Subject: [removed] Digest V01 #165
From: <[removed]@[removed]>
Date: 6/2/2001 10:38 PM

To: <[removed]@[removed];

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

                          The Old-Time Radio Digest!
                             Volume 01 : Issue 165
                       A Part of the [removed]!
                               ISSN: 1533-9289

                               Today's Topics:

     Mediabay (Radio Spirits) and Napster ["J. Alec West" <Alec@[removed];]
     Hitchcock Suspense pilot             ["Martin Grams, Jr." <mmargrajr@hotm]
     Napster and Media Bay                [Jim Widner <jwidner@[removed];       ]
     Radio Spirits CD costs               [Jim Widner <jwidner@[removed];       ]
     It's Wheeling Steel                  [Jim Widner <jwidner@[removed];       ]
     Napster lawsuit                      ["[removed]" <[removed]]
     Re: CD prices                        [Fred Berney <berney@[removed];      ]
     Hapless Polin Count                  [Bhob Stewart <bhob2@[removed]; ]
     Re: The "Marconi-Tesla Case"         [Elizabeth McLeod <lizmcl@[removed]]
     Radio Spirits prices                 ["Steve Atlas" <slavacotr@[removed]]
     memories of arlene francis and wor   [leonardfass@[removed] (Leonard Fass]
     WOR's 'golden period'                ["Art Shifrin" <goldens2@[removed]]
     Re: Arlene Francis                   [Michael Biel <mbiel@[removed];       ]
     What's "Rights" Right                ["Stephen A Kallis, Jr." <skallisjr@]
     Re: One Man's Family                 ["Robert Paine" <macandrew@[removed]]
     Arlene Francis                       [Dennis W Crow <DCrow3@[removed]]

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

    Date: Sat, 2 Jun 2001 17:56:25 -0400
    From: "J. Alec West" <Alec@[removed];
    To: [removed]@[removed]
    Subject:  Mediabay (Radio Spirits) and Napster

    Stephen Kallis wrote:

>     Now if we parse those sentences, MediaBay is doing two things:  (1) It is
>     copycatting a previous injunction, hoping to ride on its coattails.  And
>     (2) nowhere in the release does it say that _all_ programs offered
>     through Napster are owned by MediaBay.  It merely says that MediaBay is
>     asking for protection for their shows.

    I suspect that this MediaBay action is symbolism without substance.  In
    essence, they're kicking a company that has already been kicked to the ground
    by the top-5 media cartel.  Requesting the District Court to halt OTR shows on
    Napster will be a moot point come July ... when Napster (more or less a
    'subsidiary' of BMG since last year) will become "legit" after the release of a
    legal client (most likely, only allowing for the downloading/sharing of music
    by BMG artists).  However, if a "settlement" is ever paid to the industry, I'm
    certain that MediaBay wants to be one of the payees ... which is why they're
    doing what they're doing at this point in time -- an official complaint they'll
    probably never have to defend in court in exchange for a piece of the
    settlement pie.  A cowardly legal ploy, perhaps, but wise from a business
    standpoint.

    Regards,
    J. Alec West

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

    Date: Sat, 2 Jun 2001 17:56:23 -0400
    From: "Martin Grams, Jr." <mmargrajr@[removed];
    To: [removed]@[removed]
    Subject:  Hitchcock Suspense pilot

    Philip asked:

    Thanks for all the great information.  When you say that Joseph Kearns
    impersonated Hitchock on the broadcast of FOCUS featuring the adaptation of
    "The Lodger", is this the same show as the verson that is reputed to be the
    pilot for Suspense?

    Yes, the same show.  Play it back and anyone familiar with Hitchcock's voice
    will notice that it's Joseph Kearns, not Hitchcock, even though the actors
    call him "Mr. Hitchcock."
    On a side light: When Alfred Hitchcock Presents and The Alfred Hitchcock
    Hour aired over TV, the program borrowed stories from original radio
    scripts.  Many came from SUSPENSE, which Hitchcock listened to regularly,
    others came from MOLLE MYSTERY THEATER, HOLLYWOOD STAR PLAYHOUSE, and so on.

    Scripts such as "The Long Wait," "The Long Shot," "Alibi Me," and "The Evil
    of Adelaide Winters" were just a few original SUSPENSE radio episodes later
    adapted for Hitchcock's TV series.  Others like "De Mortuis," and "Back for
    Christmas" were dramatized on both series, but were actually based on short
    stories, and were not original SUSPENSE scripts.  Harold Swanton and Arthur
    Ross, who wrote for SUSPENSE, also wrote for the TV series so they often
    borrowed plots from their radio scripts for later TV productions.

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

    Date: Sat, 2 Jun 2001 18:21:04 -0400
    From: Jim Widner <jwidner@[removed];
    To: [removed]@[removed]
    Subject:  Napster and Media Bay

    In this whole Napster/Media Bay legal action, my suspicion is that now that
    Napster is down and previous legal action has been to Napster's
    disadvantage, Media Bay has decided they have an opportunity to hone in on
    the kill.

    But of course, as Mike Biel points out, this might require Media Bay
    identifying the series it claims rights to. Media Bay may be banking on
    Napster not wanting to have more legal action on its hands and given that
    OTR is minor to Napster, they might just attempt to remove access to such
    type of program.

    Then also remember that depending on how much money Media Bay can afford to
    spend, some time back the heavy metal group Metallica, while fighting
    Napster, hired a company to monitor the location of files of their music
    and entered those names into the legal fray ordering Napster to disallow
    them access. Perhaps Media Bay could also attempt to track who is allowing
    OTR on their computers to be accessed by others and attempt to go after
    those individuals as well.

    Jim Widner
    jwidner@[removed]

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

    Date: Sat, 2 Jun 2001 18:27:24 -0400
    From: Jim Widner <jwidner@[removed];
    To: [removed]@[removed]
    Subject:  Radio Spirits CD costs

    Eric Cooper berates Radio Spirits for the cost of their CDs. However, I
    have to offer some defense for them because he is not comparing apples to
    apples when he mentions how cheaply he can "burn" a CD.

    One has to keep in mind that first of all, RS cleans up their shows
    exceedingly well at the cost of a probably expensive engineer and cleaning
    process. Secondly, they have to have the CDs burned by having a CD master
    made, then duplicated from the master. I work with such companies as my own
    company has data CDs made for our customers. We are charged $800 or more
    dollars just for the cost of having the master made. Then another $[removed] or
    so for each CD made. Since we produce approximately 3500 CDs twice a month,
    this increases our costs including postage to over around $9000 per
    mailing. Now RS may not have such mailing costs, but they do have marketing
    costs in addition. Eventually, it all becomes a not so cheap process.

    Given their marketing costs, their prices are probably in line with a
    normal profit and not an overly gouged price.

    While I don't applaud RS's attitude toward the OTR world or some of their
    methods in secrecy, I cannot fault them for their marketing or costs.  They
    do produce quality copies and they seem to be responsive toward their
    customers when the quality slips a little.

    Jim Widner
    jwidner@[removed]

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

    Date: Sat, 2 Jun 2001 18:27:22 -0400
    From: Jim Widner <jwidner@[removed];
    To: [removed]@[removed]
    Subject:  It's Wheeling Steel

    I am in the process of doing research on a little recognized show from the
    late thirties and early forties called "It's Wheeling Steel."

    The show was a musical variety show sponsored by the Wheeling Steel
    Corporation and was broadcast through the facilities of WWVA in Wheeling
    WV. It is unique in that the show was produced, written, and performed
    weekly by employees of the company. The show while rough in the early days,
    became extremely polished and some of these same employees moved on in the
    entertainment world leaving their company behind. The show was soon picked
    up by the Mutual Broadcasting System and later by the Blue Network, where
    it ended its days in 1944.

    I just returned from West Virginia where the archives of the series reside.
    I would be interested in hearing from any who either listened to the show
    when it was on or in some way had some contact with the show.

    While there are many shows that were similar that used professional talent,
    this show has increasingly amazed me in the quality of the talent. Having
    listened to some of the early shows, and then the later ones, I have been
    amazed at just how good it was. And it confirms my faith in that radio was
    certainly an amazing medium to allow such a show to prosper.

    If anyone has anything to share, please contact me via my email address
    initially:

    Jim Widner
    jwidner@[removed]

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

    Date: Sat, 2 Jun 2001 19:49:26 -0400
    From: "[removed]" <[removed]@[removed];
    To: <[removed]@[removed];
    Subject:  Napster lawsuit

    On Sat, 2 Jun 2001 16:17:58 -0400, "Stephen A Kallis, Jr."
    <skallisjr@[removed]; wrote:

>     Speaking of MediaBay's filing, Michael Biel observes,

> >     If we are lucky they might finally have bitten off more than they can
> >     chew and be forced to
> >     disclose EXACTLY WHICH shows are "theirs".

>     I hope someone who's reading this can at least alert Napster to this
>     aspect of the controversy.  Either they'd drop the suit or be forced to
>     do what Dr. Biel has observed.

    It would be nice if someone in a position to do so (perhaps even some
    likeminded lawyer in this group) would inform Napster, it's new
    parent company (Bertlesman?), or its lawyers of just how questionable
    MediaBay's claims of ownership (as a licensee) are.  Not only have they
    not clearly listed which shows they claim to control, but they have not
    addressed the issue of whether or not ANYONE has the legal right to
    distribute most of these shows.  Many contain material that involves
    underlying copyrights (shows based on still protected short stories,
    books, plays, or movies, or containing copyrighted musical
    compositions, including bridge music).  Permission must be obtained
    from each copyright owner for use of all underlying, copyrighted
    material. In addition, network shows were usually produced under
    strict union contracts that explicitly forbad use of recordings other than
    under carefully defined circumstances, such as timeshifting for the West
    Coast.  (Thanks to Elizabeth for this information.)  To legally sell
    RECORDINGS of these shows, those contracts would have to be
    renegotiated (which could be a very difficult, expensive, and
    time-consuming task).

    Have any of the radio veterans here been approached by the ostensible
    owners of the shows they appeared in to negotiate use of their
    contributions to those shows?  Are any of _them_ receiving royalties
    from MediaBay?

    It's very important that MediaBay not be allowed to gain a victory in
    this case, since it will serve as a precedent in actions against other
    non-commercial uses of OTR.

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

    Date: Sat, 2 Jun 2001 19:56:00 -0400
    From: Fred Berney <berney@[removed];
    To: [removed]@[removed]
    Subject:  Re: CD prices

    Tom and Susan Kleinschmidt  asked this question:
     >>I'd really appreciate some comments from some of the dealers on this
    list on
    their pricing strategy. I am certain everyone would for that matter. >>

    As a dealer that started selling CDs about three or four years ago, I'll
    take a stab at it.

    When someone orders a cassette number from our catalog and asked to have it
    on CD, we go back to the original reel to reel tapes and then transfer that
    into our computer. At this point I give a careful listen to the material.
    Back when I was first creating our audio cassettes, I was limited to using
    an equalizer and a variable speed control on my reel to reel player.

    Now I have all kinds of noise reduction software available. If there was a
    sound defect that I couldn't correct before, chances are I now can. So, I
    spend several extra hours cleaning up any of the programs that may require
    it. Then I burn them to a CD.

    We started charging $[removed] per CD for this service. At the conventions I've
    been charging $[removed] per CD. Our CDs are all in jewel cases with printed
    labels. Starting this year, we've been buying special CDs with printable
    surfaces, so we can use a CD printer to put the title right on the CD
    instead of a paper label.

    As a comparison of price, our cassettes are just under $[removed] each, when
    ordered through our catalog, so there is just a $[removed] difference for the CD.

    Our high speed professional Sony duplicators take just 4 minutes to copy a
    cassette. The way my masters are set up, we copy each side at a time (2
    passes through the duplicator) even though the duplicator can do both sides
    at one pass. This way each program  starts right at the beginning of each
    side instead of having a delay on side 2.

    To copy a CD requires about 5 minutes of burn time and another minute to
    print the label. We can make 15 copies of a single cassette at a time. We
    can only burn one CD at a time.

    The CDs take a little longer to create or replicate than a cassette and we
    price them just a little bit higher. Also, back when we established our CD
    prices, blank CDs were costing close to $[removed] each. Now that they have come
    down in price, I am planning a price reduction. Check us out in NJ. I don't
    know what that price will be, but if I can get it past my wife, we'll bring
    that $[removed] per CD down a little.

    Fred
    For the best in Old Time Radio Shows [removed]
    New e-commerce page [removed]

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

    Date: Sat, 2 Jun 2001 19:55:58 -0400
    From: Bhob Stewart <bhob2@[removed];
    To: [removed]@[removed]
    Subject:  Hapless Polin Count

    "Hot Paragon" would actually make a good show title, but since it's been
    deciphered, we can move forward. Wootten is following in the tracks of
    Lance Polin [ lpolan@[removed] ] who was doing this identical research
    two years ago, as noted in 1999 in a hardboiled/noir mailing list: "I am
    presently working on a research project about novelist and screenwriter
    David Goodis. Early in his career Goodis also wrote the scripts for
    several radio serials, including House of Mystery and Superman, but his
    baby was Hap Harrigan of the Airwaves, of which he also served as
    Associate Producer. I am trying to track down copies of this [removed]
    Lance Polin" Possibly Polin's findings would be of value to Wootten.

    Bhob @ PRE-FUSE @ [removed]

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

    Date: Sat, 2 Jun 2001 19:55:55 -0400
    From: Elizabeth McLeod <lizmcl@[removed];
    To: <[removed]@[removed];
    Subject:  Re: The "Marconi-Tesla Case"

    John wonders,

>     On a completely unrelated subject, a question that I asked a year or two ago
>     without response: I understand that Nicola Tesla was belatedly recognized by
>     some
>     august body or another, along about 1978, as the REAL inventor of radio. Does
>     anyone know the story of the long-standing dispute between Tesla and Marconi?

    The Tesla-Marconi debate makes RSI vs The Hobby look like a kindergarten
    picnic by comparision, with Tesla having become the focus of a
    full-fledged personality cult over the past fifty years, and I'm probably
    inviting the wrath of a legion of hardcore Teslaites by even attempting
    to discuss it. (Tesla claimed to have invented a high-power long-distance
    death ray in the 1930s, and ticking off his modern-day disciples probably
    isn't a smart idea. Just to be safe I'll be out of town all next week.)

    Tesla indisputably invented the system for generating of alternating
    current, and in 1893 delivered a lecture discussing the possible use of
    high-voltage inductive alternating currents for the transmission of
    information signals. Whether or not this actually led to the invention of
    radio-as-we-know-it is a debate I'd rather not get into. But it *is* a
    fact that Teslaites, in the interests of "revisionist history" have
    perpetuated a great deal of sensationalistic misinformation about their
    hero, and the most outstanding example is the
    widely-published-in-the-pop-media claim that "The U. S. Supreme Court has
    declared Tesla the Father of Radio."

    The case in question is Marconi Wireless Telegraph Co. vs. United States,
    heard by the U. S. Supreme Court in April 1943, and decided on 6/21/43.
    In this decision, the court invalidated Marconi's 1904 Patent No.
    763,772, "For improvements in apparatus for wireless telegraphy -
    briefly, for a structure and arrangement of four high-frequency circuits
    with means of independently adjusting each so that all four may be
    brought into electrical resonance with one another." This was the tuning
    system, the heart of the Marconi apparatus, and the Court determined that
    the principles on which it had been based had been anticipated previously
    in patents owned by Nikola Tesla (Pat. No. 645,576, applied for in 1897
    and issued in 1900), John Stone (Pat No. 714,756, applied for in 1900 and
    issued in 1902) and Sir Oliver Lodge (Pat. No. 609,154, applied for and
    issued in 1898) On this basis, the Marconi Patent No. 763,772  was ruled
    invalid.

    Teslaites commonly cite this case as proof positive that Tesla was
    "recognized as the Father of Radio," but in fact no such phrase or
    attribution appears anywhere in the decision. Indeed, the ruling
    specifically states that the case was *NOT* about determining "who
    invented radio: "Marconi's reputation as the man who first achieved
    successful radio transmission rests on his original patent [Reissue No.
    11,913, first granted in 1897 as No. 586,193 and reissued in 1901] which
    is not here in question." The case was not about "who invented radio,"
    rather it dealt with the development of the so-called "Marconi tuning
    circuit." Nor was any patent "awarded to Tesla" in this case, as some
    Teslaites have incorrectly claimed.

    Note that the work of Lodge and Stone was also recognized -- both of
    these scientists had done vital work in the development of tuned circuits
    that was nowhere to be found in Tesla's own patent. While the Court noted
    that Tesla's patents were the earliest, they put much greater importance
    on the work of Stone, devoting nearly twenty pages in the decision to a
    discussion and examination of his theories. In his dissenting opinion,
    Justice Wiley B. Rutledge pointed out that there were substantial
    differences in both technology and purpose between what Tesla was trying
    to accomplish and what the other scientists mentioned had in mind:

    "Tesla in fact did not use Hertzian waves. His idea was to make the ether
    a conductor for long distances by using extremely high voltage,
    20,000,000 to 30,000,000 volts, and extremely high altitudes, 30,000 to
    40,000 feet or more, to secure transmission from aerial to aerial.
    Balloons, with wires attached reaching to the ground, were his suggested
    aerials. His system was really one for transmitting power for motors,
    lighting, etc., to 'any terrestrial distance,' though he incidentally
    mentions 'intelligible messages.'  As he did not use Hertzian waves, he
    had no such problem of selectivity as Marconi, Lodge, Stone and others
    were working on later. "

    As Rutledge's dissenting argument indicates, the ruling was not unanimous
    -- five justices voted with the majority, and three dissented - arguing
    for the validity of the Marconi patent - with one abstention. True
    believers to the contrary, there is still plenty of room for debate on
    this issue, involving as it does issues both of science and of complex
    patent law. But the case should not  -- and cannot in any honest way --
    be used as a prooftext by Teslaites seeking to promote Tesla as the
    "Father of Radio." And pop-media types who insist on writing about this
    case should at least take the time to *read* it first.

    (Full text of the 1943 Supreme Court decision is available thru
    [removed]+0+0+0&waisaction=retrieve)

    Elizabeth

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

    Date: Sat, 2 Jun 2001 19:55:53 -0400
    From: "Steve Atlas" <slavacotr@[removed];
    To: [removed]@[removed]
    Subject:  Radio Spirits prices

    I must agree with Tom about Radio Spirits' reasonable prices. Even their
    regular prices on 30 hour cassette sets are $[removed] than $2 per hour,
    or $1 per half-hour show. You get 5 percent discount on all orders if you
    belong to their Old Time Radio Club. When you add clearance sales and other
    specials, 24-hour ordering and even a custom-tape service for shows they
    don't regularly stock, plus excellent customer service that has gone the
    extra mile for me, I think Radio Spirits is an excellent and reputable
    source for OTR programs.

    My only regret is that there appears to be no way that regular customers can
    request that Radio Spirits add additional series or individual shows to
    their regular catalog. (For that reason, I am very glad to other dealers who
    carry programs I miss such as many 5-part Yours Truly Johnny Dollar, and
    several Lux Radio Theatre programs (Swanee River, Broken Arrow, and more).

    I love this list and appreciate all the good ideas, valuable information,
    and comraderie that has developed. But please, let's give credit where it's
    due and not waste each other's valuable time unfairly maligning and
    criticizing suppliers when it's simply not true.

    Steve Atlas

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

    Date: Sat, 2 Jun 2001 20:52:50 -0400
    From: leonardfass@[removed] (Leonard Fass)
    To: [removed]@[removed]
    Subject:  memories of arlene francis and wor

    there was only one arlene francis (with that warm, warm smile) and only
    one wor with the warm, warm voices) and we shall never see their like
    again. but didn't miss francis host some radio shows (not the daytime
    serials though i wonder what they were) that we not listed in her obits.

    [removed]

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

    Date: Sat, 2 Jun 2001 21:05:22 -0400
    From: "Art Shifrin" <goldens2@[removed];
    To: <[removed]@[removed];
    Subject:  WOR's 'golden period'

    & let's not forget when Bob & Ray had their hilarious afternoon drive time
    show & Jean Shepherd at night!

    Best,
    Shiffy
    [removed]

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

    Date: Sat, 2 Jun 2001 21:49:57 -0400
    From: Michael Biel <mbiel@[removed];
    To: [removed]@[removed]
    Subject:  Re: Arlene Francis

    From: Udmacon@[removed]

>     ...and let us not forget that Arlene Francis was also part of
>     the golden age of WOR in its early talk radio format: for many
>     years she did a daily one-hour interview show at 1 pm, without
>     relying upon phone-ins.

    I brought a college broadcasting class on tour thru WOR one time while
    she was on the air.  I was very impressed that she was doing the program
    "combo", that is, she was operating her own equipment.  That included
    playing the commercials, opening and closing the mics, riding gain, etc.

    Tonight (Sunday June 3) at 10:30 [removed] and 2:30 [removed] Eastern Daylight
    Time, Game Show Network is airing a "What's My Line" from March 29, 1964
    where she is on the panel with Tony Randall, Dorothy Kilgallen, and
    Bennett Cerf.  John Charles Daly is the host, of course, and Bette Davis
    is the mystery guest (whoops, sorry to spill the beans on that.  Should
    have mentioned that as a "spoiler" message.) :-)

    Michael Biel mbiel@[removed]

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

    Date: Sat, 2 Jun 2001 21:51:27 -0400
    From: "Stephen A Kallis, Jr." <skallisjr@[removed];
    To: [removed]@[removed]
    Subject:  What's "Rights" Right

    Rodney W. Bowcock Jr, speaking of the Mediabay addendum to Napster's
    lawsuits, notes,

>     I for one would think that Carl Amari would be *glad* to have the shows
>     on Napster.  After all, he claims to love OTR right?

    While I am of the opinion that MediaBay is acting in an uncharitable and
    boorish manner, I will grant that if the company does indeed own complete
    rights some of the shows in their offerings, they are entitled to protect
    those shows.  But only those shows.  To the extent they are trying to
    claim rights to any shows that are in Public Domain, either explicitly or
    implicitly, they would be doing something hurtful to the whole OTR
    hobbyist community.  And where they make a point of not revealing which
    of their offerings _are_ in the Public Domain, it appears to me that they
    are making an implicit claim to their rights.

    Now if I found out _for sure_ that MediaBay owned exclusive rights to,
    say, Hop Harrigan, and I wanted to expand my collection of Hop Harrigan
    episodes, I'd buy them from RSI;  if they were in Public Domain, I'd
    comparison shop.

    For what it's worth, many of the Superman cartoons that were in Public
    Domain have been put on videotape; the box indicates that while the cover
    picture is copyright be the releasing company, the contents are public
    domain.  Yet that didn't prevent me from buying them.

    Stephen A. Kallis, Jr.

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

    Date: Sat, 2 Jun 2001 21:51:28 -0400
    From: "Robert Paine" <macandrew@[removed];
    To: "OTR Digest" <[removed]@[removed];
    Subject:  Re: One Man's Family

    Some weeks ago there were several posts concerning One Man's Family. I
    commented on the episode in which Jack, then Lt. Jack Barbour, [removed]
    Infantry, left for the Pacific (as did Lt. Page Gilman, who played Jack for
    the entire run). I think I said something about wondering if that episode
    exists.

    While surfing for info on the late news anchor Robert Trout, I came across
    information that a recording of the episode does exist.

    I don't think I'll try to get it [removed] read the script I think it
    would be too poignant for my taste. But it is good to know it's out there.

     Macandrew

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

    Date: Sat, 2 Jun 2001 22:54:02 -0400
    From: Dennis W Crow <DCrow3@[removed];
    To: OTR Digest <[removed]@[removed];
    Subject:  Arlene Francis

    Arlene Francis has been a favorite of mine ever since I was a teenager.
    Though I have copies of many of her radio shows, I remember most her
    appearances on "What's My Line," which always came on at 10:30 [removed] on
    Sunday.  It was for me my last taste of freedom before a school or work
    week. I admired her humor, her grace, her theatrical presence without a
    hint of pretension, her intelligence, and her charm.  She had a unique
    sense of style, which few other  celebrities could emulate.

     She was proud of her WOR radio show, which Bill Knowlton talked about
    yesterday, and enjoyed being recognized for her interviewing skills.  Folks
    should remember that Arlene Francis pre-dated Barbara Walters with her
    "Home" show and truly pioneered the magazine style program. She liked just
    about everybody, and even indexed names of friends in her book,  which she
    didn't mention in the main text,  just so they wouldn't get their feelings
    hurt.

    Her kindness registers with you, and if you ever saw her in person as I had
    a chance to do, that's what you remember most about her---- her great
    topical wit, and the love of people which inspires it.

    Arlene Francis' autobiography, ARLENE FRANCIS: A Memoir by Arlene Francis [
    with Florence Rome],   (Simon and Shuster, 1978) is a "must read" by
    anybody wanting to know what working in old radio was really like. She
    called herself "overemployed" during her radio period, "but the busier, she
    was, the busier [she] liked it." ([removed])

    Arlene Francis did it all.  She was in radio, movies,  theatre, television,
    and on the lecture circuit.  For many, many years, she was virtually a
    "household" name.  When you consider how her life ended, out of the public
    eye with the therapeutic  artwork she created while beset with  Alzheimers
    Disease, the last line of her book is a poignant reminder of what Arlene
    Francis was really about.  She wrote in 1978, "As I see life now, it is a
    constant discovery along a road, and I look eagerly forward to the rest of
    the journey." (p. 198)

    How lucky all of us are  to have been part of Arlene's journey.

    Dennis Crow

    --------------------------------
    End of [removed] Digest V01 Issue #165
    *******************************************

    Copyright [removed] Communications, York, PA; All Rights Reserved,
      including republication in any form.

    If you enjoy this list, please consider financially supporting it:
       [removed]

    For Help: [removed]@[removed]
    To Unsubscribe: [removed]@[removed]

    For Help with the Archive Server, send the command ARCHIVE HELP
      in the SUBJECT of a message to [removed]@[removed]

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

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