Subject: [removed] Digest V01 #200
From: <[removed]@[removed]>
Date: 6/22/2001 4:52 PM
To: <[removed]@[removed];

------------------------------


                      The Old-Time Radio Digest!
                         Volume 01 : Issue 200
                   A Part of the [removed]!
                           ISSN: 1533-9289


                           Today's Topics:

 Sorry, Wrong Number Redux            [Jim Widner <jwidner@[removed];       ]
 OTR/History/Political Correctness    ["stephen jansen" <stephenjansen@ema]
 Henny Youngman                       ["Doug Leary" <dleary@[removed];    ]
 re: stars on radio                   ["Christian Blees" <christian-blees@]
 Long Ago Newspaper Clippings         ["Lois Culver" <lois@[removed];  ]
 Trademarks                           ["Stephen A Kallis, Jr." <skallisjr@]
 Mr. Lucky                            ["Michael Stein" <MSTEIN@[removed]]
 Re: Olan Soule                       [Elizabeth McLeod <lizmcl@[removed]]
 More Soule Food                      [otrbuff@[removed]                   ]
 Residuals? What's that?              [hal stone <dualxtwo@[removed];    ]
 Walter Kinsella                      [hal stone <dualxtwo@[removed];    ]
 Straight Arrow and Rights!           ["William Harper" <whhsa@[removed]]
 Re: Sorry Wrong Number Edit          [Elizabeth McLeod <lizmcl@[removed]]
 This Little Piggy Came To [The] Mark ["Stephen A Kallis, Jr." <skallisjr@]
 H. Rawlinson, [removed] Bushman           [John Henley <jhenley@[removed]]

------------------------------

Date: Fri, 22 Jun 2001 00:54:49 -0400
From: Jim Widner <jwidner@[removed];
To: [removed]@[removed]
Subject:  Sorry, Wrong Number Redux

After reading Chris' comments in Digest #196:
"The version without the flaw has been obviously edited so as not to include
the miscue. That is the absolutely ONLY DIFFERENCE in this show. "

And then after reading Doug Berryhill's description of the differences in
digest #197, I decided to go back and re-listen to my endings once more.

Being a person who is more than willing to admit to the error of my ways, I
have to agree that based on what I have heard is definitely an altered
copy. This does not mean there were not necessarily two versions, though
Chris seems to have made a pretty good case for that. I am sure Martin
Grams has his reasons for feeling there are two versions.

What I am admitting to here is that my own copy is exactly as Doug
describes the "west coast" version. As the train fades you hear the phone
ringing several times for about two seconds, followed by a voice that says:
"Police Department, Martin speaking."  This line is repeated twice. Then
the criminal comes in saying "[removed] [removed]" as he gets out the
last word, you can hear slightly in the background "Police Department" very
abruptly cut off, then the criminal continues "I'm sorry, I must have got
the wrong [removed]"

Obviously, an edit, and one unlike what Chris said in digest #194, not so
cleverly done.

Oh and one more thing. When the broadcast occurred, it was already coming
from Hollywood (having briefly returned to New York a second time), so if
Chris is correct, it would have been broadcast at 6:30 PM and heard on the
East Coast at 9:30 PM. Martin Grams book indicates the reverse stating that
it was done "the first time for the East Coast, and the second time two
hours later, for the West Coast." If this were true broadcasting from
Hollywood, it would mean it was broadcast on the West Coast at 9:30 PM and
the East Coast at 6:30 PM, which does not fit any Radio log sources I have
seen. Martin mentions in his book that the programs were done live, which
is true, but at the time of this broadcast, the Suspense show was being
recorded for some reason on instantaneous 16* acetates. Those copies began
with program #9 and continued through #55, and, I believe, reside with the
Pacific Pioneers Broadcasters. I don't know if this is the KIRO collection.


Jim Widner
jwidner@[removed]

------------------------------

Date: Fri, 22 Jun 2001 00:55:03 -0400
From: "stephen jansen" <stephenjansen@[removed];
To: <[removed]@[removed];
Subject:  OTR/History/Political Correctness

Vince Long wrote:

Several of my high school
students are interested in writing and performing their own radio drama and
comedy.  I suggested that they recreate several of the old shows to become
familiar with the art form.  Tomorrow we will record a program that has
cigarrette ads.  I suggested that they take then out in case they want to
broadcast the show at some point.  They are bristling at the idea.

     GOOD FOR THEM!  I suspect it may just be that they don't want to be
told how bland they must be, but I am with them - keep the ads in!  These
ads contribute a major portion of the "other-worldliness" to OTR - part of
that "travel-back-in-time" feeling.
     Our OTR group was doing a show for my sister's church.  We picked what
we considered to be appropriate shows, and began our rehearsals.  Then I
turned a tape of our practice over to my sister to see how she thought the
show would go over.  She enjoyed the set, but asked for just a few minor
changes.  A word or two here, a phrase there, this man's father just died of
emphaciema - could you cut that cigarette ad?  She just didn't want to
offend anyone.  Which, I guess is well-intentioned, but it sure does
BLANDIFY (hey, I just made that word up!) things.
     So, I told her "Sure, we'll consider those changes." and then we went
ahead and did it all like the originals.  Unedited.  Unblandified.  It was a
rousing success, no one wept, or got upset or angry.  And no one was bored
by a bland politically correct show.
     Now this was not GUERILLA OTR.  The shows were appropriate for a church
group in the first place, not really that hard a task with most OTR.  But I
DO have a rather strong belief in the historical merit of the ENTIRE SHOW as
a whole.  The vernacular, the advertisements, the stereotypes all give a bit
of a feeling of how things were back then.  Not to say that everyone acted
or spoke or believed that way then, but that - YES - things are different
now than then.
     I enjoy my little nervous laughs I get from: the doctors recommending
certain brands of cigarettes, the way women were portrayed as
inferior/subservient, and the ethnic stereotypes (the YELLOW MENACE, those
evil GERMAN RATZIS, and all of those IRISH POLICEMEN).  I laugh at those old
"Duck and Cover" ads for saving yourself in case of an atomic bomb blast,
too.  We all do.  Because we know that it is wrong.  We know better now.
     But I don't believe that we should edit our past ignorance away.  Leave
it intact to show how far we've come.  And along the way, enjoy a nice OTR
show, too.

------------------------------

Date: Fri, 22 Jun 2001 00:55:07 -0400
From: "Doug Leary" <dleary@[removed];
To: <[removed]@[removed];
Subject:  Henny Youngman

I just had my annual physical. I said, "Well Doc, how do I stand?" The
doctor said, "That's what puzzles me."

My doctor said, "I have good news and bad news. The bad news is, in 2 months
my rates are going up. The good news is, don't worry about it."

A guy goes to the doctor and says, "I've got lima beans up my nose." The
doctor says, "You're not eating right."

Ba-rump, tsshhh

------------------------------

Date: Fri, 22 Jun 2001 11:03:22 -0400
From: "Christian Blees" <christian-blees@[removed];
To: <[removed]@[removed];
Subject:  re: stars on radio

Hi,

There is a nice website regarding Humphrey Bogart's work on radio:
[removed]

I think there are all shows listed in which Bogey starred in.

Christian

------------------------------

Date: Fri, 22 Jun 2001 11:03:25 -0400
From: "Lois Culver" <lois@[removed];
To: "OTR Digest" <[removed]@[removed];
Subject:  Long Ago Newspaper Clippings

RADIO LIFE, March 12, 1944
HOLLYWOOD BIDS FOR THE DAYTIME SERIAL
"Gallant Heart"
Caption under picture:
Left to right:  Bob Bruce ("Operator 63"), Janet Logan ("Grace Kingsley"),
Howard Culver {"Stephen Biggs"), Martha Wentworth ("Ma Daniels"), Ken
Christy ("Ed Prentiss"), Irene Tedrow ("Capt. Julia Porter"), Howard McNear
("Chaplain William Duncan"), Truda Marson ("Alice Marley").

Lois Culver

------------------------------

Date: Fri, 22 Jun 2001 11:09:53 -0400
From: "Stephen A Kallis, Jr." <skallisjr@[removed];
To: [removed]@[removed]
Subject:  Trademarks

Doug Leary notes,

The idea of adverse possession, or "squatters rights," already applies
to copyrights and trademarks to some extent. If a company doesn't make
some sort of effort to identify and use a trademark, it can become "a
household word" and lose protection, or it can even be taken over by
another person.

Disclaimer: I am not an attorney.  That aside, there's a _huge_
difference between trademarks and copyrights, though both are meant to
protect.  A copyright is an intellectual property.  The lyrics of a song,
a work of fiction ... any sort of creative item that's original can be
copyrighted.  A copyright owner can reassign the copyright to another
person.  However, if the copyright expires, then it falls into public
domain and anyone can make copies of it.  But nobody can pull something
out of public domain and establish a copyright on it.

Trademarks are a different matter.  A trademark is something that
differentiates a product that's sold (the "trade" in "trademark").  To
take one of the big names, "Kodak" is a trademark for certain
photographic goods, including cameras, film, and chemicals.  Unlike
copyright, a trademark has to be actively used or, after a period of time
it's considered "abandoned."  Also unlike copyright, an abandoned
trademark _can_ be picked up by another party.  Also, if the owner of the
trademark doesn't protect the use of a trademark, it can become a
"household word," or some-such and lose its protection.  I mentioned
"Kodak": there was a time where it was used as a synonym for "camera,"
and the Eastman Kodak folk came within a cat's whisker of losing the
trademark.  "Coke," for a cola-based soft drink, is guarded scrupulously
by the Coca-Cola Company to keep the trademark.  "Aspirin" was originally
a trademark, but lost its protection.

More interestingly, more than one company can use the same trademark, as
long as there's no product conflict.  In theory, a manufacturer could
trademark Coca-Cola Ball Bearings or Nestle Machine Guns.

Stephen A. Kallis, Jr.

------------------------------

Date: Fri, 22 Jun 2001 11:09:57 -0400
From: "Michael Stein" <MSTEIN@[removed];
To: <[removed]@[removed];
Subject:  Mr. Lucky

Today someone asked if "Mr. Lucky" was done for radio. Lux did that in
1950--I listened to it less than a week ago. At the interview portion of the
show, Cary Grant talked of his love for collecting records and was gushing
about the new 45 rpm records! (I still have a few [removed] not as
many as I had back in my childhood.)

Michael

------------------------------

Date: Fri, 22 Jun 2001 11:10:00 -0400
From: Elizabeth McLeod <lizmcl@[removed];
To: <[removed]@[removed];
Subject:  Re: Olan Soule

Bill Murtough recalls,

Although Olan did some announcing, I remember him as as an actor. At one
time he and Barbara Luddy were featured on "First Nighter", which is what
I most remember him for.

During the mid-to-late-thirties, Soule had been a very busy figure in
Chicago radio drama -- the Variety Radio Directory for 1939 lists him as
"Actor, Juvenile Leads and Light Comedy," and offeres a substantial list
of credits, including parts on the soap "Bachelor's Children" and the
male lead on a local First Nighter imitiation called "Wayside Theatre,"
produced by WBBM. SPERDVAC owns discs for a long run of this latter
series, and many of them are quite enjoyable shows in the "goofy romantic
comedy" vein.

Soule thought he had gotten his big career break in the spring of 1936,
when he thought he had been hired to permanently replace Bill Hay as the
announcer for "Amos 'n' Andy." Hay had taken ill and had to step down
from the series in late April, and Soule beat out a long list of
contestants to replace him. (It didn't hurt that Soule was at that time
acting opposite Elinor "Ruby Taylor" Harriot in the original "Couple Next
Door")

Soule announced the program for the first two weeks of May, and was
making plans to accompany Correll and Gosden to Hollywood that summer --
but just as quickly as Hay had taken ill, he recovered, and decided he
wanted his old job back. As a result, Soule ended up staying in Chicago
several years longer than he had planned.

Elizabeth

------------------------------

Date: Fri, 22 Jun 2001 11:10:05 -0400
From: otrbuff@[removed]
To: [removed]@[removed]
Subject:  More Soule Food

Since the thread regarding Olan Soule seems to be with us for a while,
allow me to chip in my two cents' worth.  This Chicago actor maintained a
running role in broadcasting's initial experiment with true daytime soap
opera, Painted Dreams, debuting Oct. 20, 1930 over the Windy City's WGN.


A series fostered by Irna Phillips, who would become the matriarch of
daytime melodrama, in addition to Phillips and Soule the cast of Painted
Dreams included Ireene Wicker, Lucy Gilman, Kay Chase and Alice Hill.

The story line revolved around an Irish-American household set in an
urban Chicago neighborhood.  The family was headed by elderly, widowed
Mother Moynihan, a kindly, philosophical, all-wise protagonist who coped
with the realities of the Depression era.  Her resolute purpose was to
ensure the ultimate happiness of her grown children.  The simple message
of the drama was that marriage, love and motherhood offered the greatest
achievement and destiny any female could hope to experience.

A conspicuous sidelight of this very first soap opera in the sunlight was
that Frank Hummert--whose name would soon be identified with an assembly
line turning out far more daytime radio serials than anyone
else--produced Painted Dreams for his most formidable soon-to-be
competitor, Irna Phillips.  It appears to have been the only time the two
collaborated on anything.

The show wafted onto the air with "I'm Yours" as its musical theme and
appeared live six days a week as a sustainer during its first year
because sponsors were admittedly leery of such untried vehicles.  The
program later achieved network status.

Olan Soule soon turned up in other daytime soap operas.  He had a
longrunning part in The Romance of Helen Trent which premiered in 1933.

Jim Cox

------------------------------

Date: Fri, 22 Jun 2001 11:10:08 -0400
From: hal stone <dualxtwo@[removed];
To: <[removed]@[removed];
Subject:  Residuals? What's that?

Will Nicoll asked;

It would be interesting to know if Hal [removed] any of the other OTR
participants on the [removed] received any kind of payment for their
part in these tapes.  Or did they ever explore the possibility that they
too were "entitled."

Will, back in them thar days, the concept of residuals was nonexistent.
One was paid for doing the show, and that's all she wrote. usually scale,
unless you were a Lead or "Star", and even then, the amount varied,
depending if the Program was "sustaining" or "sponsored".

As to exploring if we are entitled to any compensation from re-release of
the "copywrited" material, I wouldn't be naive enough to even try. We were
paid for doing it originally, and that's the end of it.

But we definitely do receive compensation of another sort, and quite
frankly, worth more than you might imagine.

It gladdens the heart of us OTR "Old Timers" to know that our "Body of Work"
is still appreciated, and to hear all the nice things that our "Fan's" say
about us. As the Good Book tells us, "Man does not live by bread alone".

When fans like yourself keep supporting the OTR "Hobby", and this digest, I
feel I am rewarded many times over.

Thanks for the recent contribution. (pun intended) :)

Hal(Harlan)Stone
"Jughead"

------------------------------

Date: Fri, 22 Jun 2001 11:10:15 -0400
From: hal stone <dualxtwo@[removed];
To: <[removed]@[removed];
Subject:  Walter Kinsella

Bill Knowlton wrote:

When I first joined the Lambs Club in 1967, one of the nicest and most
welcoming members was Walter Kinsella, the Irish father in radio's "Abie's
Irish Rose."
<SNIP>
Walter Kinsella was a true gentleman

BillŠme Buckko. Truer words were never spoken.

I had the delightful pleasure to have known Walter over many years. He
appeared often on the "Archie" show, and probably played different
characters on it over the years, but Faith and Begorra, the only one I
remember is the friendly Irish Cop. (What an [removed] sounding Irish Cop was
doing in mid-America Riverdale, I'll never know).

Walter was loaded with charm. And as you indicated, Bill, he was a delight
to be around. Next to the word "Affable" in the dictionary is Walter's
Picture.

But I also had the opportunity to Direct Walter many years later, after
Radio's demise. A new York TV Production company I worked for had the bright
idea to utilize Walter's great "Warm" personality as a Commercial Pitchman.
They created a set, (The corner Mom & Pop Grocery Store), with Walter as the
proprietor. (All this with no specific advertiser in mind). The idea was to
take the "Commercial Pilot" out into the hinterland to sell the concept of
Walter as a salesman for lots of Local and Regional products. Primarily for
those advertisers who really had small TV Ad budgets and could ill afford
spending big bucks for slick [removed] productions. The whole thing rested on
Walters down-home "Honest Abe" presence to "recommend" a product. Actually,
I think it was Walter himself who came to us with the idea. By amortizing
the cost of making the "set", and Walters reasonable talent fees per spot,
we could crank out a bunch of them in a day's session. Definitely not a dumb
Irishman, that one. I enjoyed your tribute to him. "May the Saints preserve
'im" as my Grandmother used to say.

By the way, as a member of the Lambs Club, did you get to know another
fixture there by the name of Arthur Cole? Arthur played the "Father" on the
"Archie Andrews" show for many years. (My first Father in Law was also a
member):( I remember what a den of iniquity the Pool Room was at the Lambs.

I had been invited to join on a number of occasions, but respectfully
declined. Particularly after I became a Director. It was a little depressing
for me to see all those "Old timers" who would have given their right arm to
work again, but the world had passed they by. It seemed as if the Club was
their only connection with the Glory Days. But it sure gave them some place
to go (and in some cases "live") where they could maintain the Show Biz aura
with much dignity and comradeship.

Were you a member back when they "basted" John Wayne? What a night that was!

Thanks for stirring up some fond memories.

Hal(Harlan)Stone

------------------------------

Date: Fri, 22 Jun 2001 11:11:22 -0400
From: "William Harper" <whhsa@[removed];
To: [removed]@[removed]
Subject:  Straight Arrow and Rights!

Dear Folks;
I noticed with interest Lois Culver's remarks (Hi, Lois) about Amari and
Straight Arrow rights.  After researching the Straight Arrow promotion for
over 20 years I have come to this vague understanding.  NABISCO (you might
read that as POST now) owns the rights to the combination of Straight Arrow
and any promotion involving Straight Arrow and NABISCO/POST thus making
NABISCO/POST copyrights holders for the NABISCO Straight Arrow radio shows.
Remembering that NABISCO owned the exclusive rights to the show from the
beginning.  When the copyright laws changed in the 70's(?)Sheldon Stark,
scripter for all the Straight Arrow shows, obtained the rights to the
Straight Arrow scripts which he wrote.  When Mark ( what ever the number)
issued the Straight Arrow radio show on a vinyl recording NABISCO logo, etc.
were all over the record sleeve. Complex?  So for anyone to claim they had
rights to the show they would have to go through NABISCO/POST and Stark's
estate.
When we began publishing POW-WOW, we actually called it Straight Arrow
POW-WOW, but were advised by NABISCO that they owned the rights to Straight
Arrow.
Bill Black wanted to do a comic book on Straight Arrow, but was stopped by
the fact that NABISCO held the rights.  I have never been privy to the
actual legality of NABISCO/POST claim, but I have never challenged it
either.  And so it goes!
Manituwah,
William Harper for POW-WOW.
Interested in Straight Arrow contact me at whhsa@[removed]

------------------------------

Date: Fri, 22 Jun 2001 12:33:29 -0400
From: Elizabeth McLeod <lizmcl@[removed];
To: <[removed]@[removed];
Subject:  Re: Sorry Wrong Number Edit

Doug Berryhill challenges,

Those of you who believe that you have a legitimate
west cost version, listen to how the policeman answers
his phone. If you don't hear him say "Precinct 43",
you are listening to an edited version of the original
performance.

If you have a copy from that date that is missing the
mistake and the policeman says "Precinct 43" as he
answers the phone following the murder, you have an
arguement about the existence of a west coast version.
If you don't, you might want to consider the
possibility that this is one of the most successful
ongoing hoaxes in the OTR world today. That's what
I've come to believe.

I'll jump on this bandwagon and agree with everything Doug (and OTRCHris)
have suggested on this issue. I've just finished listening to an
early-generation copy of Suspense for 5/25/43, which I acquired about
twenty years ago. The "Precinct 43" line is absent from the recording, as
Doug explains. But what is even more interesting is what is *present* in
the recording just before the "Police Department, Martin speaking" line.
When listening to the tape thru headphones, with the volume up, there is
a definite discontinuity in the background tape hiss at the point where
an edit would have occured. This is conclusive proof that an edit has
indeed been made. Given that the 1981-vintage tape I have is probably no
further along than fourth generation from the original discs, it seems
evident to me that the edit was done very close to the time that the
program was placed into circulation in the 1970s, possibly by whoever
made the first transfer of the discs.

When I acquired this tape there was no indication of it being a "west
coast" version, and it was in fact well into the 1980s before I had even
heard of the theory of two broadcasts for the 5/25/43 program. Apparently
at some point after 1981, an unedited transfer of the original discs was
made, and went into circulation -- and eventually someone noticed the
difference between the recordings, and offered the two-broadcast theory
to explain it without checking to determine if in fact there *were* two
broadcasts. The schedule research offered by OTRChris seems to establish
quite convincingly that there was not. It was in fact quite rare for a
sustaining program to be broadcast on a two-performance basis, given the
additional payments required under union contracts. If a second broadcast
was made of a program, it was because a sponsor was willing to pay the
additional expense.

The discontinuity in the background noise at the edit point would become
less and less audible in multi-generation recordings, meaning that the
longer the program was in circulation the more difficult it would be to
discover the alteration. But if you have an early-generation copy of the
"west coast" version, the proof of the edit is clearly audible.

------------------------------

Date: Fri, 22 Jun 2001 12:34:53 -0400
From: "Stephen A Kallis, Jr." <skallisjr@[removed];
To: [removed]@[removed]
Subject:  This Little Piggy Came To [The] Market ...

I'd commented on Mike Kerezman's observation that the RSI tactics seem to
be to raise the prices of OTR shows by observing,

"I suspect it's more a strategy to corner the market."

This seems to be verified by Lois Culver's anecdote,

I asked Amari on his chat room not too long ago, if he owned the rights
to Straight Arrow.  He said "Not yet".  But he was selling Straight Arrow
shows.

Which also raises the question(s):

As the widow of Howard Culver, who played Straight Arrow, is Lois Culver
getting any compensation from RSI/MediaBay for sales of Straight Arrow
tapes and/or CDs?  I think this is central to the whole RSI/MediaBay
argument about making sure that those who helped create the program(s)
are justly compensated.  Note that this _is not_ the legal argument, but
the "moral" argument that's been put forth.

Mike Kerezman threw another log on the fire by sharing,

... in a letter dated January 13, 1997 Mr. Amari explained in part:

"ALL old-time radio shows fall under three categories. [Copyright, public
domain, or ] Not copyrighted at the time of creation and is therefore
protected by "common-law" copyright."

This brings up an interesting thought.  Let's say my hypothetical show,
The Fiddler, wasn't copyright at the time of its creation and falls into
common-law copyright.  How long does this status exist?  Into perpetuity?
 If not, what is the ... umm ... expiration date of a common-law
copyright?

Indeed, just from what I've been able to gather from RSI public
statements in the past <snip> the vast majority of shows that I would
want to own , are not Public domain.

Well, without prejudice, I'll observe that RSI isn't a disinterested
observer.  If the majority of shows are in common-law copyright, and _if_
RSI sells programs it hasn't obtained rights to, then the rest of the
programs are either in the public domain or are in common-law copyright.
And, reflecting upon Lois Culver's anecdote, at least some of the RSI
programs being offered are ones they apparently haven't acquired the
rights to ... "yet."

I had a sneaking suspicion that some of those that got involved in the
hobby early on want to shut it on everyone that comes after.

Again, I believe in the part of RSI, the more likely scenario is a
determined effort to corner the market.  Outside of the latest RSI
concerns, why would anyone want to "shut it" to others who might have
newly discovered shows to add to the overall base?

Perhaps much whats has been said regarding exclusive rights is  true
notwithstanding the desecration of the spirit of competition.

Well, this gets to the nub of the matter: if any company totally
dominates a market, it becomes a monopoly; then other factors kick in,
such as the Sherman Antitrust act.

Stephen A. Kallis, Jr.

------------------------------

Date: Fri, 22 Jun 2001 16:11:03 -0400
From: John Henley <jhenley@[removed];
To: [removed]@[removed]
Subject:  H. Rawlinson, [removed] Bushman

Both Harry Bartell and Conrad Binyon have
mentioned, in the past couple of Digests, working
with silent film star Francis X. Bushman, and
Harry also worked with character actor Herbert
Rawlinson.
Now, while I feel a little like a worm in the presence
of these two men [Harry and Conrad, I mean], I just
want to toss in a couple of tidbits:

Coincidentally, I saw Bushman in a film on TV just
last night; once you get used to that patrician face, you
tend to recognize it whether in silents (younger) or
talkies (older).  I didn't catch the title of the film but
I think he was giving legal advice or similar to John
Garfield.
Does anyone know if there are any "Nero Wolfe" episodes
starring Bushman extant?  For that matter, can anyone
tell me who plays Wolfe in the one episode that survives
as an AFRS introduced by Peter Lorre?  That one episode
is, I think, superior to about all of the later Greenstreet
shows.
Now to Herbert Rawlinson:  Here is an interesting character.
He started out, as indicated, as an actor of some note in silents.
By the mid-30s, he was still working and steadily, but (as
with many silent actors) largely in B pictures and often for
very low-budget studios - but he kept busy and you can see
him with some frequency if you watch old movies.  He looked
good in a suit with vest, and tended to play detectives,
lawyers, and businessmen, often shady ones.
In 1955 - shades of Bela Lugosi - ill and with little
work coming his way, he accepted an offer from Edward
D. Wood Jr., to portray the surgeon character in an opus
entitled "Jail Bait."  The movie also featured Lyle Talbot;
between the two of them they had about a thousand times
more acting experience than anyone else in the cast.  Rawlinson
filmed his scenes within a few days' time; upon completing
his last one, he went home, and died that very night of terminal
lung cancer.
Cheers.

John Henley
jhenley@[removed]
ph  (512) 495-4112
fax (512) 495-4296

--------------------------------
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To contact the listmaster, mail to listmaster@[removed]

To Send Mail to the list, simply send to [removed]@[removed]