
 SEE INFO SECTION AT END OF THIS DIGEST FOR UNSUBSCRIBE AND OTHER INFORMATION. 
	  	         === Last Update 1/17/95  ====





	    [removed]   Volume 96 : Issue 67


Articles in this issue of [removed]:

	 WWW Page Updates
	 Commercials
	 OTR studio audiences
	 Re: DAT and VHS-Hi-Fi 
	 RE:DAT
	 OTR on CD, Themes, and Other Music
	 OTR Family Trees
	 Cathy Lewis
	 Using classics as themes on OTR
	 Marlin Hurt
	 OTR Film Clips
	 Re: 15 min. Great Gildersleeve programs
	 Backstage, Onstage and some snippets
	 Kemo Sabe: The Definitive Answer
	 DAT old black magic
	 Nomination for "scariest" list
	 Grand Old Opry

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

Date: Mon, 19 Feb 1996 10:46:41 -0600
From: lgenco@[removed] (Louis Genco)
To: otr@[removed]
Subject: WWW Page Updates
Message-ID: <[removed]@[removed]>

OTR Digest readers who followed the "Harry Lime" discussion of some issues
ago might enjoy listening to the introduction to -The Lives of Harry Lime-
now posted at my site.  You too can wonder what the shot in the Vienna sewer
-really- meant, when Orson Welles re-introduces Harry Lime on radio for this
1952 series.  Great zither music too!

Another sound sample is from the 1938 - 1953 radio show that included Kato
-- no, neither the dog nor the ... [removed] courtroom personality, but Britt
Reid's (The Green Hornet's) valet, who changed his nationality from Japanese
to Phillipino when WW II started.  The Green Hornet, hunting the biggest
game of all -- public enemies who try to destroy America!  Bzzzzzzzzzzzzzzzz ...

If your browser understands "tables", you might enjoy the interactive OTR
Theme Music table at my site as well.

Lou
------------------------------------------------------------------------
WWW page on "Old Time Radio":                   [removed]
------------------------------------------------------------------------

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

Date: Mon, 19 Feb 1996 11:00:00 -0600 (CST)
From: Bruce Toews <bruce@[removed]>
To: otr@[removed]
Subject: Commercials
Message-ID: <[removed]@[removed]>

I've been noticing something strange on some OTR shows, especially those 
on CBS. I noticed that for many shows, there are just public service 
announcements and/or ads for new coming attractions to CBS. Was CBS 
struggling for sponsors in the fifties or something? I think that, 
judging from the shows aired, CBS must have been one of the more popular 
of the networks. Can anyone shed some light? Also, who sponsored Life 
With Luigi?

Finally, can someone list again the sponsors for Jack Benny?

Bruce

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

Date: Mon, 19 Feb 1996 09:06:51 -0800 (PST)
From: roy547@[removed] (Roy Trumbull)
To: [removed]@[removed]
Subject: OTR studio audiences
Message-Id: <[removed]@[removed]>

Because it's rare that anything comes out of wholecloth, I assume
that early TV before a live audience borrowed from techniques developed
for radio. In early television, the featured comic or his stand-in would
warm up the audience and lay down the ground rules for the audience's
participation in the show. Some shows were so blatent as to have
applause signs that lit up as required. Often it was a crew member, such
as an usher or floorman, who would raise his hands high in applause to
cue the audience.
In an earlier post I fractured my French. The music used for the wrap-up
theme on the Lone Ranger was Franz Liszt's Les Preludes.
Often the movies used classical themes in unexpected ways. For the
really creepy theme at the start of the Dracula movie with Lagosi they
used the Swan Lake Ballet.

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

Date: Mon, 19 Feb 1996 13:21:48 -0500
From: SeptSev@[removed]
To: [removed]@[removed]
Subject: Re: DAT and VHS-Hi-Fi 
Message-ID: <960219132148_225849092@[removed]>

[removed]
I'd like to again throw in a pitch for VHS Hi-Fi as an archival medium. It's
cheap, the equipment is available(and serves double duty for video lovers),
and the tapes themselves are strong, the sound quality good.  As for long
term storage, I have video tapes made with non-Hi-Fi video machines that are
fifteen years old; the picture signal is going, but not the audio. I'm
guessing that the VHS Hi Fi signal would hold up even better(although I'm not
a techie, so this may be only wishful thinking.)  At any rate, if it manages
to survive for at least ten years, by then a digital medium such as
recordable CD's may have the kinks worked out and be affordable to the
masses.  For now, I'm backing up all my RTR masters on VHS Hi-Fi.
Thom Bray

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

Date: Mon, 19 Feb 1996 14:15:09 -0500 (EST)
From: Randy Minnehan <rminneha@[removed]>
To: otr@[removed]
Subject: RE:DAT
Message-ID: <[removed]@acme>

Hello [removed]

   There have been several mentions now of some of the problems found with
DAT [removed] Radio Spirits, I hope you did your homework!

   Carl Amari told me himself just a couple months ago that he was selling
off all his reel-to-reel master tapes because he had just finished
converting his entire holdings over to DAT.  For his sake, I certainly
hope he knows something about it we don't!

--------------------------------------------------
|Randy Minnehan - rminneha@[removed]|
--------------------------------------------------

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

Date: Mon, 19 Feb 1996 15:36:57 -0500
From: KENPILETIC@[removed]
To: otr@[removed]
Subject: OTR on CD, Themes, and Other Music
Message-ID: <960219153656_148138447@[removed]>

Hi Gang -                      Monday - February 19 - 1996 -- 2:36 PM cst

In issue 63, Lee Maschmeyer compares the sound from 78 RPM records with 
recordings of OTR and notes that re-releases of 78's on CD have better 
sound than re-releases of otr on CD.  It must be remembered that the 
masters of the 78's have a much wider frequency response and dynamic range 
than an ET aircheck of an otr program.  By the very nature of AM broadast 
technology, the upper limit is 5KHz;   whereas the frequency response of a 
recording is limited only by the equipment being used.   78 rpm records 
can and do have "hi-fi" quality, so CD's made from a 78 disc initially 
sound quite good before enhancement.  An aircheck of otr doesn't contain 
the overtones that "color" the lower frequencies, so the timbre just isn't 
there to begin with, thus these CDs cannot equal the "hi-fi" sound of the 
old 78's, even with enhancement.  Still, otr re-released on CD sounds 
better (to me) than other recordings of the same show that I have heard.  
An exception would be programs that were "transcribed for broadcast" prior 
to the actual broadcast.  These ETs could have much better sound quality 
than airchecks, thus better sounding CD's would result. 

--- New Topic --- Themes ---

The subject of Theme Songs and Incidental Music used in otr programs was 
covered in great detail in early issues (volumes 94), so I'll try to not 
re-cover old ground.  One new that I learned in recent issues were Mr. 
District Attorney's theme (R. Strauss, Ein Heldenleiben).  I'll have to 
purchase that one.  It's not in my collection.  There was one bit of 
misinformation in issue 96-66.  My Friend Irma's Theme was "FRIENDSHIP" 
not "FRIENDS".   Incidentally, for those readers who are unaware, there is 
an excellent book regarding all the music used on THE LONE RANGER, it even 
has some musical examples (printed music):
Jones, Reginald M. "The Mystery of the Masked Man's Music" - 1987 
[removed] 1987 [removed]'6  86-33872  ISBN 0-8108-1982-1  

--- New Topic ---  A Little More on Music ---

If you tuned in early to AMC for the "Remember WENN" broadcast of February 
7, you may have seen a filler program (about 10 minutes long) which was a 
pseudo newscast called "strange hobbies" or some similar name.  In that 
program the background music was the theme from "Tales of the Texas 
Rangers", but it was not played in 6/8 time.  Did anybody else notice? 

That's all for now.

Happy Taping --  Ken Piletic - Streamwood, Illinois  
kenpiletic@[removed] 

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

Date: Mon, 19 Feb 1996 14:39:21 -0600
From: lgenco@[removed] (Louis Genco)
To: otr@[removed]
Subject: OTR Family Trees
Message-ID: <[removed]@[removed]>

Since Fran Striker's name came up in some recent issues of the OTR Digest, I
thought I'd post a puzzle related to his work.  Readers of the OTR Digest
may remember the answer to part of this puzzle from old issues:

What was The Lone Ranger's "real" name?  (Not the actor, but the character)
What was The Green Hornet's "real" name?
What was the name of The Green Hornet's father?
How are these names related?

(You -did- know, didn'tcha,  that both The Lone Ranger and The Green Hornet
were written by Fran Striker?)



Similarly ...

What was the name of Lamont Cranston's (The Shadow's) girlfriend?
     [What was the name of the first actress that played this female part?
Of the third actress?]

What was the name of Clark Kent's (Superman's) girlfriend?

Was there any relationship between these two fictional girlfriends?


Lou
------------------------------------------------------------------------
WWW page on "Old Time Radio":                   [removed]
------------------------------------------------------------------------

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

Date: Mon, 19 Feb 1996 15:50:12 -0500 (EST)
From: "Kathy O'Connell" <oconnell@[removed]>
To: otr@[removed]
Subject: Cathy Lewis
Message-Id: <[removed]@[removed]>

Cathy Lewis was the lead in the television version of "Fibber McGee & 
Molly" that ran in the very early '60's.  Bob Sweeney played Fibber 
McGee.  I don't remember much about the series except that I was sorely 
[removed] had heard ABOUT Fibber McGee & Molly, but had never 
actually heard it, so the TV version was the only reference point I had 
until I heard the real shows.  I remember the TV series ran every 
afternoon after school for a short time.

All I can recall about what Cathy Lewis looked like is that she had dark 
hair.  I think she looked something like Peg Lynch, but my memory is 
somewhat lacking.

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

Date: Mon, 19 Feb 1996 13:01:44 -0500
From: Ted McKay <tmckay@[removed]>
To: otr@[removed]
Subject: Using classics as themes on OTR
Message-Id: <[removed]@[removed]>

I think we've overlooked the main reason producers used classical music
(Wm. Tell Overture, Humoresque etc. etc.) as program themes.   Since
most classical music is in public domain no music royalty payments were
required. (primarily to ASCAP in the 30's, later to BMI and others) 
Although many smaller stations had "blanket" licenses, most networks
were on a per performance basis, which meant that payment had to be made
each time the song was used.  So, what we credit today as "the producers
good taste" was nothing more that being tight with the buck.  The more
things change the more they stay the same!

Ted McKay Cincinnati, Ohio

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

Date: Mon, 19 Feb 1996 17:54:07 -0500
From: JRayb71827@[removed]
To: otr@[removed]
Subject: Marlin Hurt
Message-ID: <960219175406_226063960@[removed]>

   John Henley got it right about the way Marlin Hurt would surprise studio
audiences in his his role as Beulah on the Fibber McGee and Molly show.  He
would, indeed, stand with his back to the audience and then swing around to
the mike and give his trademark, "Somebody bawl fo' Beulah?"  However,
another part was incorrect.  Hurt was not short, fat and bald.  As a matter
of fact, he was a slender, quite handsome guy with a full head of hair.
 There's a great picture of him on Page 262 of Charles Stumpf's book,
"Heavenly Days."  I don't know if the book is still available but you might
try the publisher.
             The World Of Yesterday
             Route 3, Box 263-H
             Waynesville, NC 28786
   Sorry, I don't have a phone number but I think you can get it through
information.  He died quite young, only 40, and the role of Beulah was
eventually resumed with another white man playing the role.  Bob Corley
eventually gave way to Louise Beavers and then Lillian Randolph.
  Just a closing thought, the short, fat, bald guy may very well have been
Arthur Q. Bryan.  He fit that description.  Among his many character roles
were Doc Gamble on Fibber McGee & Molly, Floyd the barber on the Great
Gildersleeve, and the lead role on Major Hoople.
   Incidentally, Hurt was from my wife's home town of DuQuoin, Illinois and
was related to a cousin of hers.  He based his Beulah characterization on a
black lady (whom he knew well) in that town.  She was named, if memory serves
correctly, Alma Kazee.  See what you find out by checking the OTR Digest
every day?

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

Date: Mon, 19 Feb 1996 17:14:12 -0600
From: Richard Veit <Richard_Veit@[removed]>
To: OTR Digest <otr@[removed]>
Subject: OTR Film Clips
Message-id: <[removed]@[removed]>

                       Subject:                               Time:4:43 PM
  OFFICE MEMO          OTR Film Clips                         Date:2/19/96

Dennis DeMarco's question as to whether actors "waited in the wings" for their
radio entrances drew an interesting and thought-provoking response from John
Henley in Issue #66. Now this exchange has aroused my curiosity about film
clips of radio broadcasts. I own a film short depicting Major Edward Bowes and
his "Original Amateur Hour," but to me it seems a bit phoney and staged for
the camera. My question is this: do any films exist of actual broadcasts --
either segments in theatrical releases or perhaps in OTR documentaries? It
would be a fascinating look behind the scenes if such clips do exist. Even
staged scenes would be of some historical interest.

Thanks for any leads that you can provide,
Dick Veit

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

Date: Mon, 19 Feb 1996 18:29:41 -0500
From: Kloveotr@[removed]
To: [removed]@[removed], otr@[removed]
cc: Kloveotr@[removed]
Subject: Re: 15 min. Great Gildersleeve programs
Message-ID: <960219182939_426530377@[removed]>

In V96 #64  VernSchroe asked about 15 min versions of the Great Gildersleeve
program at the time Fibber McGee went to 15 min.  This did happen I remember
as a teenager listening on my bedside crosly(sp)  to both programs.  They
were on nightly at 10:30. Like Vern I too would like to obtain copies of the
Gildersleeve programs.

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

Date: Mon, 19 Feb 1996 23:35:02 GMT
From: bilj@[removed] (Bill Jaker)
To: [removed]@[removed]
Subject: Backstage, Onstage and some snippets
Message-Id: <[removed]@[removed]>

        On our last show, Dennis DeMarco asked whether radio stars waited 
backstage at the studio to make their appearance for both the seen and 
unseen audience. This depended upon both the show and the studio (some 
didn't have much space "backstage").  Sometimes they did, and this gives me 
the opportunity to tell you about one of my fondest and earliest memories.
        I was about six years old when my parents took me to see my first 
live radio show, an event I seem never to have recovered from.  My memory of 
that entire event isn't clear, but it seems to me that after we were seated 
in a big auditorium the program's announcer welcomed us and then asked us to 
be perfectly quiet.  The orchestra played the themesong, the announcer said 
"Sanka -- the coffee that let's you sleep -- presents Fanny Brice as Baby 
Snooks", we all applauded and then, to my childish amazement, a grown-up 
lady walked out on stage!
        Sure, I guess I should have known that Baby Snooks wasn't really my 
age, but I never forgot that moment and it should answer Dennis DeMarco's 
question.
                    ///////////////0\\\\\\
A SNIPPET: We've been hearing about many wonderful little moments from the 
great days of radio.  I especially like the themesongs from "The Great 
Gildersleeve", "Ozzie and Harriet" and the Whistler whistling (though now 
that I know the secret I can't ignore the fact that it was a teenage girl 
who actually whistled).
        But the best snippet of all is the opening of that powerfully sleazy 
series "Calling All Cars".  The show -- which ran on CBS West Coast stations 
in the 30s and can be found in many catalogues -- begins with the voice of 
the actual Los Angeles police dispatcher who calls the cars in a deep, husky 
voice and ends with his "signature", saying his name.  The name: Rosenquist, 
pronounced "Rowzzzenkwist".  Great moment!
        "Calling All Cars" was directed by William N. Robson, who admitted 
that hearing Rowzzzenkwist on the LA police radio was the inspiration for 
the whole series.
        By the way, does anyone know if Rosenquist had a first name and what 
his rank and title was? [Not a trivia question, I'd just like to know.  Thanks]

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

Date: Mon, 19 Feb 1996 18:03:28 -0600
From: lgenco@[removed] (Louis Genco)
To: otr@[removed]
Subject: Kemo Sabe: The Definitive Answer
Message-ID: <[removed]@[removed]>

OTR Digest readers who were agonizing over the -true- definition of the
word(s) "Kemo Sabe" need fret no longer.  The definitive answer (written by
Fran Striker, Jr.) is now at my WWW page, in the REFERENCES - HISTORY section.

I have invited Fran to join our friendly group here in the Internet OTR
Digest.  Meanwhile, here is part of his note to me.

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

Return-Path: <FranStrike@[removed]>
Date: Mon, 19 Feb 1996 17:04:50 -0500
From: FranStrike@[removed]
To: lgenco@[removed]
Subject: Some info for your web site.

Hi Lou,

I briefly visited the otr web site ([removed]) over the
weekend,  very interesting.  I'm don't recall the specific place where I
found some interesting speculation about the meaning of Kemo Sabe.  

Naturally, this question has come up often, and has been the topic of many
scholarly studies.  Below you find my (I hope definitive) answer the
question-- which you may want to post at the site for others to enjoy.

After I get a few more horse power into my PC, I hope to become a more
regular web visitor, but until that time, I'll do my best to answer any
E-mail that sent directly to me at FranStrike@[removed]

As for me, happy, healthy and living in New Jersey.  My current endeavour is
trying to raise funding necessary re-launch my Dad's Tom Quest series.  The
New TQ series is set in the current time, Tom has grown up and (along with a
special sidekick) fights lawlessness around the world using hi-tech, wit,
humor and good measures of traditional ethics and values.  I'm hoping to
launch it as a series of comic books.

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

In the best tradition of cliff-hangars (and because the remainder of the
note was very long), I have posted Fran's analysis at my WWW site.

Lou
------------------------------------------------------------------------
WWW page on "Old Time Radio":                   [removed]
------------------------------------------------------------------------

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

Date: Mon, 19 Feb 1996 21:13:39 -0800 (PST)
From: Rob Spencer <rspencer@[removed]>
To: [removed]@[removed]
Subject: DAT old black magic
Message-ID: <[removed]@netcom19>

Andrew Emmerson made some points about DAT that I feel should be 
addressed.  
	
> 1. Converting analogue signals to digital means throwing away 
> some detail.

This is true in a strict sense, and certainly this effect is noticeable 
on high-fidelity recordings sampled at low rates.  But let's look at this 
practically:  how many people out there think a CD of their favorite old 
analog recording sounds better than the old LP did?  Also, when speaking 
of OTR, we must keep in mind that a whole lot of detail was lost in the 
original AM broadcast, not to mention the transcription process.  DAT, 
like any digital medium, allows one to make unlimited copies with no 
further signal loss, which is a big issue with OTR collectors.  I don't 
think the copy-guard circuitry applies to one's own home-recorded 
material, and at any rate, the readily-available "professional" DAT 
recorders don't have this circuitry.

> 3. With a high-density recording system such as DAT, you place 
> high reliance on a tiny spot of oxide. . . A lower density 
> system, such as [removed] ips open reel, will not be affected much 
> by a small drop-out. 

True enough, but the reason that DAT is being considered here is that 
open-reel recorders are fast becoming unavailable to the consumer 
market.  Also, a DAT tape is much less vulnerable to drop-out because it 
is inside a cassette.

> 4. We have no long-term experience of how these tapes will 
> fare in storage over time. By analogy, the (British) National 
> Film and TV Archive refuses to use the modern Betacam SP 
> format for archival because they say it just doesn't last well 
> enough. So they are sticking with good old 1" reel-to-reel 
> because it has proved itself as a viable long-term storage 
> material.

Again, we don't have the luxury of things like 1" reel-to-reel.  

Certainly DAT has its disadvantages as an archival medium.  The question 
is, however, whether it is the best medium likely to be available to the 
consumer for the forseeable future.  The old OTR standard, reel-to-reel, 
is fast disappearing, and cassettes are obviously unsuitable.
	My personal feeling is that it's too early to tell whether DAT is 
to be a technological dead-end.  The fact that Mr. Emmerson can't easily 
find DAT tapes is telling enough on that account.  So for now, I guess 
those who have reel-to-reel setups should stick with them, and those who 
don't should consider using Hi-Fi VHS in SP mode. 
	If DAT should become more widely available, however, I think it 
would be an excellent OTR archival medium, Mr. Emmerson's points 
notwithstanding.

Rob Spencer

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

Date: Tue, 20 Feb 1996 00:26:34 -0500
From: stevecap@[removed] (Steven Capsuto)
To: [removed]@[removed]
Subject: Nomination for "scariest" list
Message-Id: <[removed]@[removed]>

>I would really like to know what everybody thinks are the top 10 scare off
>your socks, make you really think, thriller OTR shows? 

The #1 choice, IMHO, is ESCAPE's first rendition of "Three Skeleton Key."       
___
Steven Capsuto, Philadelphia
stevecap@[removed]
WEB page: [removed]~[removed]

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

Date: Tue, 20 Feb 96 01:29
From: "bill harris" <billhar@[removed]>
To: "otr digest" <otr@[removed]>
Subject: Grand Old Opry
Message-Id: <m0toliR-000Y4GC@[removed]>

>Ken Piletic writes:
>
>In issue 60/61, Bill Harris asks about a Grand Ole Opry show from the 
>1930's.  The way Bill's question is worded, I'm not sure if he's 
>looking for a Grand Ole Opry program that was broadcast in the 1930's 
>or if he's looking for any Grand Ole Opry program and indicates that 
>it was on the air in the 1930's.  Dave - There are LOTS of Grand Ole 
>Opry programs in Circulation, but I have not seen any from the 1930's. 
>There are some Magic Water Crystals shows in my collection (Buddy 
>Starcher), which I believe are from the 1930's or early 1940's if that 
>might help.  I believe some of the people on that program migrated to 
>the Grand Ole Opry -  Perhaps somebody could clarify this. 
>
>
>And Bill Knowlton wrote: 
>
>There is a pirated LP of a 1939 Opry show out there, called "Grand Ole 
>You Know What," featuring Roy Acuff, Uncle Dave Macon and George D. 
>Hay. It's the Prince Albert NBC half hour; fair sound, but outstanding 
>content. Ironically, I'm listening to WAM and the Friday Night Opry as 
>I type this.

Yes, I am looking for one of the shows from the 1930's if possible,
however one of the later ones will do if a 30's version is not available.
What I actually need is the intro to the show with commercials and 
would like a sound bite which would include Minnie Pearl and her
signature "[removed]'m jes so proud to be here!" I am putting
together a tape of sound bites of radio programs from the 1930's for
a musuem exhibit and would like to enclude the Opry as it was
one of the most popular shows of the time. If anyone can help me out
with this send me e-mail and we will work out the details.

Many thanks,
Bill Harris

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

    


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---- 
End of [removed] Digest V96 Issue #67

