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Ninety years have passed since the radio listeners first asked, “Who was that masked man?” As the 90th anniversary of The Lone Ranger’s radio premiere is celebrated, an even more intriguing question about one of the most iconic and enduring characters to emerge from the early days of radio lingers: who actually created him? Was it a struggling freelancer from Buffalo named Fran Striker? A wealthy Detroit radio station owner? Or did a team of writers create one of our most beloved and enduring heroes?
Part of the conflict over the Ranger’s “parentage” is attributable to his enduring popularity: radio was just the start of his nine-decade gallop through American pop culture. The "Masked Man" conquered all media: television, movies, books, and comics.
Even today, Ranger toys and giveaways remain highly collectible, and franchise reboots occur regularly. Many people were eager to claim the credit—and reap the benefits—from that long-lived success.
Consider the Freelancer
Ninety years have passed since the radio listeners first asked, “Who was that masked man?” As the 90th anniversary of The Lone Ranger’s radio premiere is celebrated, an even more intriguing question about one of the most iconic and enduring characters to emerge from the early days of radio lingers: who actually created him? Was it a struggling freelancer from Buffalo named Fran Striker? A wealthy Detroit radio station owner? Or did a team of writers create one of our most beloved and enduring heroes?
Part of the conflict over the Ranger’s “parentage” is attributable to his enduring popularity: radio was just the start of his nine-decade gallop through American pop culture. The "Masked Man" conquered all media: television, movies, books, and comics.
Even today, Ranger toys and giveaways remain highly collectible, and franchise reboots occur regularly. Many people were eager to claim the credit—and reap the benefits—from that long-lived success.
Consider the Freelancer
Francis Hamilton Striker, born in Buffalo, New York, on August 19, 1903, to Frank and Addie Striker, is one of the leading contenders for the title of the Ranger’s creator.
By all accounts, Striker had a happy childhood, which he shared with his younger sister, Pauline. He showed a keen interest in reading and writing from an early age. He sold his first article and short story to a Buffalo newspaper when he was only twelve.
But far from being a quiet, bookish child, Striker was gregarious and curious and created a scrapbook of membership cards from all the youth groups, church clubs, and science clubs he belonged to. At Lafayette High School, he ran track, played saxophone in the school band, and became interested in photography and science. After graduation, he attended The University of Buffalo and majored in Chemistry. In addition, he was active in theater and played the sax in various jazz bands. He also pledged multiple fraternities because, as he explained, each frat had such great guys he just couldn’t decide on one. University officials, of course, reprimanded him.
By all accounts, Striker had a happy childhood, which he shared with his younger sister, Pauline. He showed a keen interest in reading and writing from an early age. He sold his first article and short story to a Buffalo newspaper when he was only twelve.
But far from being a quiet, bookish child, Striker was gregarious and curious and created a scrapbook of membership cards from all the youth groups, church clubs, and science clubs he belonged to. At Lafayette High School, he ran track, played saxophone in the school band, and became interested in photography and science. After graduation, he attended The University of Buffalo and majored in Chemistry. In addition, he was active in theater and played the sax in various jazz bands. He also pledged multiple fraternities because, as he explained, each frat had such great guys he just couldn’t decide on one. University officials, of course, reprimanded him.
Striker’s True Vocation
Striker’s interest in the theater eventually surpassed his interest in Chemistry. Much to his parents’ dismay, Striker dropped out of college. He tried working at Woolworths and Pillsbury, but the theater kept calling him.
He temporarily left Buffalo for New York City and was hired by The Harry Miller Production Company, a producer of live stage shows. There, Striker learned to direct, produce, and write scripts professionally.
Back to Home Base
He temporarily left Buffalo for New York City and was hired by The Harry Miller Production Company, a producer of live stage shows. There, Striker learned to direct, produce, and write scripts professionally.
Back to Home Base
Buffalo remained Striker’s true home, and he returned to The Nickel City in 1928, intending to establish himself as a producer and director in Buffalo’s growing theater circle. But Striker always had a curious mind and soon found himself attracted to the exciting new world of radio. His writing and production experience in New York provided the entrée to that world and landed him a position with local station WEBR.
The early days of broadcasting were heady and frantic with live productions, full in-studio orchestras, and station owners desperate to fill airtime. At WEBR, Striker wore many hats—director, announcer, sax player, news reporter, and, of course, scriptwriter.
The early days of broadcasting were heady and frantic with live productions, full in-studio orchestras, and station owners desperate to fill airtime. At WEBR, Striker wore many hats—director, announcer, sax player, news reporter, and, of course, scriptwriter.
Love and Success
Romance entered Striker’s life when he reconnected with Janet Gisel, someone he had known since childhood. As children, the two didn’t like each other very much. Things were quite different as adults. They dated and were married in April 1929.
The following year, Striker was promoted to WEBR’s Station Manager, providing him with a more sharply defined role that enabled him to focus mainly on writing and directing live radio dramas.
Striker flourished. He could write quickly and innovatively and pound away at his Remington 16 typewriter for hours.
About this time, Striker borrowed an idea from a New York City-based writer, Phillips Lord, and began offering his scripts to content-starved radio stations nationwide. This approach allowed him to sell a radio series several times in different markets. His fees ranged between two and six dollars per script, income that the newly married Striker desperately needed.
The following year, Striker was promoted to WEBR’s Station Manager, providing him with a more sharply defined role that enabled him to focus mainly on writing and directing live radio dramas.
Striker flourished. He could write quickly and innovatively and pound away at his Remington 16 typewriter for hours.
About this time, Striker borrowed an idea from a New York City-based writer, Phillips Lord, and began offering his scripts to content-starved radio stations nationwide. This approach allowed him to sell a radio series several times in different markets. His fees ranged between two and six dollars per script, income that the newly married Striker desperately needed.
Hard Times
The stock market crash had sent the nation reeling into a Depression that grew deeper as the months passed. In 1932, the unemployment rate in the United States was around twenty-four percent. Twelve million Americans were out of work, and over a quarter of a million families had lost their homes.
The Strikers were not immune to these economic woes. By the time FDR was elected to his first presidential term in November 1932, Striker had supported a dozen family members who had lost everything since Black Monday, in addition to Fran and Janet’s first child born that same year.
Striker was working and writing almost non-stop at WEBR and hawking his scripts across the country. He was under constant financial pressure to provide for his growing number of dependents.
Enter George Trendle
The Strikers were not immune to these economic woes. By the time FDR was elected to his first presidential term in November 1932, Striker had supported a dozen family members who had lost everything since Black Monday, in addition to Fran and Janet’s first child born that same year.
Striker was working and writing almost non-stop at WEBR and hawking his scripts across the country. He was under constant financial pressure to provide for his growing number of dependents.
Enter George Trendle
One of the radio stations that bought scripts from Striker in 1932 was Detroit’s WXYZ, owned by George W. Trendle. Trendle was born in Ohio in 1884 and graduated from law school in 1908. He was very good at both contract law and negotiation.
In addition, Trendle was an astute businessman drawn to the entertainment industry because of its potential profits. Before attending law school, he was an early investor in nickelodeons, the somewhat crude storefront theaters continuously showed short films.
Nickelodeons were the forerunner to the movie theaters and palaces that followed. They were not very reputable, sometimes considered dangerous by local authorities, and were associated with questionable characters. Physically, they were small, smokey, and furnished with uncomfortable wooden chairs.
When longer motion pictures began to be produced, Trendle could see that the nickelodeons’ days were numbered. He was convinced that moviegoers would flock to larger, more comfortable venues to watch lengthier films and would gladly pay more for the luxury.
And so, Trendle, together with a group of financial investors, built the Columbia Theater, the first large movie house in Detroit. It was an instant success.
By 1928, Trendle owned twenty movie theaters. He sold them all for cash just before the 1929 stock market collapse.
The Next Big Opp and the Last Word
In addition, Trendle was an astute businessman drawn to the entertainment industry because of its potential profits. Before attending law school, he was an early investor in nickelodeons, the somewhat crude storefront theaters continuously showed short films.
Nickelodeons were the forerunner to the movie theaters and palaces that followed. They were not very reputable, sometimes considered dangerous by local authorities, and were associated with questionable characters. Physically, they were small, smokey, and furnished with uncomfortable wooden chairs.
When longer motion pictures began to be produced, Trendle could see that the nickelodeons’ days were numbered. He was convinced that moviegoers would flock to larger, more comfortable venues to watch lengthier films and would gladly pay more for the luxury.
And so, Trendle, together with a group of financial investors, built the Columbia Theater, the first large movie house in Detroit. It was an instant success.
By 1928, Trendle owned twenty movie theaters. He sold them all for cash just before the 1929 stock market collapse.
The Next Big Opp and the Last Word
Trendle saw radio as the next big opportunity in entertainment investment. He envisioned potential profits from paid advertising and sponsored programming. And so he bought Detroit radio station and Columbia Broadcasting affiliate WGHP and changed the call letters to WXYZ, “The Last Word In Radio.”
Not even Trendle could escape the Depression, however. He saw his other investments wiped out, and his net worth plummeted from three million to two hundred and fifty thousand dollars.
Always frugal, Trendle pinched every penny in his new radio venture and would eventually become known as “The Miser of Motown.” He kept two sets of books and used the phony one to show employees and potential hires he couldn’t afford to pay much. He often threatened to fire anyone who wouldn’t take a pay cut. Since jobs were scarce, his radio station employees had no choice but to accept lower wages.
Trendle dropped WXYZ’s affiliation with the Columbia Broadcasting System in another cost-cutting move. This meant that WXYZ could no longer access CBS’ nationally syndicated programming. Trendle wanted cheaper productions and relied on local talent and freelancers to supply content. He purchased Striker’s Warner Lester radio series and was impressed with Striker’s storytelling abilities.
By 1932, Striker was supplying Trendle with six half-hour scripts per week. In December of that year, Striker received a letter from the dramatic director of WXYZ asking if he would “… write up three or four wild west thrillers…including all the hokum of the masked rider, rustler, killer Pete, heroine on the train tracks, etc.”
A New Hero Emerges
Not even Trendle could escape the Depression, however. He saw his other investments wiped out, and his net worth plummeted from three million to two hundred and fifty thousand dollars.
Always frugal, Trendle pinched every penny in his new radio venture and would eventually become known as “The Miser of Motown.” He kept two sets of books and used the phony one to show employees and potential hires he couldn’t afford to pay much. He often threatened to fire anyone who wouldn’t take a pay cut. Since jobs were scarce, his radio station employees had no choice but to accept lower wages.
Trendle dropped WXYZ’s affiliation with the Columbia Broadcasting System in another cost-cutting move. This meant that WXYZ could no longer access CBS’ nationally syndicated programming. Trendle wanted cheaper productions and relied on local talent and freelancers to supply content. He purchased Striker’s Warner Lester radio series and was impressed with Striker’s storytelling abilities.
By 1932, Striker was supplying Trendle with six half-hour scripts per week. In December of that year, Striker received a letter from the dramatic director of WXYZ asking if he would “… write up three or four wild west thrillers…including all the hokum of the masked rider, rustler, killer Pete, heroine on the train tracks, etc.”
A New Hero Emerges
Striker, now an expert in repurposing and reselling scripts, dug out the tenth episode of a series he wrote called Covered Wagon Days, which had aired two years earlier. He rewrote the episode and introduced a new hero: The Lone Ranger.
As instructed, Striker produced a handful of Lone Ranger scripts. Over three weeks, letters and revisions were exchanged between Striker and the WXYZ creative team regarding these first Ranger episodes. Striker would revise as he saw fit, responding to feedback as any author would.
On January 21, 1933, Striker received another letter from WXYZ, concluding, “I hope the above suggestions won’t cramp your style. I realize they have changed the character you created, but only in a minor way.” This letter, written before the first episode of The Lone Ranger aired, clearly acknowledges that Striker created The Lone Ranger.
The Lone Ranger did not premiere on WXYZ. Instead, the pilot had a special test run on WEBR in Buffalo. Local radio actor John L. Barrett was the first to star as the "Masked Man."
A few days later, The Lone Ranger debuted on WXYZ with George Stenius playing the lead role. The thirty-minute show ran on Tuesday, Thursday, and Saturday nights.
The show did well from the start. Striker polished each script, taking special care with The Lone Ranger. He was paid four dollars an episode.
Although The Lone Ranger was moved to the more coveted Monday, Wednesday, and Friday night slot, it failed to attract a national sponsor. Trendle, however, sensed that The Lone Ranger was special and could become a major money-maker. He continued to pursue sponsorship aggressively and finally signed Gordon Bakery as the show’s exclusive sponsor in November 1933.
With Gordon’s backing, Trendle was able to syndicate the show. Throughout the winter, more radio stations tied into WXYZ’s broadcast. By the spring of 1934, The Lone Ranger was a national hit and on its way to becoming a cultural phenomenon.
As instructed, Striker produced a handful of Lone Ranger scripts. Over three weeks, letters and revisions were exchanged between Striker and the WXYZ creative team regarding these first Ranger episodes. Striker would revise as he saw fit, responding to feedback as any author would.
On January 21, 1933, Striker received another letter from WXYZ, concluding, “I hope the above suggestions won’t cramp your style. I realize they have changed the character you created, but only in a minor way.” This letter, written before the first episode of The Lone Ranger aired, clearly acknowledges that Striker created The Lone Ranger.
The Lone Ranger did not premiere on WXYZ. Instead, the pilot had a special test run on WEBR in Buffalo. Local radio actor John L. Barrett was the first to star as the "Masked Man."
A few days later, The Lone Ranger debuted on WXYZ with George Stenius playing the lead role. The thirty-minute show ran on Tuesday, Thursday, and Saturday nights.
The show did well from the start. Striker polished each script, taking special care with The Lone Ranger. He was paid four dollars an episode.
Although The Lone Ranger was moved to the more coveted Monday, Wednesday, and Friday night slot, it failed to attract a national sponsor. Trendle, however, sensed that The Lone Ranger was special and could become a major money-maker. He continued to pursue sponsorship aggressively and finally signed Gordon Bakery as the show’s exclusive sponsor in November 1933.
With Gordon’s backing, Trendle was able to syndicate the show. Throughout the winter, more radio stations tied into WXYZ’s broadcast. By the spring of 1934, The Lone Ranger was a national hit and on its way to becoming a cultural phenomenon.
A Double-Edged Offer
Trendle recognized that Striker’s talent and vision for The Lone Ranger drove its success. He was also aware of Striker’s growing responsibilities and financial burden in supporting his extended family.
In May of 1934, Trendle offered Striker a full-time position writing exclusively for WXYZ for a salary representing more money than Striker had ever made. The contract also offered job security that would relieve the pressure he was under at home.
However, there was a stipulation: Striker had to sell all rights to The Lone Ranger to Trendle for ten dollars.
Striker was torn. He needed the salary and reliable income to support his wife and now two children as well as his parents, grandparents, various aunts and uncles, and in-laws who were dependent upon him.
Striker had never signed away the rights to his work before, and the Masked Man’s potential seemed limitless. The Depression, however, was far from over. Because all the family members counted on him and the real possibility that more might soon need his help, he reluctantly signed the contract and sold the rights to Trendle.
Striker had to relocate to Detroit in 1934 as part of the agreement. The Detroit newspapers announced this in an article identifying Striker as the “…creator and author of The Lone Ranger dramas.”
A New Creed. Later, in 1934, Striker wrote “The Lone Ranger Creed,” a guide for the show’s young listeners on how to lead a virtuous life like their hero. By all accounts from family and friends, the Creed represented Striker’s own values.
One of the Creed’s tenets states, “[That] man should live by the rule of what is best for the greatest number.” Perhaps this is the finest explanation of why Striker sold The Lone Ranger’s rights for such a paltry sum. Yet, it must have been vexing for him to watch Trendle reap profits from all The Lone Ranger broadcasts, movies, comics, and toys.
An Enduring Relationship
In May of 1934, Trendle offered Striker a full-time position writing exclusively for WXYZ for a salary representing more money than Striker had ever made. The contract also offered job security that would relieve the pressure he was under at home.
However, there was a stipulation: Striker had to sell all rights to The Lone Ranger to Trendle for ten dollars.
Striker was torn. He needed the salary and reliable income to support his wife and now two children as well as his parents, grandparents, various aunts and uncles, and in-laws who were dependent upon him.
Striker had never signed away the rights to his work before, and the Masked Man’s potential seemed limitless. The Depression, however, was far from over. Because all the family members counted on him and the real possibility that more might soon need his help, he reluctantly signed the contract and sold the rights to Trendle.
Striker had to relocate to Detroit in 1934 as part of the agreement. The Detroit newspapers announced this in an article identifying Striker as the “…creator and author of The Lone Ranger dramas.”
A New Creed. Later, in 1934, Striker wrote “The Lone Ranger Creed,” a guide for the show’s young listeners on how to lead a virtuous life like their hero. By all accounts from family and friends, the Creed represented Striker’s own values.
One of the Creed’s tenets states, “[That] man should live by the rule of what is best for the greatest number.” Perhaps this is the finest explanation of why Striker sold The Lone Ranger’s rights for such a paltry sum. Yet, it must have been vexing for him to watch Trendle reap profits from all The Lone Ranger broadcasts, movies, comics, and toys.
An Enduring Relationship
If Striker was bitter, he never showed it. He continued to work for Trendle, further developing the Ranger character and creating two more classic series, The Green Hornet and Sergeant Preston of the Yukon.
To Trendle’s credit, he honored their original contract and employed Striker through the Depression, ensuring the well-being of Striker’s extended family.
When the Depression ended, Striker asked Trendle for his first raise since signing their 1934 agreement. "The Miser of Motown" promptly fired him. However, the quality of all of Striker’s shows dropped so dramatically in his absence that Trendle’s sponsors forced him to rehire Striker—with a salary increase.
New Claims of Creatorship
To Trendle’s credit, he honored their original contract and employed Striker through the Depression, ensuring the well-being of Striker’s extended family.
When the Depression ended, Striker asked Trendle for his first raise since signing their 1934 agreement. "The Miser of Motown" promptly fired him. However, the quality of all of Striker’s shows dropped so dramatically in his absence that Trendle’s sponsors forced him to rehire Striker—with a salary increase.
New Claims of Creatorship
In the 1940s, Trendle began to allege in interviews and articles that he, not Striker, created the Lone Ranger character. A story also circulated that Striker wasn’t hired to work on the show until after the program had aired.
Trendle continued to make these claims until he died in 1972. Even Trendle’s authorized biography written by Mary E. Bickel proclaims on the front cover that Trendle was “The creator and producer of The Lone Ranger, The Green Hornet, Sergeant Preston of The Yukon… .”
When asked in private who created The Lone Ranger, Striker shrugged and said that people in the radio business knew the truth. When asked in public, he answered that “only God creates.”
Striker never confronted Trendle about the lie. He continued working for him until Trendle sold The Lone Ranger rights in 1954 to the Wrather Corporation for three million dollars, a record sale at the time.
Trendle continued to make these claims until he died in 1972. Even Trendle’s authorized biography written by Mary E. Bickel proclaims on the front cover that Trendle was “The creator and producer of The Lone Ranger, The Green Hornet, Sergeant Preston of The Yukon… .”
When asked in private who created The Lone Ranger, Striker shrugged and said that people in the radio business knew the truth. When asked in public, he answered that “only God creates.”
Striker never confronted Trendle about the lie. He continued working for him until Trendle sold The Lone Ranger rights in 1954 to the Wrather Corporation for three million dollars, a record sale at the time.
Striker’s Final Years
After the sale, Striker returned to Buffalo and continued to write, focusing more on young adult action novels. He also taught creative writing classes at The University of Buffalo and the YMCA.
Sadly, Striker did not live long enough to write his memoirs and tell his side of The Lone Ranger story: he was killed in a car crash in 1962.
Credit Where It’s Due
Sadly, Striker did not live long enough to write his memoirs and tell his side of The Lone Ranger story: he was killed in a car crash in 1962.
Credit Where It’s Due
There’s no doubt that Trendle and the WXYZ staff contributed to The Lone Ranger’s development with their suggested revisions. Trendle certainly had the resources and business acumen to take The Ranger to a national audience and market him in an unprecedented manner.
The roots of The Lone Ranger, however, began with Striker’s Covered Wagon Days and continued throughout a career marked by his authorship of seven hundred Lone Ranger radio scripts, eighteen Ranger novels, and a dozen more young-adult books featuring the Masked Man.
While Fran Striker never received the acclaim or riches he deserved in his lifetime, he must have been confident that recognition would eventually come. After all, the Lone Ranger Creed states that “truth alone lives on forever.”
The roots of The Lone Ranger, however, began with Striker’s Covered Wagon Days and continued throughout a career marked by his authorship of seven hundred Lone Ranger radio scripts, eighteen Ranger novels, and a dozen more young-adult books featuring the Masked Man.
While Fran Striker never received the acclaim or riches he deserved in his lifetime, he must have been confident that recognition would eventually come. After all, the Lone Ranger Creed states that “truth alone lives on forever.”
About the author: Stephen G. Eoannou is the author of the novel Yesteryear. Based on the life of Fran Striker, Yesteryear has been awarded the 2021 International Eyelands Award for Best Historical Novel, The Firebird Book Award for Biographical Fiction, Bookshelf’s ‘Must Read’ for 2023, and Shelf Unbound’s Notable Indy Books of 2023.
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