Subject: [removed] Digest V2004 #324
From: <[removed]@[removed]>
Date: 10/8/2004 11:30 AM

To: <[removed]@[removed];

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

                                The Old-Time Radio Digest!
                                  Volume 2004 : Issue 324
                             A Part of the [removed]!
                                 [removed]
                                     ISSN: 1533-9289

                                     Today's Topics:

      Re:We got answers                     [ hal stone <dualxtwo@[removed]; ]
      Welcome back, Elizabeth!              [ Al Girard <24agirard24@[removed] ]
      Jack Benny's hands                    [ JackBenny@[removed] ]
      OTR Like Radio Shows                  [ joseph <josephm@[removed]; ]
      Re:ooops, I forgot                    [ hal stone <dualxtwo@[removed]; ]
      Dawn Bender                           [ "Walden Hughes" <hughes1@[removed]; ]
      Haloween "Spooky" shows on OTR        [ Bob Slate <moxnix1961@[removed]; ]

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

    Date: Thu, 7 Oct 2004 15:25:05 -0400
    From: hal stone <dualxtwo@[removed];
    To: <[removed]@[removed];
    Subject:  Re:We got answers

    Evan Torch asked;

>     Two questions from someone too young to have ever seen an OTR broadcast.
>     1.) Were all of the actors on the stage (if the program was in front of an
>     audience) all of the time?

    [removed]

>     2.) How many people used a microphone (for example the RCA 44B). Maybe Hal
>     Stone or Lois Culver could explain how each actor knew what mike to go to.

    OK, will do.

>     Would "weighty actors" like Harold Peary have to use an overhead craned
>     mike?

    I'll forgive the pun. :)

    My SPERDVAC friend Stuart Lubin already answered Evan's question to some
    extent, based on his personal knowledge from attending so many broadcasts
    back in NY.

    Since Evan specifically asked if I could personally shed some light on the
    subject, (even though I'm usually very shy and stay quietly lurking on the
    list)  HA! I offer the following.

    Basically, different shows might use a variation of a basic theme. "Theatre
    Guild of the Air's" introduction of it's performers, (and guest stars) might
    be a little more elaborate than when the cast of "Archie Andrews" was
    introduced to the studio audience each Saturday morning.

    We rarely introduced the occasional "supporting" actor(s) who were hired for
    that particular episode, and who played small parts. They, like the "stars"
    of the show, were sequestered behind the curtains which draped the back of
    the stage.  (These curtains were primarily used to hide misc. equipment and
    large musical instruments). After all the Principal players were introduced,
    and made their individual "entrances" from behind the curtain as the
    audience applauded, (in my [removed] thunderous applause*.) The rest of the
    non-regular cast members would then simply saunter out and take seats just
    as the program was about to start.

    When the stars were introduced, we would usually walk to the front of the
    stage apron, wave and bow modestly to all, and in my case, I'd be checking
    to see if their were any good looking girls my age in first few rows.

    *You guys know when I'm kidding around, right?

    Speaking of taking seats. All the cast members generally sat in folding
    chairs along one wall. For NBC Studios 6A & 6B, it was the wall that
    contained the glassed in Control Room, and we sat under that window. BUT!!
    We didn't keep running back and forth to our seats. Not if we had additional
    dialogue that was coming up in the next few pages of the script. Simply
    because the chairs and microphones weren't all that close. (Depending on the
    size of the studio of course.)

    In our case, the closest microphone was maybe 20 feet (or more) from the row
    of chairs. Since the shortest distance to the downstage mic's was from the
    downstage chairs in the row, we would let the older (and feeble) use them.
    Like Hastings. :)

    After delivering a line of dialogue, if we had a page or two of script
    material before our next "lines", we would step away from the mike, usually
    in an upstage direction, remain still, then step back into range of the mic
    when it was time to speak again. Basically, we didn't want to cause a lot of
    distraction for the audience by having a steady stream of performers
    continually moving back and forth from their seats to the mics. And when it
    was time for a new "character" to enter the story, that performers would get
    up in plenty of time, and walk slowly to the microphone area. Again, so as
    not to be a distraction from the dialogue currently taking place. When his
    part was finished, they would walk slowly back to their seats for the
    remainder of the show. That is, unless they had a conflict, (another show
    over at CBS or elsewhere in the building), and the director gave them
    permission to bug out behind the curtain when they finished delivering their
    lines.

    Maybe I should mention Microphone placement at this time. When (and if) you
    go to an Old Time Radio Convention, the microphone placement that the
    Conventions employ, IS NOTHING LIKE WE USED IN THE PROFESSIONAL BROADCAST
    STUDIOS.

    At NBC New York, we usually had just two microphones downstage, maybe 8 to
    10 feet apart, and perhaps 6 to 8 feet from the front edge of the stage.
    Each side of the mic was directional, but could easily accommodate 2 people
    to a side, or 4 to a microphone. We stood profile to the audience when
    facing the mics. That means you could easily have 8 people all "on-mike" at
    any given time. Even more if necessary. Since all eight performers wouldn't
    be talking at once, and if other characters needed to get "on mike" for a
    few lines, someone already on mic would usually step aside and let them "in"
    to deliver their lines. Pro's (And most guest stars) were very generous and
    accommodating when to came to sharing stage space around a microphone. It
    was just part of the mechanics of Radio Performing.

    Generally, depending on the scene, two or three people in "conversation" at
    the same time, would work opposite each other on the same mic. It helped us
    give some depth to our performances. Facial expressions, body language, eye
    contact (and even, sometimes, physical contact) all contributed to our
    characters interaction, and studio audience enjoyment.

    The four principals (Archie, Jug, Betty, Veronica) usually used one mic. If
    the parents were in the scene, they used the other. If either Parent had a
    scene with Archie, they might also use the same mike. Bob and I preferred
    the mike on the left (as you face the stage). The one furthest from then
    chairs.

    Of course, the sound effects area on the stage was removed from the
    performers area, and could use a few mikes of their own, depending on the
    effect, size, and space required by the device making the sound. (Door,
    window, thunder sheet, etc.)

    The one thing I left out was a bit more detailed explanation of the
    introductions. Usually, the bigger the star, the more their introductions
    were saved for last.  Or it was based on the size of the role, or the
    characters importance.

    I'll use the Archie Andrews show as an example. First, "Mother" and "father"
    Andrews would be introduced. Then Rosemary Rice as "Betty"... Gloria Mann
    (or Jane Webb) as "Veronica" would be [removed] Then "Jughead", to thunderous
    applause. (Or did I mention that?). Then when it subsided, after 15/20
    minutes :) ... The audience calmed down enough to hear the Announcer
    introduce Bob Hastings as "Archie".

    Evan, you are of course aware that for most Comedy shows, the announcer did
    what we call a warm up, prior to the cast introductions. Once the audience
    filed in and was finally seated, (about 10 minutes before airtime), the
    announcer would come out from behind the curtain, walk to the front of the
    stage, welcome everyone, tell a few lame jokes, explain the rules of
    deportment (no talking) but "feel free to laugh all you want", etc. etc.
    Then he's practice cueing them for applause (used at the opening and closing
    of the show), and of course, for my entrance. :) :) :)

    At Conventions, they use a host of microphones (6 to 8 perhaps) and the cast
    sits in folding chairs against the back wall facing the audience. But that
    wall is only a few feet from the mic's at the very front of the stage. The
    performers face the audience when they work, and because of space
    constraints, usually work solo on one of the microphones. I guess the reason
    for that set up is to be more audience friendly, and they get to see the
    facial expressions of their OTR favorites. (And take their pictures with all
    sorts of video camera's).

    Also, another difference I've observed. To save time at these Conventions,
    they usually have the cast simply assemble up on the stage and take their
    seats just prior to the start of the recreation.  Do you suppose Maybe,
    since the set up is so different than it was 50/60 years ago, that's the
    reason I no longer hear "Thunderous Applause". :)

    Incidentally, Evan, did you by any chance buy a copy of my book. I cover a
    lot of this kind of stuff in it. Although the title is "Aw, Relax, Archie!
    Re-Laxx!, it's not just about the Archie program. I tried to tell the story
    of what it was like for a kid to grow up in Show Business, and doing a lot
    of radio acting in addition to stage plays. My main purpose was to write a
    book that would appeal mostly to OTR fans in general, so I cover (and
    explain) a lot of the practices we used as radio performers, and tell
    stories about working with a lot of fascinating (some crazy) performers and
    celebrities that I was privileged to know and work with. I include lots of
    photographs and diagrams in the book which show studio set ups, mic
    arrangements, etc, in addition to pictures of many OTR performers whose
    names you are familiar with.

    I bring this up because I recently announced that I have a few copies left.
    Lately,I have been averaging one or two orders a week. Most people say that
    they are finally getting around to ordering it, but that they kept
    forgetting. So to those who of you who keep forgetting, I say that time is
    running out. I do not intend to print more. I'm taking a few to the
    Conventions, so speak now, or forever hold your piece.

    The cost is $[removed], plus $[removed] S&H, for a total of $[removed] (Did I mention
    that they'd make a great Christmas gift). My gosh, is it that time already?
    All you have to do is go to

    [removed]

    and you can order your personally inscribed and autographed copy right then
    a there, by using the handy dandy "Paypal" system. That's a secure way to
    use a credit card, and it doesn't cost the buyer anything. OR!!! You can
    download the handy dandy order form, and mail it in, along with a check or
    money order.

    Ok. That's enough history lesson. (And sales pitch). If anyone wants to know
    more, come see me at the FOTR or SPERDVAC conventions that are fast
    approaching. But if you can't make it, there's always the "BOOK".

    Did I tell you that the book also debuted to "Thunderous Applause". :)

    Hal(Harlan)Stone
    Jughead

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

    Date: Thu, 7 Oct 2004 15:52:45 -0400
    From: Al Girard <24agirard24@[removed];
    To: [removed]@[removed]
    Subject:  Welcome back, Elizabeth!

    How wonderful it is to see that you're back at the computer.
    It's nice to know that you're on the road to recovery,
    and I look forward to reading your elloquent posts in the
    future. As well, I anxiously await publication of your new book.

    Al Girard

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

    Date: Fri, 8 Oct 2004 08:17:40 -0400
    From: JackBenny@[removed]
    To: [removed]@[removed]
    Subject:  Jack Benny's hands

    Kenneth Clarke writes:

>     I heard that Jack Benny had a problem with
>     his hands.   This so-called problem, issue, or whatever
>     precipitated his trademark in  the industry of saying,
>     'Well!' and cradling his chin in his hand. Was  it
>     because he was unsure of what to do with them? Did
>     this start  on radio?  Did it begin after he was broadcast
>     on television and  could be seen by his audience?  Did
>     this issue ever exist to begin  with?

    And I'll answer this one because I can copy it out of our FAQ:

    Q: How did Jack Benny start using those famous hand gestures?
    A: There  are three stories about Jack's hand gestures, particularly about
    his hand on his  cheek. The first is that Jack went on stage without his
    violin
    for the first  time, and he didn't know what to do with his hands. So he
    started gesturing and  visually punctuating his lines, which developed into
    the
    variety of hand  gestures.  This is in fact not true, as George Burns recalled
    that pushed  Jack to leave the violin behind.  When Jack went out on stage, he
    didn't  know what to do with his hands, so he borrowed a violin from the
    orchestra, and  finished his monologue without ever playing it.

    The second story is that Jack and Mary had recently been married. Jack was  a
    handsome young man who, like many vaudevillians, had women in many cities on
    the circuit. A phone call came to his dressing room from a local girl wanting
    to  seem him that night. With embarrassment and in front of Mary, he told her
    that  he couldn't see her. Mary approached him angrily after he hung up, and
    scratched  her fingernails down the side of his face. When Jack went on stage
    shortly  thereafter, he needed to cover up the now-red scars, so he held his
    hand on his  cheek.

    The third story (and most likely) has Jack and Mary in his vaudeville
    dressing room shortly after marriage. He previously kidded around with the
    chorus
    girls, and they had a fondness for him. One exploded into his room, one
    breast
    exposed and painted with lipstick to look like a pig, and yelled "Oink!
    Oink!" Mary was seated behind the door, and the chorus girl didn't see her
    initially. Jack turned around in shock and embarrassment, seeing both the
    chorus
    girl and his angry wife. Surprised that Jack didn't burst out laughing, the
    chorus girl looked around and saw Mary glaring at her. She made a hasty
    retreat,
    Mary then scratched her fingernails down Jack's cheek, and Jack covered them
    up  onstage with his hand.

    --Laura Leff
    President,  IJBFC
    [removed]

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

    Date: Fri, 8 Oct 2004 08:18:06 -0400
    From: joseph <josephm@[removed];
    To: [removed]@[removed]
    Subject:  OTR Like Radio Shows

    Hello folks,

    In my attempt over the years as a volunteer at a small public radio
    station to bring entertainment programs back to the radio ala OTR I
    would like to invite anyone who like to listen to the Skagit Music
    Show. I am producing a 1/2 live show of music played accoustically.
    My inspiration was the Grand Ol' Opry where in the early years they
    called all of the talented musical hill folk to go on the radio.

    I always enjoyed the vision of all those hill folk heading to WSM
    just to play the music they loved. Now our radio station is
    webcasting so I would like you folks to join in. Just go to
    [removed] and click on the play button on Tuesday 5:00 pm
    PST. It will be our 20th program. Hope you like it.

    Also at at 7:30 pm PST Tues are ZBS NTR. Now playing Ruby. As soon as
    the Ruby III serial is done were going to start doing new short form
    NTR.

    Thank you for you kind indulgence.

    Joseph

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

    Date: Fri, 8 Oct 2004 10:33:58 -0400
    From: hal stone <dualxtwo@[removed];
    To: <[removed]@[removed];
    Subject:  Re:ooops, I forgot

    In my recent lengthy (?), yet unpublished response to Evan, when discussing
    the microphone set up during broadcasts in front of a studio audience, I
    totally forgot to mention the "filter mic".

    Bless you Conrad Binyon, my favorite Jet Jockey, for mentioning the need,
    and use, of a filter mic when you also responded to Evan's question. After
    all, we can't have young, eager, curious minds like Evan's not get the true
    and complete picture.

    However, I'm not sure how those "Wild West Coast" radio actors like Conrad,
    used the Filter mic. We, in civilized New York, had little "rooms on
    wheels", called filter booths. Some were designed for a single person, (who
    had better not suffer from claustrophobia) and were hardly bigger than a
    phone booth. The entire interior had insulated walls made of a celetex sort
    of paneling. One side had an insulated door, the other side had a small
    window, so the performer stuck inside could see the Director's cues.

    Then, we also had the really big size. Those could hold, (if memory serves
    me correctly) anywhere from 4 to 6 people. However, I might add that all 6
    would need to be terribly good friends due to the cramped quarters, and no
    one better suffer from [removed], have Halitosis, [removed] the [removed]
    wind. (You notice how refined I can be at times?)

    But to be perfectly honest, I know of no reason why so many people would
    need to be isolated in a filter booth at the same time. I think the larger
    size booth might have been invented for better acoustics.

    I also remember that the Celetex walls were white. Perfect for writing
    graffiti, which one could read if they got bored.

    Now, Evan, (to quote Paul Harvey) Now you [removed] REST of the story. :)

    Hal(Harlan)Stone
    Jughead

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

    Date: Fri, 8 Oct 2004 10:57:42 -0400
    From: "Walden Hughes" <hughes1@[removed];
    To: <[removed]@[removed];
    Subject:  Dawn Bender

    Hi Everybody,

    I read in Ron Sale birth and death announces that Dawn Bender pass away in
    1975 and she was 38 years old.  She played Margaret in One Man Family.  I
    was wondering if Conrad has any memories of her.  I just played a One Man
    Family run of show during the summer of 1949 season and she played a role in
    this story line.  Take care,

    Walden

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

    Date: Fri, 8 Oct 2004 14:03:58 -0400
    From: Bob Slate <moxnix1961@[removed];
    To: [removed]@[removed]
    Subject:  Haloween "Spooky" shows on OTR
    X-Converted-To-Plain-Text: from multipart/alternative
    X-Converted-To-Plain-Text: Alternative section used was text/plain

    Hello all you OTR spooky show fans!     A good one is "Gravestone"  on
    "Light's Out"aka "Poltergeist" on "The Devil And Mr. O." Another is"The
    Archer"aka "Ancestor" on the"same shows."I Won't Die Alone" on "The
    Mysterious Traveler"and "Hands OF Death" on "The Sealed Book" are good ones.

      *** This message was altered by the server, and may not appear ***
      ***                  as the sender intended.                   ***

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    End of [removed] Digest V2004 Issue #324
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