Subject: [removed] Digest V2005 #276
From: [removed]@[removed]
Date: 9/10/2005 5:14 PM

To: [removed]@[removed]

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

                                The Old-Time Radio Digest!
                                  Volume 2005 : Issue 276
                             A Part of the [removed]!
                                 [removed]
                                     ISSN: 1533-9289

                                     Today's Topics:

      9-10 births/deaths                    [ Ron Sayles <bogusotr@[removed]; ]
      OTR article in Chicago Tribune        [ Alan/Linda Bell <alanlinda43@yahoo. ]
      Re: Wheat emergency                   [ "Scott" <scott@[removed]; ]
      Radio audio [removed]                [ "Ted Kneebone" <tkneebone1@[removed] ]
      Acting with scripts                   [ Lee Munsick <damyankeeinva@earthlin ]
      Questions and comments                [ Rick Keating <pkeating89@[removed]; ]
      Federal excise [removed]                 [ "Ted Kneebone" <tkneebone1@[removed] ]
      Audio Logos (was A last ring of the   [ Henry Howard <hhoward@audiotheater. ]
      trading/selling: 1 fool's opinion     [ Ruk77@[removed] ]
      collecting OTR                        [ <cooldown3@[removed]; ]
      mp3 dealers                           [ "karl tiedemann" <karltiedemann@hot ]
      Pallophotophone                       [ "erest@[removed]" <erest@bel ]
      Re: Reading the script, but performi  [ Hal Stone <otrjug@[removed]; ]

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

    Date: Sat, 10 Sep 2005 09:56:07 -0400
    From: Ron Sayles <bogusotr@[removed];
    To: Olde Tyme Radio List <[removed]@[removed];
    Subject:  9-10 births/deaths

    September 10th births

    09-10-1898 - Adele Astaire - Omaha, NE - d. 1-25-1981
    dancer, actress: (Fred's Sister) "Magic Key"; "Savings Bond Campaign"
    09-10-1900 - Francis Craig - Dickson, IN - d. 11-xx-1966
    bandleader: "Spotlight Revue"
    09-10-1902 - Jim Crowley - Chicago, IL - d. 1-15-1986
    football all-american: (One of the Four Horsemen) "Kate Smith Hour"
    09-10-1904 - Emery Deutsch - Budapest, Hungary - d. 4-16-1997
    conductor: "Arabesque"; "Let's Pretend"
    09-10-1907 - Alvin Childress - Meridian, MS - d. 4-19-1986
    actor: "New World A-Coming"
    09-10-1907 - Fay Wray - Alberta, Canada (Raised: SLC, UT & LA, CA) - d.
    8-8-2004
    actress: Rosemary "Keeping Up with Rosemary"
    09-10-1909 - Raymond Scott - Brooklyn, NY - d. 2-8-1994
    conductor, composer: "Your Hit Parade"; "Chicago Theatre of the Air"
    09-10-1915 - Edmund O'Brien - Brooklyn, NY - d. 5-9-1985
    actor: Johnny Dollar "Yours Truly, Johnny Dollar"
    09-10-1917 - Jean Ruth Hay - Philadelphia, PA - d. 9-18-2004
    disc jockey: "Reveille with Beverly"
    09-10-1920 - Vivian Block - Brooklyn, NY
    actress: "Let's Pretend"; Ann Weston "Wilderness Road"; "Coast to Coast on a
    Bus"
    09-10-1934 - Charles Kuralt - Wilmington, NC - d. 7-4-1997
    sportscaster: "Junior Sports Parade"; "Sports Final"

    September 10th deaths

    01-31-1923 - Joanne Dru - Logan, WV - d. 9-10-1996
    actress: (Sister of Peter Marshall) "Lux Radio Theatre"
    04-01-1923 - Bobby Jordan - New York City, NY - d. 9-10-1965
    actor: (The Dead End Kids) "Texaco Star Playhouse"; "Wheatenaville Sketches"
    04-08-1905 - George Baxter - Paris, France - d. 9-10-1976
    announcer: "Grand Central Station"
    04-12-1907 - Ivan Ditmars - Olympia, WA - d. 9-10-1997
    music: "Advs. of Frank Race"; "Dr. Christian"; "Escape"
    05-26-1905 - Fred MacKaye - Hackettstown, NJ - d. 9-10-1980
    actor, director: Monk Rice "Point Sublime"; "Lux Radio Theatre"; "Romance"
    06-19-1932 - Pier Angeli - Cagliaru, Saradinia - d. 9-10-1971
    actress: "Louella Parsons Show"
    08-06-1881 - Leo Carrillo - Los Angeles, CA - d. 9-10-1961
    actor: Pedro "Grapevine Rancho"; "Four Frightened People"; "Good News of 1939"
    10-02-1914 - Charles Drake - Bayside, New York City, NY - d. 9-10-1994
    actor: "Lux Radio Theatre"; "Screen Director's Playhouse"
    12-09-1905 - Dalton Trumbo - Montrose, CO - d. 9-10-1976
    writer: (member of infamous Hollywood Ten); "Arch Oboler's Plays"
    12-30-1885 - Ed Jerome - New York City, NY - d. 9-10-1959
    actor: Harry Blackstone "Blackstone, the Magic Detective"; Gregory Allen "Rich
    Man's Darling"
    --
    Ron Sayles
    Milwaukee, Wisconsin

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

    Date: Sat, 10 Sep 2005 10:34:10 -0400
    From: Alan/Linda Bell <alanlinda43@[removed];
    To: [removed]@[removed]
    Subject:  OTR article in Chicago Tribune

    I got a note from the reporter who is doing the story on OTR. This is
    pretty advanced notice, but the story will run next month. I had
    posted a list of her questions and I got a few replies from people on
    the list. To those of you who responded, I thank you. I included your
    comments with mine. Here's her note to me (and others who
    contributed):

      "Thank you all for help on my old-time radio story. The piece is set
    to appear in the Chicago Tribune on Sunday, Oct. 16th in the Prime
    Time section. You can find it, too, on the same day at
    [removed]. If you have any trouble nailing it down,
    please let me know and I will send you a copy. Thanks again.
      Best,
      Leslie"

    Alan
    --
    _______________
    Alan/Linda Bell
    Grand Rapids, MI

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

    Date: Sat, 10 Sep 2005 19:03:25 -0400
    From: "Scott" <scott@[removed];
    To: <[removed]@[removed];
    Subject:  Re: Wheat emergency
    X-Converted-To-Plain-Text: from multipart/alternative
    X-Converted-To-Plain-Text: Alternative section used was text/plain

    The Wheat emergency in the 1950's was caused by Wheat Rust.

    The fungus that causes wheat rust, Puccinia graminis, produces a rusty
    color on the stem of wheat and slowly destroys the plant. It was
    controlled in the late 1950's and 1960's through the groundbreaking work
    of Norman Borlaug, an American who won the Nobel Peace Prize in 1970 for
    developing high-yield grains that led to the green revolution.

    Interestingly enough a new strain was discovered in Africa in 1999.
    After the new strain of fungus emerged - and was named Ug99, for Uganda
    1999 - it seemed to disappear for a couple of years. It re-emerged in
    Kenya in 2001 and in Ethiopia two years later, said Ravi Singh, a plant
    pathologist with the International Maize and Wheat Improvement Center, a
    nonprofit research group that convened an expert panel to study the
    resurgent disease. The panel's report, to which Dr. Borlaug contributed,
    was released at the news conference.

    Further reference:
    [removed];en=f3f510b9adbfc347&ei=5040&partner=MOREOVERFEATURES

    Scott from Michigan

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

    Date: Sat, 10 Sep 2005 19:03:48 -0400
    From: "Ted Kneebone" <tkneebone1@[removed];
    To: "Old Time Radio Digest" <[removed]@[removed];
    Subject:  Radio audio [removed]

    Steve Kallis has commented on how he listened to radio, sometimes thru
    headphones, sometimes thru a small speaker.

    Another point I have made before is the haze of static through which we
    listened to our AM radios.  Usually that signaled a storm was in the area --
    or it was approaching our area.  The fortunate ones who heard their shows in
    a metro area probably seldom had to listen through this obstacle of static.

    Strange thing, every so often I come across a show I have traded for -- and
    it has static!  Just a little, but enough to somehow make the program that
    more real for me.  The tough ones were trying to listen to a symphony
    concert through the static.  Sometimes I just gave up on them.

    If I were in the business of selling OTR, I would do a minimum of
    enhancement on those shows, especially for the old timers who heard these
    programs live.

    Ted Kneebone.  OTR website:  [removed]
    Democrats: [removed]
    1528 S. Grant St., Aberdeen, SD 57401 / Phone: 605-226-3344

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

    Date: Sat, 10 Sep 2005 19:05:35 -0400
    From: Lee Munsick <damyankeeinva@[removed];
    To: [removed]@[removed]
    Subject:  Acting with scripts

    Friend Stuart Lubin in a fine, fascinating posting among others on this
    subject, said:

    "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."

    Well, not quite.  On the surface, yes.  I refer to one of the things that
    greatly impressed me when I started going to FOTR and then on to other OTR
    conventions, and getting to know many of the finest OTR actors.  The best of
    them don't just read - albeit marvelously - they do act, with everything that
    Stuart mentions above.

    I have even seen some get a bit over-zealous with body language, and
    inadvertently smack the actor standing right "next door" at the same mike.  I
    think that the finest radio actors - which probably works out especially the
    early ones, that had extensive stage experience - put a lot more than "only
    the voice" into their broadcast portrayals.  True, sometimes for the benefit
    of a studio audience, but I think mostly to "grow" their performance as it
    would be heard by listeners at home, because all of that activity was
    reflected in "only the voice" heard out there on those millions of radios.

    I think it was in "The Magnificent Ambersons" that Orson Welles had
    off-camera systems created to shake the actors as they talked, riding through
    the snow in that memorable "outdoor" winter scene.  It's the one usually
    shown to depict that, his second major film.   The reason was, that way their
    voices shook and jiggled.  Where does one think he learned that sort of
    thing?  I say, "Mikeside! in radio".   I've seen actors actually gently hit
    the side of their face or jaw, or push each other around, interrupting lines,
    grunting and all, when depicting a fight scene.  bouncing on tip-toe when
    supposedly conversing while walking down a street.

    The other thing I learned by watching actors of the caliber of Lon Clark, was
    that really good ones, the pros,  participated far more in the whole process
    than just showing up to "read their lines" on the air.  In a read-through
    before a re-creation in which I was honored to have a small part, Lon and
    others made a number of suggestions that were incorporated into the script.
    Swapping lines, even rejecting some, because "I don't think he would have
    said that under these circumstances.  How [removed]"

    I was impressed by this.  After finishing the run-through, I asked about it.
    Lon told me that it was not uncommon at all, and only caused a ripple if the
    writer had an over-active sense of ownership, and was present!  Most writers,
    the actors said, were happy to have their scripts improved through the good
    sense and experience of the actors that performed them.

    They added, alas, that did not apply to all writers, and went on to name a
    number of exceptions whose work they did not particularly like to perform.
    Getting excited about this, each chimed in with a particular bugaboo.  They
    remembered those names 40 to 50 years after originally they worked the
    scripts!   Just like committee members at FOTR would vote down inviting a
    particular actor whom they all loved, because "he won't come without his
    wife!"  Nuff said.  Thanks, all, for all the memories!

    Lee Munsick

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

    Date: Sat, 10 Sep 2005 19:07:24 -0400
    From: Rick Keating <pkeating89@[removed];
    To: [removed]@[removed]
    Subject:  Questions and comments

    Jim Harmon wrote of Jay Josytn:

>     Later, he did get into television, playing the lead --
>     a judge -- on "Divorce Court" .

    Just curious whether you meant the 1958 TV series,
    _Night Court, [removed] IMDb makes no mention of _Divorce
    Court_ in Jostyn's credits, and the only _Divorce
    Court_ I ever knew about was the one on in the late
    1980s, long after Josytn's 1976 death. Of course, IMDb
    could be wrong.

    Stuart Lubin, commenting on my post, "acting Vs.
    reading a script", said:

>     Unfortunately, the "versus"
>     implies that the two are mutually exclusive.

    That's because they are. When I refer to someone
    "reading a script" as opposed to acting, I mean that
    they are obviously _reading_ the words, as opposed to
    speaking in the natural tones one uses when talking to
    someone. I'll give you a case in point from
    television. The late Armand Hammer made a guest
    appearance on an episode of _The Cosby Show_, and at
    one point while he's talking, it's painfully obvious
    that he is _reading_ his dialogue off of cue cards or
    a teleprompter off camera. What's more, I used the
    header "Acting Vs. Reading a script" because I was
    responding to a previous post stating that (in that
    poster's opinion) Vincent Price sounded like he was
    _reading_ his lines, rather than _talking_ to someone.
    A statement with which I disagreed.

    Dan Hughes on why radio actors had scripts in hand:

>     Because they could.

    Oh, sure. Make it easy for them. Next you'll be
    suggesting we hold events called OTR conventions to
    which we invite them, to show them how much we
    appreciate them and their work.

    On a related note, I've always found it curious that
    some radio shows- both dramas and comedies, would be
    performed before a live audience. I wonder how many
    people who grew up in the OTR era, and saw a radio
    show performance after having just listened for many
    years, were surprised to learn that the actors had
    scripts in hand. At the time, was that common
    knowledge, or did people generally assume the actors
    had memorized their lines, as in other media?

    Also, I'd be willing to bet that radio actors could
    have memorized their lines, if asked. They were
    _actors_, after all. They may have had scripts in hand
    for expediency, but I've no doubt that they could have
    learned their lines, just as the actors who performed
    on live TV did.

    Rick

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

    Date: Sat, 10 Sep 2005 19:08:04 -0400
    From: "Ted Kneebone" <tkneebone1@[removed];
    To: "Old Time Radio Digest" <[removed]@[removed];
    Subject:  Federal excise [removed]

    During World War II (and some other wars, too) a federal excise tax was
    imposed on long distance calls and other "luxuries" like perfume, jewelry,
    furs, etc.  The rate was 20%, and that surely was a high tax rate.

    That telephone tax is still in effect, but the rate was lowered to 3% in the
    1990s.  There is a National Tax Resisters Coordinating Committee (or
    something like that) which advocates not paying this tax since it supports
    many aspects of war.  (I continue to be amazed at the number of taxes and
    user fees that are attached to my telephone bill.)

    Another luxury was electric clocks, not the spring-wound variety.  I recall
    my folks buying an electric clock during WWII.  I am pretty sure that it,
    too, had the excise tax on it.  Maybe someone in Washington considered that
    clock to be a piece of jewelry!

    In England, there is a "Talking Tax" on phone calls, internet service, the
    purchase of a new radio or television set.  Maybe one of our British
    contributors can set me straight on this.

    Ted Kneebone.  OTR website:  [removed]
    Democrats: [removed]
    1528 S. Grant St., Aberdeen, SD 57401 / Phone: 605-226-3344

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

    Date: Sat, 10 Sep 2005 19:08:37 -0400
    From: Henry Howard <hhoward@[removed];
    To: [removed]@[removed]
    Subject:  Audio Logos (was A last ring of the chimes?)

    Lee Munsick notes:

>     both Fox News Channel and XM radio
>     have audible "logos", a series of distinctive notes.

    XM has incorporated into their logo strains of the old
    NBC monitor logo.  When I first heard it I made inquire
    of one channel manager if this was an intentional lift from
    Monitor.  Being too young to remember Monitor, I didn't
    get a real response for some time.  Yes it was intentional.

              Henry Howard
    radiodrama digest moderator
         [removed]
       audio drama skills training

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

    Date: Sat, 10 Sep 2005 19:09:09 -0400
    From: Ruk77@[removed]
    To: [removed]@[removed]
    Subject:  trading/selling: 1 fool's opinion
    X-Converted-To-Plain-Text: from multipart/alternative
    X-Converted-To-Plain-Text: Alternative section used was text/plain

    Hi guys. I am 38 years old. I discovered OTR about 5 years ago. I LOVE old
    mysteries. Unfortunately, I have listened to most or all of what is out
    there. I
    just get a bit discouraged when I hear that someone has a show but won't put
    it in circulation, for whatever reason. You know, no one is going to get rich
    selling OTR shows. I crave "new" episodes and I am willing to do anything or
    pay any amount to hear a "new" treasure. I keep praying that someone will
    release the Nick Carter's that I know exist. PLEASE someone, release the Phil
    &
    Alice shows that I KNOW exist. The Shadow, Inner Sanctum, on and on. Imagine
    if
    someone did actually have a whole bunch of I Love a Mystery shows, but were
    hoarding them. Disgraceful. Please folks, just think about it., These are
    treasures from the past and really are Museum pieces. So, for someone to have
    a show,
    and not share it with the world: shame on you. I understand about mp3's and
    the quality issue and the issue of not wanting someone to make money off of a
    show you might have. But just think of the people like me, and the generations
    to come. Would it not be a shame if someone was hoarding hundreds of shows,
    and lived in New Orleans? Now those hypethetical shows are gone forever. And
    forever is a very long time.
    God Bless all,
    John Ruklick

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

    Date: Sat, 10 Sep 2005 19:09:41 -0400
    From: <cooldown3@[removed];
    To: [removed]@[removed]
    Subject:  collecting OTR

    Ian and I go back a ways, we have not always agreed.

    I see collectors who "do it" like johnny Appleseed". Their legacy is verdant
    and growing from coast to coast as they spread OTR in ANY format.

    There is the " Madame Tussaud's" school of thought , which has a remarlable
    lifelike appearance [sound] but is confined to a room and available for
    observation much like our Library of Congress.

    OTR is performance art by some of the finest people ever to have trod the
    boards. OTR affected our entire culture gor several generations by
    stiffening our wartime resolve, aiding in social growth with inovative
    programs by Corwin and giving millions of young people accessable heroes
    like the Lone Ranger to emulate or friends to spend time with like Archie.
    It should live on in it's performances, which cannot be done restricted to a
    private collector.

    Shame on the "clasp firmly to the chest" school of thought, you smother the
    programs.

    Cheers,
    Patrick

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

    Date: Sat, 10 Sep 2005 19:11:11 -0400
    From: "karl tiedemann" <karltiedemann@[removed];
    To: [removed]@[removed]
    Subject:  mp3 dealers

    Since the question of mp3 sales has (re-)emerged, I wanted to ask a question
    thaqt may well, I realize, have been covered before I began subscribing:
    I've been an OTR collector for many years, but certainly never on the level
    of many others on this list.  As such, I've found mp3s a real boon, as I'm
    sure have many othersw whose time/money/space etc., are severely limited.
    On the other hand, I've also been stung by people offering shoddy product.
    Would anyone like to recommend some good, reliable dealers in this [removed]
    In additional to those who do mail order, I wouldn't mind hearing about some
    who might be on hand at next month's Newark convention.

    Thanks.

                         Karl Tiedemann

    [ADMINISTRIVIA: Please respond _directly_ - I'm not going to get the list
    bogged down in discussing MP3 dealers, most of whom simply download files
    from the USENET groups and resell them anyway.  --cfs3]

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

    Date: Sat, 10 Sep 2005 19:12:25 -0400
    From: "erest@[removed]" <erest@[removed];
    To: [removed]@[removed]
    Subject:  Pallophotophone

    Web Site For Schenectady Museum reports having a dozen NBC programs from
    1927-1929 recorded in this format.  I wonder if they have been heard in
    recent years. It says it was a sound-on-film format.
            Rob

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

    Date: Sat, 10 Sep 2005 19:12:04 -0400
    From: Hal Stone <otrjug@[removed];
    To: <[removed]@[removed];
    Subject:  Re: Reading the script, but performing the
     part

    I didn't add my two cents worth on the subject of OTR actors reading from
    scripts, because I thought it was explained perfectly by other knowledgable
    posters.

    But my SPERDVAC friend Stuart Lubin [removed]

>      How about jumping in and helping me, Hal.  I always relish your take on
>     things theatrical

    Stuart's posting was right on target. But someone else brought up the
    element of time. (Which translates into money, naturally).

    There simply was not that much rehearsal time allotted, and wasn't
    necessary, which helped keep production costs down.

    And Jim Harmon made an excellent point. Popular OTR actors (read that as:
    the really good ones) often performed on many programs in one day, and as
    totally different characters. Again, Money was a factor. Daytime programs
    did not have the same pay scale as prime time. And if the show was
    sustaining (Non-sponsored), the pay scale was a hell of a lot less.
    Consequently, for any OTR actor who had a family to support, they needed to
    keep busy and do as many different broadcasts as possible, each and every
    week.

    There is no earthly reason that radio scripts should, or needed to be,
    memorized.

    One need simply accept the fact that OTR was a very unique medium, and
    should not be compared to the stage or film disciplines. Each had their own
    requirements that performers needed to utilize.

    On one hand, acting in OTR was unquestionably easier, since the drudgery of
    memorization was not a factor as someone also pointed out. (I Think it was
    my other friend, Craig.)

    The only thing required of an OTR performer, (which wasn't easy for many
    theatre or film actors to master), was to sound believable, and convey
    emotions or action solely with their voice, and never, never sound like one
    was reading. That was the art form.

    Hal(Harlan)Stone
    Jughead

    --------------------------------
    End of [removed] Digest V2005 Issue #276
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