------------------------------
The Old-Time Radio Digest!
Volume 01 : Issue 131
A Part of the [removed]!
ISSN: 1533-9289
Today's Topics:
Sam Edwards ["Stewart Wright" <stewwright@worldn]
Linksite to Nostalgia -- or its abse ["J. Alec West" <Alec@[removed];]
Step away from that recording .... ["Stephen A Kallis, Jr." <skallisjr@]
LaGuardia and the Funnies ["Stephen A Kallis, Jr." <skallisjr@]
Escape/Suspense Crossovers ["Stewart Wright" <stewwright@worldn]
canned laughter ["Art Shifrin" <goldens2@[removed]]
Re: sound effexts question-car brake [Brent Pellegrini <brentp@[removed]]
Re; Johnny Dollar theme [Brent Pellegrini <brentp@[removed]]
Re: LaGuardia and movie adaptations [=?Windows-1252?Q?Leonardo_De_S=E1?=]
Reading comics over the radio ["Edwin H. Humphrey" <beepa3@hotmail]
The NEW Test - Jerry, Jimmy [KENPILETIC@[removed] ]
Jim Harmon / MUTEL [Arthur Smith <agsmith_stl@[removed]]
Audition Applause [Tom van der Voort <evan@[removed];]
Remley vs. Archie [Jer51473@[removed] ]
Re: "Shiffy" and the Ampex 200 [sfx-meow@[removed] (Ray Erlenborn) ]
Greetings All [Elmer Standish <elmer_standish@telu]
1930s stars [michael berger <intercom1@attglobal]
Halls [removed] of [removed] ["Ted Kneebone" <tkneebone1@[removed]]
------------------------------
Date: Fri, 27 Apr 2001 22:49:28 -0400
From: "Stewart Wright" <stewwright@[removed];
To: <[removed]@[removed];
Subject: Sam Edwards
Sam Edward began his busy acting career in the 1930's, singing and
playing children's parts on radio station WOAI in San Antonio, TX, where he
was born.
In San Antonio, TX his mother wrote a kid's serial - The Adventures
of Sonny and Buddy in 1935. Sam and brother Jack played the kid's roles.
His mother played the female characters and his father played the male
characters. The entire family made $[removed] a week and had to pay the other
actors and musicians out of it. Berry Kroeger was sometimes on the show.
They later moved the show to San Diego.
His parents also wrote Sons of the Lone Star while in San
Francisco. They also did the first true-life family show in which family
members played themselves - The Edwards Family.
Sam wanted to audition for the Walter Denton role on Our Miss
Brooks, but he couldn't because he already was doing Dexter on Meet Corliss
Archer. He was able to appear on other shows; he just couldn't do a
character similar to Dexter. Sam had starring or featured roles in several
other radio series: One Man's Family as Tracy Baker, Father Knows Best as
Billy Smith, Fort Laramie as Harrison, The Guiding Light as Roger Collins,
Hawthorne House as Billy Sherwood, and The Life of Riley as Egbert Gillis.
A few of Sam's other radio credits include: Broadway Is My Beat,
Cavalcade of America, CBS Radio Workshop, The Cisco Kid, Crime Classics,
Damon Runyon Theater, Deadline Mystery, Death Valley Days, Doctor Christian,
Doctor Kate, Dragnet, Escape, Favorite Story, Frontier Gentleman, Gunsmoke,
Hawthorne House, Have Gun Will Travel, Horizon's West, Lux Radio Theater,
Pat Novak For Hire, Railroad Hour, Red Ryder, Romance, Roy Rogers Show, The
Saint, The Six Shooter, Speed Gibson of the International Secret Police,
Suspense, Tales of the Texas Rangers, The Woman In My House, and Yours Truly
Johnny Dollar.
You can find some of Sam's movie and [removed] credits on the Internet
Movie Database at:
[removed],+Sam+(I)
I will definitely second Charlie's statement about Sam's ability to
do totally-convincing late-adolescent and youngish men. I have seen him at
the last three Radio Enthusiasts of Puget Sound Showcases. Last year, Janet
Waldo and Sam did a surprise segment from Meet Corliss Archer and they
brought down the house. Sam still does a mean "C-o-r-l-i-s-s!"
Sam will be among the guests at this REPS Showcase. For more
information on the Showcase, go to:
[removed]
Stewart
------------------------------
Date: Sat, 28 Apr 2001 13:15:42 -0400
From: "J. Alec West" <Alec@[removed];
To: [removed]@[removed]
Subject: Linksite to Nostalgia -- or its absence
There seems to be good news and bad news in the radio world, regardless of
style or format. I'll start out with the good news. The Massachusetts
Institute of Technology ([removed]) has a wonderful linksite to streaming radio
stations all over the [removed] and the world ... and that linksite can search by
content format. There are currently links to 47 radio stations that stream
nostalgia and here's the first page of linkage:
[removed];scope=bc&is_lic=Y&sr=Y&x=
11&y=2
That's the good news. The bad news? Some of those links will either not work
or the content will be modified in a rather weird way -- and I'd like to see
input from anyone currently working in the broadcast industry to get a complete
rundown on the dilemma.
As I understood it, the RIAA (Recording Industry Association of America)
convinced the Copyright Office that radio stations with web-based simulcasting
should pay "twice" the royalties they're currently paying to broadcast
copyrighted content -- once for the regular broadcast, once for the web
broadcast. However, I noticed something very weird when I visited some of
these nostalgia stations. As an example, read the info shown in the right-side
column of the homepage for CKWW in Windsor, Ontario:
[removed]
I'd always thought the bone of contention was royalties for music and
programming. But apparently, the bone of contention revolves around
commercials. CKWW is still providing webcast programming -- but with the
commercials cut from the stream. Or perhaps, the bone of contention involves
both content and commercials. Could this mean that, in reaction to an
obligation to pay content royalties twice, webcasting stations are attempting
to charge their advertisers twice???
This situation is not confined to CKWW, either, but other nostalgia stations.
Some, like KOGA in Ogallala, Nebraska have dropped webcasting altogether --
sending people who click on their live stream to a website with a very short
apologetic message:
[removed]
That message clearly mentions RIAA involvement in the brouhaha. Still, other
stations appear to be operating in a business-as-usual mode such as KAZZ in
Deer Park, Washington (where I listened to a "Life Of Riley" episode):
[removed]
Why do I get the sinking feeling that recording industry greed is behind this
after-the-fact brouhaha (after-the-fact seeing as how webcasting has been going
on for some time now)? I hope this doesn't kill the future of webcasting.
Regards,
J. Alec West
------------------------------
Date: Sat, 28 Apr 2001 13:15:41 -0400
From: "Stephen A Kallis, Jr." <skallisjr@[removed];
To: [removed]@[removed]
Subject: Step away from that recording ....
Bill Miles asks,
I've got a question regarding playing entire OTR shows on radio. A
friend and I have a chance to promote OTR on a local AM station, but the
station and the announcer in the regular spot, along with the two of us
are not sure we can do it legally without copyright permission.
Many shows are "protected," by copyright of the whole show or even parts
of it. Some may be in Public Domain. But unless you've had a search
done by specialists, in my opinion, the best course to take is to assume
that the recording of a program is protected. It's like handling
handguns: unless you know from your own knowledge that the thing's
unloaded, you'll get in less trouble by assuming it's loaded rather than
otherwise. One gets in less trouble that way.
Stephen A. Kallis, Jr.
------------------------------
Date: Sat, 28 Apr 2001 13:16:25 -0400
From: "Stephen A Kallis, Jr." <skallisjr@[removed];
To: [removed]@[removed]
Subject: LaGuardia and the Funnies
Doug Leary, speaking of Mayor LaGuardia "reading the funnies," notes,
LaGuardia read the comics as well as some news stories, over WNYC on
July 9, 1945, during a strike by newspaper delivery people. Those were
the [removed] if he did the same thing now, both the mayor and the station
would get nailed for copyright infringement!
Probably not. Of course, this was a means of bringing "funnies" to
children and whatever adult listeners who might be interested, and there
was no alternative for most listeners to see them otherwise. Moreover,
there were few listeners with home recorders, so he wasn't giving them
reproduced copies, like multiple Xeroxes. IMHO, no court would have
touched it, even nowadays.
Of course, if he'd televised the funnies, particularly with the abundance
of VCRs around these days, he'd have to have posted a copyright notice.
But I'll bet that even in those circumstances, a lawsuit would be
unlike;y.
Stephen A. Kallis, Jr.
------------------------------
Date: Sat, 28 Apr 2001 13:16:28 -0400
From: "Stewart Wright" <stewwright@[removed];
To: <[removed]@[removed];
Subject: Escape/Suspense Crossovers
The Hitch-hiker did not air on Escape. It did air on Suspense and
The Mercury Summer Theater of the Air and perhaps other series.
ESCAPE & SUSPENSE Crossovers
There were many stories that first aired on Escape that were later
used on Suspense. Also a few that aired on Suspense first and then Escape.
Most of these recycled stories from Escape occurred from the mid-1950's
onward when the budget for Suspense was cut. See below for the list of
stories shared by Escape and Suspense
Three well-known radio directors - William N. Robson, Norman
Macdonnell, & Antony Ellis - directed both Escape and Suspense.
Sidebar:
Radio actor John Dehner wrote the scripts for three episodes of
Escape: Benchillina and The Fisherman, The Man With the Steel Teeth, and
Lily and the Colonel. The latter two scripts also were also used on
Suspense.
The following 3 shows aired first on Suspense, then aired on Escape
Lost Special
Back for Christmas
Man Who Liked Dickens
The following shows aired first on Escape, then later aired on
Suspense
Action
An Occurrence at Owl Creek Bridge
Cave, The
Classified Secret
Command
Country of the Blind
Crossing Paris
Flood on the Goodwins
Game, The
I Saw Myself Running
Leiningen Vs. The Ants
Lily and The Colonel
Man from Tomorrow
Man Who Stole the Bible, The
Man Who Won the War
Man Who Would Be King
Man with the Steel Teeth, The
Outer Limit
Rim of Terror, The
Second Class Passenger
Shipment of Mute Fate
Sleeping Draught, A
Study in Wax, A
Sundown
The Island
Three Skeleton Key
Tramp, The
Two Came Back
Vanishing Lady, The
Zero Hour
*Elementals
* Originally aired on Radio City Playhouse, then Escape and then later on
Suspense
Signing off for now,
Stewart Wright
------------------------------
Date: Sat, 28 Apr 2001 13:17:20 -0400
From: "Art Shifrin" <goldens2@[removed];
To: <[removed]@[removed];
Subject: canned laughter
Hi Gang,
No disrespect intended, but Bill's memory is wrong here: Ampex did not have
any audio products until 1948 (it was their first tape machine, the 200), so
any effects recordings could not have been played back on them in the 30's.
But speaking of the "Big A" and canned laughter, when post editing the
Philco Shows on tape (commencing August, 1947) "better" audience responses
were slugged in when deemed necessary.
Best,
Shiffy
website: [removed]
------------------------------
Date: Sat, 28 Apr 2001 13:17:39 -0400
From: Brent Pellegrini <brentp@[removed];
To: <[removed]@[removed];
Subject: Re: sound effexts question-car brakes
It seems like whenever a car comes to a stop in old radio shows there is a
squealing of the tires. It is always the same. I was wondering if there
was a single sound effect for this on tape or record or if the sound
effects man created it somehow?
+++_SI^@)y
TLUFp<1pyN4&
------------------------------
Date: Sat, 28 Apr 2001 13:17:37 -0400
From: Brent Pellegrini <brentp@[removed];
To: <[removed]@[removed];
Subject: Re; Johnny Dollar theme
I've always wondered about that tune. Johnny Dollar is about the only old
show my girlfriend listens to and we often que each other with the theme.
One starts a section and another finishes it.
So where can I get the music? I don't read music worth a damn but I
taught myself the Gunsmoke theme on the guitar by ear. Johnny Dollar is a
bit more challenging for an acoustic guitar, but if I could find the music
with chords written above the music I could fake it. I've loved the
Gunsmoke and Johnny Dollar themes since I was a kid.
+++_SI^@)y
TLUFp<1pyN4&
------------------------------
Date: Sat, 28 Apr 2001 13:45:21 -0400
From: =?Windows-1252?Q?Leonardo_De_S=E1?= <[removed]@[removed];
To: <[removed]@[removed];
Subject: Re: LaGuardia and movie adaptations
On Date: Fri, 27 Apr 2001 21:50:06 ñ0400 Doug Leary" <dleary@[removed]; wrote:
LaGuardia read the comics as well as some news stories, over WNYC on July
9, 1945, during a strike by newspaper delivery people. Those were the [removed]
In ìRadio in 1937î ([removed]), by Donna
L. Halper, the year is given as 1937 and mention is made to the dailies
instead of the Sunday comics. Any explanation for the *double dating*?
Leonardo De S·
<[removed]@[removed];
------------------------------
Date: Sat, 28 Apr 2001 13:45:15 -0400
From: "Edwin H. Humphrey" <beepa3@[removed];
To: [removed]@[removed]
Subject: Reading comics over the radio
LaGuardia was not the only one to read the Sunday comics over OTR. During
the late '30's and early '40's Uncle Don did the same thing over station
WOR. During that same time there was also a Sunday morning program on a NYC
station that dramatized several of that day's comics. As I recall, thed
comics dramatized were those appearing in the New York Sunday News. There
may have been a sponsoring connection.
------------------------------
Date: Sat, 28 Apr 2001 13:45:13 -0400
From: KENPILETIC@[removed]
To: [removed]@[removed]
Subject: The NEW Test - Jerry, Jimmy
Hi Gang - April 21, 2001 - Saturday -
8:21 AM cdt
In issue 129, the subject of Jimmy (of the Cinnamon Bear)
and Jerry (of the Circus) was again discussed.
I have a NEW TEST that should prove once and for all whether
the same actor played both [removed] But before I describe the new
test, I must lay some groundwork.
I believe that it was I who first brought up the subject, back in 1975,
when I got my first reels of "Jerry of the Circus". I noted right off
that Buddy Duncan (whose voice is unmistakeable) was in both
"Cinnamon Bear" and "Jerry of the Circus". I later noticed that several
other characters also appeared in both productions.
Not quite as obvious, but certainly detectable to me, was the
similarity between the voices of "Jimmy" and "Jerry". I concluded
way back in 1975 that they were the same actor, and I have been
trying to prove it ever since.
I obtained a newspaper clipping from someone in the hobby - sorry
I don't remember who sent it to me. It was an advertisement for
either WFAA, WBAP, or WOAI (one of the three) in Dallas/Fort Worth.
I no longer have the ad, so I can't be sure of the station.
The clipping was advertising the radio program "Jerry of the Circus".
There was a photograph of "Jerry" in the clipping.
I made a photocopy of the ad and had wrote a little note indicating
that if anybody should recognize the actor to please contact me.
I brought this framed photocopy to many conventions (including
the most recent Cincinnati convention) over the years. Nobody
seems to recognize the actor thus far - at least I have not been
contacted as yet.
In the meantime, I remembered the "Cinnamon Bear Brigade"
(headed by Carolyn Breen Kolibaba). I had lost contact with
Carolyn over the years, but in 1999 discovered that the Brigade
was still marching - so I wrote to Carolyn.
My hope was that she could help verify that "Jimmy" and "Jerry"
were one and the same. Unfortunately, I made a few mistakes
when I sent the tape to Carolyn, ane her conclusion was negative.
1. I used an excerpt from reel 3 - I had misplaced reels 1 & 2.
The excerpt I submitted was already 30 or 40 episodes into
the story and Jerry's voice had already begun to change from
how it sounded in the first few episodes.
(Still, I thought that since it was obviously Jerry/Jimmy to me,
that it would also be obvious to the Brigade -- wrong)
2. I did not send the tape right away. By the time Carolyn listened
to it, she had forgotten why I sent the tape, and she was not
listening for a similarity between Jimmy and Jerry.
3. I did not send a "benchmark" with the tape.
(More about the benchmark in the NEW test).
By the time I re-contacted Carolyn, the Brigade was quite certain
that Jerry and Jimmy were different actors.
Now - Here is my NEW Test. You are all welcome to try this yourselves.
I plan to make a CD similar to the one I did with "War of the Worlds"
and "Charlie McCarthy" on left/right of the same CD.
The idea is to put excerpts of one of the LAST episodes of "Cinnamon
Bear" on the "left" channel, and one of the FIRST episodes of "Jerry
of the Circus" on the "right" channel. Both channels will contain
dialogue featuring Buddy Duncan (the benchmark) and Jerry or Jimmy.
Since Duncan's voice is fairly stable, we will be able to move the
"Balance" control on the CD Player left-right-left-right and listen to
Buddy talk to Jerry and Buddy talk to Jimmy back-and-forth.
It should be easy to tell any differences between Jimmy's voice
and Jerry's voice - because Buddy's should remain constant, ie,
we don't have to worry about different tape speeds.
Now, it must be considered that Jimmy/Jerry is growing older every
day. There probably were several weeks between the end of "Cinnamon
Bear" and the beginning of "Jerry of the Circus" (both were recorded
at "Radio Recorders") and Jimmy/Jerry's voice was changing as the
productions were proceeding.
So - don't only listen for the "pitch". Listen how he pronounces the
words. Listen for inflections as he becomes "excited", "worried",
"happy", "sad", etc. in both productions.
Remember that it could have been years from the beginning of
"Cinnamon Bear" and end ending of "Fair Oaks" (the series that
followed "Circus").
I have not yet made the NEW Test. I recently purchased a new
computer, and the software to burn CDs did not transfer properly
between the old machine and the new machine.
When I finally burn the new CD - I will definately send copies to
Carolyn, Dennis, and George. Why include George, you [removed]
Well, here's what happened at the Cincinnati Convention last [removed]
Those who have attended Cincinnati in the past know that there is
a big "raffle" on the last day, and prizes donated by the various dealers
are awarded to people whose names are pulled from the hat.
My framed picture of "Jerry" was on display in the hall at the convention.
I forgot to pick it up before I left for church on Saturday afternoon. While
I was away, the picture was "raffled off" and George Wagner won it.
I have been in contact with George and all is well. He deserves a copy
of the NEW Test CD.
If anybody gets around to using this test before I do, please let me
know the results. Thanks.
Happy Taping -- Ken Piletic - Streamwood, Illinois
kenpiletic@[removed]
------------------------------
Date: Sat, 28 Apr 2001 13:45:09 -0400
From: Arthur Smith <agsmith_stl@[removed];
To: [removed]@[removed]
Subject: Jim Harmon / MUTEL
Hello,
Recently two names have appeared and by coincidence
(or temporary recall) they were in my mind.
1. Does anyone know if the "stock" theme music written
for radio drama and TV is available. I heard someone
mention that some has been compiled and re-released
but the only thing I found was Our Gang music.
2. A friend recently asked if I knew anything about
Jim Harmon. Aside from the fact that his name has been
mentioned here, I pleaded ignorance (unfortunately,
not an uncommon occurrence). He has a book from 1973
called "The Nostalgia Catalog" and wanted to know if
there is a market for it. It's printed on "comic book
paper" and looks cheap, but has information on radio
premiums. I told him I would ask, so, is there a
market for such books?
Thanks,
Art
------------------------------
Date: Sat, 28 Apr 2001 13:45:07 -0400
From: Tom van der Voort <evan@[removed];
To: [removed]@[removed]
Subject: Audition Applause
In the days before applause and laughter were being electronically
augmented, the use of studio audiences as active participants in various
radio programs was a subject of controversy.
In June of 1937, Radio Mirror published an article titled 'The Studio
Applause Racket--Broadcasting's Ruin?'.
An inset blurb accompanying the article states: "With this brilliant
and bitter attack an outraged fan begins a campaign to wipe out noisy
programs." The first five paragraphs of this piece give some idea of its
approach:
"Once upon a time radio was something to bring into my home, a
well-mannered friend who kept me company and didn't start yelling the
minute my back was turned.
"That was in the old days, before somebody got the idea that it
helped a radio program if an audience was present in the studio and if the
audience applauded.
"But today! Today, my radio hasn't been on five minutes before my
living room is invaded by a pack of hysterical ticket-holders clapping
their hands off and cheering and whistling. And no matter how much I want
to listen to whatever program I've tuned in, I have to turn the machine off
before I go nuts and start in yelling myself.
"This applause business, which all started innocently enough a few
years ago, has become a racket, a racket that threatens to alienate many of
us who used to think that radio was our best friend. If it isn't checked
soon, we will become convinced that programs are no longer built for our
pleasure and enjoyment, but for the amusement of a handful of people in the
studios. Already I often feel as if I were a mere incidental eavesdropper
on a Broadway show--and naturally, having grown to look upon radio as
something for my home, I resent the feeling.
"Because I live in New York and have had the opportunity of going to
many a broadcast, I know how these bursts of frantic enthusiasm you hear on
your loudspeaker are manufactured. I know how every trick of ballyhoo and
mass psychology is used to extract noise and more nose from the people in
the studio, until you in your home think you are listening to a national
political convention instead of a radio show. And it makes me boiling mad."
The article singles out Milton Berle's Community Sing program as well
as 'The Lux Radio Theater' for criticism while praising Rudy Vallee's
program for using restrained applause to "brighten up a show.'"
Finally, a concluding box urges readers to let Radio Mirror know how
they feel about "applause on your radio program." How do OTR fans feel?
Problem or pleasure?
Tom van der Voort
------------------------------
Date: Sat, 28 Apr 2001 13:45:05 -0400
From: Jer51473@[removed]
To: [removed]@[removed]
Subject: Remley vs. Archie
Harris/Faye vs. Duffys Tavern-- Is it just my imagination or are the two
characters almost identical in personality? If so, any info as to this being
by design? Both seem gross, street smart, uneducated, conniving, and very
funny. If one copied the other, i would think that Remley copied Archie since
Duffy's aired first, right? Imo, Remley is much funnier, in fact the Harris
show was the funniest of all time,imo. Maybe the difference was that that
Remley had the great comedy talent of Phil Harris to play from. Anyone else
notice the similarity or can comment?
------------------------------
Date: Sat, 28 Apr 2001 13:45:03 -0400
From: sfx-meow@[removed] (Ray Erlenborn)
To: [removed]@[removed]
Subject: Re: "Shiffy" and the Ampex 200
machines for audience reactions.
Dear "Shiffy" and all: 1948 sounds right for the Ampex 200 operation as
I didn't move to TV CITY until 1950, taking my personal sound effects
Mac Kenzie machine with me. (Thanks for pinning down dates for me, the
30's and 40's were
so filled with staff and freelance assignments that it all runs
together.
SENIORITY has it's "Where's all my marbles syndrome." doing its dirty
work!)
Incidently, getting CBS/NY to okay the purchase of the aforementioned
"Mac Kenzies" took more than a year to get okayed! Luckily I had Clark
Casey, SFX Dept. head and other CEO friends who
backed me up in my request.
Keep those comments and questions coming in. Signed: Your "I Was There!"
Ancient OTRIAN, THE REAL, STILL
DOING GIGS, Ray Erlenborn.
------------------------------
Date: Sat, 28 Apr 2001 15:21:28 -0400
From: Elmer Standish <elmer_standish@[removed];
To: [removed]@[removed]
Subject: Greetings All
This is to introduce me to all members of the OTR Digest family.
Eventually I will try to provide meaningful bits of info as I
discover them. Although I have seen copies of the digest over
many years, I have never subscribed before this time.
A few of you will know my name as I have been in personal contact
with you.
So let's see what happens!
Sincerely ====> Elmer Standish
------------------------------
Date: Sat, 28 Apr 2001 18:16:10 -0400
From: michael berger <intercom1@[removed];
To: otr <[removed]@[removed];
Subject: 1930s stars
Thanks to Elizabeth, again, for providing a little gem
of information about who was big in 30s' radio. But I,
too, drew a blank on several names:
Jesse Block and Eve Sully
Red Davis (drama segment)
...and these announcers: David Ross, Phil Stewart and
Tiny Ruffner.
So Elizabeth, does your bottomless database contain
some nuggets about these folks?
A sign of those times, too, that of all the popular
orchestras, there wasn't a single jazz name.
Michael Berger
------------------------------
Date: Sat, 28 Apr 2001 18:39:18 -0400
From: "Ted Kneebone" <tkneebone1@[removed];
To: "Old Time Radio Digest" <[removed]@[removed];
Subject: Halls [removed] of [removed]
In our memories of radio's sentimental shows, let me add Dr. Christian. The
venerable old physician was played by Jean Hersholt and his
nurse-receptionist was Rosemary DeCamp (who recently died at 90+). The
doctor didn't limit his practice to medicine and could be counted on to help
out the unfortunate, the intimidated, the victims of crime, and the victims
of the town busybody. A neat show that lasted from 1937 to 1954.
A personal note: my former wife, Jo, a polio victim, received many letters
from Rosemary DeCamp as well as signed photos of movie stars, during her
convalescence.
Ted Kneebone / 1528 S. Grant St. / Aberdeen, SD 57401 / 605-226-3344
tkneebone1@[removed] | OTR: [removed]
[removed]
--------------------------------
End of [removed] Digest V01 Issue #131
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