Subject: [removed] Digest V01 #40
From: <[removed]@[removed]>
Date: 2/4/2001 9:10 AM
To: <[removed]@[removed];

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


                      The Old-Time Radio Digest!
                         Volume 01 : Issue 40
                    A Part of the [removed]!


                           Today's Topics:

 Orson Welles and THE SHADOW signatur [SanctumOTR@[removed]                 ]
 JELLO jingle!                        [nicoll <nicoll@[removed];       ]
 Re: ORSON WELLES & CBS men's room    [SanctumOTR@[removed]                 ]
 16 rpm records                       ["J. Randolph Cox" <cox@[removed]]
 16 2/3 talking books                 [Gary L Knox <glkteach@[removed]]
 Sponsered vs Sustained OTR           ["Jim Lewis" <jimlew2@[removed];]
 Speaking of Records                  [Dennis W Crow <DCrow3@[removed]]
 Re: CRISIS/ Jim French               [CORDBUFF@[removed]                   ]
 Forgotten speed is not forgotten!    ["Ted Kneebone" <tkneebone1@[removed]]
 Winchell sign off                    ["Birdwalk Farms" <pheadoux@[removed]]
 risque' Hope                         ["Birdwalk Farms" <pheadoux@[removed]]
 THE LONE RANGER'S REAL NAME          [TIZZ EYE! <cien@[removed];        ]
 Re: commercials                      ["Robert M. Bratcher Jr." <bratcher@]
 Benny Goodman & His Big Band         ["David H. Buswell" <dbuswell@rivnet]
 Re: 16 RPM talking books             ["Robert M. Bratcher Jr." <bratcher@]
 Old speeds                           ["Stephen A Kallis, Jr." <skallisjr@]
 16 2/3 RPM records                   ["A. Joseph Ross" <lawyer@[removed].]
 Owens Pomeroy                        ["gcoppen" <gcoppen@[removed];      ]
 WW II & THE BIG BANDS AT THE FRONT   ["Owens Pomeroy" <opomeroy@[removed]; ]
 Re:  Forgotten Speed(s)              [GEORGE WAGNER <gwagneroldtimeradio@]
 Legs and RPM                         ["Brian Johnson" <CHYRONOP@worldnet.]

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

Date: Sat, 3 Feb 2001 15:33:22 -0500
From: SanctumOTR@[removed]
To: [removed]@[removed]
Subject:  Orson Welles and THE SHADOW signatures.

In a message dated 2/3/01 10:17:19 AM, Owen Pomeroy writes:

<<True the Network and the time of the broadcast may be in question - but the
fact
that Orson did do the opening to the Shadow programs, because I have several
of the Welles shows in which he does the opening.  I hope this clears up the
"mustery" of "Mr Welles and The Pruens>">>

***Which "Welles shows in which he does the opening?"  Titles please?  The
opening and closing signatures on all 30 circulating Welles SHADOW episodes
are recordings of Frank Readick's openings . . . and over the years I have
had that fact confirmed by announcer Ken Roberts, the lovely Margot Stevenson
(who co-starred as Margot Lane opposite Orson in the Goodrich summer season),
Dwight "Weston" Weist and Mercury Theatre veterans Paul Stewart, Richard
Wilson and Bill Alland.  It's also easy to tell the difference between
Readick's very sibilant and shadowy signatures and Welles Shadow voice in the
body of the show because the two actors have very different vocal styles; Fran
k's voice has much more of a nasal tone and a sneer and he uses a filter
microphone far more effectively than Welles.

Orson was the only radio Shadow to never perform the opening and closing
signatures on the program because he could never master the laugh.  (The
Welles SHADOWs usually feature recordings of Readick's laugh in the body of
the show; in a few cases Orson's Shadow line overlaps slightly with the laugh
. . . and no single actor can finish speaking words while a laugh is already
emerging.)  It's easy to confirm that the openings are by Frank Readick since
they are backed by an Orchestra (George Earle's CBS orchestra) while all the
Welles SHADOW programs feature organ accompaniment by Elsie Thompson (Blue
Coal) or Rosa Rio (Goodrich) in the body of the story.

When I produced my VOICES FROM THE SHADOWS documentary (for Great American
Audio's THE SHADOW CHRONICLES cassette and CD collections), I included an
opening medley of THE SHADOW signatures as performed by all the major radio
Shadows: Frank Readick, Orson Welles, Bill Johnstone, John Archer and Bret
Morrison.  I was only able to include an Orson Welles rendition by lifting
his LAUGH-IN TV recreation of "Who knows what evil lurks in the hearts of
men?" and combining it with his uttering of "The Shadow knows" from within
the body of a story, dubbing Elsie Thompson's theme music under it.  If you
have a copy of the documentary, listen to the opening and you'll see just how
different Readick's rendition is from Orson's recreation.

Just out of curiosity, Owen, which Welles SHADOWs do you have that you're
certain contain Orson's opening.  As I've said, it couldn't be Orson if it's
backed by an orchestra since the WOR/MBS shows only feature organ music.
--ANTHONY TOLLIN (co-author with Walter Gibson-THE SHADOW SCRAPBOOK, author:
THE SHADOW: THE MAKING OF A LEGEND and THE SHADOW: THE LOST SHOWS.

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

Date: Sat, 3 Feb 2001 15:54:44 -0500
From: nicoll <nicoll@[removed];
To: [removed]@[removed]
Subject:  JELLO jingle!

My favorite rendition of the JELLO [removed]

Henry Aldrich and Homer Brown doing a duet in their adolescence sing-songy
voices.

Will Nicoll

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

Date: Sat, 3 Feb 2001 21:19:27 -0500
From: SanctumOTR@[removed]
To: [removed]@[removed]
Subject:  Re: ORSON WELLES & CBS men's room

In a message dated 2/2/01 10:10:57 AM, Owens Pomeroy writes:

Orson Welles and radio went together like ham & eggs.  <SNIP>
He was often called "the boy genius," having been an actor, producer, writer
and director in radio and on the  Broadway stage before the age of
twenty-six.

***True, Orson was a Broadway and stage actor/producer/director/writer before
the age of 26.  Actually, it was WAY BEFORE the age of 26.  Orson was
directing NYC productions for the WPA's Federal Theatre at the age of 20, and
he had his own Broadway theater (THE MERCURY, co-founded with producer John
Houseman) in 1937 when he was only 22 (and starring in Mutual's THE SHADOW
and LES MISERABLES).  Orson was the cover story in TIME the week he turned
23, five months before his "War of the Worlds" broadcast.  Welles had moved
to Hollywood shortly after his 24th birthday and completed CITIZEN KANE while
he was still 25.  (CITIZEN KANE's opening was delayed until a few days after
Orson's 26th birthday due to the pressures brought by Hearst.)***

The 1937--38 season saw Orson Welles in the role of "The Shadow" every
Sunday at 2pm est.  One Sunday morning before going to the studio, Orson had
a rather large bowl of prunes for breakfast ( I can imagine by the smiles
slowly creeping over your faces, that you know whats coming next)  Anyway,
about three minutes before air-time, mother nature called Mr. Welles, and he
made a bee-line for the CBS men's room

***Owen, I'm trying to figure out why Orson Welles chose to use the CBS men's
room when the WOR/MBS men's room was so much closer.  WOR/Mutual was in Times
Square while CBS was a mile away near Rockefeller Center.  (A number of
actors refused to work on Mutual programs because of the network's distance
from CBS and NBC (which were quite close to each other).  I'm sure Orson was
fond of the CBS men's room (which he later used to great effect in his "Count
of Monte Christo" and "War of the Worlds" broadcasts) but if time was so
tight, I would think he would have used a restroom in the same building.***

Now what he had done was this:  On his way out of the studio he grabbed
a mike with a long cable and head set, so he could hear the theme and his
cue.  So. . . [removed] Welles - true to his genius status - gave the opening
that Sunday, as usual on cue - frome the men's room at CBS as the prunes
disappeared into oblivion!

***Owens, one thing radio historians have to watch out for is actors who love
to embellish the truth for the sake of storytelling.  Orson would tell
radically different versions of his life to different interviewers.  And many
actors have tremendously faulty memories of events that occurred a half
century before . . . which is why it's important for historians and writers
to confirm stories from as many different sources as possible.  (Who was the
actor who related this story to you?  I could probably confirm whether it's
someone who actually worked on THE SHADOW the single year Orson played the
lead . . . some 63 years ago.)

This story pre-supposes that an unused "live" mike just happened to be
standing unused with a long enough cable that could reach to the men's room
(Why would they have a cable that long that would be that much more for
someone to trip over?) . . . and that Welles knew the cable would reach to a
men's room stall . . . and that a set of headphones was attached to the same
cable (normally only the director and sound engineer would have been wearing
headphones; Orson didn't wear headphones while acting except when he was also
directing) . . . and that no one in the cast or crew noticed Welles leaving
the studio with a live microphone.  Think about it; unused microphones are
turned off in a studio so they can't pick up extra background noise.  Welles
could SHOUT into the mike from a men's room stall and it wouldn't be heard in
a soundproof studio UNLESS the engineer had switched on that mike's feed on
his control board.

It's important that unconfirmed stories not be pronted as fact, because such
urban legends are eventually accepted as fact by a large share of the
populice.  (Care to guess how many "civilians" have recounted for me the
story of a black janitor being hastily enlisted to fill in as The Shadow,
insisting that "The Shadow do!" happened in real life and not on TV's
LAUGH-IN.)

One story I heard from the late Kenny Delmar (and believe) is that Orson once
arrived quite late and the director had been forced to begin the show without
his shadowy star, hoping that Orson would arrive before a stand-in had to
perform his first scene . . . which was perhaps a half-dozen or more pages
into the story since a recording of Frank Readick's opening signature always
opened the show, followed by the annoiuncer's introduction and sometimes a
few minutes of the archfiend's sinister plot.  (Welles never rehearsed for
THE SHADOW.  His assistants Bill Alland and Richard Wilson would read his
lines in rehearsal and mark up his script.)  On this occasion, Welles quietly
entered the studio while the show was in progress, picked up his script and
walked up to the mike to perform his first line, asstounding the assembled
cast who had not seen him enter.  Kenny recalled that Orson received a
standing ovation from the cast at the end of that broadcast.
--ANTHONY TOLLIN (The Shadow's shadow)

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

Date: Sat, 3 Feb 2001 20:43:29 -0500
From: "J. Randolph Cox" <cox@[removed];
To: <[removed]@[removed];
Subject:  16 rpm records

40+ years ago I received a Magnavox stereo phonograph for Christmas from my
parents. It had 4 speeds, one of which was 16 rpm. The only recording I ever
had that ran at that speed was a collection of samples of old radio shows.
It was about the size of a 45rpm record. (I'm not certain where it came
from, but that's the case of many items in my various collections --
wonderful stuff, but where on earth did I find this or that?) Unfortunately,
the Magnavox no longer works properly. I doubt if I could even find anyone
to get it operational again.

H. G. Wells, where is your time machine when I need one?

Randy Cox

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

Date: Sat, 3 Feb 2001 20:43:42 -0500
From: Gary L Knox <glkteach@[removed];
To: <[removed]@[removed];
Subject:  16 2/3 talking books

From: Fred Berney <berney@[removed];
To: [removed]@[removed]
Subject:  Re: record speeds

Does anyone besides me remember 16 2/3 talking book speed records?

Yes my parents bought a portable phonograph player which had 16 2/3 RPM, 33
1/3 RPM, 45 RPM, and 78 RPM sppeds on it.  We had several book records.  I
think one record we had was 'The Littlest Angel' and another story on the
flip side.  We didn't use that speed much.

Gary Knox

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

Date: Sat, 3 Feb 2001 20:45:17 -0500
From: "Jim Lewis" <jimlew2@[removed];
To: <[removed]@[removed];
Subject:  Sponsered vs Sustained OTR

I wonder if any of the digests historians could elaborate on how the
sustained shows payed their [removed] can understand how a show like FMcGee
[removed] Wax presumibly payed all actors salarys and production
expenses(or were they paid by NBC,who in turn billed the sponsor for the
airtime)
    I would think that a syndicated show(ie Bold Venture) would be would be
bankrolled by some production company that would pay salarys and expenses
and hope to make their money by selling show to individual stations who in
turn would each try to sell local commercials to make their profit.
    How about a show like Escape(beleive it was sustained by CBS).Would the
network try to sell commercial time on its [removed] it offer the show to
non-owned affiliates for a fee or some sort of barter for playing
[removed](I know i'm pushing the envelope now)shows like Fibber McGee that
had sponsors consummed the full 1/2 hour with commercials so how could local
stations sell any comercials during its [removed] am guessing they must
have been paid by network? to broadcast the [removed] many questions but I
thought the answers might be interesting to all

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

Date: Sat, 3 Feb 2001 20:45:19 -0500
From: Dennis W Crow <DCrow3@[removed];
To: OTR Digest <[removed]@[removed];
Subject:  Speaking of Records

Speaking of records, I have always waxed nostalgic for one I heard as a kid
and have never been able to find.  What I remember, vaguely, are the voices
of Indians emerging from mountain walls, discussing a nearly forgotten
past. They are heard by men on horseback traversing a rich and verdant
valley. The voices are wise and triumphant. They caution against repeating
the sins of another time. It is like the unseen  speakers have been asleep
and have just woken up for a brief period.

Does this description, which may be jumbled by a fifty year old memory,
"ring any bells?"

When one finds the records we used to play as kids at antique shows or flea
markets, the heart really starts to beat.  I can't tell you how thrilled I
was to find a complete set of records for "Rusty in Orchestraville," one of
my early favorites.

Dennis Crow

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

Date: Sat, 3 Feb 2001 20:45:21 -0500
From: CORDBUFF@[removed]
To: [removed]@[removed]
Subject:  Re: CRISIS/ Jim French

Jim Is alive and well and currently producing radio programs in Seattle
including the current private eye series Harry Nile. His programs are
syndicated around the country. Locally he works with the KIRO 710 radio group
(Entercom, I think)

Marc

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

Date: Sat, 3 Feb 2001 20:45:23 -0500
From: "Ted Kneebone" <tkneebone1@[removed];
To: <[removed]@[removed];
Subject:  Forgotten speed is not forgotten!

Owens Pomeroy wrote about the 16 2/3 rpm talking book records that were
formerly the standard at the Library of Congress for talking books.  They
have since gone to an even slower speed, 8 rpm, and thus get more text on
each side.  There was an attempt at issuing music records at 16 2/3 rpm I
think in the 1960s or 1970s, but they didn't catch on.  One can find record
players that have 4 speeds on them at garage sales, etc.: 16, 33, 45, and
78.
    Most talking books are now on cassettes that play at 15/16 ips on 4 mono
tracks on special tape players available from state libraries for the blind
at no cost to blind, visually or physically impaired people.  It doesn't
take very many cassettes to record an entire book.  I believe the LOC is
experimenting with the use of CDs for talking books, but since I retired as
librarian from the SD School for the Blind & Visually Impaired in 1998, I
don't have the very latest information.  Will check this out with the
current librarian.

Ted Kneebone / 1528 S. Grant St. / Aberdeen, SD 57401 / 605-226-3344
tkneebone1@[removed] | OTR:  [removed]
[removed]  |
[removed]

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

Date: Sat, 3 Feb 2001 21:32:30 -0500
From: "Birdwalk Farms" <pheadoux@[removed];
To: <[removed]@[removed];
Subject:  Winchell sign off

Subject:  Walter Winchell;s Sign-Off
  Does anyone know what Winchell ment whan he signed off each of his programs
with:. . . "And that;s the 3-0 mark for tonight?" (Hint: Jack Webb made an
excellent movie in the 60's using the same two numbers)

When news reports were sent by telegram, it was common practice to put XXX
at the end  to signal the end of one message and the start of the next.

This was translated to 30 written at the end of copy.

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

Date: Sat, 3 Feb 2001 21:32:54 -0500
From: "Birdwalk Farms" <pheadoux@[removed];
To: <[removed]@[removed];
Subject:  risque' Hope

Bob Hope has also been credited with making it neccasary for shows to submit
audio cues to the standards committee.

There was a show featuring Jayne [audio cue] Mansfield

the cue?  two beats of a bass drum

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

Date: Sat, 3 Feb 2001 21:33:26 -0500
From: TIZZ EYE! <cien@[removed];
To: [removed]@[removed]
Subject:  THE LONE RANGER'S REAL NAME

in re to owen pomeroy's email regarding the real name of the lone
[removed] me put this to rest.
his real name is Sid Luigi Ranger
he is the son of a Jewish tailor and an Italian female pasta
[removed]'s it so can we end this endless thread now??? PLEASE!
thank you

--
 cien1@[removed]
 [removed]

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

Date: Sat, 3 Feb 2001 21:33:44 -0500
From: "Robert M. Bratcher Jr." <bratcher@[removed];
To: [removed]@[removed]
Subject:  Re: commercials

I like original commercials too . Listen to all of them except the ones for
cigarettes. They get skipped over every time. The Jack Benny J-E-L-L-O
opening is one of my favorites! Can't get enough OTR listening at home so
I'm buying a Diamond Rio with the biggest memory pack I can get. Gotta take
those old shows with [removed]

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

Date: Sat, 3 Feb 2001 22:16:03 -0500
From: "David H. Buswell" <dbuswell@[removed];
To: <[removed]@[removed];
Subject:  Benny Goodman & His Big Band

Owens Pomeroy quite nicely recreated what it must have been to have seen the
Benny Goodman big band in person!
I have often said that if I could could have a choice to be at any musical
event in my lifetime it would have been Goodman's famed Carnegie Hall
appearance in the late 30's. I have, of course, the recordings and can only
conjecture what it must have been to be in attendance with some of world's
finest musicians playing some of the greatest swing music ever played.  I
envy Owens more than I can say for having seen Goodman at Baltimore's
Hippodrome.

I often tell my 30's something children that most of the famous rock and
roll, etc. musicians of today couldn't hold the music stands of Benny
Goodman or his sidemen, [removed], Harry James, Gene Krupa, Ziggy Elman, Jess
Stacey, Lionel Hampton, et. al.  A little known anecdote about BG is that
after the passing of the big band era, he studied with probably the world's
greatest classical clarinetist of the time, Sir Reginald Kell, and played
with many symphony orchestras.  After several years with BG as his student,
Kell was asked how "The King of Swing"  was doing.

Kell replied:  "I can teach Mr. Goodman no more.  He has mastered the
clarinet."  Seldom has anyone mastered anything.

Owen, I can still hear Goodman hitting a clear high A above high C on his
recording of Louis Prima's "Sing, Sing, Sing" at Carnegie Hall in 1938 and I
still get goosebumps well over 60 years after it happened!

Dave

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

Date: Sat, 3 Feb 2001 22:28:03 -0500
From: "Robert M. Bratcher Jr." <bratcher@[removed];
To: [removed]@[removed]
Subject:  Re: 16 RPM talking books

Does anyone besides me remember 16 2/3 talking book speed records?

Yes. I've been a talking book reader since 1969. The records (first 33 then
16 then finally 8 RPM) are no longer made.  It is possible (by ordering
from old catalogs) to get the records however I usually find the discs in
poor shape when I get them. It's gotten to the point where I no longer
order them but rather play the reels of tape I made of books I wished to keep.

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

Date: Sat, 3 Feb 2001 22:28:02 -0500
From: "Stephen A Kallis, Jr." <skallisjr@[removed];
To: [removed]@[removed]
Subject:  Old speeds

Fred Berney asks,

Does anyone besides me remember 16 2/3 talking book speed records?<<

Not only do I remember the "talking book" records, I remember making one
by an unusual method.  I had a two-speed tape recorder ([removed] and [removed]
inches/second).  When at college, I recorded a rather long amount of Jean
Shepherd at [removed] ips.  I had a friend who had a disk recorder with
[removed] rpm.  I played back my tape at [removed] ips and recorded it at LP
speed.  Then, I had a Jean Shepherd record at "talking book" speed.

Just to see whether it would work.  It did, but not the highest fi.

Stephen A. Kallis, Jr.

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

Date: Sat, 3 Feb 2001 23:35:22 -0500
From: "A. Joseph Ross" <lawyer@[removed];
To: [removed]@[removed]
Subject:  16 2/3 RPM records

Date: Sat, 3 Feb 2001 12:12:14 -0500
From: Fred Berney <berney@[removed];

Does anyone besides me remember 16 2/3 talking book speed records?

I remember having a 4-speed phonograph capable of playing them, but I
never actually had one.  I think I once visited someone who had a 16 2/3
rpm record that was the size of a 45, including the large spindle-hole.


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

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

Date: Sun, 4 Feb 2001 10:55:12 -0500
From: "gcoppen" <gcoppen@[removed];
To: "OTR post messages" <[removed]@[removed];
Subject:  Owens Pomeroy

Thankyou Owen Pomeroy for your Big Band notes. They made me feel that I had
actually been there ( which is only a wish). I was not fortunate enough to
have had any opportunity to attend any Big Band Concerts or Dances. Now
whether that was because I was too young to know what I was missing or the
fact that I have lived in Winnipeg all my life and have never had the
opportunity to go to any of the big cities where these concerts took place I
cant remember, all I can say is thank God for the radio what would I have
done without it?
Again, thankyou Owens, there is not too much written into the Digest
regarding Big Bands and It was nice to see your [removed]
Coppen

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

Date: Sun, 4 Feb 2001 10:55:14 -0500
From: "Owens Pomeroy" <opomeroy@[removed];
To: [removed]@[removed]
Subject:  WW II & THE BIG BANDS AT THE FRONT

    The entertainment branch of Armed Services during WW II was referred to
as "Special Services," and was composed of men & women, performers,
writers/directors/producers from radio, stage and movies as well as
executive personnel.  My cousin was attached to such an outfit.  His job was
to assist in booking the entertainment that played the various bases here
and overseas.  He also wrote a column for Yank magazine's Entertainment
section. Here below, ver batem is a column he wrote when Glenn Miller
appeared at (an unknown) Air Base in England:

        It was a gray, spring afternoon, somewhere in England.  The weather
was lousy all the way up to the coast and then some.  No planes were flying
on a bombing mission to Germany on this day --- Miller was here.  We were
all tapping our feet to "Chattanooga Choochoo" and relaxing.

        Major Glenn Miller, his trombone held causally in his left
hand. was, as usual fronting the band on a quickly-assembled bandstand.
Although the music sounded great, it was not the same ensemble we had
listened to countless number of times, back home, before the war.  Tex
Beneke and a majority of the regular band members were missing - but it
sounds good, as good as ever.  How could it not, with the likes of Sgt. Ray
McKinley on drums and Sgt. Mel Powell playing an old up-right piano brought
over from the PX.

       The cavernous maintenance hanger was filled with Miller fans, some
were standing, others were seated on ammo cans, packing crates,engine parts
and even along a graceful wing of a grounded Fortress in for repairs.  The
whole base was there.  The flyboys and the mechanics, GI's from a near-by
Infantry division, nurses from the base hospital down the road, RAF,
Free-French and even some "brass" flown down from London. Approximately
1,000 in all/.  Miller finally gets the "choochoo into the roundhouse.  We
applauded wildly as the
band  reemerges its golden reeds singing "Serenade In Blue."

       That whole audience lost itself in the sound, while out on the
line, a crew chief was running up one of the Wright Whirlwinds, and its roar
was blending in, unevenly with Pvt. Johnny Desmond's voice.  As the song
ended. it was over.  It was back to the task we were sent here for.  But for
one brief moment, we fought back the reality, as we remembered the music and
the visions back home.

                            -  30  -

  Owens L. Pomeroy
(Anyone else have memories of Big Band appearances durin WW II?)

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

Date: Sun, 4 Feb 2001 10:55:16 -0500
From: GEORGE WAGNER <gwagneroldtimeradio@[removed];
To: [removed]@[removed]
Subject:  Re:  Forgotten Speed(s)

     Around 1955/1956 or so, my Dad's brother bought a
four-speed record player. He also obtained a number of
talking-book-type records (short stories rather than
novels); I remember listening to a reading of W. W.
Jacobs' world-classic horror tale "The Monkey's Paw,"
which I'd first read in print just a few months
earlier.
     I possessed a couple of 16-rpm players when I
first developed OTR-interests during the early-to-mind
1960s.

     But there was yet ANOTHER speed - 8 rpm. I once
owned a FIVE-speed turntable - and wish I still had
it! I have a few WLWO (WLW-Overseas) transcriptions
from circa August, 1942, which were recorded at 8 rpm.
(WLWO later morphed into the Voice of America.)

     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. Again, the
musical fidelity was terrible, but it was proved an
economical way to record several hours of human speech
in a mininum of space.

     GWAGNEROLDTIMERADIO@[removed]

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

Date: Sun, 4 Feb 2001 10:55:19 -0500
From: "Brian Johnson" <CHYRONOP@[removed];
To: <[removed]@[removed];
Subject:  Legs and RPM

For those who would rather have Betty Grable on radio than in pictures I
have her in two pairings with Bing Crosby: first as a guest on Philco Radio
Time from January 5, 1949, and secondly as young bride-to-be whose wedding
is all fouled up by Bing and Bob Hope in the Screen Guild Players version of
"Altar Bound" heard originally on February 23, 1951.

And my mother still has an old Stromberg-Carlson record player from the
1950's with the 16rpm speed on it. When I was 5-years-old I put the very
first "Chipmunks" album on it, cranked it down to 16 and discovered it was
David Seville doing all those squeaky voices. The shock was so much I've
never been the same since!

"AAAAAAAAAAAAl-vin!"
"O-Kay!"

Brj

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