Subject: [removed] Digest V01 #42
From: <[removed]@[removed]>
Date: 2/5/2001 10:58 AM

To: <[removed]@[removed];

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

                          The Old-Time Radio Digest!
                             Volume 01 : Issue 42
                        A Part of the [removed]!

                               Today's Topics:

     TRIBUTE TO OTR                       ["Owens Pomeroy" <opomeroy@[removed]; ]
     Re:  Forgotten Speed(s)              [Michael Biel <mbiel@[removed];       ]
     The corpse turned round and round .  [Michael Biel <mbiel@[removed];       ]
     Believe it or not---NOT!             [Michael Biel <mbiel@[removed];       ]
     Blue Beetle                          [JimInks@[removed]                    ]
     The Lone Ranger's Real Name          ["A. Joseph Ross" <lawyer@[removed].]
     16 rpm records                       ["A. Joseph Ross" <lawyer@[removed].]
     16 RPM and the Big Bands             [George Aust <austhaus1@[removed]]
     Childhood Memory of  Lucky Strike  A [GEORGE WAGNER <gwagneroldtimeradio@]
     Your Hit Parade & Baseball           ["Art Shifrin" <goldens2@[removed]]
     Re: SUSTAINING SHOWS                 [Fred Berney <berney@[removed];      ]
     Premium perspectives                 ["Stephen A Kallis, Jr." <skallisjr@]
     RE: The Land is Bright               [Weisberg Mitchell D DLVA <WeisbergM]
     Sponsors/Commercials                 ["Richard Pratz" <[removed]@home]
     The Blue Beetle Serial               [Trinapreston3@[removed]              ]
     BIG BAND REVIVAL IN THE 70'S         ["Owens Pomeroy" <opomeroy@[removed]; ]

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

    Date: Sun, 4 Feb 2001 23:47:43 -0500
    From: "Owens Pomeroy" <opomeroy@[removed];
    To: [removed]@[removed]
    Subject:  TRIBUTE TO OTR

                                     TRIBUTE

    Give me again, those golden years, of radio at its best,

    Let me hear just one more time, Drama, and all the rest.

    Escape, The Shadow, and Reilly, too,

    Now they are gone, those shows that we knew.

    Remember Mollie, and Fibber McGee?

    And an Aldrich, named Henry, we all laughed with glee.

    Oh, where did they go, where did they hide?

    TV, that ogre, cast them aside

    But listen, what's that? Why they're back once again!

    Uniting us all, neighbor, and kin.

    Forget the TV, gi back to the "dial,"

    For now we remember - if just for awhile.

    Skelton is there, Cantor and Pearl,

    Orson too, and his War Of The Worlds.

    Frankie, Tommy, Glenn and Hal,

    MacIntyre, Miller, Dorsey and Carle.

    Duffy, Luigi, keep counting the score,

    Into our life, they've come once more.

    Never to leave us, always to reign,

    'Cause we knew all along. . . that radio was King!

                                          By Owens L. Pomeroy

    (Written in commemoration of the 10th. Anniversary, Golden Radio Buffs of
    MD, Inc. 2/12/'82)
    NOTE: If anyone wants an autographed copy of this Tribute To OTR, on
    parchment, email me at the above address

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

    Date: Mon, 5 Feb 2001 01:53:36 -0500
    From: Michael Biel <mbiel@[removed];
    To: [removed]@[removed]
    Subject:  Re:  Forgotten Speed(s)

    These speeds are so forgotten that George has forgotten quite what they
    really were. :-)

    George Wagner wrote:

>     Similar reel-to-reel speeds were 1 3/4 IPS and 11/16 IPS. The latter
>     speed was terrible for music, but just okay for things like baseball
>     games and speech.
>         During the 1950s and early 1960s, as I recall, early radio talk
>     shows were recorded on 8-rpm discs, later switching over to 11/16 IPS
>     tape.

    The slow tape speeds are 3 3/4, 1 7/8, 15/16, and 15/32 inches per
    second.

    The slow record speeds are 16 2/3 and 8 1/3 revolutions per minute.

>         I have a few WLWO (WLW-Overseas) transcriptions from circa August
>     1942, which were recorded at 8 rpm.

    It would be interesting to actually confirm this speed on these discs
    becuase it would be unusual for them to have skipped over the 16 2/3
    speed and record these at one-quarter the usual speed.  If it turns out
    that these discs are flexible celluloid discs, they actually are
    recorded at a variable rotational speed.  There was a system for
    long-time logging which embossed a groove in a 16-inch floppy disc as
    early as 1936 or 37.  The National Archives has some that old, although
    the ones I've run across date from the 1950s.  At the inner grooves they
    ran at 33 1/3 RPM but gradually slowed down as the recording continued
    outwards.  It is possible that they were as slow as 8 1/3 by the outer
    edge.  They are very difficult to play becuase they used a stylus even
    finer than the LP stylus.

    The Library of Congress Talking Books for the Blind have been mentioned
    in several of the postings.  When this program was started in the
    mid-30s, most of the books were recorded at 33 1/3 using the standard
    large groove size.  I have a copy of the demonstration record that came
    with the first machines.  The instructions of how to use the machine was
    recorded by announcer Alwyn Bach, the winner of the American Academy of
    Arts and Letter's Gold Medal for Good Diction on the Radio in 1929.  The
    British had started distributing talking books at about the same time,
    but they did not use the 33 1/3 speed at first.  I have a player that
    includes their speed but I forget whether it is faster or slower than
    33.  I'll try to find that machine and look.  When the LP was
    introduced, making this speed commen in the late 40s, LC switched down
    to 16 2/3 rpm using microgroove.  I believe that they continued to use
    this speed on vinyl pressings for books, but periodicals distributed on
    floppy Eva-tone SoundSheets were often at 8 1/3.

    There were very few companies which sold 16 2/3 records to the public.
    Vox Records had a series of 12-inch classical and semi-classical
    records.  I have three of them.  Several companies made talking books on
    7-inch discs, and Columbia's Peter Goldmark developed an automobile
    player for Chrystler called "HiWay HiFi" which used 7-inch 16 2/3 rpm
    discs.  There is a web site for car restorers which gives a lot of
    details on this system.

    With the exception of the recordings for the blind, the 16 2/3 speed
    died out even before the 78 RPM speed was completely eliminated from the
    industry!  But 4-speed turntables continued to be built thru the
    mid-60s.
    One of the companies made an adapter that could fit on a regular
    turntable and would reduce the speed on an upper turntable by one-half.
    This would enable you to play a 16 2/3 disc on a 33 1/3 turntable, but
    if you had a 16 2/3 turntable this would enable you to play an 8 1/3 RPM
    record.  That's what I used it for before I found an LC machine with
    that speed.

     The special players for the blind were LOANED by the Library of
    Congress to those who could demonstrate either a visual handicap or some
    reason why they couldn't hold or handle a book.  They were supposed to
    be returned if the person died or (it's a MIRACLE!!) they regained their
    sight.  Thus they are rare.  The one's I've found weren't accepted on
    return because they were obsolete.  The oldest one I have which includes
    the British speed is even spring-wound but has an electrical pick-up
    head that could drive a headphone without using an amplifier!

    Michael Biel  mbiel@[removed]

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

    Date: Mon, 5 Feb 2001 01:53:39 -0500
    From: Michael Biel <mbiel@[removed];
    To: [removed]@[removed]
    Subject:  The corpse turned round and round . . .

    Bill Murtough remembered "first hearing Clyde McCoy's recording of
    "Music Goes Round and Round" on the sound equipment of a hearse."  It
    probably wasn't Clyde McCoy because I don't see any recording of this
    song in his discography.  His most famous hit was "Sugar Blues."
    Although others did record "The Music Goes Round and Round", the song
    was written by Mike Riley and Ed Farley, and their Riley-Farley Orch.
    first recorded it and had the big hit with it in 1936.  This was
    probably the record you heard.  On a HEARSE??!!  That IS a wonderful
    story!  (I'm not sure if I really want to know the DETAILS, though!)

    Michael Biel  mbiel@[removed]

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

    Date: Mon, 5 Feb 2001 01:55:58 -0500
    To: [removed]@[removed]
    From: Michael Biel <mbiel@[removed];
    Subject:  Believe it or not---NOT!

    Several weeks ago in digest 20 we had a posting by Richard Pratz
    describing the broadcasts of Bill Stern:

>     Stern was probably the most controversial sports broadcaster in
>     the radio years because he was known to have often stretched the
>     truth in flamboyantly relating his endless string of stories and
>     anecdotes about sports and historical figures. Never allowing the
>     facts to get in the way of a good story, even he admitted his
>     tales were more about entertainment than sports.

    This has come to mind when reading some of the entertaining postings of
    "facts" that occasionally should be taken only with a grain of salt,
    such as the Orson Welles prune story which has been disected by many
    experts already.  But Owens posted another story at the same time:

    From: "Owens Pomeroy" <opomeroy@[removed];

>     ... with the engineer cuing a closing commercial.  The newsman had
>     no way of knowing what the contents of the commercial would be -
>     only the notation in the script; "30 second commercial,"
>     Here then is what happened when an item back-fired on a newsman in a
>     small station ion Winston-Salem NC, in the Forties:. . . 19 DOGS -
>     HIS ENTIRE DAY'S CATCH' LEAPED OUT AND. . . . DISAPPEARED THROUGH
>     THE TOBACCO FIELD." (CUE: COMMERCIAL: 30 SEC.)
>     COMMERCIAL:, , , "FRIENDS,. ,. DIES YOUR CIGARETTE TASTE DIFFERENT, LATELY?"
>     (Excerpt from the book, "Sounds Like Yesterday; The magic and Power
>     Of Radio" written by this writer)  Owens Pomeroy

    It has long been established that perhaps 95% of the recordings on
    Kermit Shaffer's copyrighted "Pardon My Blooper" records are fakes.
    Some of them had originated in print form in his copyrighted books "Your
    Slip Is Showing" and the many sequels.  Many are only legends, few are
    confirmed.  There is absolutely no assurance that the broadcast on the
    recording you quoted verbatum ever happened at all. Even if this
    juxtoposition really did happen somewhere, sometime, this script is
    entirely made up.  Indeed, the way it appears on the record, the
    advertisement is read by the same newscaster right after he finishes the
    story.  The original joke was that the newscaster DID know what would
    follow the story!    (By the way, Dick Clark owns the copyrights
    of all of Schaffer's Blooper books and records.  He would not appreciate
    these things being quoted in somebody else's book without
    permission--and he has been pretty careful not to distribute the phony
    material in recent years.)

>     From: Owens Pomeroy <george_arlis@[removed];
>     Subject:  RADIO FACTS; EUROPEAN VERSIONS OF AMERICAN SHOWS

>     Did you know that 3 very popular American-produced radio series,
>     also have European versions with entirely different casts.
>     The shows are:
>     The Fat Man (South African)
>     One Man's Family (Australia)
>     Sherlock Holmes (Australia)

    REAL Radio Fact:  Neither South Africa nor Australia are in Europe.  Not
    even close to Europe. (I know--these places are loooooooonnnnnggggg
    plane rides away.) :-)

    I know that these digests are not primarily meant as outlets for
    scholarly research, but when when stories are labeled as absolute facts
    rather than as questions, memories, opinions, or things heard in
    passing, we should have some assurance that there is some substance to
    them.  I sometimes feel that Bill Stern still lives!

    Michael Biel  mbiel@[removed]

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

    Date: Mon, 5 Feb 2001 02:11:10 -0500
    From: JimInks@[removed]
    To: [removed]@[removed]
    Subject:  Blue Beetle

    The Blue Beetle radio show lasted for 40 episodes. The first few were
    half-hour shows and then it was 15 minutes each for the rest of it's brief
    run. Frank Lovejoy played the Blue Beetle.  I have 38 of the shows but the
    sound quality is very bad (as was most everything I bought from this
    particular dealer, the dirty so and so).

    The Blue Beetle started as a comic book, published by Fox Comics and also had
    a brief run in the newspapers, much of which was drawn by comic book legend,
    Jack Kirby (the co-creator of many of Marvel's superheroes in the 1960's and
    did the same for many other companies, too).

    Personally, the radio series is not very good. It's written down to a kid's
    audience and the comic book wasn't much better.  DC Comics now owns the
    character.

    -Jim Amash

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

    Date: Mon, 5 Feb 2001 02:11:17 -0500
    From: "A. Joseph Ross" <lawyer@[removed];
    To: [removed]@[removed]
    Subject:  The Lone Ranger's Real Name

>     Date: Sat, 3 Feb 2001 21:33:26 -0500
>     From: TIZZ EYE! <cien@[removed];

>     his real name is Sid Luigi Ranger
>     he is the son of a Jewish tailor and an Italian female pasta
>     salesperson.

    This reminds me of some other obscure information or rumors about
    fictional characters.  It is said that Batman and Superman also are
    Jewish.  In the case of Batman, his name was originally Baruch Waynstein.

    As for Superman, his adoptive parents' real name was Kantrowitz.  They
    changed their name to Kent and moved to Smallville after the incident
    where they tried to hold a briss for their baby.  It is also said that
    Superman eventually was circumcized, using Madras kryptonite.  But they
    had trouble stopping the bleeding.

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

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

    Date: Mon, 5 Feb 2001 02:11:15 -0500
    From: "A. Joseph Ross" <lawyer@[removed];
    To: [removed]@[removed]
    Subject:  16 rpm records

    All this talk about 16 rpm records made me curious.  I went into my living
    room and looked at the turntable in my stereo system.  Sure enough, it's a
    4-speed changer, capable of playing those fershluginner records if I ever
    come across one.

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

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

    Date: Mon, 5 Feb 2001 02:11:12 -0500
    From: George Aust <austhaus1@[removed];
    To: [removed]@[removed]
    Subject:  16 RPM and the Big Bands

    Fred Berney asked if anybody remembers 16 2/3 rpm records used for
    talking books, and a lot of people apparently do. But does anybody
    remember that Chrysler Corp. had music recorded  at this speed for their
    short lived record players in automobiles?
    Also I remember having a 12" lp of music recorded at 16 rpm. I'm not
    sure but I think a small record company was trying to promote this idea.
    It was pleasant enough sounding  but was "not" Hi Fi. I also remember
    that the disc was amber or gold translucent vinyl and that the music
    recorded on it was about as bland as the sound.

    I have been fortunate to see (and dance) to many of the big bands, even
    though I was to young to have seen them during the swinging years. Among
    those I have seen are Artie Shaw, Count Basie, Benny Goodman, Les Brown,
    Ray Anthony, Duke Ellington, Buddy Rich, Terry Gibbs, and a lot of
    lesser known bands. Also some "ghost bands" Glenn Miller, Tommy Dorsey,
    Jimmy Dorsey, and Russ Morgan.
    I'm sure that I've left some out. We had tickets to see Harry James but
    he died just before the event. I love big band Music.  Oh yeah I also
    saw Stan Kenton.

    George Aust

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

    Date: Mon, 5 Feb 2001 02:11:13 -0500
    From: GEORGE WAGNER <gwagneroldtimeradio@[removed];
    To: [removed]@[removed]
    Subject:  Childhood Memory of  Lucky Strike  Auctioneer

         Back in 1946, when I was four or five years old,
    I was fascinated by L. A. "Speed" Riggs, the Lucky
    Strike tobacco auctioneer.
         I didn't then know his name, of course. And I had
    no real idea of what he was saying or doing.
         So I was certain that the speaker was an
    inhabitant of some weirdly exotic South Pacific island
    paradise, speaking his obscure native language. (In
    fact, I thought it was the same strange dialect that
    opened TERRY AND THE PIRATES!)
         The last line always served as "proof" to me that
    this was indeed a foreign dialect. You see, I didn't
    hear the tag line as "Sold, American!" I thought it
    was "Sold [to the] American!"

         GWAGNEROLDTIMERADIO@[removed] (George Wagner)

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

    Date: Mon, 5 Feb 2001 11:11:50 -0500
    From: "Art Shifrin" <goldens2@[removed];
    To: <[removed]@[removed];
    Subject:  Your Hit Parade & Baseball

    Hi Gang,

    Add to the list of talent on YHP the orchestra leaders Axle Stordahl and
    Mark Warnow. Mark was Raymond Scott's older brother.  Mark died young of a
    heart attack (I think) and as a result of conducting a memorial bdcst for
    his brother, Raymond wound up doing the series on NBC TV.  Not commonly
    known is that Raymond, being an extreme perfectionist (which most of his
    professional and personal relationships) insisted upon pre-recording the
    orchestra.  During the TV broadcasts, the orchestral performances (not
    vocals because the imprecise synchronization would have been obvious) were
    played back  from 15 ips audio tapes.

    About baseball: there are many such recordings in the collection of the
    Baseball Hall Of Fame at Cooperstown, NY.  At  least up to a few days ago,
    there was a wire recorder being offered on ebay with at least one wire of an
    off-the-air baseball recording.

    And, I can think of two fine shows about baseball, both on The Columbia
    Workshop:

    "Baseball Eyes The Cockeyed Wonder" (about a reluctant player who's a
    virtually perfect player because he sees in slow motion)  This I think, was
    the radio debut  (1940) by Ed Gardner of the character that evolved into
    Archie of Duffy's [removed] wonderful show, whether or not you love or
    care about baseball.  The other cast members include Richard Widmark &
    William Bendix.

    and

    "The Day Baseball Died" (about someone having developed a repeateable
    perfect pitch which once learned, means no more hits in any game)

    Best,
    Shiffy
    check out my website: [removed]

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

    Date: Mon, 5 Feb 2001 11:11:52 -0500
    From: Fred Berney <berney@[removed];
    To: [removed]@[removed]
    Subject:  Re: SUSTAINING SHOWS

    Sustaining shows were those programs that had no sponsor. The Network would
    pay to have them on the air.

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

    Date: Mon, 5 Feb 2001 11:11:54 -0500
    From: "Stephen A Kallis, Jr." <skallisjr@[removed];
    To: [removed]@[removed]
    Subject:  Premium perspectives

    Charlie Northway, speaking of OTR-related memories, observes,

> >     Those were great times. Kids today could never know the excitement of

    opening that package and find that gleaming new glow in the dark [removed];<

    Since not everybody who reads these postings is old enough to have lived
    through the period, it's worth expanding on those radio-premium-gathering
    days.  There were basically two types of premiums: those that were
    written into the show, and those that weren't.

    The first type can be exemplified by the Dragon's Eye Ring on the 1940
    Jack Armstrong adventure that ended in the Sulu Sea.  The story starts
    with Billy Fairfield discovering that someone had ransacked his Uncle
    Jim's offices.  He called Jack Armstrong in, and the two of them (and
    Betty Fairfield, billy's sister) go to Uncle Jim's other offices and
    confront someone with a foreign accent in the middle of searching the
    place.  A scuffle (which Jack wins) and the man is gone.  Then, they go
    to the airport where an airplane lands; on it is a small package
    addressed to Uncle Jim.  After foiling an attempt to make off with the
    package, they deliver it to Uncle Jim.  When the box is finally opened,
    the listener learns that it contains a ring.  Not just any ring, but one
    that glows in the dark, and is a key means to help recover a lost
    shipment of Uranium-235.  [Yes, in 1940.  By that time, the less stable
    isotope of Uranium was known to be important in scientific research,
    though the leap to atomic weapons wasn't public discussion, outside of
    those who read Astounding Science Fiction magazine.]  possibly, there was
    an unconscious link between the Uranium and the fact that the ring glowed
    in the dark.  After the ring was revealed for what it was -- it could
    gain the cooperation of natives in the Sulu Sea region -- there were
    other attempts to steal it.  Naturally, Uncle Jim, being a
    multimillionaire industrialist, mounts an expedition to the Sulu Sea,
    bringing along Jack, Billy, and Betty, to recover the Uranium.  After the
    several attempts to steal it, its value as a way to recover a valuable
    treasure, and the fact that it seemed to have near-magical qualities of
    glowing in the dark, would it be any wonder that kids would be excited to
    get a replica of the ring?  So when Wheaties made the offer, naturally,
    boxtops were mailed in to Wheaties in droves.

    The other type of premium stood independent of the show.  For that kind
    of premium, at the start of a show, the announcer would usually go
    through a standard commercial, then say something on the order of, "Stand
    by for an important announcement at the end of today's program."  At the
    close of the show, the announcer would make a pitch for the latest item
    -- a Sky King Spy-Detecto Writer or Buck Rogers Ring of Saturn -- and
    then describe its virtues.  Since there was no connection to the show
    (save by association), the spiel would have to concentrate on the
    premium's neat features, etc.

    Either way, the boxtop, label, or seal is sent off, along with any
    postage & handling funds, and the listener sat back and waited.  For
    about a week, a kid would understand that it took a while for mail to be
    delivered.  However, by about the second week, said kid would start
    checking the mail when delivered,  And over the course of the next week
    or so, the anxiety would increase.  Finally, of course, the item would
    appear, almost invariably in a small brown envelope.  After all that
    waiting, opening that little envelope was as exciting -- or more -- than
    opening Christmas presents.

    Retrospectively, virtually every premium I ever sent for didn't
    disappoint me.  Each delivered exactly as advertised.  Most still do.
    Admittedly, the radioactive element in the Lone Ranger Atom Bomb ring has
    gone inert, so the sparkles from the alpha particles has been stilled.
    The flints needed for the Lone Ranger Six-Gun ring are unavailable and
    difficult to fabricate, so creating sparks by "fanning" the gun is almost
    impossible to do today.  Yet the magnifier and luminous plastic on the
    Sky King Magni-Glo Writing Ring still function as when first received in
    the mail.  The Tom Mix Six-Gun Decoder badge still works as designed.

    I wish my car, my household appliances, and other gadgets would work as
    well as those premiums, all of which are better than 50 years old.

    Stephen A. Kallis, Jr.

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

    Date: Mon, 5 Feb 2001 11:12:29 -0500
    From: Weisberg Mitchell D DLVA <WeisbergMD@[removed];
    To: "'Old-Time Radio Newsletter'" <[removed]@[removed];
    Subject:  RE: The Land is Bright

    	Can someone, anyone please shed some light on this program.
    Anything at all will help.

     ----
    Someone told me he was on a radio show called "The Land is Bright" on CBS
    in 1944.
     ----

    I can't find any references for this show.  Can anyone help?

    Thank you,

    Mitch Weisberg

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

    Date: Mon, 5 Feb 2001 12:19:03 -0500
    From: "Richard Pratz" <[removed]@[removed];
    To: "OTR (Plain Text Only)" <[removed]@[removed];
    Subject:  Sponsors/Commercials

    With all the recent talk of sponsors and commercials and how the bills were
    paid, it reminded me of a radio program I used to listen to as a kid, but
    only have vague memories of.  I'm not sure if the program was local or
    network. In fact, I apologize because I can't furnish many details at all.
    But maybe from my brief description, someone will recall hearing it and can
    tell me more about it.

    I was a Pageboy at CBS Chicago (WBBM) from where the show originated. I used
    to sit outside the studio from which it was aired and listen to it on the
    hall speaker, following along with a script I'd picked up or copied from
    somewhere. At age 17, I thought it was the funniest and most clever show I'd
    heard in some time. I believe the program was 15-minutes in length and aired
    around 1954. It may have been broadcast long before or after that date. Not
    exactly OTR, but all you "radio detectives" might be able to identify it.
    The program involved several announcers/actors telling a "dramatic" story
    (most often humorous or satiric).....but the dialogue was interspersed with
    many pre-recorded commercials!! Therefore, the entire show was nothing more
    than a series of jingles and commercials strung together with "live"
    dialogue. ie: "Mary had a little lamb whose fleece was white as snow. In
    fact, her sheep were - - - - (jingle plays here) - - - - 'Rinso White with
    Solium gets your clothes etc. etc."   Or, "The entire crew of the ship would
    have perished on the rocky coast had it not been for the familiar sounds
    of - - - (jingle plays here) - - -  (the fog horn sound of the Lifebuoy
    commercial)  Beeee-Ohhhh!"  Remember that commercial?  The live script was
    embelished with lots of sound effects; some on transcription and some
    manufactured right there. It was all very silly but done masterfully.  I
    have no idea how many commercials they fit into that 15-minute script, but
    it was a lot. And it made the commercials entertaining because they were
    part of the story being told.  So come on Chicagoans and others from the
    50's.  Help out an old guy's memory!!

    Rich

    [removed] anyone here recall hearing a program like that? Maybe it was
    only heard locally in the Chicago area, or maybe it was on the CBS Network.
    I'm not sure.

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

    Date: Mon, 5 Feb 2001 12:19:05 -0500
    From: Trinapreston3@[removed]
    To: [removed]@[removed]
    Subject:  The Blue Beetle Serial

      Charlie I think I can help you find information not the Blue Beetle serial.
     I found
    last wee a site devoted to The Blue Beetle.  The Website address is:
    [removed]         You also can buy audio
    tapes
    of the serial from Vintage Audio/Video their E-Mail address is:
    Thomasmartin2@[removed]   There you can request a free catalog,which
    list The Beetle Serial.    I hope this information is helpful.

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

    Date: Mon, 5 Feb 2001 12:49:47 -0500
    From: "Owens Pomeroy" <opomeroy@[removed];
    To: [removed]@[removed]
    Subject:  BIG BAND REVIVAL IN THE 70'S

                         THE BIG BAND CAVALCADE TOUR

         The phenominal demand in the 70's for the music of the 30's &
    40's, was the inspiration for the appearance in June, 1972 at the Painter's
    Mill Music Fair for "The Big Band Cavalcade;" the Columbia Artists
    Theatricls production that starred Freddie Martin, Bob Crosby, Frsnkie Carle
    and Margaret Whiting.  I was one of the fortunate peiople thast evening to
    see this extravaganza.

         This Cavalcade productionn was inspired by Freddie Martin.  He
    suggested thatb the then-current interest in recordings iof the 30's & 40's
    dictated in-person performances of the Big Bands as well.  Columbia aggreed,
    and the choice of the 4 stars would offer a comprehensive view of the styles
    of the period.

         Such memiorable sounds that evening as Martin's "Tonight We Love,"
    Crosby's "Big Noise From Winnetka," Carle's "Sunfise Seranade" and Miss
    Whiting;s "Moonlight In Vermont" highlighted the nostalgic mood of the show.
      The stars were supported bymusicians recruited fromthe ranks of their
    original bands.  Each leder would take his turn conducting this aggregation
    through a generous sampling of his own modern classics.  They also played
    hits of other Big Band leasders as Goodman, Miller, Dorsey, James and
    Lombardo, while M/s Whiting sang a selection of her Million
    seller Gold Record Hits.

         It has been estimated that in 1940 there were some 200 bands in the
    [removed] touring the country,   Only a handful of that number who gained fame
    were still practicing their special art in occasional concert and dance
    dates in the 70's.

    --------------------------------
    End of [removed] Digest V01 Issue #42
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