Subject: [removed] Digest V2004 #345
From: <[removed]@[removed]>
Date: 10/26/2004 4:19 PM

To: <[removed]@[removed];

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

                                The Old-Time Radio Digest!
                                  Volume 2004 : Issue 345
                             A Part of the [removed]!
                                 [removed]
                                     ISSN: 1533-9289

                                     Today's Topics:

      Arthur Anderson Radio Interview - Tu  [ seandd@[removed] ]
      Script writers                        [ "Martin Grams, Jr." <mmargrajr@hotm ]
      Hangman Won't Wait                    [ "Martin Grams, Jr." <mmargrajr@hotm ]
      Lady in [removed] more time         [ Jack & Cathy French <otrpiano@erols ]
      FOTR Convention                       [ "Martin Grams, Jr." <mmargrajr@hotm ]
      Ralph Kiner Memoir Review             [ seandd@[removed] ]
      Re: Our Miss Brooks/Osgood Conklin    [ "Candy Jens" <candyj@[removed]; ]
      Lux Radio Theater                     [ "[removed]" <asajb2000@ ]
      re: More on Benny and race            [ Kermyt Anderson <kermyta@[removed]; ]
      Jack and Rochester                    [ "A. Joseph Ross" <lawyer@attorneyro ]
      Jack Benny and race                   [ "Kirby, Tom" <Kirby@[removed]; ]
      Early radio                           [ "A. Joseph Ross" <lawyer@attorneyro ]

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

    Date: Mon, 25 Oct 2004 18:53:22 +0000
    From: seandd@[removed]
    To: <[removed]@[removed];
    Subject:  Arthur Anderson Radio Interview -
      Tuesday 10-26 at 8:30 [removed]

    Friends of Old Time Radio stalwart Arthur Anderson is going to be
    interviewed by Peter Anthony Holder of CJAD-AM in Montreal, Canada on
    Tuesday night at 8:30 [removed] EDT regarding his book "Let's Pretend and the
    Good Old Days of Radio."

    You can access the station on the web at [removed] to listen to
    the interview.

    Arthur is expected to discuss not only his 18 years on Let's Pretend but
    also his wider career as a radio actor.

    I encourage everyone either in Montreal or with access to a computer to
    tune in.  The same host did a great segment with Dick Van Patten, soon to
    be appearning in the Lincoln Center production of Cinderella in New York,
    last Thursday but I didn't get a chance to plug it as it was in the midst
    of FOTR 2004. OTR fans might want to get out to the play as well to support
    Dick.  It runs from November 7-21.

    Sean Dougherty
    SeanDD@[removed]

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

    Date: Mon, 25 Oct 2004 18:53:30 +0000
    From: "Martin Grams, Jr." <mmargrajr@[removed];
    To: <[removed]@[removed];
    Subject:  Script writers

    Thom Bray asked:

     > I'm curious if dramatic scripts (GUNSMOKE, DRAGNET, SUSPENSE)
     > were all freelance driven, with a story editor on staff, or if there was an
     > actual paid staff that worked week in and week out ( I'm guessing the
     > former.) Comedy may have been different; I have heard that most radio
     > comics had a staff of writers (the"boys") that would write each week's
     > show.  Is that so?

    The answer to that question varies from program to program.  While many
    formulated series (including comedies) did have a staff of writers who
    worked on ALL of the scripts, many dramatic programs were open to
    freelancing.  INNER SANCTUM, SUSPENSE, THE CBS RMT, and others were open
    for review which meant if you were a writer and could get your script
    forwarded to the producer/director and they liked it, you would be paid for
    the script.  The fee, of course, varied from program to program.  During
    the later years of what is termed the "Golden Age of Radio," script writers
    made more money writing for television, opening doors for young wanna-bes
    to write scripts for lesser money.  During 1960, if you wrote a script for
    HAVE GUN-WILL TRAVEL and got it into the hands of the producer/director and
    he liked it, you would have sold a script.  SUSPENSE was open for scripts a
    number of times during it's 20-plus years, especially during the program's
    last year and a half (1961-1962).

    Nowadays you have to have an agent represent you if you wish to write for
    television.  Without an agent, your submission is considered unsolicited
    and would be rejected.  Main reason (obviously) is lawsuits.

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

    Date: Mon, 25 Oct 2004 18:54:06 +0000
    From: "Martin Grams, Jr." <mmargrajr@[removed];
    To: <[removed]@[removed];
    Subject:  Hangman Won't Wait

    Matthew Bullis asked:

     > Anyone have Hangman Won't waitt?
     > I got halfway through this Suspense program, only to find my file
     > incomplete. Does anyone have this show which they can send me?

    Sorry to burst the bubble Matt, but only half of that episode is known to
    exist.  No one has the other half.  It's an incomplete recording and has
    been that way for years.

    I do have a copy of the script (complete episode) if you want a copy.
    Martin

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

    Date: Mon, 25 Oct 2004 18:55:34 +0000
    From: Jack & Cathy French <otrpiano@[removed];
    To: <[removed]@[removed];
    Subject:  Lady in [removed] more time

    Since I answered the question on "The Lady in Blue", two digesters, Kenneth
    and Deric, have asked for more information.

    "The Lady in Blue" consists of two 15 audition episodes, neither of which
    apparently aired. A "society girl" not named, assisted by her Cockney maid,
    Harriet Higgins, went forth from her penthouse to fight crime. She had no
    super powers, just a secret identity and elaborate costume, much like the
    comic book character she was based upon, "Lady Luck." There is no shortage
    of dealers and collectors who have these two episodes in stock.

    Another series, with the identical name of "The Lady in Blue", ran on NBC
    radio from May to Dec in 1951 on Saturday mornings. It was produced in the
    studios of WNBC in Manhattan and starred June Winters, although she never
    used her real name. This 30 minute show was aimed at a kiddie audience and
    Winters wove an interesting juvenile tale around a series of humorous
    records which her engineer played. These would include comedy records by
    Danny Kaye, Jerry Colonna, Jerry Lewis, etc. No audio copies of this
    program have apparently survived.

    For those of you holding a copy of my book, "Private Eyelashes", I must
    confess I was fooled, as was Jay Hickerson, by the similarity in names
    (What the heck, there can't be two kids' series named "The Lady in Blue,"
    can there?) I was unable to find any scripts from either series until after
    my book was published this April. This summer, I was directed to the
    scripts of the 1951 show at the Library of Congress by ace OTR sleuth, Karl
    Schadow.

    The most likely scenario is this:  Sometime after the "Lady Luck' comic
    character's appearance (Her comic books were published from 1943 to 1949),
    some unknown producers cranked out at least two episodes of a 15
    minute  adventure show entitled "The Lady in Blue." Let's [removed]
    1948.  It certainly had to be before NBC's "The Lady in Blue" aired in
    1951, because they wouldn't use the title of another kids' program. And
    other than the identical names, there is nothing to connect the two series.

    So for those who don't want to wait for the second edition of "Private
    Eyelashes", I invite you (with my apologies) to print out this message and
    paste it between pages 36 and 37.

    PS: It is true it takes a big man to admit he was wrong?

    Jack French
    [removed]

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

    Date: Mon, 25 Oct 2004 18:57:10 +0000
    From: "Martin Grams, Jr." <mmargrajr@[removed];
    To: <[removed]@[removed];
    Subject:  FOTR Convention

    Here's my two cents:

    FOTR this year was great.  One of the only reasons I go there every year
    are the friends I meet up with every year and this year (personally for me)
    has to be the best for the following reasons:
    Terry Salomonson stopped by at my house and stayed the night, a day before
    the convention so we got to stay up late, kick back and chat.  Then on
    Wednesday evening it was the wine and cheese and meeting up with Arlene
    Osborne, Jim Widner, Dan Reidstra (sp?), Bobb Lynes and Charlie Summers to
    name a few (even if briefly for a time).

    On Thursday I met Phillipa Lord, the daughter of the creator of GANG
    BUSTERS, MISTER DISTRICT ATTORNEY, SETH PARKER, WE THE PEOPLE, SKY BLAZERS,
    PUBLIC DEFENDER and many others.  She's a doll.  Thursday evening, Terry,
    Alex and his wife, Karl and a couple others stayed up late in the room and
    we had Chinese food delivered.  That went on till 3 in the morning but what
    fun and what discussions.

    Friday was kinda the same, but I got to meet Bill Abbott, a good friend,
    whom I only correspond with in e-mails and now I can place a face with the
    e-mails.  Stayed up till 2 and that involved pizza delivery.  Not to
    mention socializing with people I see only once a year.  Mel, for instance
    - we only got to chat briefly the year before but this time we chatted a
    number of times over the weekend.

    Michelle Vinje drove up Friday night.  Now for anyone who is not aware (and
    most are not), Michelle is 27 years old and one of the "younger generation"
    or as old-timers put it, "Generation X".  She drove four hours on I-95 to
    attend the convention, got there Friday evening in time for the banquet
    dinner (we sat at the same table with Soupy Sales!) and attended the events
    during Saturday.  She drove eight hours on a road you wouldn't want to walk
    across for a total of 8 hours of FOTR events and panels.  Dedication to the
    max.

    Friday's events was the best.  There was a tribute to Jackson Beck in the
    morning, a great panel of Jack Benny cartoons and animated parodies of
    Benny led by Michael Hayde and Derek Tague, a comedy panel led by Derek,
    and a wonderful dramatization of "The Battle of the Warsaw Ghetto" by the
    Gotham Radio Players that can be described as "impressive."  All of these
    events (or most, anyway), were captured on film and Fred Berney of
    Satellite Media will be offering them (at a superb price) on VHS and DVD in
    another week or two.  Anyone who did not make it to the convention - these
    events are recommended.

    By saturday afternoon, my GANG BUSTERS book sold out.  Ben Ohmart of Bear
    Manor Media was there selling books from his company and I was informed
    from a first-hand source that he was also pleased with the sale of his
    books, showing that there is still a strong interest in OTR Publications.

    Saturday had a wonderful panel of Husband and Wife Detective teams led by
    Jack French.  Also recommended.  My only regret was that the convention
    only runs once a year, and a few friends like Gary Kramer and Ted Davenport
    could not attend this year.  Now I am going to have to wait about 361 days
    till next year's.

    Ben Ohmart followed me down to my house on Saturday evening (I had to leave
    early) and he stayed the night till late Sunday afternoon.  His house is
    technically on the way past mine so he got to check out the Batcave and he,
    my girfriend and I even watched THE ALAMO (the new one) on the big screen.

    Next year will be FOTR's 30th Anniversary so anyone reading this posting
    (and I am sure other people's postings) who have been meaning to attend and
    check out the events and mingle with other fans and friends of the hobby,
    make it a date to attend next year.  It'll be worth it.

    Martin Grams, Jr.

    [removed]  You don't owe me.  If I was accidentally put in a similar situation,
    for obvious reasons you would be the first I'd ask for the favor.

    [Sure I do. And I should have sent her [removed]'re _still_ here. And
    trust me, this hotel is no fun a-tal without the rest of you. What pizza
    parlor did you call again?  --cfs3]

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

    Date: Mon, 25 Oct 2004 18:52:45 +0000
    From: seandd@[removed]
    To: <[removed]@[removed];
    Subject:  Ralph Kiner Memoir Review

    Old time ballplayer Ralph Kiner relates his memories of showbiz pals, who
    included many OTR stars, in his new autobiography.

    Coverage from the The Desert Sun follows.

    Sean Dougherty
    SeanDD@[removed]

    [removed]

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

    Date: Mon, 25 Oct 2004 18:53:15 +0000
    From: "Candy Jens" <candyj@[removed];
    To: <[removed]@[removed];
    Subject:  Re: Our Miss Brooks/Osgood Conklin

     >Osgood states in  referance to Jason Brille Clay City High Principal
    "Before we were teachers at State  Normal".  State
      >Normal was a College or High Shool-who knows??  But Osgood was a teacher!!

    Years ago, teachers' colleges, many run by the state, were called "Normal
    Schools."  So "State Normal" would be shorthand for the local teachers'
    college.  Odd that Osgood would be "demoted" from a college professor to a
    high school teacher - or maybe he was referring to his "practice teaching"
    while an underegraduate.

    Candy

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

    Date: Tue, 26 Oct 2004 08:59:21 -0400
    From: "[removed]" <asajb2000@[removed];
    To: <[removed]@[removed];
    Subject:  Lux Radio Theater

    I am not sure what AFRS did with Campbell Playhouse
    but Lux Radio Theater became Radio Theater.

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

    Date: Tue, 26 Oct 2004 08:59:35 -0400
    From: Kermyt Anderson <kermyta@[removed];
    To: <[removed]@[removed];
    Subject:  re: More on Benny and race

    James Meadows wrote:

     > Maybe Benny, or Eddie Anderson, or some of the writers thought about
     > making an open break from the stereotype. But even if they did, they
     > would have run up against all the pressures faced by mainstream
     > entertainment.

    good point. There's a lot of racial humor in OTR that makes us cringe
    by modern standards, but which, if you're informed, you can realize was
    quite funny in its day. Incidentally, In Jack's autobiography, he
    mentions an incident on the show in which Jack is boxing, with
    Rochester as his sparring partner, and Rochester KOs him. A lot of
    irate Southerners in particular wrote in to express outrage at a black
    man laying a hand on a white man. Jack said they never recevied as much
    outraged mail as they did over that episode!

    Incidentally, when I started this sub-thread by giving examples of how
    Rochester's behavion conformed to the racial stereotypes of the day, I
    was doing so to counter another poster's statement that race was always
    conveyed on radio through dialect. Rochester, as well as others
    including Hattie McDaniel and Birdie, didn't do "black" dialect, but
    generally conformed to "black" behaviors. Someone countered that Phil
    Harris had many behaviors that were similar to Rochester, but unless
    I'm mistaken, there's no easy way for being a musician to be conveyed
    by dialect.

    It's been noted that Rochester's skin color was well known to the radio
    audience. (That certainly would have been true for Hattie, Butterfly,
    Birdie and others.) Which got me to wondering if there were two groups
    of black characters on radio: 1) those who actually were black, and
    were known by the audience to be black and thus didn't need to do black
    dialect; and 2) those race was not known to the audience, and was
    conveyed primarily through dialect. I'm curious whether group 2 was
    actually performed primarily by white actors. I've read that was common
    in OTR--blacks couldn't get jobs on the radio unless they didn't "sound
    black"--and black roles were primarily performed by whites. I'm sure
    there were exceptions. I know that Gosden and Correll employed many
    black actors in the later years of Amos and Andy; did these actors do
    black dialect on the show? Also, I recently listened to some of the
    auditions for the unaired "Rochester van Jones Show." Were any of the
    "black" supporting characters actually played by black actors?

    I find dialect humor to be one of the more interesting historical
    windows in OTR. I know a lot of it dates from vaudeville and minstrel
    days. (By the way, did anybody catch the bit on Bert Williams on the
    recent PBS series on Broadway?) It took me forever to catch on that Mr.
    Kitzel was Jewish! Mrs. Nussbaum, yes, but Mr. Kitzel, no. Kitzel
    didn't do any stereotypically Jewish behaviors (at least not that I
    noticed). On the audition for "Here's Mr. Kitzel," the announcer
    explicitly refers to him as a successful example of dialect humor.
    That's something that has largely disappeared from American popular
    culture.

    Kermyt

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

    Date: Tue, 26 Oct 2004 09:00:37 +0000
    From: "A. Joseph Ross" <lawyer@[removed];
    To: <[removed]@[removed];
    Subject:  Jack and Rochester

     > Date: Mon, 25 Oct 2004 09:54:06 +0000
     > From: James Meadows <walthamus@[removed];

     > I remember a sign of changing times when, as a child, I watched one
     > of the TV specials Jack Benny made after his weekly show had gone off
     > the air in the 60s.

    I remember another from on of Jack's specials in the late 60s or early
    70s.  Jack had
    Rochester on stage with him, and they were doing some business in which
    Jack suggested
    a number of different show formats that the two of them could do
    together.  Rochester didn't
    like any of them.  Finally, Jack said, "I've got an idea!  How about a show
    in which you play
    my  butler and valet."

    Rochester said, "We don't DO that kind of work no more!"  Then, possibly to
    show that this
    was all in good fun, Jack embraced Rochester with a big grin.

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

    Date: Tue, 26 Oct 2004 09:00:45 +0000
    From: "Kirby, Tom" <Kirby@[removed];
    To: <[removed]@[removed];
    Subject:  Jack Benny and race

    I can't find any reference to it on the web right now, at least
    not with the search terms I was using, but wasn't there an episode
    where Jack was teaching Rochester how to box, or demonstrating his
    boxing skills to him?

    In any case, Jack's defense wasn't up to what he claimed, and he got
    KO'ed. I think I remember hearing the voice of Rochester asking
    repeatedly if he was OK, but getting no answer. I never heard this on
    radio, but I think it was on some sort of documentary, and I'm not sure
    the bit ever made it to the air, as some people were outraged that
    Rochester would dare to hit his boss.

    If anyone can point me to a book or web link about this, I would
    appreciate it. I don't think it's something my imagination made up.

    Thanks,

    -- Tom Kirby

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

    Date: Tue, 26 Oct 2004 09:00:25 +0000
    From: "A. Joseph Ross" <lawyer@[removed];
    To: <[removed]@[removed];
    Subject:  Early radio

     > Date: Sun, 24 Oct 2004 18:11:24 +0000
     > From: Osborneam@[removed]

     > (ie WBZ was originally in Worcester, and was the first 50,000 watt
     > radio station).

    Not quite.  WBZ began in 1921 in Springfield, and it was not, at that time,
    50,000 watts.  A
    few years later, they established a sattellite station in Boston called
    WBZA on the same
    frequency.  In 1931, Westinghouse having realized that Boston was going to
    be the lucrative
    market, the two callsigns were swapped and Boston became the primary
    station.  WBZ,
    Boston, began transmitting at 50,000 watts in 1933.   I don't know if it
    was the first at that
    power.  WBZA continued to operate in Springfield as a 1000-watt relay of
    WBZ until 1962.

     > He established W for stations east of the Mississippi and K for those
     > west.

    Also not quite correct, which is why there are W stations in Texas and K
    stations in
    Pennsylvania.  When radio was used mainly for ship-to-shore
    communications, W calls were for land stations on the Atlantic coast, and K
    calls were for
    ships in the Atlantic.  The reverse was true in the Pacific.  When call
    letters began to be
    assigned inland, for broadcasting, that convention broke down.  Quite a few
    stations had
    been assigned before the Mississippi River became the boundary.

    --
    A. Joseph Ross, [removed]                           [removed]
      15 Court Square, Suite 210                 lawyer@[removed]
    Boston, MA 02108-2503           	         [removed]

    --------------------------------
    End of [removed] Digest V2004 Issue #345
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