Subject: [removed] Digest V2001 #247
From: "OldRadio Mailing Lists" <[removed]@[removed];
Date: 7/31/2001 1:03 PM
To: <[removed]@[removed];

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


                            The Old-Time Radio Digest!
                              Volume 2001 : Issue 247
                         A Part of the [removed]!
                                 ISSN: 1533-9289


                                 Today's Topics:

  The Detective and Shadow Threads      [ SAEBERBACH@[removed] ]
  Mary Livingstone                      [ "Donald & Kathleen Dean" <dxk@nfoli ]
  re frank lovejoy                      [ me <cien@[removed]; ]
  FOTR Convention                       [ JayHick@[removed] ]
  OTR & Minidisc                        [ Marty <martyd@[removed]; ]
  Andy Russell                          [ Ira Chineson <irachin@[removed] ]
  the old WCBS                          [ Donna Halper <dlh@[removed]; ]
  Re: Frank Lovejoy sound-alike         [ Gerry Wright <gdwright@[removed]; ]
  Re:Dennis Day on "Bambi" ?            [ Jack Harris <jack@[removed] ]
  affiliates defined, et. al            [ "Art Shifrin" <goldens2@[removed] ]
  Re: 1942 Radio Listings               [ JBeck57143@[removed] ]
  Who Knows?                            [ "Stephen A Kallis, Jr." <skallisjr@ ]
  WKRP                                  [ "A. Joseph Ross" <lawyer@attorneyro ]
  Easy Aces / mr ace and JANE question  [ "W. Gary Wetstein" <wgaryw@pacbell. ]
  Johnny Dollar - A dissenting opinion  [ "Poindexter" <poindexter@[removed]; ]
  Re: OTR fun with Johhny Dollar        [ [removed]@[removed] ]
  Jack Benny meets Mary Livingstone     [ "@" <josephpostove@[removed]; ]
  Re: Radio Mentions In Other Media     [ Michael Henry <mlhenry@[removed]; ]
  Dual broadcasts                       [ otrbuff@[removed] ]
  Wally Maher                           [ "B. J. Watkins" <kinseyfan@hotmail. ]

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

Date: Mon, 30 Jul 2001 21:10:15 -0400
From: SAEBERBACH@[removed]
To: [removed]@[removed]
Subject:  The Detective and Shadow Threads

Hi All!
I have been following the detective threads and The Shadow threads for the
past few days with a great deal of interest.  While I mostly lurk on the
digest I thought that I would weigh in on these threads and give my thoughts.

As for the detective shows there seem to be at least three sub-genres within
that realm. Those of the hard-boiled school such as Philip Marlowe, Sam
Spade, The Fat Man, et al.  The next are the puzzle solvers such as Sherlock
Holmes, Ellery Queen, and few others.  Last the procedural detective shows
such as Dragnet, Gangbusters, The FBI in Peace and War among others.  My
thoughts on the difference between the Hard-boiled school and the puzzle
solvers is the hard-boiled school seems to concentrate more on the
relationships between the characters and the atmosphere of the setting.  The
solving of the crime is rather a device to keep the story moving along and is
rather secondary.  The puzzle solvers seem to be more for the arm-chair
detectives in the audience to see if they can figure out "who-dun-it" before
Holmes and Watson or Ellery Queen.  Relationships between the characters are
[removed] solving of the puzzle (and identifying the clues that have
eluded the audience) is the important thing.  The procedural detective shows
make the procedure of catching the criminals the important part of the show
and the relationships between characters and solving any of the puzzles
secondary.  Of course, there is a great deal of overlap among the various
[removed] have elements of all three styles.  Just my thoughts on the
detective shows and my two cents worth.

As for The Shadow.  I have a soft spot for The Shadow as it was the very
first radio show I ever heard.  I heard the show for the first time when I
was 13 (I'm 42 now) and spent my very early years of OTR collecting devoted
to that show.  I see The Shadow as having 3 distict [removed] Welles
broadcasts (1937-1938), the Johnstone broadcasts (1938-1943) and then the
Morrison broadcasts (1943-1944, 1945-1954).  I don't really count John Archer
as his role as The Shadow was rather brief and to me his voice was not all
that distinct.  I have trouble distinquishing his voice from other male
characters in the show.  I do like his opening and closing signatures for the
show [removed] laugh was quite good.  Perhaps if more of his shows were
available my opinion would be a little different.

I like the Welles broadcasts for a variety of reasons.  These were in my
opinion were among the best of the [removed] neccesarly because of Welles
in the role but because, as Anthony pointed out, the stories were better
thanks to Edith Meiser the script editor.  Another point in favor of these
shows were the talent of the actors such as Agnes Moorehead, Ray Collins,
Paul Stewart, Kenny Delmar, Bill Johnstone, and others who filled out the
cast of characters.  I agree with Anthony that Welles couldn't master the
laugh and after a couple of listens I can detect when the laugh of Frank
Readick was dubbed in as well as in the opening and closing signatures of the
show. BTW do any of the shows with Frank Readick exist other than the opening
and closing signatures?  I would sure love to hears some of those!  Welles
does give some rather strange readings too due to the fact that he was free
from having to attend the rehearsals.  One other reason that I like this show
is because The Shadow had a more dominant role than his alter ego as Lamont
Cranston, he had other powers other than being able to become invisible, and
Margo was more an aide than the damsel-in-distress she would become later on.
 Some of my favorites from the Welles era?  The Three Ghosts, The Temple
Bells Of Neban, and The Hypnotized [removed] others.

I agree with both Ryan and Anthony that Bill Johnstone was the best of all to
play The [removed] like him the best.  His voice has the level of maturity
that Cranston/The Shadow should have.  While some of the scripts IMO are not
as good as those during the Welles period many of the stories are quite
enjoyable.  One thing I do notice about these shows from this period is there
are a lot of Mad Scientist/Horror shows as those dealing with the
supernatural that could not be explained away as in the later shows.  Some
favorites are Murder From The Grave, The Gibbering Things, The Shadow
Challenged, and The Mystery Of Madman's [removed] are quite a number of
others too.  I agree with Ryan that the long moralizing monolouges at the end
of some of the early Johnstone shows is a bit annoying.  Marjorie Anderson as
Margo is the best of all the [removed] IMO  is the most [removed]
there is a lot of witty dialogue between her and Lamont in the Johnstone
[removed] is a bit more bold and sassy than the later Margos as well.
I thougt she died of throat cancer and not in a car accident [removed] about
it Anthony?

The Morrison broadcasts are the least of my [removed] though he played
the role the longest the stories become more pedestrian detective fare with
supernatural trappings.  Lamont's character takes on a more dominant role and
The Shadow only shows up twice (often only once in later years) to
interrogate an uncopperative witness and then at the last minute to save the
day.  This is not to take anything away from Morrison as he was a fine actor
and an accomplished voice [removed] the scripts were not as good.  One
thing I do like about these shows is they have a very polished sound to them.
 More so than the earlier broadcasts.  Grace Mathews as Margo is a bit of a
disappointment and in some shows she speaks so softly it is hard to
understand her.  I like Lesley Woods much better; although, both would prove
to be more neurotic and high strung than Anderson's portrayal.  Some
favorites?  The House That Death Built, Death And The Black Fedora, The Ghost
Wore A Silver Slipper, and The Ghost Without A Face and there are a lot of
others that I do like.  Anthony can you tell me about the origin of the
character that shows up in some of the later [removed] Poindexter,
Lamont's underworld [removed] his first appearence was and was he used
as comic relief as Shrevie seems to be absent from most of the later stories?

I would like to apologize for this posting being so long and thank everyone
bearing with me.

Scott Eberbach

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

Date: Mon, 30 Jul 2001 21:12:27 -0400
From: "Donald & Kathleen Dean" <dxk@[removed];
To: <[removed]@[removed];
Subject:  Mary Livingstone

In the last Digest, Lee Munsick asked the following question

Back to Mary Livingstone, what was her real name?  I believe it was
Marx.  Was she related to the Marx Brothers?

Mary's real name was Sadye Marks, born June 23, 1905 in Seattle,
Wash. died June 30, 1983 of heart disease in Los Angeles.
Check out all this information on this Jack Benny website.
[removed]

Don Dean N8IOJ

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

Date: Mon, 30 Jul 2001 22:36:36 -0400
From: me <cien@[removed];
To: [removed]@[removed]
Subject:  re frank lovejoy

in my opinion i think frank lovejoy was the best first person narrator
in [removed] ! i'm [removed]
cien

--
[removed]

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

Date: Mon, 30 Jul 2001 22:36:34 -0400
From: JayHick@[removed]
To: [removed]@[removed]
Subject:  FOTR Convention

Information on our upcoming Friends of Old-time Radio Convention can be found
on the web thanks to Charlie Summers.  It is Oct 25 - 28, Holiday Inn-North;
Some guests are Russell Arms, Frank Bresee, Tom Cook, Ben Cooper, Bob
Hastings, Kevin O'Morrison, Beverly Washburn, Peggy Webber, Peg Lynch.  There
are many more.

You can get information on the Friends of Old-time Radio Convention on our
Web Site:

FOTR Web site:  [removed]  (all lower case)

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

Date: Mon, 30 Jul 2001 22:36:32 -0400
From: Marty <martyd@[removed];
To: [removed]@[removed]
Subject:  OTR & Minidisc

Just curious if anyone is using minidisc as their medium for listening
to OTR.  I'm thinking of purchasing a minidisc recorder for this purpose
and would like to discuss the "ins and outs".

Thanks!
Marty

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

Date: Mon, 30 Jul 2001 22:36:31 -0400
From: Ira Chineson <irachin@[removed];
To: [removed]@[removed]
Subject:  Andy Russell

I've heard this singer's name mentioned in several broadcasts from
the mid and late 40s, usually as some sort of rival of Sinatra and Crosby.
I also heard him on the Benny broadcast where he appears with Dick Haymes,
Dennis Day and Bing  as potential replacements for the Sportsmen.
However I don't know much else about him.  Did he have any hit records,
was he a regular on any shows? etc.  Any information would be
appreciated.

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

Date: Mon, 30 Jul 2001 23:20:38 -0400
From: Donna Halper <dlh@[removed];
To: [removed]@[removed]
Subject:  the old WCBS

Liz wrote--

There *was* a WCBS on the air during these years -- it had gone on the
air in the 1920s in Springfield, Illinois, and the call letters were
sequentially assigned and didn't stand for anything. In the summer of
1946, the station changed its call letters to WCVS, and CBS grabbed up
the old WCBS letters for itself. WABC officially became WCBS on 11/1/46,
still operating at 880.

WCBS in Springfield IL has a very interesting history.  It began in
Providence RI in the mid-20s, when Charles Messter, who owned WCBR, and his
friend Harold Dewing, who owned WCBS-- two sequentially assigned calls--
were operating them as "portables"-- stations in the back of a truck, which
moved around from town to town, setting up at fairs, amusement parks,
etc.  Portables were a great gimmick during radio's early years, but as
technology improved and more stations went on the air, Dewing and Messter
saw the number of successful portables in New England dramatically
decrease, as the demand for a temporary station was replaced by the demand
for a full-timer. In fact, the new FRC (Federal Radio Commission) would
soon issue an order to eliminate the portables entirely, due to their
alleged interference with stations in fixed locations.  Before this
occurred, Dewing headed out to the midwest where portables were still
popular (an entrepreneur and theatre impresario named Charles Carrell at
one time owned 7 mid-western portables), and set up in various Illinois
cities; when the FRC ruling finally eliminated the portables, Dewing
decided to stay put in Springfield, where a local hotel was delighted to
have the new station operate there.  Charles Messter reluctantly gave up
WCBR and joined Dewing in Illinois, where they ran WCBS very
successfully.  As for why the call letters were changed from WCBS to WCVS
in  September of 1946, I have clippings from the local papers that say it
was no accident-- the story goes that CBS in New York asked the station's
owners to give up those call letters (and I am sure something was offered
to inspire such a kind [removed]).

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

Date: Mon, 30 Jul 2001 23:20:36 -0400
From: Gerry Wright <gdwright@[removed];
To: [removed]@[removed]
Subject:  Re: Frank Lovejoy sound-alike

Jer51473@[removed] queried:

...Frank Lovejoys voice is identical, imo, to another actor that i
have
heard on the radio and seen in movies. I think the other guy is
Charles
Mcgraw. I cannot tell one voice from the other.

The actor who sounds like Frank Lovejoy is Edward Binns. Binns was born
12 September 1916, in Philadelphia, Pennsylvania and Frank Lovejoy was
born 28 March 1914, The Bronx, New York. Edward Binns movie and TV
credits can be found at:

<[removed],+Ed>

Gerry Wright
ZoneZebra Productions
San Francisco

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

Date: Mon, 30 Jul 2001 23:20:44 -0400
From: Jack Harris <jack@[removed];
To: [removed]@[removed]
Subject:  Re:Dennis Day on "Bambi"  ?

I researched several of my Disney books.  They say no voice credits were
given but it is known that Peter Behn did the voice of Thumper.  It lists
credits for Orchestrations, Conductor and Coral arrangements but that is
it.  It does and doesn't sound like Day.  Hard to [removed]

drummer

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

Date: Tue, 31 Jul 2001 00:07:38 -0400
From: "Art Shifrin" <goldens2@[removed];
To: <[removed]@[removed];
Subject:  affiliates defined, et. al

Sean Dougherty wrote:

Furthermore, does anyone know why WABC was the CBS Affiliate in New York in
1942?  880 is currently CBS' all news station in that market - what's the
history behind the switch?

An addition to Elizabeth's answer: once acquired by CBS, WABC was not an
affiliate but an "O & O" (owned and operated). There's a significant
difference between the two, even more so back then when there were severe
restrictions on the number of stations that could be owned by a network.  An
affiliate is a station owned by an entity other than the network with which
it has contracts to accept and provide programming.  Not owning the
affiliate, the network cannot absolutely control the content & schedule of
the affiliate's air schedule.   Also, even now, (as then with radio) TV
stations in very small markets can be affiliated with more than one network,
choosing which feed to air.  Pre tape & wire, time shifting was of course,
done by via ETs: recording them when fed by the network and playing them
back later as necessary.  I suspect that the smaller the market, the less
likely it was that the then costly  non-reusable media were utilized due to
narrow profit margins in those small markets.

Also, I don't know in what years this was done, but the NBC station in
Hawaii regularly received ETs recorded at point of origin  or from some
other point on the line by the network.  Assuming that they had state of the
art playback equipment (RCA or Western [removed] former more likely for
business reasons), the quality from the disks was substantially more clear
than could be attained with the best quality short wave relays at that time.
Even if taken off of "the line", whose typical best high frequency response
was limited to 5Khz (five thousand cycles), such ETs would lack the drifting
and static of a short wave relay.

Clarification:  what I mean by "point of origin" is that the recordings were
made in the studio from which the broadcast was emanating (if indeed from
only one studio).  Under these circumstances, the frequency range was much
wider (more accurate low and high frequencies) because the signals were not
yet mitigated by the limited response of the long distance lines then
provided by AT&T.  An example: a non mutilated, non deteriorated disk of a
Town Hall Tonight being done at Radio City in NYC will have much more
clarity if recorded in the studio than that in comparable condition that had
been recorded off of the NBC line in Los Angeles.

About static: line recordings can contain static ([removed] from lightning) where
the AT&T or local phone company lines ran above ground.

Best,
Shiffy

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

Date: Tue, 31 Jul 2001 00:07:36 -0400
From: JBeck57143@[removed]
To: [removed]@[removed]
Subject:  Re: 1942 Radio Listings

Were the Vic and Sade repeats from recordings? If they were, could any of the
recordings still be around?

Jim Beck

Elizabeth McLeod wrote:

In the case of V&S, it was simply a matter of Procter and Gamble wanting to
reach a larger audience -- so in addition to the NBC slot, time was also
purchased on CBS.

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

Date: Tue, 31 Jul 2001 00:07:34 -0400
From: "Stephen A Kallis, Jr." <skallisjr@[removed];
To: [removed]@[removed]
Subject:  Who Knows?

Stephen Janmsen, speaking of the OTR version of The Shadow, observes,

I've listened to scores of Shadow episodes over the last 10 years, and
have yet to find one that impresses me.  <snip>  .  I realize that
occasionally the mentality of the times must be considered, but 24 years
is quite a slice of times.  I must just somehow be accidentally skipping
the suspenseful, adventurous, memorable episodes.

Well, this might be hard to explain, but I'll try.  The _concept_ of The
Shadow was what made the show work rather than individual episodes.  The
idea of an avenger who could strike unseen at evildoers was -- and is --
something we can all wish for; kinda like a guardian angel, though
nominally human.  A little of it could be attributed, I suppose, to "the
mentality of the times," but most of it reaches us on a more visceral
level.

Stephen A. Kallis, Jr.

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

Date: Tue, 31 Jul 2001 08:59:54 -0400
From: "A. Joseph Ross" <lawyer@[removed];
To: [removed]@[removed]
Subject:  WKRP

Date: Mon, 30 Jul 2001 10:24:07 -0400
From: Udmacon@[removed]

I was amazed that "WKRP In Cincinnati" was able to use those call letters
since there IS and had been for a long time in Cincinnati: WKRC.

Not really surprising, since WKRP in Cincinnati was a fictitious station.
A real station might have had problems if it also had a format sufficiently
similar to WKRC to create confusion.

There was a lawsuit in Boston a few years ago when someone started a
country music station called "WBCS."  The owners of WBCN sued, but
the court found that there was little chance of anyone confusing country
music WBCS with progressive rock WBCN.

On the other hand, the area's other country music station, WCLB ("The
Country Club") changed its call letters to WKLB when classical music
WCRB suddenly had a big jump in the ratings in the next book after
WCLB started.

As one might imagine, Boston isn't a big market for country music, and
after a period of competition, the owners of WBCS bought WKLB and
moved the WKLB call letters to the WBCS frequency.


 A. Joseph Ross, [removed]                           [removed]
 15 Court Square, Suite 210          lawyer@[removed]
 Boston, MA 02108-2503           [removed]

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

Date: Tue, 31 Jul 2001 08:59:51 -0400
From: "W. Gary Wetstein" <wgaryw@[removed];
To: OTR Digest <[removed]@[removed];
Subject:  Easy Aces / mr ace and JANE question

hi all,

i'm new to this mailing list, but have been floating around the old radio
newsgroups for quite a while now.  i have a question for all the serious
collectors out there.

i'm a *huge* fan of goodman ace, from his work on "easy aces" through "the
big show". i even have all of his published books (most of which are
collections of his columns for the saturday review), which i found by
scouring the out of print book websites.

my question is:  where are all the missing programs?  i don't mean to ask
"how did so many shows get lost," since i know that the vast majority of OTR
is irretrievably lost.

however. . . the majority of the circulating "easy aces" shows are from the
run of about 280 episodes which were syndicated in the 40s.  nonetheless,
every now and then an episode not part of this run will pop up, either at an
OTR convention, or posted to the newsgroups.

likewise, i was able to get 14 episodes of "mr ace and JANE," (the 1/2 hour
revival series from 1948-9), but i know that at *least* two more episodes
survived, because i have small clips of them.  one is from the flimsy insert
disc included in ace's book, "ladies and gentlemen, easy aces," and it's
about jane going to a psychiatrist.  the other was from a "best of" comedy
tape from the old "adventures in cassettes" company, and it's about jane
wanting to appear in a play.  now, if excerpts exist, it would stand to
reason that the shows exist somewhere in their entirety.

these tantalizing tidbits leave me drooling in anticipation, but i just
can't find any more programs than i have so far.  i'm left believing,
however, that there must be more out there-- somewhere-- and i'd love to
find out where.

can anyone help?  i don't know how i would be able to repay anyone who can
provide any information, but i'll certainly try. . .

w. gary wetstein

ps-- thanks to elizabeth mcleod, i now know that the library of congress has
a pile of easy aces shows not in circulation, but these are not the tidbits
of extraneous programs i referred to above. they also have some sort of a DJ
show featuring ace and jane from 1952, which i never heard of before in my
life.  maybe someday someone will actually be able to *listen* to these
programs without getting all sorts of legal clearances and spending $86 per
hour for the library of congress to duplicate them!

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

Date: Tue, 31 Jul 2001 08:59:44 -0400
From: "Poindexter" <poindexter@[removed];
To: <[removed]@[removed];
Subject:  Johnny Dollar - A dissenting opinion

I'm beginning to think I may be a minority of one, but I don't care much for
the 5-part Johnny Dollar programs.

It seems to me like they've taken a 30 minute story and stretched it out to
75 minutes, padding it with 5 openings and closings instead of one, 4 recaps
of the previous day's events and 4 previews of what's going to happen on the
next episode. When you take away all that, there isn't much time left in
each day's show.

The 5-parters I've listened to give me the feeling that I'm hearing a repeat
after the first episode of a series.

I apologize in advance to anyone who takes umbrage at my sacrilege, but give
me the half hour shows any day.  That doesn't mean I'm right and you're
wrong, just that I have a different opinion.  As the saying goes, that's why
they have horse races.

Poindexter

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

Date: Tue, 31 Jul 2001 08:59:48 -0400
From: [removed]@[removed]
To: [removed]@[removed]
Subject:  Re: OTR fun with Johhny Dollar

This morning I listened to an episode of YTJD with Edmond O'Brien.  I'm not
sure of the year ; all I could make out from the announcer is that the next
regular episode of the series would air on October 6th as the current  time
slot was a summer slot.

On this episode Bill Conrad played a police lieutentant named Parkinson who
is killed by a hoodlum named Dillon from Kansas.  It could be coincicdental
but I would like to think that the episode's air date occurred after
Gunsmoke began and that someone was having some fun.

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

Date: Tue, 31 Jul 2001 12:09:33 -0400
From: "@" <josephpostove@[removed];
To: <[removed]@[removed];
Subject:  Jack Benny meets Mary Livingstone

Bob Noble wrote about the first meeting of Jack Benny and Mary Livingstone:

Benny was touring with the Marks brothers, and was especially friendly
with Zeppo Marx. They were out of town and Zeppo knew this family named
Marks (note it's spelled differently and they are not related) and had
been invited to a Satyr dinner there

Bob, just a slight retort if you don't mind. It was a Passover SEDER dinner
where they met, although with the Marx Brothers there, I suppose it could
have been a  "Satyr" dinner as well.

Joe Postove

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

Date: Tue, 31 Jul 2001 12:09:51 -0400
From: Michael Henry <mlhenry@[removed];
To: [removed]@[removed]
Subject:  Re: Radio Mentions In Other Media

A good website for radio references in Warner Brothers
cartoons is the "Warner Brothers Cartoon Companion"
([removed]#intro)

According to [removed] Costello, the author of the site, the
purpose of the site is "to put one in the place of the
theatergoers of the day, and allow one to laugh at the same
jokes".

To that end, there are entries on radio personalities,
movie stars, World War II, and other aspects of American
culture in the 1930's, 1940's, and 1950's. Each entry has a
brief summary of the person or thing, followed a
description of the cartoons it is referenced in.

Enjoy!

-Mike Henry
Library of American Broadcasting

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

Date: Tue, 31 Jul 2001 12:09:31 -0400
From: otrbuff@[removed]
To: [removed]@[removed]
Subject:  Dual broadcasts

OTRChris ponders whether a type of makeshift studio was employed by ad
agencies when a program ([removed], Ma Perkins, Road of Life, Pepper Young's
Family, et al) appeared on more than one network, or whether the casts
traveled en masse to the various network studios.  When the shows were
performed live, at least, those casts did in fact assemble in the studios
of the chains broadcasting them.

There are many stories about the pratfalls involved in actors rushing
from CBS to MBS to ABC to NBC and back and forth and missed rehearsals
and near-missed performances.  During the 'live' era, second performances
were often required to account for the three-hour time delay between
coasts.  If that rule had been applied to daytime serials it could have
meant four daily performances of the same show in certain cases!  "The
Great Radio Soap Operas" (McFarland, 1999) details a lot of the coming
and going from company headquarters to company headquarters and the
logistics of it are, to me at least, a fascinating study.

Frequently those repeat performances evolved into routine or humorous
endings but sometimes they didn't.  Burgess Meredith, who originated the
namesake roles of Red Adams and then Red Davis, at first a nighttime
serial that was to turn into Forever Young and eventually become the
durable daytime Pepper Young's Family, its fourth moniker, missed the
repeat show for the West Coast one evening in 1934.  The director stepped
in and attempted to imitate Meredith's voice.  But sponsor Beech-Nut
chewing gum was not amused and Meredith was immediately fired from his
Depression-defying $350-a-week job.  There was little tolerance in not
showing up for work in that profession.

Virginia Payne, the great actress who was Ma Perkins during that epic
drama's 27-year-run, and who incidentally never missed a performance,
acknowledged that she carried one recurring nightmare across all those
years.  In her hallucination she saw herself as the only thespian on hand
for the latter broadcast (for many years the same 1:15 [removed] episode on
CBS was repeated live at 3:15 [removed] on NBC).  Fortunately, her worst case
scenario never materialized.

Jim Cox

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

Date: Tue, 31 Jul 2001 14:46:31 -0400
From: "B. J. Watkins" <kinseyfan@[removed];
To: [removed]@[removed]
Subject:  Wally Maher

ARGHHH!! Of course I meant Wally Maher (with an "h"), as Conrad Binyon
pointed out. I think typos must be contagious!

arabraB

--------------------------------
End of [removed] Digest V2001 Issue #247
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