------------------------------
The Old-Time Radio Digest!
Volume 2002 : Issue 110
A Part of the [removed]!
ISSN: 1533-9289
Today's Topics:
The Tales of Fatima [ "Kim Brown" <classictvlover@hotmail ]
Hello Again & Dave Warren [ "Sue Hamilton" <SHamilton@[removed] ]
"Arsenic and Old Lace" trivia answer [ Kenneth Clarke <kclarke5@[removed]; ]
Frankie Laine [ "Walden Hughes" <hughes1@[removed]; ]
Singin' Sam [ ADeTol1@[removed] ]
Singin' Sam [ "Don Sherwood" <dmsher@[removed]; ]
re: Singin' Sam [ "Tas Richardson" <tasrichardson@spr ]
Re: Answers for the "newbie" [ hal stone <dualxtwo@[removed]; ]
Re: A rose by any other name [ hal stone <dualxtwo@[removed]; ]
Old Time Radio in New York [ Ivan Watson <watsoni@[removed]; ]
Re: basic questions of a relative ne [ SanctumOTR@[removed] ]
------------------------------
Date: Thu, 21 Mar 2002 23:32:54 -0500
From: "Kim Brown" <classictvlover@[removed];
To: [removed]@[removed]
Subject: The Tales of Fatima
Hey,
I am looking for some "Tales of Fatima" on cassette. Can anyone help me
with that. I am willing to trade for it.
Thanks,
Kim
------------------------------
Date: Thu, 21 Mar 2002 23:33:25 -0500
From: "Sue Hamilton" <SHamilton@[removed];
To: <[removed]@[removed];
Subject: Hello Again & Dave Warren
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Hello All - I was the manager for Adventures in Cassettes for 6 1/2 years
(until it was bought out in 1999) and have maintained a love of old time radio
(and a pretty good collection that I share with Valerie Hughes--my friend and
the buyer at AIC).
I just had to send a message to add to Terry Salomonson's note about Dave
Warren. Dave and I worked together on a number of old time radio show album
covers: Fu Manchu, Captain Midnight, Ma Perkins, Young Widder Brown (he hated
drawing women!), Dangerous Assignment, and my personal favorite: Richard
Diamond. What a wonderful artist--and an amazing talent for capturing the
essence of old time radio! I was so privileged to have known him and to have
seen his great artwork. (Hey Lou -- any way to put some scans of Dave's old
covers on your Web Page?!)
We had stayed in touch these past years -- mostly at Christmas -- and I knew
he was quite sick. But it's never easy to hear of the passing of a friend.
He'll remain in my thoughts forever. God Speed, Dave Warren. I hope you're
party-ing with Jack Benny and Phil Harris and all the "Greats" up there!
Sue Hamilton
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------------------------------
Date: Thu, 21 Mar 2002 23:33:45 -0500
From: Kenneth Clarke <kclarke5@[removed];
To: [removed]@[removed]
Subject: "Arsenic and Old Lace" trivia answers
Conratulations to Scott Eberbach! Right on both
accounts.
1)Boris Karloff was in the Broadway version of "Arsenic
and Old Lace" in 1941. A fact which was included in his
introduction when he appeared on another radio show,
"Information Please", shortly thereafter. He originally
turned down the role, but decided to change his mind
when he was told the role was created especially for him.
2)The final body count was 26---13 for the old ladies and
13 for Jonathan Brewster. The final victim, as I recall, was a
Mr. Witherspoon. This fact came in the form of one of the
questions asked on the "Information Please" program I
mentioned earlier.
Bravo, Scott!
Kenneth Clarke
------------------------------
Date: Fri, 22 Mar 2002 00:14:42 -0500
From: "Walden Hughes" <hughes1@[removed];
To: <[removed]@[removed];
Subject: Frankie Laine
Frankie Laine will celebrate his 89th birthday on YUSA this Sunday with at
least 5 surprise celebrities guest. Take care,
Walden
------------------------------
Date: Fri, 22 Mar 2002 00:35:43 -0500
From: ADeTol1@[removed]
To: [removed]@[removed]
Subject: Singin' Sam
Subject: Singin' Sam
Jim F asked if anyone remembered Singin' Sam
Jerry Bechtel replied:
John ask if anyone remembered "Singin' Sam" from the good old [removed]
yes, I remember him being known as "Singin' Sam the sunny smile man".
But I too forget what shows he was on.
My memory is also hazy as to where or when, but I do remember him being
called "Singin' Sam the Music Man"
Andy
------------------------------
Date: Fri, 22 Mar 2002 10:53:56 -0500
From: "Don Sherwood" <dmsher@[removed];
To: <[removed]@[removed];
Subject: Singin' Sam
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Singin' Sam was the professional name of Harry Frankel. He claimed himself to
be a balladeer and not a [removed] Singin'Sam radio show was on from 1925 to
the late 40's. Many of his last few years were transcribed. He was most famous
for the Barbasol jingle.
( Bar-ba-sol!......Bar-ba-sol!.......No brush, no later, no [removed],wet
your razor, then be-gin! )
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------------------------------
Date: Fri, 22 Mar 2002 10:54:21 -0500
From: "Tas Richardson" <tasrichardson@[removed];
To: <[removed]@[removed];
Subject: re: Singin' Sam
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In answer to Jerry and Jim who asked about Singin' Sam. His real name was
Harry Frankel and he first turned up on radio in 1930 doing a 15 minute show
with Barbasol as his sponsor, and was known as "Singin' Sam the Barbasol Man!"
He always sang the old songs from the Gay Nineties to the 20's. This show
lasted on CBS till 1937. In 1939 he began a 15 minute nightly syndicated show
for Coca-Cola. According to John Dunning's book 'Tune In Yesterday', by 1943
he was on more than 170 independent stations and had an income of $175,000 a
year. The show was transcribed in New York, where he commuted by plane from
his farm near Richmond, Indiana. Sam rejoined Barbasol for a season on Mutual
in 1943. Then in 1945 he began another series of syndicated shows, called
'Reminiscin' with Singin' Sam. He died June 13, 1948.
I have a few of his shows for Coca Cola from 1939, and never tire of listening
to them. Would love to get more.
Tas, from a chilly Alberta where Spring hasn't arrived yet!
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------------------------------
Date: Fri, 22 Mar 2002 10:56:55 -0500
From: hal stone <dualxtwo@[removed];
To: <[removed]@[removed];
Subject: Re: Answers for the "newbie"
Brian West posted:
Hi, this is my first time writing to the Digest and from what I've been
reading a relative newcomer to group of people who enjoy oldtime radio.
Welcome aboard Brian. The more the merrier.
Maybe a couple of the elder statesmen I've been reading like Hal Stone or
Harry Bartell may be able to help me.
No Problem. Generally, we get paid $[removed] bucks per answer. But since you're
new, I'm offering a special [removed] $[removed] bucks per. :)
Incidentally, I defer to Harry for a more learned and erudite response.
[removed]'s the "elder statesman". I'm still a kid! :)
Here are my questions:
1) was the pay good for radio actors? I'm not necessarily looking for
numbers, rather whether it was a decent living.
Like I said, Harry would probably be able to give you a more definitive
answer on that one, since he did far more Commercially Sponsored Prime Time
programs than I did. The successful actors (the busy ones, and those with
running parts), could make a good living. As for me, I was pretty young to
remember the pay scale back when I started. And since I lived at home, with
no expenses, and didn't have a family to support, it really wasn't an issue.
During the ten year run of "Archie Andrews", (when we were Sustaining), I
think the starting pay per episode was around $25/$35 dollars per.
(Naturally, that increased over the years, when the performers Union was
able to negotiate pay increases in the "minimum pay scale" for work on
Sustaining and/or sponsored broadcasts). One could always negotiate for
"over scale" if they had the clout.
During the Swifts Sponsorship of "Archie", I think I was paid $[removed] per
episode. Then, one year, when the program went Primetime for a 13 week
period, (Sponsored by Kraft) I was paid $[removed] per episode.
Obviously, if a performer was active in the business, yes, they could make a
good living. But just like today, unless they were lucky, and worked often
enough, many had to find other "day Jobs" to make ends [removed] at the very
[removed] another career.
2) One of my early assumptions had been that radio actors were people
generally waiting for their movie opportunity,
Heck no! You must remember [removed] one time (IMHO) Radio was a bigger,
popular, and more accessible form of entertainment in this Country than
Motion Pictures.
It's fascinating to trace the evolution of "Entertainment". Everything
started with the Theatre. (AKA "The Stage"). Rumor has it the Greeks started
it. :) The "Theatre", in all its form's (Drama, Comedy, Vaudeville,
Minstrel's) was the seed from which all other entertainment sprang. When
Radio burst on the scene, Movies were barely out of the Silent Film era.
Initially, Movies competed with the Theatre. [removed] When Radio came along,
it competed with both those visual forms of entertainment. As Radio became
more and more popular, the "Stage" and Movie House revenue was adversely
affected. Radio entertainment was "FREE" to the public, and at one point,
the Motion Picture companies did not want their "Stars" to appear on Radio.
They didn't want to aid or promote the competition that was hurting them at
the Box Office. (That was also true when Television came along and became an
even bigger threat to the film industry.
Most Radio (and Film) actors evolved from a varied theatrical background. In
the 40's, I divided my time between the Stage and Radio (7 plays, 2 bit
parts in films shot in NY). All Actors was thrilled that many more job
opportunities opened up in Radio as it became the dominant form of mass
entertainment.
Was it more like today >where you generally have a split with those who are
movie actors and those were >tv actors and once in a while you had a
crossover?
I guess to answer your question [removed] least for [removed] Actors, A
successful career in Network Radio was a goal in and of itself.
([removed] Picture performers had to have a certain "look", stage
presence, physical type, and be photogenic. Radio performers only needed a
"Voice". That's an oversimplification of course. Those Radio actors who
could do various "Dialects", (and vocal tricks to change the quality to
their voice to fit Character types), obviously had more audition or casting
opportunities.
I'd say it was more prevalent for Stage Actors to aspire to careers in the
Movies. But cutting to the chase. To quote the great line from the film
"Jerry McGuire"... "Show me the money". An Actor didn't care what the medium
was. Many of them jumped back and forth.
When Radio was dying out, the actors (those that could) rushed to TV. (And
we all know that the newer, more "Earth Shaking" medium was obviously the
reason that Radio died out.) TV exposure often resulted in an actor having
greater opportunities in Motion Pictures. (After the Movie Industry Moguls
lost their resentment for their new competition).
A good friend of mine is a perfect example. Ed Begly was a very popular,
hard working actor in [removed] Radio. Ed successfully made the transition to
Live TV Drama, then on to the West Coast, which then led to a successful
film career as a Character actor.
3) This leads to my next question - why would established movie stars do
radio(I mean, even Humphrey Bogart had a radio show!!), did they need the
money from radio
No. I believe it was primarily for the "Exposure". It helped the Movie
Industry promote their stars. I doubt that is was the money that lured them.
Harry might be able to add more on that score. He worked in "La La Land", I
was [removed] based.
4) Did announcers, like Don Wilson, make decent money or were they considered
lesser lights and the payscale was low?
I must confess, I can't answer that one. ([removed] just saved yourself $24
bucks) :)
I honestly don't remember if "Announcers" had a different pay scale than
performers. I would suspect that they did. Harry???? Help!!!!
5) my last question (for now anyways) concerns the physical setting for doing
the shows. My guess is that comedians (like Jack Benny, Burns and Allen,
Fred Allen, etc) did their shows in front of a live audience because they
might use physical gestures to draw a laugh, while other shows like dramas
and
serials were done in a room or hall with the actors sitting around
microphone. Am I close, or am I way off?
[removed] for one thing. I don't recall EVER sitting around a table
reading from scripts. We always worked standing in front of a microphone. A
normal size cast might use two microphones, separated by 10 feet or so. If
more than a few actors were involved, they would do a "ballet" of sorts
around the Mikes to get close when they had a line to say.
As for a "room or hall"... what's in a name? Special Sound Proof Studios
(all sizes) were designed and built for the major radio outlets. Walls had a
sound deadening material on them. A normal room or large hall presented all
sorts of sound quality problems. Controlling the acoustics was essential.
Some Dramas even had Studio Audiences. The Theatre Guild of the Air show was
actually broadcast from a converted Theatre. I don't recall if it was a
former theatrical or movie theatre.
And speaking of Fred Allen, as you did earlier. He hated doing his show in
front of a Studio Audience. He commented that a live studio audience ruined
the purity of radio. (Or words to that effect)
Thank you for providing this outlet to me.
[removed] problem, Brian. I hope you got your moneys' worth. I will be most
interested in "Prime Time" Harry Bartells response.
Regards
Hal(Harlan)Stone
"Jughead"
------------------------------
Date: Fri, 22 Mar 2002 10:57:50 -0500
From: hal stone <dualxtwo@[removed];
To: <[removed]@[removed];
Subject: Re: A rose by any other name
Ron Sayles asked
In 1924 Harlan F. Stone was Attorney General for Calvin
Coolidge. Is there any connection between that Harlan Stone and Jughead? Hal
would be the obvious one to answer, but maybe someone else would know.
Actually Ron, Harlan Fisk Stone was known for more than being the Attorney
General in Coolidges' administration. He became famous as a [removed] Supreme
Court Justice.
As for my being related?. No Way, Jose!
I was christened Harold Frederick Stone Jr. I had to change my name
"Professionally" when I appeared in the stage production of "Life With
Father" at age 8. "Actors Equity",(the stage performers union), already had
a member named Harold J. Stone (who eventually achieved success as a TV and
Film actor), and the union suggested to my parents that I use a different
name to avoid confusion. My Characters' name in the play that I was hired to
do was "Harlan". My folks took the easy way out, and stuck me with that
name. At age 8, I hated it. I thought it was "sissy" sounding. (Sorry, my
fellow Digester friend, Harlan Zinck) :)
The only reason I use the name in my postings is that it's the only way
people knew me when I was a performer. I much prefer Hal. Thank you so much
for using that form of address when you asked your question. :)
Regards
Hal(Harlan)Stone
AKA Jughead
------------------------------
Date: Fri, 22 Mar 2002 10:54:42 -0500
From: Ivan Watson <watsoni@[removed];
To: [removed]@[removed]
Subject: Old Time Radio in New York
Hello!
I'll be visting New York for the first time in a few
days and would like to visit some of the city's "OTR"
history. I know about the Museum of TV and Radio and
some of the venues when the great big bands braodcast
from (Cotton Club, Rainbow Room, etc. ) but I was
wondering if someone could help me out with any other
"must-see" OTR places still in existence.
On another note, my introduction to OTR came from
listening to a programme called the "Owl Prowl" from
CKNW 980AM in Vancouver, Canada. The host was Jack
Cullen and I believe he had been broadcasting since
the late 1940s up until a couple of years ago. He had
a fantastic colelction of rare and interesting
programmes. Does anyone know what happened to him?
Thanks very much for your help!
Ivan
------------------------------
Date: Fri, 22 Mar 2002 12:12:14 -0500
From: SanctumOTR@[removed]
To: [removed]@[removed]
Subject: Re: basic questions of a relative newcomer
In a message dated 3/21/02 11:05:00 PM, BrianWest2@[removed] asks:
1) was the pay good for radio actors? I'm not necessarily looking for
numbers, rather whether it was a decent living.
***It could be very good by the standards of the times for those who entered
the inner circle of dramatic radio actors. Orson Welles reportedly made over
$1000/weekly in 1938 (most of which helped finance his Broadway Mercury
Theatre productions). Dwight Weist was making in excess of $800/week in the
early 1940s and declined a Hollywood contract because it was for a good deal
less. John Archer received $350 per show to star in FBI IN PEACE AND WAR,
less for THE SHADOW because it was officially a daytime show. Bret Morrison
received a peak of $250 per show as THE SHADOW, which was eventually reduced
to $200 near the end of the run. Gertrude Warner, one of the busiest
actresses in New York radio, reportedly made $85,000 annually in the late
1940s/early 1950s. Lon Clark's top pay as NICK CARTER, MASTER DETECTIVE was
$500 per show for a night's work (and also played portrayed lots of
lesser-paying supporting roles on a lot of other shows during the week) while
Jay Josten reportedly received $1000 per show for the top-rated MR. DISTRICT
ATTORNEY.***
2) One of my early assumptions had been that radio actors were people
generally waiting for their movie opportunity, yet I've also noticed that
movie stars (Jimmy Stewart-Six Shooter, Edmund O'Brien-YTJD, for example) did
radio. Was it more like today where you generally have a split with those who
are movie actors and those were tv actors and once in a while you had a
crossover?
***Some radio actors, like Frank Lovejoy, definitely were waiting for that
movie opportunity. Some, like Dwight Weist, turned down movies because they
were making better money in radio. John Archer left Hollywood where he was
under contract at $300 weekly to establish Broadway credentials whille
supporting himself with radio work, quickly rose to a point where he was
making around double his Hollywood paycheck just starring in THE SHADOW and
FBI IN PEACE AND WAR, and eventually returned to Hollywood with an even
larger paycheck. Orson Welles continued his radio work for a decade after
making CITIZEN KANE and usually made more in radio. As an example, in 1944
Welles only made one film (TOMORROW IS FOREVER) for $20,000 (a big pay cut
due to the failure of his previous films). However, his weekly radio series
and occasional guest spots netted him $270,000 that year (as I recall, give
or take 10 grand or so) while his royalties as an author brought in another
$9000. (Again, this is from memory and my numbers might be slightly off
($280,000 for radio possibly?) but radio was still Orson's biggest moneymaker
by far.***
3) This leads to my next question - why would established movie stars do
radio (I mean, even Humphrey Bogart had a radio show!!), did they need the
money from radio ( I guess I'm comparing them to old-time ballplayers who had
to get a job in the offseason).
***As I recall, Bogart and Bacall's profit-sharing deal netted them $5000 per
show, money they badly needed to buy out Bacall's contract with Warner
Brothers. Both desired to go freelance (as James Stewart had several years
earlier) and regular radio income put them in a lot better bargaining
position with the Hollywood Studios. In other words, the could refuse bad
scripts or bad contracts because they could live off their radio income.
(And $5000 for a couple hours work was great money, even by Hollywood
standards.)***
4) Did announcers, like Don Wilson, make decent money or were they considered
lesser lights and the payscale was low?
***Announcers were extremely-well paid, which is why actors like Dwight
Weist, Bud Collyer and Kenny Delmar quickly moved into announcing. They also
worked on each and every show, unlike supporting players, and got to announce
their own name at the end of the show. (Ken Roberts regularly proclaimed
"Your announcer, Ken Roberts" at the end of each episode of THE SHADOW, while
stars Orson Welles, Agnes Moorehead, Bill Johnstone and Marjorie Anderson
were only acknowledged in the final broadcast of the season. I suspect that,
after the series' star, the announcer was considered the most important . . .
since it was the announcer who delivered the sponsor's commercial message.
Radio was a commercial medium, and getting that product plug in was what the
sponsors and networks were really interested in.***
5) my last question (for now anyways) concerns the physical setting for doing
the shows. My guess is that comedians (like Jack Benny, Burns and Allen,
Fred Allen, etc) did their shows in front of a live audience because they
might use physical gestures to draw a laugh, while other shows like dramas
and
serials were done in a room or hall with the actors sitting around
microphone. Am I close, or am I way off?
***Depends on the performer. Fred Allen detested physical comedy that drew a
laugh that couldn't be understood by the audience at home. Most comedy shows
were done before a live audience, though Gosden and Correll performed AMOS
'N' ANDY in a small studio with only an engineer throughout the heyday of the
15-minute serial version. Conversely, THE SHADOW and NICK CARTER, MASTER
DETECTIVE originated from Broadway's Longacre Theatre for much of their run.
In general, comedians preferred performing before a live audience. However,
so did a lot of dramatic actors. In some cases, it had to do with logistics.
It took a lot more setup time to do a show before a live audience than in a
closed studio. Cost even more to set up a show from a remote location, but
Pepsodent contributed the extra funds to do Bob Hope's broadcasts from
Military bases, partly as a patriotic wartime measure but also because the
soldier's laughed harder than civilian audiences which made the star much
happier (and sounded better over the air). --ANTHONY TOLLIN***
--------------------------------
End of [removed] Digest V2002 Issue #110
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