------------------------------
The Old-Time Radio Digest!
Volume 2002 : Issue 235
A Part of the [removed]!
ISSN: 1533-9289
Today's Topics:
LPs [ "A. Joseph Ross" <lawyer@attorneyro ]
Wendy Warren and the News [ "A. Joseph Ross" <lawyer@attorneyro ]
OLDE TYME RADIO NETWORK SCHEDULE [ HERITAGE4@[removed] ]
Today in radio history [ Joe Mackey <joemackey108@[removed] ]
Random follow-up thoughts [ Derek Tague <derek@[removed]; ]
Re: Wasnt selma diamond the cousin o [ "Garry D. Lewis" <glewis@[removed] ]
Most recorded song? [ "Arte" <arte@[removed]; ]
Aldrich Family fan [ John Henley <jhenley@[removed] ]
Present at the Beginning: Quiz Shows [ Charlie Summers <charlie@[removed] ]
Phantom "Pirate" [ Jim Widner <jwidner@[removed]; ]
Duke Ellington in Stereophonic sound [ Alfred Copeland <copeland@[removed] ]
Censorship or standards? [ Howard Blue <khovard@[removed]; ]
Carl Amari [ "[removed] George" <yourstruly@[removed]; ]
Stardust [ John Henley <jhenley@[removed] ]
Cliff Thorsness - SFX man - an appre [ Tony Palermo <Palermo@[removed]; ]
------------------------------
Date: Mon, 24 Jun 2002 10:16:46 -0400
From: "A. Joseph Ross" <lawyer@[removed];
To: [removed]@[removed]
Subject: LPs
Date: Sat, 22 Jun 2002 13:52:35 -0400
From: Richard Fisher <w9fjl@[removed];
These
33 1/3 RPM records were known as "LP's" a name copyrighted by Columbia.
All record companies could produce long playing records, but only Columbia
could produce the "LP".
Then they must have "trademarked" it, not copyrighted it. You can't copyright
a name.
--
A. Joseph Ross, [removed] [removed]
15 Court Square, Suite 210 lawyer@[removed]
Boston, MA 02108-2503 [removed]
------------------------------
Date: Mon, 24 Jun 2002 10:17:19 -0400
From: "A. Joseph Ross" <lawyer@[removed];
To: [removed]@[removed]
Subject: Wendy Warren and the News
Date: Sun, 23 Jun 2002 10:28:07 -0400
From: Joe Mackey <joemackey108@[removed];
The unique thing about this particular show, however, was that Wendy
Warren and the News did utilize a real three-minute newscast to open
the show. The newscaster, delivering the news as part of the show,
chose not to stay in the entertainment side of radio, but continued to
be a true journalist and a legend at CBS. That newsman was Douglas
Edwards.
I suppose the format could have changed over the years. When I heard it, circa 1954 or 55,
the newscast was at the end of the show and was actually done by "Wendy Warren." After
the dramatic segment, there would be a commercial, and then the announcer would intone,
"And now, Wendy Warren and the News!" And Wendy herself, or at least the actress who
played the part, would deliver the news.
Now I only heard it once or twice, so I can't say anything about the show's format over its
nearly ten-year run, but that's what they did when I heard it.
--
A. Joseph Ross, [removed] [removed]
15 Court Square, Suite 210
lawyer@[removed]
Boston, MA 02108-2503
[removed]
------------------------------
Date: Mon, 24 Jun 2002 10:17:29 -0400
From:
HERITAGE4@[removed]
To:
[removed]@[removed]
Subject: OLDE TYME RADIO NETWORK SCHEDULE
Here's the weekly schedule starting Sunday, June 23rd - for the OTRN in
high-end streaming audio (32kbps) 24 hrs. a day through Saturday June 29th at:
[removed]
SAME TIME, SAME STATION with Jerry Haendiges
This week Jerry investigates radio detectives --
1. PHILO VANCE 7/13/48 "The Eagle Murder Case" with Jackson Beck & Joan
Alexander.
2. ROGUE'S GALLERY 6/23/45 "The McDonald Murder Cse" with Dick POwell.
3. VIOLENCE Audition Show - 5/8/52 "The Case of Arthur Bowman" starring
Harry Bartell as Dr. Richard Morley.
4. THE FALCON 9/3/50 "The Case of The Qaurrelsome Qaurtet" starring
Les Damon as Michael Waring alias The Falcon.
HERITAGE RADIO THEATRE with Tom Heathwood
1. GRAND CENTRAL STATION CBS 8/15/51 "The Shoe Doesn't Fit"
with William Redfield.
2. CEDRIC ADAMS CBS 8/15/51 An additional 5 minutes from Pillsbury
following GRAND CENTRAL STATION (above) Off-beat newstories and little-known
facts.
3. GUEST: OTR Author, Ray Barfield - talks with Tom about new availability
of his
book, "Listening to the Radio - 1920-1950" - Published originally by Greenwood
Press in 1996, and a new book in the works about very early TV, and how your
remembrances can be in print.
4. THE COLGATE SPORTS NEWSREEL with BILL STERN NBC 11/25/49 Pgm.
#525 - From Chicago, with Bill's Guests: The Four Horsemen of Notre Dame.
Enjoy - Tom & Jerry
------------------------------
Date: Mon, 24 Jun 2002 10:17:47 -0400
From: Joe Mackey
<joemackey108@[removed];
To: otr-net
<[removed]@[removed];
Subject: Today in radio history
From Those Were The Days --
1960 - The Romance of Helen Trent was heard for the last time on radio.
Helen and her boy-toy, Gil Whitney, were about to be married, but the
loving couple never made it to the altar -- just in case the show would
ever be renewed. Helen Trent and her romance aired for 27 years -- a
total of 7,222 episodes -- on CBS.
Joe
--
Visit my home page:
[removed]~[removed]
------------------------------
Date: Mon, 24 Jun 2002 10:18:54 -0400
From: Derek Tague
<derek@[removed];
To:
<[removed]@[removed];
Subject: Random follow-up thoughts
Jell-O again,
I found John Mayer's discourse on the creation of Comics Code Authority,
and the bad blood between EC comics & the Archie Comics Group quite
fascinating. Mr. Mayer then pointed out that EC titles, [removed], "Tales from the
Crypt" were heavily influenced by radio programmes like "Inner Sanctum."
Might I add that the earliest issues of EC's "MAD" were alternately called
"Tales Well Calculated to Drive [removed]" Sounds familiar to us OTRers, eh?
However, I took exception to JM's blanket dismissal of the Archie canon to
be "unfunny." Picture this:
It's Christmas, and the insanely jealous jock Moose catches wise-guy Reggie
smooching Moose's girlfriend Midge. Archie prevails on Moose to forgive
Reggie this indiscretion in keeping with the spirit of the season. Moose then
goes into a store and buys Reggie a Christmas present in a nicely wrapped box.
Inside the box, there's a spring-mechanism boxing glove which knocks Reggie
[removed] what's not funny about that?
I can't answer Ms. Watkins's query about Abbott & Costello, but, I ,
However would like to posit my own unanswered query re: A & C:
In the immortal routine, "Who's on First?, the following line-up can be
ascertained:
Who, 1b
What, 2b
I Don't Know, 3b
I Don't Give a D--n, ss
Why, lf
Because, rf
Today, p
Tomorrow, c
But I have never heard a rendition of this immortal routine in which the name
of the RIGHTFIELDER is revealed. Who's in rightfield? (no, Who's on First!)
No, what is the name of the rightfielder? (no, What is the name of the fellow
on second), and so forth, and so [removed]
Yours in the ether,
DT (it ain't "Duffy's Tavern!")
------------------------------
Date: Mon, 24 Jun 2002 10:19:14 -0400
From: "Garry D. Lewis"
<glewis@[removed];
To:
[removed]@[removed]
Subject: Re: Wasnt selma diamond the cousin of---
Jer51473 spoke-
RICHARD DIAMOND? "thats a joke son, a joke!"
Ah the SPARKLING wit. The amazing FACETTED talent of the list. Sure
gives me HOPE for the future.
yours you want me to go on(?),
Garry "PUNographer" Lewis
--
Remember: for every silver lining, there is a cloud!
------------------------------
Date: Mon, 24 Jun 2002 10:19:41 -0400
From: "Arte" <arte@[removed];
To: "OldRadio Mailing List" <[removed]@[removed];
Subject: Most recorded song?
Some said it is "Yesterday." Dave Smith tells us it's
"Stardust."
I won't disagree with either of these, but another song has
been
performed by just about every "garage band" in the country
and
recorded by many is "Louie Louie."
KGHX once several hours of "Louie Louie" without repeating a
recording.
(Probably, at least in part, why they are no longer on the
air)
I read about a college station somewhere that did it for 18
hours.
The real question is: "How many of these bands know the
words?"
Arte
[removed]
------------------------------
Date: Mon, 24 Jun 2002 10:43:27 -0400
From: John Henley <jhenley@[removed];
To: [removed]@[removed]
Subject: Aldrich Family fan
William Mahan speaking of "The Aldrich Family":
It was certainly one of the most saccharin
shows ever produced
Based on the two dozen or so episodes of "Aldrich Family" in
my collection, I would say the above assessment is a tad harsh.
In fact, most of what I've read that's negative about AF seems
to focus more on the outdated view of the American teenager's
interests and concerns than it does on what actually happens in
the show.
Most of the episodes I've heard - and definitely the ones I kept -
are screwy farces in which a minor misunderstanding or coin-
cidence near the story's beginning escalates by the climax into a
major calamity that as often as not involves the whole town. This
is often very funny, but at the least I find it absurd enough to be
amusing almost all the time. My wife, who kind of depends upon
me for our OTR programming/listening, says she agrees.
Yeah, the teenagers sound kind of whiny sometimes, but that's not
the POINT.
Again, I have not heard anything like the majority of the series,
and recall that some episodes I heard didn't inspire a wish to hear
them again. But still, I think it's both an underrated and a mis-
understood series.
John Henley
------------------------------
Date: Mon, 24 Jun 2002 11:03:21 -0400
From: Charlie Summers <charlie@[removed];
To: [removed]@[removed]
Subject: Present at the Beginning: Quiz Shows
Folks;
The NPR Morning Edition series, "Present at the Creation" has been
mentioned a few times on these pages, with some references to Old-Time Radio.
But this MORNING's installment, reported by Peter Sagal (host of my FAVORITE
NPR show, "Wait Wait Don't Tell Me"), traces the route of the quiz program
from "Vox Pop" forward, with interview segments with our hero, John Dunning.
See:
[removed]
...to listen via RealAudio, as well as links to various other quiz
show-related programming.
Charlie
------------------------------
Date: Mon, 24 Jun 2002 11:03:29 -0400
From: Jim Widner <jwidner@[removed];
To: [removed]@[removed]
Subject: Phantom "Pirate"
Arlene Osborne asked if anyone had heard about a serial or show called the
"the Phantom Pirate."
Well, while there were many, many shows with "Phantom" in the title,
Arlene, could you be thinking of a series that I ran sometime back on my
web site called "The Phantom Spoilers" which was from the Majestic's Master
of Mystery series? This was mostly a monologue story telling with some
sound effects and snippets of dialogue from the early thirties.
Regarding your earlier question about the use of "Black Pearl of Osiris" or
"Osiris" the only thing I was going to volunteer, but never did was that
because of the big, big news of the King Tut discoveries in the twenties
and all of the mythology surrounding it, I suspect that things
non-occidental conjured up a sense of mystery (such as the Phantom
Spoiler). To use backgrounds or ideas related to such were probably fodder
for radio writers at the time. I recall one series from "Radio Orphan
Annie" that involved "Pearls of Osiris" also. Given that the Egyptian god
of death was Osiris, it fit in perfectly.
Jim Widner
jwidner@[removed]
------------------------------
Date: Mon, 24 Jun 2002 11:03:49 -0400
From: Alfred Copeland <copeland@[removed];
To: [removed]@[removed]
Subject: Duke Ellington in Stereophonic sound
Bryan Wright;
If you believe that even one of these stereo Duke Ellington medleys has
been released on CD,
I'd like to know ( and, I think, so would many others) The name of the
recording label. In case you don't have the particulars, I'd be very happy
to hear from any else who might have a clue.
At any rate, thank you for the fine background information
Al Copeland
copeland@[removed]
------------------------------
Date: Mon, 24 Jun 2002 11:51:35 -0400
From: Howard Blue <khovard@[removed];
To: [removed]@[removed]
Subject: Censorship or standards?
I found George's comments about censorship quite interesting. The
justification of censorship by arguing that it is a way of maintaining
standards is a commonly used one which both the Nazis and the Soviets
used. The [removed] Constitution provides for freedom of expression and I
think it needs to be protected.
In the [removed], for a long time the "standards" argument was used to justify
banning portrayals of interracial situations or any any significant
references to sexual matters. In the former case, the standard being
protected was one of "racial purity." George was largely correct that
during the war the government did not directly censor radio programming,
at least not network broadcasting. But it certainly did censor programs
sponsored by the military. Some of that censorship was needed for
security purposes. But as my research for "Words at War" (my book about
wartime radio) shows*, often the censors acted in ways that reflected
their personal prejudices ([removed] their "standards").
George wrote "If someone prefers the material made today, where actors
have to say dirty words or show their bodies in order to get work, I
guess that's there
business. But me personally, I kind of like the old days better."
He's set up a straw man. I don't think it has to be a choice of one of
the other.
Howard Blue
*for further information see [removed]
------------------------------
Date: Mon, 24 Jun 2002 11:51:48 -0400
From: "[removed] George" <yourstruly@[removed];
To: <[removed]@[removed];
Subject: Carl Amari
I understand that Carl Amari often reads these messages. Carl, if you are
reading this could you please let us know if you plan to get back into the
OTR business? I admit I stopped buying from Radio Spirits around the time
that all the messages about law suits and threats were flying about. I did
go back to buying, but only your specials as frankly your prices got too
high for me. I kept hoping that you would offer more specials and that you
would bring out those sets that RadioYesteryear and Adventures In Cassettes
used to have. I enjoyed the quality of your products. However I wish you
wouldn't have cut out the commercials in many of your sets.
Now that Media Bay has greatly reduced their OTR offerings and it appears
that they will never be offering any new specials, I don't have any desire
to buy from Radio Spirits.
So, do you have any plans to get back into the OTR business?
[removed]
------------------------------
Date: Mon, 24 Jun 2002 11:52:15 -0400
From: John Henley <jhenley@[removed];
To: [removed]@[removed]
Subject: Stardust
Michael Gwynne said of "Stardust":
There's even a version with Hoagie himself talking the lyrics that
Mitchell Parish wrote to that timeless melody.
If we're speaking of his 1940s Decca recording, actually he _sings_
the song; and while maybe he's not quite as good a vocalist as Johnny Mercer,
Hoagy's solo "Stardust" is breathtaking. I never really understood that song
or fully appreciated its beauty until hearing that recording. MP3 aside, it's
available on the Collector's Choice release called "Ole Buttermilk Sky."
John Henley
------------------------------
Date: Mon, 24 Jun 2002 13:11:11 -0400
From: Tony Palermo <Palermo@[removed];
To: [removed]@[removed]
Subject: Cliff Thorsness - SFX man - an appreciation
Cliff Thorsness
Radio Sound Effects Man
(1913-2002)
Here's my appreciation of my radio sound effects mentor who passed away
last week.
Cliff Thorsness, the accomplished CBS radio sound effects artist from
1938 to 1962, died June 14th of natural causes at his home in Los
Angeles. He was 88. The funeral was private, but a public tribute is
being planned.
Cliff was part of the talented CBS sound effects crew assembled at
station KNX in the late 1930s when they opened their West Coast radio
drama studios to make use of Hollywood movie stars. Cliff worked with
all the CBS radio greats--Orson Welles, Norman Corwin, Vincent Price,
Edward G. Robinson, and many more.
Cliff had an illustrious and suitably "noisy" career for a sound effects
man. He was on-hand in New York for the famous 1938 "War of the Worlds"
broadcast. He recalled "quite a commotion at the switchboard"--but was
himself kept in the dark about the hoax, as was the rest of the CBS
staff.
Cliff won awards--and on-air credit--for his sound effects team's work
creating thousands of rats attacking a lighthouse in the famous 1950
Escape episode, "Three Skeleton Key." There's a wonderful photo in
Robert Turnbull's book, "Radio & Television Sound Effects" showing Cliff
and his crew gnawing on berry baskets to create the sound of hungry rats
eating their way through doors and walls. [This program is available on
the Radio Spirits collection, "The 60 Greatest Old-Time Radio Shows of
the 20th Century"]
Cliff also provided the hoof beats for "Champ," radio star Gene Autry's
famous horse, and Cliff's trusty coconuts are on display today at the
Autry Museum of Western Heritage in Los Angeles. In 1997, Cliff donated
his personal collection of battleship-grey CBS sound effects to the
Museum of Television & Radio, where they are still causing a racket in
weekly "Re-creating Radio" family workshops which have introduced radio
drama to thousands of students.
Cliff always encouraged others who sought to take up his art and I'm
proud to have had him as my mentor. Here's one story of how he helped me
turn ideas into a sonic tapestry.
Some years ago, I wrote a horror radio show-in tribute to Cliff-about
corrupt Crusaders in Turkey in 1204 [removed] The story was an allegory about
the McCarthy-era Blacklist, which destroyed the careers of many of
Cliff's friends and colleagues.
In the show, a deranged nobleman, "Cliff of Thorsness" mounts massive
battles (a sound effects free-for all) and resorts to torture (with
excruciatingly wonderful thumbscrew sounds) in his quest for revenge and
plunder. In the end, he falls prey to demons from the 70,000 hells of
the Arabian Nights-complete with a monstrous black wave of five million
rats. In a tip of the tail to Cliff's rodents from "Three Skeleton Key,"
we rubbed dozens of wet wine corks against glass to create the effect of
millions of squeals.
But while rehearsing the show at the MT&R, I ran into a problem. I'd
written a scene that called for Crusaders venturing through volcanic
tunnels and at one point, they had to wade through "an ocean of
bones"--some of the bones not fully human! It was a powerful image that
would create just the sense of dread required by horror. Unfortunately,
I couldn't mechanically produce the sound I had in my head.
I had tried stirring a cooking spoon in my gravel box, but it wasn't
evocative enough. Luckily, Cliff was at the MT&R for this tribute
performance. I described the scene and feeling I was after and pleaded
for his help.
Cliff came into the studio, surveyed my sound effects kit and went to
work. First, he grabbed some hi-lighter pens and shuffled them around in
his hand, but no good. "Too small," he said. "That sounds more like a
BAG of bones--not an ocean."
Then he went to the gravel box and started manipulating the
gravel--specifically, he hung his palms on the edges of the
junk-drawer-sized box and grabbed bits of gravel and stone and pulled
them up to rub against the wooden sides. With the right sashaying
rhythm, he nailed it--wading through an ocean of bones! I had the right
gear, but the wrong technique.
He also cooked up the convincing beheading of a snake-haired Ifrit using
a pancake flipper, a board, and a half-deflated punching bag. Cliff
taught me how to unleash my imagination and how to make sounds sing.
When performing sound effects, Cliff was like a jazz musician. He could
improvise on the spot-and do variations, too. He played those sound
effects devices like a musical instrument. He wrung nuances out bits of
leather and wood and metal. He shaded the sound to accompany specific
actors and actions. Cliff was a wizard of sound. He conjured "a world
before your very ears." Another radio wizard, Orson Welles complimented
Cliff, writing archly, "I owe you more than you'll ever know."
Cliff was my sound effects hero. On radio, he was ten feet tall with
four sets of hands. In person, he was a slim man with just two hands,
and a quick and imaginative mind.
When CBS ended radio drama production in 1962, Cliff became a radio
engineer. When he retired, he still kept active in the Pacific Pioneer
Broadcasters and as a mentor for radio sound effects aspirants like
myself. Cliff would bristle when somebody referred to his art as
"Foley." "Don't call it 'foley,' he'd tell me. "Foley's for movies.
We're SOUND men. Sound effects ARTISTS!"
You can actually see Cliff at work in the 1980 movie, "Annie," where, at
about 80 minutes in, he creates the sounds of a fake tap dancing radio
star. He knocks off this easy effect with a bit of comic flair and
tosses his script page to the floor.
And now Cliff is gone. And another fine and funny Los Angeles sound
effects artist, David L. Krebs, passed away last January at age 57.
There's something terrible about the very idea of a sound man being
silenced. These artists injected action and setting into radio plays.
They made mere stories come to life. They shouldn't go out with a bang
OR a whimper. You want it to be some extraordinary montage of sound
patterns--an avalanche of milk [removed] or the Pacific Ocean
[removed]
Or the sound of a heart being broken.
Cliff Thorsness could work that kind of magic--and I'll miss him.
- ------------------------------------------------------------------
Cliff's family has asked me to help them put together a tribute for
early August. I'll make details available as we put it together. If you
are interested in contributing anecdotes or time and energy, please
contact me at Palermo@[removed].
================================================
- ----------------------------------------------------------------
Tony Palermo - Los Angeles, USA
Palermo@[removed]
--------------------------------
End of [removed] Digest V2002 Issue #235
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