Subject: [removed] Digest V2003 #430
From: <[removed]@[removed]>
Date: 12/1/2003 2:19 PM

To: <[removed]@[removed];

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

                                The Old-Time Radio Digest!
                                  Volume 2003 : Issue 430
                             A Part of the [removed]!
                                     ISSN: 1533-9289

                                     Today's Topics:

      Thank you.                            [ Harry Bartell <bartell@[removed] ]
      The "A Christmas Carol Posting" appe  [ [removed]@[removed] ]
      MR. Crime Mr. Collins                 [ "Jamie Kelly" <[removed]@[removed] ]
      FOTR in 3-D?                          [ "MICHAEL BIEL" <mbiel@[removed]; ]
      3-D Movies                            [ "Stephen A Kallis, Jr." <skallisjr@ ]
      Old Time Radio Digest Fundraiser      [ "Martin Grams, Jr." <mmargrajr@hotm ]
      Flywheel, Shyster & Flywheel          [ "A. Joseph Ross" <lawyer@attorneyro ]
      Zero Hour                             [ "Paul M. Thompson" <beachcomber@com ]
      Re: Contest Winner                    [ hal stone <dualxtwo@[removed]; ]
      Sherman, Waterman, Tashlin, & Marx    [ "Derek Tague" <derek@[removed]; ]
      Allan/Ricardo/Larry, and Professor H  [ Dan Hughes <danhughes@[removed]; ]
      Lurene Tuttle                         [ Ron Sayles <bogusotr@[removed]; ]

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

    Date: Sun, 30 Nov 2003 19:05:54 -0500
    From: Harry Bartell <bartell@[removed];
    To: <[removed]@[removed];
    Subject:  Thank you.

    To all of you who so graciously remembered my birthday, my heartfelt
    appreciation. When radio flourished as a prime entertainment medium, none us
    who worked in it had any concept of it's being known and listened to a
    half-century later. That it has survived is all your doing and I thank you.

    Harry Bartell

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

    Date: Sun, 30 Nov 2003 19:06:25 -0500
    From: [removed]@[removed]
    To: [removed]@[removed]
    Subject:  The "A Christmas Carol Posting" appearing in
     digest #429
    X-Converted-To-Plain-Text: from multipart/alternative
    X-Converted-To-Plain-Text: Alternative section used was text/plain

    Carl Amari played Bob Cratchitt & Tiny Tim?  What, let me [removed]
    wasn't "scrooge" enough to play "Scrooge?

      *** This message was altered by the server, and may not appear ***
      ***                  as the sender intended.                   ***

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    Date: Sun, 30 Nov 2003 19:51:52 -0500
    From: "Jamie Kelly" <[removed]@[removed];
    To: <[removed]@[removed];
    Subject:  MR. Crime Mr. Collins

    It's great to hear some episodes of the Australian version of  It's a Crime
    Mr. Collins are in circulation in the US. The series was produced in
    Melbourne Australia by Hector Crawford productions in 208 30 mn episodes
    between 1954 and 1958. The lead is played by Keith Eden a very well known
    Melbourne actor. The narrator should sound familiar to US OTR collectors as
    he originally came from the US and moved to Australia after the War I'm
    referring to Jack Little who was involved with many AFRS productions, Screen
    guild plays Etc.

    Jamie Kelly
    Melbourne Australia

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

    Date: Sun, 30 Nov 2003 20:32:30 -0500
    From: "MICHAEL BIEL" <mbiel@[removed];
    To: [removed]@[removed]
    Subject:  FOTR in 3-D?

    From: Fred Berney <berney@[removed];

>     In addition, I bought a 3D lens for my video camera and
>     hope to start producing some 3D videos in the not too
>     distance future.

    I'll be looking forward to next year's FOTR videos in 3-D.  Imagine,
    Charlie in 3-D.  That will be the REAL Return of the Creature!

    Michael (probably my final posting) Biel  mbiel@[removed]

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

    Date: Sun, 30 Nov 2003 21:11:11 -0500
    From: "Stephen A Kallis, Jr." <skallisjr@[removed];
    To: [removed]@[removed]
    Subject:  3-D Movies

    Fred Berney, commenting on 3-D movies, noted,

>     The company that makes the glasses also has a number of newly produced 3D
>     movies available on DVD and I also bought a device that will convert 2D
>     videos to 3D.

    The 3-D movies of the 1950s were projected using polarized glasses on a
    non-depolarizing screen.  Earlier 3-D presentations used glasses with red
    and blue lenses to unscrambled what's technically called a "color
    anaglyph."  With TV, when color came into vogue, some movies originally
    filmed in 3-D were recorded on video through red and green filters.
    Viewed without the glasses, the resulting combined-image view looks like
    a normal television picture with color fringing.  Through the filters,
    the stereo effect is evident, and there is more than a hint of a color
    scene (like looking at any object through the glasses).  Another 3-D film
    using color-filtering for telecasts was Hondo, starring John Wayne (I
    recorded this off the air and have a pair of spectacles to go with it).

    In order to get true three-dimensional (stereoscopic) images, two
    separate images, one for each eye, are required.  There are glasses that
    claim to provide three-dimensional views of current 2-D movies or
    telecasts.  They rely on a filter for one eye, usually amber, so that it
    reacts more slowly to changes in motion than the unfiltered view.  The
    differences in the perceived images from the "untreated" eye and that
    with the filter produce an illusion of stereoscopy.

    Other films that were originally stereoscopic included It Came From Outer
    Space, Gorilla At Large, and Inferno.  Gorilla At Large had among its
    cast members Raymond Burr, to put *some* OTR spin on all of this.

    Stephen A. Kallis, Jr.

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

    Date: Sun, 30 Nov 2003 22:49:07 -0500
    From: "Martin Grams, Jr." <mmargrajr@[removed];
    To: [removed]@[removed]
    Subject:  Old Time Radio Digest Fundraiser

    A word of importance:
    The OTR DIGEST is the oldest and largest mailing list dedicated to Old-Time
    Radio on the Net.  This list (currently available in Digest format only) was
    started on September 14th, 1994 by Lou Genco, and has been going strong ever
    since.  It's a large group, with one or more digests released every day.  It
    is estimated that about 2,000 fans of old-time radio are subscribed to this
    feature.  Of course, everyone here knows this because they are subscribers
    and you are presently reading one of the daily issues.

    Anyone can subscribe to the OTR Digest without paying any fees or membership
    dues.  This is a priveledge I am sure every subscriber appreciates.
    Regrettably, however, the cost to maintain the server, the hardware and
    software designed to keep the Digest operating and other technical advances
    require ocassional donations by subscribers.

    Donations made toward the Digest are extremely important and past donations
    are acknowledged and appreciated.

    SO HOW CAN YOU HELP?

    Thanks to Charlie Summers, the moderator of this Digest, a special web-site
    has been designed to encourage donations.  Just like PBS, you get something
    for your donation - a book documenting old-time radio.
    For every book you purchase, $[removed] will be donated to the OTR Digest.
    This means if you buy two books, $[removed] will be donated .
    If you buy three books, $[removed] will be donated to the Digest.

    The money from this fund-raiser will help reimburse the cost of recent
    computer upgrades and features - the same features that help make the Digest
    run smoothly and efficiently.  This same kind of donation per book offer was
    offered last year and proved to be a success.

    The web-site address is:

    [removed]

    The site features photos and descriptions of nine or ten books about
    old-time radio available to purchase, plus two articles about Old-Time Radio
    programs that will probably be of interest (so anyone reading this posting
    who has no intention of buying a book - even to help support the digest -
    has a reason to check this site out).

    Remember, for every book you purchase, $[removed] will be donated to the OTR
    Digest.
    Check out the articles while you are there and enjoy browsing!

    Martin Grams, Jr.

    [removed]

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

    Date: Mon, 1 Dec 2003 00:54:46 -0500
    From: "A. Joseph Ross" <lawyer@[removed];
    To: [removed]@[removed]
    Subject:  Flywheel, Shyster & Flywheel

>     Jim's [removed] but let me add one historical point for accuracy. The
>     show actually debuted as "Beagle, Shyster, & Beagle" on NBC Blue on
>     11/28/32 (so we just passed its anniversary). The name was changed to
>     "Flywheel, Shyster, and Flywheel" for the fourth episode and it
>     remained "[removed]" for the rest of its lone season on the air.

    And how was the name change explained to the audience?  In his autobiography, Harpo
    says that they had the secretary tell someone over the phone that her boss had gotten a
    divorce and gone back to his maiden name.

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

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

    Date: Mon, 1 Dec 2003 01:39:58 -0500
    From: "Paul M. Thompson" <beachcomber@[removed];
    To: <[removed]@[removed];
    Subject:  Zero Hour

    Mike Kerezman wrote:

>     I recently heard the "The Big Clock" on the Screen Director's Playhouse I
>     believe. It seems like I've heard a version of this story years ago on a tape
>     set of Rod Serling's The Zero Hour. It had a different name in the title but
>     some of characters were the same.

    Mike is [removed] same storyline. The original 1947 movie starred Charles
    Laughton and Ray Milland. Rod Serling's 1973 Zero Hour radio version
    was titled Desperate Witness with Kennan Wynn and Richard Crenna.
    One of the outstanding shows of the series.

    Paul Thompson

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

    Date: Mon, 1 Dec 2003 10:31:00 -0500
    From: hal stone <dualxtwo@[removed];
    To: <[removed]@[removed];
    Subject:  Re: Contest Winner

    Hooray! We have a smart Winner for the dumb contest.

    We had about 40 entries. After the last clue, 4 people finally came up with
    the correct answer, and 2 folks came close.

    But if you recall, the contest rules stipulated that the "FIRST" correct
    answer received would be declared the winning entry.

    That Honor goes to Mark Kinsler. Mark gets the personally inscribed copy of
    my book "Aw! Relax [removed]!"

    With Honorable mention going to Jerry Salley, Ed Loyer, & Tom Brown.

    The question. By the year 1980, why were film transfers (kine's) of
    videotape TV Commercials still in use long after virtually every TV station
    in the nation was equipped to play back 2in Videotape

    The [removed](in 4 words or less)...  "The dreaded Advertising Agencies"

    Some folks came up with answers that, on occasion, might have justified
    needing to make a film copy of a tape commercial, but they were rare, and
    never the main reason by the 1980's. Some guessed that it was needed to cut
    into a film show, but by then, stations were transferring film shows to tape
    before airing. Some guessed that the sponsor needed a copy because they
    wouldn't have owned a big Videotape machine. But by 1980, that was no longer
    an issue. By then, a good quality 3/4 inch videotape machine was in
    existence, very compact, portable, and it became standard procedure to make
    duplicate copies of the original 2in videotape master on 3/4 inch cassettes
    for use by Ad Agencies, Sponsors, Etc.

    But why then did we still have to make 16MM color film prints for the Ad
    Agencies???? Well, it really wasn't for the ad agencies per se. It was for
    the individual creative people at the ad agency (far too many of them) who
    were involved in the production of the TV Commercial. And why did they need
    copies? For their damn 16mm Demo reels, in case they wanted (or needed) to
    go job hunting.

    Now, watch how cleverly I relate this topic to OTR. Back in those good old
    days, Advertising Agencies made their money by providing creative services
    to their clients, and charging a commission for buying "Airtime" or "Space"
    (in the case of Print ads). Print Ads, (Newspaper, magazines, Billboards)
    usually was a joint effort between an Agency "Copywriter" and an "Art
    Director". Radio advertising was the sole province of the "Copywriter". The
    Agency "Producer" was needed to make sure radio commercials were aired
    properly, and in many cases, if the agencies owned their own Radio programs,
    the job of Producer was a lot more involved.

    The print "Art Director" kept a portfolio of his or her work, and if any of
    it was memorable or effective, they would take it around to other Ad
    Agencies if they were looking to improve their lot in life. Everyone wanted
    to work for the bigger or most reputable (successful) Ad Agencies, generally
    because of prestige and higher salaries.

    The "Copywriter" also had a portfolio, simply copies of his "copy", be it
    for radio commercials, or print ads. But then too, in later years, they
    could also have 1/4 tape copies of their commercials. These simple
    portfolios were nothing more than resumes.

    Ah! But then, along came TV. Bigger Budgets, bigger Ad revenues for the Ad
    Agencies, and bigger headaches for the folks who had to deal with these
    Agency Creative people who were now in "Show Biz".

    The stakes were higher for all involved, and resulted in much bigger ego's.

    The individual who came up with a sure fire advertising concept, or
    campaign, became "known" in the Ad industry, and if he had more than one
    success, they often would leave their current employer and start their own
    agency. The game, for everyone, was to acquire as many successful TV
    commercials that one could ad to their "Demo" reels. And when I say
    "everyone", I mean EVERYONE who worked on the Commercial.

    That meant the Agency "Creative Supervisor" who usually oversaw many
    different accounts, The Creative Director, the Art Director, the Writer, the
    Account Executive and the Producer assigned to that specific client or
    project. By then, the "Producer" was nothing more than a den-mother, trying
    to keep the agency creative people under control. The "Art Director" became
    the kingpin.

    And they all jockeyed for position and bragging rights during the production
    phase of the project. Each trying to justify their existence and protect
    their turf. Imagine having to get them all to agree on a unified direction,
    or agree on what "Take" of a specific scene was the best one. As a director
    of many of these Commercial sessions, it was enough to drive me to drink.
    I'm amazed I'm not a recovering alcoholic and a charter member of AA.

    Anyway, they all wanted to have copies of their "work" so they could show
    people how clever they were. And 16mm prints were the standard for demo
    reels back then. Arrrgh!

    There were some Ad Agencies that I dreaded working for, but dried my tears
    on the way to the bank. And there were many that made up for the
    aggravation. (Particularly those agencies west of the Hudson River). :)

    OK! End of story.

    By the way, the 2nd place winner (An 8X10 autographed pic of me as
    "Jughead") was Jerry Salley.

    If Mark Kinsler and Jerry Salley will contact me off-list with their mailing
    addresses, I will arrange to have their prizes shipped out.

    By the way Mark, if you already own a copy of my book, let me know if you'd
    like it inscribed to someone else, and give it as a Christmas gift. (Hint).

    If anyone else is looking for a Christmas gift for a friend or relative who
    is an OTR buff, need I say more? :) Check out the web site if suitably
    motivated.

    [removed]

    Too all my fellow digesters, all the best for the coming holidays.

    Hal(Harlan)Stone
    "Jughead"

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

    Date: Mon, 1 Dec 2003 10:34:13 -0500
    From: "Derek Tague" <derek@[removed];
    To: <[removed]@[removed];
    Subject:  Sherman, Waterman, Tashlin, & Marx
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    Hi Gang:

    More Fandom Follow-Up Thoughts:

    SHERMAN/MONTALBAN/STEVENS

        I had prev'ly stated that when I met "Jack Benny" interim boy-singer
    Larry Stevens at FOTR, he had told me he was in the same graduating class as
    both Allan Sherman and Ricardo Montalban, to which my pal Dan Hughes
    [professor at Sherman's college alma mater, U. of Illinois] rejoined:

    Derek says that Jack Benny singer Larry Stevens claims to have graduated
    from high school with Allan Sherman and Ricardo Montalban.  Sherman was
    born in 1924 and attended high school in (I believe) Chicago; Montalban
    was born in 1920 and attended high school in Hollywood.  Couldn't find
    any data on Larry [removed]

         True, Allan Sherman was born in Chicago [on 11/30/1924 at Lutheran
    Deaconess Hospital], but his 1965 autobio A GIFT OF LAUGHTER: THE
    AUTOBIOGRAPHY OF ALLAN SHERMAN (Atheneum Publishers) goes on to state that
    his parents moved to the Los Angeles area while [removed] was quite young and that
    after his parents separated, young Allan moved with his mother quite a bit
    and was also passed around to live with various relatives. Page 49 of the
    aforesaid book [page 51 in the paperback edition] also says that he attended
    high schools in NYC, Chicago, Miami, and [removed], and how, at Fairfax High
    School in [removed] "...I wrote the senior class musical show, 'Yankee Doodle
    Presents,' the star of which was a classmate, Ricardo Montalban."
          From the brief over-the-holiday scan I afforded my revisiting of this
    book, I wasn't able to ascertain any informantion relating as to why Allan
    decided to attend U of I.
          To show Prof. Hughes that there's no hard feelings, I am willing to
    avail to him one of my four extant copies of "A Gift of Laughter" (provided
    he doesn't have a copy already)--everybody reading this is a witness! I
    figure I owe the dynamic Hughes family a favour for giving me a ride to the
    airport following last spring's Cincinnati OTR convention--and for also
    letting me score the $[removed] copy of the out-of-print "Vic 'n' Sade" book  THE
    SMALL HOUSE HALFWAY UP ON THE NEXT BLOCK when we took the side-trip to
    Half-Price Books.

    WILLARD WATERMAN

           Long [removed] here's the thrust of it. Over this past week-end at
    the NYPL f/t Perf. Arts, I stumbled upon a souvenir book for the orig. B'way
    cast of the musical MAME, which starred Angela Lansbury, Beatrice Arthur, and
    Willard Waterman. WW's bio therein listed his film credits which included
    IT'S A MAD, MAD, MAD, MAD WORLD. My question to the readership [removed] "Where?"
    I thought I knew this film--one of my all-time faves--frontwards & backwards.
    I have read various printed cast lists--each more comprehensive than the
    previous--for "Mad World" but never one with Gildy II.  I know there's quite
    a bit of missing footage & there is the slight possibility WW was left on the
    cutting-room floor. Can anybody elaborate?
           My favourite trivia question re: "Mad World" is this: what two
    memebers of a 1930s movie comedy team both appear in the film, but in
    separate scenes? Answer: Jimmy Durante and Buster Keaton.

    FRANK TASHLIN

           "Tash" is one of my all-time favourite animation directors. However, I
    lament that only "The Bear That Wasn't" is the only one of his four prev'ly
    mentioned books still in print. If anybody has the others & is willing to
    part w/ them at a reasonable price, please contact me off-list. I will accept
    photo-copies. I just want to read them.

    THE MARX BROS.

           This coming spring, the NYC parks dept. will be re-naming a playground
    in the east 90s after The Marx Brothers to acknowledge the neighbourhood
    where they grew up. This past 11/21, the Parks Dept. held a 70th anniversary
    screening of "Duck Soup" along w/ "A Night at the Opera," which were
    introduced by Kitty Carlisle Hart (co-star of "Opera") and retired radio
    casting director Maxine Marx, daughter of Chico, who once and for all stated
    that the official pronunciation was "Chick-oh" & not "Cheek-oh." It was a fun
    night. Refreshmenta included mixed nuts. animal crackers, and various frozen
    confections from an ice-cream wagon (no tootsie-fruitsee ice-cream, tho').

    OTR BOOKS

           I still think the "...For Dummies" folks should commission OLD-TIME
    RADIO FOR DUMMIES so that we in the hobby can reach out to our reluctant,
    non-initiated friends.
          Another idea would be the history of OTR fandom for us late-comers. I'd
    like to hear all the stories from when the FOTR guest list included Lucille
    Fletcher, Willard Waterman, Frank Nelson, Ed Prentiss, et. al.

    Yours, as always, in the ether--

    Derek Tague

      *** This message was altered by the server, and may not appear ***
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    ------------------------------

    Date: Mon, 1 Dec 2003 10:34:44 -0500
    From: Dan Hughes <danhughes@[removed];
    To: [removed]@[removed]
    Subject:  Allan/Ricardo/Larry, and Professor Hughes?

    Thanks Derek, I think we can say that Larry Stevens wasn't lying about
    his classmates.  Wonder if the birth discrepancies are due to the
    actors-lie-about-their-age rule?

    And to correct an error you made concerning my position--I'm not a
    professor at the University of Illinois; I'm a broadcast instructor at
    Parkland College, also the manager of the college radio station.  The
    confusion stems from the fact that both schools are in the same town
    (Champaign-Urbana, IL).  The U of I did away with their broadcast program
    years ago.

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

    Date: Mon, 1 Dec 2003 16:23:07 -0500
    From: Ron Sayles <bogusotr@[removed];
    To: Olde Tyme Radio List <[removed]@[removed];
    Subject:  Lurene Tuttle

    In his new book "Speaking of Radio," Chuck Schaden, while interviewing Lurene
    Tuttle says to her, "I have heard that you are a pretty good historian and
    documentarian." To which Lurene replies, "I have everything written down. From
    1937, I have every show I ever did, and the amount of money I got for it, so I
    could count how much money I made in the radio business!"

    What a treasure trove that would be, does anyone know if that record of
    Lurene's radio work is still exists? The interview took place on August 26,
    1975 so this record would cover Lurene's entire output on radio.

    Ron Sayles
    Milwaukee, Wisconsin

    --------------------------------
    End of [removed] Digest V2003 Issue #430
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