------------------------------
The Old-Time Radio Digest!
Volume 01 : Issue 207
A Part of the [removed]!
ISSN: 1533-9289
Today's Topics:
RSI contest open to all [Michael Biel <mbiel@[removed]; ]
Great American Broadcast ["Gene Dench" <genedotr@[removed];]
horror find . com [steve oxford <steveoxford_99@yahoo.]
Get em up who? [Al Girard <agirard@[removed]]
Hal Stone's comments about Jolie + s ["Art Shifrin" <goldens2@[removed]]
Re: Accessing LOC Material [Elizabeth McLeod <lizmcl@[removed]]
Straight Arrow Comics ["Lois Culver" <lois@[removed]; ]
Premiums and The Masked Rider of the ["Stephen A Kallis, Jr." <skallisjr@]
Re: dick judge [andy ryan <anbryan2000@[removed]; ]
Pow-Wow ["Lois Culver" <lois@[removed]; ]
Re: Tonto's horse [SanctumOTR@[removed] ]
Re: Jolson Remembered [Michael Biel <mbiel@[removed]; ]
"BEETHOVEN'S TENTH" MOVIE INTO RADIO ["jstokes" <jstokes@[removed]; ]
Re: GUNSMOKE, Miss Kitty and Prostit [SanctumOTR@[removed] ]
Benny/Allen ["John Sloan" <jdsloan@[removed]; ]
------------------------------
Date: Wed, 27 Jun 2001 13:40:13 -0400
From: Michael Biel <mbiel@[removed];
To: [removed]@[removed]
Subject: RSI contest open to all
Readers will remember that recently the question arose as to whether the
contest announced in the new RSI catalog was a sweepstakes or lottery.
Just in case Carl Amari does not send his own message to the digest,
I'll mention that he just sent me an email which says "No Purchase
Necessary was left off in error and we are correcting it in the next
flyer we send everyone on our mailing list." That should solve all of
the questions, and I am glad to be able to bring you this info.
Michael Biel mbiel@[removed]
------------------------------
Date: Wed, 27 Jun 2001 13:40:11 -0400
From: "Gene Dench" <genedotr@[removed];
To: [removed]@[removed]
Subject: Great American Broadcast
To anyone interested in obtaining a copy of Leonard Maltins "Great American
Broadcast" at a very reasonable price, $[removed] plus $[removed] postage and
handling. Check out Edward R. Hamilton, Bookseller, Falls Village, CT 06031.
Website is [removed] All books sold by this company are new. I
have purchased many books over the years from this company and have never
been disappointed. Gene Dench
------------------------------
Date: Wed, 27 Jun 2001 14:48:54 -0400
From: steve oxford <steveoxford_99@[removed];
To: [removed]@[removed]
Subject: horror find . com
I found a great web-site for horror fans. There are
links to a couple old-time radio sites.
[removed]
This is certainly a one-stop source for web-sites
devoted to horror.
Steve
------------------------------
Date: Wed, 27 Jun 2001 15:31:31 -0400
From: Al Girard <agirard@[removed];
To: [removed]@[removed]
Subject: Get em up who?
When Lone Ranger from 1938 was discussed, I just had to
mention that last night I was listening to a few of those early
episodes.
It's quite obvious that the art of sound effects still wasn't perfected
at that time, as the "gunshots" sounded as if they were done by someone
hitting
a box with a hammer.
--
[removed] -Visit my Unofficial Fibber McGee and Molly home Page
[removed]
------------------------------
Date: Wed, 27 Jun 2001 15:46:31 -0400
From: "Art Shifrin" <goldens2@[removed];
To: <[removed]@[removed];
Subject: Hal Stone's comments about Jolie + some Rudy
Valee tidbits
Hi Hal,
I suspect that most of the 78's that you purchased after his comback were
not rereleases, but the then newly recorded Deccas. To my knowledge, Decca
was not re-releasing the 1920's Brunswick masters to which it had rights at
that time. By that time sonically and musically, Jolie's earlier recordings
were so old fashioned that as popular entertainment (as compared to calssic
jazz), they just wouldn't sell. His Columbias made prior to all of the
Brunswicks were even worse. Columbia did reissue his 1932 Brunswick sides
cut with Guy Lombardo of April Showers and Rock A Bye Your [removed] is
not a contradiction. There's a certain date (in late '31) at which
Brunswick masters cut up to then were acquired by Decca, & masters done
thereafter by Columbia / CBS.
One of the most fascinating Jolie item's I've heard was a personal recording
pressed on a 10" Brunswick in whch he was begging Ruby Keeler to take him
back after one of their nasty split ups. The rumor (I call it that because
I don't know of proof) is that he hit her in a number of such incidents. In
this case, she was essentially taking refuge in a hospital to be shielded
from him. He recorded the disk, had the manufacturing parts destroyed, &
had the disk delivered to her at the hospital. That disk was acquired circa
1980 by Bob Altshuler, then a Vice President of CBS Records and a prominent
dealer of extraordinary pre-LP disks. He sold it to a collector who
stipulated that Bob permit no copies to be made, but he did play it for me
at his home in Huntington, (Long Island) New York.
Another especially nice Jolson item, (bona fide radio material) is that
tour de force appearance he made on The Barry Gray WOR-NY Show. It's
frustrating that WOR, which at that time made state of the lacquers didn't
record the program. It was recorded on 12" 78 acetates by one of the WOR
staff engineers' wives at their home off the air. Those disks were
subsequently dubbed and released in a limited edition of vinyl pressings by
Decca. So, they suffer from:
1. being incmplete
2. being off the air rather than line recordings
3. being disk to disk dubs.
Still, Jolie was in top form that night, thriving on Gray's adulation and
the incredible success of the Jolson Story, then playing at Radio City Music
Hall. The disks I transferred were close to like new, loaned by a friend of
my Dad you knew Henny Youngman ('take my disks, [removed]'). It think that
it was Henny who brought Jolie to Gray's show. I know that he had lacquers
and pressings. The lacquers were by then terribly frosted, so I chose to
work from the pressings.
Another neat Jolie clip that I have was transferred from one of Rudy
Vallee's uncoated aluminums (( knew him & had access to his disks circa
1970). It's from part of a Fleischmann Hour that apparently, was completely
dedicated to Warners musicals. As I recal, it's from December '33 and was
broadcast from Hollywood. With Radio City not yet having been built there,
NBC was broadcasting from the RKO sound stages. RKO was corporately
affiliated to NBC through RCA at that time. In it, Rudy introduces Jolie
who in turn introduces Ruby Keeler. The disk ends as Ruby starts to sing.
Considering her singing, that's not a tragedy. Rudy's disks were then
being cut by Edwin Strong, whose studio was in Jackson Heights, (Queens,
NYC). The recordings were not made off of the air, but via telephone line.
It's one of the disks that was not played abusively, so it sounds rather
good.
About the abuse of Rudy's disks: he explained to me that the regular
routine (as hotel and other band dates allowed) was for he and his entourage
to take the train to Vermont after the show to let off steam (as polite way
to state it). He said that they'd get very drunk, & play the hell out of
those disks whose contents they especially liked. Rudy never did have a
particularly good relationship with the ad agency and or sponsor's staff, so
he instructed Strong to edit the disks as they were being recorded.
Therefore, with only one exception (the incredible show of 12-13-34 with
William S, Hart, Beatrice Lillie, Buck & Bubbles, Henry Fonda & Cole Porter)
his Fleischmann and Royal Gelatin Hours were incomplete. Except for
12/13/34 (not recorded by Strong, and complete, done on 4 16" uncoated sides
of 2 disks) all of his material (up to and iincluding the Sealtest shows)
were done on 12' disks. He started having the shows recorded by Strong
during June, 1932. The first format was 12" unoated. By early 34 they were
33 1/3 uncoated. By '35 they were lacquer coated (rather poor quality, with
lumpy surfaces). The Sealtest shows were done by Electro-Vox on 12" at 33
1/3. Electro Vox line recordings made at that time were blatantly interior
to state of the art disks cut ([removed]) by NBC and Radio Recorders at that
time.
Hmmm, I wonder if Fleischmann's margarine, Colgate Toothpaste and or
Lifebuoy soap have any value in is treating and cleaning worn and dirty
ET'[removed]
Best,
Shiffy
------------------------------
Date: Wed, 27 Jun 2001 15:46:29 -0400
From: Elizabeth McLeod <lizmcl@[removed];
To: <[removed]@[removed];
Subject: Re: Accessing LOC Material
On 6/27/01 2:02 PM [removed]@[removed] wrote:
How on earth do we get our hands on them ? Or are they locked away in a
vault somewhere, never to be release ????
LOC material may be listened to at no charge at the Library's Recorded
Sound Reference Center by "qualified researchers" working on a project
intended for public distribution -- from a full length book to an article
for your local OTR newsletter. You cannot, however, make copies of the
material due to the contractural and copyright restrictions which the
Library is required by law to observe. (While the LOC preserves and
houses the material, it doesn't *own* it.)
It is possible, though, to obtain copies of the material from the LOC by
going thru a process which is neither fast nor inexpensive. But if you
have the patience and are willing to spend the money for material you
can't get any other way, here is what you do:
1. Locate the specific item in the LOC's SONIC database, accessible from
the Recorded Sound Reference Center Homepage,
[removed]
2. Make note of the LOC Call Number and description of the item you need.
3. Phone, fax, or email the Recorded Sound Reference Center with the
items you are requesting -- contact information is available on site. The
Reference Librarian who handles these things is Brian Cornell.
4. The Library staff will determine what legal permissions will be
required in order to copy the items you want, and will contact you with
the names and addresses of the people who must be approached in order to
get these clearances. If the item is from the NBC Collection, you will
need to clear rights with their Intellectual Property Department in New
York. Additional clearances may be required if the program is under a
separate copyright.
5. You must write to the people specified and ask permission to have a
copy made. It's a good idea to specify why you need the copy -- and don't
just say "because Joe Blow is my favorite radio comedian." If you don't
have a professional-sounding reason, make one up.
6. Wait to hear back from the Legal Entities. If you've written to NBC
Intellectual Property, you will get a letter back from them in about four
weeks. Two copies of a legal contract will be enclosed, specifying what
you may and may not do with the recording. Sign both copies, and send one
of them back to NBC.
7. NBC will advise the LOC that it has granted permission, and in about
three weeks you will get back a requisition form from the Library's
Phonoduplication Lab. You'll need to check it over, sign where specified,
and send one copy back to them with your check for the lab fee -- which
starts at $86 per hour, not including the cost of tape stock. Then, fax
the other copy of the form, and a photocopy of your check to the lab, and
they'll begin processing your duplication request. (Yes, the fee is
outrageous -- but there are worse places to spend your money than with
the entity which has done more for the physical preservation of
broadcasting history than any other organization in the United [removed])
8. In about four weeks, FedEx will deliver your tape. Needless to say,
you may *not* make any commercial use of the recording in whole or in
part -- and you had to sign a contract to that effect in order to get
access to it. Commercial permissions are a whole separate case.
Like I said, this is not for everyone -- but if you're working on a
serious project, it can be a valuable resource for getting access to
material that simply isn't available anywhere else and which is unlikely
ever to be released on the commercial market.
Elizabeth
------------------------------
Date: Wed, 27 Jun 2001 15:46:27 -0400
From: "Lois Culver" <lois@[removed];
To: "OTR Digest" <[removed]@[removed];
Subject: Straight Arrow Comics
Bill Harper, (hello, friend Bill!) the expert on "Straight Arrow" says:
Even in the late 50's and early 60's Straight Arrow comic stories were
being
published, but not as Straight Arrow of radio fame or NABISCO's Straight
Arrow.
Bill, my copy of "Straight Arrow" Comic Book #14 says, in a banner across
the top, "The ORIGINAL Indian Hero of Radio Fame!" (I dont know the date of
this one, but you probably do.)
Lois Culver
KWLK Radio (Mutual) Longview, WA 1941-44
KFI Radio (NBC) Los Angeles CA 1945-47, 50-53
Widow of Howard Culver, actor
------------------------------
Date: Wed, 27 Jun 2001 15:55:43 -0400
From: "Stephen A Kallis, Jr." <skallisjr@[removed];
To: [removed]@[removed]
Subject: Premiums and The Masked Rider of the Plains
Tony Baechler, speaking of The Lone Ranger, asks,
.. what were the various premiums offered and when?
The Lone Ranger had a lot of premiums. They started being distributed in
1933 and were still going strong by 1950. Besides the national coverage
started in 1941 by General Mills, there was regional coverage of the
synduication, sponsored by others, such as Merita Bread. Many of the
secondary sponsors' premiums were things like masks and pictures.
Notable premiums:
1941 -- Glo-In-Dark Safety Belt, Silver Bullet with Silver ore sample,
and Texas Cattleman's Belt.
1942 -- Armed services Secret Compartment Ring, Billfold, Blackout Kit.
1946 -- Album of Victory Battles of 1942-1945
1947 -- Atom Bomb Ring, Six Shooter Ring, Silver Bullet with Compass and
Secret Compartment
1948 -- Frontier Town, Flashlight Ring, Pedometer
1949 -- Miovie Film Ring, Secret Com,partment Deputy Badge
Stephen A. Kallis, Jr.
------------------------------
Date: Wed, 27 Jun 2001 16:46:33 -0400
From: andy ryan <anbryan2000@[removed];
To: [removed]@[removed]
Subject: Re: dick judge
is dick judge still in business? i just came across
his catalogs among my radio shows and wondered.
this doesn't need to go on the list if you know and
will answer me privately.
andy ryan
------------------------------
Date: Wed, 27 Jun 2001 16:46:30 -0400
From: "Lois Culver" <lois@[removed];
To: "OTR Digest" <[removed]@[removed];
Subject: Pow-Wow
John Mayer writes "The point was that Nabisco had intimidated the publisher
of the newsletter (Mrs. Culver, if I remember correctly) into altering the
title _Straight Arrow Pow-Wow_ to simply _Pow-Wow_"
Nope, Mr. [removed] Pow-Wow was a creation of The Harpers in SC. Bill
Harper and family published this delightful newsletter without any help from
me - except my good wishes!
Lois Culver
KWLK Radio (Mutual) Longview, WA 1941-44
KFI Radio (NBC) Los Angeles CA 1945-47, 50-53
Widow of Howard Culver, actor
------------------------------
Date: Wed, 27 Jun 2001 17:23:03 -0400
From: SanctumOTR@[removed]
To: [removed]@[removed]
Subject: Re: Tonto's horse
In a message dated 6/27/01 1:01:15 PM, Al asks:
My questions are when did Scout become Tonto's horse and was White Feller
the
first horse Tonto [removed]
Actually, Tonto rode behind The Lone Ranger on the great horse Silver during
the early episodes of the radio series (which was pretty ridiculous
considering that ythe sound effects artists played the horses and it wasn't
like Trendle would have to rent another horse and animal trainer). Tonto
evenually got his own horse White Feller, which he rode until later in 1938
when the producers of the 1938 LONE RANGER movie serial informed Trendle and
Striker that they didn't want to use two white horses on screen, correctly
believing that a second white stallion would distract from Silver. Striker
apparently agreed and wrote a radio storyline where White Feller was injured
and was left behind with friends of the Ranger's and Tonto's to be nursed
back to health (never to be heard from again). Tonto rode off on a new
horse, a paint named Scout.
Hi Yo Silver Away, ANTHONY TOLLIN
------------------------------
Date: Wed, 27 Jun 2001 17:30:22 -0400
From: Michael Biel <mbiel@[removed];
To: [removed]@[removed]
Subject: Re: Jolson Remembered
From: hal stone <dualxtwo@[removed];
I had the honor of meeting this legendary Performer back when he
was doing his Radio Show for NBC. It was after his career
resurgence, brought about by the release of the "Jolson Story"
film. Prior to that, I wasn't all that familiar with his earlier
career, but because of the movie, became enamoured of his vocal
style, and actually bought many of his records that had been
re-released. Hal(Harlan)Stone
We all certainly envy Hal for his experience of seeing a Jolson
performance close up. The wording in his posting brings to mind a
rather interesting facet about Jolson's late 40s comeback--with only one
small exception, NONE of his earlier recordings was reissued during that
time! I bet that all of the Jolson records Hal bought were Deccas which
were all recorded between 1945 and 1950. Jolson's voice had noticably
deepened since the heyday of his recording career, but in light of the
fact that Victor, Columbia, and Decca/Brunswick were re-issuing early
Bing Crosby records during that same time, it seems surprising that they
did not take advantage of Jolson's newly re-established career and
syphon off some sales. I know for a fact that the metal masters for
many of Jolson's early recordings still exist even today, so it could
have easily been done.
Jolson's 1911-1913 acoustical recordings for Victor and 1913-1923 for
Columbia would have sounded quaint even then, but the they would have
included early versions of his new Decca big sellers such as "The
Spaniard Who Blighted My Life" on Victor, and "Swannee," "Avalon," "You
Made Me Love You," "Toot, Toot, Tootsie (Goo'Bye)," "Rock-a-Bye Your
Baby With A Dixie Melody," and "April Showers" on Columbia. The
remainder of his recordings were on Brunswick, and the masters of those
from 1923 to 1930 were actually owned by his new record company, Decca.
He might have been able to discourage Decca from re-issuing the old
Brunswicks, but that wouldn't have affected Victor or Columbia. Victor
was owned by RCA which owned the network of his Kraft program, NBC.
Columbia was owned by the rival CBS--wouldn't they have liked to have
cashed in on Jolson's new success?
Well, they did. The only recording session Jolson ever had after 1930
was on December 20, 1932, and although it was also for Brunswick,
Columbia happened to own the Brunswick masters from that era. (It is
too confusing a situation to explain why.) But Columbia did reissue the
five masters Jolson recorded that day, but four of them were put on a
subsidary label. Two of them are famous because he was accompianed by
Guy Lombardo and his Royal Canadians: "April Showers" and "Rock-a-Bye
Your Baby With A Dixie Melody" reissued on Harmony 1005 and 1004
respectively. The flip sides were respectively "Hallelujah! I'm a Bum"
and "You Are Too Beautiful" from the movie of the former's name. Only
one Jolson master was issued on Columbia, but it was a Hebrew song "The
Cantor" and would have limited appeal, especially since it was coupled
with an instrumtal.
But with those exceptions, nobody tagged along on the coat-tails of
Jolson's new career. His other early records were never reissued until
long after his death.
Michael Biel mbiel@[removed]
------------------------------
Date: Wed, 27 Jun 2001 17:23:56 -0400
From: "jstokes" <jstokes@[removed];
To: <[removed]@[removed];
Subject: "BEETHOVEN'S TENTH" MOVIE INTO RADIO PLAY
My "Beethoven's Tenth" movie recently produced, which is about finding a
lost symphony of Beethoven by a pair of Holmes & Watson type musical
sleuths, will be edited to a radio show format, and released as on a
cassette. Not at all hard to do, since this old radio guy (me) started out
writing radio spots and long form A/V scripts.
"Beethoven's Tenth," which ran recently on local cable here in
Minneapolis, was well-received. So now, since I'm part of this vast OTR
Digest, I will be offering the show in audio form. Again, not hard to do.
I'll pull in my cast for additional dialogue to cover the montage scenes.
I'll be working on this task in July.
Will let you know when it is ready.
- -------------------------------------------------------------
Now for a little tongue-in-cheek humor. As Mr. District Attorney would
say, "I will prosecute to the full limit of the law, all lawbreakers to make
tape copies of my radio show." Heh
It will come out under the "NaturaLite Studios" banner.
Jim Stokes
NaturaLite Pictures
jstokes@[removed]
------------------------------
Date: Wed, 27 Jun 2001 17:27:36 -0400
From: SanctumOTR@[removed]
To: [removed]@[removed]
Subject: Re: GUNSMOKE, Miss Kitty and Prostitution
In a message dated 6/27/01 1:01:15 PM, Kenneth L Clarke writes:
I'm just going to put my two cents worth in on the issue of
whether Miss Kitty Russel was a prostitute or not. Truth be
told, that was my first impression when I was young. The
more I thought about it, the more I came to the conclusion
that she must've been just a hostess/owner of the Long Branch
saloon.
***GUNSMOKE's producer was quite clear on Kitty's occupation. "Kitty is just
someone Matt has to visit every once in a while," Norman Macdonnell told TIME
in 1953. "We never say it, but Kitty is a prostitute, pure and simple."***
[removed] of the old west were not accepted by the citizens of the
town as equals. They were often shunned by the other women in
town and were the topic of idle gossips. This was true even if they
were not actually prostitutes. Miss Kitty (at least on the TV series) was
respected as a businesswoman and accepted everywhere she went,
by everyone in town without question. I recall her speaking with women
who looked like they ran the local sewing circle as well as the men she
entertained at the saloon.
***Yeah, but that was the TV series which was a whole lot more sanitized than
the radio original. And regardless, Kitty may eventually have been just the
madam and not a "working girl" herself. Regardless, after working with Sam
Noonan at the Texas Trail, Kitty went into partnership with the bartender
when they bought the Long Branch. And as co-owner, she'd have had every
reason to push drinks and serve as a general hostess. And despite the
portrayal of local townswomen on the TV series, Dodge City at the time was
not a civilized, cultured locale. It was a desolate, violent cowtown.***
I have no doubt that prostitution took place during this time. It may
have taken place at saloons like the Long Branch. Are we so narrow minded
to not accept her character as anything but a prostitute? Opportunities
for women during this time were quite limited. They either worked in a
shop/general store as a clerk, waitresses in a restaurant, stayed home
and took care of the family, or worked in a saloon serving drinks.
***It was not at all uncommon for a madam to be allied with the local sheriff
or marshal, both professionally and personally. (Wild Bill Hickok and
Calamity Jane are probably the most famous example.) The local sheriff or
marshal often received a cut of a bordello's revenues in exchange for
protection. And the alliance was useful in other ways as well; a madam could
provide much-needed information on newcomers to the local law enforcement
official. Hey, I just saw Ann Margaret in THE BEST LITTLE WHOREHOUSE IN
TEXAS last week. The musical is based on an actual event from recent Texas
history: the closing of the Chicken Ranch bordello about twenty years ago.
And then as before, the local sheriff was an ally who was less concerned with
"morality" than with keeping the peace (and the sheriff in question noted
that he had more trouble with the local skating rink and the VFW than he did
with the house of prostitution).
BTW, there were GUNSMOKE radio episodes that featured people who looked down
on Kitty. However, Matt didn't, nor did Chester or Doc.
Identifying Kitty as a prostitute/madam is not being narrow minded. It is
recognizing that Dodge City was not just a prairie town but was recognized as
"the Gomorrah of the West." Dodge was really the last outpost before a lot
of nothingness, and was a cow-town that depended on the money generated by
the cattle industry and the rowdy cowboys employed by same. And at that
time, single women just didn't head out West unless they were someone's wife,
fiancee or daughter . . . or a woman who saw a way to profit from being in a
town like Dodge. A single woman wouldn't have traveled to the West and to
Dodge City in particular just to get a job as a waitress or a general store
cashier.
BTW, the closest GUNSMOKE ever got to dealing openly with prostitution is at
the conclusion of "The Cabin" (12/27/52). Don't let the date fool you; this
is no Christmas show. This is from GUNSMOKE's first season as an unsponsored
sustainer, and it's unlikely a sponsor would've approved the script. At the
conclusion of the show, the young woman asks Matt if he has a woman back in
Dodge (after being repeatedly abused by the outlaws who murdered her father).
Matt explains that his job's too "chancy" to consider a family, and asks her
what she'll do now (since she can't survive alone out on the prairie). She
matter-of-factly says that she'll bring the remaining three horses to Hay
City, sell them and buy herself some pretty clothes . . . and then support
herself and survive the only way she can (adding that it won't be any worse
than what she's endured during the past weeks). Matt makes no attempt to
dissuade her, probably because he realizes it's really the only option that
is available to her.
"The Cabin" is a powerful example of why the radio version of GUNSMOKE was
superior to the TV version. It doesn't judge and it doesn't sanitize. It
presents a violent, often unpretty time with a realism seldom seen in the
popular media. I don't look down on the young woman in the story at all; she
is making a tough decision but is determined to survive . . . and without
asking for help or depending upon anyone but herself.***
--TEXAS TONY TOLLIN (writing from the Texas Hill Country)
------------------------------
Date: Wed, 27 Jun 2001 17:42:27 -0400
From: "John Sloan" <jdsloan@[removed];
To: <[removed]@[removed];
Subject: Benny/Allen
Might as well add my 2 cents worth. I was always a Benny fan but was never
impressed with Allen (cept Gracie). We laughed at Benny and his habits and
traits and the fact that he seemed always to be a couple steps behind the
rest of the cast which made him the butt of most of the jokes. But it
seemed that Allen wanted us to laugh at something else, not at Allen. Don't
know if that makes sense but he seemed to take himself to serious. I
haven't heard Benny and Allen together since the 40's when I was a kid and I
might feel different when I hear them again.
John Sloan
--------------------------------
End of [removed] Digest V01 Issue #207
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