------------------------------
The Old-Time Radio Digest!
Volume 01 : Issue 55
A Part of the [removed]!
Today's Topics:
The Lone Ranger movie serial [LPEVANS221@[removed] ]
Yowsa, yowsa. ["Lois Culver" <lois@[removed]; ]
Who wrote for Edgar Bergan? [wa5pdk@[removed] ([removed] L.) ]
A 'n A ["Welsa" <welsa@[removed]; ]
Re: A 'n A [Elizabeth McLeod <lizmcl@[removed]]
Re: The "Good Old Days" [Bill Harris <billhar@[removed]; ]
Old radios ["A. Joseph Ross" <lawyer@[removed].]
Buick Song [ClifSr@[removed] ]
must mention this again [leonardfass@[removed] (Leonard Fass]
Catchphrase ["Ivan G. Shreve, Jr." <igsjr@[removed]]
The "Good Old Days" ["David Phaneuf" <dphaneuf@[removed]]
Curses! ["Stephen A Kallis, Jr." <skallisjr@]
Yowzah! ["Stephen A Kallis, Jr." <skallisjr@]
Rathbone on the Berle Show ["J. Randolph Cox" <cox@[removed]]
------------------------------
Date: Fri, 16 Feb 2001 22:59:06 -0500
From: LPEVANS221@[removed]
To: [removed]@[removed]
Subject: The Lone Ranger movie serial
Hi Gang,
Please pardon me for replying to a digest that is two weeks old, but I got
behind. In Digest #44 Owens Pomeroy asked a question concerning the 1938
movie serial "The Lone Ranger"........ "Why would the creators of the [removed]
(Striker, Trendle, Campbell, Meurer) allow such a treatment of this show
while it was still on the air?"
The following is taken from the book "WHO WAS THAT MASKED MAN? THE STORY OF
THE LONE RANGER." by David Rothel and published by [removed] Barnes & Co. Inc.
(1976)
"Only once over the years did Trendle "goof" in his handling of "The Lone
Ranger" property and that was when he dealt with the minimogul of Republic
Studios, Herbert J. Yates. For a man as cautious in business and as
protective of "The Lone Ranger" as George W. Trendle was, it is absolutely
astounding that the two Lone Ranger serials were ever produced. Yates or his
very sharp lawyers apparently were clever enough to purchase the rights to
"The Lone Ranger" without any stipulation that the plot of the movie serials
must be consistent with the radio adventures listened to by millions each
week. That Trendle or his lawyers would overlook this point during
negotiations with Republicis, to say the least, surprising."
" It took a writing team of five to prepare the original screenplay for the
1938 serial. Republic sent four of the writers to Detroit to confer with Fran
Striker before writing the script. It is to be suspected that a lot of his
advice got lost on the return trip to Hollywood. It appears that Striker had
no other connection with the project and is thus probably blameless for the
divergent screenplay that resulted."
" When George W. Trendle discovered what Republic had done to his property,
he raged and fumed, but to no avail; Republic had him by the fine print of
the contract and there was nothing he could do."
I hope that the group finds this info interesting.
Larry Evans - WA8DDN
------------------------------
Date: Fri, 16 Feb 2001 23:55:10 -0500
From: "Lois Culver" <lois@[removed];
To: "OTR Digest" <[removed]@[removed];
Subject: Yowsa, yowsa.
Ben Bernie was the man who used the "yowsah, yowsah, yowsay" on his radio
shows. His theme song was "It's a Lonesome Old Town" and he was sponsored
by Pabst Blue Ribbon Beer. "Dont forget that Blue Ribbon [removed],
yowsah, yowsah!" He was a great personality in the 30's and early 40's.
Lois Culver
who remembers buying his record of "It's a Lonesome Old Town" in the early
40's.
------------------------------
Date: Fri, 16 Feb 2001 23:55:12 -0500
From: wa5pdk@[removed] ([removed] L.)
To: [removed]@[removed]
Subject: Who wrote for Edgar Bergan?
Someone posted something about Basil Rathbone's favorable opinion of
Fred Allen as a humorist. I would agree that Fred was an outstanding
OTR personality in the comedy format. This made me think of who I
considered to be a true [removed] Mc Carthy and Edgar Bergen.
I think their humor was outstandfing. How much of their script was
conceived by Bergen?
------------------------------
Date: Fri, 16 Feb 2001 23:55:52 -0500
From: "Welsa" <welsa@[removed];
To: "OTR Digest" <[removed]@[removed];
Subject: A 'n A
I disagree with Owens comments about Amos 'N Andy. Gosden and Correll were
not held in high esteem by the black community when they were on the air.
And what black actors did they ever hire? They played most of the parts
themselves. The daughter, Arabella, was played by a Chinese woman. The
show was controversial then, and it is even more so now.
This show was popular with the white population because it crystallized what
they wanted to believe.
I have no problem having it in a collection--but it is not fit for
re-creation today.
------------------------------
Date: Sat, 17 Feb 2001 11:46:28 -0500
From: Elizabeth McLeod <lizmcl@[removed];
To: [removed]@[removed]
Subject: Re: A 'n A
Wesla wrote:
I disagree with Owens comments about Amos 'N Andy. Gosden and Correll were
not held in high esteem by the black community when they were on the air.
More accurately, Correll and Gosden were held in high esteem by *some*
members of the black community, and were criticised by others -- and
still others had more important things on their mind to worry about than
a radio program. To argue that the black community was of a single mind
on this issue one way or the other simply cannot be supported by any
historical facts. Here are a few of those facts, pro and con:
Correll and Gosden were endorsed in 1928 by a straw vote of the Chicago
Urban League for "always presenting a creditable side to the characters
they portrayed," (Radio Digest, 2/30) and were frequently praised in the
pages of the Chicago Defender, the leading African-American newspaper in
the US during the Depression era. A personal appearance by the team at a
Defender-sponsored event in the summer of 1931 attracted more than 35,000
black Chicagoans. (Defender, 8/22/31)
No less a personality than Roy Wilkins, later head of the NAACP,
passionately defended the program in a long letter to the Baltimore
Afro-American, published in the issue of 3/22/30. Wilkins expressed
concern in the 1940s about the increasingly burlesqued tone of the A&A
sitcom -- and later took an active role in the campaign against the TV
program -- but at the same time continued to praise elements of the
original serial, especially the characterization of Amos as an honest,
upright family man. (See Melvin Ely, "The Adventures of Amos 'n' Andy,"
pp. 215-216) As late as 1942, Correll and Gosden were praised by black
newspaper columnist Alamena Davis for "a real understanding of human
nature that transcends race." (Los Angeles Tribune, 3/22/42).
The first major public denunciation of the program occured in December
1930, in an article by Bishop W. J. Walls of the Zion AME Church in
Chicago -- an article in which he denounced not just "Amos 'n' Andy," but
also jazz and most of the writers of the "Harlem Renaissance" for their
emphasis on ghetto imagery. (Abbott's Monthly, 12/30)
Walls' theme was picked up four months later by Robert Vann, publisher of
the Pittsburgh Courier, and built into a six-month long crusade in which
Vann proclaimed his intent to file legal action to have the show banned
from the air. (Courier, 4/25/31) Although the paper claimed to have
gathered hundreds of thousands of petition signatures in support of his
campaign, Vann abruptly discontinued it in October 1931 in the face of a
growing sentiment that it was just another in a long series of Courier
publicity stunts. (Ely, pp. 181-183) Although Vann stated at least twice
that the NAACP had endorsed the drive it can be demonstrated by checking
the NAACP archives in the Manuscript Division of the Library of Congress
that in fact the Association did *not* endorse the campaign -- a fact
that Vann's widow never let them forget. (Letter by Jessie Vann to Walter
White, 7/17/51, NAACP Archives). The NAACP was officially silent on A&A
until the premiere of the television series in 1951: and even then, it
only condemned the TV show, pointedly ignoring the radio program. (NAACP
Bulletin, 8/15/51)
And what black actors did they ever hire? They played most of the parts
themselves. The daughter, Arabella, was played by a Chinese woman.
Arbadella was indeed played by the Asian-American actress Barbara Jean
Wong, who was fourteen when she took the part, and was probably the
outstanding female "child impersonator" in Hollywood at the time.
Correll and Gosden played all the *male* parts in the serial themselves
-- but beginning in 1935, they used women quite often. There were almost
no experienced black radio actresses working in Chicago during the
mid-1930s, but when the performers moved to Hollywood at the end of the
decade, they immediately began searching the available talent pool. The
Mississippi-born African-American singer Ernestine Wade was hired in
April 1939, and soon was playing numerous female roles on the program,
from the Kingfish's wife Sapphire to the elegant and wealthy Widow
Armbruster.
When the program became a sitcom in 1943-44, the cast expanded -- and
Correll and Gosden made every effort to hire black performers wherever
possible: James Baskett, Eddie Green, Ruby Dandridge and her daughters
Vivian and Dorothy, William Walker, Amanda and Lillian Randolph, Johnny
Lee, Jester Hairston, and Roy Glenn. While Green, Lee, and the Randolphs
appeared in comic roles, the others -- especially Glenn, Walker, and the
Dandridges-- often played straight non-dialect roles. Such opportunities
were extraordinarily rare: exactly how many black judges, police
officers, or FBI agents ever appeared on "Fibber McGee" or Jack Benny? By
any honest account, Correll and Gosden were key figures in promoting
integration in Hollywood radio.
Interviewed in 1951 by UCLA graduate student Estelle Edmerson for her
masters' thesis "The American Negro in United States Professional Radio,"
Ruby Dandridge praised A&A as a "well-meaning" program, and indicated
that Correll and Gosden encouraged the black performers to speak up about
any lines or business that made them uncomfortable. Correll is widely
remembered by co-workers as a genuinely warm and friendly man, who
treated everyone the same regardless of race. Gosden is remembered less
fondly, because of the hard-nosed perfectionist way he ran the show --
but it's interesting that after Correll died, the only A&A veterans that
Gosden remained close to were the black performers Ernestine Wade and
Jester Hairston.
This show was popular with the white population because it crystallized what
they wanted to believe.
This assumes that the white population, likewise, thought in lockstep --
that there was only one possible image of African-Americans in the minds
of white Americans, and that A&A pandered to it. I believe that the
program -- and the people who listened to it -- were far more complex
than that.
For example, how do we explain or understand the portrayal of the
successful middle-class businessman William Taylor and his
college-educated daughter Ruby, who figured prominently in A&A's serial
era? Here were black characters who did not fit any of the prevalent
stereotypes -- and yet were presented in a frank, matter-of-fact way that
suggests that there was nothing particularly unusual about them. What did
*they* say to white listeners? What does the contextual evidence indicate
that Correll and Gosden were *trying* to say?
And what does Amos's dedication to family, friends, and his own personal
advancement say to that audience? Was he a comforting "Uncle Tom" figure,
an embodiment of the assimilationist success model, or a demonstration of
determined black self-sufficiency? Was he all of these things at once?
Do we have any basis at all for believing that everyone hearing the show
in the 1930s heard the same messages?
The deeper you study the program and the responses it provokes, the more
layered they become -- and the more obvious it appears that interpreting
A&A is not simply a matter of "black and white." I'd suggest a careful
reading of Melvin Ely's book for the best available dissection of the
racial subtext -- and my own newly-expanded A&A website,
[removed]~[removed], for a discussion of the
program's actual content in the serial era, illustrated with many
never-before-published script excerpts. Documentation is offered for all
factual statements made.
Elizabeth
[ADMINISTRIVIA: We're a little close, having just had this conversation a
little over a month ago, so how about we let it drop for a little while?
--cfs3]
------------------------------
Date: Sat, 17 Feb 2001 11:23:33 -0500
From: Bill Harris <billhar@[removed];
To: [removed]@[removed]
Subject: Re: The "Good Old Days"
Stephen A. Kallis, Jr. commented:
If the person was trying to tune in to a show that had started, that warmup
wait
could seem exceptionally long.
This reminds me of an incident that occurred shortly after my Daughter married
some eight years ago. She ask if I could possibly part with one of my Bakelite
radios as she would like to have one for display. I had a nice little 1940s
vintage RCA with nice styling, so I completely restored it to playing status
and
presented it to her. My son-in-law called me one day to report that the radio
did
not work, so I told him to bring it next time they came to visit and I would
see
what was wrong. When they came, he plugged it in and turned it on and
immediately
exclaimed, "see, nothing". I said, "lets wait a few seconds and see what
happens".
Of course as soon as the tubes warmed up it began to play. He, being raised
in the
world of solid state, assumed that any radio should play immediately upon
turning
it on.
Younger listeners didn't start dialing toward the desired station until the
radio was already playing -- so another delay
before he or she could start listening to the desired program.
Try tuning in one of the early 'three dialer' sets of the 1920's. These had
three
dials that had to be tuned separately to find the station. It could take
several
attempts at carefully adjusting first one dial, then another, then another,
back
and forth to be successful in finding the elusive broadcaster. It was usually
the
head of the household to whom the responsibility of tuning the set fell, as
tuning
such a set was considered too complicated for someone such as a minor or
someone
with no radio skills. The dials did not have frequencies marked, only a
logging
scale of 0-100, and when you did settle on a station, it behooved one to make a
notation of the dial settings for that station to aid in finding it another
time.
Someone finally had the bright idea of connecting the three tuning condensers
together with belts, so that they would all tune with one dial. The 'one
dialer'
was a big step in radio tuning, now even a child could tune in.
Oddly, when on batteries (many were AC and portable), they typically
warmed up
faster than when
using house current.
The reason for this is the portable sets used tubes that operated on [removed]
volts dc
on the filaments. When operating from battery power, the filament voltage
would be
applied as soon as the set was turned on and these [removed] volt filaments would
come
up to operating temperature almost immediately, thus 'instant on'. When
operating
from house current, the rectifier tube, necessary to convert the ac house
current
to dc, took some time to warm up as it's filament was operated directly from
the
115 volts ac, thus the delay when operating on house current. The exception to
this were sets that used a selenium rectifier, which was a solid state
device, and
was instant in it's operation.
Depending upon the type of radio, listening was an art. As a rule,
particularly
for the big consoles, kids would situate themselves close to the speaker,
as if
that somehow involved them more in the story.
Notice in pictures of that era of people listening to the radio and how they
often
are staring at the set as if that by watching the radio help to better
visualize
the performers and events taking place.
It was a different time.
Bill Harris
------------------------------
Date: Sat, 17 Feb 2001 11:23:37 -0500
From: "A. Joseph Ross" <lawyer@[removed];
To: [removed]@[removed]
Subject: Old radios
Date: Fri, 16 Feb 2001 20:33:54 -0500
From: "Stephen A Kallis, Jr." <skallisjr@[removed];
Upon reflection, with a significant number of the readership being born
after the days of OTR, there's one aspect about the OTR experience that
might be lost. I'm speaking of the simple act of turning on a radio.
It's hard to believe that there can be so few people on this list who have
never experienced a classic-style radio.
It's true that vacuum tube radios haven't been sold since the 1960s or so,
but radios with volume controls associated with the on-off switch? Come
on! I've got one of those, with a slide-rule dial, that I bought in the
mid-80s for my office. It's a Sony, it's solid state, and it has an FM
band, but otherwise, it's a traditional table radio.
A. Joseph Ross, [removed] [removed]
15 Court Square lawyer@[removed]
Boston, MA 02108-2503 [removed]~lawyer/
------------------------------
Date: Sat, 17 Feb 2001 11:23:40 -0500
From: ClifSr@[removed]
To: [removed]@[removed]
Subject: Buick Song
Anybody out got a tape of the Buick Berle Show theme song, "My Buick, My
Love and I"? I played it by Gisele Mackenzie on my show in Flint, Michigan,
then known as "Buick Town" in the early 50's. Then I would go to the parking
lot, get into my big, beautiful '51 with Dynaflow and portholes and signal
seeking radio with the push button on the floor, and know that I had truly
arrived. Who knows what it might do for me and the fan I married 47 years
ago if we could again hear, "How I love to drive my Buick with my love
sitting by my side!" Maybe it would dry the tears shed over the announcement
that most of Flint's auto plants are gone and the last Buick dealership has
closed. Them was the days.
Clif Martin
Muskegon, Michigan
[removed]~ticsota
------------------------------
Date: Sat, 17 Feb 2001 11:23:38 -0500
From: leonardfass@[removed] (Leonard Fass)
To: [removed]@[removed]
Subject: must mention this again
when we listen to those broadcasts now that IS otr; when we heard the
originals back then that was simply "radio"' the voices were not busy in
otr; it was not old back then.
leonard fass
keep on keeping on
[removed]
------------------------------
Date: Sat, 17 Feb 2001 11:23:42 -0500
From: "Ivan G. Shreve, Jr." <igsjr@[removed];
To: [removed]@[removed]
Subject: Catchphrase
Bill Knowlton asked:
Now here's another one: Who used to end his act with "I'm headin' back
to the
wagon folks; these shoes are killin' me!"<<
Sounds like the one and only Duke of Paducah, from THE GRAND OLE [removed]
Ivan
------------------------------
Date: Sat, 17 Feb 2001 11:23:44 -0500
From: "David Phaneuf" <dphaneuf@[removed];
To: <[removed]@[removed];
Subject: The "Good Old Days"
Stephen A. Kallis, Jr., writes:
Upon reflection, with a significant number of the readership being born
after the days of OTR, there's one aspect about the OTR experience that
might be lost. I'm speaking of the simple act of turning on a radio.
As Mr. Kallis writes, I am among those "born after the days of OTR." I fell
in love with OTR while on a flight home from college. In an airport gift
shop, I picked up two copies of OTR programs (War of the Worlds, part 1, and
50 OTR commercials) The tapes were by Radio Reruns. I was fascinated,
having heard my mom talk about OTR and almost always give her "Shadow" laugh
imitation (which by the way, sounds nothing like the Shadow!!!!) Any way, I
was hooked, and on my return flight, bought part 2 of WOW and "Cat Wife").
Since then, my interest has grown, to where I have, I guess, about 300 or
400 programs - a paltry sum compared to some of you OTR aficianados!!!!!
But local libraries, and now the internet, satisfy my almost insatiable
thirst for OTR -- I'd rather listen to OTR-- or even OSR, like BBC's more
contemporary audio dramas, than watch TV. Born in 1955, I could have caught
the tail end of OTR but TV was in at our house and that was all we ever
used. Now I'm into collecting and reading books on OTR and collecting OTR
premiums, and going broke, unfortunately, in the process. ;~D
When a radio was first turned on, there would be a waiting period of up
to something like 30 seconds after clicking the switch, which was usually
coupled with the volume control, before the radio began to play. If the
person was trying to tune in to a show that had started, that warmup wait
could seem exceptionally long.
Radios were all shapes and sizes. Most families had a "main" radio, if
they had more than one. That one was usually in the living room, and
usually a console.
We have an old tube-based radio/phonograph console that belonged to my
grandfather. Yes, the wait does seem interminable at times, but it gets
great sound, and, not mentioned by Mr. Kallis, has a great smell after it
warms up and plays for awhile. I don't know if this was typical, or if it
has something to do with the cherry wood cabinet of the radio. But no
modern radio, transistor or digital, has that wonderful aroma.
One thing I don't know is the age of our radio. It's at least as old as the
early 60's when I can remember it being in my grandfather's house, but how
much older than that, I cannot tell. Can anyone tell me how to determine
the age of the radio?
Depending upon the type of radio, listening was an art. As a rule,
particularly for the big consoles, kids would situate themselves close to
the speaker, as if that somehow involved them more in the story. If a
youngster had a radio of her or his own, usually, they just listened,
without proximity. Possibly the better sound of the console speaker had
something to do with it.
I've noticed my own kids did the exact same thing with the TV when they were
younger. My son, 10, still does it. I suspect it has more to do with
getting involved in the story, more than the sound -- or picture -- of the
unit.
I've just recently been made aware of this forum, and I think it's great and
love reading about OTR from all of you. Thanks for enriching my experience
of OTR.
Dave Phaneuf
------------------------------
Date: Sat, 17 Feb 2001 11:46:22 -0500
From: "Stephen A Kallis, Jr." <skallisjr@[removed];
To: [removed]@[removed]
Subject: Curses!
David Phaneuf, speaking of an incident relating to the America Before TV
recording, noted,
This was truly a neat experience. "Gosh, all hemlock! It was swell!"<<
Which brings up an interesting point. Although today very little is
barred from the airways, back in the golden OTR period, very little in
the way of expletives was allowed. Except for the World War II period,
the only place you could hear "damn" or "Hell" over the radio was on
broadcast on Sunday sermons (the exception, in the war years, was because
some fighters had names like Hellcat). So, in moments of stress,
"cussing" was achieved by using other words -- not necessarily synonyms.
For younger readers, "Gosh all hemlock!" was a favorite of Billy
Fairfield on the Jack Armstrong show. "Suffering wang-doodles!" was the
main expression of Barney Dunlap (who, intriguingly, was once thoroughly
killed offstage on the show, and later showed up again alive with no
explanation).
"Great Scott!" was a phrase used by Captain Midnight, among others radio
heroes. The rest of the Secret Squadron team used special tags, as well.
Ichabod Mudd favored, "Leaping sawfish!" Chuck Ramsay most often said,
"Looping loops!" Joyce Ryan used "Gee-manee!" (which Jim Harmon, in his
book, The Great Radio Heroes, represented as "Gemini," missing the whole
point of her intonation). At one point in the adventure, "Jewels of the
Queen of Sheba," a former Nazi pilot who had machine-gunned an unarmed
amphibian in flight, wounding Andy Maxin in the calf, was referred to as
a "vulture."
Although this wasn't limited to OTR (films of the era were equally
restricted), one of the interesting points of creativity was how writers
got the idea of swearing across without using epithetic words.
Stephen A. Kallis, Jr.
------------------------------
Date: Sat, 17 Feb 2001 11:45:10 -0500
From: "Stephen A Kallis, Jr." <skallisjr@[removed];
To: [removed]@[removed]
Subject: Yowzah!
Robert Fells, responding to the Yowzah inquiry, observes,
The phrase enjoyed a mini revival around 1970 when Gig Young played a
1930s big bandleader in the film, They Shoot Horses Don't They?, and
re-introduced the jaunty expression to a whole new
[removed];<
At one long-term job I had, a colleague, who was a naturalized citizen
with origins in Germany, asked me about the phrase, from the movie. He
didn't make the "yowza"="yes sir" connection, and couldn't imagine its
origin.
Stephen A. Kallis, Jr.
------------------------------
Date: Sat, 17 Feb 2001 15:28:25 -0500
From: "J. Randolph Cox" <cox@[removed];
To: <[removed]@[removed];
Subject: Rathbone on the Berle Show
While my query about Rathbone and Berle was tv related, perhaps my
experience in search for this information may also apply to anyone searching
for OTR information ...
Bob Fells suggested I try Rathbone's autobiography, _In and Out of
Character_ for a possible answer to my query about his appearance on the
Milton Berle Show. I had checked this earlier, but while there are
references to his making a "guest appearance" on Berle and other shows there
is no specific appearance or date mentioned.
I do not have access to a complete file of TV Guide or that would have been
my first stop.
This episode of what was known in 1953 as the _Buick-Berle Show_ actually
exists on videotape and dvd and I will be receiving a copy shortly. From
what I have been told, the airdate does not appear on the tape. The other
guests on the show that time were Mickey Spillane and Dagmar. There are also
promotions for the "new 1954 Buick."
I have found this referred to in two Sherlockian references: Ron Haydock's
_Deerstalker_ and Peter Haining's _The Television Sherlock Holmes_ -- both
say only "September 1953" but they also say it was on the "Texaco Star
Theater" -- that was the earlier name of the show -- from 29 Sept 1953 to 14
June 1955 it was known as the Buick-Berle Show (I understand this title is
what is on the tape).
I have searched backfiles of the Minneapolis Tribune for advertisements or
listings and have found same with the guests indicated for most of the dates
from 29 Sept 1953 to the end of December. The only one for which I haven't
found an advertisement or a descriptive listing is December 1, 1953.
Where is the OTR in this? Well, it was interesting to see the tv-radio logs
for the years 1952-1955 in the paper. In 1952 there were only 2 tv stations
in Minneapolis-St. Paul, in 1953 there were 3 stations, but there were many
more radio stations and it was obvious there was a sizable advertising
budget since next to an ad for a tv show would be an ad for a radio show --
and the latter was often larger.
I should add that A. Joseph Ross has been advising me off-list on this
quest.
Randy Cox
--------------------------------
End of [removed] Digest V01 Issue #55
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