------------------------------
The Old-Time Radio Digest!
Volume 2004 : Issue 197
A Part of the [removed]!
[removed]
ISSN: 1533-9289
Today's Topics:
OTR Classical Music (Primarily "Hi-Y [ "Frederick S. Hillman" <fshillman@6 ]
Bob Bailey [ "mike ray" <mikeray42@[removed]; ]
Ronald Reagan [ "mike ray" <mikeray42@[removed]; ]
6-10 births/deaths [ Ron Sayles <bogusotr@[removed]; ]
LOVE FOR 3 ORANGES WAS THEME FOR WHA [ "[removed] MANN" <voxpop@[removed]; ]
Help [ "hugobet" <hugobet@[removed]; ]
Andy's sons [ Richard Pratz <[removed]@[removed]; ]
Re: Classical Themes [ John Mayer <mayer@[removed]; ]
Re: Two radio prayers [ Max Schmid <mschmid@[removed]; ]
Radio To Comics [ Bob Slate <moxnix1961@[removed]; ]
Radio Acting [ "John Eccles, Jr." <jeccles@earthli ]
FDR's D-Day prayer [ <welsa@[removed]; ]
Poem and Prayer for an Invading Army [ <welsa@[removed]; ]
Radio/Stage/Film Acting [ "George Tirebiter" <tirebiter2@hotm ]
------------------------------
Date: Wed, 9 Jun 2004 13:22:29 -0400
From: "Frederick S. Hillman" <fshillman@[removed];
To: "Old Time Radio" <[removed]@[removed];
Subject: OTR Classical Music (Primarily "Hi-Yo
SIlver")
John Matthews inquired about classical music used in OTR shows.
This is a fertile field, and many comments have been posted before --
and I suspect there will be wide response to his request!
With specific regard to "The Lone Ranger," (and this has been mentioned
before, too), there is a very fine book entitled "The Mystery of the
Masked Man's Music: A Search for the Music Used on 'The Lone Ranger'
Radio Program, 1933-1954," written by Reginald M. Jones, Jr (copyright
1987, published by Scarecrow Press in Metuchen, NJ, and ISBN
0-8108-1982-1). I don't know if it's still in print. It is a most
interesting book to read and is (in my opinion) a scholarly study of the
music used on the program. It sets forth several lists of pieces used,
many of which would be considered of the "classical" genre. Also, a
number of musical bridges or cues were written by composers for the
programs and movies which were produced. These composers were (if I
have this right!) employed by studios and included Karl Hajos, Cy
Feuer, Alberto Colombo, William Lava and possibly others.
Jones' book goes into the history of the recording of the music and
includes a number of photos, as well as correspondence from George W.
Trendle and others involved in the recording project, much of which was
done in Mexico.
As both a classical music fan and also a Lone Ranger fan, I have started
to compile personal CDs containing the complete works from which a
snippet of music was excerpted, just for my own enjoyment and to show
others what the entire piece was. As one might guess, this will run to
several CDs, but it is a fun project. A 30-second cue from, say,
Mendelssohn's "Hebrides" Overture means that I record the entire
overture -- about 10 1/2 minutes. What great listening, though!
Not all of the pieces are easy to find, and I am still looking for some
of them. Friedrich von Flotow's overture to "Alessandro Stradella" and
Antonio Gomes' overture to "Il Guarany," for example are not commonly
found in music stores today.
According to Reginald Jones, here are SOME composers and works (mostly
personal favorites of mine). I hesitate to list them all, as they would
overload the OTR Digest. I can post more if anyone is interested. Once
again, let me credit Reginald Jones' book:
Beethoven: "Egmont" Overture; "Lenore Prohaska - Funeral March,"
"Symphony #7" (2nd movement).
von Flotow: "Martha" and "Alessandro Stradella" overtures
Liszt: "Les Preludes" and "Mazeppa" ("Preludes" was used occasionally
in the program material itself, but it was most often used as going into
and coming out of the commercial in the middle of the LR programs)
Mendelssohn: "Midsummer Night's Dream" (composed as incidental music to
Shakespeare's play), "Hebrides" (also known as "Fingal's Cave")
overture, "Ruy Blas" overture, Symphony #3 ("Scotch") - 2nd movement
von Reznicek: "Donna Diana" overture (used, as has been mentioned
several times, as the theme for "Challenge of the Yukon")
Rossini: "William Tell" overture - 4th section (perhaps the most famous
of them all!)
Schubert: "Devil's Castle" overture, "Die Zauberharfe" overture (also
known as the "Rosamunde" overture)
Wagner: Overtures to "Der Fliegende Hollander" ("Flying Dutchman"),
"Rienzi," and an orchestration of the "Spinning Chorus" from "Hollander"
von Weber: Overtures to "Abu Hassan," "Euryanthe," "Der Freischutz,"
and "Oberon"
Whoever chose the music certainly knew what they were doing!
Happy listening,
Fred Hillman -- who apologizes if this is more than you ever wanted to
know about the Lone Ranger's music!
------------------------------
Date: Wed, 9 Jun 2004 13:55:36 -0400
From: "mike ray" <mikeray42@[removed];
To: [removed]@[removed]
Subject: Bob Bailey
Dear friends:
I have a new picture of Bob Bailey on my
Web site for you to take a look. It should
Be up on the site till the end of Saturday
June 12th. My web site address is:
[removed]
Best regards,
Mike Ray
------------------------------
Date: Wed, 9 Jun 2004 13:55:41 -0400
From: "mike ray" <mikeray42@[removed];
To: [removed]@[removed]
Subject: Ronald Reagan
Dear friends:
With the passing of the President Reagan, I began
looking into my vast library to find the 2 or 3
Radio shows that he was on that I knew I had. I
was glad to find them. What I also found was a
very clear CD copy of his Debate with John
Anderson in Baltimore in September 1980.
It is very good. If interested in getting a copy
of that debate, feel free to contact me off the
list.
Best regards,
Mike Ray
------------------------------
Date: Wed, 9 Jun 2004 14:23:37 -0400
From: Ron Sayles <bogusotr@[removed];
To: Olde Tyme Radio List <[removed]@[removed];
Subject: 6-10 births/deaths
HAPPY BIRTHDAY HAL !!
June 10th births
06-10-1889 - Sessue Hayakawa - Chiba, Japan - d. 11-23-1973
actor: Freelance NHK Tokyo, Japan
06-10-1895 - Hattie McDaniel - Wichita, KS - d. 10-26-1952
actress: Beulah "Beulah"; Mammy "Maxwell House Showboat"
06-10-1898 - Norman Brokenshire - Murcheson, Ontario, Canada - d. 5-4-1965
announcer: "Music That Satisfies"; "Theatre Guild on the Air"
06-10-1903 - Ernest Chappell - Syracuse, NY - d. 7-4-1983
announcer: "Fabulous Dr. Tweedy"; "Quiet Please"; "Big Story"
06-10-1909 - Larry LeSueur - d. 2-5-2003
CBS news correspondent: "This Week in Europe"; "The World Today"
06-10-1920 - Anne Burr - Boston, MA - d. 2-1-2003
actress: Regina Rawlings "Backstage Wife"; "Nona Marsh "Wendy Warren and the
News"
06-10-1922 - Judy Garland - Grand Rapids, MN - d. 6-22-1969
singer, actress: Romantic Interest "The Hardy Family"; "Good News of 1938"
06-10-1926 - June Haver - Rock Island, IL
vocalist: (Fio Rito Orchestra) "Hollywood Hotel"
06-10-1931 - Hal "Harlan" Stone - Whitestone, Long Island, NY
actor, author: Jughead Jones "Archie Andrews"; "[removed], Archie! Re-laxx!
June 10th deaths
01-07-1873 - Adolph Zukor - Ricse, Austria-Hungary - d. 6-10-1976
film executive: "Time Capsule"; "Flashback"; "Cavalcade of Stars"
04-05-1900 - Spencer Tracy - Milwaukee, WI - d. 6-10-1967
actor: "Good News of 1938"; "Lux Radio Theatre"
05-06-1910 - Alice Reinheart - San Francisco, CA - d. 6-10-1993
actress: Anne Williams "Casey, Crime Photographer"; Jean Abbott "Abbott
Mysteries"
06-30-1898 - George Chandler - Waukegan, IL - d. 6-10-1985
actor: "Lux Radio Theatre"
08-25-1909 - Michael Rennie - Bradford, Yorkshire, England - d. 6-10-1971
actor: "Lux Radio Theatre"
12-28-1890 - Frank Butler - Oxford, Oxfordshire, England - d. 6-10-1967
actor: Dave Arnold "Mr. Chameleon"
--
Ron Sayles
For a complete list:
[removed]
------------------------------
Date: Wed, 9 Jun 2004 14:28:05 -0400
From: "[removed] MANN" <voxpop@[removed];
To: [removed]@[removed]
Subject: LOVE FOR 3 ORANGES WAS THEME FOR WHAT SHOW?
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Prokofiev: The Love for 3 Oranges
was the theme for one of the OTR [removed] i can't recall the [removed]!
CHET NORRIS
--
"Ye shall know the truth, and the truth shall make you mad."
-- Aldous Huxley
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------------------------------
Date: Wed, 9 Jun 2004 14:28:12 -0400
From: "hugobet" <hugobet@[removed];
To: <[removed]@[removed];
Subject: Help
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Looking for info on Joe Marine, singer with The Fred Waring Orchestra, and
Frank Hughes, supporting "bad man" on The Lone Ranger, Thanks Sy Palo
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------------------------------
Date: Wed, 9 Jun 2004 14:49:28 -0400
From: Richard Pratz <[removed]@[removed];
To: "OTR (Plain Text Only)" <[removed]@[removed];
Subject: Andy's sons
Director/cinematographer Charles J. Correll died June 4 at age 60. Mr.
Correll was the son of OTR actor Charles Correll, Andy of "Amos
'n' Andy" fame. Charles J. Correll's brother is producer/director/actor
Richard Correll. Charles J. Correll was a prolific TV director. His credits
include some of the most popular shows of the 80s and 90s. His director
credits include "MacGyver," "Wiseguy," "Beverly Hills 90210," "Stargate
SG-1" and "[removed]" Mr. Correll was also a cinematographer who worked in both
film and TV. His feature film credits include "Animal House," "Fast Break,"
"Star Trek 3: The Search For Spock," "Joy of Sex" and "Revenge of the Nerds
II: Nerds in Paradise."
Rich
------------------------------
Date: Wed, 9 Jun 2004 14:49:42 -0400
From: John Mayer <mayer@[removed];
To: [removed]@[removed]
Subject: Re: Classical Themes
Without actually checking, when reading about "bridge" music in The
Lone Ranger and Sgt Preston the main theme from Hebrides Overture
(Fingle's Cave) leaps into my head. I bet there's a reason. In fact,
I'm probably so fond of that music (and other classical pieces
discovered later in life) partly because it brings back hints of
memories of childhood.
------------------------------
Date: Wed, 9 Jun 2004 16:18:37 -0400
From: Max Schmid <mschmid@[removed];
To: [removed]@[removed]
Subject: Re: Two radio prayers
At 01:35 PM 6/9/04, you wrote:
2) The second was written by Robert Sherwood, who at that time was the
White House speech writer. FDR delivered this prayer on network radio,
probably as part of a regular presidential address.
I was listening to the NBC and CBS D-Day recordings and playing excerpts on
my show this week, and FDR delivered a prayer carried by both networks in
the evening. It was brief, maybe six minutes, and the announcer stated that
it was written by the President (how likely is that? I can't say). Do you
have the text of the prayer to compare to the recording?
------------------------------
Date: Wed, 9 Jun 2004 16:18:57 -0400
From: Bob Slate <moxnix1961@[removed];
To: [removed]@[removed]
Subject: Radio To Comics
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Ozzie & Harriet and Martin & Lewis were on radio before they appeared in
comic books in the early 1950's.
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Date: Wed, 9 Jun 2004 16:22:35 -0400
From: "John Eccles, Jr." <jeccles@[removed];
To: <[removed]@[removed];
Subject: Radio Acting
I concur with Elizabeth's reasoning as to what makes a good radio actor or
actress. I also believe that the style of acting depends on the situation
and the requirements of the character. I recently heard Orson Welles in the
"Suspense" play "The Dark Tower" in which he plays a thinly disguised
version of John Barrymore. A "conversational" style would not have worked
as he is supposed to be playing a "ham actor" with great vanity and
egomania.
I also think the style of radio acting and what works best depends upon the
talents of the performer and whether it meets the requirements of the
character and the story.
One of the greatest examples of "conversational" acting versus "natural"
acting I ever heard can be found in two different versions of "The Plot To
Overthrow Christmas." I have a recording of Orson Welles playing "Nero" in
"This Is My Best" from the mid 40s and he gives a very broad, grand, and
effective reading of the part. Several years ago I had the pleasure of
seeing Burgess Meredith play the same role at the FOTR Convention. His
interpretation of the part was in marked contrast to Welles and no less
brilliant.
At the end of the play when Nero receives the gift of a Stradivarius violin
from Santa Claus, Welles read the line,"I'll play I'll play I'll play I'll
play I'll play all night and day for you" in a very theatrical and grand
manner befitting his interpretation of the part. Meredith read the exact
same line in a restrained poignant manner as if he was about to break down,
overcome with emotion at Santa Claus' act of kindness. It was the exact
same line, but a different reading, and no less effective. Having heard
Welles' version many times beforehand, Meredith's completely different
interpretation knocked me out. I was thrilled to be in the same room with
him and see this great actor still at the top of his game.
Again, I think the style of radio acting and what works best depends on the
performer and the requirements of the character. A great actor like Welles
or Meredith can do either "broad" or "conversational" and make it work. How
lucky we are to be able to sit and listen and enjoy these performances now
and forever.
John Eccles, Jr.
------------------------------
Date: Wed, 9 Jun 2004 16:35:09 -0400
From: <welsa@[removed];
To: "OTR Digest" <[removed]@[removed];
Subject: FDR's D-Day prayer
FDR'S D-Day Prayer
Almighty God,
Our sons, pride of our Nation,
This day have set upon a mighty endeavor;
a struggle to preserve our republic, our religion,
and our civilization,
and to set free a suffering humanity . . .
They fight to end conquest-
They fight to liberate . . .
They yearn but for the end of battle,
for their return to the haven of home.
Success may not come with rushing speed,
but we shall return again and again;
and we know by Thy grace, and the righteousness
of our cause, our sons will triumph.
Thy will be done, Almighty God, Amen.
------------------------------
Date: Wed, 9 Jun 2004 17:15:37 -0400
From: <welsa@[removed];
To: "OTR Digest" <[removed]@[removed];
Subject: Poem and Prayer for an Invading Army
Poem and Prayer for an Invading Army
by Edna St. Vincent Millay
(Written to be broadcast over the NBC Network on D-Day, June 6, 1944. Read
by Ronald Colman.)
They must not go alone
into that burning building! - which today
is all of Europe!
Say
that you go with them, spirit and heart and mind!
Although the body, grown
too old to fight a young man's war; or wounded
too deeply under the healed and whitened scars
of earlier battles, must remain behind.
You, too, may not be with them, save in spirit, you
so greatly needed here, here in the very van
and front of Duty,
to fashion tools and engines, and to engineer
their transport; build the ships and mine the coal
without which all their efforts would be worse than vain!
You men and women working in the workshops,
working on the farms;
makers of tanks and of tractors, fitters of wings
to metal birds which have not left the nest
as yet, which yet must try their flight;
sowers of seed, planters of little plants
at intervals, on acres newly plowed
and disked and harrowed,
to feed a starving world;
You workers in the shipyards, building ships
which crowd each other down the ways;
you miners of coal in dark and dangerous corridors,
who see the sun's
total eclipse
each morning, disappearing as you do under the earth's rim,
not to emerge into the daylight till the day's
over, and the light dim;
All you
without whose constant effort and whose skill -
without whose loyal and unfailing aid -
our men would stand
stranded upon a foreign and a hostile shore
without so much as a stout stick to beat away
Death or Pain:
bullets like angry hornets buzzing 'round the ears and the
bewildered brain,
and from the sky again and yet again
the downpour of the heavy, evil, accurate, murderous rain;
You who have stood behind them to this hour,
move strong behind them now: let still
the weary bones encase the indefatigable Will.
But how can men draw near
so fierce a conflagration? - even here,
across a gray and cold and foggy sea
its heat is felt! - Why,
touch your cheek - is it not hot and tight and dry?
And look what light climbs up the eastern sky, and sinks
and climbs again!
like to the bright Aurora of the North
it floods and flushes, pulses, pales - then glows,
lighting the entire East majestically;
as if it were the sun that rose.
I wish it were!
Have patience, friend; it yet may be.
Surely our fibre and our sinews, the backbone
and brain of us, are made of some less common stuff
than clay? - Surely the blood which warms the veins
of heroes at the front, our brothers and our sons,
runs also in our own!
And are we not then capable perhaps of something
more courageous than we yet have shown?
Surely some talisman, some token of
our lofty pride in them, our heavy gratitude,
and so much, so much love,
will find its way to them!
Some messenger, the vicar and the angel
of what we feel,
will fly before them where they fly, before them and above,
like patron goddesses in wars of old,
cleaving with level lovely brows the hard air
before the eager prows,
lighting their way with incandescent wings and wing'd heel.
This is the hour, this the appointed time.
The sound of the clock falls awful on our ears,
and the sound of the bells, their metal clang and chime,
tolling, tolling,
for those about to die.
For we know well they will not all come home, to lie
in summer on the beaches.
And yet weep not, you mothers of young men, their wives,
their sweethearts, all who love them well -
fear not the tolling of the solemn bell:
it does not prophesy,
and it cannot foretell;
it only can record;
and it records today the passing of a most uncivil age,
which had its elegance, but lived too well,
and far, oh, far too long;
and which, on History's page,
will be found guilty of injustice and grave wrong.
__________________
O Thou, Thou Prince of Peace, this is a prayer for War!
Yet not a war of man against his fellowman.
Say, rather, Lord, we do beseech
Thy guidance and Thy help:
In exorcising from the mind of Man, where she has made her nest,
a hideous and most fertile beast -
and this to bring about with all dispatch, for look, where
even now she would lie down again to whelp!
Lord God of Hosts! Thou Lord of Hosts not only, not alone
of battling armies Lord and King;
but of the child-like heart as well, which longs
to put away - oh, not the childish, but the adult
circuitous and adroit, antique and violent thing
called War;
and sing
the beauties of this late-to-come but oh-so-lovely Spring!
For see
where our young men go forth in mighty numbers, to set free
from torture and from jeopardy
things that are deat to Thee.
Keep in Thy loving care, we pray, those of our fighting men
whose happy fortune it may be to come back home again
after the War is over; and all those who must perforce remain,
the mourned, the valiant slain.
This we beseech Thee, Lord. And now, before
we rise from kneeling, one thing more:
Soften our hard and angry hearts; make us ashamed
of doing what we do, beneath Thy very eyes, knowing it does
displease Thee.
Make us more humble, Lord, for we are proud
without sufficient reason; let our necks be bowed
more often to Thy will;
for well we know what deeds find favour in Thy sight; and still
we do not do them.
Oh Lord, all through the night, all through the day,
keep watch over our brave and dear, so far away.
Make us more worthy of
their valour; and Thy love.
"Let them come home! Oh let the battle, Lord, be brief,
and let our boys come home!"
So cries the heart, sick for relief
from its anxiety, and seeking to forestall
a greater grief.
So cries the heart aloud. But the thoughtful mind
has something of its own to say:
"On that day -
when they come home - from very far away -
and further than you think -
(for each of them has stood upon the very brink
or sat and waited in the anteroom
of Death, expecting every moment to be called by name)
Now look to this matter well: that they
upon returning shall not find
seated at their own tables, - at the head,
perhaps, of the long festive board prinked out in prodigal array,
the very monster which they sallied forth to conquer and to quell;
and left behind for dead."
Let us forget such words, and all they mean,
as Hatred, Bitterness and Rancor, Greed,
Intolerance, Bigotry; let us renew
our faith and pledge to Man, his right to be
Himself, and free.
Say that the Victory is ours - then say -
and each man search his heart in true humility -
"Lord! Father! Who are we,
that we should wield so great a weapon for the rights
and rehabilitation of Thy creature Man?
Lo, from all corners of the Earth we ask
all great and noble to come forth - converge
upon this errand and this task with generous and gigantic plan:
Hold high this Torch, who will.
Lift up this Sword, who can!"
>From Collected Poems, by Edna St. Vincent Millay, Edited by Norma Millay,
Harper & Brothers Publishers, New York
------------------------------
Date: Wed, 9 Jun 2004 18:30:03 -0400
From: "George Tirebiter" <tirebiter2@[removed];
To: [removed]@[removed]
Subject: Radio/Stage/Film Acting
Elizabeth wrote:
I've always felt that the supreme test of a radio actor is the ability to
convincingly conduct a simple, routine conversation with another actor.
No flamboyance, no over-punching words and phrases, no extreme emotions,
none of that "You're so cru-ell!" elocution-school overenunciation that
stage actors used to be so fond of --
I was reading somewhere recently that when the BBC began doing plays in the
1920s the actors used "stage voices". Then in the late 1920s, when sound
films became common, radio actors began to emulate the quieter type of
acting that is more suitable for the screen. (Of course, in some early
sound films the actors are overly theatrical, but by the early 1930s it was
clear that a different style of acting was suitable for film).
--------------------------------
End of [removed] Digest V2004 Issue #197
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