------------------------------
The Old-Time Radio Digest!
Volume 2005 : Issue 276
A Part of the [removed]!
[removed]
ISSN: 1533-9289
Today's Topics:
9-10 births/deaths [ Ron Sayles <bogusotr@[removed]; ]
OTR article in Chicago Tribune [ Alan/Linda Bell <alanlinda43@yahoo. ]
Re: Wheat emergency [ "Scott" <scott@[removed]; ]
Radio audio [removed] [ "Ted Kneebone" <tkneebone1@[removed] ]
Acting with scripts [ Lee Munsick <damyankeeinva@earthlin ]
Questions and comments [ Rick Keating <pkeating89@[removed]; ]
Federal excise [removed] [ "Ted Kneebone" <tkneebone1@[removed] ]
Audio Logos (was A last ring of the [ Henry Howard <hhoward@audiotheater. ]
trading/selling: 1 fool's opinion [ Ruk77@[removed] ]
collecting OTR [ <cooldown3@[removed]; ]
mp3 dealers [ "karl tiedemann" <karltiedemann@hot ]
Pallophotophone [ "erest@[removed]" <erest@bel ]
Re: Reading the script, but performi [ Hal Stone <otrjug@[removed]; ]
------------------------------
Date: Sat, 10 Sep 2005 09:56:07 -0400
From: Ron Sayles <bogusotr@[removed];
To: Olde Tyme Radio List <[removed]@[removed];
Subject: 9-10 births/deaths
September 10th births
09-10-1898 - Adele Astaire - Omaha, NE - d. 1-25-1981
dancer, actress: (Fred's Sister) "Magic Key"; "Savings Bond Campaign"
09-10-1900 - Francis Craig - Dickson, IN - d. 11-xx-1966
bandleader: "Spotlight Revue"
09-10-1902 - Jim Crowley - Chicago, IL - d. 1-15-1986
football all-american: (One of the Four Horsemen) "Kate Smith Hour"
09-10-1904 - Emery Deutsch - Budapest, Hungary - d. 4-16-1997
conductor: "Arabesque"; "Let's Pretend"
09-10-1907 - Alvin Childress - Meridian, MS - d. 4-19-1986
actor: "New World A-Coming"
09-10-1907 - Fay Wray - Alberta, Canada (Raised: SLC, UT & LA, CA) - d.
8-8-2004
actress: Rosemary "Keeping Up with Rosemary"
09-10-1909 - Raymond Scott - Brooklyn, NY - d. 2-8-1994
conductor, composer: "Your Hit Parade"; "Chicago Theatre of the Air"
09-10-1915 - Edmund O'Brien - Brooklyn, NY - d. 5-9-1985
actor: Johnny Dollar "Yours Truly, Johnny Dollar"
09-10-1917 - Jean Ruth Hay - Philadelphia, PA - d. 9-18-2004
disc jockey: "Reveille with Beverly"
09-10-1920 - Vivian Block - Brooklyn, NY
actress: "Let's Pretend"; Ann Weston "Wilderness Road"; "Coast to Coast on a
Bus"
09-10-1934 - Charles Kuralt - Wilmington, NC - d. 7-4-1997
sportscaster: "Junior Sports Parade"; "Sports Final"
September 10th deaths
01-31-1923 - Joanne Dru - Logan, WV - d. 9-10-1996
actress: (Sister of Peter Marshall) "Lux Radio Theatre"
04-01-1923 - Bobby Jordan - New York City, NY - d. 9-10-1965
actor: (The Dead End Kids) "Texaco Star Playhouse"; "Wheatenaville Sketches"
04-08-1905 - George Baxter - Paris, France - d. 9-10-1976
announcer: "Grand Central Station"
04-12-1907 - Ivan Ditmars - Olympia, WA - d. 9-10-1997
music: "Advs. of Frank Race"; "Dr. Christian"; "Escape"
05-26-1905 - Fred MacKaye - Hackettstown, NJ - d. 9-10-1980
actor, director: Monk Rice "Point Sublime"; "Lux Radio Theatre"; "Romance"
06-19-1932 - Pier Angeli - Cagliaru, Saradinia - d. 9-10-1971
actress: "Louella Parsons Show"
08-06-1881 - Leo Carrillo - Los Angeles, CA - d. 9-10-1961
actor: Pedro "Grapevine Rancho"; "Four Frightened People"; "Good News of 1939"
10-02-1914 - Charles Drake - Bayside, New York City, NY - d. 9-10-1994
actor: "Lux Radio Theatre"; "Screen Director's Playhouse"
12-09-1905 - Dalton Trumbo - Montrose, CO - d. 9-10-1976
writer: (member of infamous Hollywood Ten); "Arch Oboler's Plays"
12-30-1885 - Ed Jerome - New York City, NY - d. 9-10-1959
actor: Harry Blackstone "Blackstone, the Magic Detective"; Gregory Allen "Rich
Man's Darling"
--
Ron Sayles
Milwaukee, Wisconsin
------------------------------
Date: Sat, 10 Sep 2005 10:34:10 -0400
From: Alan/Linda Bell <alanlinda43@[removed];
To: [removed]@[removed]
Subject: OTR article in Chicago Tribune
I got a note from the reporter who is doing the story on OTR. This is
pretty advanced notice, but the story will run next month. I had
posted a list of her questions and I got a few replies from people on
the list. To those of you who responded, I thank you. I included your
comments with mine. Here's her note to me (and others who
contributed):
"Thank you all for help on my old-time radio story. The piece is set
to appear in the Chicago Tribune on Sunday, Oct. 16th in the Prime
Time section. You can find it, too, on the same day at
[removed]. If you have any trouble nailing it down,
please let me know and I will send you a copy. Thanks again.
Best,
Leslie"
Alan
--
_______________
Alan/Linda Bell
Grand Rapids, MI
------------------------------
Date: Sat, 10 Sep 2005 19:03:25 -0400
From: "Scott" <scott@[removed];
To: <[removed]@[removed];
Subject: Re: Wheat emergency
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The Wheat emergency in the 1950's was caused by Wheat Rust.
The fungus that causes wheat rust, Puccinia graminis, produces a rusty
color on the stem of wheat and slowly destroys the plant. It was
controlled in the late 1950's and 1960's through the groundbreaking work
of Norman Borlaug, an American who won the Nobel Peace Prize in 1970 for
developing high-yield grains that led to the green revolution.
Interestingly enough a new strain was discovered in Africa in 1999.
After the new strain of fungus emerged - and was named Ug99, for Uganda
1999 - it seemed to disappear for a couple of years. It re-emerged in
Kenya in 2001 and in Ethiopia two years later, said Ravi Singh, a plant
pathologist with the International Maize and Wheat Improvement Center, a
nonprofit research group that convened an expert panel to study the
resurgent disease. The panel's report, to which Dr. Borlaug contributed,
was released at the news conference.
Further reference:
[removed];en=f3f510b9adbfc347&ei=5040&partner=MOREOVERFEATURES
Scott from Michigan
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------------------------------
Date: Sat, 10 Sep 2005 19:03:48 -0400
From: "Ted Kneebone" <tkneebone1@[removed];
To: "Old Time Radio Digest" <[removed]@[removed];
Subject: Radio audio [removed]
Steve Kallis has commented on how he listened to radio, sometimes thru
headphones, sometimes thru a small speaker.
Another point I have made before is the haze of static through which we
listened to our AM radios. Usually that signaled a storm was in the area --
or it was approaching our area. The fortunate ones who heard their shows in
a metro area probably seldom had to listen through this obstacle of static.
Strange thing, every so often I come across a show I have traded for -- and
it has static! Just a little, but enough to somehow make the program that
more real for me. The tough ones were trying to listen to a symphony
concert through the static. Sometimes I just gave up on them.
If I were in the business of selling OTR, I would do a minimum of
enhancement on those shows, especially for the old timers who heard these
programs live.
Ted Kneebone. OTR website: [removed]
Democrats: [removed]
1528 S. Grant St., Aberdeen, SD 57401 / Phone: 605-226-3344
------------------------------
Date: Sat, 10 Sep 2005 19:05:35 -0400
From: Lee Munsick <damyankeeinva@[removed];
To: [removed]@[removed]
Subject: Acting with scripts
Friend Stuart Lubin in a fine, fascinating posting among others on this
subject, said:
"To portray all the levels of emotion only through one's voice, takes a
tremendous kind of talent. Acting becomes
a lot easier when one has arms, body, eyes, face, etc. to help portray the
necessary emotions. Radio actors had only the voice."
Well, not quite. On the surface, yes. I refer to one of the things that
greatly impressed me when I started going to FOTR and then on to other OTR
conventions, and getting to know many of the finest OTR actors. The best of
them don't just read - albeit marvelously - they do act, with everything that
Stuart mentions above.
I have even seen some get a bit over-zealous with body language, and
inadvertently smack the actor standing right "next door" at the same mike. I
think that the finest radio actors - which probably works out especially the
early ones, that had extensive stage experience - put a lot more than "only
the voice" into their broadcast portrayals. True, sometimes for the benefit
of a studio audience, but I think mostly to "grow" their performance as it
would be heard by listeners at home, because all of that activity was
reflected in "only the voice" heard out there on those millions of radios.
I think it was in "The Magnificent Ambersons" that Orson Welles had
off-camera systems created to shake the actors as they talked, riding through
the snow in that memorable "outdoor" winter scene. It's the one usually
shown to depict that, his second major film. The reason was, that way their
voices shook and jiggled. Where does one think he learned that sort of
thing? I say, "Mikeside! in radio". I've seen actors actually gently hit
the side of their face or jaw, or push each other around, interrupting lines,
grunting and all, when depicting a fight scene. bouncing on tip-toe when
supposedly conversing while walking down a street.
The other thing I learned by watching actors of the caliber of Lon Clark, was
that really good ones, the pros, participated far more in the whole process
than just showing up to "read their lines" on the air. In a read-through
before a re-creation in which I was honored to have a small part, Lon and
others made a number of suggestions that were incorporated into the script.
Swapping lines, even rejecting some, because "I don't think he would have
said that under these circumstances. How [removed]"
I was impressed by this. After finishing the run-through, I asked about it.
Lon told me that it was not uncommon at all, and only caused a ripple if the
writer had an over-active sense of ownership, and was present! Most writers,
the actors said, were happy to have their scripts improved through the good
sense and experience of the actors that performed them.
They added, alas, that did not apply to all writers, and went on to name a
number of exceptions whose work they did not particularly like to perform.
Getting excited about this, each chimed in with a particular bugaboo. They
remembered those names 40 to 50 years after originally they worked the
scripts! Just like committee members at FOTR would vote down inviting a
particular actor whom they all loved, because "he won't come without his
wife!" Nuff said. Thanks, all, for all the memories!
Lee Munsick
------------------------------
Date: Sat, 10 Sep 2005 19:07:24 -0400
From: Rick Keating <pkeating89@[removed];
To: [removed]@[removed]
Subject: Questions and comments
Jim Harmon wrote of Jay Josytn:
Later, he did get into television, playing the lead --
a judge -- on "Divorce Court" .
Just curious whether you meant the 1958 TV series,
_Night Court, [removed] IMDb makes no mention of _Divorce
Court_ in Jostyn's credits, and the only _Divorce
Court_ I ever knew about was the one on in the late
1980s, long after Josytn's 1976 death. Of course, IMDb
could be wrong.
Stuart Lubin, commenting on my post, "acting Vs.
reading a script", said:
Unfortunately, the "versus"
implies that the two are mutually exclusive.
That's because they are. When I refer to someone
"reading a script" as opposed to acting, I mean that
they are obviously _reading_ the words, as opposed to
speaking in the natural tones one uses when talking to
someone. I'll give you a case in point from
television. The late Armand Hammer made a guest
appearance on an episode of _The Cosby Show_, and at
one point while he's talking, it's painfully obvious
that he is _reading_ his dialogue off of cue cards or
a teleprompter off camera. What's more, I used the
header "Acting Vs. Reading a script" because I was
responding to a previous post stating that (in that
poster's opinion) Vincent Price sounded like he was
_reading_ his lines, rather than _talking_ to someone.
A statement with which I disagreed.
Dan Hughes on why radio actors had scripts in hand:
Because they could.
Oh, sure. Make it easy for them. Next you'll be
suggesting we hold events called OTR conventions to
which we invite them, to show them how much we
appreciate them and their work.
On a related note, I've always found it curious that
some radio shows- both dramas and comedies, would be
performed before a live audience. I wonder how many
people who grew up in the OTR era, and saw a radio
show performance after having just listened for many
years, were surprised to learn that the actors had
scripts in hand. At the time, was that common
knowledge, or did people generally assume the actors
had memorized their lines, as in other media?
Also, I'd be willing to bet that radio actors could
have memorized their lines, if asked. They were
_actors_, after all. They may have had scripts in hand
for expediency, but I've no doubt that they could have
learned their lines, just as the actors who performed
on live TV did.
Rick
------------------------------
Date: Sat, 10 Sep 2005 19:08:04 -0400
From: "Ted Kneebone" <tkneebone1@[removed];
To: "Old Time Radio Digest" <[removed]@[removed];
Subject: Federal excise [removed]
During World War II (and some other wars, too) a federal excise tax was
imposed on long distance calls and other "luxuries" like perfume, jewelry,
furs, etc. The rate was 20%, and that surely was a high tax rate.
That telephone tax is still in effect, but the rate was lowered to 3% in the
1990s. There is a National Tax Resisters Coordinating Committee (or
something like that) which advocates not paying this tax since it supports
many aspects of war. (I continue to be amazed at the number of taxes and
user fees that are attached to my telephone bill.)
Another luxury was electric clocks, not the spring-wound variety. I recall
my folks buying an electric clock during WWII. I am pretty sure that it,
too, had the excise tax on it. Maybe someone in Washington considered that
clock to be a piece of jewelry!
In England, there is a "Talking Tax" on phone calls, internet service, the
purchase of a new radio or television set. Maybe one of our British
contributors can set me straight on this.
Ted Kneebone. OTR website: [removed]
Democrats: [removed]
1528 S. Grant St., Aberdeen, SD 57401 / Phone: 605-226-3344
------------------------------
Date: Sat, 10 Sep 2005 19:08:37 -0400
From: Henry Howard <hhoward@[removed];
To: [removed]@[removed]
Subject: Audio Logos (was A last ring of the chimes?)
Lee Munsick notes:
both Fox News Channel and XM radio
have audible "logos", a series of distinctive notes.
XM has incorporated into their logo strains of the old
NBC monitor logo. When I first heard it I made inquire
of one channel manager if this was an intentional lift from
Monitor. Being too young to remember Monitor, I didn't
get a real response for some time. Yes it was intentional.
Henry Howard
radiodrama digest moderator
[removed]
audio drama skills training
------------------------------
Date: Sat, 10 Sep 2005 19:09:09 -0400
From: Ruk77@[removed]
To: [removed]@[removed]
Subject: trading/selling: 1 fool's opinion
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Hi guys. I am 38 years old. I discovered OTR about 5 years ago. I LOVE old
mysteries. Unfortunately, I have listened to most or all of what is out
there. I
just get a bit discouraged when I hear that someone has a show but won't put
it in circulation, for whatever reason. You know, no one is going to get rich
selling OTR shows. I crave "new" episodes and I am willing to do anything or
pay any amount to hear a "new" treasure. I keep praying that someone will
release the Nick Carter's that I know exist. PLEASE someone, release the Phil
&
Alice shows that I KNOW exist. The Shadow, Inner Sanctum, on and on. Imagine
if
someone did actually have a whole bunch of I Love a Mystery shows, but were
hoarding them. Disgraceful. Please folks, just think about it., These are
treasures from the past and really are Museum pieces. So, for someone to have
a show,
and not share it with the world: shame on you. I understand about mp3's and
the quality issue and the issue of not wanting someone to make money off of a
show you might have. But just think of the people like me, and the generations
to come. Would it not be a shame if someone was hoarding hundreds of shows,
and lived in New Orleans? Now those hypethetical shows are gone forever. And
forever is a very long time.
God Bless all,
John Ruklick
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------------------------------
Date: Sat, 10 Sep 2005 19:09:41 -0400
From: <cooldown3@[removed];
To: [removed]@[removed]
Subject: collecting OTR
Ian and I go back a ways, we have not always agreed.
I see collectors who "do it" like johnny Appleseed". Their legacy is verdant
and growing from coast to coast as they spread OTR in ANY format.
There is the " Madame Tussaud's" school of thought , which has a remarlable
lifelike appearance [sound] but is confined to a room and available for
observation much like our Library of Congress.
OTR is performance art by some of the finest people ever to have trod the
boards. OTR affected our entire culture gor several generations by
stiffening our wartime resolve, aiding in social growth with inovative
programs by Corwin and giving millions of young people accessable heroes
like the Lone Ranger to emulate or friends to spend time with like Archie.
It should live on in it's performances, which cannot be done restricted to a
private collector.
Shame on the "clasp firmly to the chest" school of thought, you smother the
programs.
Cheers,
Patrick
------------------------------
Date: Sat, 10 Sep 2005 19:11:11 -0400
From: "karl tiedemann" <karltiedemann@[removed];
To: [removed]@[removed]
Subject: mp3 dealers
Since the question of mp3 sales has (re-)emerged, I wanted to ask a question
thaqt may well, I realize, have been covered before I began subscribing:
I've been an OTR collector for many years, but certainly never on the level
of many others on this list. As such, I've found mp3s a real boon, as I'm
sure have many othersw whose time/money/space etc., are severely limited.
On the other hand, I've also been stung by people offering shoddy product.
Would anyone like to recommend some good, reliable dealers in this [removed]
In additional to those who do mail order, I wouldn't mind hearing about some
who might be on hand at next month's Newark convention.
Thanks.
Karl Tiedemann
[ADMINISTRIVIA: Please respond _directly_ - I'm not going to get the list
bogged down in discussing MP3 dealers, most of whom simply download files
from the USENET groups and resell them anyway. --cfs3]
------------------------------
Date: Sat, 10 Sep 2005 19:12:25 -0400
From: "erest@[removed]" <erest@[removed];
To: [removed]@[removed]
Subject: Pallophotophone
Web Site For Schenectady Museum reports having a dozen NBC programs from
1927-1929 recorded in this format. I wonder if they have been heard in
recent years. It says it was a sound-on-film format.
Rob
------------------------------
Date: Sat, 10 Sep 2005 19:12:04 -0400
From: Hal Stone <otrjug@[removed];
To: <[removed]@[removed];
Subject: Re: Reading the script, but performing the
part
I didn't add my two cents worth on the subject of OTR actors reading from
scripts, because I thought it was explained perfectly by other knowledgable
posters.
But my SPERDVAC friend Stuart Lubin [removed]
How about jumping in and helping me, Hal. I always relish your take on
things theatrical
Stuart's posting was right on target. But someone else brought up the
element of time. (Which translates into money, naturally).
There simply was not that much rehearsal time allotted, and wasn't
necessary, which helped keep production costs down.
And Jim Harmon made an excellent point. Popular OTR actors (read that as:
the really good ones) often performed on many programs in one day, and as
totally different characters. Again, Money was a factor. Daytime programs
did not have the same pay scale as prime time. And if the show was
sustaining (Non-sponsored), the pay scale was a hell of a lot less.
Consequently, for any OTR actor who had a family to support, they needed to
keep busy and do as many different broadcasts as possible, each and every
week.
There is no earthly reason that radio scripts should, or needed to be,
memorized.
One need simply accept the fact that OTR was a very unique medium, and
should not be compared to the stage or film disciplines. Each had their own
requirements that performers needed to utilize.
On one hand, acting in OTR was unquestionably easier, since the drudgery of
memorization was not a factor as someone also pointed out. (I Think it was
my other friend, Craig.)
The only thing required of an OTR performer, (which wasn't easy for many
theatre or film actors to master), was to sound believable, and convey
emotions or action solely with their voice, and never, never sound like one
was reading. That was the art form.
Hal(Harlan)Stone
Jughead
--------------------------------
End of [removed] Digest V2005 Issue #276
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