------------------------------
The Old-Time Radio Digest!
Volume 01 : Issue 45
A Part of the [removed]!
Today's Topics:
Buying and Selling MP3 CDs ["Art Department" <wolowicz@[removed]]
Trini Lopez Interview, The Duke Remo [Duane Keilstrup <duanek9@[removed]; ]
The Shadow ["David L. Easter" <david-easter@hom]
Time Zones ["INFOMEDIA, LLC" <infom@[removed]]
Secret Identities and OTR Movies ["Stephen A Kallis, Jr." <skallisjr@]
Re: Time Zone broadcasts [Elizabeth McLeod <lizmcl@[removed]]
Paul Harvey [Joe Salerno <salernoj@[removed]; ]
Identity Crises and Uncle Don ["Stephen A Kallis, Jr." <skallisjr@]
The House on Unamerican Activities [Larry Gassman <lgassman@[removed]]
Cereals ala Knowlton ["Ed Kindred" <kindred@[removed]; ]
Re:LONE RANGER serial origin story [SanctumOTR@[removed] ]
west coast repeats & acceptance of a ["Art Shifrin" <goldens2@[removed]]
The Lone Wolf and Straight Arrow ["William Harper" <whhsa@[removed]]
------------------------------
Date: Wed, 7 Feb 2001 11:49:57 -0500
From: "Art Department" <wolowicz@[removed];
To: <[removed]@[removed];
Subject: Buying and Selling MP3 CDs
This may be a bit OT and a bit controversial, so bear with me. I'd like to
know if anyone out there sells CDs of OTR in MP3 format. I'd really like to
hook up on a few CDs to build up my collection.
Peace
Shawn Wolowicz
Art Department
Mid-American Specialties, Inc
[removed] Ext. 1213
------------------------------
Date: Wed, 7 Feb 2001 11:50:07 -0500
From: Duane Keilstrup <duanek9@[removed];
To: <[removed]@[removed];
Subject: Trini Lopez Interview, The Duke Remote
Yesterday USA Radio Networks will present a live interview with Trini Lopez
at 6:00 [removed], Sunday, Feb. 11 on the Bill Bragg Show. Later on the same
show Classics & Curios will feature a brief portion of a Duke Ellington
remote from the Harlem Cotten Club and a song by Billie Holiday called
"Yankee Doodle Never Went to Town."
Duane Keilstrup
------------------------------
Date: Wed, 7 Feb 2001 12:24:42 -0500
From: "David L. Easter" <david-easter@[removed];
To: "Old-Time Radio Digest (E-mail)" <[removed]@[removed];
Subject: The Shadow
>From SciFiWeekly the following:
David Soul is set to star in a proposed British radio series based on the
1930s serial The Shadow, the SFX Network Web site reported. Soul will appear
in the pilot of the series, which could find its way onto Great Britain's
Radio 4, with Doctor Who radio series producer Dan Freedman at the helm, the
site reported.
[removed]
Any comments?
David L. Easter
------------------------------
Date: Wed, 7 Feb 2001 13:04:06 -0500
From: "INFOMEDIA, LLC" <infom@[removed];
To: [removed]@[removed]
Subject: Time Zones
I grew up in the Puget Sound area of Washingto State and we got our
network radiio from Seattle. Most evening shows were delayed to Pacific
time except for Sundays. The Shadow and the other Mutual shows that
followed came on starting at 2pm (live from the east at 5pm).
I also recall listening to the Jack Benny program at 5pm (Pacific time).
The Mutual shows were carried by KVI (570) and CBS was KIRO (710) -
amazing both still around with the same call-letters! The NBC shows were
on KOMO (1000 & still around). The ABC station was KJR (9-something) and
I think later KING (1090).
Was it the same in San Francisco and LA?
Jon F.
------------------------------
Date: Wed, 7 Feb 2001 14:16:02 -0500
From: "Stephen A Kallis, Jr." <skallisjr@[removed];
To: [removed]@[removed]
Subject: Secret Identities and OTR Movies
Owens Pomeroy, speaking of films derived from OTR shows, observes,
If anyone is fortunate enough to own a rare print of the Republic 1938
Serial "The Lone Ranger", according to Hollywood writers his Last name
was not even Reid <snip> I wonder if Fran Striker approved of this bogus
story of the Lone Ranger? <<
Probably not. Serials took great liberties with the shows they were
derived from. Speaking of an example I'm really familiar with, the
Columbia serial of Captain Midnight was at serious variance with the
Canonical OTR show (the 15-minute version). Differences from the radio
show in the film include: * Captain Midnight was a secret identity,
complete with mask. * There was no Secret Squadron. *Fury Shark was
converted to a wimp. *Joyce Ryan became less of an associate, and was
the daughter of an inventor. *Ivan Shark constructed elaborate death
traps to torture prisoners. *There was nothing involving cryptography
and secret messages. There were other differences, but that's enough to
get the idea.
One reason seems to be that serial chapters had to be action-packed and
suspenseful. The elaborate killing room that appeared in a couple of
scenes that Shark had set up were apparently put in to provide elaborate
action sequences (the real Shark, as I've noted, wouldn't bother with
anything that complex and expensive, since bullets and poisons were cheap
and direct). Things usually didn't get that frenetic on the radio show.
[Also, in the last chapter of the film, Shark was either stunned or
killed, with the implication it was the latter. Since nobody said, "He's
dead, Jim," if there had been a sequel, the producers could have said he
was stunned.]
I've been told that once a studio got rights to make a serial, they
weren't monitored too closely as to content. A lot of serials were
pretty formula stuff, if it comes to that.
While we're on the subject of OTR-based serials, there's Hop Harrigan
(which was also a feature in an anthology comic book, All-American
Comics). The Hop Harrigan serial was one of those rare films where they
cheated at the end of one chapter and the beginning of another. At the
end of one of the early chapters, Hop is trying to fly an airplane out of
a valley. The aircraft doesn't quite have sufficient altitude, clips a
tree, and crashes spectacularly in a forest at the valley's rim. At the
beginning of the next chapter, Hop flies the aircraft out of the valley,
having just enough altitude _not_ to hit the tree: no crash! One big
difference, though, is in that film they didn't have that inane radio
exchange between Hop Harrigan and a controller ("CX-4 Calling control
tower ....").
Stephen A. Kallis, Jr.
------------------------------
Date: Wed, 7 Feb 2001 14:16:03 -0500
From: Elizabeth McLeod <lizmcl@[removed];
To: <[removed]@[removed];
Subject: Re: Time Zone broadcasts
On 2/7/01 12:06 PM [removed]@[removed] wrote:
They had completed the show for the East coast and had a
three-hour wait for the West Coast Broadcast to come on at the same time.
In order to "pass the time" the cast went to a little bar down the street
>from he studios for a couple of "quick ones". When they got back to the
studio for the West Coast broadcast, Alfred said that the WEst Coast version
(for obvious reasons) did not exactly sound like the East coast one.
This practice began with "Amos 'n' Andy" in November 1929, and soon
spread thruout the industry. During all but the first month of their
pre-network era, A&A had broadcast at 10pm Central time -- and had hoped
to continue this slot during their network run. However, Pepsodent was
unhappy with the fact that the program was coming to the East Coast at 11
pm -- this was deemed too late a slot for a program with a family appeal
-- and after considerable negotiation, NBC cleared the 7 to 7:15 pm slot
on the Blue network. The time change was to take effect 11/18/29, and
this was announced a couple of weeks in advance -- and thousands of
letters and telegrams immediately came in from Midwestern, Mountain, and
West Coast listeners who wanted the later broadcast time to continue.
Pepsodent advertising manager Harlow Roberts estimated that over a
hundred thousand complaints were received, and before the first week of
the new time had ended, the company and the network were trying to work
out a solution.
Correll and Gosden themselves came up with the plan that was adopted --
they volunteered to do a second, earlier broadcast at no additional fee.
This meant broadcasting once for the East Coast at 6pm Central time, and
then returning to the studio at 1030 pm for the Central-Mountain-Pacific
broadcast. (NBC had already sold the 10pm central slot to someone else,
and Pepsodent wasn't able to reclaim that spot until that contract ran
out.) This new policy began with the program of 11/25/29, and would
continue thru the end of the A&A serial in February 1943.
The performers would frequently take in a movie or a vaudeville show
during the interval between broadcasts -- and only once in the nearly
fifteen years they broadcast under this schedule did they miss a
performance. On 11/22/35, Correll and Gosden got delayed in traffic while
coming back from a hunting trip in Maryland, and failed to get to the NBC
studios in Washington in time for the Eastern broadcast. Announcer Bill
Hay ended up filling the fifteen minutes by reading from the Bible, to
the accompaniment of organist Dean Fossler. The performers arrived,
fulsomely apologetic, in time for the late broadcast -- but Eastern
listeners never heard that night's episode unless they were able to tune
in one of the stations carrying the second show.
I have often wondered why they did not record the original broadcast and just
pay it back three hours later).
Until the mid-1930s, the technology for making a broadcast-quality
instantaneous recording did not exist, and by the time the lacquer-coated
instantaneous disc had been perfected, the networks had become firmly
entrenched with their "no recordings" policy. Cracks began to appear in
this policy by the late thirties, however -- beginning in 1939, NBC
allowed the West Coast broadcast of "Information Please" to be aired from
recordings, since an ad-lib show could not be restaged, and gradually
recordings began to become acceptable for time delay use. By the late
forties, "second shows" were all but extinct.
Not all programs aired "second shows" -- it all depended on whether or
not the sponsor was willing to pay for the additional time. Many
performers actively despised the requirement of having to do a "second
show": Fred Allen complained constantly about having to do so, especially
considering the sort of people who filled the studio audience for his
late broadcast (at midnight, New York time.) Many of the people who
attended these late broadcasts, at least in New York, seem to have been
pub-crawlers, streetwalkers, and the homeless -- and seemed more
interested in getting off the sidewalk for an hour than in paying
attention to a broadcast. Allen finally got into a rather heated
discussion with his producer about the late broadcasts, suggesting that
he could reach down into his toilet and pull out a better class of people
than those who showed up for his second shows.
Elizabeth
------------------------------
Date: Wed, 7 Feb 2001 14:16:05 -0500
From: Joe Salerno <salernoj@[removed];
To: OTR List <[removed]@[removed];
Subject: Paul Harvey
I agree that Paul Harvey is a throwback to OTR. Has anyone heard of
commentators? Someone was recently telling me about them. They would read
the news and add their own comments, and some of them got a reputation for
being rebel rousers apparently. While Mr. Harvey is certainly not a rebel
rouser, he does add his comments even if only briefly. He doesn't have as
long a time slot as the old commentators did. In a way Rush Limbaugh may
also be a throw back to OTR commentators, although his style is more modern,
that of a talk show.
Good DAY!
Joe Salerno
------------------------------
Date: Wed, 7 Feb 2001 14:23:13 -0500
From: "Stephen A Kallis, Jr." <skallisjr@[removed];
To: [removed]@[removed]
Subject: Identity Crises and Uncle Don
Tizz Eye asks,
speaking of UNCLE DON and bloopers and faw paws ....did anyone out
there actually hear uncle don say what he is accused of saying or is that
simply un-true,,,re "that'll hold the little B-------"?<<
My 93-year-old mother heard the story a different way, but admitted that
she never heard the alleged broadcast. Dunning indicates that the story
is unsubstantiated, and adds, "This never happened, [Uncle Don] vowed in
every interview" and blamed jealous rivals for spreading the rumor.
My mother's version was more colorful, as she'd heard that he'd said,
"... and I hope the little b------- choke." The "quote" on the Blooper
record was prefaced with something like, "A legend is that Uncle [removed],"
which vitiates any claim that it really happened. I've heard that the
"quote" was "reenacted" by a voice mimic.
Tom Zotti observes,
I've listened to Mr. [Paul] Harvey regularly for about 14 years, and
find him very entertaining. I've always thought he was something of a
throwback to [removed];<
Actually, he's more of a leftover from OTR. When I first heard him in
the early 1960s, I thought he was just another Kaltenborne or Winchell.
There's no way anyone can realistically call what Paul does "news."<<
It's what they used to call "News Commentary." Drew Pearson was another
of that breed.
Stephen A. Kallis, Jr.
------------------------------
Date: Wed, 7 Feb 2001 16:51:23 -0500
From: Larry Gassman <lgassman@[removed];
To: [removed]@[removed]
Subject: The House on Unamerican Activities
Roger Memos called to say that he is working on a documentary for PBS,
about this subject and needs either audio or video clips on hearings which
were held in the early fifties. He needs clips of:
Carl Foreman, Larry Parks, George Glass: publicist for Stanley Kramer
Films, and Martin Berkeley.
If you can help, call him at:(818) 623-1990, or e-mail him at:
rmemos@[removed]
Larry Gassman
------------------------------
Date: Wed, 7 Feb 2001 16:51:27 -0500
From: "Ed Kindred" <kindred@[removed];
To: [removed]@[removed]
Subject: Cereals ala Knowlton
Yep, I remember those General MIlls offerings. They had a series of city
blocks with different houses and I think they may have also had an airport
run with hangers as the main carton. By the time I had collected complete
sets (long gone) I hated Kix and Wheaties and barely tolerated Cheerios.
Fifty plus years later I still avoid Kix and will occasionally buy Wheaties
(on sale only) to spread as and add-on to granola or raisin bran type
cereals. This does have an otr connection but dadgum if I can recall the
programs on which these were advertised.
Ed Kindred
------------------------------
Date: Wed, 7 Feb 2001 16:51:28 -0500
From: SanctumOTR@[removed]
To: [removed]@[removed]
Subject: Re:LONE RANGER serial origin story
In a message dated 2/7/01 11:06:28 AM, [removed]@[removed]
writes:
<< If anyone is fortunate enough to own a rare print of the Republic
1938 Serial "The Lone Ranger", according to Hollywood writers his Last name
was not even Reid!
***Actually, it's no longer rare and the feature version was commercially
released on VHS a couple years back. Both serials are available from lister
Fred Shay.***
At the close of the last chapter, Lynne Roberts asks if
she can see his face. He removes his mask and she utters:. . . "why you're
ALLEN KING!" Talk about taking liberties with a story for dramatic impact.
According to this version, there were 5 bogus graves dug, and for 15
chapters we had to guess which one was the Lone Ranger. I wonder if Fran
striker approved of this bogus story of the Lone Ranger?
***Yes, he was consulted and MAY possibly even have suggested the ambush
idea. It was a new story but not a "bogus" one since Striker later chose to
incorporate elements of the ambush origin from the serial into the radio show
three years later. At that time (in the Christmas 1941 storyline that
introduced the teen-age Dan Reid), Striker first gave The Lone Ranger the
Reid surname, most likely as a brilliant afterthought when he realized how
the two popular shows could be interconnected.***
At the time it
came out the radio series was really going strong, and it must have really
been confusing to young kids who listened to the show and then went to see
the Chapter Play.
***Not really, since no origin story had been presented in the radio shows at
that time and the Reid connection had yet to be established. It wasn't like
the case of Republic's CAPTAIN AMERICA serial where Private Steve Rogers
became crusading district attorney Grant Gardner. That was confusing. In
the case of THE LONE RANGER serial, the kids were probably thrilled to
discover who The Lone Ranger really was . . . until Striker rewrote the
origin story three years later.***
To add injury to insult, about 3 years after the chapter
play ended, Republic edited it into a feature film called "Hi-Yo, Silver!"
Here is my question: Why would the creators of the LR (Striker, Trendle,
Camble Muher) allow such a treatment of this show while it was still on the
air?>>
***Probably because they realized what a good idea the ambush storyline was,
and how it supplied a reason for The LONE Ranger to be so-called. Think
about it, why would he be called The LONE Ranger while there were still
another 50 Texas Rangers operating in the state? And remember, The Lone
Ranger didn't ride alone; after the first ten scripts he rode with Tonto.
(The early 1933 Lone Ranger was a far cry from the character we know; in the
very first episode, he shoots the outlaw Arizona Pete "between the eyes" and
his original horse was Dusty (or Rusty, cant recall which) before the
introduction of Silver. And Tonto's earliest origin story has him rescued as
an adult by the Ranger, not the other way around. The Lone Ranger evolved
during the early pre-transcription shows to finally become the elemental icon
we love.) The ambush storyline, first told in the 1938 movie serial,
provides a background story for the Ranger and a reason for his name and
existance. Striker later improved on the serial's story but he did keep many
of the basic elements so we can probably surmise that he approved of the
basic ambush storyline first presented in the serial.
And George Washington Trendle's WXYZ partners were (H. Allen) Campbell and
(Raymond) Meurer, not "Trendle, Camble Muher." BTW, I don't want to present
myself as a major authority on WXYZ. What I know comes from some independent
research but mostly from Dave Holland's exceptional book FROM OUT OF THE
PAST: A PICTORIAL HISTORY OF THE LONE RANGER, Fran Striker, Junior's HIS
TYPEWRITER GREW SPURS (the biography of the Lone Ranger/Green Hornet
creator), Terry Salmonson's many years of research into WXYZ and Dick
Osgood's delightful WYXIE WONDERLAND (anecdotal with occasional inaccuracies
but based on/including the firsthand recollections of more than a hundred
longtime employes Detroit's WXYZ).
--ANTHONY TOLLIN
------------------------------
Date: Wed, 7 Feb 2001 16:51:24 -0500
From: "Art Shifrin" <goldens2@[removed];
To: <[removed]@[removed];
Subject: west coast repeats & acceptance of audio tape
in the USA
Hi Owen,
The reason why CBS & NBC rarely played back prime entertainment (prior to
the advent of tape in the US in 1947---ABC---Philco) was that LIVE
programming had a more classy & exciting panache. I've heard enough
network news broadcasts dating back to the late 30's to know that playback
of actuality recordings was NOT unusual. I suspect that technical quality
was a secondary consideration. In small markets, network affiliated radio
stations could and did record shows off of the live line feed and play
them back from disks to suit their specific market requirements.
By '39, with feedback cutters then having become available, "high fidelity"
recordings could be made on lacquer disks @ 33 1/3 rpm. However, the medium
of lacquer disks was nevertheless relatively unreliable. Disks could be
mutilated, with noises and locked and skipping grooves resulting. Anomalies
could occur during the cutting, also distracting from the enjoyment and or
appreciation of the broadcasts. The reason why I think that this
consideration was secondary to the marketing of "first class" (live)
entertainment was that prime time shows would occasionally even be relayed
by short wave ([removed] a Rudy Vallee Hour from England in '37 at the time of
the coronation). The quality was terrible as compared to a show ordinarily
distributed within North America via phone lines (at best) limited to 5KHz
to the stations on the line (CBC included). But, it was LIVE.
With tape recording finally accepted by broadcasters here in the [removed]
(primarily due to Philco Radio Time being taped in its second season), the
technical quality of taped broadcasts versus live) were indistinguishable
via AM and FM reception.
For those of you who aren't familiar with the history, briefly:
The German Company AEG (affiliated with General Electric) had introduced a
30 ips tape machine in 1936. The machine was used extensively by the German
Radio Network for its foreign (short wave broadcasts). The rather severe
noise and distortion of the DC bias system (pertains to how the signal is
recorded) was considered unimportant, given the severe losses of short wave.
The ability to edit far outweighed other advantages of disks) By late '38,
engineers at the radio network has accidentally discovered and recognized
the effect of AC bias: drastically less noise and distortion. Coupled with
the development of a drastically improved tape by IG Farben (the tape was a
solid mixture of PVC and oxide, it was NOT layered as are modern tapes), the
playback quality of the 30 ips tapes was terrific.
Jack Mullin (American) was in Germany investigating various real and
rumored technological innovations at and immediately after the war and
brought back two Magnetophones and approximately 4 dozen spools of tape. He
promoted the use of the machines to various prospective network users,
including film studios and the radio networks. ABC, (formerly the Blue
Network) had lured Bing Crosby after the expiration of his contract with NBC
on the basis of agreeing to Crosby's demand that the shows be prerecorded
and edited (analogous to films). Various logistical issues resulted in the
decision not to do this via optical film recording, which at that time could
have terrific, "high fidelity" quality. The first season of Philco was
produced by pre-recording segments on disks & then dubbing them to 3 16" ten
minute assembled-edited sides. (They did three sides to avoid the loss of
fidelity and gain of noise towards the center of the disks). Thus, ABC
aired the shows from disks in the '46 / '47 season. With the exception of
the first taped master (of which I have a 15 ips dub we made at Ampex circa
1981) (the sound's so clan that it might as well have been recorded
yesterday) the masters were reused, because no other source of tape was yet
available (the IG FARBEN plant at Ludwigshaffen had been destroyed by allied
air raids)
In addition to doing duty at ABC, those same two machines were continually
being used to reverse engineer (copy) new working versions by a small bay
area technology company called AMPEX (which means Alexander M. Poniatoff +
Excellence). Poniatoff had been a pilot in the White Russian Air Corps,
escaped the Bolsheviks & fled to China, where he set up a machining
business. He emigrated to the US around the time of the Japanese invasion.
Mullin was introduced to Poniatoff by their mutual friend, Harold Lindsay
who was by training, a chemist. Lindsay convinced Poniatoff to pursue this
recording technology (any German patents were not protected here in the US
at that time). Up to that time, Ampex's primary products were motorized
aircraft turrets & they were looking for peacetime, post war business
opportunities.
By mid 1948, Ampex was able to deliver its first machines (model 200) to
ABC. Coinciding with this, 3M, at urging of Ampex & ABC had developed two
types of recording tape that worked well on the 200: type 111, which became
a standard for years, and 112 which was short lived. Both had acetate
backings. 111 had a brown oxide. 112 had a very dark grey (almost black)
oxide. Contrary to often repeated misinformation, Crosby never owned any
part of Ampex. Because of ABC's skepticism about tape (especially because
they'd previously seen the sonically and mechanically inferior Brush Sound
Mirror), Bing had to financially guarantee to ABC that the small company
(Ampex) would have the resources to fill the order.
The realization here in the [removed] that magnetic tape and wire recording could
be viable had previous starts, missteps, etc. For example, [removed] had
evaluated the Magnetophone at its labs in Schnectady circa 1938, but the one
that they investigated didn't have the AC bias mod, so the quality was
terrible as compared to state of the art disk and film recording at that
time. A patent for AC bias applied to wire recordings was issued here in
the [removed] in the 1920's, but the technology wasn't applied to music and voice
recording. Some earlier wire systems ([removed] Telegraphone) recorded by
connecting a telephone handset directly to the recording head, so the
results were inferior to the best disk and cylinder recordings mastered in
wax, via a horn. The best device (my opinion) to record audio on wire or
steel tape was made by English Marconi under license of the german patents
of Kurt Stille.
At least one was delivered to the CBC, but it was never accepted by US
broadcasters or recording companies. You can view this monster at my
webiste, [removed]
I've not forgotten, nor am ignorant of the work of Colonel Ranger, Marvin
Camras (developed the wire system used by Webcor & other companies), Semi
Begun, (Brush wire and tape recorders) et. al. who also advocated magnetic
recording, and were issued patents. This is a simplified account. But it
provides a basis for what it took for the major US radio networks to embrace
recorded prime time programming.
Jack Mullin went on to the President of 3M's Mincom Division, which for
years thereafter produced an array of fine quality magnetic recording
instruments.
Most of his extraordinary collection of broadcast and recording equipment is
now part of the collection of the Pavek Museum.
Last year, Irv Joel and I had the privilege and thrill of supervising the
packing and moving of one of the first Ampex 200's (from Jack's
collection.,.I think it was serial # 5) . It had been the in research
library of the Audio Engineering Society here in NYC for many years and
according to Jack's will, was finally turned over to NARAS (National Academy
Of Recording Arts and Sciences) in Los Angeles. There was no custody
dispute involved, it just took a while for NARAS to prepare an appropriate
venue for display. And, a 14" pancake of that very rare 3M 112 tape was on
the machine. I played it, and while the quality was wonderful the contents
were a studio session of a string orchestra performing light classical
selections, so no recorded treasures turned up with the machine.
Best,
Shiffy
------------------------------
Date: Wed, 7 Feb 2001 19:08:15 -0500
From: "William Harper" <whhsa@[removed];
To: [removed]@[removed]
Subject: The Lone Wolf and Straight Arrow
Hello I am Bill Harper ~ new to the list. My wife, God rest her soul,
researched the great NABISCO promotion for over 15 years and produced a
newsletter, POW-WOW, for eight years. POW-WOW was the definitive source of
information on Straight Arrow! Ask NABISCO! If you have any questions or
desire to know what is still available from POW-WOW ~ send a SASE to
Harpers, 301 E. Buena Vista Avenue, North Augusta, SC 29841.
We are looking for other shows. In our search we located 6 complete shows
out of the 292 aired! We had them timed correctly and they sound great!
There was a question about The Lone Wolf. Because of our interest in
Straight Arrow we would get request about The Lone Wolf. We learned that it
was sponsored by Wrigley Gum, but could not locate any shows. I would be
interested in hearing one to learn if there were any similarities between
The Wolf and Arrow.
I am enjoying all the discussion ~ a great site!
--------------------------------
End of [removed] Digest V01 Issue #45
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