Subject: [removed] Digest V2001 #368
From: "OldRadio Mailing Lists" <[removed]@[removed];
Date: 11/15/2001 8:50 AM
To: <[removed]@[removed];

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


                            The Old-Time Radio Digest!
                              Volume 2001 : Issue 368
                         A Part of the [removed]!
                                 ISSN: 1533-9289


                                 Today's Topics:

  Brand New OTR!                        [ ilamfan@[removed] ]
  Re: Lockheed Sponsored Program        [ OtrHerb@[removed] ]
  75 years ago [removed]                 [ "Cumming, Alec (NBC)" <[removed] ]
  NBC Radio's Monitor                   [ Jim Widner <jwidner@[removed]; ]
  Recouping your OTR investment         [ ilamfan@[removed] ]
  Great Gildersleeve Episode            [ Tommy Hoover <tlevare@[removed]; ]
  Temple of Vampires                    [ "bill Scherer" <bspro@[removed] ]
  Re:Harders                            [ TedOTR@[removed] ]
  A Lost Art?                           [ "Stephen A Kallis, Jr." <skallisjr@ ]
  Hoarders                              [ TedOTR@[removed] ]
  Lone Ranger & Cheerios                [ "William Harper" <whhsa@[removed] ]
  Re: Setting The Record Straight       [ OTRChris@[removed] ]
  New Fort Laramie Information          [ "Stewart Wright" <stewwright@worldn ]
  Re: Airchecks                         [ "Philip Chavin" <philchav@[removed] ]
  MP3                                   [ "Ian Grieve" <ian@[removed] ]
  A reply to part of the "General Mana  [ "Jan Bach" <janbach@[removed]; ]
  "The Evil Hoarders" - What Would You  [ "Ian Grieve" <ian@[removed] ]
  Charlie McCarthy wanted               [ "Martin Grams, Jr." <mmargrajr@hotm ]
  Garry lewis/Cheerios & Lone Ranger    [ lynn wagar <philcolynn@[removed]; ]
  "The Reports of Its Death Are Greatl  [ Wich2@[removed] ]

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

Date: Wed, 14 Nov 2001 18:38:15 -0500
From: ilamfan@[removed]
To: [removed]@[removed]
Subject: Brand New OTR!

There are some wonderful brand-new Audio Drama shows
around at
[removed] .  One of my absolute
favorites is "Doc Warlock",
a 1930's mystery/horror/detective pastiche - there are 5
episodes there,
each about 3 minutes long, and a complete joy to listen
to!  I think this is
a great site which gives new producers of OTR a nice
outlet.  They also have
a handful of real OTR shows to listen to.

Stephen Jansen


[ADMINISTRIVIA: Obviously, it isn't OTR, since it ain't old. But it _is_ MAD
(Modern Audio Drama).  --cfs3]

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

Date: Wed, 14 Nov 2001 18:38:56 -0500
From: OtrHerb@[removed]
To: [removed]@[removed]
Subject: Re: Lockheed Sponsored Program

In a message dated 11/13/01 2:02:33 PM Mountain Standard Time,
[removed]@[removed] writes:

Seven or eight years ago I heard a radio show you'd love.  I cannot
remember the name of it, though it was sponsored by Lockheed. I don't know
if it was a one time show or a series.  Unfortunately I have completely
forgoteen the name of the show. It was hosted by Orson  Welles

I beleve this may have been from the series "Ceiling Unlimited," which was
sponsored by Lockheed. Just received three of these, one from 1944, but
haven't had a chance to listen to it.
Herb Cramer

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

Date: Wed, 14 Nov 2001 18:39:01 -0500
From: "Cumming, Alec (NBC)" <[removed]@[removed];
To: <[removed]@[removed];
Subject: 75 years ago [removed]

In a broadcast from the Grand Ballroom of the Waldorf-Astoria, where the
Empire State Building now stands, a radio network was kicked off with a 4
1/2 hour extravaganza. ìBeginning tonight you will receive a new thrill in
radio.î proudly announced NBC's first president, Merlin H. Aylesworth.
ìThink of it! Ten or maybe even 12 million persons may be hearing what takes
place in this ballroom tonight!î

According to the next day's New York Times, more than a thousand of New
Yorkís most glamorous society and show business figures witnessed this
"spectacular program", carried by twenty-five affiliate stations in
twenty-one cities, heard as far west as Kansas City. (Elizabeth, feel free
to correct me on this!) It was estimated that half of the nationís
approximately 4 - or 5? - million radio sets were tuned in, but that, of
course, is a wild guess.

Appearing on the show was Walter Damrosch and the New York Symphony
Orchestra, Metropolitan Opera star Titta Ruffo, Weber and Fields, the
Goldman Band, Ben Bernie, Vincent Lopez, B. A. Rolfe, and George Olsen;
soprano Mary Garden sang ìAnnie Laurieî from Chicago (as she battled
feedback problems), and Will Rogers did his current act from backsage
dressing room in Independence, Kansas. If you all know this stuff already,
forgive me.

Next May, there will be a 75th Anniversary TV special (live from 8H, if all
goes as planned), and a book is due out around then as well; but the real
anniversary is today, and so I'd like to [removed]

Happy 75th, NBC!!

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

Date: Wed, 14 Nov 2001 19:16:02 -0500
From: Jim Widner <jwidner@[removed];
To: [removed]@[removed]
Subject: NBC Radio's Monitor

The old NBC Radio Monitor program has been spoken of fondly in this digest
before. Here is a link to a web site dedicated to its memory. Includes
sound files for download, history, sample program logs and more.

[removed]

Jim Widner
jwidner@[removed]

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

Date: Wed, 14 Nov 2001 19:50:11 -0500
From: ilamfan@[removed]
To: [removed]@[removed]
Subject: Recouping your OTR investment

     S A Wells recently posted a fictitious tale about
buying a batch of "I Love A Mystery" shows, dubbing
them, and outlaying $8,000 to do so.  He asks what to do
with these remastered recordings, knowing that they
could be quickly turned into mp3's and distributed for
free over the internet, resulting in a LOSS of $8,000
(and lots of time and effort!).
     I thought of quite a few possibilities:
     First off, take advance orders.  Even an unknown
dealer will have takers on "new" ILAM episodes.  Make
sure that everyone who orders knows beforehand that NO
COPIES will be sent out until the original $8,000 has
been reached.  If that amount does not get reached,
everyone's checks are returned, and no one gets
anything.  "We're just 10 people short, tell your
friends to order, so everyone can enjoy these shows!"
     Also, the first release could be original, with no
audio cleanup.  This leaves people who will pay again
later, for the restored/clean copies (since they bought
the first time, they could get a price break on this new
set!).
     Or leave out a key episode - after copies of the
first set have circulated, advertise the new "FULL SET -
WITH PREVIOUSLY MISSING EPISODE!".
     Or release several volumes, with lots of overlap:
CD1 has episodes 1-12, CD2 has episodes 8-20, etc,
etc.
     The record industry has depended on these same
tricks to make more money form a single "new" song for
years and years.  I always hated it, frankly, but times
have changed, and with the advent of the internet,
marketing now needs to be structured something like this.
     Maybe insert an audio reminder in the middle of an
episode - "This recording was remastered by S A Wells,
if you bought this from a dealer other than me, contact
me for a free rare OTR show."  The bootleg buyer calls
for some free OTR, you get the name of the bootleg
dealer, and then call him up asking "Why are you selling
my shows?".  Those mp3 traders (myself included) make
copies without listening plenty often, and trying to
remove such a message sounds suspiciously like WORK.
     My favorite idea is to make lots and lots of sharp
looking and sounding copies, and then sell them
extraordinarily cheap, so it just doesn't pay for
someone to wait for a download, and they get a nice
package/graphics, too.
     Shawn, you darn well better put me at the top of
your list, if you've got any new "I Love A Mystery"
shows!  Hope these suggestions help.

Stephen Jansen

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

Date: Wed, 14 Nov 2001 20:56:49 -0500
From: Tommy Hoover <tlevare@[removed];
To: [removed]@[removed]
Subject: Great Gildersleeve Episode

I received a telephone call from a lady who is looking for a Great
Gildersleeve episode for a handicapted relative. He is unable to
communicate very well, but he remembers that the episode he is looking
for is one in which Leroy is in a mud puddle and everyone is trying
to get hime out.  If anyone has any information about this episode
I would greatly appreciate it.

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

Date: Wed, 14 Nov 2001 20:56:59 -0500
From: "bill Scherer" <bspro@[removed];
To: "" old-time radio digest ">" <[removed]@[removed];
Subject: Temple of Vampires

Hi all,
A few years ago Adventures in Cassettes put out a recreation of Temple of
Vampires--I think this is true anyway. <g>
I am wondering if anyone knows where I can either purchase a copy or trade
for one or anything else I can do to get one for my 2 boys.
I played them a part of an original episode that I had from the series and,
of course, they want to hear more.
Thanks in advance for any help.
Bill

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

Date: Wed, 14 Nov 2001 21:02:23 -0500
From: TedOTR@[removed]
To: [removed]@[removed]
Subject: Re:Harders

Chris writes:
In  regard to the ILAM wherein an investment of 8,[removed] dollars was made
and an owner would not want the recordings produced  enmasse thus making
his investment worthless.
This is a valid concern . That is why you would offer to make it available
to a buyers network . In otherwards you offer to make it available for
$[removed] as long as 200 people are interested in purchasing.

This is exactly what I did.  I was offered 44 uncirculating shows of FU
MANCHU, but the price was $1,[removed]  I started a round robin for the
material at $[removed] each.  When I had 20 people signed up, I realeased the
material.  I got my investment back, and the new material was now in
circulation.  If I hadn't done it that way, I would never have recovered my
investment.  As soon as I released the material to the round robin members it
was only a matter of days before it was on the net for download.  That is why
I "sat" on the material until enough people had signed up for the round
robin.

Ted Davenport
Radio Memories

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

Date: Wed, 14 Nov 2001 21:01:56 -0500
From: "Stephen A Kallis, Jr." <skallisjr@[removed];
To: [removed]@[removed]
Subject: A Lost Art?

Hugh DiIorio observes,

I wanted to chime in with a couple of thoughts about this thread. TV is
how we get dramatic entertainment into our homes early in the 21st
century. The few thousand OTR fans can promote dramatic radio until the
_next_ millennium and/or they turn blue. The reality is that OSR radio
will never be a viable mass medium again.

I remember a time when television, computers, video games, and the like
led to the assertion that today's children would stop being entertained
by reading.  Then came Harry Potter.  The author of that series is one of
the wealthiest women in England.

What is necessary to breathe life into OSR is capturing the imagination
of the listeners.

... let's never fool ourselves that non-fans will ever care.

I respectfully disagree.  But there's a catch.  As a sergeant once told
his new lieutenant when the latter asked why his soldiers didn't show
more initiative, "Sir, you can't push a string."  Likewise, if OSR is
ever going to be something new listeners would care about is to create
something they would find attractive, and place it at a time where it
won't compete significantly with the dominant medium.

I've heard a lot of contemporaneous American radio drama.  The acting
is uniformly terrible. Radio acting seems to be like those 17th century
violin varnishes we can no longer formulate. The art is lost.

Well, here is where the current and future generations have an
extraordinary advantage over violin makers: we have tens of thousands of
recordings of OTR shows to use as reference.  Plus there are still a few
professional folk from that era still among us.  So we have all the
ingredients to enable those who wish to re-energize that art.

True, some actors have made a stab at OSR, but not because of
professional aspirations.

Stephen A. Kallis, Jr.

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

Date: Wed, 14 Nov 2001 21:02:28 -0500
From: TedOTR@[removed]
To: [removed]@[removed]
Subject: Hoarders

Obviously I meant "hoarders" instead of "harders"

Ted Davenport
Radio Memories

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

Date: Wed, 14 Nov 2001 21:02:53 -0500
From: "William Harper" <whhsa@[removed];
To: [removed]@[removed]
Subject: Lone Ranger & Cheerios

Dear Lone Ranger Fans ~ do not despair!  I called Big G (General Foods) and
they told me that nestled between a combo buy of Cheerios is the Lone Ranger
"Lunch" Box.  The promo began November 1 and as they like to get the old off
the shelves it may be a while before it reaches your market. You can call
and express your concern:
1-800-328-1144
7:30 am - 5:30 pm CST weekdays
Or talk to the store manager at your favorite grocery.
Manituwah,
Bill

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

Date: Wed, 14 Nov 2001 21:04:15 -0500
From: OTRChris@[removed]
To: [removed]@[removed]
Subject: Re: Setting The Record Straight

 The reality is that OSR radio will never
 be a viable mass medium again. But let's never fool ourselves that
 non-fans will ever care.

I agree and disagree.  It will never be a mass medium with the kind of
ratings of any popular TV  program . But I do believe it could be viable with
respectable ratings.
The CBS Mystery Theater  , for awhile,   was garnering  1 million listeners
an evening.  Admittedly there  were some gems on this show . However,  some
of the stories could have been vastly better.  I often wonder how many  more
listeners could have been captured  if  the show had been more consistently
good.
Hughs   thoughts on  modern radio drama are very valid .

(  The acting is uniformly terrible.   Actors in modern radio dramas sound
like they're reading. Does modern radio drama leave
 anyone else cold?)

That being the case do we really expect that  radio drama would catch on
today ?
I say not. In addition the stories that are being told today do not have mass
appeal .
The same story would not  get  a large audience on TV .

What if at this moment   Disney radio broadcast  a slickly produced  13 part
series of 30 minute  dramas  based on the Harry Potter books as a companion
to the movie ----do you think a decent size  audience could be achieved for
that half hour?  I  do !
It wouldn't be a staggering  size but I bet it would beat the CBS Mystery
Theater ratings.

Again Just my thoughts .

-Chris

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

Date: Wed, 14 Nov 2001 21:04:36 -0500
From: "Stewart Wright" <stewwright@[removed];
To: <[removed]@[removed];
Subject: New Fort Laramie Information

        Recently, I made a trip to Wichita, KS.  While there I had the
opportunity to visit the Wichita State University library and  take a look
at some of the radio scripts in the Kathleen Hite Collection.

        Included in the Collection are 21 of the "Fort Laramie" scripts that
were written by Kathleen Hite.  Most scripts had the cover page with cast,
crew, and schedule information.  (I was allowed to make copies of the cover
pages.)  There were also some draft copies of scripts that had annotations
by Kathleen Hite.  They also had a script, "Little Girl," that was
originally written by Miss Hite for "Fort Laramie," but was never produced
for or aired on that series.  "Little Girl" was later aired on "Gunsmoke"
07/03/1960.  The main character's name was Patience in the "Fort Laramie"
script as opposed to Charity in the "Gunsmoke" script.

        I found some interesting information regarding the spelling of the
last names of two of the main characters in the series:  Sgt. Goerss and Lt.
Seiberts.  Most OTR books and logs use the preceding spelling for those
characters.  In all 21 of the Hite scripts, the spelling used for Vic
Perrins's character was "Gorce" not Goerss and for Harry Bartell's character
the spelling was "Siberts" not Seiberts.

        Since there were scripts written by other writers for "Fort Laramie"
and I haven't seen most of them, it is possible that those writers could
have used other spellings for the characters' names.  Only one of these
scripts, "The Coward" written by John Dunkel, was in the Collection and it
uses the same spelling for Gorce and Siberts as the Kathleen Hite scripts.

Signing off for now,

Stewart Wright

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

Date: Wed, 14 Nov 2001 21:39:42 -0500
From: "Philip Chavin" <philchav@[removed];
To: [removed]@[removed]
Subject: Re: Airchecks

    In #362, Larry Evans informed us about Tom Konard's Aircheck Factory and
gave Tom's postal mailing address.  Well, I decided to do some web searching
and got lucky:  check out Tom's brand new web site:
[removed] factory
    After joining (free, easy), you can access Tom's huge catalog of
recordings (cassettes for sale). Much of it lists rock and roll DJ
broadcasts but there's some OTR mixed in.
    Thanks, Larry Evans, for the lead!
    -- Phil Chavin

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

Date: Wed, 14 Nov 2001 22:13:09 -0500
From: "Ian Grieve" <ian@[removed];
To: <[removed]@[removed];
Subject: MP3

I refer to Harlan Zinck in issue 366 regarding MP3.

Harlan I believe you are right in your comments and probably the best way to
overcome the MP3 problems is to seperate Dealer/Collector from Listener.
The Dealer/Collectors should be concentrating on the quality of each episode
and the preservation.

Let the listeners download in bulk and try and fit as much onto a CD as
possible, own more shows than they can ever listen to in their lifetime.
These people will either continue on that path, follow a different hobby or
evolve into collectors when they become bored.

Let the listeners have their 'free' episodes, they are not generally the
people who buy from Dealers anyway, so there is no loss in income.  But
maybe, just maybe, they will evolve into a collector and want the best
quality of their favourite shows.  They may want to learn more, buy books,
memorabilia, then presevation becomes more important.  These people will
become clients of Dealers, but not Dealers who say digital is rubbish and to
be a true collector it has to be an et or reel to reel.  Many current
Dealers need to 'update' their methods and follow the trends of their
clients.  CD instead of Cassette because now the most common playing methods
of the clients are CD players either in cars, or computers or portables.
MP3 certainly has become the choice of the masses, maybe not forever, but no
matter what the future is, getting into digital first is the biggest step,
following trends after that will be simple.

A dealer could do well supplying shows on CD in high quality encodes and
leaving the masses to dl their choices in low quality. The low quality
encodes whilst annoying to serious Dealers/Collectors are good 'hooks' to
finding the people who will evolve into collectors and serious clients of
the Dealers.  The more shows that are out there as free 'hooks' the more
serious clients you will find.

So Dealers, don't worry about the amount of low quality encodes running
around, just be ready to say 'yes, I can supply you with the best possible
quality version of that series, if you want it'.

Ian

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

Date: Wed, 14 Nov 2001 22:15:58 -0500
From: "Jan Bach" <janbach@[removed];
To: <[removed]@[removed];
Subject: A reply to part of the "General Manager" note

Hello again --
I didn't have the time today to read all of "General Manager's" extensive
and no doubt interesting note, but an early paragraph of his/hers struck a
nerve:

Manufacturers continued to produce cardboard-based recording blanks into the
early 1950's, but they were always intended for use by those with home disk
recorders. They were obviously the cheapest grade of recording blank, though
many of the aluminum-based lacquer disks intended for the same market
weren't much better - the aluminum was thinner than that used for
professional blanks and, from examples I've seen, I believe the coating may
have been lower grade as well.

I'll go further and state that the cardboard-based demo recordings were
actually BETTER than the aluminum-based ones! Why? Because the wax (or
whatever the recording surface was) bonded better to the cardboard (perhaps
seeping into its pores) while the same recording material just lay on top of
the aluminum. My father sold the Recordio line of home disk-recorders in the
late forties and we kids enjoyed recording a lot of our family's voices --
many long since silent --  while just screwing around with the "expendable"
cardboard disks. Thank goodness we did, because it is now our only aural
record of those days gone by.  The disks we really wanted to keep were
recorded on the more expensive aluminum, and without exception the wax has
shrunken, cracked, and fallen off all of them!

Jan Bach

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

Date: Wed, 14 Nov 2001 23:02:00 -0500
From: "Ian Grieve" <ian@[removed];
To: <[removed]@[removed];
Subject: "The Evil Hoarders" - What Would You Do?

In issue 366 Shawn posed a hyperthetical regarding the outlay of $8,000 for
Transcription Disks and posed the question 'What would you do?.

I guess Shawn that the scenario you layed out would not be uncommon at all.

I would divide the issue into two parts.  The ownership of the
Transcriptions is different from sharing the contents.  What I personally
would do is arrange for the prevervation of the Transcriptions and the
recording of the tracks.  Once having secured the preservation and a
recording I would certainly spread copies of the recordings around.

For me the thrill of ownership would be in owning the Transcriptions disks
of those shows.  Sharing copies of the recordings is not the same as giving
away the transcription disks.  What would happen to the transcription disks
in the future would depend upon circumstances I guess.  The honourable thing
would be to donate them, but what if I have children who want to follow me
in collecting?  I could also sell them to a collector, but as a hoarder
(just ask my wife) I would keep them for the pleasure of owning them.  I
would also be worried about fire etc so that would tend to make me put them
into the care of Archives where they would be protected, I guess on a semi
permanent loan.  Certainly I would not prevent a master copy being made once
presevation had taken place and I would not prevent copies being made of
that master.  I would definately consider ownership of the Transcriptions to
be different from ownership of the contents.

I would love to hear from others on this question.  I know fromn discussions
on chat groups where it is mentioned that so and so or such and such has ALL
the known episodes of xyz but will not let anybody have a copy.  I have
heard similar stories all the time and whilst I am not sure if it is fact or
legend, I just cannot come to grips with the thought processes that lead
them to behave like that.

Elizabeth obviously spends a lot of time researching, preserving and trying
to learn more about the subjects that interest her.  She is always
forthcoming with information, very much the correct information, and it
would be a shame to think that somebody holds some missing links that would
assist her in the work that she does for the benefit of OTR and the
preservation of history.  More so if they are withholding the information
deliberately.  Am I being paranoid?  Maybe some stories can be told, but
without naming names.  If you wish to remain anonymous, I am sure it can be
arranged.

Ian

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

Date: Wed, 14 Nov 2001 23:03:01 -0500
From: "Martin Grams, Jr." <mmargrajr@[removed];
To: [removed]@[removed]
Subject: Charlie McCarthy wanted

A friend of mine who is probably one of the best damn researchers/authors of
Hollywood movies is completing a piece about the actor Laird Cregar, star of
THE LODGER (1944) and HANGOVER SQUARE (1944).

Greg does not know much about the OTR community, nor attends any OTR
conventions, but asked me to see if I can find a copy of Laird Cregar's
radio appearance on the Charlie McCarthy program, dated May 31, 1942.  He's
willing to pay, as it's needed to complete his radio research.  I lent him
Jay Hickerson's Ultimate Guide book early in the week so I'm unable to see
if it exists and who has it available.

If anyone has that particular episode in their collection and can make a
copy for Greg, please contact me.
Many thanks!
Martin

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

Date: Wed, 14 Nov 2001 23:02:34 -0500
From: lynn wagar <philcolynn@[removed];
To: [removed]@[removed]
Subject: Garry lewis/Cheerios & Lone Ranger

A BIG THANKS to Garry Lewis for sending in the
information on the Cheerios/Lone Ranger Lunch Box!!!!
I may never get one but a color picture of it is
mighty fine too!!!!!!!!!!    Thanks Garry!!!

Lynn Wagar

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

Date: Thu, 15 Nov 2001 10:45:45 -0500
From: Wich2@[removed]
To: <[removed]@[removed];
Subject: "The Reports of Its Death Are Greatly

Exaggerated"
Approved: uyDjd7sF

Dear Hugh (& Folks)-
I can't leave this one unchallenged. As far as bona fides, I'm a SAG/AFTRA
actor, with a BFA from NYU (trained by Stella Adler), who's been acting in
all media for 20 years (including, believe it or not, radio acting for both
myself & other producers).

From: Hugh DiIorio <daudio@[removed];
Another thought: I've heard a lot of contemporaneous American radio drama.
The acting is uniformly terrible.

More's the pity, and I couldn't agree with you more- 95% of the time. But
there IS another 5% out there, which I guess you've haven't had a chance to
[removed]

The art is lost. There is a modern acting style that informs most movies
and TV shows I've seen. It's mostly low key, naturalistic, probably heavily
influenced by the Method.

The Method's can be [removed], if it's just one tool of many in an actor's box.
And "naturalistic" is a word that fits much of the best radio acting, old AND
new; of course, "naturalistic" acting for radio, film, or stage
are three subtly different [removed]

I've never heard anyone successfully translate this style to modern radio
drama.

On one level, "good acting is good acting"; it hasn't changed since the
Greeks. Again, you evidently haven't been lucky enough to hear the best
modern work- Lord knows it ain't easy to find.

I've even heard a few radio dramas with major stars whose work I knew from
movies and TV. Even they missed the boat.

Again, I'm with you on this one! But this was often a complaint, even in the
Golden Age, from radio pros against celebrities "imported" from other media.

Actors in modern radio drams sound like they're reading.

As did bad actors (and listen again- there were some)in the Old Days. But
you're very perceptive here: I've found that that IS the main source of poor
work in radio. ACTING IS *NOT* JUST READING THE WORDS! Creating a character,
and a moment, takes time & effort. Of course, it also takes ability- and just
loving to hear other actors work, and wanting to act, does not mean YOU can
act.

Does modern radio drama leave anyone else cold?

I hope someone on this list will speak up for  Quicksilver Radio Theater's
productions? We work very hard; most folks seem to appreciate the result.
And we're not alone! This recent thread re: the (imagined) nonexistence of
modern audio theater has been very dishearting- it DOES ALREADY exist, and
CAN be very good! It lacks, mainly, listener support.
Support retailers like LodesTone that specialize in it.
Tell your local stations (esp. independent, college, & NPR) that you want to
hear it (The RadioWorks, for one, has been syndicating many producer's shows
for years).
I yield to no one in my love of the classic material. And of course it's
never going to be the 1940's again; but the medium still lives. Lots of us
are busting our behinds on the mic side- we need you folks opposite the
speakers to speak up.
Sincerely,
Craig Wichman
QUICKSILVER RADIO THEATER

[removed] Hugh, if you'll contact me off list, I'll send you a free cassette

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

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