------------------------------
The Old-Time Radio Digest!
Volume 2005 : Issue 275
A Part of the [removed]!
[removed]
ISSN: 1533-9289
Today's Topics:
Wheat emergency [ gary young <garyy2002us@[removed]; ]
Re: Lincoln Highway [ Mark Goodrich/Jim Petri <tootieches ]
No fibbing. [ Wich2@[removed] ]
Memorizing radio scripts [ "Jim Harmon" <jimharmonotr@charter. ]
To MP3 or Not to MOP# -- That Is a Q [ "Stephen A Kallis, Jr" <skallisjr@j ]
Sharing OTR [ ilamfan@[removed] (S Jansen) ]
A last ring of the chimes? [ Lee Munsick <damyankeeinva@earthlin ]
re selling [ Rutledge Mann <cliff_marsland@yahoo ]
SCRIPT IN HAND [ Sandy Singer <sinatradj@[removed]; ]
Molly's Illness [ "Irene Heinstein" <IreneTH@[removed] ]
BEFORE AND AFTER [ Sandy Singer <sinatradj@[removed]; ]
USE OF SCRIPTS IN RADIO [ PURKASZ@[removed] ]
COLONEL ROBERT McCORMICK [ Sandy Singer <sinatradj@[removed]; ]
Acting vs. Reading a Script [ OTRadiofan@[removed] (Stuart Lubin) ]
RE CLEM McARTHY [ Sandy Singer <sinatradj@[removed]; ]
Re: Acting vs. reading a script [ "R. R. King" <kingrr@[removed]; ]
THE 'OLD' CHIMES [ Sandy Singer <sinatradj@[removed]; ]
------------------------------
Date: Fri, 9 Sep 2005 17:45:22 -0400
From: gary young <garyy2002us@[removed];
To: [removed]@[removed]
Subject: Wheat emergency
I was listening to a show Grand Central station "moon
Blind" 8-24-46, during the ad on Pillsbury, the
announcer talked about flour now being available that
the Wheat emergency is over. I am curious about this
and was hoping someone could expand on the subject.
------------------------------
Date: Fri, 9 Sep 2005 17:58:39 -0400
From: Mark Goodrich/Jim Petri <tootieches@[removed];
To: [removed]@[removed]
Subject: Re: Lincoln Highway
Hi, all! This is my first post. Does anyone know whether more than one
episode of the radio program "Lincoln Highway" is exists or is available?
Thanks, Mark
------------------------------
Date: Fri, 9 Sep 2005 18:58:31 -0400
From: Wich2@[removed]
To: [removed]@[removed]
Subject: No fibbing.
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From: "kclarke5@[removed]" kclarke5@[removed]
I asked that question of another OTR collector and they said it
was probably due to the fact that Molly (Marian Jordan) had a condition
known as 'mike fright'.
Dear Ken & gang-
This question comes up periodically, and the inevitable answer often brings
forth a chorus of,
"How COULD you say that!?"
Well, because the truth will out.
The answer I've heard, several times from several trustworthy sources, is
that it was not that Marion could not master the mic, but that she could not
master alcohol.
Best,
-Craig
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------------------------------
Date: Fri, 9 Sep 2005 18:59:47 -0400
From: "Jim Harmon" <jimharmonotr@[removed];
To: <[removed]@[removed];
Subject: Memorizing radio scripts
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One actor, at least, reportedly memorized his radio script -- Jay Jostyn.
"Mr. District Attorney" became an ever bigger hit than even producer Phillips
H. Lord expected. At times, one of the top five shows on the air, a position
usually held by the top comedians like Jack Benny and Fred Allen, and perhaps
the Lux Radio Theatre. Jostyn was hired for an "exclusive" -- he could only
appear on Mr. [removed] Like many other radio actors he had been accustomed to
doing many shows each week, even several a day, soap operas, crime shows and
the like. The money for the "exclusive" was better than working every day,
but with time on his hands he made a point of memorizing his script. He did
hold the script, I understand, so as not to make the other actors feel
self-conscious, but knowing the lines by heart came in handy a few times when
other actors mixed something up.
After Ziv bought the show and had Hollywood actor David Brian doing Mr.
District Attorney on both radio and TV, both syndicated, Jostyn went back to
working regularly on what soaps and mysteries remained on radio in the 1950s,
and had no time to memorize scripts. Later, he did get into television,
playing the lead -- a judge -- on "Divorce Court" . His skill at memorizing
must have come in handy there.
I have talked to so many people over the years, and read so much about
radio, I am not sure where this information about Jostyn comes from, but I
believe it is correct.
In today's world, where silent movies are held in respect other than
ridicule, the difference of the old silent speed of 16 frames per second (on
the average) and the TV speed of 30 frames per second is compensated for by
printing every third frame twice, or in the case of some very early films
double-printing each frame. The human eye does not detect it, and most
silent films flow beautifully on TV. This is "stretch printing" as one
correspondent calls it.
-- JIM HARMON
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------------------------------
Date: Fri, 9 Sep 2005 19:00:29 -0400
From: "Stephen A Kallis, Jr" <skallisjr@[removed];
To: [removed]@[removed]
Subject: To MP3 or Not to MOP# -- That Is a Question?
Will Tuell, in his first post, noted the pros and cons of MP3, and summed
it up by saying,
Bottom line - if you're out there and trading/selling legitimate,
quality OTR and just covering your costs, thank you for making your shows
available in mp3 format. I'm one collector who is very much appreciative
of that. If you're not yet, and are reluctant to do so, I hope you can
join the mp3 world without fear or being run over roughshod or else we're
all going to be in for hard times.
As a certified, [Medicare] Card-Carrying Geezer, I can recall that
although many shows were broadcast in really nice quality, the quality of
what I listened to them on was far from high fidelity. Sometimes I
listened to show using a pair of headphones with steel diaphragms, which
hardly gave primo sound. Besides that, the majority of the shows I used
to listen to by myself was what radio repairmen called an "All-American
5," with a 3-inch speaker. The sound was okay, but nothing special.
A decent MP3 recording sounds as good as anything I used to hear, while
growing up.
Stephen A. Kallis, Jr.
------------------------------
Date: Fri, 9 Sep 2005 21:16:21 -0400
From: ilamfan@[removed] (S Jansen)
To: [removed]@[removed] (OTR Bulletin Board)
Subject: Sharing OTR
Okay, I'll jump in too - I've just posted to
[removed] with a high-quality 1930's
episode of Rajput, Hindu Secret Service Agent. Not uncirculated, but
certainly not common, and not direct from transcription, but I've cleaned it
up and improved the [removed] doubt there are any better sounding versions.
Enjoy.
Stephen Jansen
--
Old Time Radio never dies - it just changes formats!
------------------------------
Date: Fri, 9 Sep 2005 21:17:01 -0400
From: Lee Munsick <damyankeeinva@[removed];
To: [removed]@[removed]
Subject: A last ring of the chimes?
I don't want to beat a dead horse, but thought I'd ... [removed] ring ... in with
my two cents, to complete a mixed metaphor.
I don't know how many have noticed it, but both Fox News Channel and XM radio
have audible "logos", a series of distinctive notes. Both seem to be adding
to their respective collections of ready-to-air carts with the sequences
played in different arrangements, and in the case particularly of XM, by
different instruments.
I find the growing library of their tiny melodies on XM to be quite charming.
But the FNC contributions, like everything they do in their endless quest for
tiresome self-promotion, is just too strident for my liking, even 'though our
family depends on them for hard news.
We return you now to our regularly scheduled [removed]
Lee Munsick
------------------------------
Date: Fri, 9 Sep 2005 22:11:21 -0400
From: Rutledge Mann <cliff_marsland@[removed];
To: [removed]@[removed]
Subject: re selling
([removed] in my last post I forgot to add that I had also
shared the circa 1932 Gleason-Armstrong Show with the
Penthouse Murder Mystery. It's there for anyone who
wants it.
Re Will and Ian I agree with their points. However,
when I share, when I choose to do so, I know there's a
good chance it'll make it to the ebay vendors, but it
doesn't bother me a great deal. It was the same with
cassette vendors and reel before that. There are the
innovators and there are the copiers. The end result
is the same, the technology just changes. I didn't
mean my encouraging transcription collectors to trade
as a snipe against the good people here, it was
referring to the ultra-private collectors who have a
ton of uncirculated stuff and sit on it forever. I
have a decent amount of it too, but I'd like very much
to utilize it in trades, so it eventually circulates.
Putting out an mp3 copy usually doesn't hurt my .wav
trade because 90% of the big collectors would want
.wav only anyway. Anyway, that's my final two cents
on the thread so it doesn't drag on too long.
Trav
------------------------------
Date: Fri, 9 Sep 2005 23:53:13 -0400
From: Sandy Singer <sinatradj@[removed];
To: [removed]@[removed]
Subject: SCRIPT IN HAND
Why are musicians allowed to have their music in front of them, on stage
-- same thing applied to radio actors.
SS
------------------------------
Date: Sat, 10 Sep 2005 00:52:17 -0400
From: "Irene Heinstein" <IreneTH@[removed];
To: "OTR" <[removed]@[removed];
Subject: Molly's Illness
The official story emerged after many rumors and much speculation, including
a suggestion that Molly was an alcoholic.
In 2003 the BBC had a series on entertainment couples called "Who wears the
Trousers" and one of the couples was the Jordans. Some of what was
reported on the program follows.
Along with the pressures of radio and films which Molly was feeling in 1937
and which left her totally physically exhausted, she also suffered a
miscarriage. On the program Molly's granddaughter, Janice Jordan, said
that Molly had a complete nervous breakdown, was suicidal, in fact attempted
suicide, and that she had to be institutionalized, that she was catatonic.
She also said that her grandfather said Molly was one of the first women in
the US, if not the first, to have shock treatment. In that period of time
revealing a breakdown and a suicide attempt would have killed her career; at
least that's what was believed, since the public saw Molly and Marion as one
person and a pillar of strength. After release from the hospital she was
still too fragile to immediately return to the show. They were able to keep
it all private. Her grandaughter correctly said she thought that Molly's
illness would have been dealt with quickly and differently today, but
privacy would have been impossible.
Other couples in the series were: Fred Allen and Portland Hoffia, Benny and
Livingston, Burns and Allen, Mr Ace and Jane, and Lucy and Desi
Very interesting series.
-Irene
------------------------------
Date: Sat, 10 Sep 2005 00:52:35 -0400
From: Sandy Singer <sinatradj@[removed];
To: [removed]@[removed]
Subject: BEFORE AND AFTER
The short announcements that preceded a show, were called,
cow-catchers, just before system cue, hitch-hikers.
SS
------------------------------
Date: Sat, 10 Sep 2005 00:53:50 -0400
From: PURKASZ@[removed]
To: [removed]@[removed]
Subject: USE OF SCRIPTS IN RADIO
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Thankfully some person hit the nail on the head.
Radio actors read from scripts [removed] COULD!
Most readers can't commiserate with the idea of having to memorize lines
but believe me, it can be a major problem and so the skills a radio actor
developed were of a different and subtler nature.
They had to read like they weren't reading.
They had to read like they were just talking.
Not as easy as you might think. Not even close.
Some actors were better at it than others.
I remember when I was booked to do an episode of JAKE AND THE FATMAN for
TV some years ago, I was very excited to work with William Conrad. I may
have told this story before but it bears on the subject at hand in a
different
way.
Bill was a delight of course and when the assistant director introduced
us, he was standing at the craft service table (read snack bar) and whirled
around at the mention of my name offering both hands to shake but alas one
had
a donut in it, the other a cigar!!!
I learned very quickly that working on his show was different than other
TV shows I had done or any films for that matter, where it is part of the
process to be there for your 'off-camera' lines.
That's where the camera is now on the person you're doing the scene with
and you have to hug the camera close to the lens to deliver your lines so
they have their close-up. You are NOT in the shot and that reminds me of the
time Eli Wallach said to me, "I do my best acting in the off- camera lines."
He
wasn't kidding, the pressure is off so you get these really great [removed]
no avail, sigh, cuz your turn is over.
Anyway, I was about to learn something new.
When you finish the master scene and your closeup on his [removed] get
to go home because he doesn't need or even want the other actor beside the
camera [removed]'S WHERE HIS LINES ARE!
A TelePrompTer stands where you would be.
That's right folk. He'd developed the skill of reading like he was
talking while on the radio all those years and now this TV stuff is the same
thing
only better for him.
I laughed when the AD said I was through for the day, mainly because I
knew I was going to get to watch a master reader at work and also because my
dressing room was right on the beach near Waikiki so I could spend the rest
of
the day basking after watching the master at work.
It was truly a thing of beauty to watch him talking to the camera like
he was talking to me and I wasn't even there!
Magic? You bet.
Michael C. Gwynne
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------------------------------
Date: Sat, 10 Sep 2005 00:54:07 -0400
From: Sandy Singer <sinatradj@[removed];
To: [removed]@[removed]
Subject: COLONEL ROBERT McCORMICK
McCormic, who owned the Chicago Tribune, gave a speech on a Saturday
evening show, which originated from Mutual, Chicago. One evening, he was
automatically cut, by the MBS 'machine' -- all hell broke loose!
SS
------------------------------
Date: Sat, 10 Sep 2005 00:54:58 -0400
From: OTRadiofan@[removed] (Stuart Lubin)
To: [removed]@[removed]
Subject: Acting vs. Reading a Script
First, I would like to object to the implication of Rick Keating's
stated "Subject", "Acting vs. Reading a Script". I have used it also,
but only for purposes of showing that I am responding to his post.
Unfortunately, the "versus" implies that the two are mutually exclusive.
Many accomplished radio actors proved daily that they could read scripts
and still act very well. My opinion is biased, but I believe that some
of the radio performers whom I have known and admired are the greatest
actors I have ever seen. To portray all the levels of emotion only
through one's voice, takes a tremendous kind of talent. Acting becomes
a lot easier when one has arms, body, eyes, face, etc. to help portray
the necessary emotions. Radio actors had only the voice.
Rick Keating writes: "On [removed]: I've asked this before and if
I remember correctly, Hal Stone provided the answer, but I still don't
get it: Why did/do radio actors have their script in hand when they
perform(ed)?"
I wish that I had remembered the occasion of Hal responding to that
because I value his opinion so greatly. However, I am going to try to
answer it, from what I know about radio. In general, radio actors did
about 2, 3, sometimes four shows per day. There simply wasn't enough
time to memorize all that dialog. And why should they? Most of the
shows did not have an audience. Why memorize, if you do not have to.
Memorization of a script does not ensure better acting.
How about jumping in and helping me, Hal. I always relish your take on
things theatrical.
Stuart Lubin---OTRadiofan
------------------------------
Date: Sat, 10 Sep 2005 00:55:17 -0400
From: Sandy Singer <sinatradj@[removed];
To: [removed]@[removed]
Subject: RE CLEM McARTHY
One night he kidded Bill Stern, who was famous for making inaccurate
calls during sporting events he broadcast. Stern fought back --
McArthy said, "You can't lateral a horse!"
------------------------------
Date: Sat, 10 Sep 2005 00:56:12 -0400
From: "R. R. King" <kingrr@[removed];
To: [removed]@[removed]
Subject: Re: Acting vs. reading a script
For that matter, were there _any_ radio shows in which
the actors didn't read from scripts, but had
previously memorized their lines?
Well, as was pointed out here recently, Abbott & Costello didn't use a
script when they performed a stock routine like "Who's on First" on
the radio (hell, Costello often didn't use a script even when he had
one in his hands). And I suppose other theatrical figures did the same
with scenes or routines they had performed zillions of times on stage.
There were scriptless drama broadcasts in the early days of radio.
Quite a few of the plays and operas heard on the radio in the 1920s
were direct from theaters where the actors were performing on stage
for an audience and wouldn't have been using scripts. And there could
have been some plays-without-scripts broadcast from studios as well.
Looking through the [removed] database, I ran across a July
1922 wire service story which begins: "Acting by one person over the
radiophone isn't new any longer. But presenting a play by the entire
company is more recent." It goes on to say that 'Among the first who
tried "acting" a whole play by radio were Grace George and Herbert
Hayes. They sat near a microphone in a San Francisco broadcasting
station and recited their parts.'
An accompanying photo shows the two actors seated opposite one another
and speaking into hand-held microphones. No scripts are visible but
the actors' eyes are lowered so I suppose it's possible they were
reading from manuscripts that had been cropped out of the picture. Or
the actors could have been posed without their scripts. But I suspect
it's also possible they were touring with the play, had the whole
thing memorized, and really did "recite their parts" into the
microphones. (Incidentally, does anybody know anything about this
broadcast? Like the date or the station or the name of the play? I
haven't found anything else about it.)
The article continues: "Encouraged by the enthusiasm shown in the
reception of plays by radio, a San Francisco newspaper has tried the
stunt of broadcasting its serial story. Fred V. Williams, newspaper
writer, began his latest product in serial form." A second photo shows
Williams with a mike in one hand and looking down at what appears to
be a script in the other.
An August 26, 1923 New York Times article about the WGY Players makes
a point of mentioning that the actors' "parts are not memorized but
are read: thus there are no delays and prompting is not required. ...
The paper on which the parts are written is usually of such a quality
that rustling is eliminated and no sound except that made by the
players as part of the show can be heard."
(One line in the Times article that floored me was this: "After the
radio drama is presented once it can be filmed by the Pallophotophone,
which preserves it, and it can be presented at any time." I started
wondering if there might be an attic somewhere in Schenectady filled
with Pallophotophone recordings of 1920s radio plays.)
Speaking of old newspaper articles, here's part of a May 27, 1923
Oakland Tribune article I've been curious about:
*** For a long time there has been need of something in the form of
one-act plays for broadcasting purposes, but nothing written for the
stage seemed to fit in. Many plays have been tried, but with little
success. ... But now comes Clyde A. Criswell, Philadelphia author, who
has written the first radio play, "The Secret Wave." It was broadcast
recently from a Philadelphia station and went over big. ***
Anybody have any further info on Mr. Criswell's play?
------------------------------
Date: Sat, 10 Sep 2005 00:56:22 -0400
From: Sandy Singer <sinatradj@[removed];
To: [removed]@[removed]
Subject: THE 'OLD' CHIMES
They were made by Dega, and used as dinner chimes for many years--
almost impossible to find.
SS
--------------------------------
End of [removed] Digest V2005 Issue #275
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