------------------------------
The Old-Time Radio Digest!
Volume 2017 : Issue 18
A Part of the [removed]!
[removed]
ISSN: 1533-9289
Today's Topics:
A Consequence [ <skallisjr@[removed]; ]
AP & Radio [ Jody Davis <baroygis@[removed]; ]
OLDE TYME RADIO NETWORK [ Jerry Haendiges <Jerry@[removed]; ]
Associated Press service for network [ Jim Widner <jwidner@[removed]; ]
Perspective [ "Don A. Holshuh" <marathondon@[removed] ]
------------------------------
Date: Sun, 26 Mar 2017 13:06:32 -0400
From: <skallisjr@[removed];
To: [removed]@[removed]
Subject: A Consequence
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Truth or Consequences was NOT a quiz show. It was an
audience-participation stunt show, much like People are Funny.
Thanks for helping keep me on the straight and narrow. :)
Corrections have been made.
Truth Or Consequences was an interesting hybrid. A contestant was asked
a question. If he or she gave a correct answer, they'd get some small
compensation. If they didn't know, or gave an incorrect answer. the
"consequence" would be the stunt.
The show was so popular that a municipality in New Mexico changed its
name to Truth Or Consequences.
Stephen Kallis, Jr.
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Date: Sun, 26 Mar 2017 13:06:53 -0400
From: Jody Davis <baroygis@[removed];
To: OldTime Radio <[removed]@[removed];
Subject: AP & Radio
To answer the esteemed Bill Diehl's query about the AP and radio in the [removed]
In the 1930s, newspapers, alarmed by the sudden competition from radio news
organizations, put pressure on the wire services to severely limit the news
they sold to radio stations and networks, or stop it altogether. A
Press-Radio Bureau was a compromise set up in 1933 that allowed the AP,
United Press and Int'l News Service to supply very short bulletins to
stations and networks at no [removed] the recipients were limited solely
to five-minute newscasts twice daily. A rival service, named Transradio, was
formed, providing enough news to enable stations to air lengthier newscasts.
By the end of the decade, the wire services capitulated and UP, AP, and INS
were selling regular wire copy to networks and stations.
United Press actually started the first radio wire, with news written for the
ear, in the mid-30s. So, in answer to Bill's [removed] 1940, all major
wire services sold their product to radio. Hat tip to the books "Unipress"
and "The Golden Web" for this slice o' history.
------------------------------
Date: Sun, 26 Mar 2017 13:17:25 -0400
From: Jerry Haendiges <Jerry@[removed];
To: Old Time Radio Digest <[removed]@[removed];
Subject: OLDE TYME RADIO NETWORK
Hi Friends,
Here is this week's schedule for my Olde Tyme Radio Network. Here you
may listen to high-quality broadcasts with John and Larry Gassman's
"Same Time Station," Duane Keilstrup's "Classics and Curios," Big John
and Steve's "Glowing Dial" and my own "Old Time Radio Classics."
Streamed in high-quality audio, on demand, 24/7 at:
[removed]
Check out our High-Quality mp3 catalog at:
[removed]
Check out our Transcription Disc scans at:
[removed] (UPDATED)
Transcription Disc Restoration example at:
[removed]
======================================
OLD TIME RADIO CLASSICS
*Hamlet*
THEATER GUILD ON THE AIR
"[removed] Steel Hour"
Episode 65 3-4-51 "Hamlet"
Stars: John Gielgud, Dorothy McGuire, Pamela Brown, Berry Kroeger
Host: Roger Pryor
Announcer: Norman Brokenshire
NBC United States Steel
CBS RADIO WORKSHOP
Episode 22 6-22-56 "Another Point of View: Hamlet"
Narrator: William Conrad
Stars: John McIntire, Sammie Hill and Ben Wright
CBS Sustained
=================================This Week's Same Time, Same Station Show:
This week we salute the Long Beach Veterans Hospital as we recreate
"It's A Wonderful Life".
Many of us were there on March 11 to either participate or watch this
recreation of a timeless treasure.
We'll hear a 30 minute version from SCREEN DIRECTORS PLAYHOUSE.
Then we'll hear the recreation as it was done on March 11.
==================================
This Week's Classics & Curios Show:
"Echoes of Songs and Laughter"
Episode 248
A TRIBUE TO FRANKIE LAINE IN 6 PARTS (REPRISE)
Introductory Comments
The joy and energy that Frankie Laine radiated in singing is surpassed
only by my joy in hearing him sing. And, boy, does he sing on this
tribute. Actually, the idea for a Frankie Laine Tribute show was
conceived back in the year 2004 when I read Frankie's autobiography
"That Lucky Old Son." I soon began collecting interview and radio clips
and recordings, and finally started production. Any tribute could and
perhaps even should play all of Frankie's 21 gold records and a huge
stack of his wonderful recordings which would, however, extend the show
to many hours. With limited time, my tribute's main goal was to let
Frankie talk briefly about his career and as far as possible to focus on
recordings that reflect some of his remarks within the framework of his
remarkable diversity and his passionate "Desire" to bring joy to our
ears, hearts, and souls.
The tribute premier broadcast took the form of a series of 6 shows in
2006 on YesterdayUSA, thanks to Bill Bragg and Walden Hughes. This 2013
broadcast on Jerry Haendiges' network was the premier for all 6 tribute
segments to be broadcast together. So special thanks go to Jerry
Haendiges Productions for making this possible, originally in
conjunction with Team Frankie Laine's gala celebration of Frankie's
100th birth date at the Kona Kai Resort on Shelter Island, San Diego on
March 24, 2013. My deep appreciation also extends to Team Frankie Laine,
but most of all my ongoing appreciation to Frankie Laine for his music,
for his interviews, for his kindness, and most of all for calling me his
friend.
TRIBUTE PART 1: THE EARLY YEARS
This first portion of the Frankie Laine Tribute focuses on the early
years of Frankie's career. Frankie talks about his first "real
recording," "Melancholy Madeline," with Oscar Moore and his Three
Blazers, which sold 100,000 copies because, as Frankie explains, many
people thought the singer was really Nat King Cole using "a phony name."
Then came "I May Be Wrong" which, as Frankie says, "started everything."
Band leader Milton DeLugg, who recorded the song with Frankie, tells us
in an interview about the "magic" and "fire" that Frankie had in his
voice and which immediately came across in that recording and continued
throughout his career. Frankie points out that "I May Be Wrong" was
actually on the "B" side of the record. The "A" side featured one of the
regular characters on Jack Benny's program played by Artie Auerbach,
namely, Mr. Kitzel. Frankie shares in detail in his autobiography about
Mr. Kitzel's nervousness during the recording session, how Frankie
played a part in the background for Artie, and how Mr. Kitzel's problem
affected the time left for Frankie to record "I May Be Wrong."
In 1947 came "That's My Desire," the first of his 21 gold records. In
Frankie's autobiography "That Lucky Old Son" Frankie tells exactly what
he told the audience at Billy Berg's night club in Los Angeles before he
performed the song for the very first time, even before he even recorded
it. You'll hear me tell what Billy Berg's audience heard that night.
Bing Crosby, who early on influenced Frankie and many others, often
unselfishly invited contemporary crooners to share the airways with him
on his "Bing Crosby Show," and so he did with Frankie in 1947, when
Frankie sang "Desire" for all America to hear. Frankie was very nervous,
but Bing gives him a great introduction, and they exchange a few words.
On this clip from that "Crosby Show," we'll also hear Bing's "The Old
Chaperone," along with a few words from Bing about the patriotic Freedom
Train touring the country from 1947 to 1949 with the Declaration of
Independence and precious historical documents.
One of Frankie's good friends was Herb Jeffries. Herb was the first
black cowboy in a Hollywood film, appearing in 1939 as "The Bronze
Buckaroo" and later became lead vocalist with Duke Ellington from 1940
to 1942. While Herb's biggest hit recording was "Flamingo," selling over
50 million copies in 1940, one of my favorites, and I think also of
Frankie's, has been "As Time Goes By." So in honor of Frankie's memory
and in honor of Herb, who was still going strong at the age of 100 in
2006, we'll enjoy Herb's excellent recording of that great song about
the passage of time and "the fundamental things."
Part 1 closes with an interview segment in which Frankie looks back at
"how it all got started" back in 1928, and his story will continue in
Part 2 of the tribute with more about the people who influenced him on
his way to stardom.
TRIBUTE PART 2: INFLUENCES IN FRANKIE'S LIFE AND CAREER
This portion of the tribute highlights some of the influences in
Frankie's life and career, including his mother and such performers as
Al Jolson, Bessie Smith, Louis Armstrong, Hoagy Carmichael, band leader
Carl Fischer, and even an actor on the old "Dick Van Dyke Show" who sang
jazz songs as a child.
Young Frankie was really impressed with Al Jolson's singing style in
1927's "The Jazz Singer," but Bessie Smith provided the direction of his
jazz style singing with her 1923 "Downhearted Blues," which Bessie sings
on this show segment and which, incidentally, was included among the
(controversial) "Songs of The Century" by the Recording Industry
Association of America and the National Endowment for the Arts in 2001.
Hoagy Carmichael was instrumental in getting Frankie's first night club
booking, and we get to hear Hoagy and Satchmo perform "Rockin' Chair"
from 1929, as well as Armstrong alone on 1931's "Sleepy Time Down
South." Mentioned in Frankie's autobiography is a gal who later in life
gained acting fame on the "Dick Van Dyke Show" on TV in the early
1960's. She was known early as "Baby Rosemarie" and even at the age of
nine led Frankie to imitate her style on a particular song. Baby
Rosemarie sings her 1932 recording "Take a Picture of the Moon."
We'll hear Frankie perform his 1948 "monster" million seller called
"Shine" that came a year to the day after "Desire" appeared. Next it's
"On the Sunny Side of the Street," from the 1949 movie "Make Believe
Ballroom" on an edited portion of radio's "Big Show" from 1950. Frankie
also sang that song in the 1951 film of the same name. On the same "Big
Show" is a special treat: a portion of Meredith Willson's composition
"It's Easter Time," a song perfect to reflect Frankie's faith and the
nearness of his March 30 birth date to the holiday of Easter, this year
on March 31.
Finally, on Part 2 of the tribute Frankie tells the story behind the
recording "Music Maestro, Please," conceived and completed in 6 minutes.
On the recording, Frankie talks with the "French waiter" Henry, actually
a member of the Carl Fischer band, and Carl and his piano and Frankie
perform their "Maestro" magic.
Thus Carl Fischer, Al Jolson, Bessie Smith, Hoagy Carmichael, Satchmo,
and even Baby Rosemarie were among many who helped shape Frankie's style
and performances that amazingly carried into his 90's.
TRIBUTE PARTS 3 & 4: FRANKIE & LADIES OF SONG & FRANKIE'S COWBOY &
COUNTRY TOUCH
The "Tribute to Frankie Laine." show continues to embrace some 6 decades
of Frankie's recordings, his amazing diversity, and several songs from
his 21 gold records. While the first 2 tribute parts highlighted early
influences and his rise to stardom, in Part 3 we'll showcase Frankie's
duets with some great ladies of song, including Patti Page, Doris Day,
and Jo Stafford. Frankie performs songs like "Sugarbush" with Doris and
"I Love You for That" with Patti. We'll hear Frankie and Jo on "Hey,
Good Lookin'" and jazz versions of "Way Down Yonder in New Orleans" and
"High Society." Fun novelties include "If I Were You I'd Love Me" with
Patti and "How Lovely Cooks the Meat" with Doris.
Then Frankie's unique energetic rendition of classic country tunes takes
center stage in Part 4. Frankie adds his own observations from time to
time, and performers like the late Patti Page and actor Clint Walker
contribute their comments on Frankie. And Frankie shares the hugely
popular theme song from TV's "Rawhide," along with wonderful western
recordings such as "Mule Train," "Midnight Gambler, "The 3-10 to Yuma,"
and "Along the Navajo Trail." In his last decade of performing Frankie
recorded the CD "The Nashville Connection," which has 2 of his final
recordings that are my favorites. The first is "Contagious," which
characterizes all of Frankie's energetic performances and "Father Time,"
which is a touching tune reflecting courage and never giving up in face
of the adversity of passing time and diminishing performance.
Also in Part 4, we get a chance to experience some of Frankie's acting
talent when in 1950 Frankie was a guest on "The Bob Hope Show,"
broadcast from Coronado Island Naval Base near San Diego. Frankie does a
fun and funny cowboy sketch with Bob in which they sing an exaggerated
but delightful duet of "Bury Me Not on the Lone Prairie." Frankie "hams
it up," and Bob "stops the show" with an imitation of Frankie doing
"That's My Desire." Earlier in 1949 Frankie joined Peggy Lee on radio's
"The Chesterfield Supper Club." Peggy does "This Can't Be Love," and
Frankie sings "September in the Rain."
In addition we'll hear another song from Frankie's friend Herb Jeffries,
the screen's "Bronze Buckaroo" and Duke Ellington's great jazz vocalist.
This time Herb sings "I'm a Happy Cowboy." That "Happy Cowboy" song
title reflects both Herb's and Frankie's outlook on all of life and
eternity as well. In fact, though Frankie went "Beyond the Blue Horizon"
to the Lord in 2007, right now I can almost hear him saying it's his
"Desire" to remind us of [removed] Lewis' words: "There are far better things
ahead than anything we left behind." And until we have those "better
things," virtually all of his recordings are still available on the Team
Frankie Laine website at [removed]
TRIBUTE PARTS 5 & 6: SONGS OF FAITH & JAZZ
Part 5 of our tribute show features Frankie's recordings that reflect
his fervent faith and positive outlook on life. Among special
performances, we'll hear a segment from a Bob Hope show on which Frankie
sings "I'm Gonna Live Till I Die." A popular favorite is his "This Time
You Gave Me a Mountain," written for Frankie by Marty Robbins. We'll
also hear a portion of Frankie's "Answer Me, Oh My Lord," along with Nat
King Cole's "Answer Me, Oh, My Love," both virtually the same tune, but
only Nat's got radio time and was a commercial success.
After Mitch Miller and Frankie collaborated on "High Noon" Mitch brought
him "I Believe," which was on "Your Hit Parade" for 23 weeks. Frankie
said that to him the song was more of a prayer than a song. Then Frankie
sings "Put Your Hand in the Hand (of the Man from Galilee)," and his
rendition is joyfully upbeat in the finest tradition of southern gospel
tunes. Another gospel great is "Rain, Rain, Rain," with Frank Busseri
and the Four Lads. Frankie ends Part 5 with a prayer expressed by the
song "May the Good Lord Bless and Keep You."
Part 6, devoted to his love of jazz, begins with Frankie telling us who
the artists were who especially influenced his jazz singing style, such
as Louis Armstrong and Nat King Cole. A special treat is Louis Armstrong
and his Hot Five performing the 1928 recording of "West End Blues"
followed by Frankie's 1947 version. One of Frankie's best jazz
recordings is "Stars Fell on Alabama" from the album "Jazz Spectacular"
with Buck Clayton, an album often praised by critics as one of the best
jazz collections ever.
Frankie had a special friendship and professional association with Nat
King Cole. Ironically, as Frankie points out in his autobiography, his
first recordings led many to believe he was black, and Nat led many to
think he was white. It seems appropriate to play Frankie's recording of
"Black and Blue." And interestingly Frankie had hoped to do a new album
called "Black and Blues," but sadly it never happened. He talks about it
among the interview comments on the show.
After Frankie performs on a 1948 Spike Jones' "Spotlight Review"
program, we'll turn to Frankie's songwriting skill which he demonstrated
with such notable composers as Duke Ellington and Hoagy Carmichael.
We'll hear Frankie's best composition, written in 1948 with Carl
Fischer, the touching hit song "We'll Be Together Again." One of Bob
Hope's vocalists talks about it.
Frankie's patriotism, energy, and lifelong love of jazz combine to
produce a wonderful version of "Stars and Stripes Forever." That's a
fitting song as we approach the end of our 6-part tribute journey with
songs that reflect Frankie's very heart and soul, such as "He," "Beyond
the Blue Horizon," "Lucky Old Sun," and "Young at Heart." Our tribute
celebration appropriately comes to a close with Frankie's "That's All."
==================================
THE GLOWING DIAL
Big John and Steve celebrate Big John's Birthday and April Fool's Day!
The Jack Benny Program - "from the Grand Ballroom of the Waldorf Astoria
Hotel - Fight Of The Century"
originally aired on Sunday, March 7, 1937 on NBC
Starring: Jack Benny, Mary Livingstone, Phil Harris, Kenny Baker, Abe
Lyman, Stuart Canin.
Don Wilson announcing.
Sponsor: Jell-O
The Jack Benny Program - "from the Grand Ballroom of the Hotel Pierre -
Battle Of The Century -- Or Fizzle"
originally aired on Sunday, March 14, 1937 on NBC
Starring: Jack Benny, Mary Livingstone, Phil Harris, Kenny Baker, Fred
Allen.
Don Wilson announcing.
Sponsor: Jell-O
Life With Luigi - "April Fool's Joke"
originally aired on Tuesday, March 27, 1951 on CBS
Starring: J. Carrol Naish, Alan Reed, Jody Gilbert, Mary Shipp, Hans
Conreid, Joe Forte, Ken Peters.
Bob Stevenson announcing.
Sponsor: Wrigley's Spearmint Gum
The Baby Snooks Show - "Report Card Blues"
originally aired on Tuesday, May 1, 1951 on NBC
Starring: Fanny Brice, Hanley Stafford, Arlene Harris, Frank Nelson,
Elvia Allman, Ken Christy, Vivi Janiss.
Don Wilson announcing.
Sponsor: Tums
running time: 2 hours, 59 minutes, 26 seconds
Clicking on a series title will take you a log/episode guide for that
series.
We always try to give as complete info as we have at hand.
If you have any additions or corrections, please e-mail us.
For more Celebrity Birthdays go to Ron Sayles' Blog.
Audio restoration on some shows in this episode was done by Jerry Haendiges.
=======================================================If you have any
questions or request, please feel free to contact me.
Jerry Haendiges
Jerry@[removed] - [removed] - 562-696-4387
The Vintage Radio Place [removed]
Largest source of Old Time Radio Logs, Articles and programs on
the Net
------------------------------
Date: Sun, 26 Mar 2017 13:20:58 -0400
From: Jim Widner <jwidner@[removed];
To: [removed]@[removed]
Subject: Associated Press service for networks &, radio
stations early 1940's?
Bill Diehl asks:
Can anyone answer this question. In the early 1940's did radio networks
and local stations, subscribe to the Associated Press? Or was the AP
service only for newspapers.
In a word, no, the AP, UP and the INS were not just for the newspapers.
Back in the early days of radio prior to 1933, there was a brief war of
sorts as newspapers were afraid that radio would ruin their profit
margins. At that time, it wasn't unusual for radio stations to just pull
news from the papers or from the Press Bureaus and read news. Applying
pressures, the radio stations began to lose the source of their news and
soon began trying to gather their own news. Some bureaus were formed
such as Transradio to sell to local stations, but the networks had some
resource to try to gather their own. Eventually, the Press-Radio Bureau
was formed in 1933 to allow the networks information at certain times of
the day to use info from the Wire services and/or newspapers.
But as newspapers got into the radio business too, it all collapsed and
eventually, the Wire Services began selling also to the networks. United
Press began earlier and eventually the Associated Press followed suit
after 1935. By 1940, that was regular practice. You can even hear Robert
Trout going out to read directly from the wire service machines
ratcheting away.
At the invasion of Pearl Harbor, you can hear Mutual come on the air
with their United Press "Flash" bulletin. Later also CBS' George
Fielding Eliot refers to "we have just had a United Press [removed]"
United Press (it became UPI in 1958 when it bought the INS) was at that
time the wire service of choice for most of the networks, though they
had access to the Associated Press too.
Jim Widner
------------------------------
Date: Mon, 27 Mar 2017 09:36:42 -0400
From: "Don A. Holshuh" <marathondon@[removed];
To: [removed]@[removed]
Subject: Perspective
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Hello OTR Digest,
I recently listened to a 1933 radio broadcast of a short story published in
the American Weekly, a Sunday newspaper supplement published by Hearst
Corporation. Of interest, the radio program was running a contest asking for
the best slogan for the show. The winning entry would receive $1000 a year
for life (~$18,000 in 2017). What would a winning slogan command today? Puts
matters in perspective.
Don A. Holshuh MD
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End of [removed] Digest V2017 Issue #18
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