------------------------------
The Old-Time Radio Digest!
Volume 2003 : Issue 15
A Part of the [removed]!
ISSN: 1533-9289
Today's Topics:
RE: Opry changes [ MAGICIN95@[removed] ]
Vampires in "I Love A Mystery" [ Brian Misiaszek <brian_misiaszek@ya ]
Not Exactly Competitors [ "Stephen A Kallis, Jr." <skallisjr@ ]
Censorship [ "Andrew Godfrey" <niteowl049@[removed] ]
The best entertainer ever [ "Irene Heinstein" <IreneTH@[removed] ]
Today in radio history [ Joe Mackey <joemackey108@[removed] ]
Crosby's Oscars [ "Ivan G. Shreve, Jr." <iscreve@comc ]
ABC stations [ otrbuff@[removed] ]
Sounds [removed] [ Wich2@[removed] ]
It's the message, not the medium? [ wich2@[removed] ]
"Opry" a big part of OTR [ "rcg" <revrcg@[removed]; ]
Re:Distaff SFX "artists". [ hal stone <dualxtwo@[removed]; ]
------------------------------
Date: Sun, 12 Jan 2003 01:30:51 -0500
From: MAGICIN95@[removed]
To: [removed]@[removed]
Subject: RE: Opry changes
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I'd like to add my 2 cents to this discussion. When TNN was purchased by
whoever it is that owns it now and turned it from The Nashville Network into
what can best be described as just another cable network running reruns and
lowbrow entertainment (?) it was no surprise that viewers left in droves.
I've no doubt that the ratings garnered are not representative of those folks
who appreciated The Grand Ole Opry and real country music. Sad to say, but
the fact is that many viewers who appreciate quality are not served by
commercial (or cable) television in any form.
The irony here is that any network who would provide the type of material
that
viewers would prefer have to fight to remain solvent. They don't seem to
understand that the ratings the major 3 networks had decades ago are simply
not possible in today's market place and that they must find economically
feasible methods of producing material that viewers want to see. And, most
importantly, they must stand behind the products they provide to allow them
time to develop an audience. Years ago CBS did that with M*A*S*H and look
what happened. Today the show would have been cancelled by the third week
of the season.
It is interesting to me that when ratings tables are published the one
network you never see ratings for is PBS. While the argument could be made
that it would be difficult to create a ratings table consistent with the
standardized programming shown on other networks, I still would prefer to see
just how many viewers are leaving commercial and cable television to watch
PBS.
Janet
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------------------------------
Date: Sun, 12 Jan 2003 01:28:44 -0500
From: Brian Misiaszek <brian_misiaszek@[removed];
To: [removed]@[removed]
Subject: Vampires in "I Love A Mystery"
I LOVE A MYSTERY did two such serials, "My beloved is a vampire" and
"Temple
of the vampires." For anyone who has not head the surviving
recordings of
"Temple of the Vampires," it comes highly recommended. I have had
the
distinction of reading the entire serial from the original scripts
and I can
say that "Temple of the Vampires" is probably the most terrifying and
truly
scary pieces of radio written in serial form. Highly recommended.
I happen to agree with Martin that the ILAM radio serial "Temple of
Vampires" [TOV]is still terrifying after all these years; writer and
director Carlton E. Morse certainly knew his stuff.
The script version of TOV is pretty good, but even better is the
opportunity of listing to the dark to the the combination of the
orginal recordings intercalated with recreation episodes created about
twenty years ago. Those recreated episodes were made under the
leadership of Californian OTR DJ Bud Carey, with the able assistance of
none other than Jim Harmon, and is now circulating in the hands of many
ILAM fans and collectors.
So terrifying was this particular ILAM serial (broadcast multiple times
over US networks) that the Nicauraguan government allegedly lodged an
official protest in Washington after its initial broadcast airing. If
you have never heard this serial, do yourself a favour and track it
down.
However, while the word "vampire" exists in the title of the ILAM
story, "My Beloved is a Vampire", and indeed this phrase is groaned out
in the delirium of someone in this story, alas you will not find even a
hoaxed vampire with a careful reading of the script (which, alas, is
the only form that this story is available, all recordings having
vanished from both runs of the series).
Instead, the term "vampire" in this particular ILAM story (which I have
been most fortunate to have been able to read) refers to the other
definition of "vampire", being a person, (usually a woman), who preys
upon others as some form as an extortionist. In fact the term "vamp" or
"vamping", which is based on this meaning of the word, refers to a
woman who uses her sex appeal to entrap and exploit men, and such a
mysterious woman is the sinister villainous behind the many murders
that take place in "My Beloved is a Vampire."
::Brian::
Visit the unofficial "I Love A Mystery" page at [removed]
------------------------------
Date: Sun, 12 Jan 2003 01:29:06 -0500
From: "Stephen A Kallis, Jr." <skallisjr@[removed];
To: [removed]@[removed]
Subject: Not Exactly Competitors
Ron Sayles, speaking of video broadcasts, notes,
Although television is more than four letters long, it definitely is a
naughty word. <snip> Television replaced something that was good with
something that is sporadically good, but is bad the vast majority of the
time. <snip> "Amos 'n' Andy" not withstanding, the worst radio is better
than the best television
Let's sidestep the issue as to whether television is "evil" -- or even
"good." particularly since it's been classified as off-topic. But it's
worth pointing out that *because* OTR and television are separate media,
they can be effective in different ways.
One of the early TV programs that was extremely effective was a teleplay
of Shirley Jackson's short story, The Lottery. It was simple, stark, and
easily within a TV show's budget. That worked very well on video, and by
contrast, wouldn't have had that level of impact on radio. What clicked
in this was the visual, particularly at the moment of "casting the first
stone." It could have been done on radio, but not with that level of
effect.
However, visiting Jack Benny's Vault on the radio was a far more
interesting experience than its television counterpart. There are places
where the imagination works far better.
OTR had and, in recordings has, great strengths. Personally, I feel
dwelling on "the theater of the mind" is to miss the point. Is reading a
book "theater of the mind"? One could make a case, but *that's* missing
the point, too. OTR enables you to be entertained without being held
captive, and it's the primary medium to do so. Let us not forget that
the reason Soap Operas were called what they were wasn't because people
were singing: it was to enable a person to be entertained while stuck
doing housework. (Radio and musical recordings can be listened to while
in motion. It is Not Good to try reading or watching television while
jogging, driving, or otherwise moving about.
Some OTR shows couldn't have transitioned to television well; others
could. Two of the aviation shows of the OTR period were Captain Midnight
and Sky King. Both had TV incarnations. The Sky King worked well, with
a near-seamless transition, because the hero was a rancher who'd been a
Naval Aviator and who had an aircraft on his ranch. But the radio
Captain Midnight show went to too many exotic locales, and had too big a
paramilitary organization to be depicted on the television of the time,
so the show was altered radically. Do I think the OTR Captain Midnight
was markedly superior to the TV show of that name? You bet, and not
because the show was special to me. I can take radio tapes and compare
them in vocabulary, concepts, and plot complexity to tapes of the TV
version and demonstrate it easily. But I couldn't show such a clear
distinction between the OTR and TV versions of Sky King, That show
worked about the same in both media.
OTR has had extremely good shows. TV has had some extremely good shows.
And I've read some extremely good books. It's always best not to judge
one medium by the standards of another.
Stephen A. Kallis, Jr.
------------------------------
Date: Sun, 12 Jan 2003 10:30:25 -0500
From: "Andrew Godfrey" <niteowl049@[removed];
To: [removed]@[removed]
Subject: Censorship
Was there any censorship in OTR days? I have listened to some Bob Hope
shows that came close to crossing the line where they might have been
censored if there were censors. This in no way is a criticism of Bob Hope as
being a veteran I appreciate what Bob Hope did for our servicemen and am
hoping he makes it to 100 this spring.
It is sad that there are so few Bob Hope shows available to listen to.
Was this a NBC policy that caused so few shows to be saved? On the other
hand Jack Benny has over 800 shows that were saved and he and Bob Hope both
were on radio about the same number of years.
Another example would be Ozzie and Harriet which was on several years but
only has about 58 shows available for MP3s. I am curious to know if anyone
knows specific instances of where shows were discarded after a certain
length of time or recorded over.
Andrew Godfrey
------------------------------
Date: Sun, 12 Jan 2003 11:03:12 -0500
From: "Irene Heinstein" <IreneTH@[removed];
To: "OTR" <[removed]@[removed];
Subject: The best entertainer ever
Jer51473@[removed]
asked if Bing Crosby was the best entertainer ever.
When Bob Hope was asked that question he said that Al Jolson was the
greatest entertainer he ever knew. I think that Jolson's blackface
routines have made him hard to "admire" and to be remembered in a way he
probably should be admired and remembered (as an entertainer at least, if
not as a private person).
I really don't know who should have the title but I think he's a contender.
~Irene
------------------------------
Date: Sun, 12 Jan 2003 11:03:18 -0500
From: Joe Mackey <joemackey108@[removed];
To: otr-net <[removed]@[removed];
Subject: Today in radio history
>From Those Were The Days -
1926 - Sam 'n' Henry debuted on WGN in Chicago, Illinois. The show's
name was changed to Amos 'n' Andy with the voices of its creators,
Freeman Gosden and Charles Correll.
1932 - Ed Sullivan joined CBS radio in a program of gossip and
interviews.
Joe
--
Visit my home page:
[removed]~[removed]
------------------------------
Date: Sun, 12 Jan 2003 11:03:41 -0500
From: "Ivan G. Shreve, Jr." <iscreve@[removed];
To: [removed]@[removed]
Subject: Crosby's Oscars
Jer51473@[removed] wrote:
he was the top box office attraction in the movies for an unprecedented
number of years which i believe included something like 6 years in a row and
he also won 2 oscars
I don't like to nitpick, but Der Bingle only won one Oscar, for 1944's GOING
MY WAY. He was nominated two other times, for THE BELLS OF ST. MARY'S
(1945) and THE COUNTRY GIRL (1954), but lost to Ray Milland and Marlon
Brando in those years, respectively.
Ivan G. Shreve, Jr.
------------------------------
Date: Sun, 12 Jan 2003 11:03:50 -0500
From: otrbuff@[removed]
To: [removed]@[removed]
Subject: ABC stations
Larry Jordan inquires about the number of ABC affiliates operating in the
latter 1950s. From my book, Say Goodnight Gracie: The Last Years of
Network Radio (McFarland, 2002, 800-253-2187) this may be insightful to
Larry and others (pages 127-128):
"There were 2,086 commercial radio stations operating on the AM band in
the United States in 1950. Of that number, 1,170 (56 percent) were
affiliated with one of the four major national chains as follows: ABC,
282 ([removed] percent); CBS, 173 ([removed] percent); MBS, 543 ([removed] percent); NBC,
172 ([removed] percent).
"Ten years later, in 1960, things had shifted dramatically. There were
3,456 AM stations in operation then, a net gain of 1,370. Yet only 1,153
(33 percent) maintained network affiliations. While this was a loss of
but 117 outlets, it was a 23 percent decrease. By that time, the four
networks claimed the following numbers of stations: ABC, 310 ([removed]
percent); CBS, 198 ([removed] percent); MBS, 443 ([removed] percent); NBC, 202 ([removed]
percent).
"In the 10-year period ABC had suffered a net loss of 28 affiliates, CBS
had gained 25, MBS was then down by 100 and NBC had picked up 30.
"An encouraging sign turned up in all of these statistics, however. The
dual chains (ABC and MBS) that had largely wiped their slates clean of
most of their network programming--save news and sporting events and a
few long-running features ([removed], The Breakfast Club)--witnessed
significant losses in the number of affiliates still carrying the
remnants of their former schedules.
"On the other hand, CBS--with impressive vestiges of its traditional
daytime, nighttime and weekend schedules, at least through late 1960--and
NBC--with its flexible, attractive Monitor programming covering almost
all of every weekend--were hanging on to most of their stations. The
pair actually effected increases, a combined 55 more outlets than they
attracted together in 1950. An NBC critic admitted: 'In 1960 the
network's radio business, as distinct from television, began to show
substantial profits in the face of a contrary trend in the industry as a
whole.'
"NBC and CBS simply *had* to be doing something right. Such
acknowledgment, and the increase in their number of outlets, was a silver
lining in an era when so much seemed to be working against the aural
medium. Surely this was welcome news to some fatigued and often maligned
national radio executives."
Jim Cox
------------------------------
Date: Sun, 12 Jan 2003 11:08:56 -0500
From: Wich2@[removed]
To: [removed]@[removed]
Subject: Sounds [removed]
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From: "Stephen A Kallis, Jr." <skallisjr@[removed];
Subject: More on Effects
Sometimes, the simplest way is the [removed]
One gadget they had was a wooden frame with a matrix of wooden pegs
suspended (and
linked) by rubber bands: these were used to simulate the sound of a troop of
soldiers marching.
And it still works, amazingly so. Our sfx person on THE TRAGEDY OF JULIUS
CEASAR, Eevin Hartsough, used one - to miraculously believable effect, for
such a visually Rube Goldberg-ian contraption!
They claimed that the sounds of ship's ropes flexing could be simulated by
gently drawing a violin bow across an empty strawberry box.
The ubiquitous strawberry boxes serve a multitude of uses: in [removed], their
crushing added to the rioter's cries, as crowds went wild in Rome. As to
ship's creaks, our sound guy on FRANKENSTEIN: MODERN PROMETHEUS, Clyde Baldo,
rhythmically twisted a big leather coat in his hands!
([removed] how do we make the sound of the title "character" in our upcoming THE
BLUE [removed])
Happy New Year, & best to all-
-Craig Wichman
Quicksilver Radio Theater
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------------------------------
Date: Sun, 12 Jan 2003 11:08:52 -0500
From: wich2@[removed]
To: [removed]@[removed]
Subject: It's the message, not the medium?
From: Ron Sayles <bogusotr@[removed];
Subject: Is TV a naughty word?
I yield to no one in my love of the audio medium, or I wouldn't listen to so
much Old, and sweat to produce New - but fair is [removed]
Although television is more than four letters long, it definitely is a
naughty word.
... Television replaced something that was good-
Ho boy. I honestly think (based on what I've heard and seen)that the
percentage of drek to gold was about the same then as now. For an example: as
many Listers have said before me, the abysmal writing of such shows as KEEN,
and the often-incomprehensible INNER SANCTUM rip-offs, ranks right down there
with the worst of today's! Main cause, I suppose - Radio's main reason to
exist was the same as TV's, IN THE MINDS OF THE POWERS THAT BE: ad dollars.
As I once heard Harlan Ellison say,
"You gotta remember: to these guys, the PROGRAMS are the interruption!".
-with something that is sporadically good-
But when it's [removed] ALL THE FAMILY, STAR TREK, TWILIGHT ZONE (whose quality
has been referenced to SUSPENSE, & Corwin's works, KING OF THE HILL (compared
recently on this list to VIC & SADE, SMALLVILLE, [removed]
-but is bad the vast majority of the time.
Yep. Most TV sitcoms, etc., etc. But just TRY to give a listen those the OTR
shows deservedly NOT recalled as "classics", [removed]
-the worst radio is better than the best [removed]
Well, maybe my opinions are considered prejudiced & dismissable, because I
just missed the Golden Age in it's LIVE incarnation (I was born in '58). Can
someone qualified speak up here? Hal? Harry?
To my credit, once I saw the filth that television produced, I stopped
watching.
This is a separate, if related, topic. If we are talking not quality of
production here, but over-permissiveness & cheap shots, that is not the fault
of the Medium -
look what radio has evolved into.
Best,
Craig W.
[ADMINISTRIVIA: Ok, folks, we've looked at TV from both sides [removed]'s get
back to Old-Time Radio. --cfs3]
------------------------------
Date: Sun, 12 Jan 2003 12:16:58 -0500
From: "rcg" <revrcg@[removed];
To: "Otr Digest" <[removed]@[removed];
Subject: "Opry" a big part of OTR
I've been very gratified to see that there are several members of the OTR
Digest who are concerned about the slow (but sure) demise of the Grand Ole
Opry. The Opry was a big part of the era that we now refer to as OTR. With
NBC radio carrying one of the 30 minute portions coast to coast, the entire
nation was made aware of the program. WSM-AM was (and is) a very powerful
station with a vast signal range. Many country music fans in approximately
38 states plus parts of Canada would tune to WSM after dark and listen to as
much of the complete five hour broadcast as possible. In addition, after the
Opry ends each Saturday, WSM carries another live country show called the
Ernest Tubb Midnight Jamboree. Second only to the Opry in longevity, the
Midnight Jamboree last night performed it's 2,918th consecutive show.
Saturday night was always a relatively low rated time period in the days of
OTR, just as it currently is for TV shows. But, for those who loved to stay
home and listen to such shows as Gangbusters, Truth or Consequences, etc.
tuning to WSM after the prime time network programming ended at 11PM ET was
a weekly ritual and those listeners were rewarded with some great
entertainment.
There were a couple of posts on the most recent digest that really hit the
nail on the head. Many thanks to those who posted because they imparted much
good information concerning the war that Gaylord seems to be waging on those
who, apparently, don't fit their demographic profile of desireable
listeners.
Of all of the current Opry entertainers, the person who has been the most
vocal on the situation is Sonny Osborne, the excellent Banjo player and
co-leader of the Osborne Brothers bluegrass band. He has been extremely
outspoken on the subject. I once saw Sonny on the old "Backstage At The
Opry" TV show start to name some of those who were ruining the Opry. Bill
Anderson stepped in and steered Sonny away from a potentially embarrassing
incident. The Osbornes have a web site and I'm certain that Sonny would like
to hear from those who have opinions, pro or con, on his viewpoint. If
interested, you can access the site at: [removed]
------------------------------
Date: Sun, 12 Jan 2003 12:33:50 -0500
From: hal stone <dualxtwo@[removed];
To: <[removed]@[removed];
Subject: Re:Distaff SFX "artists".
Herb Harrison asked of [removed]
Does he know of any "sound effects women"; and if so, were any as
talented as their male counterparts?
I seem to recall that there was one female SFX technician who worked at CBS
NY. I refreshed my memory, and found her name in Arthur Anderson's book
about "Lets Pretend" It was Ora Nichols. I think I only worked with her once
when I was quite young, and can't give an opinion one way or 'tuther if I
had to compare her talents with her male counterparts. But I would expect
that they were formidable. One does not remain employed by a major network
if they aren't very capable.
As for NBC NY, I'm not aware of any female SFX technicians. It may have been
possible, but I never worked with any. The only female that I know that had
anything to do with Sound Effects, was when a female Guest Relations Page
name Neil married one of our neat "Archie" SFX guys named Sam Monroe. :)
A possible reason for the lack of female SFX technicians may sound very
chauvinistic, but it was "Politically Correct" at the time. Back then, women
were considered to be the frail, weaker sex, and strange as it may seem,
many sound effects required muscular strength. The dropping of heavy sand
bags to replicate the sound of a body falling comes to mind. As was the
device mentioned in yesterdays digest about the frame with wooden pegs that
was used to sound like troops marching. (It wasn't something light in
weight, and could tire one's arms if the effect was to last any length of
time). Then too, the sounds of a struggle often required the SFX man to
literally beat his chest, arms and thighs. (The less masochistic ones beat
on sand bags and thick pads). Then too, a large heavy piece of sheet metal,
hung from a massive frame, was often used to make the sound of "Thunder"
when it was grabbed and shaken. Hitting it with a padded mallet didn't
produce the same realism. Car crash recordings were not always used, and if
it was a comedy program, heavy pieces of metal could be thrown (bumpers,
tire rims, etc,) if the director wanted to amuse the audience with a
prolonged dismantling of a car. (Much like Megee's Closet)
I can't speak for the west coast SFX personnel.
Hal(Harlan)Stone
Jughead
--------------------------------
End of [removed] Digest V2003 Issue #15
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