Subject: [removed] Digest V01 #202
From: <[removed]@[removed]>
Date: 6/24/2001 12:09 PM

To: <[removed]@[removed];

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

                          The Old-Time Radio Digest!
                             Volume 01 : Issue 202
                       A Part of the [removed]!
                               ISSN: 1533-9289

                               Today's Topics:

     Old Radio Series Theme Discovered!   ["jstokes" <jstokes@[removed];    ]
     Re: Cary Grant, Jimmy Cagney, et al, ["Mary Anne Morel" <morel@planetmail]
     RE: Union rules                      ["[removed]" <[removed]]
     Re: Teresa Brewer                    [Merlin Haas <mvhaas@[removed];    ]
     Maybe Nabisco speak with forked tong [John Mayer <mayer@[removed];        ]
     Quit whipping a "Live Horse"/Matt Se [Don Hunt <ddhunt@[removed];       ]
     Re:Kitty and Matt                    [Don Hunt <ddhunt@[removed];       ]
     Cassettes of OTR                     ["Jeff Geddes" <jeffg@[removed];]
     Wells Fargo Radio Theater Production [Larry Gassman <lgassman@[removed]]
     RE: Union rules                      ["[removed]" <[removed]]
     [removed] and bar owner     ["Ryan Osentowski" <rosentowski@neb.]
     Gunsmoke                             [Dennis W Crow <DCrow3@[removed]]
     Re: Straight Arrow residuals         [garysteinweg@[removed]              ]
     PRIME TIME RADIO                     [OTRChris@[removed]                   ]
     Here, Kitty, Kitty, Kitty ....       ["Stephen A Kallis, Jr." <skallisjr@]

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

    Date: Sat, 23 Jun 2001 21:39:44 -0400
    From: "jstokes" <jstokes@[removed];
    To: <[removed]@[removed];
    Subject:  Old Radio Series Theme Discovered!

    Going through the public library's old LP sales, I discovered the theme to
    the old "Golden Age of Radio Theater" Series, which was hosted by Victor Ide
    (spelling).   And all the while I thought the theme was some obscure cut
    from a pop LP.    Well, it is, in a way.   And for 50 cents!
        It's the very first track on side one, called "Sunset Boulevard
    Concerto," composed by Aldo Provenzano, and played here by the 101 Strings
    with guest pianist Heinrich Heineman, from the Alshire album CONCERTO'S USA.
    Yep, they are all around three minute "piano concertos."   :)   Very nice,
    if you are into this kind of higher class schmaltz, as I am.   It's several
    notches above elevator music because of its scoring and pretty good
    melodies.
        Cut 1, Side 1 is the only track I recognize, although the rest quite
    possibly were used for cue music.   The whole album has that air of
    re-packaged production library cuts.   For instance, there are two songs by
    Bernie Wayne, a New Yorker noted for his production and advertising music.
    And Joseph Kuhn also rings a distant bell as a production music composer.
        Ahhhh, I can see the scene now to this kind of music.   She's standing
    in silhouette, high on a hill in Central Park, with Manhattan in the
    background, as the titles go by -

                          JIM STOKES PRESENTS

                   THERE'S DANGER IN ROMANCE

         Nah, I've already go my music scored for TDIR.  :)

    Cheers!

    Cut/Print!

    Jim Stokes
    NaturaLite Productions

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

    Date: Sat, 23 Jun 2001 21:39:50 -0400
    From: "Mary Anne Morel" <morel@[removed];
    To: [removed]@[removed]
    Subject:  Re: Cary Grant, Jimmy Cagney, et al, on radio

    Hello, OTR Members:

    Re the question about Cary Grant's radio appearance in Mr. Lucky, I  heard
    that program recently on a local radio station. It was a Lux Radio Theatre
    production, and the costar was Laraine Day. Here is a web site listing the
    date it played (Oct. 18, 1943)  [removed] Also see
    a comprehensive list of Grant's radio appearances at
    [removed]

    James Cagney starred often on radio,
    in plays like Angels with Dirty Faces and Next Time We Live (with Olivia de
    Havilland). And of course, Errol Flynn was a popular radio performer,
    reprising his part in Captain Blood for Lux Radio Theatre,  and his original
    roles in Gentleman Jim and The Perfect Specimen (the latter with the gifted
    comedienne, Joan Blondell) for the Screen Directors' Playhouse.

    If you go to [removed] you will find a
    select number of pre-1949 LRT plays that you can listen to on audio. Some of
    the titles include James Cagney in Angels with Dirty Faces, Errol Flynn in
    Lives of a Bengal Lancer, Cary Grant in Only Angels Have Wings, and Humphrey
    Bogart in [removed] don't know who owns the copyright to these programs, so
    you'd better visit the site in a hurry and listen in case it isn't there
    tomorrow!:)

     I used to have a favorite web site to visit that had a lot of Six Shooter
    episodes on audio. Alas, it is no longer there. Sometimes I just hate
    commerce--it seems to take over everything and give nothing back, except at a
    price. Thank God for those who genuinely love OTR and seek to promote it
    without having personal gain in mind.

    Mary Anne Morel

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

    Date: Sat, 23 Jun 2001 21:40:25 -0400
    From: "[removed]" <[removed]@[removed];
    To: <[removed]@[removed];
    Subject:  RE: Union rules

    On Sat, 23 Jun 2001 17:11:19 -0400, "Ed Ellers" <ed_ellers@[removed];
    wrote:

> >     ...and the union people who helped produce the programs--who

    agreed to

> >     produce broadcasts, not _recordings_ --must also approve and be
> >     compensated.

>     But what if (A) all the copyrights have lapsed, and (B) the distributor

    does

>     not have a contract with that union?  I don't see how the distributor

    could

>     be forced to abide by union rules if it does not have either a contract

    with

>     the union or a contract with someone else obligating them to follow

    union

>     rules, and if all copyrights have lapsed the parties that *are* bound by
>     union rules (the network, the producer, etc.) no longer have any say in

    the

>     matter.

    First, all standard disclaimers apply.  This stuff is so complicated that
    intellectual property experts would have to spend many hours sorting it
    out, perhaps for each individual series and episode.

    The situation strikes me as no different from someone filming a play.
    Let's say in 1950 a producer filmed a play he was putting on, then
    tucked the film away for 50 years.  Now, after his death, his children
    decide to release it.  Perhaps the actors knew they were being filmed,
    but unless they signed agreements at the time for the release of the film,
    those heirs have to start from scratch getting authorizations to proceed.
    The actors et al were hired to produce a play, not a film.

    To release a film of that play, you'd need the consent of the playwright,
    the lyricists/composers, the producer, and most of the participants
    (maybe not the stagehands, but who knows?).  Period.  Could someone
    explain to me how most OTR differs?  Syndicated material may, since
    those productions seem to have been mostly strict work-for-hire
    agreements to make recordings, but it sure doesn't look like the network
    stuff would differ.  The participants were hired to make _broadcasts_,
    not recordings.  It appears that in many cases the series "owners" didn't
    even have rebroadcast rights, since at the time the networks wanted
    everything to be live.

    Himan Brown (or perhaps someone close to him) has stated that the
    reason he won't offer cassettes of CBS Mystery Theater is that he
    doesn't have the rights needed to do so.  If a show from the 1970s is in
    that situation, imagine what the situation must be like for most OTR
    programs!

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

    Date: Sat, 23 Jun 2001 21:42:30 -0400
    From: Merlin Haas <mvhaas@[removed];
    To: [removed]@[removed]
    Subject:  Re: Teresa Brewer

    Nathan Hutchins wrote:

>     I was wondering if anyone had any information on the radio appearances of
>     Teresa Brewer(I'm spelling it like it sounds).

          A young Teresa Brewer appears on the Bing Crosby Chesterfield
    Show on both May 9 and May 23, 1951. She has a bad case of nervous
    giggles when making small talk with Bing, but her singing is good.

    best -- Merlin Haas

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

    Date: Sat, 23 Jun 2001 21:42:33 -0400
    From: John Mayer <mayer@[removed];
    To: [removed]@[removed]
    Subject:  Maybe Nabisco speak with forked tongue

    William Harper reported:

>     When we began publishing [removed] were advised by NABISCO
>     that they owned the rights to Straight Arrow.

    While they probably own the rights to the radio shows, it's entirely
    possible they have lost Trademark protection for the name Straight
    Arrow. I believe trademark rights must be "vigorously defended" to
    remain in effect. Familiar product names that have become part of common
    parlance like, for example, Xerox™, would cease to be protected if it
    could be shown the company had allowed generic use of the word to pass
    unchallenged (try referring to a soft drink as a "coke" in a newspaper
    article and see if you don't get a friendly reminder from a certain
    Atlanta firm). Also, Trademark rights can be lost if the mark is not
    used for an extended period (I seem to recall it's seven years, but I
    could be way off; no doubt Mr. Kallis or some other real lawyer in this
    group will correct me). I certainly have seen little of Straight Arrow
    in recent years, though I would be delighted to once again find
    Injun-uity™ cards, likely with a more PC title, in my shredded wheat.

    If, as I suspect, Nabisco™ has failed to make any use of the character's
    name for a long while, the trademark may be up for grabs; one could
    argue, since you are still actively celebrating the character, that you
    would have a greater right to it than do they. Remember, unlike
    Copyright, it's not enough that they have used it in the past with the ™
    designation, or even that they once registered it (®). They must have
    been actively using the mark within recent years. If not, then it is
    considered abandoned and you, or whoever comes along first, could use it
    and gain your own trademark protection for the name for purposes related
    to entertainment (you can already use it for non-competing products,
    like maybe a wheel-alignment device). You could not, however, use
    Straight Arrow's original image nor, of course, the radio scripts as
    these would remain protected by copyright.

    You can do some preliminary research as to the present status of
    Trademarks (rated as LIVE or DEAD) on the internet; one site is
    <[removed];state=[removed];, at the US
    Patents and Trademarks Office, where I failed to find Nabisco as the
    holder of any of the several LIVE Straight Arrow trademarks. There was,
    interestingly, an abandoned trademark for "Straight Arrow, an American
    Indian Boy," apparently a CD title, which was first trademarked in 1996.
    Naturally, you'll want to consult an intellectual properties lawyer at
    some point, but wouldn't it be fun to own the trademark to the name
    Straight Arrow yourselves?

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

    Date: Sat, 23 Jun 2001 21:43:24 -0400
    From: Don Hunt <ddhunt@[removed];
    To: [removed]@[removed]
    Subject:  Quit whipping a "Live Horse"/Matt Sevetic

     Punned inference to The Humane Society aside-i, along with many others-both
    here and elsewhere are ready to have done with Mr. Amari. We can utilize all
    the space  we want to here with CA,. RSI, ABC and WXWZZZ-nothing is going to
    change-as far as i'm concerned. Only the Rhetoric(hot air).Everone will
    continue to do their thing.
     Can anyone tell me if there exists-on video-the 1950 Warner Bros. film "I
    Was A Communist For The FBI",which starred Frank Lovejoy. I understand that
    from this property were spun the radio version which starred Dana Andrews as
    "Matt Sevetic" and it's Tv offspring starrng Richard Carlson.
     Also, was the motion picture ever aired on radio? Screen Director's
    Playhouse, Screen Guild Theater,[removed]
     And, finally, if so-do any of these shows exist?
     Thanks.
     Don Hunt.

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

    Date: Sat, 23 Jun 2001 22:28:27 -0400
    From: Don Hunt <ddhunt@[removed];
    To: [removed]@[removed]
    Subject:  Re:Kitty and Matt

    Even though i was "wet behind the ears" or perhapes suffering from "water on
    the brain" while listening to "Gunsmoke" on the radio and watching the tv
    version in their initial runs in both mediums-many years later i wised up to
    the fact that Kitty Russel was (1) was the Owner of " The Long Branch" or
    "Texas Trail"-depending on what fence you are sitting (2) this was A
    Brothel-the polite term And (3) by virtue of the fact that she ran the show
    "Miss Kitty" was really a "Madam" and as business was-usually, very good she
    had no need to advertise her physical attributes for one-on-one transactions.
    The obvious implication here is that she had worked her way up the ladder to
    the point where she had earned a place of respectability not only among her
    peers but with the ladies of Dodge City-at least, commercially.
    I have never been known as slow or dim witted, but i guess i was in my ealy
    30's when i figured all of this out. Does this strike a chord with anyone out
    there? Matt and Kitty, obviously, had an "Understanding" on a strata of
    levels. I own and listen to Radio Gunsmoke episodes alomost daily. And i
    frequently catch the reruns on tv-especiallty the one hour color jobs from
    the latter years. It appears to me that this relationship was much more
    developed on tv than radio. The two or 3 times that Matt went to Kitty's room
    -on radio-it was for esoterical purposes. But then the listener can draw his
    or her own conclususions as to what may have transpired-off the pages of the
    script.
    Don Hunt

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

    Date: Sat, 23 Jun 2001 22:28:44 -0400
    From: "Jeff Geddes" <jeffg@[removed];
    To: [removed]@[removed]
    Subject:  Cassettes of OTR

    Hi all!

     I just have a general question that crossed my mind today regarding trading
    OTR on [removed]

     I was wondering, when you make copies of cassettes, after how many cassettes
    down the line do you start to notice a difference in quality from the master
    recording?

     Any comments (both scientific or theoretic :) are welcome!

    Thanks!

    jeff

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

    Date: Sat, 23 Jun 2001 22:44:52 -0400
    From: Larry Gassman <lgassman@[removed];
    To: [removed]@[removed]
    Subject:  Wells Fargo Radio Theater Production

    Hi all,
    The Wells Fargo Radio Theater has been a part of radio since 1979.
    They began on KMPC after having been discovered at a party which had Gene
    Autry in attendance.  They do 3 or 4 shows a year devoted to new time radio.
    They also left KPCC when our show was dropped in March of 2000.
    We hope to have news of a new home for this fine group shortly.
    They have a program coming up for those of you in the Los Angeles Area.
    Please read on, and if you are in the area, please make sure you drop by.
    Larry Gassman

    The Autry Museum of Western Heritage presents

    Mitzvah on the Mesa

    Saturday, June 30, 2001 - 4:30 and 7:30 [removed]
    In 1869, Solomon Bibo, a devout Jew and son of a cantor, fled anti-Semitism
    in Prussia for the opportunities and freedom he heard about in the United
    States. With an affinity for languages and an eye on humanity, he fought
    for the rights of the American Indians to keep their land in New Mexico. He
    gained the love and respect of the Acoma tribe, who fondly called him Don
    Solomono. In 1885, he married the granddaughter of the chief, and shortly
    thereafter he was appointed pueblo governor, the Acoma equivalent of tribal
    chief.

    Written by: Lori Street-Tubert and Richard Rico Freedman Artistic
    Directors: Rosemary Alexander and Newell Alexander

    Executive Producer: PamelaVanclerway

    Directed by: Lori Street-Tubert Live Sound Effects: David L. Krebs

    Publicist: Rebecca Gilchrist

    Featuring music by Rick Cunha and the Western Heritage Band Featuring
    Marcelo Tubert, Zahn McClarnon, Sandra Horse, Loren Lester, Michael Horse,
    Mitch Carter, Richard Cansino, Sheryl Bertstein, Michael Gough,
    and Newell Alexander

    Wells Fargo Radio Theatre provides a showcase of live radio drama and
    brings to audiences that special delight of "theatre of the imagination."

    In February 2002,The Autry will present a major exhibition, Jewish Life in
    the American West Generation to Generation, that will explore the unique
    experiences of Western Jews and demonstrate - to both Jews and non-Jews -
    the common threads that tie together all cultural groups who have passed
    through and planted roots west of the Mississippi.

    Your Window Into the Went

    Wells Fargo Theatre Autry Museum of Western Heritage

    4700 Western Heritage Way (in Griffith Park across from the LA. Zoo)

    Ample free parking Reservations and information: [removed], ext. 243
    General admission: $17 - Autry Museum members: $12 Includes refreshments
    with the cast following each performance

    A Prank Production
    it a

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

    Date: Sat, 23 Jun 2001 23:44:28 -0400
    From: "[removed]" <[removed]@[removed];
    To: <[removed]@[removed];
    Subject:  RE: Union rules

    On Sat, 23 Jun 2001 17:11:19 -0400, "Ed Ellers" <ed_ellers@[removed];
    wrote:

> >     ...and the union people who helped produce the programs--who

    agreed to

> >     produce broadcasts, not _recordings_ --must also approve and be
> >     compensated.

>     But what if (A) all the copyrights have lapsed, and (B) the distributor

    does

>     not have a contract with that union?  I don't see how the distributor

    could

>     be forced to abide by union rules if it does not have either a contract

    with

>     the union or a contract with someone else obligating them to follow

    union

>     rules, and if all copyrights have lapsed the parties that *are* bound by
>     union rules (the network, the producer, etc.) no longer have any say in

    the

>     matter.

    I got carried away the first time and forgot to try to answer the question.
    <g>  It seems to me that those contracts remain in effect regardless of
    who owns the copyright or if the _script_ has lapsed into the public
    domain.  The recordings themselves, if public domain, might lapse the
    contracts.

    Perhaps that's the way RS is viewing it.  In many cases they seem to be
    basing their claims to ownership on negotiating the rights to the
    unpublished scripts and ignoring the copyright status of the recordings.
    Recordings were not subject to copyright prior to about 1970.  But are
    most OTR recordings truly public domain?  After all, most weren't
    "released" prior to 1970.  Aren't they more like unpublished written
    works that have been passed around among a handful of collectors (in
    which case they'd probably still be eligible for copyright protection)?

    A legal quagmire.

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

    Date: Sun, 24 Jun 2001 00:22:58 -0400
    From: "Ryan Osentowski" <rosentowski@[removed];
    To: "old time radio" <[removed]@[removed];
    Subject:  [removed] and bar owner

    Hello all:
    To correct a statement that John made in the last post, Kitty did own the
    Long Branch later in the radio series.  She and Sam, the bartender, were
    co-owners.  She was a bar hostess in the earlier shows, but her buying of
    the bar coincided with the time that the television program came along.
    RyanO

    "It don't matter how a man [removed]'s how he lives that's important."
    CPT. Augustus McCrae "Lonesome Dove"

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

    Date: Sun, 24 Jun 2001 00:42:03 -0400
    From: Dennis W Crow <DCrow3@[removed];
    To: OTR Digest <[removed]@[removed];
    Subject:  Gunsmoke

    I have recently been  re- listening to "Gunsmoke,"  my favorite radio
    western.

    There are many reasons why critics think it was such a good program. Most
    of these reasons focus on the quality of the acting, quality of the
    scripts, the lack of superficiality,  the compelling nature of the stories
    themselves. The history is good and supports the program's content well.

    That these are all true is accepted by most fans of the show.  In my
    opinion, something else sets "Gunsmoke" apart.  The supporting players
    formed a solid, cohesive repertory company.  While not appearing in all of
    the shows, Harry Bartell,  John Dehner, Lawrence Dobkin, Vic Perrin, and
    others, returned time and again in different roles, sometimes playing the
    villain, sometimes playing the victim, but always believable in whatever
    assignment they were given.  This is much harder than performing the same
    character in every episode.  This company of actors is so good, you forget
    you are hearing the same people week after week. The voices are
    recognizable, but the actor's artistry of characterization overwhelms
    everything else.  You forget you are hearing the same actor you heard last
    week  in a different role.  The story simply engulfs you.

    You accept the variety of an actor's range when you hear him, across the
    dial, in a number of different radio programs. But when the actor is in the
    same serial  western, week after week, in a different role each time he
    appears, he has to be good to make you focus on the character he plays at
    the time,  and forget who else he's been on the same show.

    Such for this amateur critic is the experience of "Gunsmoke".

    Dennis Crow

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

    Date: Sun, 24 Jun 2001 13:55:21 -0400
    From: garysteinweg@[removed]
    To: [removed]@[removed]
    Subject:  Re: Straight Arrow residuals

>     "Lois Culver" <lois@[removed]; writes:
>     If anything, Nabisco should be getting compensation for
>     the use of the show, as it is their property.

    I collected Injun-nuities (shredded wheat bisquit dividers
    with some sorta survival and or camping idea written on
    them) for several years.  Sure wish I had them now.  I'm
    sure they're collector items (if any still exist).

    I also owned several square inches of land in Canada (or
    Alaska, I can't remember which) which was a give-away
    gimmic by Nabisco around that same time for the Sgt
    Preston of the Yukon Mounted Police radio program.
    That's lost too, I'm afraid.

    	Gary in Sandy Eggo

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

    Date: Sun, 24 Jun 2001 13:55:23 -0400
    From: OTRChris@[removed]
    To: [removed]@[removed]
    Subject:  PRIME TIME RADIO

    In television today we often hear the phrase "Prime Time" .  It refers to the
    broadcast networks evening schedule of programs .  It has long been
    established  as 8-11pm
    Monday -Saturday  and 7-11PM Sundays.  It might help you to know that until
    around 1971 the networks began their  evenings at 7:30 .  One half hour
    earlier .
    It was the FCC that basically made prime -time what it is today . The FCC
    ruled that the stations in the 50 largest markets could only schedule 3 hours
    of network service between the hours of  7-11PM . Stations carrying the
    network news at 7pm were granted an OK to contine doing so . However, that
    meant that the network service each  night would be 7:30 -10:30 or  8-11PM .
    For awhile each night and each network varied until the 8-11pm time was
    established  as the schedule to be used.
    This now brings us to radio . Radio didn't quite have such an established
    "Prime Time".  Between 7 and 7:30 you usually heard  15 minute serials (Amos
    n Andy , Myrt and Marge )  or  musical shows  ( Fred Waring , Perry Como ,
    Harry James ).
    At 7:30  you had three nights a week THE LONE RANGER . The networks at
    various times offered some big time shows at 7:30 . However, most of the BIG
    shows aired between 8:00 and 10:30 PM .  I read an article once from the late
    30s  that was all about radio at 10:30pm . Apparently up until that time
    10:30 PM had been a hard sell
    for the networks . They slowly began introducing programs into this time
    slot.

    Forward  again to today .  We have already mentioned that  Prime TIME TV is
    presently  8-11 PM . That is more correctly applied to the Eastern and
    Pacific Time Zones as everywhere else 7-1Opm  is utilized. In the 50s and 60s
    the mountain time zone stations had a more complicated schedule . They
    received the network feed of evening shows from 5:30 -9pm . Many a time they
    would take the feed as is and show a movie at 9PM and other times they would
    delay the first hour and play it back at 9pm local time. Eventually when all
    stations had at their disposal Video tape machines it became standard
    practice to delay the network feed one hour  to have a 7-10pm prime time
    pattern.
    Now what does this all have to do with old time radio ?  I just wanted to
    show how the network scheduling pattern evolved over the years so that I can
    further show how the pattern worked during the days of Old Time Radio.
    Specifically within regard to stations on the west coast since we have had
    all this discussion of was or was there not a west coast feed.  Many are
    under the illusion that each show  did a seperate west  coast performance so
    that the same network schedule could be used on the west coast as that used
    on the east coast.  This is not true as only some shows had a seperate west
    coast broadcast. West coast stations in the pacific time zone
    during the days of OTR   sort of used the same prime-time schedule as that
    utilized by TV stations in the cental and mountain time zones during the
    1960s (ie 6:00 PM to  9:30 or 10PM  ) . The programs did not even have to be
    heard in the same order in which they were heard back east only that they
    were heard between the hours mentioned.
    So for example on a west coast CBS  station  on a given Monday night you
    could hear :

    6PM  LUX RADIO THEATER            (9PM EAST )
    7PM  MY FRIEND IRMA                 (10PM EAST)
    7:30   SCREEN GUILD  PLAYERS  (10:30  EAST)

    You noticed that the shows just listed were obviously one performance
    programs
    as they were heard three hours earlier out west .
    Now the following shows obviously were performed again for the west coast or
    at the very least recorded for a later playback on the west coast.
    8:00 Lowell Thomas                        (6:45  EAST)
    8:15 Jack  Smith                            (7:15   EAST)
    8:30 Arthur Godfrey Talent Scouts   (8:30  EAST )
    9:00 INNER SANCTUM                   (8PM EAST)

    On this particular Monday Night CBS allowed the 9PM show to go out to the
    west coast at 6pm.  NBC on the other hand  had at 9PM EST The Telephone Hour
    .This did  not go out to the west at 6PM but rather was done again for the
    west at 9PM
    west coast time. This is to illustrate that in the days of radio a program
    may not have even  had the same competition on both coasts.

    Anyways I  know this is all trivial but when  we have had  many disagreements
    on whether or not SUSPENSE on a given night had a seperate  west coast show
    I figured it might be interesting to go over  all this.
    By the way I had stated before that on the night that Sorry Wrong Number was
    first heard on SUSPENSE  the program was airing Tuesday Nights at 9:30 PM . I
    contend that the show was heard out west at 6:30pm .
    It should be mentioned that at that time SUSPENSE was up against FIBBER MCGEE
    AND MOLLY on NBC .  Tom Price the FM&M expert will confirm that FM&M  were
    heard Tusday Nights at 6:30 PM out west.

    -Chris

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

    Date: Sun, 24 Jun 2001 13:55:37 -0400
    From: "Stephen A Kallis, Jr." <skallisjr@[removed];
    To: [removed]@[removed]
    Subject:  Here, Kitty, Kitty, Kitty ....

    Harry Machin, Jr., speaking of Miss Kitty's possible profession in the
    OTR version of Gunsmoke, noted,

>     On the topic of prostitution in Dodge City (Gunsmoke), I never heard
>     any radio episode that indicated Kitty was "for hire."

    If it comes to that (and admitting that all of us missed more than we
    heard back then), I never heard _any_ OTR show back then that indicated
    that a lady was "for hire."  Now it is possible that for some drama, this
    might have been a possible story, but people were highly circumspect in
    Radio's Golden Age.

    Stephen A. Kallis, Jr.

    --------------------------------
    End of [removed] Digest V01 Issue #202
    *******************************************

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