Subject: [removed] Digest V2003 #105
From: "OldRadio Mailing Lists" <[removed]@[removed];
Date: 3/6/2003 8:58 AM
To: <[removed]@[removed];

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


                            The Old-Time Radio Digest!
                              Volume 2003 : Issue 105
                         A Part of the [removed]!
                                 ISSN: 1533-9289


                                 Today's Topics:

  Re: 16" transcription discs           [ Harlan Zinck <buster@[removed]; ]
  Re: Inept Actors                      [ hal stone <dualxtwo@[removed]; ]
  Orphan Annie's Ovaltine               [ nicoll <nicoll@[removed]; ]
  Gays/Los Angeles/Buddy Clark          [ George Aust <austhaus1@[removed] ]
  seeking info                          [ benohmart@[removed] ]
  The Big Show                          [ "Russ Butler" <oldradio@[removed] ]
  Lone Ranger and Superman crossover    [ "A. Joseph Ross" <lawyer@attorneyro ]
  [removed] Kaltenborn                       [ "Irene Heinstein" <IreneTH@[removed] ]
  Today in radio history                [ Joe Mackey <joemackey108@[removed] ]
  March 6th Birthdays                   [ Ron Sayles <bogusotr@[removed]; ]

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

Date: Thu, 6 Mar 2003 10:35:25 -0500
From: Harlan Zinck <buster@[removed];
To: [removed]@[removed]
Subject:  Re: 16" transcription discs

Richard Fisher writes:

Can anyone tell me what is going on with the price of transcription discs
these days??
Just curious if anyone knows what is driving people to pay these kind of
prices for these discs?

There are lots of reasons for the high prices these days, including:

- rarity (real or presumed)

- the desire to do fresh digital transfers of disks that were previously
only available in multi-gen and/or analog form

- the desire to own an "original, one-of-a-kind" anything featuring a
particular performer or band

- the limited availability of such things overseas (heck, for that matter,
how many 16" disks have you seen in the US lately?)

- outside the US, the expirations of the copyrights for most musical
performances and entertainment programs produced prior to 1952 -hence,
re-release CDs without rights payments

- the "impulse buy" nature of on-line auctions in general

- automatic bidding services such as e-snipe, which can place a last-minute
bid, meaning that the final price for an auction is never known until the
last minute these days

...not to [removed]

- the thrill of winning something at the last minute

- the desire to own something that someone else doesn't

- the desire to own something so someone else never will

- more money than sense

...and, in [removed]

- rare and uncirculated stuff coming up for auction

- OTR groups, dealers, and collectors wanting to purchase disks and make
their content available to other enthusiasts

A friend of mine once said that all it took to garner big bids for
something on eBay was to have two people want it. (The big bids get even
bigger when one person not only wants something, but wants to make sure
that someone else doesn't get it. That's as true on eBay as it ever has
been at any auction. Nature of the beast, I suppose.)

As to your list, Richard:

Bing Crosby Philco Radio Time $[removed]

About average price these days for Philcos, maybe a little low actually.
They're really quite rare in decent shape, even if they are pressings.
These were supposed to have been returned and destroyed after one playing,
after all. And there is a big cult of Crosby fans out there, particularly
in England.

Spike Jones Chase and Sanborn Show $[removed]

Spike Jones collectors will always pay big bucks for a City Slickers disk -
even one for which the content has been widely available for decades.

Jubilee Benny Carter Herb Jeffries $[removed]

There are many "Jubilee" and big band program collectors, particularly in
Europe. "Jubilee" is just one of those legendary musical shows that remain
desirable, especially in disk form.

Hoosier Hot Shots $[removed]

Lots of Hoosier Hot Shot collectors out there.

A recent Shadow disc went for $[removed]

This one is probably going to end up on someone's wall. How many original
"Shadow" disks have *you* seen in your lifetime?

As far as I can tell copies of these shows are in circulation in most cases.

Yes, but in what kind of condition and format? Even widely available shows
often originated from quarter-track 3 3/4" reel to reel tape masters, the
standard format used by OTR dealers throughout the '70s and well into the
early '90s.

I agree with you, Richard, that disk prices are through the roof these days
- especially for those of us who remember picking these things out of
dumpsters or paying a buck each for them at swap meets and thrift stores
not that long ago. When these prices mean that a real rarity ends up in the
vaults of the person with the deepest pockets rather than the dealer, club,
or group that intends to eventually make it available to other enthusiasts,
that's a real tragedy. (Of course, thanks to a public auction, at least we
know that something exists -- and most shows that exist eventually make
their way to collectors in one way or another.)

However, looking at the positive side, an awful lot of great shows on disks
have turned up in the past five years - probably far more than had turned
up in the previous ten years. This is, in many ways, thanks to the
increased awareness that such auctions have created. Fact is, if eBay
hadn't come along and made people aware of the potential value of 16" ETs,
many of the disks that have sold for big bucks (and those that went for
more reasonable prices, too) might well have been tossed in the landfill as
being just old records.

Harlan Zinck
(who recently paid far too much for a long-in-circulation Fred Allen AFRS
disk, just because he always wanted an Allen show on disk)

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

Date: Thu, 6 Mar 2003 10:38:56 -0500
From: hal stone <dualxtwo@[removed];
To: <[removed]@[removed];
Subject:  Re: Inept Actors

Our illustrious leader, one "Curly" Summers, sent me a private e-mail with a
64 Thousand dollar question. I doubt my attempts to answer will win the big
prize, but I might win some points by assuring him that the question is not
"Silly". But I can't say the same for my "answer".

I have a silly question for you, one that I have always been a little
confused about. I've heard horror stories like this one before from other
people, and wondered if you could explain to me how this is even possible.

I mean, assuming someone is a proficient actor (doesn't have to be
"great," just "competent"), and lucks into some starring vehicle or other
becoming a, "Name," I can't quite figure out how that same competent actor
can become a quivering mass of jelly doing something [removed] as
a stand-up. (I mean, geez, even if you can't read the 'prompter, how tough is
it to smile and say, "I love Jiffy Cola!")

I realize it happens, and based on both industry rags and personal
discussions with people inside, it apparently happens more often than any of
us outside the profession could possibly imagine. But I cannot for the life
of me figure out what could cause someone who makes a living in front of a
camera to suddenly freeze up in front of one. (It seems comparable to me
getting frightened of a client's computer because the case is green plastic,
or the cord is beige.)

Any insights?

How much time do we have? :)

First off, let me say I have received some additional private e-mails
wanting to know the identity of the "Name Actor" who couldn't put two words
together. Even if I remembered his name (from 30 years ago), I wouldn't
tell.

Let's put this in perspective. As Charlie mentioned above, some actors
"luck" into a starring vehicle, and become a "name" that way. They become a
name because of hype, publicity, and exposure. That does not make them a
"Star", although they may have what we refer to as a "Starring" role.

In the Motion Picture industry,(performers, producers, directors) think of
real "stars" as those who can command big fees, because of their box-office
draw. Most of them, fortunately, could act. Most of them were gifted. Some
were drunks and druggies, and were not the most reliable. But they qualified
for star status.

Then, there were the well known "Character actors" who were popular, and
worked frequently, because they were good at what they did. The term used
heavily nowadays were "Supporting" roles. They supported the actors in the
lead roles, and were pivotal to the plot or story.

Then along came TV, and the glut of material that was then needed for the
three networks back then. (It's worse now with cable demanding even more
product).

This put lots of people to work, who became "names". They were hired because
of looks, type, contacts, hard sell agents, and sometimes, even Talent. :)

Many went on to stardom in films. Steve McQueen comes to mind. James Garner
is another. Others were simply a flash in the pan, or relegated to minor
roles for the rest of their careers. (If they were lucky). And then there
were the steady "Working actors" who, because of their professionalism,
(like our own Harry Bartell) could be counted on to fill a host of roles. As
leads, or in support, it mattered little to them, as long as the job offers
kept coming, and they could support their families. These talented people
were (and are) the backbone of the industry.

But many times, talent agents, who were after big commissions, declined
offers of minor roles for those they represented, or heaven forbid, wouldn't
let their clients do "commercials", because they felt it was "demeaning", or
lessened their potential to become "stars". It was nothing more than a image
thing.

And the saddest part of the business was what we called the "has been's".
Those folks who were once stars, and were no longer in demand. Yet they
still maintained "airs" and couldn't abide "lowering" themselves to take
lesser roles. Particularly when, (to put bread on the table), their agents
tried to get a commercial for them. Many were incredibly difficult to work
with, (from a directorial point of view) because of ego and pretentiousness.

Now, to get to the specific instance of having to fire a "name" actor who
couldn't put two lines together. There could be any number of possibilities
or factors involved that contributed to his inability to perform. Here's the
one that I believe was the most likely in this instance. Inexperience.

Keep in mind, that when an actor is hired to play a role in a film or TV
series, it is a totally different acting "Discipline" (or technique) than
doing a "Stand-up" commercial. In dramas, they shoot small segments. The
performers get the scripts ahead of time. They generally have ample time to
memorize their lines, because of all the delays on the set for lighting,
camera set ups and rehearsing camera moves, wardrobe checks, make-up
touchups, [removed] All this guy had to do was stand beside a display
counter, say his lines for 30 seconds or a minute, and they we would do
pickup shots of product close up or a demonstration. I was able to break
down his specific on-camera dialogue into three seperate scenes, but
"timing" was something he never had to worry about before. His delivery of
the lines had to fit into a specific time frame. I assume he never had to
contend with split second timing when performing in dramas. He had leeway.
But not with Advertising commercial copy.

Add to that his unwillingness (or inability) to use a teleprompter, and his
not being able to memorize a lengthly speech, and he probably panicked. It
was a strange work environment for him. He was "naked" in front of the
camera, with no one else to fall back on. All eyes (and camera lens) were on
him, and he was not experienced enough with the medium, and comfortable with
becoming a "Salesman". In short, he was out of his element. His "Acting"
talent was limited. The ad agency wasn't looking for anything other than a
recognizable face to introduce a new product.

As a director, I prided myself on being able to work well with all sorts of
talent, and could relate to their idiosyncrasies, having been an actor
myself for so many years. When I realized he was not even close to
delivering the necessary "performance", and the more he flubbed, the more
tense the atmosphere became in the studio, I called a halt to the
proceedings and closeted myself with him in his dressing room. I tried to
calm him, asked what I could do to help. All he wanted was to be left alone
for awhile so he could memorized his lines. To accommodated him, (Having few
other options) I left him alone for about an hour and broke the crew for an
early lunch to try and salvage some production costs.

After that period of time, I returned to the dressing room, and found him
standing in front of the mirror, script in hand, rehearsing his facial
expressions and body posture. It seems that how he looked was more important
to him, than how convincingly he could deliver the lines. In my opinion, he
was just a pretty face with no substance, and was out of his element in the
specific technique required for spokesperson for a Commercial product.

He was definitely no Orson Wells who could intone (They will make no wine
before their time". :)

I will, however, tell you the name of the actor who I contacted to replace
him, and who flew in from LA that night to rescue the shoot. Skip Homeier.
Skip was then a recognizable "name" having starred in the Dan Raven TV
detective series and films of the period. Talent will out. Particularly the
pro's from the theatre and OTR. We zipped through the shoot in record time.

In short, lack of experience, range, and depth of talent will frequently be
someone's undoing. As a performer, I would no more attempt to do Shakespeare
as I would open up a computer to see what made it work. Both would scare me
to death. :)

Hal(Harlan)Stone
Jughead

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

Date: Thu, 6 Mar 2003 10:43:21 -0500
From: nicoll <nicoll@[removed];
To: [removed]@[removed]
Subject:  Orphan Annie's Ovaltine

Does anybody know why they named it "Ovaltine?"

Will Nicoll

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

Date: Thu, 6 Mar 2003 10:43:57 -0500
From: George Aust <austhaus1@[removed];
To: OTR Digest <[removed]@[removed];
Subject:  Gays/Los Angeles/Buddy Clark

I think that you have to differentiate between gays and effeminate men.
There have always been effeminate men especially in comedy but they are
not neccesarily homosexual.  As a matter of fact it seems to me that
most of these types on the radio do not seem to be sexual at all, one
way or the other.
Ed Wynn is one example of an effeminate heterosexual. He was a very
funny guy to me and I remember enjoying him without ever thinking about
his sexuallity!  Jack  Benny could also be quite swishy but I don't
think people would call him gay because of that.
I really think that effeminates were just another comic" type" that gave
radio comedy such great variety along with dummies, all the various
ethnics, stingy's, braggarts,wimps etc.

Frankly I don't see why it is so important to people who someone wants
to sleep with as long as they contribute positively to society in one
way or another.

The other day in my post re: the pronunciation of Los Angeles I
mentioned the full name of the city. It didn't seem quite right to me at
the time, but since that was what I found in a book called Los Angeles
Epic of a City, I went with that. Since then I have found the original
full name of the city.  "El  Pueblo de Nuestra Senora la Reina de los
Angeles de Porciuncula"  That small "l" in Los is correct by the way.
Anybody want to discuss the pronunciation?

Buddy Clark had indeed just attained star status after years of kicking
around as Alan Chapman so aptly described in his post, when he was
killed in a small airplane crash. His biggest hit record was" Linda"
with Ray Noble's orch.
However whether he would have gone on to bigger things had he lived is a
matter of speculation, because if you ever saw a picture of him taken in
the late 40's you'd have to wonder if he could ever have survived
television as a "romantic" type singer which he was on records and
radio.  But then of course there were exceptions like Nat King Cole who
despite his looks continued with hit after hit even after everyone knew
what he looked like. He was no Harry Belefonte, or Billy Eckstine in the
looks department just as Buddy Clark was no Vic Damone or even Frank
Sinatra. Oh Oh! why do I have the feeling that I've just gotten myself
into trouble here?

George Aust

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

Date: Thu, 6 Mar 2003 10:44:21 -0500
From: benohmart@[removed]
To: [removed]@[removed]
Subject:  seeking info

I'm in need of any radio magazine articles or reviews of these programs: Emerald Isle, 
Lady Next Door, Eno Crime Club, Household. Lady Next Door is the most important. 
Thanks.

Ben

The Bickersons Scripts book
[removed]

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

Date: Thu, 6 Mar 2003 10:45:17 -0500
From: "Russ Butler" <oldradio@[removed];
To: <[removed]@[removed];
Subject:  The Big Show

<<Gary Yoggy asked about The Big [removed];>

[removed]  With wonderful hostess Tullulah Bankhead, ("Dahrling") Fred Allen
et al - the last resistance effort with a ton of money for NBC radio
competing with the big stars moving over to television  (NBC-TV included) by
having big stars appear [removed] radio.

Contact Tom Heathwood HERITAGE4@[removed] at Heritage Radio Classics
[removed] who has a
terrific collection and catalog of OTR. Tom generously made a copy of a 1952
"The Big Show" program for me.  I'm sure he must have other episodes in his
vast archives.
He may also broadcast one of the Big Shows on his Internet program on
[removed]  .

Russ Butler  oldradio@[removed]

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

Date: Thu, 6 Mar 2003 10:45:36 -0500
From: "A. Joseph Ross" <lawyer@[removed];
To: [removed]@[removed]
Subject:  Lone Ranger and Superman crossover

Date: Wed, 5 Mar 2003 11:30:37 -0500
From: "joe@[removed]" <sergei01@[removed];

So if the Lone Ranger were to be published by DC, there could conceivably
be a crossover story where Superman goes back in time and meets the LR. I
think I will reserve judgment on that [removed]
 
I thought that up in my childhood!  As a fan of both the LR and Superman, I managed a few 
adventures in which both appeared.  And, since I regularly played at doing my own Howdy 
Doody shows with my own set of plastic figures, there were times when I had the Lone 
Ranger, Superman, or Flash Gordon substitute for Buffalo Bob.  It depended on which 
costume I felt like wearing that day.

-- A. Joseph Ross, [removed] [removed] 15 Court Square, Suite 210 lawyer@[removed] Boston, MA 02108-2503 [removed] ------------------------------ Date: Thu, 6 Mar 2003 10:46:54 -0500 From: "Irene Heinstein" <IreneTH@[removed]; To: "OTR" <[removed]@[removed]; Subject: [removed] Kaltenborn Michael Berger wrote:
The articulation of HV Kaltenborn was often caricatured, but it gave his
1939
reports life and impact.

Very true.   Coincidentally, while listening to Lux Radio Theater just
today,  I was surprised to hear
[removed] Kaltenborn, who appeared as a guest during a break in the presentation
of the drama 'Bordertown' on 7/3/1939.

"The play to which we are listening reminds us that people from bordertowns
all over the world have found a home in America.  And tomorrow their sons
and daughters here in their land of adoption will join in celebrating our
common heritage of freedom.  The Fourth of July is the birthday of the
United States.  It is a happy custom to celebrate birthdays with gifts to
the celebrant.  Let us therefore pause for a second and ask ourselves 'What
gift can I make to my country? What does it need that I can supply?  How can
I express my thanks for what it gives to [removed]'

Surely every American citizen is now conscious of certain blessings which he
enjoys.  In Europe, Asia and Africa war and rumors of war abound.
Throughout most of Europe national energies are concentrated almost
exclusively on preparation for war.  The Fine Arts, the pursuit of
knowledge, science, literature, recreation, even religion, are subordinated
to the state's demand for fighting men and war machines.  We too are
preparing but here we are still able to spare time and energy for those
things that give value, meaning to human life.   We can afford leisure to
enjoy radio plays and outdoor sports.  We have no military conscription and
we are happy to remember that with our good neighbor Canada we possess the
world's longest unfortified frontier.

In one year, 1939, we can have two successful World's Fairs on our Atlantic
and Pacific shores.  Best of all we can still afford the priceless luxury of
freedom.  We are still strong enough to grant freedom even to those who
would use it only to destroy it.

But, we must be on our guard.   There are those among us who despise liberty
even as they use it to achieve their foul ends.  Let us mark these men and
know them for what they are.  They're easily recognized.  In a land of
religious freedom they attack freedom for a religion they dislike.  In a
land of racial tolerance they are intolerant of every race to which they do
not belong.  In a land of free speech, they would mob and silence those with
whom they disagree.  Their number is small but an easy-going, generous
people sometimes permits a rabid minority to assume great power.  Let us
resolve therefore on the birthday of American freedom to conserve that
freedom.   Each one of us can bring a precious birthday gift to the altar of
our country.  Whenever and wherever you hear men preach hatred or
intolerance speak out against it.

Remember, silence gives consent.

It is the right, nay it is the duty of every American to speak out boldly
for the ideals of human freedom whenever and wherever they are challenged.

By so doing, we of the new world will keep alight the torch of liberty in
the troubled days that lie ahead."

-Irene

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

Date: Thu, 6 Mar 2003 10:47:03 -0500
From: Joe Mackey <joemackey108@[removed];
To: otr-net <[removed]@[removed];
Subject:  Today in radio history

>From Those Were The Days --

1948 - Ralph Edwards created a quiz on Truth or Consequences called The
Walking Man. After ten weeks of guesses by contestants playing the game,
it was finally revealed that Jack Benny was The Walking Man.

  Joe

--
Visit my home page:
[removed]~[removed]

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

Date: Thu, 6 Mar 2003 10:47:09 -0500
From: Ron Sayles <bogusotr@[removed];
To: <[removed]@[removed];
Subject:  March 6th Birthdays

If you born on March 6th, you share your birthday with:

1882 - Guy Kibbee - El Paso, Texas
1885 - Rosario Bourdon - Longuereil, Quebec, Canada
1900 - Jay C. Flippen - Little Rock, Arkansas
1908 - Lou Costello - Paterson, New Jersey
1914 - Rochelle Hudson - Oklahoma City, Oklahoma
1916 - Virginia Gregg - Harrisburg, Illinois
--
Ron Sayles
Milwaukee, Wisconsin
Make your day, listen to an Olde Tyme Radio Program

--------------------------------
End of [removed] Digest V2003 Issue #105
*********************************************

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]

To Subscribe: [removed]@[removed]
  or see [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]