------------------------------
The Old-Time Radio Digest!
Volume 2003 : Issue 430
A Part of the [removed]!
ISSN: 1533-9289
Today's Topics:
Thank you. [ Harry Bartell <bartell@[removed] ]
The "A Christmas Carol Posting" appe [ [removed]@[removed] ]
MR. Crime Mr. Collins [ "Jamie Kelly" <[removed]@[removed] ]
FOTR in 3-D? [ "MICHAEL BIEL" <mbiel@[removed]; ]
3-D Movies [ "Stephen A Kallis, Jr." <skallisjr@ ]
Old Time Radio Digest Fundraiser [ "Martin Grams, Jr." <mmargrajr@hotm ]
Flywheel, Shyster & Flywheel [ "A. Joseph Ross" <lawyer@attorneyro ]
Zero Hour [ "Paul M. Thompson" <beachcomber@com ]
Re: Contest Winner [ hal stone <dualxtwo@[removed]; ]
Sherman, Waterman, Tashlin, & Marx [ "Derek Tague" <derek@[removed]; ]
Allan/Ricardo/Larry, and Professor H [ Dan Hughes <danhughes@[removed]; ]
Lurene Tuttle [ Ron Sayles <bogusotr@[removed]; ]
------------------------------
Date: Sun, 30 Nov 2003 19:05:54 -0500
From: Harry Bartell <bartell@[removed];
To: <[removed]@[removed];
Subject: Thank you.
To all of you who so graciously remembered my birthday, my heartfelt
appreciation. When radio flourished as a prime entertainment medium, none us
who worked in it had any concept of it's being known and listened to a
half-century later. That it has survived is all your doing and I thank you.
Harry Bartell
------------------------------
Date: Sun, 30 Nov 2003 19:06:25 -0500
From: [removed]@[removed]
To: [removed]@[removed]
Subject: The "A Christmas Carol Posting" appearing in
digest #429
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Carl Amari played Bob Cratchitt & Tiny Tim? What, let me [removed]
wasn't "scrooge" enough to play "Scrooge?
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------------------------------
Date: Sun, 30 Nov 2003 19:51:52 -0500
From: "Jamie Kelly" <[removed]@[removed];
To: <[removed]@[removed];
Subject: MR. Crime Mr. Collins
It's great to hear some episodes of the Australian version of It's a Crime
Mr. Collins are in circulation in the US. The series was produced in
Melbourne Australia by Hector Crawford productions in 208 30 mn episodes
between 1954 and 1958. The lead is played by Keith Eden a very well known
Melbourne actor. The narrator should sound familiar to US OTR collectors as
he originally came from the US and moved to Australia after the War I'm
referring to Jack Little who was involved with many AFRS productions, Screen
guild plays Etc.
Jamie Kelly
Melbourne Australia
------------------------------
Date: Sun, 30 Nov 2003 20:32:30 -0500
From: "MICHAEL BIEL" <mbiel@[removed];
To: [removed]@[removed]
Subject: FOTR in 3-D?
From: Fred Berney <berney@[removed];
In addition, I bought a 3D lens for my video camera and
hope to start producing some 3D videos in the not too
distance future.
I'll be looking forward to next year's FOTR videos in 3-D. Imagine,
Charlie in 3-D. That will be the REAL Return of the Creature!
Michael (probably my final posting) Biel mbiel@[removed]
------------------------------
Date: Sun, 30 Nov 2003 21:11:11 -0500
From: "Stephen A Kallis, Jr." <skallisjr@[removed];
To: [removed]@[removed]
Subject: 3-D Movies
Fred Berney, commenting on 3-D movies, noted,
The company that makes the glasses also has a number of newly produced 3D
movies available on DVD and I also bought a device that will convert 2D
videos to 3D.
The 3-D movies of the 1950s were projected using polarized glasses on a
non-depolarizing screen. Earlier 3-D presentations used glasses with red
and blue lenses to unscrambled what's technically called a "color
anaglyph." With TV, when color came into vogue, some movies originally
filmed in 3-D were recorded on video through red and green filters.
Viewed without the glasses, the resulting combined-image view looks like
a normal television picture with color fringing. Through the filters,
the stereo effect is evident, and there is more than a hint of a color
scene (like looking at any object through the glasses). Another 3-D film
using color-filtering for telecasts was Hondo, starring John Wayne (I
recorded this off the air and have a pair of spectacles to go with it).
In order to get true three-dimensional (stereoscopic) images, two
separate images, one for each eye, are required. There are glasses that
claim to provide three-dimensional views of current 2-D movies or
telecasts. They rely on a filter for one eye, usually amber, so that it
reacts more slowly to changes in motion than the unfiltered view. The
differences in the perceived images from the "untreated" eye and that
with the filter produce an illusion of stereoscopy.
Other films that were originally stereoscopic included It Came From Outer
Space, Gorilla At Large, and Inferno. Gorilla At Large had among its
cast members Raymond Burr, to put *some* OTR spin on all of this.
Stephen A. Kallis, Jr.
------------------------------
Date: Sun, 30 Nov 2003 22:49:07 -0500
From: "Martin Grams, Jr." <mmargrajr@[removed];
To: [removed]@[removed]
Subject: Old Time Radio Digest Fundraiser
A word of importance:
The OTR DIGEST is the oldest and largest mailing list dedicated to Old-Time
Radio on the Net. This list (currently available in Digest format only) was
started on September 14th, 1994 by Lou Genco, and has been going strong ever
since. It's a large group, with one or more digests released every day. It
is estimated that about 2,000 fans of old-time radio are subscribed to this
feature. Of course, everyone here knows this because they are subscribers
and you are presently reading one of the daily issues.
Anyone can subscribe to the OTR Digest without paying any fees or membership
dues. This is a priveledge I am sure every subscriber appreciates.
Regrettably, however, the cost to maintain the server, the hardware and
software designed to keep the Digest operating and other technical advances
require ocassional donations by subscribers.
Donations made toward the Digest are extremely important and past donations
are acknowledged and appreciated.
SO HOW CAN YOU HELP?
Thanks to Charlie Summers, the moderator of this Digest, a special web-site
has been designed to encourage donations. Just like PBS, you get something
for your donation - a book documenting old-time radio.
For every book you purchase, $[removed] will be donated to the OTR Digest.
This means if you buy two books, $[removed] will be donated .
If you buy three books, $[removed] will be donated to the Digest.
The money from this fund-raiser will help reimburse the cost of recent
computer upgrades and features - the same features that help make the Digest
run smoothly and efficiently. This same kind of donation per book offer was
offered last year and proved to be a success.
The web-site address is:
[removed]
The site features photos and descriptions of nine or ten books about
old-time radio available to purchase, plus two articles about Old-Time Radio
programs that will probably be of interest (so anyone reading this posting
who has no intention of buying a book - even to help support the digest -
has a reason to check this site out).
Remember, for every book you purchase, $[removed] will be donated to the OTR
Digest.
Check out the articles while you are there and enjoy browsing!
Martin Grams, Jr.
[removed]
------------------------------
Date: Mon, 1 Dec 2003 00:54:46 -0500
From: "A. Joseph Ross" <lawyer@[removed];
To: [removed]@[removed]
Subject: Flywheel, Shyster & Flywheel
Jim's [removed] but let me add one historical point for accuracy. The
show actually debuted as "Beagle, Shyster, & Beagle" on NBC Blue on
11/28/32 (so we just passed its anniversary). The name was changed to
"Flywheel, Shyster, and Flywheel" for the fourth episode and it
remained "[removed]" for the rest of its lone season on the air.
And how was the name change explained to the audience? In his autobiography, Harpo
says that they had the secretary tell someone over the phone that her boss had gotten a
divorce and gone back to his maiden name.
--
A. Joseph Ross, [removed] [removed]
15 Court Square, Suite 210
lawyer@[removed]
Boston, MA 02108-2503
[removed]
------------------------------
Date: Mon, 1 Dec 2003 01:39:58 -0500
From: "Paul M. Thompson"
<beachcomber@[removed];
To:
<[removed]@[removed];
Subject: Zero Hour
Mike Kerezman wrote:
I recently heard the "The Big Clock" on the Screen Director's Playhouse I
believe. It seems like I've heard a version of this story years ago on a tape
set of Rod Serling's The Zero Hour. It had a different name in the title but
some of characters were the same.
Mike is [removed] same storyline. The original 1947 movie starred Charles
Laughton and Ray Milland. Rod Serling's 1973 Zero Hour radio version
was titled Desperate Witness with Kennan Wynn and Richard Crenna.
One of the outstanding shows of the series.
Paul Thompson
------------------------------
Date: Mon, 1 Dec 2003 10:31:00 -0500
From: hal stone <dualxtwo@[removed];
To: <[removed]@[removed];
Subject: Re: Contest Winner
Hooray! We have a smart Winner for the dumb contest.
We had about 40 entries. After the last clue, 4 people finally came up with
the correct answer, and 2 folks came close.
But if you recall, the contest rules stipulated that the "FIRST" correct
answer received would be declared the winning entry.
That Honor goes to Mark Kinsler. Mark gets the personally inscribed copy of
my book "Aw! Relax [removed]!"
With Honorable mention going to Jerry Salley, Ed Loyer, & Tom Brown.
The question. By the year 1980, why were film transfers (kine's) of
videotape TV Commercials still in use long after virtually every TV station
in the nation was equipped to play back 2in Videotape
The [removed](in 4 words or less)... "The dreaded Advertising Agencies"
Some folks came up with answers that, on occasion, might have justified
needing to make a film copy of a tape commercial, but they were rare, and
never the main reason by the 1980's. Some guessed that it was needed to cut
into a film show, but by then, stations were transferring film shows to tape
before airing. Some guessed that the sponsor needed a copy because they
wouldn't have owned a big Videotape machine. But by 1980, that was no longer
an issue. By then, a good quality 3/4 inch videotape machine was in
existence, very compact, portable, and it became standard procedure to make
duplicate copies of the original 2in videotape master on 3/4 inch cassettes
for use by Ad Agencies, Sponsors, Etc.
But why then did we still have to make 16MM color film prints for the Ad
Agencies???? Well, it really wasn't for the ad agencies per se. It was for
the individual creative people at the ad agency (far too many of them) who
were involved in the production of the TV Commercial. And why did they need
copies? For their damn 16mm Demo reels, in case they wanted (or needed) to
go job hunting.
Now, watch how cleverly I relate this topic to OTR. Back in those good old
days, Advertising Agencies made their money by providing creative services
to their clients, and charging a commission for buying "Airtime" or "Space"
(in the case of Print ads). Print Ads, (Newspaper, magazines, Billboards)
usually was a joint effort between an Agency "Copywriter" and an "Art
Director". Radio advertising was the sole province of the "Copywriter". The
Agency "Producer" was needed to make sure radio commercials were aired
properly, and in many cases, if the agencies owned their own Radio programs,
the job of Producer was a lot more involved.
The print "Art Director" kept a portfolio of his or her work, and if any of
it was memorable or effective, they would take it around to other Ad
Agencies if they were looking to improve their lot in life. Everyone wanted
to work for the bigger or most reputable (successful) Ad Agencies, generally
because of prestige and higher salaries.
The "Copywriter" also had a portfolio, simply copies of his "copy", be it
for radio commercials, or print ads. But then too, in later years, they
could also have 1/4 tape copies of their commercials. These simple
portfolios were nothing more than resumes.
Ah! But then, along came TV. Bigger Budgets, bigger Ad revenues for the Ad
Agencies, and bigger headaches for the folks who had to deal with these
Agency Creative people who were now in "Show Biz".
The stakes were higher for all involved, and resulted in much bigger ego's.
The individual who came up with a sure fire advertising concept, or
campaign, became "known" in the Ad industry, and if he had more than one
success, they often would leave their current employer and start their own
agency. The game, for everyone, was to acquire as many successful TV
commercials that one could ad to their "Demo" reels. And when I say
"everyone", I mean EVERYONE who worked on the Commercial.
That meant the Agency "Creative Supervisor" who usually oversaw many
different accounts, The Creative Director, the Art Director, the Writer, the
Account Executive and the Producer assigned to that specific client or
project. By then, the "Producer" was nothing more than a den-mother, trying
to keep the agency creative people under control. The "Art Director" became
the kingpin.
And they all jockeyed for position and bragging rights during the production
phase of the project. Each trying to justify their existence and protect
their turf. Imagine having to get them all to agree on a unified direction,
or agree on what "Take" of a specific scene was the best one. As a director
of many of these Commercial sessions, it was enough to drive me to drink.
I'm amazed I'm not a recovering alcoholic and a charter member of AA.
Anyway, they all wanted to have copies of their "work" so they could show
people how clever they were. And 16mm prints were the standard for demo
reels back then. Arrrgh!
There were some Ad Agencies that I dreaded working for, but dried my tears
on the way to the bank. And there were many that made up for the
aggravation. (Particularly those agencies west of the Hudson River). :)
OK! End of story.
By the way, the 2nd place winner (An 8X10 autographed pic of me as
"Jughead") was Jerry Salley.
If Mark Kinsler and Jerry Salley will contact me off-list with their mailing
addresses, I will arrange to have their prizes shipped out.
By the way Mark, if you already own a copy of my book, let me know if you'd
like it inscribed to someone else, and give it as a Christmas gift. (Hint).
If anyone else is looking for a Christmas gift for a friend or relative who
is an OTR buff, need I say more? :) Check out the web site if suitably
motivated.
[removed]
Too all my fellow digesters, all the best for the coming holidays.
Hal(Harlan)Stone
"Jughead"
------------------------------
Date: Mon, 1 Dec 2003 10:34:13 -0500
From: "Derek Tague" <derek@[removed];
To: <[removed]@[removed];
Subject: Sherman, Waterman, Tashlin, & Marx
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Hi Gang:
More Fandom Follow-Up Thoughts:
SHERMAN/MONTALBAN/STEVENS
I had prev'ly stated that when I met "Jack Benny" interim boy-singer
Larry Stevens at FOTR, he had told me he was in the same graduating class as
both Allan Sherman and Ricardo Montalban, to which my pal Dan Hughes
[professor at Sherman's college alma mater, U. of Illinois] rejoined:
Derek says that Jack Benny singer Larry Stevens claims to have graduated
from high school with Allan Sherman and Ricardo Montalban. Sherman was
born in 1924 and attended high school in (I believe) Chicago; Montalban
was born in 1920 and attended high school in Hollywood. Couldn't find
any data on Larry [removed]
True, Allan Sherman was born in Chicago [on 11/30/1924 at Lutheran
Deaconess Hospital], but his 1965 autobio A GIFT OF LAUGHTER: THE
AUTOBIOGRAPHY OF ALLAN SHERMAN (Atheneum Publishers) goes on to state that
his parents moved to the Los Angeles area while [removed] was quite young and that
after his parents separated, young Allan moved with his mother quite a bit
and was also passed around to live with various relatives. Page 49 of the
aforesaid book [page 51 in the paperback edition] also says that he attended
high schools in NYC, Chicago, Miami, and [removed], and how, at Fairfax High
School in [removed] "...I wrote the senior class musical show, 'Yankee Doodle
Presents,' the star of which was a classmate, Ricardo Montalban."
From the brief over-the-holiday scan I afforded my revisiting of this
book, I wasn't able to ascertain any informantion relating as to why Allan
decided to attend U of I.
To show Prof. Hughes that there's no hard feelings, I am willing to
avail to him one of my four extant copies of "A Gift of Laughter" (provided
he doesn't have a copy already)--everybody reading this is a witness! I
figure I owe the dynamic Hughes family a favour for giving me a ride to the
airport following last spring's Cincinnati OTR convention--and for also
letting me score the $[removed] copy of the out-of-print "Vic 'n' Sade" book THE
SMALL HOUSE HALFWAY UP ON THE NEXT BLOCK when we took the side-trip to
Half-Price Books.
WILLARD WATERMAN
Long [removed] here's the thrust of it. Over this past week-end at
the NYPL f/t Perf. Arts, I stumbled upon a souvenir book for the orig. B'way
cast of the musical MAME, which starred Angela Lansbury, Beatrice Arthur, and
Willard Waterman. WW's bio therein listed his film credits which included
IT'S A MAD, MAD, MAD, MAD WORLD. My question to the readership [removed] "Where?"
I thought I knew this film--one of my all-time faves--frontwards & backwards.
I have read various printed cast lists--each more comprehensive than the
previous--for "Mad World" but never one with Gildy II. I know there's quite
a bit of missing footage & there is the slight possibility WW was left on the
cutting-room floor. Can anybody elaborate?
My favourite trivia question re: "Mad World" is this: what two
memebers of a 1930s movie comedy team both appear in the film, but in
separate scenes? Answer: Jimmy Durante and Buster Keaton.
FRANK TASHLIN
"Tash" is one of my all-time favourite animation directors. However, I
lament that only "The Bear That Wasn't" is the only one of his four prev'ly
mentioned books still in print. If anybody has the others & is willing to
part w/ them at a reasonable price, please contact me off-list. I will accept
photo-copies. I just want to read them.
THE MARX BROS.
This coming spring, the NYC parks dept. will be re-naming a playground
in the east 90s after The Marx Brothers to acknowledge the neighbourhood
where they grew up. This past 11/21, the Parks Dept. held a 70th anniversary
screening of "Duck Soup" along w/ "A Night at the Opera," which were
introduced by Kitty Carlisle Hart (co-star of "Opera") and retired radio
casting director Maxine Marx, daughter of Chico, who once and for all stated
that the official pronunciation was "Chick-oh" & not "Cheek-oh." It was a fun
night. Refreshmenta included mixed nuts. animal crackers, and various frozen
confections from an ice-cream wagon (no tootsie-fruitsee ice-cream, tho').
OTR BOOKS
I still think the "...For Dummies" folks should commission OLD-TIME
RADIO FOR DUMMIES so that we in the hobby can reach out to our reluctant,
non-initiated friends.
Another idea would be the history of OTR fandom for us late-comers. I'd
like to hear all the stories from when the FOTR guest list included Lucille
Fletcher, Willard Waterman, Frank Nelson, Ed Prentiss, et. al.
Yours, as always, in the ether--
Derek Tague
*** This message was altered by the server, and may not appear ***
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------------------------------
Date: Mon, 1 Dec 2003 10:34:44 -0500
From: Dan Hughes <danhughes@[removed];
To: [removed]@[removed]
Subject: Allan/Ricardo/Larry, and Professor Hughes?
Thanks Derek, I think we can say that Larry Stevens wasn't lying about
his classmates. Wonder if the birth discrepancies are due to the
actors-lie-about-their-age rule?
And to correct an error you made concerning my position--I'm not a
professor at the University of Illinois; I'm a broadcast instructor at
Parkland College, also the manager of the college radio station. The
confusion stems from the fact that both schools are in the same town
(Champaign-Urbana, IL). The U of I did away with their broadcast program
years ago.
------------------------------
Date: Mon, 1 Dec 2003 16:23:07 -0500
From: Ron Sayles <bogusotr@[removed];
To: Olde Tyme Radio List <[removed]@[removed];
Subject: Lurene Tuttle
In his new book "Speaking of Radio," Chuck Schaden, while interviewing Lurene
Tuttle says to her, "I have heard that you are a pretty good historian and
documentarian." To which Lurene replies, "I have everything written down. From
1937, I have every show I ever did, and the amount of money I got for it, so I
could count how much money I made in the radio business!"
What a treasure trove that would be, does anyone know if that record of
Lurene's radio work is still exists? The interview took place on August 26,
1975 so this record would cover Lurene's entire output on radio.
Ron Sayles
Milwaukee, Wisconsin
--------------------------------
End of [removed] Digest V2003 Issue #430
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