Gunsmoke Quotes

Our gazes struck like flint and steel. And I realized that gunsmoke smell wasn’t ozone. It was us. We burned.

I'm the idiot box. I'm the TV. I'm the all-seeing eye and the world of the cathode ray. I'm the boob tube. I'm the little shrine the family gathers to adore.' 'You're the television? Or someone in the television?' 'The TV's the altar. I'm what people are sacrificing to.' 'What do they sacrifice?' asked Shadow. 'Their time, mostly,' said Lucy. 'Sometimes each other.' She raised two fingers, blew imaginary gunsmoke from the tips. Then she winked, a big old I Love Lucy wink. 'You're a God?' said Shadow. Lucy smirked, and took a ladylike puff of her cigarette. 'You could say that,' she said.

By all the rules of modern fiction there should have been gunsmoke mingling its acrid blue with the brown haze of corral dust. Dead men should have fallen and been trampled... Nothing of this sort happened.

The gunsmoke whipped away in the wind and the sudden noise faded and the jet whine came back, low and steady.

Hawk Larabee was radio’s first half-hearted attempt at an adult western drama, a concept that was not fully realized until the arrival of Gunsmoke five years later.

A look passed between Recevo and Karras. They could hear the rest of them crowded outside the door. Karras cradled the Thompson gun, pressed the butt tight against his ribs. "Well," he whispered. "Come on if you're gonna come." They charged into the room. Karras saw white fire as he heard the reports, heard Joey's gun explode, saw one man fall, heard Joey scream, watched Joey's fedora tumble by as if it had been blown by a strong wind. Karras squeezed the trigger, saw men diving through the gunsmoke, the doorframe disintegrating in spark and dust. He fell back to the floor from a blunt shock that felt like a hammer blow to his chest. Karras winced, got himself up onto the balls of his feet. He leaned his face against the table, rested it there, caught his breath. He listened to the others move about the room. Swim, you Greek bastard. And he was over the table, landing on his feet as softly as if he had landed in water. And they were there, the Welshman and the others, moving toward him, emptying their guns at once, the sound deafening now and riding over their caterwauling screams and the bottomless scream coming from his own mouth. Karras went forward, humming as his finger locked down on the trigger, the Tommy gun dancing crazily in his arms, the gunmen falling before him through the smoke and ejecting shells and the white gulls gliding against the perfect blue sky. Red flowers bloomed on the chests of the men who had come to take Peter Karras to the place where he was always meant to be.

The people who run the mass media and those who consume it are really in the same boat. They must continue to produce things they do not really admire, still less love, in order to continue buying things they do not really want, still less need. If we were dealing only with fintails, two-tone cars, or programs like Gunsmoke, the situation would not be so grave. The trouble is that serious things are handled (and received) with the same essential lack of seriousness.

As early as 1953 there was talk of television. Perhaps Macdonnell saw the writing on the wall when he told the press that “our show is perfect for radio,” that Gunsmoke confined by a picture couldn’t possibly be as authentic or attentive to detail. Behind the scenes, he was intrigued. If the cast could be left intact (a major problem, for the once-slender Bill Conrad had ballooned in recent years, giving him an appearance far different from what a listener saw in the mind) and if the spirit and integrity of the radio show could be maintained … well, it might be interesting.

So began my love affair with books. Years later, as a college student, I remember having a choice between a few slices of pizza that would have held me over for a day or a copy of On the Road. I bought the book. I would have forgotten what the pizza tasted like, but I still remember Kerouac. The world was mine for the reading. I traveled with my books. I was there on a tramp steamer in the North Atlantic with the Hardy Boys, piecing together an unsolvable crime. I rode into the Valley of Death with the six hundred and I stood at the graves of Uncas and Cora and listened to the mournful song of the Lenni Linape. Although I braved a frozen death at Valley Forge and felt the spin of a hundred bullets at Shiloh, I was never afraid. I was there as much as you are where you are, right this second. I smelled the gunsmoke and tasted the frost. And it was good to be there. No one could harm me there. No one could punch me, slap me, call me stupid, or pretend I wasn’t in the room. The other kids raced through books so they could get the completion stamp on their library card. I didn’t care about that stupid completion stamp. I didn’t want to race through books. I wanted books to walk slowly through me, stop, and touch my brain and my memory. If a book couldn’t do that, it probably wasn’t a very good book. Besides, it isn’t how much you read, it’s what you read. What I learned from books, from young Ben Franklin’s anger at his brother to Anne Frank’s longing for the way her life used to be, was that I wasn’t alone in my pain. All that caused me such anguish affected others, too, and that connected me to them and that connected me to my books. I loved everything about books. I loved that odd sensation of turning the final page, realizing the story had ended, and feeling that I was saying a last goodbye to a new friend.

Cobb was in a Klan group back in the 60's, and told me stories about how they used to throw live 'coons, possums, porcupines, or ganders into Black houses at night in attempts to run them out of Johnston and Harnett County. Cobb said that late one night, he and three or four other local rednecks snuck up on the house of one Black family, peered through the window and saw a huge Black woman sitting in front of a TV watching Gunsmoke, with a gang of children all around her. The window was open and Cobb threw a live possum in her lap. Cobb said she squalled about the loudest and longest he'd ever heard, and jumped about four feet up in the air. Cobb then ran and jumped into a nearby ditch to observe what would happen next, and it wasn't long before they saw the Black woman bust out of the back door and run across a cotton field with a trail of children behind. Cobb said she was as wide as three rows of cotton, but fast and agile. She outran all the young'uns.

We cannot possibly expect, and should not desire, that the great bulk of the populace embark on a mental and spiritual voyage for which very few people are equipped and which even fewer have survived. They have, after all, their indispensable work to do, even as you and I. What we are distressed about, and should be, when we speak of the state of mass culture in this country, is the overwhelming torpor and bewilderment of the people. The people who run the mass media are not all villains and they are not all cowards—though I agree, I must say, with Dwight Macdonald’s forceful suggestion that many of them are not very bright. (Why should they be? They, too, have risen from the streets to a high level of cultural attainment. They, too, are positively afflicted by the world’s highest standard of living and what is probably the world’s most bewilderingly empty way of life.) But even those who are bright are handicapped by their audience: I am less appalled by the fact that Gunsmoke is produced than I am by the fact that so many people want to see it. In the same way, I must add, that a thrill of terror runs through me when I hear that the favorite author of our President is Zane Grey.

No, Bigfoot . . . no, you know what I think you really are? Is you’re the LAPD’s own Charlie Manson. You’re the screamin evil nutcase right at the heart of that li’l cop kingdom, that nothin and nobody can reach, and God help ’em if you wake up someday in a mood to bring it all down, ’cause then it’ll be run copper run, and when the gunsmoke clears, there’ll be songbirds building their nests in all the empty corners of the Glass House. Plus broken glass and shit

In this experiment you’re going to prove that your thoughts and feelings also create energy waves. Here’s what you do: Get two wire coat hangers, easy to obtain in most any closet. Untwist the neck of each hanger until you’ve got just two straight wires. These are your “Einstein wands.” Or rather they will be when you shape them into an L, about 12 inches long for the main part and 5 inches for the handle. Cut a plastic straw in half (you can score one free of charge at any McDonald’s), slide the handle that you just bent inside the straws (it’ll make your wands swing easily), and bend the bottom of the hanger to hold the straw in place. Now, pretend you’re a double-fisted, gun-slinging Matt Dillon from Gunsmoke with the wands held chest high and about ten inches from your body. They’ll flap all over the place at first (like I said, you’re an ongoing river of energy), so give them a few moments to settle down. Once they’ve stopped flapping, you’re ready to begin the experiment. With your eyes straight ahead, vividly recall some very unpleasant event from your past. Depending on the intensity of your emotion, the wands will either stay straight ahead (weak intensity) or will point inward, tip to tip. The wands are following the electromagnetic bands around your body, which have contracted as a result of the negative frequency generated by your unpleasant thought and emotions. Now make your frequencies turn positive by thinking about something loving or joyous. The wands will now expand outward as your energy field expands to your positive energy flow. Okay, now keep your eyes straight ahead, but focus your attention on an object to your far right or far left and watch your wands follow your thoughts. The more you play with this, the more adept you’ll become at feeling the vibrational shift as you change from one frequency to another.

stock runnin’ on the plains south of the Platte all the way

besieged

It was my father and I that were inseparable. His darling girl; that's what he called me. He understood me- his bright, easily bored, passionate, underdog-defending, in-need-of-large-doses-of-physical-activity-and-changes-of-scenery daughter. And more important than understanding me, he liked me. He was most proud when I took the road less traveled by. It wouldn't be exaggerating to say I lived for the look of delight and surprise in his eyes when I accomplished something out of the ordinary. Beating him at chess. Reading the unabridged version of Anna Karenina when I was ten. Starting a campfire with nothing but a flint and a knife. But now it seemed our father and daughter skins were growing too small. I still craved his attention and approval, but he gave it more sparingly. Our long, rambling conversations about everything and anything- the speed of light, the Cuban missile crisis, how many minutes on each side to grill a perfect medium-rare steak- had petered out, replaced with the most quotidian of inquiries: Is Gunsmoke on tonight? Is it supposed to snow tomorrow? When's the last time the grass was cut?

A slight, momentary breeze rustled the leaves at his back and he turned quickly, expecting someone to be there. He watched a leaf twist, then hang still. The smell of cordite mixed with the coppery smell of blood rose off the vegetation or up from the earth, and for a moment he could smell the battle as strongly as he had yesterday, as though gunsmoke hung over the battlefield like a permanent veil.

words

Stewart was a superb radio actor, overcoming the drift of some scripts into folksy platitude. His narration-in-whisper of one particular climax (The Silver Belt-Buckle) was a gripping moment of truth, and the series as a whole just lacked the fine edge to be found in radio’s two best westerns, Gunsmoke and Frontier Gentleman. In the theme, Basil Adlam provided a haunting melody, conjuring up the wandering plainsman. Despite Stewart’s great prestige, the show was largely sustained. Chesterfield was interested, but Stewart declined, not wanting a cigarette company to counter his largely wholesome screen image.

The bandit was no amateur, whipping one revolver after another from his saddlebag, draining the cylinders in a strobing, crackling cloud of gunsmoke, until only the whinnies of a few horses drifted up from the gully below.

against the back of Mom’s seat and put two slugs into it. The girl went ape, screaming and pounding on me. I pushed myself off her. Once I was sitting up, I bounced her head off her door window. The window cracked, but didn’t break. She slumped, out cold. All the windows were shut because of the air conditioner, and it was so smoky in there you’d think we each had our own cigars. If you ask me, gunsmoke smells a lot better than cigar smoke. Love it. But I was afraid people driving by might worry if they saw all that smoke, so I put my window down to let it out.

The meaning of life is to love and be loved, to find those who need a hand and offer one, and to fill the world with peace and joy.

On Stage was a groundbreaking dramatic series capping the radio careers of Cathy and Elliott Lewis. It came in what might have been a watershed era but was instead radio’s last hurrah. The Lewises reached the crest as the ship began to sink, though in a strange way it was a time of peace. The war with television had been lost in a single season, and the big money had gone, as it always does, with the winner. What was left on radio fell into several broad categories, none ruled by money as they had been in the old days. Agencies and producers still had radio budgets, but the tide had irrevocably turned. The end of big-time radio had for its best artists a liberating effect. “I can do things now that I wouldn’t dare to do two or three years ago,” said Elliott Lewis in Newsweek in mid-1953. As producer-director of Suspense, he had just aired a two-part adaptation of Shakespeare’s Othello, which would have been unthinkable for the thrill show in 1945. Network people paid less attention, and if money was tighter, there was no lack of talent to prove it. People still wanted to work in radio: they remained because it was a dear first love, terminally ill and soon to disappear. Jack Benny and Jack Webb were still on the air; Gunsmoke was in its first year, and just ahead were more frugal but extremely creative shows—X-Minus One, Frontier Gentleman, and The CBS Radio Workshop. These were produced and enacted by people who loved what they were doing: some would mourn its final loss so deeply that they spoke of it reluctantly even two decades later. It was in this time that the Lewises produced On Stage, by some accounts the best radio anthology ever heard.

The dimes roared out of the muzzle at six hundred feet per second with a muzzle blast two feet long. The gunsmoke expanded in a great thick cloud and the stock slammed back into the Captain’s shoulder almost hard enough to dislocate it. He struck Almay in the forehead with a load of U.S. mint ten-cent pieces. As the coins flew out of the paper tube they turned on edge so that when they hit Almay’s forehead it looked as if his head had been suddenly printed with hyphens. The hyphens all began to spout blood. Almay fell backward, his head downhill. All the Captain could see was his boot soles.

Kid.

The thing was, I couldn’t figure out whose fault it was. Why we lost him to the streets. I kept trying to blame someone. I accused everybody. I started with Grandma. She had him watching Gunsmoke and those

Producer Norman Macdonnell saw Fort Laramie as “a monument to ordinary men who lived in extraordinary times”: their enemies were “the rugged, uncharted country, the heat, the cold, disease, boredom, and, perhaps last of all, hostile Indians.” Men died at Fort Laramie: some died of drowning, some of freezing, some of typhoid and smallpox. “But it’s a matter of record,” Macdonnell said on the opening, “that in all the years the cavalry was stationed at Fort Laramie, only four troopers died of gunshot wounds.” The series was less intense, and far less known, than Macdonnell’s major western, Guns-moke: the stories focused as much on atmosphere and mood as on violence and action. The run of 40 shows is complete on tape in excellent quality. The star, Raymond Burr, went from obscurity to national prominence a year later, taking on the title role in TV’s Perry Mason.

There was little or no narration, the action being carried largely in dialogue. When a man walked across the street, a listener heard every step. This style would continue in Gunsmoke.

HAVE GUN, WILL TRAVEL, western adventure. BROADCAST HISTORY: (Originated on TV: Sept. 14, 1957–Sept. 21, 1963, CBS.) Radio: Nov. 23, 1958–Nov. 27, 1960, CBS. 30m, Sundays at 6. Multiple sponsorship. CAST: John Dehner as Paladin, soldier of fortune, western knight errant, gunfighter. Ben Wright as Heyboy, the Oriental who worked at the Carlton Hotel in San Francisco, where Paladin lived. Virginia Gregg as Missy Wong, Heyboy’s girlfriend. Virginia Gregg also in many leading dramatic roles. Supporting players from Hollywood’s Radio Row, most of the same personnel listed for Gunsmoke. ANNOUNCER: Hugh Douglas. PRODUCER-DIRECTOR: Frank Paris. CREATORS-WRITERS: Herb Meadow and Sam Rolfe. WRITERS: Gene Roddenberry, John Dawson, Marian Clark, etc. SOUND EFFECTS: Ray Kemper, Tom Hanley. Have Gun, Will Travel was an oddity: the only significant radio show that originated on television. Beginning as a TV series for Richard Boone, Have Gun leaped immediately into the top ten and gained such an enthusiastic following that CBS decided to add it to the fading radio chain.