Subject: [removed] Digest V01 #91
From: <[removed]@[removed]>
Date: 3/21/2001 11:46 AM
To: <[removed]@[removed];

------------------------------


                      The Old-Time Radio Digest!
                         Volume 01 : Issue 91
                   A Part of the [removed]!
                           ISSN: 1533-9289


                           Today's Topics:

 Son of page turning                  [Michael Biel <mbiel@[removed];       ]
 Jack Benny                           [William L Murtough <k2mfi@[removed];]
 Re: Morningside                      [Sam Levene <srl@[removed];      ]
 The Canonicle Captain                [Conrad Binyon <conradab@[removed]]
 THE OTHER SHOE TO DROP               [Owens Pomeroy <george_arlis@[removed]]
 Canon Law                            ["Stephen A Kallis, Jr." <skallisjr@]
 Gale Storm Recordings                [Clifengr3@[removed]                   ]
 Superman's Takeoff Cry               ["Stephen A Kallis, Jr." <skallisjr@]
 glass discs of command performance   ["Ed Carr" <edcarr@[removed];       ]
 Re: Viola Vonn                       [Conrad Binyon <conradab@[removed]]
 #OldRadio IRC Chat this Thursday Nig [lois@[removed]                  ]
 Flesh Flezmo, Space Explorer         [Gordon R Payton <thescifiguy@[removed]]
 Re: The Mystic Knights of the Sea    [Joe Mackey <wmackey@[removed]]
 Re: the NBC Grand Ole Opry.          [Udmacon@[removed]                    ]
 [removed]                            ["Andrew Rodriguez" <nasty@[removed]]
 Alan Ball                            ["Art Department" <wolowicz@[removed]]
 ORRIN TUCKER LIVE INTERVIEW          [Duane Keilstrup <duanek9@[removed]; ]
 Mystery Time                         [otrbuff@[removed]                   ]
 Re: Peter Gzowski                    [claudianross@[removed] (claudianr]
 Thanks                               [thebard@[removed]               ]

------------------------------

Date: Tue, 20 Mar 2001 14:18:20 -0500
From: Michael Biel <mbiel@[removed];
To: [removed]@[removed]
Subject:  Son of page turning

Michael Edwards asked:
With a lot of importance placed on keeping the scripts quiet, I wonder
what an actor did when they had a long stretch of dialouge--say, something
that started at the bottom of one page and carried over to the next page?
Would they memorize the rest of the dialouge and shift the pages later?"

A properly trained script typist would try to avoid having a character's
speech split onto two pages unless it was very long.  In the cases where
that was unavoidable they would at least not split a sentence onto two
pages.  The goal was to avoid things like the phony blooper on an early
"Pardon My Blooper" where a children's hostess is reading: "And then the
Little Engine That Could went into the roundhouse to have a leak
[obvious rustling of paper] in his boiler fixed."

I should also mention that most network scripts were mimeographed in
those days, and the paper used for this was softer and not as stiff and
crinkly as the bleached and sized paper we now commonly use.  It made
less noise.  Really.  And before computer printers made the use of rough
and stiff erasable-coated paper unnecessary, I always made a point of
telling my students not to use it for typing their scripts.  Onion-skin
paper was also forbidden, not only because of the noise, but because it
was too transparent and would let the page below show thru.

You always removed the staples from the script so that you would not
really be "turning" pages.  The script would be held in one hand and the
top page would be removed with the other hand.  Some performers would
start moving that page as they neared the bottom so that both pages
would be visible by the time they reached the end.  Some moved it
horizontally so the two would be side by side.  Another technique would
be to move it upwards so that the bottom of it would be at the top of
the next page by the time the next page would be needed.  Then the eyes
could just continue downwards as if it was a continuous paper.  Then the
old page would be slipped quietly behind the pack.

Bi-directional ribbon mics like the RCA 44-BX were very dead to the two
edges of the mic to the left and to the right.  Moving the script over
to the side while moving the paper would reduce its pick-up, as would
lowering the script below the mic level if you were not speaking at the
time.  Actors had to remember not to have the script directly behind the
mic with those ribbons because the rear of the mic is as live as the
front, and not only would the script be heard, the voice would reflect
off of the script and be picked up.  Likewise it couldn't be in front of
the mic between the mic and the actor because the voice would be
blocked.
There __was__ a proper way to handle a script, and the films of OTR
taken when at the time often show how the masters did it.  I had been
taught by several masters of the art including Dr. Delwin B. Dusenbury
who had taught many others as far back as the 1930s.  (He's still living
in Philadelphia, perhaps in his 90s, and I would run this topic by him
except that I can just imagine how angry he would have gotten if any of
us had ever dropped our script pages.  Mike Muderick, am I right or am I
right!)  But I had run my original posting past several of the masters
of the art who on our list and I had asked them to respond to me off
list before my first posting a few days ago.  This current posting was
prompted by Hal Stone who has now asked me to add his thoughts he had
sent to me:

============From Hal Stone:==========
"By far the most common practice was a follows.

"First, one always removed the staple that held the pages together.
Assuming a performer was right handed, they would hold the bulk of the
script in their left hand at the lower left corner. While reading the
lines from the top page, they would gently grasp the bottom right corner
of that page with the fingers of the right hand, then slowly separate
the left and right hands. That way, the performer could immediately pick
up a cue or line that might be at the top of the following page, or
perhaps a continuation of the same speech. Then, as he started to read
that next page in his left hand, he would slip the "used" page behind
the rest, and repeat the process.

"I assume it took a little practice to master being able to do all this
without "rustling" pages, but it became almost an unconscious ritual.
Normally, this was done off to the side, (The dead side of the mike) at
eye level.  And if one was a "newbie" to the business, another performer
would kindly show them the proper method to turn script pages. I was so
young when someone showed me, that I can't remember ever doing it any
differently.

"If performers only had an occasional line or two, they would generally
drop their hands low to "turn" the page; swivel at right angles away
from the mike; or step away.

"As for performing in stocking feet, I never saw it happen. If a
performer was a "professional" they knew enough to wear rubber heeled &
soled shoes.  If they would happen to have leather heels on, they knew
enough to tip toe up to, and away from, the mike. One always tread
softly no matter what the footwear.

"Oh, I take it back about the stocking feet. I can recall seeing a few
women remove their shoes and work in stocking feet, but I think it was
because it was more comfortable than wearing heels all day long.

"In the old days, I vaguely recall seeing someone drop script pages, one
by one, but it may have been because he had a very "Heavy" part, (Pun
intended) Perhaps a narratorŠŠ but in all likelihood, he had a mike all
to himself. Other instances, where actors were "Stars" and had their own
mikes, they might use a music stand, and slip the pages off to the side
[on the stand]."
===============

I had also asked Conrad Binyon, and this is how he responded:

===============from Conrad Binyon========
"To respond to your query about Owens Pomeroy's memories, memories,
memories post, I'll have to say that mine are nothing like Owens.
Sorry, but I never doffed my shoes during any broadcast I was ever on
nor did I throw down any of my script pages on the floor.  In the eleven
years of my radio broadcasting career never did I ever see any of my
fellow performers do so either.  The microphones we used were placed
upon rugs placed upon the floor so footsteps were muffled as we
approached them or made fade offs.  I'd say the only footsteps of mine
ever heard over the air was when I and other actors assisted the sandman
for a Suspense episode called 'Footfalls' starring J. Carroll Naish
where we all walked in sequence over a piece of hardwood flooring
as part of the story line.

"Your reply about why it wouldn't be prudent to do such an activity is
logical to the nth degree.  Just think I could never get away with
wearing a pair of socks needing darning. *G*     CAB"
=======================

As I mentioned previously, dropping script pages and removing one's
shoes was so rarely done as to be noticeable in the rare instances when
it was done--just as is a total eclipse of the sun.  It happens, but not
often.  Nowadays it seems an affectation of playing to the studio
audience.  That probably was Bing Crosby's purpose in that 1975
re-creation that was discussed.  If he had done it during the
pre-recordings of "Philco Radio Time", during the occasional re-takes it
would have left him scrambling on the floor looking for the pages while
everybody waited.  My wife would call that "passive-aggressive"
behavior.  His actually doing it in the re-creation and picking up the
pages after each of his sections was a way of calling attention to
himself and upstaging the rest of the cast while they were performing
and he, supposedly, was not.  That it was remembered over twenty-five
years later shows just how effective it was at stealing the audience's
attention away from his co-stars.  Some would call it egotistical
scene-stealing.

Michael Biel  mbiel@[removed]

------------------------------

Date: Tue, 20 Mar 2001 14:54:18 -0500
From: William L Murtough <k2mfi@[removed];
To: [removed]@[removed]
Subject:  Jack Benny

There was some comment recently about the Jack Benny Show. Jack came to
CBS  from NBC about 1945, as I recall. His one request was  that his NBC
engineer (George Foster)  come with him. He was dedicated to his people.
The program originated from one of our theater studios at Sunset and
Gower.  The first broadcast was live at 4:00 PM Pacific time and was fed
to the full network. It was followed at 4:30 with a split network, Red
Skelton going to the transcontinental network, and Corliss Archer going
to the Pacific Network. I would be the engineer in the KNX master control
room quite frequently. As the Benny show would run over 30 or 40 seconds
it would throw the following shows out of synch, meaning that I had to
coordinate the following two shows so that they came out even. I would
first call the lady director on the Corliss Archer show, who always would
 agree to make up the time and get off on schedule. Then a call to the
Skelton director, who also would make up the time, This meant that the
following show, which was full network could start on time. I never got
to know the lady director but we had a great telephone relationship.

The Benny show was recorded on acetate disc at Radio Recorders for
playback to the Pacific Netwwork and KNX at 7:00 Pacific time ( I don't
recall whether we played it back from the studio or a CBS engineer went
over to Radio Recorders on Santa Monica Blvd.  for the playback. We did
it both ways. I regularly went there on my way home Sunday nights to play
back the Whistler at 9:00 to the Arizona Network. I always enjoyed that
assignment as they had  a TV set in the recording room and  I could watch
Milton Berle. This makes it obvious that there could be no difference
between the original broadcast and the repeat.

I did meet Jack's daughter, Joan, at SPERDVAC several years ago. As I
recall, she spoke of substituting for her mother, but as far as Mary
dubbing, how does one cut and splice a live show or an acetate recording?
Joan told some funny stories about her father. I'll relate them another
time.

Bill Murtough

------------------------------

Date: Tue, 20 Mar 2001 15:56:18 -0500
From: Sam Levene <srl@[removed];
To: [removed]@[removed]
Subject:  Re: Morningside

CBC's Morningside ended about 3 years ago.  It was replaced by a new
program called "This Morning" and has had a couple of different hosts.
Peter Gzowski isn't a regular on radio at this time to my knowledge but
does some TV interviews and writes a newspaper column weekly.
His career began, incidentally, as a print journalist.

Sam Levene

------------------------------

Date: Tue, 20 Mar 2001 15:56:20 -0500
From: Conrad Binyon <conradab@[removed];
To: [removed]@[removed]
Subject:  The Canonicle Captain

Date: Tue, 20 Mar 2001 00:46:18 -0500
From: "A. Joseph Ross" <lawyer@[removed];
To: [removed]@[removed]
Subject:  Captain Midnight

Date: Mon, 19 Mar 2001 11:40:39 -0500
From: "Stephen A Kallis, Jr." <skallisjr@[removed];

The television version wasn't canonical.

Since I am a bit younger than you and never heard the radio
version, to me, the television version was canonical and the
radio version wasn't.

What is clear is that neither was canonical to the other.

Okay, okay,.....Did Captain Midnight have the blessings of the
Pope or didn't he?   *Grin*

CAB
--
conradab@[removed] (Conrad A. Binyon)
   From the Home of the Stars who loved Ranches and Farms
     Encino, California.

------------------------------

Date: Tue, 20 Mar 2001 16:04:17 -0500
From: Owens Pomeroy <george_arlis@[removed];
To: RADIO DIGEST <[removed]@[removed];
Subject:  THE OTHER SHOE TO DROP

  If the name at top is strange, it is because my
Hotmail server is down and had to use another one.
This is Owens Pomeroy.

Thank you so much Jim Cox for being an actual "eye
witness" to script dropping. "You Were There!"

And Michell, I stand corrected on Vaughn Deleath.  It
was her instead of m/s Vonn.  And speaking of the
women in radio. I forgot (and surprised you did not
mention her) Ora Nichols, who was head of CBS SFX in
tyhe 30's and provided the realistic sounds for WOTW.

And if you go back and watch the Night That Panicked
America, you will see at least 3 of the actors in
stocking feet.  Also take a look at the platform
Welles is standing on.  It is cluttered with script
sheets. And one scene, you see Kasey Kaseem, dropping
a sheet of script, but you have to look close and hit
your pause button to catch it in mid air.

All this aside, let's face it.  There were some who
did and some who didn't. It was up to we individuals
as to what method was best for us.

             -  30  -

Owens Pomeroy

=====
Old-Time Radio, like vintage [removed] better with age.
Nostalgia is like a grammer lesson: you find the present [removed] the past
perfect!

------------------------------

Date: Tue, 20 Mar 2001 20:08:15 -0500
From: "Stephen A Kallis, Jr." <skallisjr@[removed];
To: [removed]@[removed]
Subject:  Canon Law

A. Joseph Ross, commenting on my observation that the Captain Midnight
television show was not canonical, notes,

Since I am a bit younger than you and never heard the radio version, to
me, the television version was canonical and the radio version wasn't.
What is clear is that neither was canonical to the [removed];<

Inarguable.  However, two points:

*  The Captain Midnight show was on the radio first, and kept continuity
for more than a decade.  Items that later surfaced on the TV show, like
"decoders" and the Pocket Locator had their origin on the radio.

*  It's clear that anyone can choose the TV show as their basis for
Captain Midnight appreciation.  However, I was speaking in the context of
an OTR show, and this is an OTR posting.

That being said, the TV show was reissued with the name "Captain
Midnight" excised and replaced with "Jet Jackson."  But this is getting a
little off-topic.

Stephen A. Kallis, Jr.

------------------------------

Date: Tue, 20 Mar 2001 20:08:18 -0500
From: Clifengr3@[removed]
To: [removed]@[removed]
Subject:  Gale Storm Recordings

<I`ll find her songs recording if I  must go see her. Someone must know.
Wayne>

I missed any previous posts on Gale Storm recordings, but if you're looking
for them you can find a few on Napster. When I searched, I came up with 3
recordings by her. they were I Hear You KNocking, Dark Moon, and Memories are
Made of This.

Jim

------------------------------

Date: Tue, 20 Mar 2001 20:08:20 -0500
From: "Stephen A Kallis, Jr." <skallisjr@[removed];
To: [removed]@[removed]
Subject:  Superman's Takeoff Cry

Some time ago, I'd observed in this digest that before Superman took to
the air in the OTR program, he'd cry, "Up, up, and away!" Others noted
that what he _really_ said was "Up .... and away!" I attributed my
observation to a memory lapse.
The other day, I listened to a recording of The Adventures of Superman.
It was a World War II adventure. In the midst of the adventure, Superman
had to follow Jimmy Olsen, who was in an airplane. As he took to the air,
Superman cried out, "Up, up, and away!"
Sonovvagun! My memory was clearer than I'd been led to believe!
Stephen A. Kallis, Jr.

------------------------------

Date: Tue, 20 Mar 2001 20:30:09 -0500
From: "Ed Carr" <edcarr@[removed];
To: [removed]@[removed]
Subject:  glass discs of command performance

hi everyone
 this will be quick, has anyone information on why command performance
was on glass discs, you usually think of them being afrs on vinyl
the reason i ask this is, a friend was about to purchase a number
when he saw that they were glass, and sad to say they had deep cracks
that he didn't think were repairable and he would know.
for those of you who contacted me about the calling all cars on cd, i want to
send 10 out at a time, but so far i have only 6 that have been transcribed
and cleaned and i am not about to rush them and send out less than
excellent sound.
 ed

------------------------------

Date: Tue, 20 Mar 2001 20:30:04 -0500
From: Conrad Binyon <conradab@[removed];
To: [removed]@[removed]
Subject:  Re: Viola Vonn

[removed]@[removed] mentions:

"Owens Pomeroy" <opomeroy@[removed]; who wrote about women on OTR:

Then we had Viola Vonn, who preceded Kate Smith in the 20's.

whereupon Michael Biel  mbiel@[removed] commented:

The only listing I find for Viola Vonn shows her to have played > Nadji in
the very late version of Chandu the Magician between > 1948 and 1950, but
she also did comedy roles in the 40s (and > maybe the late 30s?).  Strange
that she would have been a singer > in at least the early to mid-1920s.

I believe I'm submitting to the list information pertaining to
Michael Biel's Viola Vonn research, for I worked with a Viola
Vonn during my time in the barrel.  I talk about her in the
following link:

[removed]
--
conradab@[removed] (Conrad A. Binyon)
   From the Home of the Stars who loved Ranches and Farms
     Encino, California.

------------------------------

Date: Wed, 21 Mar 2001 04:52:01 -0500
From: lois@[removed]
To: [removed]@[removed]
Subject:  #OldRadio IRC Chat this Thursday Night!

A weekly [removed]

For the best in OTR Chat, join IRC (Internet Relay Chat), StarLink-IRC
Network, the channel name is #OldRadio.  We meet Thursdays at 8 PM Eastern
and go on, and on! The oldest OTR Chat Channel, it has been in existence
over three years, same time, same channel!

Our numerous "regulars" include one of the busiest "golden years" actors in
Hollywood; a sound man from the same era who worked many of the top
Hollywood shows;  owners of some of the best OTR sites on the Web;
maintainer of well-known OTR digest lists (we all know who he is)..........

and Me

Lois Culver
KWLK Longview Washington (Mutual) 1941-1944)
KFI Los Angeles (NBC) 1944 - 1950
and widow of actor Howard Culver

(For more info, contact lois@[removed])

------------------------------

Date: Wed, 21 Mar 2001 10:46:38 -0500
From: Gordon R Payton <thescifiguy@[removed];
To: [removed]@[removed]
Subject:  Flesh Flezmo, Space Explorer

I've received a request for info and, hopefully, copies of a series from
the 1980's called "Flesh Flezmo, Space Explorer". Very short, probably
2-3 minutes, episodes were aired on WPLR, [removed], in New Haven, Ct. between
commercials and music spots.
The 70's and 80's were the Golden Age of NPR Broadcasting and very little
has been documented or recorded from those days. At out OTR conventions,
one can often stumble across a reel collection for sale that contains
hundreds of shows like this. I don't know if WPLR is an NPR station, but
this series sounds like something that only an NPR station would have the
guts to air.

Any info would be greatly appreciated.

Gordon R. Payton
The Scifi Guy

------------------------------

Date: Wed, 21 Mar 2001 10:46:40 -0500
From: Joe Mackey <wmackey@[removed];
To: [removed]@[removed]
Subject:  Re: The Mystic Knights of the Sea

Date: Tue, 20 Mar 2001 11:11:42 -0500
From: Elizabeth McLeod <lizmcl@[removed];
Subject:  Re: The Mystic Knights of the Sea

the Swordfish guarded the door of the lodge room during meetings,

   There's a scene in the Marx Brothers film "Monkey Business" where the
password at a speakeasy is "Swordfish".  Possible tie-in with Amos and
Andy?  Inside joke lost on modern audiences?  :)
   Joe


------
Visit my home page:
[removed]~[removed]

------------------------------

Date: Wed, 21 Mar 2001 10:46:42 -0500
From: Udmacon@[removed]
To: [removed]@[removed]
Subject:  Re: the NBC Grand Ole Opry.

I loved and appreciated Jim Cox's posting on the Prince Albert-NBC portion of
the "Grand OLE Opry" (not "Old," Jim). I too witnessed the phenomena of the
NBC portion of the Opry at the Ryman, in 1955.

The Prince Albert show had the best scenery on the Opry: a flat showing a
barn and a scale model cottage on the side. Indeed it was scripted, and I
understand rehearsed Saturday mornings at the WSM studios in the National
Life Building; the only half-hour of the Opry that was rehearsed.

I must again correct Mr. Cox; Roy Acuff was the emcee of the Prince Albert
show after George D. Hay, the "Solemn Old Judge." Red Foley inherited the
network emcee chores after Acuff. Later the NBC Opry rotated its emcee chores
among its stars to include Hank Snow, Ernest Tubb, and George Morgan.

In its early run, Uncle Dave Macon, the Opry's first super star was always on
the NBC portion; however, it is said, when it was determined that most Opry
listeners on the network thought Uncle Dave was a black man, he was dropped.
Minnie Pearl succeeded him.

When I was growing up in New York City, WSM was blocked out by WNBC so the
ONLY portion I heard was the Prince Albert Opry. It was frustrating to know
that there was another four hours of the Opry I could not hear. I finally did
when I visited relatives out on Long Island and what a thrill that was!

BILL KNOWLTON: "BLUEGRASS RAMBLE," WCNY-FM: Syracuse, Utica, Watertown NY
(since 1973)


Charles K. Wolfe's "A Good Natured Riot" is an excellent history of the Opry
from 1925 to 1940.

------------------------------

Date: Wed, 21 Mar 2001 11:03:51 -0500
From: "Andrew Rodriguez" <nasty@[removed];
To: "Old Radio" <[removed]@[removed];
Subject:  [removed]

Just a note to thank everyone who sent information to me on transferring
files onto Cds. I'm as always humbled by the quality and quantify of help
that comes from you [removed] Many thanks [removed]

------------------------------

Date: Wed, 21 Mar 2001 11:03:53 -0500
From: "Art Department" <wolowicz@[removed];
To: <[removed]@[removed];
Subject:  Alan Ball

I wanted to shout out a thank you to Alan Ball for the great link re: the
RioVolt.  I've got one and it's great.  I installed the [removed] firmware for it
and now it has even MORE functionality!  This thing plays everything!  I
highly reccomend it to any OTR enthusiast who likes listening to MP3s of
his/her favorite show.

Thanks again,
Shawn

------------------------------

Date: Wed, 21 Mar 2001 11:03:56 -0500
From: Duane Keilstrup <duanek9@[removed];
To: <[removed]@[removed];
Subject:  ORRIN TUCKER LIVE INTERVIEW

Big Band Leader Orrin Tucker will be interviewed live on Sunday night, March
25, after 7:30 [removed] Eastern on the Bill Bragg Show on The Yesterday USA
Radio Networks.  On the same show Classics & Curios will feature Woody
Herman and Mitch Miller.  Tune us in at [removed] where OTR shows
are heard around the clock.
Duane Keilstrup

------------------------------

Date: Wed, 21 Mar 2001 11:03:58 -0500
From: otrbuff@[removed]
To: [removed]@[removed]
Subject:  Mystery Time

Jay Hickerson lists what is obviously a rather obscure series called "ABC
Mystery Time" (aka "Mystery Time") in his Ultimate History (1996
edition).  He says the host of the program was Don Dowd and that it
appeared in 1957-58 on ABC Radio on Fridays.

I've combed through a score of other composite and/or drama volumes and
have failed to find any mention of this series otherwise.  Do any of you
crime/mystery/drama authorities have any further information of this
little feature?  For instance, was it an anthology of crime tales, was it
a detective show or was it something else?  I'm working on a major
project and really need your help on this one.  If you have a tape and
wouldn't mind listening to it and reporting what you find, I'd be
grateful.  Or if you can point me to other printed sources that offer a
more complete description, I'd appreciate that.

Thanks for any contributions to research anyone may be able to provide.
Contact me directly, please.

Jim Cox
otrbuff@[removed]

------------------------------

Date: Wed, 21 Mar 2001 11:04:08 -0500
From: claudianross@[removed] (claudianross)
To: [removed]@[removed]
Subject:  Re: Peter Gzowski

How interesting that the discussion of  Peter Gzowski should begin one day
after I discovered really great piece on [removed]
where peter interviews the cast of Chicago's Second City company. Go listen
before they change the posting. Canadian radio lost one of
the giants when they allowed him to retire. If you can find it, his 1988
autobiography "Peter Gzowski, The Private Voice, a Journal of
Reflections" from McClelland and Stewart is worth reading.


John Ross Weber

Munich,Germany

------------------------------

Date: Wed, 21 Mar 2001 12:35:06 -0500
From: thebard@[removed]
To: [removed]@[removed]
Subject:  Thanks

Thanks to all the people who sent me information about getting into OTR.  The
OTR FAQ at [removed] had some good stuff too.

I'm really into MP3s instead of tapes, but I can see how all this information
relates to the old ways of collecting and enjoying the hobby.

Bill

--------------------------------
End of [removed] Digest V01 Issue #91
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