Subject: [removed] Digest V01 #103
From: <[removed]@[removed]>
Date: 4/2/2001 12:16 PM

To: <[removed]@[removed];

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

                          The Old-Time Radio Digest!
                             Volume 01 : Issue 103
                       A Part of the [removed]!
                               ISSN: 1533-9289

                               Today's Topics:

     Arf Arf !                            ["Richard Pratz" <[removed]@home]
     An official "lost shows" list        ["Martin Grams, Jr." <mmargrajr@hotm]
     OTR at Sam's Club                    [Wwtom@[removed]                      ]
     College students and OTR             [Alan Bell <bella@[removed];]
     Dave's Golden Index                  ["Bob Watson" <crw912@[removed]; ]
     Dennis Day on Children's Records     ["J. Randolph Cox" <cox@[removed]]
     Repeat performances                  [Gordon R Payton <thescifiguy@[removed]]
     Re: Verne Smith                      [Conrad Binyon <conradab@[removed]]
     Lassie                               ["tas richardson" <tasrichardson@spr]
     re: Animal Sounds                    ["David Phaneuf" <dphaneuf@[removed]]
     An unusual WotW performance          [Gordon R Payton <thescifiguy@[removed]]
     Marx Brothers Scripts                ["A. Joseph Ross" <lawyer@[removed].]
     Re:  Kerbango                        [RadioCM25@[removed]                  ]
     animal sounds                        [leonardfass@[removed] (Leonard Fass]
     Growing Up With Radio                ["Stephen A Kallis, Jr." <skallisjr@]
     How Could They Afford It?            [Udmacon@[removed]                    ]
     Donald Bain                          [Conrad Binyon <conradab@[removed]]
     jack e. leonard's guest appearances  [leonardfass@[removed] (Leonard Fass]
     Re: Lassie, Star of his Own Show     [Conrad Binyon <conradab@[removed]]
     Re: Truth or Consequences            [Sam Levene <srl@[removed];      ]
     Problem and Solution                 [Bill Harris <billhar@[removed];    ]
     Issue 102                            ["Kenneth Flowers" <flowersk@[removed]]
     On the previous Digest ...           ["Stephen A Kallis, Jr." <skallisjr@]
     April 1 Issue                        ["Charles Sloden" <scharlie@lancnews]
     Digesting the Digest                 [Dennis W Crow <DCrow3@[removed]]
     Dennis Day                           ["Stephen A Kallis, Jr." <skallisjr@]
     'Listen!  I hear a white horse comin ["Stephen A Kallis, Jr." <skallisjr@]
     MP3                                  [danhughes@[removed]                 ]
     April Fools                          [Walt Appel <waltman@[removed];     ]
     April Fool,                          ["AVPRO" <avpro@[removed];       ]
     Phil Harris Jr.                      [Brent Pellegrini <brentp@[removed]]
     Marx Bros. Scripts                   ["Robert Fells" <rfells@[removed];   ]
     Re: April 1 issue                    ["Jerry Salley" <jlsalley@[removed];  ]

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

    Date: Sat, 31 Mar 2001 14:56:39 -0500
    From: "Richard Pratz" <[removed]@[removed];
    To: "OTR (Plain Text Only)" <[removed]@[removed];
    Subject:  Arf Arf !

    Thanks to the postings regarding my Lassie question. Hal Stone's
    recollection of Donald Bain was most interesting. Of course ANYTHING Jughead
    writes I find extremely interesting!

    Bill Jaker quoted Dunning as saying both the real Lassie and Earl Keen made
    the dog sounds. Judging from the private responses I received, I think
    that's right on. After writing, I even found a reference by author Ron
    Lackman (Same Time Same Station) that also confirmed Earl Keen. But although
    it's enjoyable reading, I have found many inaccuracies in that particular
    reference work.

    One private response I wanted to share came from Chet who said he is almost
    70 and attended the Lassie Show in Los Angeles when he was a kid. Chet said
    Lassie was indeed in the studio with his/her handler who gave the dog hand
    signals for barking and whatever. Chet says Lassie sat on a bar stool type
    chair. Thanks for that Chet. I only wish you and others in your age bracket
    who actually attended these OTR shows would write in on the Digest for
    everyone to read! You have so many memories to share that I hate to see
    wasted on private postings.

    The concensus then, seems to be it was the real Lassie as well as
    Earl Keen.  Milk bones for everyone who responded!!

    Rich

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

    Date: Sat, 31 Mar 2001 16:13:48 -0500
    From: "Martin Grams, Jr." <mmargrajr@[removed];
    To: [removed]@[removed]
    Subject:  An official "lost shows" list

    J. Alec West mentioned:

>     This of course raises the question of whether or not any kind of definitive
>     "LOST SHOWS" list exists somewhere.  It would be great to have such a list
>     at hand when I find myself haunting estate sales, flea markets, and thrift
>     stores.  Does such a list exist?  If so, where can it be obtained?  And yes,
>     I imagine it would be and incredibly "long" list (and not necessarily
>     complete).

    Actually, Mr. West, there already is one.  First off, it's impossible to
    list what shows are known to be "lost" if we are unaware of what was
    broadcast.  Example: Since there hasn't been a broadcast log of Mr. District
    Attorney compiled yet, we can't make a list of shows we have no idea of what
    dates or titles are.

    What has been done is credited largely to Jay Hickerson.  He compiled a book
    many inches thick (no exageration) entitled "The Ultimate History of Network
    Radio Programming: A Guide to All Circulating Shows."  What Jay does for
    this book is magnificent, listing the name of all radio programs in
    alphabetical order, with airdates, sponsors, network, star, etc.  Then he
    lists what episodes, using dates and/or episode numbers, for all circulating
    and existing episodes, and what dealer has it in their collection.  And
    better yet, Jay issues out a supplement every year in October, in time for
    the FOTR convention.  At present, he's planning to release a new edition of
    his big ass book, with all the info from the supplements incorporated,
    including new info, this October.

    Always up-to-date, this is the best guide out there to cover what shows are
    "lost" and what shows are existing and available.  Always being kept up to
    date, not just by available programs, but the information as well, such as
    dates and cast, etc.

    I know I can't make a sponsored plug about the cost and such, but if you -
    or anyone else out there - is interested, you can contact Jay at
    JayHick@[removed]

    The book also lists every known OTR dealer out there, address and e-mail,
    lists fan clubs, newsletters and publications and magazines dealing with
    OTR, and so on.  Every dealer I know who sells OTR has their name in
    Hickerson's guide.  Everything.  Worth the money.

    That in effect, is the best way to found a "lost" list of network episodes.

    [ADMINISTRIVIA: I'm with [removed]'s the one reference work you CANNOT be
    without in this hobby.  --cfs3]

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

    Date: Sat, 31 Mar 2001 18:21:59 -0500
    From: Wwtom@[removed]
    To: [removed]@[removed]
    Subject:  OTR at Sam's Club

    Does anyone know if Sam's Club is still carrying old-time radio collections
    from Radio Spirits?

    Wesley Tom
    Redlands, CA

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

    Date: Sat, 31 Mar 2001 18:22:18 -0500
    From: Alan Bell <bella@[removed];
    To: [removed]@[removed]
    Subject:  College students and OTR

    I'm looking for a little advice from someone who's been here before.
    I teach a college class called Radio and American Culture 1920-1960.
    Of course, part of the class is listening to a fairly wide variety of
    shows, including news and sports. I generally don't play shows in
    class, but rather short excertps to set up discussion of the various
    readings. They do most of the listening on their own, outside of
    class.

    Now the problem is that many students relate how difficult it is for
    them to CONCENTRATE on the shows. They can't seem to formulate their
    own pictures, or as Susan Douglas calls it, experience "dimensional"
    listening. I wonder if someone can discuss how you might have dealt
    with that. It seems like some kind of, oh, perhaps, meditative
    exercises might have helped. I don't know. Maybe there's nothing to
    be done. I'll be back at it again next year, and I'd like to see if I
    can't prepare the class a little better for the LISTENING part of it.

    Alan
    --
    Alan Bell
    Grandville, MI
    bella@[removed]

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

    Date: Sat, 31 Mar 2001 19:31:43 -0500
    From: "Bob Watson" <crw912@[removed];
    To: <[removed]@[removed];
    Subject:  Dave's Golden Index

    I visited the site of Dave Goldin's index and waxed nostalgic on the
    offerings for the now gone Radio Yesteryear.  Dave sure does know how to
    make a grown man cry.  There were all those shows that I had always planned
    to order, but for lack of time or money, never did.  If only I had known.  I
    thought that Radio Spirits would have the same exact shows offered, but the
    research reports they went me didn't contain offerings that RY had been
    offered for years.
    Oh the humanity of it all.
    Nice site though.  Lots of very good descriptions.

    Bob

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

    Date: Sat, 31 Mar 2001 20:03:19 -0500
    From: "J. Randolph Cox" <cox@[removed];
    To: <[removed]@[removed];
    Subject:  Dennis Day on Children's Records

    I have a copy of the "Johnny Appleseed" album that Dennis Day made for RCA
    Victor -- which I've had since the film Melody Time was released. Dennis
    tells the story and sings the song, but it is not an exact reproduction of
    the sound track. Some things were changed slightly to be understandable to
    the ear when the eye couldn't see the animation. It's 78 rpm, 3 records.

    Randy Cox

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

    Date: Sat, 31 Mar 2001 20:03:17 -0500
    From: Gordon R Payton <thescifiguy@[removed];
    To: [removed]@[removed]
    Subject:  Repeat performances

    Persuant to my earlier posting about an OTR star claiming that the East
    Coast version of the last episode of Yours Truly Johnny Dollar ending in
    an explosion and no closing, whereas, the West Coast version did have the
    announcer come and give the closing, I was wondering how common place it
    was for two performances of the same show to be done, one for each Coast?

    I believe it was said that somehow the ONLY performance of certain shows
    was somehow time delayed for West Coast airing. What methods were used to
    "time delay" a show for West Coast airing?

    What percentage of shows originated in the Chicago/East Coast area and
    what percentage originated in the California/West Coast area?

    How many East Coast shows did a whole new performance for the West Coast?

    And, to answer our YTJD question, which "Coast" are the currently
    circulating YTJDs from?

    Does the last episode exist?

    Gordon

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

    Date: Sat, 31 Mar 2001 21:46:42 -0500
    From: Conrad Binyon <conradab@[removed];
    To: <[removed]@[removed];
    Subject:  Re: Verne Smith

    [removed]@[removed] wrote:

    Info in response to queries about Verne Smith.

    Here is my input as well as found at:

    [removed]

    --
    conradab@[removed] (Conrad A. Binyon)
       From the Home of the Stars who loved Ranches and Farms
         Encino, California.

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

    Date: Sat, 31 Mar 2001 22:03:05 -0500
    From: "tas richardson" <tasrichardson@[removed];
    To: <[removed]@[removed];
    Subject:  Lassie

    Richard Pratz asks if Lassie did her own lines in the Lassie radio show.
    John Dunning's 'Tune In Yesterday' says that "Lassie did most of her own
    whines, growls, and whimpers, called for in the script, but in occasional
    periods of stubborness, two animal imitators would fill-in"
    I don't actually remember listening to the radio show, but in 1944, a movie
    was being shot in and around Banff.  It was 'The Son Of Lassie', and the
    Canadian Rockies were filling-in for Nazi occupied Norway.  I and a couple
    of chums went down to the Bow Falls, near the famous Banff Springs Hotel,
    where some scenes were being filmed.  As I recall, Lassie and Peter Lawford
    were jumping off a bridge into the turbulent river to escape from German
    soldiers.  It was all pretty exciting for a nine year old, and during a lull
    in the filming, I got up enough courage to approach Rudd Weatherwax,
    Lassie's owner and handler, to ask if we could pet Lassie.  He very kindly
    allowed this and told us Lassie was actually a male dog whose name was Pal.
    He played both Lassie and Lassie's son.  Of course over the years, there
    were to be other Lassies, but this was the original, wonderful, intelligent
    dog who we first saw in 'Lassie Come Home', and who did the barks & growls
    on the Lassie radio show from 1947 till 1950.  As for other animals having
    their own radio show, I can't think of any.

    Tas.

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

    Date: Sat, 31 Mar 2001 22:03:03 -0500
    From: "David Phaneuf" <dphaneuf@[removed];
    To: <[removed]@[removed];
    Subject:  re: Animal Sounds

    Regarding Hal Stone's post in Issue 101:

> >     I can only tell you with dead certainty that a wonderful, colorful and
> >     eccentric radio performer named "Donald Bain" did most of the Animal
> >     Sounds for most of the radio shows out of [removed]

    Hi, Hal,
    Nice to see -- well, _read_ -- you here on OTR Digest.  Do you know if it
    was Donald Bain who did the Suspense show "Two Birds with One Stone"
    5/17/45?

    The "dog" was obviously human -- but kind of comical -- which detracted some
    from such a serious show.  But practicality, as you suggested, of necessity
    required a "dog impersonator" -- maybe that should be a "dog imcaninator"
    ;-)  -- and, of course, except by a few very talented persons, such
    _imcaninations_ would be less than convincing.

    Unrelated request:
    I know that Sid Melton played Icky Mudd on TV's Captain Midnight as well as
    other adorable, crusty characters on other TV shows and Movies.  Was he ever
    involved in OTR and if so, what?  And does anyone know what became of Mr.
    Melton?

    Dave Phaneuf

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

    Date: Sat, 31 Mar 2001 22:03:01 -0500
    From: Gordon R Payton <thescifiguy@[removed];
    To: [removed]@[removed]
    Subject:  An unusual WotW performance

    I just received an inquiry on the availability of a rather unique War of
    the Worlds broadcast. On 10/30/98, the various stations in Buffalo, NY,
    all were running variations of War of the Worlds. Two stations did
    simultaneous, but seperate versions and then, near the end of their
    broadcasts, combined their performances into a simulcast of a SINGLE
    dramatic ending. Pretty neat. Below is the message I received:

    <<<I found this on an archive edition of North East RadioWatch while
    looking for more details on the '68 version:

>     >From NERW, 10/30/98:

    This NERW is coming out a few hours later than usual because the
    NERW-mobile spent Friday night on the road to Buffalo, enjoying the
    plethora of "War of the Worlds" remakes that filled the airwaves of
    the Queen City. WNUC ([removed] Wethersfield) kicked it off at 7 with
    Orson Welles' 1938 classic. Then at 8, WWKB (1520) pulled out the
    tapes of the WKBW 1968 version -- and, not to be outdone, WGRF
    ([removed]) and WEDG ([removed]) both launched into their own modern
    versions. It's a good thing we had plenty of tape decks on hand,
    because the WGRF and WEDG version didn't start off as a simulcast.
    Each station used its own format and jocks for the first hour, and
    then once Buffalo was under full Martian attack, the two joined for
    a simulcast that ended with Irv Weinstein (now a WKBW-TV anchor, but
    back in 1968 one of KB radio's top newsmen) as the last man alive in
    a Martian-ravaged downtown Buffalo. And when the simulcast split
    again, WGRF ret! urned to its classic rock format with David Bowie's
    "Ziggy Stardust," while WEDG went back to modern rock with the help
    of REM's "It's The End of The World As We Know It." All in all, a
    most enjoyable night of radio, and one more stations ought to
    emulate. (The WGRF/WEDG version came complete with a mock Web site,
    at [removed], where jocks supposedly first got word of the
    explosions on [removed])>>>

    I've sent emails of inquiry to the radio stations, but if any of you out
    there managed to record either or both of the broadcasts, I would be
    eternally grateful.

    Gordon R. Payton
    The Scifi Guy

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

    Date: Sat, 31 Mar 2001 22:33:35 -0500
    From: "A. Joseph Ross" <lawyer@[removed];
    To: [removed]@[removed]
    Subject:  Marx Brothers Scripts

>     Date: Fri, 30 Mar 2001 12:14:17 -0500
>     From: "Stephen A Kallis, Jr." <skallisjr@[removed];

>     The Marx brothers, according to a couple of biographies I've read, did
>     something clever.  They'd rough out a film script, then take it on the
>     road as a stage play.

    Yes, they did.  But they didn't do it for the films they did for
    Paramount.  The first two Paramount films, of course, were their Broadway
    hits, "The Cocoanuts" and "Animal Crackers."  After that, they didn't go
    on the road because they hadn't hit on the idea yet.

    Arthur Marx, in his book =Life With Groucho= describes how, before the
    filming of "A Night at the Opera," Groucho expressed his concern to Irving
    Thalberg that they thought they had a good script, but they didn't have
    the chance to road-test it, as they had with their stage productions.
    Thalberg then came up with the idea of doing a road tour.  It payed off.
    When they opened, they bombed and had to re-work a lot of material.  The
    famous "Stateroom" scene was developed on the road.

    After Thalberg died, the studio wasn't interested in doing road tours and
    didn't do one for their next film.  I'm not sure how many films it took
    before the Marx Brothers were able to prevail again and do road tours, but
    when the next film or two didn't do as well, the studio eventually
    relented.

     A. Joseph Ross, [removed]                        [removed]
     15 Court Square                     lawyer@[removed]
     Boston, MA 02108-2503      [removed]~lawyer/

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

    Date: Sat, 31 Mar 2001 22:48:17 -0500
    From: RadioCM25@[removed]
    To: [removed]@[removed]
    Subject:  Re:  Kerbango

    "Hello from AmazonCom.  We are sorry to report that the release of the
    following item has been cancelled:  Kerbango l00E Internet radio.  Though we
    had expected to be able to send this item to you, we've since found out that
    it will not be released after all.  Please accept our sincerest apologies for
    any inconvenience.  We have cancelled this item from your order.  Your credit
    card will not be charged for this item because you only pay for items when we
    ship them to you.  Your order is closed.  Thanks for shopping at Amazoncom,
    and we hope to see you again."

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

    Date: Sun, 1 Apr 2001 11:18:11 -0400
    From: leonardfass@[removed] (Leonard Fass)
    To: [removed]@[removed]
    Subject:  animal sounds

    didn't brad barker do animals on radio or is my memory really off on
    this one?

    [removed]

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

    Date: Sun, 1 Apr 2001 11:18:13 -0400
    From: "Stephen A Kallis, Jr." <skallisjr@[removed];
    To: [removed]@[removed]
    Subject:  Growing Up With Radio

    A lot has been written about radio programs, cast, networks versus
    syndication, and the like.  Perhaps it's worth touching on radio as a
    boon companion -- that is, how we listened to it as kids.  In my
    household, there was almost always a radio on.  By the time I was 8, we
    were fortunate enough to have multiple radios, so besides the living room
    radio (a console with a phonograph), there was one in the kitchen, one in
    my bedroom, and one in my sister's room.

    Normally, the weekday routine was to come home from school, play outside
    with friends just a bit (usually with cap pistols and imaginary enemies),
    then go to my room and turn on the radio in time to catch the Children's
    Hour.  The shows varied slightly, depending upon where were living at the
    time, but the last half hour, no matter where I was, was Captain Midnight
    and Tom Mix Ralston Straight Shooters (the first was usually The
    Adventures of Superman, but the next was The Cisco Kid or Buck Rogers).
    Sometimes, supper interfered with the listening (but my father, possibly
    out of a sense of pity, fitted my portable radio with earphones so I
    could listen to Captain Midnight while "at table" without disrupting the
    flow of conversation, which, even while listening, I partook in), but
    usually that took place at 6, after the Children's Hour had ended.  After
    supper, we'd listen to the shows my folks preferred, like The Adventures
    of Sam Spade, Fibber McGee and Molly, and the like.  Because of the
    broadcast standards back then, kids could listen to most "grownup" shows.
     The exception, of course, was when one of the great shows that many
    parents thought were just for kids aired.  The best example of this was
    The Lone Ranger, which, to this day, I think my parents would have
    enjoyed if they'd ever listened.  When those shows came on, I'd retreat
    to my room and listen in.  My sister was much the same, though our show
    tastes didn't coincide completely.

    But listening was just that.  I might be in the new-old West of Tom Mix,
    trying to unravel the puzzle of the Walking Man (no, not that Jack Benny
    thing -- it had something to do with a legend of a Sonora cactus or some
    such -- my memory's vague on that one), but Id also be playing with my
    electric trains, doing a bit of Arithmetic homework, or other activity I
    could do in parallel with listening.  For some shows, I could listen
    while simultaneously reading, and follow both stories.  The only time I'd
    pay full attention to the radio was when I was copying down a Secret
    Squadron Signal Session, or when I was jotting down the particulars of
    the latest premium offer.  Even when everyone was listening to the same
    shows, several radios might be turned on so we could follow the action
    while going from room to room.

    The weekend, particularly Sunday night, was different.  There, we usually
    all listened in the living room.  The main Sunday meal was in the middle
    of the day, so we had a relatively light supper, and repaired to the
    radio area to hear Jack Benny, Phil Harris, and Fred Allen.  It was a
    family moment, notwithstanding that we were also doing other things as we
    listened.

    Every so often, of course, I'd get sick and be confined to bed.  Then
    whatever was on the air that my mother listened to, I'd hear as well.
    Whether it was the Hartz Mountain Singing Canaries, or the soap, Sweet
    River, it would drift into my bedroom.  But the soaps were like
    background music: they were there, I'd hear them, but generally not get
    as involved with them as with other programs.

    There was another type of show ... the later-night "scary" shows, like
    Inner Sanctum Mysteries.  I was supposed to be asleep when these were on,
    but I often contrived ways to hear them (one was with a crystal set and
    earphone).  They were all the more scary for it being dark, and late.
    But to me, as a gradeschooler, the scariest thing about them was the
    hosts' commentaries.  So it goes.

    Of course, this is a thumbnail of what we who lived through it
    experienced back [removed] but I hope it'll give a taste of what it was
    like.

    Stephen A. Kallis, Jr.

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

    Date: Sun, 1 Apr 2001 11:18:15 -0400
    From: Udmacon@[removed]
    To: [removed]@[removed]
    Subject:  How Could They Afford It?

    I am fortunate to own the entire run of the annual WLS Family Albums
    (1930-1957). Browsing through them I'm astonished at the large staff this
    famous Chicago station had. A full orchestra, announcers, singers of all
    kinds, farm reporters, a woman's' program director, a cast of country music
    performers who did the Saturday night Barn Dance but also a plethora of daily
    morning and midday programs, and administrative, engineering and sales staff.

    Added to that, WLS was only a part-time station, on the air daily from 5 or 6
    [removed] to only 2 PM, when WENR took over the frequency (at night WLS was on the
    air only for 90 minutes carrying NBC shows; then, of course, the Saturday
    night Barn Dance).

    Old-timers used to say that WLS stood for "World's Lowest Salaries," but the
    pictures of its broadcasters showed them to be fairly comfortable in their
    family living rooms, seemingly not "moonlighting" in any other profession
    (with the exception of the country performers who went on the road with Barn
    Dance stage shows).

    Elizabeth or someone else, let us know how the exhaustive the WLS expenses
    were and how the heck they made a profit with the huge overhead!

    Bill Knowlton, "BLUEGRASS RAMBLE," WCNY-FM: Syracuse, Utica, Watertown NY
    (since Jan. 1973). Sundays, 9pm est: [removed] (with Windows Media Player)
    "The Parlor Is A Pleasant Place To Sit On Sunday [removed]"

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

    Date: Sun, 1 Apr 2001 11:18:17 -0400
    From: Conrad Binyon <conradab@[removed];
    To: [removed]@[removed]
    Subject:  Donald Bain

    [removed]@[removed] wrote:

    wherein Hal Stone remembers Donald Bain.

>     I remember him vividly, and with great fondness.

>     Hal(Harlan)Stone
>     "Jughead", The Archie Andrews Show

    I do, too, but just because I saw Donald Bain's picture
    in a Radio Artist's Directory.

    More at:

    [removed]

    --
    conradab@[removed] (Conrad A. Binyon)
       From the Home of the Stars who loved Ranches and Farms
         Encino, California.

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

    Date: Sun, 1 Apr 2001 11:18:20 -0400
    From: leonardfass@[removed] (Leonard Fass)
    To: [removed]@[removed]
    Subject:  jack e. leonard's guest appearances or al
     pierce's shows

    does anyone know of available tapes??? PLEASE REPLY TO ME DIRECTLY AND
    NOT TO [removed]

    [removed]

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

    Date: Sun, 1 Apr 2001 11:34:17 -0400
    From: Conrad Binyon <conradab@[removed];
    To: [removed]@[removed]
    Subject:  Re: Lassie, Star of his Own Show

    wherein:

    Richard Pratz asked us:

>     If we thought it was strange for a ventriloquist to star on [removed]
>     how about the four-footed variety having their own programs?

>     On Lassie's radio aventure series (The Lassie Show-1947-50), sponsored
>     by Red Heart Dog Food, Lassie barked, whined, growled and cried.

    .....

>     Was radio's Lassie really a dog in the studio or just a
>     person making dog sounds?

    Bill Jaker replied:

>     According to Dunning, that was the real Lassie barking when cued by his
>     (yes, his) trainer Rudd Wetherwax(sp). However, if anything went wrong
>     an animal impersonator named Earl Keen was on standby to bark, growl or
>     pant "and to play the roles of other dogs."

    .....

>     At the end of a "Lassie" program announcer Charles Lyon would read the
>     Red Heart Dog Food commercial and then say, "Now here's Lassie with
>     a word for all the dogs in the audience!"

    I can attest to the above as being the case, as having done at
    least one of the Lassie shows.  Indeed Earl Keen was the bark of
    Lassie for all the cast rehearsals and stood by in the wings
    behind the curtain out of sight from the studio audience as I
    recall.  Rudd Weatherwas was on stage a bit to the side of the
    actors and Lassie stood in the middle of the stage waiting for
    Rudd to move his pointed finger in a downward stroke motion
    signifying Lassie to bark once. He'd move it again and a second
    bark would issue from the pooch.  As I recall if Rudd made the
    signal and Lassie was late in coming forth with his "line", Earl
    from the wings would make the bark, and since Lassie usually
    barked twice for many of his "speeches" he'd come through with
    the second bark sound, Earl doing the first and Lassie the second
    and sometimes maybe even a third bark.   I must admit that Earl
    worked harder during the rehearsals than on the show for Lassie
    pretty much made his cues, during the show's dramatization as
    well as on the "commercial" at the end.  Lassie as good as he was
    wasn't usually called upon to do the more dramatic inputs of
    whines and growls though.  That was mostly left up to Earl, who
    was the only one who could attest to leaving the broadcast,
    "dog tired."

    CAB
    --
    conradab@[removed] (Conrad A. Binyon)

       From the Home of the Stars who loved Ranches and Farms
         Encino, California.

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

    Date: Sun, 1 Apr 2001 13:47:48 -0400
    From: Sam Levene <srl@[removed];
    To: [removed]@[removed]
    Subject:  Re: Truth or Consequences

    Are people aware that there was a movie called "Truth or Consequences NM",
    made only in 1997?
    Directed by Keifer Sutherland, it's a crime drama reviewed as a "stylish,
    edgy thriller". It will be shown at 9 PM Friday Apr. 6 on Canada's Bravo
    arts network.  Maybe the writer was an OTR buff.

    Sam Levene

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

    Date: Sun, 1 Apr 2001 13:50:41 -0400
    From: Bill Harris <billhar@[removed];
    To: [removed]@[removed]
    Subject:  Problem and Solution

    I would like to start off by saying I hope our illustrious list master will
    publish this in plain un-encoded text so that others may read it properly. I
    think this is about the
    silliest idea anyone could come up with. If you think I am or anyone else for
    that matter, is going to set for hours with a silly paper cutout decoder just
    to read this list, think
    again. There must certainly be a more simple way to publish the list without
    disclosing email ids if that is what you are worried about. Your silly scheme
    may have be great for a
    bunch of kids in 1945, but really, lets use some modern technology here to
    solve what should be a simple problem. After all, this is April One in the
    year two thousand and one and
    there [removed] [removed] [removed] One? AW RATS!!!

    23-20-24-24  18-25-19-19-11

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

    Date: Sun, 1 Apr 2001 15:19:07 -0400
    From: "Kenneth Flowers" <flowersk@[removed];
    To: <[removed]@[removed];
    Subject:  Issue 102

    I want to thank Charlie for the effort he put into "protecting our
    addresses and preventing us from receiving spam".  It took alot of
    time and work.   The decoder is great and works very well.  It all
    brings back fond memories of my youth in the forties and the fun of
    decoding the Captain Midnight messages every day at the end of the
    program.  I've even decoded parts of the issue.   Keep up the good
    work    Ken
    [removed]  Curious did you get any complaints?

    [ADMINISTRIVIA: Oh, BOY did I get complaints! Apparently most subscribers
    forgot about _last_ year's [removed]  --cfs3]

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

    Date: Sun, 1 Apr 2001 14:35:45 -0400
    From: "Stephen A Kallis, Jr." <skallisjr@[removed];
    To: [removed]@[removed]
    Subject: On the previous Digest ...

    8-11-17-21-19, 25-22-16-3 4-22 8-11-17-21-19!

    Stephen A. Kallis, Jr.

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

    Date: Sun, 1 Apr 2001 16:04:35 -0400
    From: "Charles Sloden" <scharlie@[removed];
    To: "Old. Time. Radio Oldradio. Net" <[removed]@[removed];
    Subject:  April 1 Issue

    Isn't there a law somewhere about List Administrators perpetrating April
    Fool's jokes?  Infractions will result in Admins being swamped with lame
    e-mail jokes.

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

    Date: Sun, 1 Apr 2001 17:16:04 -0400
    From: Dennis W Crow <DCrow3@[removed];
    To: OTR Digest <[removed]@[removed];
    Subject:  Digesting the Digest

    OOPS!

    I have been assured that I am not the only one who was taken completely in
    by the April Fools' joke yesterday.  For at least twenty minutes, I was in
    a state of panic that I would never again to be able to get my Digest.  For
    me, the Digest  is like a morning cup of coffee -- absolutely essential and
    certainly an intellectual jumpstart.  I went so far as to even  print the
    code-o-graph. Then  I knew, with all those numbers, it would be an
    impossible task to decipher the messages let alone even think about
    posting.

    I got to thinking about our  friend Stephen Kallis. There is absolutely no
    doubt in my mind that he was a co-conspirator   I mean the code-o-graph;
    our esteemed listmaster's thanking him,. etc.

    So what would Captain Midnight think about these shenanigans?  He would
    probably wonder why anyone would be so naive. It would probably make me
    ineligible for the Secret Squadron.

    Dennis Crow

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

    Date: Sun, 1 Apr 2001 21:36:16 -0400
    From: "Stephen A Kallis, Jr." <skallisjr@[removed];
    To: [removed]@[removed]
    Subject:  Dennis Day

    Randy Cox, speaking of Dennis Day on a children's record, remarks on my
    speculation that the record was either cut from the movie sound track or
    was redone by Dennis Day, notes,

> >     I have a copy of the "Johnny Appleseed" album that Dennis Day made for

    RCA Victor -- which I’ve had since the film Melody Time was released.
    Dennis tells the story and sings the song, but it is not an exact
    reproduction of the sound track. Some things were changed slightly to be
    understandable to the ear when the eye couldn't see the [removed];<

    Okay, that makes sense.  I never heard the record, but did see the film.
    It's quite possible that both recordings were made at the same studio
    visit, but if the record required dialog to explain the screen action,
    why not a twice-told tale?

    Stephen A. Kallis, Jr.

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

    Date: Sun, 1 Apr 2001 22:37:09 -0400
    From: "Stephen A Kallis, Jr." <skallisjr@[removed];
    To: [removed]@[removed]
    Subject:  'Listen!  I hear a white horse coming!"

    Alan Bell, speaking of motivating his students to listen to OTR, notes,

>     ... the problem is that many students relate how difficult it is for
>     them to concentrate on the shows. They can't seem to formulate their own
>     pictures, or as Susan Douglas calls it, experience "dimensional"
>     listening. I wonder if someone can discuss how you might have dealt with
>     that. It seems like some kind of, oh, perhaps, meditative exercises might
>     have helped. I don't know. Maybe there's nothing to be done.

    That's because, in my opinion, they want to do something with their eyes.
    As I was growing up, when anyone in out family listened to the radio, we
    were usually doing something else, as well. Even as I'm typing this, I'm
    also listening to a broadcast. Now the probable cure to the problem is
    for the students to be occupied in doing something else while listening
    to OTR tapes. For instance, I often listen to 15-minute OTR serial
    episodes while walking our dog. Naturally, there's little cerebral for me
    to do while shepherding around the canine, but it's a great time to
    "decouple" my thoughts from watching the Pekingese sniff around and leave
    "calling cards." Hearing, say, Jack Armstrong and his compatriots on
    "Uncle" Jim Fairfield's yacht, the Spindrift, facing storm-generated
    waterspouts, is a great audio escape. Now I suspect that many students
    walk, jog, and/or rollerblade. An audiotape player playing OTR tapes
    could easily be a companion in such activities. This is an ideal way for
    a mind's "upper faculties" to be engaged in OTR listening while the
    simpler routine activities are being carried out. Likewise, those with
    tape players in their cars could listen while driving; same idea.
    Also, in my opinion, starting the course with a few Pat Novak For Hire
    programs would help; the show's writing and delivery would be intriguing
    to new listeners.
    Stephen A. Kallis, Jr.

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

    Date: Sun, 1 Apr 2001 23:39:38 -0400
    From: danhughes@[removed]
    To: [removed]@[removed]
    Subject:  MP3

    For those of you who want to get into MP3 economically, let me recommend
    the D-Link DMP-110 MP3 player, now on sale at Best Buy for $[removed] with a
    $20 rebate (or fifty bucks all told).

    The size of a thick cassette tape (or maybe an 8mm video cassette), it
    has 32 megs of memory built in and a slot for another 32meg SmartMedia
    card.  It comes with batteries (2 AAA), earphones, and a USB cable.

    The basic unit holds about 3 hours of OTR programming; 6 if you add a
    32meg card.  Easy to erase after you've listened and then load up another
    3 hours.

    I bought mine this afternoon, loaded the CD software into my computer in
    about 5 minutes, then loaded 12 Vic & Sade shows (directly from a CD-Rom)
    into it in another ten minutes.

    The $20 rebate is good only through this week (Apr 1-7).

    I know this pales in comparison to other units, but oh that price.  I am
    quite happy with mine.

    ---Dan

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

    Date: Mon, 2 Apr 2001 00:02:04 -0400
    From: Walt Appel <waltman@[removed];
    To: [removed]@[removed]
    Subject:  April Fools

    That was the best one that has ever, ever, been played on me.  I took it
    hook line and sinker.

    I'm real proud of you [removed]

    Walt - Stupid Key

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

    Date: Mon, 2 Apr 2001 10:06:05 -0400
    From: "AVPRO" <avpro@[removed];
    To: <[removed]@[removed];
    Subject:  April Fool,

    Boy did I fall for the April 1st Digest.  When I saw all those numbers, I
    did look for my 1945 Code-E Graph and I did begin trying to decipher the
    message.  I gave up right away and sent Charlie a message of complaint. I
    could see hours and hours of translating each letter of the Digest messages.
    It wasn't until the wee hours of April 2nd that I realized I had been an
    April Fool.  Great Prank!

    Don Aston
    avpro@[removed]

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

    Date: Mon, 2 Apr 2001 10:05:37 -0400
    From: Brent Pellegrini <brentp@[removed];
    To: <[removed]@[removed];
    Subject:  Phil Harris Jr.

    Didn't they refer to Phyliss on the radio show as Phyliss Jr

    +++_SI^@)y
    TLUFp<1pyN4&

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

    Date: Mon, 2 Apr 2001 14:08:57 -0400
    From: "Robert Fells" <rfells@[removed];
    To: "old time radio" <[removed]@[removed];
    Subject:  Marx Bros. Scripts

    Sorry I haven't coded this, Charlie, but I'm struggling with English as it
    is, you April Fooler, you.

    Stephen Kallis correctly observes that for some of the Marx Brothers' films,
    they tried out their material before live audiences.  Actually, the credit
    for that system should go to MGM producer Irving Thalberg who wanted to make
    sure that the routines written originally for films were sure-fire with the
    audience.  I once met a man who saw the Marxes perform out on the West Coast
    around 1936.  They were testing material for A Day At the Races.  The
    previous year, they made a tour in the West with material for A Night At the
    Opera, their first film for MGM, and the one that re-established their
    popularity.

    Mr. Thalberg probably got the idea from the great theater actor-turned-movie
    star, George Arliss, who raised a lot of eyebrows by his unorthodox method
    of having his casts perform an entire screenplay before a live audience
    prior to filming to uncover any problems.  Mr. Arliss was said to have
    "audience-proofed" his films in this way and the results seemed to justify
    it.

    After Thalberg died in September 1936, nobody ever had the Marxes try out
    material for their subsequent films - and the results showed it too.
    Thalberg also noted that the Brothers' earlier films for Paramount had no
    laugh spaces so audiences were laughing at something Groucho said and failed
    to hear his next two or three lines.  Groucho later said that Thalberg was
    their most inspired producer and after Mr. Thalberg died, nobody cared about
    the Marx Brothers, which is why, according to Groucho, the quality of their
    films declined.

    Bob Fells

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

    Date: Mon, 2 Apr 2001 14:13:31 -0400
    From: "Jerry Salley" <jlsalley@[removed];
    To: <[removed]@[removed];
    Subject:  Re: April 1 issue

    ROTFLMAO

    --------------------------------
    End of [removed] Digest V01 Issue #103
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