Subject: [removed] Digest V2001 #299
From: "OldRadio Mailing Lists" <[removed]@[removed];
Date: 9/9/2001 8:29 PM
To: <[removed]@[removed];

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


                            The Old-Time Radio Digest!
                              Volume 2001 : Issue 299
                         A Part of the [removed]!
                                 ISSN: 1533-9289


                                 Today's Topics:

  Re: Gershwin Radio Show               [ Michael Biel <mbiel@[removed]; ]
  Unusual Occupations                   [ "David L. Easter" <david-easter@hom ]
  Good news and bad news                [ StevenL751@[removed] ]
  Re: Harry Bartell's Top Five          [ "Michael Hayde" <mmeajv@[removed]; ]
  Re: Playing MP3 Discs                 [ Cnorth6311@[removed] ]
  Rerun: 78 rpm album warning           [ "Mark Kinsler" <kinsler33@[removed] ]
  Re: Re: OTR mp3's                     [ Cnorth6311@[removed] ]
  top 5                                 [ John Cowgell <john@[removed]; ]
  Try [removed] help                 [ vigor16@[removed] ]
  Age and Favorites                     [ sojax@[removed] (Roger Smith) ]
  The Magic Island                      [ "Melsh, Chip (OD)" <MelshE@[removed] ]
  Favorites                             [ William L Murtough <k2mfi@[removed]; ]
  Gershwin CD/Demographics/Top Five     [ "Nancy and/or Russell Hudson" <huds ]
  Greatest Story Ever Told              [ ARago17320@[removed] ]

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

Date: Sun, 9 Sep 2001 11:06:35 -0400
From: Michael Biel <mbiel@[removed];
To: old time radio <[removed]@[removed];
Subject:  Re: Gershwin Radio Show

From: "Robert Fells" <rfells@[removed];
Frank Kelly inquired about George Gershwin's radio show and
whether any recordings exist.  Fortunately, there are some that
are in circulation and these days you can even find them on CD.
A few acetates were found in Ira Gershwin's belongings in the
1970s and that's how they came into circulation.  The sound
quality isn't hi-fi . . .

From: Michael Berger <intercom1@[removed];
The Gershwin Performs Gershwin CD is on the Music Masters Label,
catalog  #5062-2-C  and in addition to the two Gershwin broadcasts
and Porgy and Bess rehearsal peformance previously noted also
includes a Rudy Vallee Fleischmann Hour appearance in which
Gershwin  played  three  brief  numbers  and  has  a short
interview with Vallee.    Michael Berger

There have been many issues of these recordings on LPs and CDs, but this
one is the ONLY one that you should get.  There's a very interesting
story behind these recordings, and why there has been some "creative
editing" on several different editions.

Ed Jablonski mentioned these recordings in one of his books on the
Gershwins in the late 60s, and I mentioned this during a phone call from
a woman at CBS when I was teaching in Missouri in the early 70s.  A few
years later the recordings appeared on two LP sets on George
Garabedian's Mark 56 label.  George told me years later that the woman I
probably had spoken to had later left CBS and became his assistant.
George didn't know me until the late 70s, but he later told me that it
might have been my tip that led him to these discs.  After Ira Gershwin
died, the discs were donated to the Library of Congress, and it is there
that I had a chance to examine them in the early 80s.

Jablonski mentioned that the original discs of the Feenamint programs
were on plastic discs that were deteriorating by the late 40s, and that
Ira had them dubbed onto lacquer discs in 1948.  Thereafter those
originals disappeared, but it is possible that they might have been
floppy celluloids of the type which were used to record the Sept 1933
debut evening of the Amalgamated Broadcasting System.  While the ABS
discs were in fine shape, the Feenamint discs had become wavy because
Ira had stored them in his California attic. So when the Feenamint
programs were dubbed, the needle skipped many times.  Because of this,
two sets were dubbed onto 12-inch yellow label AudioDiscs.  It was
confirmed just a few years ago that these two sets were of two different
playings of the originals, so the skips are different in the two sets.
Side one of one of the sets suffered from water damage and large clumps
of the lacquer peeled off the aluminum, so only one playing of that side
exists.  This is why there are about three skipped grooves during the
first several minutes of this program--I forget which one has the
skips--there was no second dubbing to use to edit corrections.

In general, George dubbed off only one of the two sets--he used the
sides which looked better.  If there were no unrepairable skips on a
side he didn't dub the second version.  But when he went to assemble the
program he discovered a problem with side three which begins in the
middle of "The Man I Love."  There is a short segment missing at the
side change and there is a skipped groove about ten seconds into the
side.  He didn't have the discs anymore so there was nothing he could do
but issue the LP this way with the two skips.

A few years later, Martin Williams at the Smithsonian was putting out
"Origianl Cast" albums of early musicals for which there really had been
no origianl cast album.  He gathered together the singles that had been
recorded by the participants, and because Gershwin ocasionally sat in
with the pit band for "Lady Be Good" he used the Gershwin recording of
"The Man I Love" from the broadcast.  Without getting permission from
Garabedian, Martin pirated the recording straight off of a copy of the
Mark 56 LP.  But he was bothered by the two skips.  So he had his
engineer, the legendary Jack Towers, do some "creative editing."  Jack
was able to find a section of the song that in the sheet music exactly
duplicated the area where the skips occurred.  So about 10 seconds of
the recording is repeated, which eliminated the skips but also
eliminated some of Gershwins improvisations.

The following year, Martin gave a talk about this series of LPs to the
Association for Recorded Sound Collections.  The series was already
controversial because he edited out vocal sections from recordings if
the singer was not part of the original cast but the band had been the
pit band.  And when he demonstrated this additional example of Jack
Towers' editing, some of us hit the roof.  Martin had mentioned that the
original scores to most of these shows were missing, but that these
recordings could help arrangers re-write those missing scores.  He was
telling us that these sound recordings are worthy of scholarly study.  I
told him that without detailed information in the liner notes, some
Gershwin scholar someday will be studying Gershwin's piano style and be
misled by this "creatively edited" recording.  ("Creative Editing" was
Martin's term, by the way, and was the only description in the liner
notes that something had been done.)

The very next year it happened!  The now-famous Gershwin scholar Artis
Wodehouse was just beginning her career, and she did a talk at the next
ARSC conference analyizing three Gershwin pieces from his recordings,
the standard sheet music, and the published transcribed sheet music of
his improvisations.  And sure enough, the third piece she dissected was
"The Man I Love."  I watched Martin Williams squirm and sink lower and
lower in his chair at the back of the room as Artis projected the
written music and played all three versions of this exact section of the
piece--the section with Jack Tower's creative editing.  I let Martin
have the first word in the Q&A section, and he asked her only if she
used the Smithsonian or the Mark 56 version.  We ALL knew she had used
the Smithsonian.  Martin then asked her if she realized that there had
been some editing of Gershwin's playing--she turned pale as she answered
no.  I then got up and told Martin that the chickens had come home to
roost.  He had been caught because he had not adequately disclosed just
what he had done in his editing.  I also admonished him for pirating
from the Mark 56 LP instead of going down the Mall to the Library of
Congress where the original discs had been for several years and re-dub
them to see if the two skips could be corrected.  Artis had been an
innocent victim because she had not referred back to the original source
for her scholarly study, she had relied on a reissue without knowing to
investigate if it was accurate.

A number of years later the discs were dubbed for reference by LC--only
one set, though--and the discs were then placed in storage.  They were
unable to find them again when I needed them, but in playing the tape I
was able to see at least that the side change could easily be
corrected--all of the notes really WERE there.  When MusicMasters and
the Musical Heritage Society were able to get permission from the
Gershwin family to do a CD of the recordings, the orignial discs WERE
unearthed and BOTH sets were dubbed.  Ironically, the dubs went to Jack
Towers, and this time he was able to find the missing skipped groove
from the other set, and put the whole piece together from the total
recording--no sections were played twice.  Jack later told me that he
had forgotten that he had done it with a repeated segment for Martin
Williams until I reminded him of it.  You can hear a slight increase in
the surface noise in this segment which he used from the alternate
dubbing.  Soon thereafter Artis Wodehouse published an article in
Keyboard magazine detailing an analysis of this piece and included a
printed score based on this correct recording.  She was glad when I
confirmed to her that she had gotten it right this time.

There are about three other CDs that contain these Gershwin broadcast
recordings, and most were produced in Canada and were mastered by my
friend David Lennick.  Not knowing the history of this recording, David
worked off of the Mark 56 issue and did his own version of "creative
editing" which is a little different from what Jack Towers had done.  So
these issues--some of which eliminate any of the talking and
announcing--are also not correct versions of Gershwin's playing.

>From what I have been told, there have been only two issues of these
recordings authorized by the Gershwin family which retains control of
the masters, the Mark 56 LPs and the MusicMasters/Musical Heritage
Society CD.  All others--including the Smithsonian LP--are unauthorized
pirates and have not been made directly from the original discs.  For
completeness, accuracy, and sound quality, the latter CDs are
recommended.

But George Gershwin has become such an elusive figure due to his
premature death in 1937 that these few surviving broadcasts provide
an unexpectedly upclose encounter with him.  Bob Fells

In addition to the broadcasts and rehearsal recordings on the CDs,
Gershwin also made a number of records for Columbia, two recordings of
Rhapsody in Blue with Paul Whiteman for Victor, and also played in a Fox
Movietone newsreel.  These are all available in many forms.  But there
is now one more Gershwin recording that has not yet been publicly
released.  On the 10th anniversary of the Feb 1924 Aeolian Hall Concert
where he premiered Rhapsody in Blue, he appeared on a Fred Waring
broadcast, was interviewed, played a little, and then played in a PARODY
version of the Rhapsody in Blue with Waring's chorus!  The recording is
in the Waring archive, I've heard it, and they are promising that it
will eventually be released.

Michael Biel  mbiel@[removed]

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

Date: Sun, 9 Sep 2001 11:07:41 -0400
From: "David L. Easter" <david-easter@[removed];
To: "Old-Time Radio Digest (E-mail)" <[removed]@[removed];
Subject:  Unusual Occupations

Joe asks about an Unusual Occupations film short that featured Amos and
[removed]

It must have been on either AMC or TCM.  It was not listed on the
schedule; just plugged in to fill time between the end of one movie and
the top-of-the-hour beginning of the next movie.

You should be able to email both these cable [removed]

I recently saw a "One Reel Wonder" on TCM that I wanted to tape. Contacting
the network will not help. The do not keep track of or publish schedules for
their "shorts". They just stick them in to fill a gap.

TV Guide, TV Guide On-Line and my cable guide are of no help since their
information comes from the network (and is poorly tracked in any case; they
still haven't picked up changes made 7 months ago.) Not all "shorts" are
even listed. Often a movie will end and guides imply the next movie starts
when in fact there is a gap to be filled.

If anyone finds a reliable source, I would like to know of it.

David

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

Date: Sun, 9 Sep 2001 22:11:31 -0400
From: StevenL751@[removed]
To: [removed]@[removed]
Subject:  Good news and bad news

There has been much excitement on the Gotham Radio Players front over the
past several days.  The good news is that our audio engineer, Dave Nolan, is
now the father of a beautiful baby girl.  She arrived several weeks early
however, and understandably Dave is currently in no condition to engineer a
live radio drama.  So rather than trying to break in a new engineer at
(literally) the last possible moment, we have decided to postpone our live
recreation of a lost episode of THE SAINT that was scheduled to air tonight.

What with the FOTR convention coming up soon and other things on our
calendars, it looks like we will now be aiming to get THE SAINT on the air in
early November.  In the meantime, however, I hope you all will be coming out
to the Friends of Old-Time Radio on Saturday, October 27th to see us perform
live, in person, in the SUSPENSE tale "Heavens to Betsy", featuring original
cast member Dick Beals.

Steve Lewis
director, Gotham Radio Players

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

Date: Sun, 9 Sep 2001 22:11:40 -0400
From: "Michael Hayde" <mmeajv@[removed];
To: [removed]@[removed]
Subject:  Re: Harry Bartell's Top Five

Harry's Favorite Five included:
2. The show with the biggest check.
5. The show that was most fun to do.

Wait a minute, Harry!  When I interviewed Herb Ellis, he assured me that
these were the same program!  You'll just have to pick another one! ;-)

Michael

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

Date: Sun, 9 Sep 2001 22:11:53 -0400
From: Cnorth6311@[removed]
To: [removed]@[removed]
Subject:  Re: Playing MP3 Discs

George, after you put your disc in the tray go to my computer and open it.
Then go to which ever drive your CD player is. Mine for instance is drive F.
Open that drive and then just left click the show you want to listen to. That
should get you going. I hope this works for you.

Charlie Northway

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

Date: Sun, 9 Sep 2001 22:12:22 -0400
From: "Mark Kinsler" <kinsler33@[removed];
To: [removed]@[removed]
Subject:  Rerun: 78 rpm album warning

There have been a few threads about old records, and thus it's time for me
to repeat my periodic rant about 78rpm records that are stored in their old
albums.  In short, don't.  What happens is that the records tend to get
caught in the binding of the album, so if you turn the "page," the edge of
the record will snap off, leaving a rather large bite out of the first
movement of the music.

So take your 78's out of the album, store them in suitable sleeves, and keep
the old empty album with them.  Someone has suggested that it might be a
good idea to put a staple through the top of each of the old album sleeves
to prevent records from being inserted therein.

Comments and corrections are, as always, solicited.

M Kinsler

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

Date: Sun, 9 Sep 2001 22:17:35 -0400
From: Cnorth6311@[removed]
To: [removed]@[removed]
Subject:  Re: Re: OTR mp3's

Stephen Jansen asked what happened to the MP3's on that well know auction
site? Well, if you just type in OTR in the search engine I found 11 pages of
OTR programming. Granted not all of it MP3, but the biggest majority of it
is. Just try typing OTR instead of OTR MP3. I think you will be satisfied.

Charlie Northway


[ADMINISTRIVIA: Of course, it is NEVER necessary to purchase these MP3 CDs
from "dealers" who "auction" them on eBay (silly me, and I thought an auction
was for items that couldn't be duplicated ad nausium) after pulling them from
newsgroups and other [removed] can easily download them yourself without
paying these persons, and there are also many people who will cheerfully
trade or give you CD-Rs of OTR programming at no cost.

Do I sound like I don't much care for the leeches who sell on eBay, or sell
access to "websites" of shows they have neither encoded or even bothered to
listen to? Call it a pet [removed] one of the reasons I rarely make shows
available on The Nostalgia Pages any more. I got _really_ tired of leeches
selling them for profit the day after I posted them.  --cfs3]

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

Date: Sun, 9 Sep 2001 22:17:43 -0400
From: John Cowgell <john@[removed];
To: [removed]@[removed]
Subject:  top 5

I'm 59.  My top five would be:

1) Amos n' Andy
2) Fibber McGee & Molly
3) The Great Gildersleeve
4) Lum & Abner

I enjoy OTR other than comedy now but these were the one's I loved as
a child.

John Cowgell

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

Date: Sun, 9 Sep 2001 22:18:39 -0400
From: vigor16@[removed]
To: [removed]@[removed]
Subject:  Try [removed] help

Hey guys:

	From looking at all your favorites, I realize Melody Ranch is not in
your top 100, but it is an OTR program.  I asked a couple days back if
there was any way of finding dates for AFRS broadcasts and got no
response.  I guess singing cowboys are not in style these days. I have a
friend who told me that he doesn't like OTR because it glorifies the "gun
fight".  I guess he meant westerns.  Anyway, what is it about singing
cowboys?  Can't they ride horses, catch the girl, rope the cow, play the
guitar, belt a song out, jump fences and chew Doublemint at the same time
while there is no musicians in the area.  Whatever happen to imagination?
 Anyway, I will not ask again, and wait till we love those old singing
cowboys again.  I hope it is in my time.  I hope I live long enough.

	Also, can somebody tell me about a show called Frank Mariwell?  I
have 1
tape in my collection.  I'd like to find more if I can.  Does anybody
know how many are circulating.

	My 5 favorites, not to detract from anyone elses.  It is nice that we
can all have a different list and still communicate with each other.

1.  Fibber McGee and Molly--talented folks good writers and splendid
uplifting plots.  It's a good thing Fibber didn't have a job or he
wouldn't have time to do all those things he did.  Great cast and humor
for all.

2.  Archie Andrews Show--Great cast, great situations that always ended
up to be so confusing you were perplexed at the end of the show how it
got that way.  Quite a talented script for juvinile audience on Sat
morning.

3.  Jack Benny Program:  Again, great cast, informal laid back light
hearted decent show with good writing.

4.  The Whistler:  I almost overlooked this great show because my
best-"friend" who collects told me it was a show where a guy keeps
interupting the story.  I shied away from it til I heard one on WRW and
became interested in the twisted plots and endings, which I can't always
predict.  Great show!

5.  Amos & Andy:  I feel at home with those guys.  Every time I put a
tape in, I'm right there at the lodge or Kingfish's house.  It is
universal.  I'm not Afro-American, but them guys make me feel like I
balong "der.

	I can listen to almost anything.  I enjoy using my imagination, best
real player I ever had.  Thank you for the time.  Deric

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

Date: Sun, 9 Sep 2001 22:21:53 -0400
From: sojax@[removed] (Roger Smith)
To: [removed]@[removed]
Subject:  Age and Favorites

Hi I guess it's time for my input before I become a gizzer of 70 (like
Hal) Tuesday. So as a young man of 69 my favorites are-

Sweeney and March                         Our Miss Brooks
Fibber McGee and Molly                    Suspense
The Great Gildersleeve                    Richard Diamond
Life of Riley                             Boston Blackie
Nick Carter                               Casey Crime Photographer
Lux Radio Theatre                         Screen Directors Playhouse
Gunsmoke                                  Escape
Phil Harris Alice Faye Show               Mr. Keen Tracer of Lost Persons
Your Hit Parade                           Chesterfield Supper Club
Jack Smith Show                           Information Please

Sorry I got carried away, but when you are my age and if anyone listens to
what I have to say I just won't shut up.
Loved the Sweeney and March Show. When Bob Sweeney was working on Hawaiian
Five O I sent him several reels of shows, commercials, and guest spots he
appeared on. I never received a reply from him but one night while watching
the program there was a scene with an old radio, the the sound was from one
of the tapes that I had sent him. It was his way of thanking me. Wish I had
that show.
I once worked with Clifton Fadiman's granddaughter. So long for now, Roger.

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

Date: Sun, 9 Sep 2001 22:22:08 -0400
From: "Melsh, Chip (OD)" <MelshE@[removed];
To: <[removed]@[removed];
Subject:  The Magic Island

Hi All,
For the past several weeks I have been listening to, and enjoying a show
called 'The Magic Island'. I think it was a kid's show when it first came
out but I like it anyhow. It's a serial that is divided into chapters of
about 12 minutes or so each. I have 128 chapters and I thought that was all
of them, now I hear that there are 2 more chapters. Can anyone confirm this?
And if they exist where I might be able to get them?

Thanks Much,
Chip

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

Date: Sun, 9 Sep 2001 22:22:28 -0400
From: William L Murtough <k2mfi@[removed];
To: [removed]@[removed]
Subject:  Favorites

As long as everyone is listing their favorite radio programs, I'll put in
my two cents worth. Number one was Harry Reser and his Cliquot Club
Eskimos broadcasting by "short wave" directly  from their igloo in Nome,
Alaska. It was a banjo group.

Another program was Harry Horlick and his A & P Gypsies. They were
sitting around a campfire in Romania
with their horse drawn wagons forming a circle. (my long time dear
friend, announcer Frank Knight, introduced them one night as the "A and G
Pipsies").

Frank Crummit and Julia Sanderson played their guitars and sang,
accompanied by their guitars' while sitting on the veranda of their ranch
house, overlooking their ranch somewhere in Australia.

OK party poopers, so they were all in radio studios in New York. However
in our mind's eye, radio transported us to far away places. You see, we
listener's imagination produced pictures far superior to today's
television.

The other day Adam's Hats was noted as a an old time sponsor. When I was
an engineer at old WHN (1936 and 1937) they bought a lot of time on the
station.  They broadcast. a weekly service from the Bowery Mission. Also
they sponsored  several prize fights each week on which I was a regular
engineer. Sam Taub did the blow by blow. Charlie Vackner, a sports writer
for the Brooklyn Eagle, did the color. Staff announcer Brooke Temple did
the commercials. (Brooke was Red Ryder in later years). We had special
call letter plates which had both WHN and ADAM on them. Milton Berle, who
was a fight fan, would sit with me regularly, much to my displeasure. He
had a big mouth! Sometime I will relate how Sam "fixed his wagon".

Bill Murtough

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

Date: Sun, 9 Sep 2001 22:23:21 -0400
From: "Nancy and/or Russell Hudson" <hudson@[removed];
To: <[removed]@[removed];
Subject:  Gershwin CD/Demographics/Top Five

Further to Rich Samuels’ EMAIL of Sept 5, 2001 and Michael Bergers' of
Sept 7,  here is more information on the Gershwin CD:
CD Title: “Gershwin Performs Gershwin Rare Recordings 1931-1935”
Label: Musicmasters Cat# 5062-2C Copyright 1991
Side A:
“Music By Gershwin” broadcast of Feb 19, 1934 7:30-7:45 PM EST NBC
m WJZ studio (First Show of Series)
“Music By Gershwin” broadcast of Apr 30, 1934 7:30-7:45 PM EST NBC from
WJZ studio
Side B:
Rudy Vallee’s “Fleischman Hour” Radio Program, November 10, 1932
(excerpt) 8:00-9:00 PM EST
“Second Rhapsody” rehearsal performance, June 26, 1931 staged at NBC
Radio City Studio B Recorded by wire by Victor Recording Laboratories,
Jean V. Gromback, engineer
“Porgy and Bess” rehearsal performance, July 19, 1935 staged at one of
CBS's NY transcription studios
The P&B rehearsal was about six weeks before opening in Boston in
September 1935.
Gershwin conducting Second Rhapsody and Porgy and Bess here are the only
known recordings of Gershwin conducting
Liner Notes by Ed Jablonski
Availability: Haven’t a clue, but try the big bookstore websites-Borders
([removed]) Barnes and Noble ([removed]), Tower Records
([removed]) and don’t overlook any of their overseas sites,
either. (I just picked up a Jolson CD from tower UK unavailable in the
USA, took only 6 days to arrive from Germany!)

Demographics:
I’m 52 and have been listening and collecting for about seven years now.
Got hooked by listening to OTR on drives between NJ and Boston.
First Shows that Hooked Me: “Lifeboat” on Screen Director’s Playhouse
with Tallulah Bankhead and Jeff Chandler directed by Alfred Hitchcock
(all that audio drama in one boat!) and “Playback” from Cape Cod Radio
Mystery Theater (familiarity with locales, wonderful use of audio
technique--say, didn’t we just pass Hyannis?)

Top Five:
[removed] Lone Ranger (Over twenty years of excellence on radio, thrice
weekly!)
[removed] Kelly’s Blues (Too bad there weren’t more-Jack Webb having fun
and  playing music, too!)
[removed] (The epitome of script, cast, direction, sound effects, etc.)

[removed] Theatre (the program that helped make radio a serious medium)
[removed] Laramie (Gunsmoke’s cousin, starring  Raymond Burr and same
excellent production as Gunsmoke. Burr left this series to do Perry
Mason on TV)

Honerable mentions:
Rathbone and Bruce’s “Sherlock Holmes,”
“Escape,”
“The Six Shooter,”
“Johnny Dollar” (The "Multi-Parters" with Bob Bailey)

Russell Hudson

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

Date: Sun, 9 Sep 2001 22:24:04 -0400
From: ARago17320@[removed]
To: <[removed]@[removed];
Subject:  Greatest Story Ever Told

Hello everyone,

Two things regarding the show The Greatest Story Ever Told.

1. Merv in digest 297 asked if anyone remembered it.  I listened to it here
in the New York area when I was in the age of 9 and I cannot recall how many
years I did listen.  I only remember being fascinated by it.  I am Roman
Catholic and was very much in awe of God as a child (more in part 2).
Checking John Dunning's reference book "On The Air" he has the show running
from 1/26/47 to 12/30/56. It was on ABC and on Sundays at 6:30PM until 9/49
when it was on at 5:3oPM.  He says that the show was based on Fulton
Oursler's novel but that all the dialogue of Jesus Christ was actually taken
from the Bible.  No fictitious dialoge for His character was written.  Jay
Hickerson's "Ultimate Guide to Circulating Shows" says there are 61 shows
available in circulation.

2.  Craig Wichman in digest 298 posted about the show.  Please do not take
what I am going to write now (I don't know if Charlie will edit this.  If you
feel it should be then please do so) is not meant as a criticism of Craig or
in any way attacking him or what he said. To put my comment to come in
perspective may I be allowed to say that from age 18 to 45 I left religion.
In coming back to God and the church I see things very differently.  Craig
said "I've heard onr or two episodes; they're well done, if a bit dated-the
approach to the stories then was in a sense TOO reverential-hence a little
stuffy to my tastes"

Taste is an individual thing but I don't think it is possible to be "TOO
reverential" when it comes to God or portraying Him on the radio.  Since it
has been at least 50 years since I have heard an episode of the show, I am
sure it would sound dated.  I just could not let the "TOO reverential"
comment go by.  I do not mean to get on a soap box nor start another sniping
session as we recently had but I felt some kind of response was called for.

I hope nobody is offended by this post.

Take care,

Al Ragonnet

--------------------------------
End of [removed] Digest V2001 Issue #299
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