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

[removed] Digest				Volume 96 : Issue 348

Table Of Contents: 

	 NBC/RADIO RECORDERS AND MORE -1
	 Broadcast Pioneers Library of American Broadcasting
	 address/phone # requested
	 Gosden/Correll?
	 GOODRICH SHADOW DATES/MOORE vs. HART as LONE RANGER
	 computer chips at convention
	 That's Rich
	 Reel Talk Radio Recorder
	 Shadow date
	 ADMINISTRIVIA: Correct Subject Lines in OTR
	 Stan Freberg
	 Pushing the---right butt
	 STRICTLY BOOK PROMOTIONS

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

Date: 23 Sep 1996 04:38:09 GMT
From: kg@[removed] (KEN GREENWALD)
To: [removed]@[removed]
Subject: NBC/RADIO RECORDERS AND MORE -1
Message-Id: <[removed]@[removed]>

Hello again!
A while back someone posted the destruction of a radio station, then 
asked if anyone else had experienced the same. Yes. Here is what I 
observed back in 1964 and in the 70's. Also, some info on problems 
with cassette tapes and why ---

In the early 30's, NBC built a studio on Melrose Avenue, right next 
door to Paramount and RKO studios. It was small by comparison to 
what came later, but they did have a few studios and the buidling 
was designed in the Art Deco motif, which was popular at that time. 
By 1934-35, it became evident that radio was an important driving 
force and NBC realized its Melrose avenue studio was simply not 
large enough to sustain the network on the west coast. It was 
decided to build a gigantic complex on the corner of Sunset Blvd. and 
Vine Street. This would be the flagship studio in Los Angeles. 
NBC built from the corner of Sunset and Vine along Sunset to the 
corner of Argyle Avenue. Then, going north, they built up to Selma 
Avenue. The Selma Avenue side contained the parking lot. 
What NBC created was a complete city block of studios and office 
areas for their stars and the large pool of talent that radio needed. 
Along Sunset there were the 4 large studios A, B, and C and D. This is 
where the likes of Fibber McGee, The Great Gildersleeve and others 
of the best in NBC radio resided. These three studios seated vast 
numbers of people. Along Argyle, Studios E and F were built. These 
were smaller and usually housed the lesser stars and the local shows 
aired during the daytime hours. At the front of the vast NBC studio 
center, placed kiddy corner at the tip of Sunset and Vine, was the 
main lobby of the building, with a gigantic mural some two stories 
high. Below the mural sat the main control room for the west coast 
NBC network. Here, all shows were sent out across the nation and 
north along the Pacific Coast Network. All this was an incredibly vast 
playground of radio talent and creativity. I remember it well, for it 
was there, as a child, I saw a Fibber McGee and Molly show, and an 
Abbott and Costello show.
When television finally dominated, NBC continued to use the main 
studios A,B & C, for what remained of radio. On Argyle, lights were 
brought in and the smaller studios were converted to television 
studios. A new name went up on the building. It no longer just said 
NBC. It also said KNBH-NBC TELEVISION. As radio shows diminished, 
the main studios were shut down. Finally, the men in power realised 
that the converted radio studios were not adequate for television. 
Plans were drawn up to move NBC to Burbank, California, where only 
the best facilities could be used.
In 1964, the great block wide and block long NBC westcoast radio 
studios were shut down. Within months the bulldozers came and and 
began the destruction. What surprised the wrecking crew was how 
hard it was to level the buildings. If you'll excuse the expression, 
those buildings and their foundations were built like brick sh*t 
houses!  
I remember passing the rubble of that once famous landmark studio. 
I saw reinforced concrete slabs and twisted steel where once stood 
one of the most magnificent art deco buildings of the 1930s. I cried. I 
later found out from some radio people who had worked at that 
great place that NBC could have kept the buildings. They could have 
revamped and added on, rebuilt and expanded that place to hold all 
the necessary television equipment. But radio was out and NBC didn't 
want to be identified with it anymore. They had to start fresh, with a 
new look, a modern look that befitted television. And that's exactly 
what they did.

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

Date: Mon, 23 Sep 1996 08:40:54 -0400
From: James Stephenson <kalini@[removed]>
To: [removed]@[removed]
Subject: Broadcast Pioneers Library of American Broadcasting
Message-ID: <[removed]@[removed]>
Content-Type: text/plain; charset=us-ascii
Content-Transfer-Encoding: 7bit

I'm new to this list, so I hope listmembers will excuse me if repeat
general knowledge; still, I'd like to alert all to the resources of my
colleagues at the Broadcast Pioneers Library of American Broadcasting.
This is a collection of archives, books, pamphlets, photographs,
recordings, and other materials devoted in large part to radio history. 
They have a very fine website at
[removed] where you can review
the collections and usage policies, search for information, and download
soundclips.  Please pay them a vist!

James Stephenson
University of Maryland at College Park

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

Date: Mon, 23 Sep 1996 09:22:10 -0500
From: vintage@[removed] (Andy Blatt)
To: [removed]@[removed]
Subject: address/phone # requested
Message-Id: <v01540b00ae6c4d3f27a3@[[removed]]>
Content-Type: text/plain; charset="us-ascii"

Does anyone know the phone number/address of Polyline (I believe it's in
Des Plaines, IL) and any other companies that deal in plastic boxes,
albums, etc?
Thanks.
Andy Blatt

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

Date: Mon, 23 Sep 96 09:02 CDT
From: John Henley <jhenley@[removed]>
To: otr@[removed], jsalerno@[removed]
Subject: Gosden/Correll?
Message-Id: <m0v5Bay-000k08C@[removed]>

Joe Salerno said,
>You may have noticed that Amos & Kingfish =
>appear together only briefly. That's because Correll played both roles. =
>I also suspect that Correll may have prefered to play Kingfish as the =
>role was more fun.

As Jim Widner points out in the same digest, Freeman Gosden had the roles of
Amos and Kingfish.  Charles Correll played Andy.
It's an easy enough error to make, but it was perpetuated in print recently
by the book "Same Time Same Station", which even had it in the picture
captions.  But, Jim is right:  Gosden = Amos/Kingfish.

  
John Henley
jhenley@[removed]
ph  (512) 495-4112
fax (512) 495-4296

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

Date: Mon, 23 Sep 1996 10:40:10 -0400
From: SanctumOTR@[removed]
To: [removed]@[removed]
Subject: GOODRICH SHADOW DATES/MOORE vs. HART as LONE RANGER
Message-ID: <960923104009_291178981@[removed]>

In OTRD #345, F. Charles Simar asks for the airdate of THE SHADOW episode,
"The Tomb of Terror."   An exact date is impossible to give since the
Goodrich SHADOWS (starring Orson Welles and Margot Stevenson) were aired from
transcription disks on a syndicated basis.  Wrong dates were given to the
Goodrich Welles SHADOWS decades ago by dealers who wrongly presumed that the
Goodrich programs predated the Blue Coal episodes and assigned the syndicated
shows airdates beginning with the date of the first Blue Coal Mutual airings.
  Bill Nadel and I have assigned dates to the 26 Summer Goodrich episodes
(only 13 are known to survive) based on their production order and the 26
week period between the 1937-38 and 1938-39 Blue Coal seasons.   We assigned
"The Tomb of Terror" the week of 6-19-38, meaning the syndicated program
could have been aired by local stations on any date between Sunday 6-19-38
and Saturday 6-25-38 (provided the stations aired the disks in the proper
production order.  GOODRICH SHADOW AIR-WEEKS FOLLOW:
3-27-38 - The Hypnotized Audience
4-3-38   - Death from the Deep
4-10-38 - The Firebug
4-17-38 - The Blind Beggar Dies*
4-24-38 - Power of the Mind
5-1-38   - White God
5-8-38   - Aboard the Steamship Amazon
5-15-38 - Murders in Wax
5-22-38 - Message from the Hills*
5-29-38 - The Creeper
6-5-38   - Tenor with a Broken Voice
6-12-38 - Murder on Approval
6-19-38 - The Tomb of Terror
8-21-38 - Caverns of Death
8-28-38 - Death under the Chapel
     Shows marked with an asterisk are included in GAA's new CD/cassette
collection, "The Shadow Chronicles."  There are also eleven missing Welles
Goodrich SHADOWS that must be out there somewhere since syndication disks
were sent out to around 80 stations around the country.  One of these missing
shows apparently featured Kenny Delmar substituting for Welles as THE SHADOW
 (more details in the booklet that accompanies the GAA set). 
     Michael Carraher mentioned his preference of Clayton Moore over John
Hart.   I agree that John Hart was better as Hawkeye than in the Rangers, but
lets compare Hart's Rangers with Clay Moore's earlier pre-1954 programs.
 Moore (in his new book) and Hart both talk about how Trendle and his
representatives on the set insisted that The Lone Ranger be portrayed like a
military colonel, and that his lines had to me read slowly, methodically and
humorlessly.   Moore really came into his own as The Lone Ranger after his
return in 1954, when new owner Jack Wrather encouraged Clayton Moore to bring
more of himself into the role (and Moore's comedic gifts were showcased as
the old prospector, a Mexican bandito, etc).   The early Trendle episodes
also suffered from meager budgets and a two-day/episode shooting schedule.
 John Hart's 52 programs were shot over a 20-week period.  Since I enjoy
Hart's performances as Hawkeye, I'm really looking forward to seeing what
John will do with The Lone Ranger role now that he doesn't have someone
looking over his shoulder and complaining if he puts any personality into his
portrayal.
     Since we're on the subject of comparing actors, who do the subscibers
prefer as The Shadow?   While I feel the Orson Welles SHADOWS featured the
finest scripts, I think Orson's performances (done live minus rehearsals) are
not up to his successors and predecessors.   I think Frank Readick gave the
best portrayal of The Shadow (his sinister, venomous and shadowy signatures
open and close all of the Welles broadcasts since Orson was never able to
perfect the laugh).  I think Bill Johnstone was the best suited of the Lamont
Cranston/Shadows, giving the role a mature authority.   Morrison did a fine
job following in Bill's voicesteps, but Bret's natural tenor voice had to be
considerably lowered when he portrayed The Shadow.   How about the radio
Margot Lanes?  I prefer Margot Stevenson and Marjorie Anderson who seemed the
most natural as in the role.  Agnes Moorehead was a great character actress
(probably the greatest radio character actress) but came off a little
affected playing the ingenue.   How about Commissioner Weston?  I prefer the
humor that Kenny Delmar brought to the role.   Who prefers Ray Collins?
 Dwight Weist?  Ted DeCorsia?  Bernard Lenrow?  Santos Ortega?  Who's your
favorite Shrevie:  Teddy Bergman, Everett Sloane, Keenan Wynn, Jimmy Monks,
James LaCurto, Mandel Kramer? -- ANTHONY TOLLIN       

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

Date: Mon, 23 Sep 1996 11:43:49 -0400
From: Platecap@[removed]
To: otr@[removed]
Subject: computer chips at convention
Message-ID: <960923114348_483750456@[removed]>

I liked Max Schmid's comment about OTR 'netters all wearing computer chips to
indentify ourselves.

Actually, I know Max (and he knows me), as do many of the rest of us who have
been to a bunch of these conventions (I know, it sounds like I'm talking
about Fritos, now!).

I think the real help would be from those who are attending their very FIRST
convention who should wear the chips.

As for me, I was thinking of sporting the case on my head from my retired Mac
Plus.

Bob Burnham;  Platecap@[removed]

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

Date: Mon, 23 Sep 1996 11:43:52 -0400
From: Platecap@[removed]
To: otr@[removed]
Subject: That's Rich
Message-ID: <960923114351_483750481@[removed]>

The series, That's Rich has been floating around (24 shows I think) for
several years, but the sound quality is not that great.

I have them, but haven't listed them for some time for this very reason.

Bob Burnham; Platecap@[removed]

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

Date: 23 Sep 96 13:02 -0500
From: Neal_COULTER/ACAD@[removed] (Neal COULTER)
To: [removed]@[removed]
Subject: Reel Talk Radio Recorder
Message-Id: <00BXXJ@[removed]>
Content-Type: text/plain; 
        Name="[removed]"
Content-Disposition: inline; 
           Filename="[removed]"

The new Wireless catalog has an advt. on the back cover for the
Reel Talk Radio Recorder, which is a radio/recorder with a timer
setting capability. Does anyone know anything about this?

                      Neal Coulter
                      (neal-coulter@[removed])

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

Date: Mon, 23 Sep 1996 12:57:23 -0700
From: John Cunningham <johnc@[removed]>
To: [removed]@[removed]
Subject: Shadow date
Message-ID: <[removed]@[removed]>
Content-Type: text/plain; charset=us-ascii
Content-Transfer-Encoding: 7bit

Hopefully Mr. Tollin can give a more exact answer, but in reply to
Charles Simar's question about an airdate for The Shadow's "Tomb
of Terror" my logs show only 1938.

Glad to find out about you Shadow fans out there!

John

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

Date: Mon, 23 Sep 1996 12:35:34 -0500 (CDT)
From: wdp (AIRWAVES MEDIA)
To: otr@[removed] (Old Time Radio)
Subject: ADMINISTRIVIA: Correct Subject Lines in OTR
Message-Id: <m0v5Eus-000k08C@[removed]>
Content-Type: text/plain; charset=US-ASCII
Content-Transfer-Encoding: 7bit
Content-Length:       2039

Greetings:

Every now and then I need to post this information for those who are
new to the list or those who have forgotten.  It involves using the
correct subject line for your OTR posts.

When you reply to a posting in this digest, please remember to change
the subject line from the default line that says something like ...

"Re: [removed] Digest [removed]"

... and replace it with a subject line that more closely resembles the
actual article you are replying to.  

You see, when you bring  the digest into the mailer for a reply, the
mailer takes the subject of the entire message, which in this case is
the entire digest, and appends it to the outgoing message.  You need
to delete this subject and replace it with (if possible) the actual
subject of the message you are interested in replying to.  

You can either type this in manually, or in the case of most
communications packages, can highlight the subject of the article you
are replying to with your mouse, then 'Copy' the text (usually a
control-c or a menu command) then 'Paste" the copied material into the
outgoing subject line.

This is ESSENTIAL for proper threading of subjects,, and for easy
retrieval in an archive.  OTR Digest will not print articles that
contain the default subject line of "Re: [removed] Digest [removed]" 

ALSO IMPORTANT

Please *NEVER EVER* quote an entire digest into your reply.  While
this may seem obvious, several people have tried to do this, either
out of lack of understanding or whatever.  Our software is set to
reject most cases of 'entire digest quoting', and those who do it more
than once will be considered for exclusion from the digest list.  This
causes HUGE problems for the software, not to mention the hassles to
readers, especially our visually handicapped readers who read via a
speech synthesizer.

If you have any questions, please send me email directly and I will
try to assist.

Sincerely

William Pfeiffer
Administrator: Old Time Radio Digest
wdp@[removed]
Web: [removed]

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

Date: Mon, 23 Sep 1996 10:51:03 -0700 (PDT)
From: BURT WILSON <futurecon@[removed]>
To: [removed]@[removed]
Subject: Stan Freberg
Message-Id: <[removed]@[removed]>
Content-Type: text/plain; charset="us-ascii"

If I'm not mistaken, Stan got his start in TV, well before his radio days.
He played the part of "Cecil the Seasick Sea Serpent" in the "Time For
Beanie" kids show that came out of San Francisco in the very early 50's--I
think it was KRON
TV.  Anyway, the show was live and full of great wisecracks.  I wonder if
thereare any kinescopes of that show around.

Enjoy
Burt Wilson

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

Date: Mon, 23 Sep 96 12:42:54 -0500
From: welsa@[removed]
To: [removed]@[removed]
Subject: Pushing the---right butt
Message-ID: <[removed]@[removed]>

As a contribution to the thread about "pushing the envelope" of decency on OTR, 
I can clearly recall a Bob Hope Show from the 40's where his guest was Jane 
Russell.  Somehow they were talking about radio, and Hope said something like 
this:  "Well, why don't I push your buttons and we'll see if my antenna rises."
    
Even at a tender age I understood.
    
New subject:  I have been devloping a list of taglines based on OTR, such a 
the one below.  I'd be interested in some favorites of other folks here.  I use 
them on msgs to people not knowledgeable on OTR.  It gives me a chance to 
educate them when they ask what it means.
    
    
    
    
       
___
* UniQWK #5138* Tain't funny, McGee.

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

Date: Wed, 25 Sep 1996 13:33:29 -0700
From: "Daniel F. Vojir" <strictly@[removed]>
To: bigradio@[removed]
CC: winc@[removed], ra@[removed], line1@[removed], wqkx941@[removed],
        wfix@[removed], bobradio@[removed], 3ccc@[removed],
        k9iu@[removed], tunnelradio@[removed], kwof@[removed],
        radio-free@[removed], bossradio@[removed], ksda@[removed],
        wwjb@[removed], [removed]@[removed], bigradio@[removed],
        abcradio@[removed], klc@[removed],
        wxyc@[removed], [removed]@[removed], raio0ne@[removed],
        woi@[removed], kexradio@[removed], frsc@[removed]
Subject: STRICTLY BOOK PROMOTIONS
Message-ID: <[removed]@[removed]>
Content-Type: text/plain; charset=us-ascii
Content-Transfer-Encoding: 7bit

Stictly Book Promotions is a small book publicity firm specializing in 
small press and self published authors. If you would like to be on our 
e-mail mailing list please e-mail us back.
Thanks!!!




--------------------------------
End of [removed] Digest V96 Issue #348
*******************************************

