predictably led to the creation of several similar programs. Dragnet's network, NBC, offered several more twists on the genre. Perhaps the best was Tales of the Texas Rangers which sounds as if it might be a juvenile western but was actually an excellent Texas-set police (or Ranger) procedural. Confession, was a fascinating and too-short-lived criminal procedural that dramatized true crimes from the perspectives of the convicted. 


NBC's network CBS somewhat successfully countered with The Line Up (a procedural set in New York City), 21st Precinct (another New York procedural), and the absolutely fascinating Night Watch -- one of the first unscripted "reality" shows in which a police recorder rode with Culver City PD to the scenes of actual crimes. Someone recently told me about another CBS crime drama of which I hadn't heard, Crime Correspondent. I was intrigued.

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Tales of the Texas Rangers -- Police Procedural with a Lone Star Twist

Posted by Eric Brightwell, July 8, 2013 12:42pm | Post a Comment

It took me a while to discover the brilliant radio drama, Tales of the Texas Rangers. I inferred from its name that it was a juvenile Western -- possibly a derivative of The Lone Ranger. Even though The Lone Ranger provided my childhood introduction I have never been a fan of white hat vs. black hat shoot 'em ups. The fact that the Ranger Reid and his taciturn buddy, Tonto, are once again galloping onto the screens of multiplexes does absolutely nothing for me besides lodging Gioachino Rossini's William Tell Overture into my head on a loop.

Luckily for me, Tales of the Texas Rangers is almost completely unlike The Lone Ranger beyond the fact that the protagonists of both are (or were, in the Lone Ranger's case) members of the Texas Rangers. Tales of the Texas Rangers isn't even a Western, really, any more than Bottle Rocket, Office Space, Pee-Wee's Big Adventure, or any other film that happens to be set in Texas of the present day. Tales of the Texas Rangers is actually a police procedural, having more in common with Dragnet and the similarly-technology-fetishizing CSI franchise than even radio noir adult westerns like Gunsmoke. Like Dragnet, the episodes were supposedly based on actual cases handled by the rangers from the late 1920s to the then present. Also like Dragnet, after the apprehension of the criminal, the announcer would state the outcome of the case -- usually a sentence at Huntsville in place of San Quentin.

The program debuted on 8 July, 1950, on NBC. It was directed and produced by Stacy Keach, Sr, who'd initially tried to develop the idea into a film. Technical assistance was provided by retired ranger Manuel "Lone Wolf" Gonzuallas. Barney Phillips, Ed Begley, Frank Martin, Herb Vigran, Ken Christy, Lurene Tuttle, Parley Baer, Reed Haley, Tony Barrett, and Wilms Herbert frequently appeared in guest roles. The announcer was Hal Gibney, who began each episode by animatedly proclaiming, "Texas! More than 260,000 square miles! And fifty men who make up the most famous and oldest enforcement body in North America!"

The tone was measured and suspenseful and the detailed descriptions of crime scenes and forensics were more lurid than anything on TV at the time. Joel Murcott's (The Adventures of Frank Race, M Squad, Alfred Hitchcock Presents, and Bonanza) writing was consistently quite good and Monty Fraser's vivid sound effects are first rate. Of 95 episodes there are at least 92 episodes currently in circulation.

It starred Joel McCrea as Jace Pearson. South Pasadena-born McCrea was both a film actor and actual cowboy who operated three ranches and reportedly viewed acting as a hobby. In films he rode his own horse, Dollar, and chose his own wardrobe, disliking the distressed look favored by wardrobe departments.

McCrea was sometimes criticized for his supposedly limited range due to the fact that he refused not only to play villains or even less-than-perfect heroes. The only shade of gray associated with Jace Pearson was the fact that his horse was named Charcoal. He also refused to act in anything sponsored by cigarette or alcohol companies. For the first two months Tales of the Texas Rangers was sponsored by the suitably wholesome breakfast cereal, Wheaties. After that it was unsponsored.

Only a moderate commercial success, it ended its run on 14 September, 1952. From 1953 till 1959, Dell Comics ran its comic, Jace Pearson's Tales of the Texas Rangers. The series moved to TV (and CBS) where it aired on Saturday mornings from 1955 until 1958. Predictably the TV series was firmly oriented toward a young audience and offered standard cops 'n' robbers thrills. Less predictably it bounced around the Rangers' then roughly twelve decade timeline without explanation. One week Jace and company would find themselves chasing robbers in the 1950s, another week they'd be fighting Native Americans in the 19th century

Although the TV series is probably fine for young or nostalgiac audiences, the radio program holds up for and fan of well-made procedurals. Radio dramas can be found in Amoeba's Spoken Word section. Click here to connect with other Tales of the Texas Rangers fans on Facebook.

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Dragnet - The greatest police procedural and realest of the real

Posted by Eric Brightwell, June 12, 2013 06:27pm | Post a Comment

Though nowadays the Dragnet franchise is best  emembered today as a TV series (or two TV series), it began existence as was most exceptional as a radio dramaDragnet starred Jack Webb as Sergeant Joe Friday, an LAPD detective who, when the series began, lived at home with his mother and later on his own in a Silver Lake bachelor pad. It first aired on 3 June, 1949. The day was a Friday; it was warm in Los Angeles

Jack Webb had previously starred on three hard-boiled detective shows: Pat Novak, for Hire, Johnny Modero, Pier 23, and Jeff Regan, Investigator. He played a crime lab technician in the film, He Walked By Night , shot in quasi-documentary style with technical assistance provided by an LAPD dick. It reportedly sparked within Webb the idea for Dragnet -- a dark and realistic police procedural that would stand in stark contrast to the breezy tone of contemporary/rival detective shows like CBS’s Yours Truly, Johnny Dollar and ABC’s Richard Diamond, Private Detective (although Dragnet is hardly without its own odd sense of humor).


For most of Dragnet's run, William Parker was LAPD's police chiefParker’s predecessor, Clemence B. Horrall had resigned a few months after Dragnet’s debut under pressure from the mayor amidst an investigation into police corruption following the exposure of the department’s ties to the Jewish Mob. Horrall’s department had already famously (mis)handled the internment of Japanese-Americans in concentration camps in 1942, the anti-Latino (and to a lesser extant black, Pinoy, and other working class) Zoot Suit Riots of 1943, the high profile (and unsolved) Black Dahlia murder of 1947, and the longstanding, de facto racial segregation that only ended when the supreme court intervened in 1948.

William H. Parker III became the LAPD’s new police chief on 9 August, 1950. Although he is and was often maligned for having institutionalizing many of the LAPD's militaristic strong arm tactics, compared to most of his predecessors, he was incorruptible and unfriendly to organized criminals and he let it be known that no longer could LAPD officers “be bought for a ten-dollar bill.” 

Parker wasn't just tough on mob criminals, though, and by most accounts he went well out of his way to make life hell for innocent blacks, Latinos, gays, and Communists, and other already harassed and marginalized Angelenos. His shiny reputation for upholding his own brand of justice was likely small comfort to the innocent Mexican-Americans beaten within inches of their lives by drunk cops during 1951's Bloody Christmas, or to the transgender community -- who fought back at abusive cops at Cooper’s Donuts in 1959, or to the poor blacks who revolted in the Watts Rebellion of 1965, or to the gays who rioted after years of unjust imprisonment in Lincoln Heights’ so-called Fruit Tank (and who rioted at Silver Lake’s Black Cat Tavern a few months after Parker’s retirement in 1966).

Parker was keenly aware of the LAPD’s tarnished image and sought to use the radio, film and TV to changer the public's perception. He collaborated closely with Webb and Sergeant Marty Wynn on Dragnet, giving the series an unparalleled realism. The main characters spent more time sitting in cars, talking about sandwiches and diets, and fighting off boredom than engaging in shoot-outs and chases with criminal arch-villains. The antagonists were more likely to be guilty of check fraud than diamond heists. Tellingly, the public usually depicted as obstacles to justice -- threatening the working class heroes of the LAPD with lawsuits and generally uncooperative, petty and seemingly abusive without reason.

Although Dragnet was often lampooned for being square and conservative, it was in some ways progressive. The heroes were racially sensitive and Friday's first partner, Ben Romero, was Latino. Friday was motivated by a colorblind adherence to law, logic and facts (although he never actually said, "Just the facts, ma'am). To underscore the series' depiction of reality, each episode began with Friday intoning matter-of-factly, “The story you are about to hear is true. Only the names have been changed to protect the innocent.” 

CBS launched a much-publicized series of talent raids on NBC of 1947 and ’48 which resulted in much of NBC’s talents defecting to its then-chief rival. Even though Webb had already made quite an impression on radio for Pat Novak and Johnny Madero, Dragnet had trouble getting off the ground -- perhaps because it's tone was so different from that of any earlier radio dramas. CBS passed on it for not being “enough like Sam Spade” and NBC only picked it up as a summer replacement. 

After a slow start, Dragnet was a bona fide hit. Although the TV version of debuted on 16, December, 1951, and despite the fact that by 1952 it was obvious that TV was going to spell the end for radio drama, new episodes of the radio series continued to air until 1957. Reruns continued to air until 1959. (The last prime time radio dramas finally stopped airing in 1962).

One of my favorite aspects of the series, besides the realism and odd humor is the series' specificity and pan-Los Angeles locations. Addresses are almost always often given -- something sereis like The Adventures of Philip Marlowe did too -- but whereas most earlier Los Angeles-based shows took place between Downtown Los Angeles and the Hollywood, Dragnet was like a celebrity-unimpressed tour guide to the city and offers glimpses into the way things were at the time. Boyle Heights is diverse, there's the old Hollywood Subway, and many now-urban County areas are comparatively undeveloped. 

Additionally, the dialogue is snappy, dry, and usually deadpanly humorous – somewhat reminiscent of the writing of James Cain. The sound effects department was first rate and really helps complete the vivid mental pictures that form in the listener's mind. The plots range from the titillating to the mundane and treat them the same pragmatism. An early review in a 1949 edition of the Oakland Tribune summed it up nicely when their writer called it “an astonishing cops-and-robbers job simply because nothing very astonishing happens on it.”


The Dragnet TV series debuted on 16 December, 1951. Whereas most TV series were tame compared to their radio predecessors (which could get away with suggesting far more than the family-oriented boob tube could show) adult and unsensationalist Dragnet played similarly on both formats.

A Dragnet comic strip ran from 1952 to 1955. The movie, not surprisingly simply titled Dragnet, opened in theaters in September 1954 and was directed by Webb.  The TV series, like the radio one, was incredibly popular finally ended only because Webb ultimately desired to pursue other projects. None of those projects came close to Dragnet's success and before long, Webb returned with a color, made-for-TV-movie called Dragnet 1966.

Though Dragnet 1966 didn’t air until 1969, it convinced the network to revive Dragnet yet again as a TV  series the following year, Dragnet 1967. That series aired (with its name changed to reflect the then-current year) until 1970. Though it retained some of the series’ characteristic humor – usually in the form of conversations between Friday and his partner, Frank Gannon, about domesticity and dating, Friday was by then as stubbornly close-minded and uptight as the countless parodies had depicted him as being in the 1950s.

Wheres before he had busted murders and shoplifters with equal amounts of measure, in the revived series he was frequently wound up by an youth culture he was painfully out of touch with. He often lost his temper debating flaky hippies and other defenders of drug experimentation, decried the revolutionary methods of activists, and generally sweat a lot as he did so, looking sallow and increasingly unhealthy as he chain-smoked the tobacco cigarettes that were killing him and oblivious to irony lectured longhairs about the dangers of marijuana and other drugs. Though enjoyable, it was as unintentional camp. Jack Webb, who long promoted the healthy benefits of cigarettes, died when he was just 62 in 1982. Timothy Leary on the other hand -- born the same year as Webb and debated by Friday and an obvious stand-in an episode titled "The Big Prophet," lived until 1996.

Five years after Webb's passing, Dragnet was once again revived, albeit as a wacky comedy rather than intelligent drama. In 1989 Dragnet reappeared on TV as The New Dragnet. From 2003 to 2004 it was revived as a TV series L.A. Dragnet (starring Ed O’Neill). 


In addition to the aforementioned parodies -- including Stan Freberg’s “St. George and the Dragonet” (which first coined the phrase, "Just the facts, ma'am"), Dragnet's influence was felt in mostif not all of the best crime dramas that followed. Somebody Knows (1950) was an early crime documentary, recounting the events of unsolved crimes and offering a $5000 reward for information resulting in the crime’s resolution. Tales of the Texas Rangers (1950-1952) was like a Lone Star State version of Dragnet. The Line-Up (1950-1953), while entirely fictional, strove for a Dragnet-like realism. Confession (1953) was like the flip-side of Dragnet, offering the criminal’s perspective following the announcement, “The confession you are about to hear is an actual recording.” Crime Classics (1953-1955) was also a crime docudrama, although it focused on infamous cases and had a more humorous tone than most of Dragnet’s followers. 21st Precint (1953-1956) was like Dragnet relocated to New York City. The first reality show, Night Watch (1954-1955), followed Donald Reed as he rode with and recorded the routine of Culver City PD officers. ABC's entry into the genre was Unit 99 (1957-1958).


Dragnet's famous theme music is still recognized by people who’ve never listened to or watched an episode of the series. In rap it was famously sampled by The Showboys in their song, “Drag Rap,” which begins "The rhymes you are about to hear are true MC's names have been changed to protect the innocent."

Since then it's been sampled and referenced by seemingly every
bounce or rap producer in New Orleans -- most unforgettably by Mannie Fresh for UNLV’s “Drag ‘em in the River.” Rap music, especially gangsta rap, was often accused of sensationalism and just as often defended as a sort of fact-based reporting from the streets. Real recognize real, as they say, and Dragnet remains the realest.

Credit to the folks at Digital Deli Too for their research, accuracy, and the images.