------------------------------
The Old-Time Radio Digest!
Volume 2002 : Issue 501
A Part of the [removed]!
ISSN: 1533-9289
Today's Topics:
Re: Harry Bartell--all this chatter [ Garpboy@[removed] ]
Birmingham News [ "Martin Grams, Jr." <mmargrajr@hotm ]
The Hitch-Hiker trivia [ "Martin Grams, Jr." <mmargrajr@hotm ]
OTR For 'Youngsters' [ "Stephen A Kallis, Jr." <skallisjr@ ]
NBCs Blue Network Audience [ BryanH362@[removed] ]
Christmas Greetings! [ Derek Tague <derek@[removed]; ]
Re: Variety Hours [ Elizabeth McLeod <lizmcl@[removed] ]
How I found otr [ "Marcus Antonsson" <[removed] ]
Today in radio history [ Joe Mackey <joemackey108@[removed] ]
Re: THE SHADOW Blue Coal ring [ SanctumOTR@[removed] ]
Re: OTR Christmas Shows [ Grbmd@[removed] ]
Norman Corwin [ Howard Blue <khovard@[removed]; ]
------------------------------
Date: Sun, 22 Dec 2002 21:46:48 -0500
From: Garpboy@[removed]
To: [removed]@[removed]
Subject: Re: Harry Bartell--all this chatter
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With the exception of Conrad and a few others, I never had the pleasure of
being able to associate a face with the radio voices I've become so
accustomed to.
Last night, on my local PBS station, they ran a series of B&W television
shows from the 1950's that had Xmas themes.
They selected a Dragnet episode from 1953--it was the episode where the baby
Jesus statue was "stolen" and Friday worked to recover it in time for Xmas.
I was only familiar (very familiar) with the radio script version so I
watched the show so I could see how the two versions compared.
The credits said that "Father Rojas" was portrayed by one Harry Bartells--I
presume it's the one and only. If so it was good to match the face and the
voice.
Here's hoping that the new version of Dragent, starring Ed ? from "Married
with Children", does Joe Friday justice.
Happy holidays everyone
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Date: Mon, 23 Dec 2002 01:04:57 -0500
From: "Martin Grams, Jr." <mmargrajr@[removed];
To: [removed]@[removed]
Subject: Birmingham News
There was a friend who was doing research in Birmingham for me on microfilm,
and I misplaced ALL paperwork regarding her contact info. I want to make
sure I'm spelling her name correctly in the acknowledgements of a probject,
so if she could e-mail me asap, it'd be greatly appreciated. if you're
reading this, drop me a line, I don't want to leave you out!
Martin Grams, Jr.
------------------------------
Date: Mon, 23 Dec 2002 01:06:34 -0500
From: "Martin Grams, Jr." <mmargrajr@[removed];
To: [removed]@[removed]
Subject: The Hitch-Hiker trivia
Mike Kerezman Jr asked about THE HITCH-HIKER:
The Lucille Fletcher ("Sorry, Wrong Number") script was actually performed
on radio three times.
The first was on SUSPENSE on September 2, 1942 with Orson Welles. Bernard
Herrmann, husband to Fletcher, composed the music score, and this has to be
among the three versions, the most charming when it came to introducing the
"ghost story," utilizing "Funeral March of the Marionettes".
The second time was on the PHILIP MORRIS PLAYHOUSE on October 15, 1942 with
Welles repeating the role. According to two accounts, the SUSPENSE drama
was well-received by radio listeners, so the repeat performance (in this
case on another radio show) was required.
The third and final time was on THE SUMMER MERCURY THEATER ON THE AIR on
June 21, 1946 with Alice Frost in the cast. Having heard the first and
third version, I can state that the production values are top-notch for the
MERCURY broadcast, and if you are ever going to listen to "The Hitch-Hiker"
only once, listen to the Mercury production. It's far more eerie than the
SUSPENSE production, which is how it should be.
I have often felt that Rod Serling was strongly influenced by radio dramas,
especially the supernatural. He sold radio scripts for programs like Dr.
Christian and Grand Central Station (there does exist a circulating episode
of Station that was scripted by Rod Serling and states so in the opening
credits). Many of Serling's television scripts were close facsimilies to
popular radio plots.
His Twilight Zone episode "Escape Clause" has the same twist of Inner
Sanctum's "Elixier Number Four", with the only difference that the
possibility of immortality was immoral, rather than scientific. The
Twilight Zone episode "Back There" concerned a man who accidentally travels
back in time to the late 1860s and attempts to prevent the assassination of
Abraham Lincoln. Same plot as a Mysterious Traveler episode entitled "The
Man Who Tried to Save Lincoln," only the method of going back in time was
changed, again from scientific to immoral. Twilight Zone's "Night of the
Meek" featured Art Carney as a man named Corwin, named after radio playwrite
Norman Corwin. I could go on and on as dozens and dozens of Twilight Zone
episodes were influenced by old-time radio ("Static" "Night Call" "A Kind of
A Stopwatch", etc.) but I have always believed that Serling was hugely
influenced by radio drama, and used what plots he admired for his TZ
projects. (Course, in the mid seventies, Serling hosted ZERO HOUR on
[removed])
As for "The Hitch-hiker," that was the only Twilight Zone episode to
specifically be adapted from a radio script (and retain the original script
writer credits) with one noticable change. The protagonist changed from a
man to a woman. There was also an in-joke regarding Serling family in the
episode. It is certainly most effective and well-shot (as most of the
first-season episodes were done). Lucille Fletcher recalled how she came up
with the idea of "The Hitch-Hiker" for radio in THE TWILIGHT ZONE COMPANION
by Marc Scott Zicree (available on bookshelves) for anyone interested. I
have my copy buried away in a box, but I do recommend that book for anyone
who loves nostalgia television.
Don'r forget to listen to the 1946 MERCURY version of "The Hitch-Hiker,"
it's really impressive.
Martin
[removed] Now that I recall, a blandt rip-off of the story was done in a
Creepshow movie from the eighties if I recall accurately.
------------------------------
Date: Mon, 23 Dec 2002 01:07:02 -0500
From: "Stephen A Kallis, Jr." <skallisjr@[removed];
To: [removed]@[removed]
Subject: OTR For 'Youngsters'
Michael Leannah, speaking of younger OTR audiences, observes,
For some young people, listening to OTR might be a chore because many
of the story lines and jokes refer to past events and forgotten
phenomena, and they can only relate to what is in their current world.
This is true enough. Some OTR shows are more difficult to enjoy because
of their topicality. A reference that contemporaneous audiences would
recognize instantly might be hard to understand today. In one show a few
years after the close of the show, one character remarked about a great
person, Churchill Downs, whom he supposedly was quoting. Some young
listeners might not get the Winston Churchill connection, and so might
not see the (attempted) humor. Likewise, vocal mimicry of long-departed
personalities may be lost on those who never heard the person being
mimicked.
This has made me think of which shows might be best for the novice
listener to OTR. I can think of a few.
Many historic dramas, and in particular, The Lone Ranger, would work
easily. The Old West was far enough removed from the era in which it was
aired so that there was nothing topical mentioned. In point of fact, if
someone listening happens to be a history buff, he or she might be
surprised at the references to historic happenings.
Among dramas, my personal choice would be Pat Novak For Hire. Its
pulpish world is self-contained. Anything out of the ordinary is
explained in full (my favorite being an episode where some spies were
trying to smuggle microfilmed secret documents *into* the United States).
It's an attention-getter, at least.
Among comedies, though I think Jack Benny is the apex of radio comedy, I
think that the Phil Harris-Alice Faye show works best. With a few
exceptions, the shows wear as well today as the day they were aired.
It might be constructive to single out shows that cause the least
"adaptation" by new listeners.
Stephen A. Kallis, Jr.
------------------------------
Date: Mon, 23 Dec 2002 01:07:23 -0500
From: BryanH362@[removed]
To: [removed]@[removed]
Subject: NBCs Blue Network Audience
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The following information was given ion the web in regard to NBC:
"NBC was able to guarantee advertisers huge domestic audiences. NBC even
offered advertisers a choice -- breaking its network into two separate
operations, the general-audience Red and the more upscale Blue Network ."
I have read in the past , from quite a few sources, that also indicate
that NBCs blue network was geared to the more "upscale" and carried a lot
more sustaining prestige programming . However, some of the programs that
aired on NBCs Blue would seem to counter this statement . How much actual
truth is there in the statement ? If true, was it a deliberate
programming attempt or did the Blue just end up that way while part of NBC ?
-Bryan
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------------------------------
Date: Mon, 23 Dec 2002 17:36:39 -0500
From: Derek Tague <derek@[removed];
To: <[removed]@[removed];
Subject: Christmas Greetings!
Merry Christmas, Gang!
It is with unhappy regret that I must inform all my friends "in the ether"
that certain prevailing circumstances, both financial and logistical, have
prevented me from sending out Christmas cards this year.
However, I would like to take this opportunity to request that list-master
Charlie Summers afford me all this cyber-text to wish everybody a most
solemn, memorable, and joyous of [removed] subscribers who don't
celebrate Christmas, I also wish you the warmth, hope, and kindness
this holiday season engenders.
But what I'd really like to wish everybody is an old-fashioned "Old-Time
Radio" Christmas. May we all partake in the simple pleasures of a simpler
time--even if, ironically, it's with latter-day technologies like MP3's and
the Internet--while, all the time, working to minimize and eliminate
out-dated ideologies rooted in hate and intolerance,
For the New Year of 2003, here's what I wish for every Digest reader,
the post-er and lurker alike:
For everyone, I wish in this time of economic uncertainty: health,
prosperity along with the peace of mind and lots of time to enjoy the fruits
of your labours.
For OTR convention organisers: lots of guests, but more importantly, as
many OTR fans that hotel fire-laws will allow.
For OTR convention-goers: lower airfares and lower hotel rates, along with
a wealth of after-hours room parties.
For the OTR dealer: less litigation, lots of available table-space, and a
slight slow-down in advancing technologies so that your wares do not become
too obsolete too soon.
For OTR authors, historians, researchers, web-servers, log-keepers:
all the time in the world AND the means to pursue your noble OTR passion
more avidly.
For the OTR-era "veteran," whether your talents shone in front of or
behind the microphone, I wish you long-overdue recognition going beyond the
love and appreciation you get from us grateful OTR fans.
For the OTR collector: may you find those elusive items you need to fill
in the gaps, whether they be a show, a collectible premium, or a book; may we
all find through the "theatre of imagination" a sense of relief from the
fear, stress, illness, or the feelings of loneliness we all experience at one
time or another--even if such an alleviation is temporary.
For the younger OTR fan who may feel isolated because your friends and
contemporaries just "don't get" the OTR era: please be aware that the older
OTR aficianados appreciate and are similarly driven by your youthful desire
and boundless energy in not letting the "Golden Age" fade into memory.
For the OTR re-creation groups: likewise, an over-all appreciation for
your donated time and efforts; for the struggling actor, THAT big break; for
the directors, a wider audience; may you all find cross-over appeal even from
OTR initiates.
For the radio scriptwriters: continued inspiration, larger contest prizes,
but, moreimportantly, more venues for your stories to be told.
For the OTR fan trying to find a a "voice": inspiration to write that
article, script, or book.
In closing, may at least the small child within you hold on to a belief in
Santa Claus, just like Clifton Finnegan, and for anybody soured on the season,
may your faith be restored as it was for Archie, the Bartender at "Duffy's
Tavern."
May you partake in the giving nature that once blessed Andy Brown; may you
bring Christmas joys to others as once did Brit Ponsett, the Six-Shooter; may
you enjoy a plenitude of friends at your Christmas celebrations on the par
with assembleage every Christmas at 79 Wistful Vista; may your Christmas
shopping not be as hectic and complicated as it always is for Jack Benny. But
most of all, may you find joy, peace, love, contentment, and blissful
happiness as you play out your life on whatever stage your daily drama is
set--even if it doesn't immediately summon up the grandeur of "Grand Central
Station."
May you all experience the love God made manifest two millenia ago--and
even if the Baby Jesus or what His birth represents seems elusive to you,
rest assured that Sgt. Joe Friday is on the case.
Again, Merry Christmas from my ether to yours!
Derek Tague
------------------------------
Date: Mon, 23 Dec 2002 17:36:54 -0500
From: Elizabeth McLeod <lizmcl@[removed];
To: <[removed]@[removed];
Subject: Re: Variety Hours
George Aust wrote:
But music
shows, and comedy shows and especially those programs that combine the
two are really my favorites.
Am I the only one that feels this way?
Not at all -- for example, I'm a huge fan of Rudy Vallee's 1930s variety
hours. The thing I enjoy most about the Vallee program is that in many
ways it's a vaudeville/Broadway time capsule -- practically every
then-current stage performer of any importance appeared on the series at
one time or another, and many old-time vaudeville acts did so as well. In
some cases, Vallee appearances preserve the only surviving performance
record for these acts -- and for that reason alone the series is worthy
of close study. If you're really interested in early 20th Century show
business history, Vallee's shows are a gold mine.
Looking over Vallee's guest lists up thru 1939 will take your breath away
-- I don't think any series attracted a wider span of talent over the
course of its run, at least not until Ed Sullivan on TV. (Interestingly,
Vallee claimed in one of his autobiographies that the agency packaging
"Toast of the Town" in 1948 approached him to host the series with the
specific idea of recreating his 1930s format -- but he was too busy with
movies and nightclub work, and turned down the offer.)
Elizabeth
------------------------------
Date: Mon, 23 Dec 2002 17:37:46 -0500
From: "Marcus Antonsson" <[removed]@[removed];
To: "OTR Digest" <[removed]@[removed];
Subject: How I found otr
Hi Gang,
It's been so fun to read about your first otr-experiences that I simply have
to tell you my story as well. Being a 28-year-oldSweed who's never been to
the states I wasn't likely to discover the American otr at all.
Being blind since I was about six months old, radio and recordings has always
been an important part of my life though. About ten years ago, another
Swedish collector made a few programs for the Swedish Radio about some of the
greatest American otr-heros, including the shadow, and the Lone ranger. I got
interested and called him. Kent Hagglund (as his name is), turned out to be a
very nice guy like so many other otr-collectors. He became my guide into the
otr-world, and he's still a good friend of mine, who's helped me a lot during
these years. Unfortunately, he's not online. Soon after i'd contacted Kent, I
got my first internet subscription and that led to many more discoveries and
contacts. As the years have gone by my collection has grown steadily and
continues to do so as fast as my economy allows. I don't trade much, but buy
a lot from different sources. Many of you guys has helped me out and I want
to thank you all from my heart and wish you all a very merry christmas.
Special thanks to Charlie, for keeping this great forum going. To Harry and
Sandy for the wonderful columns. To Ron Sayles for starting this great
thread. And to all you others out there.
God bless, and keep you all!
Merry Christmas from Sweden
Marcus Antonsson
------------------------------
Date: Mon, 23 Dec 2002 17:37:51 -0500
From: Joe Mackey <joemackey108@[removed];
To: otr-net <[removed]@[removed];
Subject: Today in radio history
Today in history, NY Times --
1928 -- The National Broadcasting Company set up a permament,
coast-to-coast network.
>From Those Were The Days --
1938 - Mrs. Wiggs of the Cabbage Patch was heard for the final time on
the radio. The program was about life in a Kentucky shanty town. It had
been on the air for three years. Maybe if they had changed the title a
[removed]
Birthday:
1907 - Don McNeill
radio host: The Breakfast Club [The Pepper Pot], ABC Radio, died
May 7, 1996
Joe
--
Visit my home page:
[removed]~[removed]
------------------------------
Date: Mon, 23 Dec 2002 17:38:34 -0500
From: SanctumOTR@[removed]
To: [removed]@[removed]
Subject: Re: THE SHADOW Blue Coal ring
In a message dated 12/22/02 9:04:37 PM, "Stephen A Kallis, Jr."
<skallisjr@[removed] writes:
<< The Shadow program had a similar ring. Both ring bodies were made of
luminous plastic. The Shadow's ring, rather than crocodilians, had
miniature figures of The Shadow. But unlike the Jack Armstrong ring, The
Blue Coal Shadow Ring was not part of an involved storyline; it was just
neat to have. >>
***Well, The Shadow Blue Coal ring wouldn't have been promoted in an
"involved" storyline because THE SHADOW wasn't a dramatic serial at the time
(though of course it did air as a 15-minute syndicated serial beginning in
1935 with Carl Kroenke in the lead). However, The Shadow Blue Coal ring was
featured in a radio story when the premium was first introduced. The
November 23, 1941 episode, "The Ring of Light," featured a glowing ring, and
a message from announcer Ken Roberts that a similar glow-in-the-dark ring
could be obtained from your friendly Blue Coal dealer. That particular
episode stars Bill Johnstone, Marjorie Anderson, Kenny Delmar, Alan Reed,
Arthur Vinton, Everett Sloane, Stefan Schnabel, John Brown and Alice Frost
(What a cast; you didn't get that caliber of repertory on JACK ARMSTRONG) . .
. and is included on Radio Spirits' recent 40-show collection, THE SHADOW:
GREATEST RADIO ADVENTURES, along with a historical booklet by -- Anthony
Tollin.***
------------------------------
Date: Mon, 23 Dec 2002 17:38:50 -0500
From: Grbmd@[removed]
To: [removed]@[removed]
Subject: Re: OTR Christmas Shows
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In a message dated 12/22/02 10:04:28 PM Eastern Standard Time,
[removed]@[removed] writes:
It's a always a bit of a mystery to me that OTR musical variety shows
are largely ignored on this list. Not only is there some great music
but also some of the best comedy routines that you've ever heard on
these shows such as the "Kraft Music Hall"
I've always taken drama, whether on radio, tv, or the movies, in very
small doses. Of course there have been some really great ones, but
generally speaking I have a hard time getting into them. But music
shows, and comedy shows and especially those programs that combine the
two are really my favorites.
Am I the only one that feels this way?
I remember enjoying -- and I even bought a 78-rpm, 4-disc album to -- a
Fibber McGee and Molly show in which Fibber at first tells a story to Teeny
about some tailor, I think, that has to do with whether with his vision he
can see something or not. But the big finish was Teeny's musical telling of
"The Night Before Christmas" with the Ken Darby Singers backing her up. I
played that for myself over and over.
Spence Coleman
who wishes his parents hadn't given away all his 78's while he was in the Army
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------------------------------
Date: Mon, 23 Dec 2002 17:39:17 -0500
From: Howard Blue <khovard@[removed];
To: [removed]@[removed]
Subject: Norman Corwin
I just received a letter with the following comments from Norman Corwin
about my book, "Words at War":
First, I want to thank the many scores of OTR folks who helped me in
various ways during the years of my research. I mention many of your
names in the acknowledgments: Elizabeth, the Gassmans, Dave Siegel etc.
But there was not room enough nor time enough to mention people who
provided me with one or two leads, suggestions, encouragement etc. I also
want to thank so many of you who ordered copies of the book sight unseen
and before any reviews were printed. Thanks for your trust.
And now, Mr. Corwin's commments:
"Congratulations on the book. It is masterly, a quality not widely
shared in histories of the broadcast media. You worked hard and
diligently in gathering and marshaling your material, and it has paid off
handsomely. . . . Feel good about "Words at War." You stand with Barnouw
and Dunning, and that is high rank indeed."
Howard Blue
[removed] I will sleep quite well tonight and the night after and the night
after that . . . . . .
--------------------------------
End of [removed] Digest V2002 Issue #501
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