Subject: [removed] Digest V01 #80
From: <[removed]@[removed]>
Date: 3/10/2001 1:19 PM

To: <[removed]@[removed];

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

                          The Old-Time Radio Digest!
                             Volume 01 : Issue 80
                       A Part of the [removed]!
                               ISSN: 1533-9289

                               Today's Topics:

     Re: atomic bomb documentary          [Michael Biel <mbiel@[removed];       ]
     Re: Radio Budgets                    [SanctumOTR@[removed]                 ]
     Re:  Progress Marches On --          [Michael Biel <mbiel@[removed];       ]
     Re: Nick Lucas                       [Michael Biel <mbiel@[removed];       ]
     Re: a child's view                   [MoondanceFF@[removed]                ]
     Re: visuals vs. audio?               [MoondanceFF@[removed]                ]
     Re:2 Elizabeths!                     [MoondanceFF@[removed]                ]
     TVG Audio as Radio                   ["Stephen A Kallis, Jr." <skallisjr@]
     Various costs in Radio Drama         ["Stephen A Kallis, Jr." <skallisjr@]
     Re: Re: TV *as* Radio                ["David Phaneuf" <dphaneuf@[removed]]
     re: Re: Radio, TV, and Literalism    ["David Phaneuf" <dphaneuf@[removed]]
     R2R tape recorder parts              [Alan Bell <bella@[removed];]
     Suspense episode "Yellow Wallpaper"  [Alan Bell <bella@[removed];]
     New Book                             [otrbuff@[removed]                   ]

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

    Date: Fri, 9 Mar 2001 23:19:56 -0500
    From: Michael Biel <mbiel@[removed];
    To: [removed]@[removed]
    Subject:  Re: atomic bomb documentary

    From: StevenL751@[removed]

>     The show is probably THE QUICK AND THE DEAD, a series of four
>     30-minute shows telling the story of atomic energy.  Bob Hope was
>     the host and Helen Hayes and Paul Lukas also appeared in the cast.
>     Part 1 is called "The Origins of Atomic Energy", part 2 is "The
>     Use of the Atomic Bomb", part 3 is "The Development of the Hydrogen
>     Bomb" and part 4 is "The Peaceful Uses of Atomic Energy".  I don't
>     recall what my source of the show was but I've had it in my
>     collection for years.

    If the openings and closings are not on your wire, Shiffy, it is quite
    possible it is merely a dubbing of the RCA Victor Red Seal releases of
    the programs which didn't include the announcements. The LPs were LM
    1129 and 1130.  I know they were also issued on 78 sets because I've
    seen them, and this means they were also issued on 45s.  I can't lay my
    hands on my 1952 RCA Victor catalog to cite those catalog numbers.  The
    entire series would be close to two hours long, so you might not have
    all of it anyway.

    It will come as a surprise to most of you to learn that this NBC program
    was written and directed by Fred Friendly, and the announcer your wire
    (and the commercial releases) are perhaps missing was Robert Trout.
    Both had been separately lured over to NBC from CBS, but both made their
    ways back rather quickly!  Bill Lawrence was the reporter who assisted
    Bob Hope in learning about the discoveries and use of atomic power.  The
    engineer and tape editor of the program was a pioneering recording
    engineer who Shiffy might have known, William Schwartau.

>     It aired weekly on NBC between 7/27/50 and 8/17/50, and apparently
>     was later repeated.   Steve Lewis

    The dates I have for the programs differ slightly--perhaps Steve's are
    of the repeats.  We had ETs of the the series at the Northwesten
    University collection from NBC Chicago, and actually there were five
    programs.  The first is a closed-circut airing for the affiliates dated
    July 3, 1950.  It is a slightly longer version of the first episode
    which aired two days later on July 5, 1950.  The other three programs
    were dated July 13, 20, and 27.  Did they perhaps re-air the series
    starting right after the airing of the 4th public program???   I have
    first generation tapes off of the discs of all five programs.  I also
    have the LPs but they are not in great shape but are good enough to see
    if any of the body of the broadcasts were edited off.  They were deleted
    from the catalog by 1953.

    Michael Biel  mbiel@[removed]

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

    Date: Fri, 9 Mar 2001 23:39:25 -0500
    From: SanctumOTR@[removed]
    To: [removed]@[removed]
    Subject:  Re: Radio Budgets

    In a message dated 3/9/01 10:11:10 PM, [removed]@[removed]
    writes:

>     When the CBS Mystery Theater debuted in the 1970's, Hyman Brown, the
>     Producer was interviewed in Variety about the show and possible risk in
>     launching such a project.  The conversation got around to the cost
>     (economics) of the project4ct.  He gave a very (maybe tongue in cheek)
>     comparison.  He said the TV series Dallas probably cost in the neighborhood
>     of a half-million dollars per episode to produce. He said if you gave him
>     the same story to produce for radio, all he would need would be the cast who
>     would stand around the mike, a  man,and pre-recorded music, and he could
>     bring it in for less than $1500 per episode (1970 prices, that is).
>     According to the interview the people who did the CBS Radio Mystery Theater
>     agreed to work for scale., so that may be the reason Hyman Brown made that
>     statement.

    ***And just to demonstrate how inexpensive that was:  CBS Radio Mystery
    Theater was an hour long show.  The half-hour SHADOW broadcasts of the 1940s
    reportedly had a budget of $2000 (with $250 going to Bret Morrison, $85 to
    Grace Matthews and $500 for the script).  And that was technically a daytime
    show.  Lon Clark at his peak earned $500 per NICK CARTER, MASTER DETECTIVE
    while Jay Josten reportedly received $1000 per episode of MR. DISTRICT
    ATTORNEY.  Again, those were all only half-hour shows, so one needs to factor
    in a quarter-century of inflation to understand just how inexpensively CBSRMT
    was produced.  Of course, most of the major name stars who do radio dramas
    these days (like Ed Asner, Ed Begley Jr., and stars like Richard Dreyfuss and
    Robin Williams on NPR's Harlan Ellison-hosted 2000X) are doing it for the
    love of a lost medium and not as their principal career as radio actors did
    during the Golden [removed] TOLLIN***

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

    Date: Sat, 10 Mar 2001 09:15:41 -0500
    From: Michael Biel <mbiel@[removed];
    To: [removed]@[removed]
    Subject:  Re:  Progress Marches On --

>     Recording a performance in any medium is a way to extend its
>     availability for an indefinite time in the future.  Having been
>     recorded, it's likely to be preserved by someone: true of any medium.
>     Stephen A. Kallis, Jr.

    Oh, sigh.  If only it were true.  It is amazing how many
    things--including those that were specifically recorded for
    posterity--do not exist.  The turnover of personnel at all types of
    organizations often leaves them without the corporate memory that
    certain things were expected to be preserved.  Private collections
    disappear.  Recording media self-destructs.

    As an example of things that are lost, I'll lay one little shocker on
    you.  The author of "1984" and "Animal Farm", George Orwell, was a
    prolific broadcaster for the BBC over many years, yet after many, many
    years of searching in archives all over the world THERE IS NOT ONE KNOWN
    RECORDING OF GEORGE ORWELL'S VOICE.  If you have one, I will give you
    the email addresses of some potentially very happy archivists in
    England.

>     The advent of videotape has resulted in the surfacing of some
>     films that some folk were dead and buried.  Discovery of OTR
>     disks has resulted in making programs available for posterity.

    What is scary is that some people are relying on non-archival media such
    as videotape to be the medium of preservation.  The archivists and their
    organizations such as ARSC, IASA, FIAT, FIAF have all discovered there
    are finite lifetimes to most AV media, and that the basic fact of
    archival life is the eternal race to migrate the recordings to new media
    before the old one self-destructs.  It is true that the popularity of
    videocassettes, LaserDiscs, and now DVD; and the LP then the CD has led
    to a resurgence of vault searching and re-issues and re-releases.  But
    much had been lost before the search.  And even though the sale of
    thousands of new copies might lead to the thought that they couldn't All
    disappear, it CAN happen!  It HAS happened.  And unfortunately it will
    still continue to happen in the future.  Yes it is amazing what HAS
    turned up, but it is equally amazing at what seemingly common things
    have disappeared.

    Michael Biel  mbiel@[removed]

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

    Date: Sat, 10 Mar 2001 09:15:48 -0500
    From: Michael Biel <mbiel@[removed];
    To: [removed]@[removed]
    Subject:  Re: Nick Lucas

    There was a Nick Lucas record in my father's 78s which I found in the
    attic when I was about 10, and I was enchanted by it. ("Underneath the
    Stars" and "Rosy Cheeks" Brunswick 3518.) Those records started me off
    on my hobby and my career.  A couple of years later I was home from
    school with a cold and was watching and listening to both the TV and
    radio versions of Art Linkletter's House Party when he announced that a
    guest on tommorrow's program would be Nick Lucas!!!!  That night I had a
    "serious relapse" of my cold and HAD to stay home another day.  And sure
    enough, there was "The Crooning Troubador" singing and strumming his
    guitar.  Apparently he didn't mention the Decca LP he had just recorded
    ("Painting the Clouds" DL 8653) because I didn't discover it until many
    years later.  Art probably allowed people to come on the program when
    they had something to publicize, but didn't let them mention it
    directly!  (Anybody know if that is true?)  This was 1958.  A year or so
    later I was interviewed for a youth page in a local newspaper and I
    discussed the records I had by such people as Caruso and Nick Lucas.
    "He's making a comeback now," I mentioned of Lucas.  (Caruso was beyond
    such an event!)

    It wasn't an extremely successful comeback, but I understand he did
    continue to do some performing here and there.  But then ten years later
    he was in the spotlight when he appeared on what was then the highest
    rated TV program in history, the wedding of Tiny Tim and Miss Vickie on
    "The Tonight Show with Johnny Carson."  Mr. Tim's rendition of "Tip Toe
    Thru The Tulips" had created a sensation on "Rowan and Martin's
    Laugh-In" and became a big hit.  He was a devoted record collector who
    repeatedly discussed the pioneer recording artists who had originated
    many of the songs he sang, and he requested that Nick Lucas be invited
    to sing the song as a wedding song to the couple.  It had been Lucas who
    had originally introduced and recorded the song.  This possibly led to
    his work on "The Great Gatsby."  I don't remember if we see him in the
    film in a party scene, but he is there on the soundtrack and on the
    album.  It is his voice singing "When You and I Were Seventeen" at the
    end of the film when Gatsby's body is floating in the pool.  The OTR
    link is that this song is contained on the first disc a friend of mine
    found of the January 1, 1926 trans-Atlantic relay from 2LO London via
    5XX on WJZ.  It is barely audible from the dance band at Ciro's Club,
    but the recording of the song from the film certainly helps us pick out
    the melody on the broadcast.

    Lucas had a light and gentle voice, and as I mentioned, he was billed as
    "The Crooning Troubador."  This appears on his record labels in the
    1920s several years before Bing Crosby, Rudy Vallee, or Russ Columbo
    became famous.  So along with Gene Austin and Whispering Jack Smith,
    Nick Lucas can also be credited with using the microphone in developing
    the crooning style of singing in 1925.

>     he is also credited as the first guitar player to have
>     instrumental solos on record, "Picking the Guitar"/"Teasing the
>     Frets", issued in 1922.  (It was strictly pop music; that same
>     year, a black country guitarist named Sylvester Weaver issued
>     "Guitar Rag", still a standard, and I don't know which of those came first.)

    Lucas's first record of his solos was Pathe 020794/Perfect 10392
    recorded around July 1922.  I'm not sure when Weaver's record (OKeh
    8109) was recorded.  I recently found a copy of Lucas's mid-1923
    re-recording of these solos on Brunswick 2536 and was rather surprised
    by it and very impressed because I didn't know what to expect.  I have
    it right here.  "Pickin' the Guitar" is a traditional ragtime number in
    AABBACCDAA style (the letters stand for each playing of each different
    melody.)  "Teasing the Frets" is in yet another style with a lot of
    blues elements in it although it is obviously a vaudville showpiece.
    Both of these are not at all like the crooning recordings he would start
    making in 1925 when he started singing.

>     1930s re-recordings of "Picking" and "Teasing" are available on
>     a Yazoo CD entitled "Pioneers of the Jazz Guitar."

    That would probably be Brunswick 6508 recorded December 6, 1932.  It
    would be interesting to compare these with his recordings made ten years
    earlier when they were revolutionary.

>     I have no solid info as to available radio appearances by Lucas,
>     but there's a newly-issued CD by him, "Nick Lucas - the Crooning
>     Troubador" which I found via a quick search on Amazon.  No info
>     as to the age or source of the recordings, but it appears to have
>     been released only this past January.   John Henley

    This is ASV Living Era AJA 5329.  The label's web site states that the
    recordings were made between 1924 and 1939.  There are a number of songs
    he didn't record during his main recording career which ended in 1934,
    and one of the songs "Over the Rainbow" is from 1939.  Many of these are
    not from the Decca LP, but I think there are a couple of other LPs he
    made that I do not have the track listing for right here.  But there is
    also possibility that there might be some radio material on this CD, at
    least in the form of music library transcriptions.

    Michael Biel  mbiel@[removed]

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

    Date: Sat, 10 Mar 2001 09:16:02 -0500
    From: MoondanceFF@[removed]
    To: [removed]@[removed]
    Subject:  Re: a child's view

    In reference to little people in the radio thread here, my 3 year-old son
    accompanied me to an afternoon live concert at a small bar (no booze on a
    Sunday afternoon) in NY, many years ago. He sat & watched Papa John Creach
    play his violin for a while, then needed to go to the bathroom, as kids will.
    I walked with him past the stage & he looked back in alarm. "Mom!" he
    shouted, "I can see the BACKS of those people! It's almost like they're
    REAL!" I realized then that the kid had thought he was watching TV. I thought
    to myself, "we gotta get out more!".

    This is the same kid who, at 2 years old, looked up to the sky one day &
    cringed back, fearfully. I asked what was wrong, and he asked me, "What's all
    that BLUE stuff up there?" The poor kid had never seen blue skies before.
    That's when I knew we had to get out of Long island!

    Cheers!--Elizabeth
    Boulder, CO
    (360 days a year of sunshine & blue skies)

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

    Date: Sat, 10 Mar 2001 09:16:18 -0500
    From: MoondanceFF@[removed]
    To: [removed]@[removed]
    Subject:  Re: visuals vs. audio?

    In a message dated 3/9/01 9:10:39 PM, George writes:

    << "Let's view the picture," he said, "until we both agree that we've lost
    the plot."
        This took less than 30 seconds. >>

    [removed] I preview/judge films for Moondance, I mute the sound for the
    first viewing. If I can't follow the plot or enjoy the visual images without
    the dialog, I know the film is probably a loser.

    --Elizabeth

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

    Date: Sat, 10 Mar 2001 09:16:20 -0500
    From: MoondanceFF@[removed]
    To: [removed]@[removed]
    Subject:  Re:2 Elizabeths!

    Since we have the same name, and apparently are the only 2 women on OTR, I'll
    start signing my posts as Elizabeth E., to avoid confusion. If there are
    other women tuned in, please speak up! ;o)

    Cheers!--Elizabeth E.

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

    Date: Sat, 10 Mar 2001 09:53:56 -0500
    From: "Stephen A Kallis, Jr." <skallisjr@[removed];
    To: [removed]@[removed]
    Subject:  TVG Audio as Radio

    Several have commented on this.  John Francis MacEachern  quotes,

> >     Linda Ellerbee, the TV newswoman, in her autobiography wrote something

    to the effect:  "Turn on your TV, go into the next room, if you can still
    understand the entire broadcast, then
    throw out your TV and buy a better radio.  Good TV should compel you to
    watch."<<

    What an interesting comment from a TV journalist.  Of all the areas of
    TV, newscasts are often those that can be "listened to" and get a high
    information content.  Only panel shows and the like are always at that
    high a level.  IMHO, there's very little TV film, or the like that would
    rivit one to one's seat; otherwise, for some theatrical films, the
    concession stands would go broke.  The point is that her ideal situation
    might be a Platonic archetype, but it would rarely manifest itself in
    real life.

    Now a point about our makeup: biologically, sight is our primary sense.
    Further, we're drawn naturally to moving light.  That is why in homes
    with fireplaces, or in camps with campfires, especially at night, we find
    ourselves staring into the flames.  TV and motion pictures are responses
    to that sense; OTR -- or any audio recording or broadcast, for that
    matter -- isn't.

    This isn't to knock OTR, but to point out a couple of things.  Audio-only
    programs free our primary sense to do other things; and often we did.  As
    I've recounted before, while listening to programs, I used to play, or do
    school homework, or the like.  No conflict, and I still followed the
    program.  It's harder to do that with TV, since at least some of the
    significant information being broadcast is purely visual.  (In the recent
    film Gladiator, when Commodus embraces Maximus "as a brother," if a
    member of the audience doesn't happen to be looking at that moment, he or
    she would have to strain hard to figure out exactly what happened.  An
    OTR version of that event would have made it clear.)

    George Wagner relates a story of Isaac Asimov on visual-versus-audio on
    television,

> >     Dr. A. tuned into a television drama. He turned the sound all the way

    down.
        "Let's view the picture," he said, "until we both agree that we've
    lost the plot."
        This took less than 30 seconds.
        Next the sound was turned up and the picture down. Isaac and his
    friend then followed the plot until the end of the hour!<<

    That shows the limitations of the writers of that show.  TV, film, and
    radio _are_ different media.  You can get the basic story of a book by
    skimming it, but in doing so, rich details might be lost.  "Listen" to a
    classic crime-caper film like Rififi, and you may get the story line, but
    boy, will you miss a lot!

    OTR, and any OSR, was tailored for audio entertainment, period.  It's
    good, and sometimes great.  But I think that comparing it to differing
    media sidesteps an important point.  It's complete within its own
    specialty.  Try producing a movie or TV show where radio dialogue is
    used, and it will seem very strange: it might not turn a viewer
    completely off, but there would be something a little strange with it.

    Stephen A. Kallis, Jr.

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

    Date: Sat, 10 Mar 2001 09:53:59 -0500
    From: "Stephen A Kallis, Jr." <skallisjr@[removed];
    To: [removed]@[removed]
    Subject:  Various costs in Radio Drama

    Owens Pomeroy, noting what Hyman Brown, producer of CBS Mystery Theater
    had to say about relative costs, relates,

> >     He said the TV series Dallas probably cost in the neighborhood of a

    half-million dollars per episode to produce. He said if you gave him the
    same story to produce for radio, all he would need would be the cast who
    would stand around the mike, a  man,and pre-recorded music, and he could
    bring it in for less than $1500 per episode (1970 prices, that is).<<

    Yeah, but whether or not he got the actors on the cheap ([removed], scale),
    Hyman Brown didn't really understand some aspects of OTR -- namely, the
    time compression factor.  His shows were twice the length they should
    have been for best results.  Anyone listening to War of the Worlds
    critically would quickly note that  time was compressed, such as getting
    a remote to Grovers Mills in minutes: from a standing start, a real
    studio would have taken the better part of an hour to get to the rural
    farm, but the listening audience just accepted it and other similar
    anomalies as a real chain of events.

    Also, even in 1970 -- which is most cost-effective -- a cast standing
    around a mike an effects guy, and prerecorded music, or a disk jockey
    with a pile of records and a turntable?  To make OSR work, it has to have
    more of a draw than pure nostalgia, much as I hate to admit it.

    Stephen A. Kallis, Jr.

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

    Date: Sat, 10 Mar 2001 09:54:49 -0500
    From: "David Phaneuf" <dphaneuf@[removed];
    To: <[removed]@[removed];
    Subject:  Re: Re: TV *as* Radio

    John Francis MacEachern wrote:

>     I too grew up like Elizabeth watching the boob tube;  I
>     agree with her wholeheartedly, most TV doesn't require
>     pictures.

>     Linda Ellerbee, the TV newswoman, in her autobiography wrote
>     something to the effect:  "Turn on your TV, go into the next
>     room, if you can still understand the entire broadcast, then
>     throw out your TV and buy a better radio.  Good TV should
>     compel you to watch."

    Our local CBS affiliate here in Columbus, OH, broadcasts their TV
    programming on FM radio.  Most of the shows are followable (is that a word?)
    and we have often enjoyed TV radio-style while traveling during my kid's
    favorite show times.  The old Ruth Lions/50-50 Club out of WLW in Cincinnati
    was broadcast on TV and radio, and many folks in this area depended on the
    radio to keep up on Ruth and later Bob Braun.  As a kid who managed to talk
    Mom and Dad into putting the old TV in his bedroom for his very own personal
    entertainment, I often tape recorded on my old 3" reel-to-reel, and later
    cassette recorders TV shows.  I remember taping an old sci-fi B movie and
    Sonny & Cher.  Years later, I could mentally "re-watch" those shows

    But there are obvious points at which the medium is dependent on the visual.
    Most visual-less TV shows will eventually break down.  Some scene is
    dependent on what is seen not just heard. That was true at times of OTR too,
    especially in the live audience shows, like Archie Andrews (compare running
    dialogues with Hal Stone "Jughead" in the OldRadio Digest, sister digest to
    this one).  At times the audience is roaring with laughter and there is
    absolutely nothing in dialogue or sfx to warrant the [removed] the actors
    have done something, "mugging" as Hal Stone puts it, exaggerating or
    pantomiming actions, and the audience is responding to what is seen.

    Along these lines, I have some recordings of Abbott & Costello (I think
    produced by Radio Spirits -- they come in a little plastic radio-shaped
    container/four cassettes per container) that are supposed to be OTR, but
    which I am convinced come from their TV show era (I imagine they shared both
    media at the time).  The transitions between scenes can only have made sense
    if there were visual cues, and there is almost no narrative explanation of
    what is happening.  Compared to radio-only A&C, in which narrative dialogue
    described the action clearly and precisely, sufficiently aiding the mind's
    eye in its own visualization, these later shows leave too much unsaid and
    things are very unclear.

    BTW, this reminds me of listening to some Jack Armstrong adventures.  Jack
    and Billy almost talk things to death to aid the mind's eye in what is going
    on.  There are times, hiding from the bad guys, they are talking so much
    describing what is happening that one wants to put a gag in their mouths to
    keep them from being discovered.  "Jack!  Billy!  Shut up! They'll hear
    you," I find myself thinking as I'm listening along.  But then of course,
    that wouldn't work.  There's no TV picture to let you know what's happening.

    Dave Phaneuf

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

    Date: Sat, 10 Mar 2001 09:55:48 -0500
    From: "David Phaneuf" <dphaneuf@[removed];
    To: <[removed]@[removed];
    Subject:  re: Re: Radio, TV, and Literalism

    In Issue #79, Elizabeth wrote:

>     the "relevance" movement of the early 1970s - the era in which it wasn't
>     enough just to entertain, a show also had to present a message. This isn't a
>     flaw in the medium, it's the result of a specific cultural trend that
>     affected movies, music, comics, and just about every other form of popular
>     entertainment.

    Good observation. I remember remarking to my wife when our children were
    little in the 80's, "Can't they make toys and books that don't  teach
    something?  Can't they just make some toys and books that are just fun to
    play with, without having to be moralized?"

>     the veiled social messages in "The Beverly Hillbillies,"

    Did you know that there is now a Bible Study trend to bring out the moral
    lessons of this and the Andy Griffith Show (Mayberry version)? I say trend,
    because that's the way things seem to go in our society.  It began with a
    study on the AGS.  Now someone has done it on TBH.  I suspect Leave It to
    Beaver or Father Knows Best or Donna Reed Show will be next.  To get this
    back to OTR, I'd personally like to see Bible Studies (I'm a pastor) on the
    Shadow "Who Knows what evil lurks in the hearts of men?... designed to teach
    to young and old alike that crime does not pay" -- Father Knows Best (OTR
    style),  Amos & Andy (if we could get past politically correct issues), Vic
    & Sade, and of course those good ol' boys from Pine Ridge, Lum & Abner
    (whose good-heartedness, endless scheming and materializing, and interchange
    with the other characters holds a wealth of "teachability").  And I'm sure
    there are plenty of others.  There is a Christmas episode of Duffy's Tavern
    that is marvelous for its teachability - Duffy laments Christmas until a
    mysterious visitor opens his eyes to the real meaning of Christmas.

    Hey, you know, this gives me an idea for a new trend.  [removed]

    Dave Phaneuf

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

    Date: Sat, 10 Mar 2001 09:56:24 -0500
    From: Alan Bell <bella@[removed];
    To: [removed]@[removed]
    Subject:  R2R tape recorder parts

    A bit off-topic, so perhaps an off-list response would be in order?

    I've acquired an Akai GX-4000D reel to reel tape recorder, but it's
    missing the capstan adapter that changes speed, so for now, it only
    runs at 3 3/4. I know references have been made here about places
    that sell or service old R2Rs, but like a dope, I didn't copy them
    down at the time. Now I need one. Any help?

    Alan
    --
    Alan Bell
    Grandville, MI
    bella@[removed]

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

    Date: Sat, 10 Mar 2001 09:56:25 -0500
    From: Alan Bell <bella@[removed];
    To: [removed]@[removed]
    Subject:  Suspense episode "Yellow Wallpaper"

    On another note, I just listened to an episode of Suspense, "The
    Yellow Wallpaper," (7-29-48) with Anges Morehead (sp?). It _was_
    truly suspensful, even mesmerizing, and yet the ending completely
    eluded me. If someone on this list is familiar with this episode, I'd
    appreciate it if you'd enlighten me, because I'm afraid this one
    sailed at a rather lofty altitude right over my head.

    Alan
    --
    Alan Bell
    Grandville, MI
    bella@[removed]

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

    Date: Sat, 10 Mar 2001 14:46:41 -0500
    From: otrbuff@[removed]
    To: [removed]@[removed]
    Subject:  New Book

    About a week ago someone on this list asked how Jim Harmon's revised "The
    Great Radio Heroes" has been improved over its earlier edition.  I never
    read an answer to that question.  I didn't think I overlooked it though I
    may have.  If so, I apologize for retracing steps.  Would someone who has
    purchased the new edition please give us a comparison with the old one?
    Does the new one, for instance, have an Index?  This is a major flaw in
    the first one even though it's an enjoyable read.  I believe the new one
    has photos, unlike its predecessor -- if so, what are they like?  I think
    someone said the new one retails for $35 which could deter some readers
    from ordering it sight unseen without more information.  I'm sure many of
    us could benefit from your review if you've bought the new copy.  Thanks.

    Jim Cox

    --------------------------------
    End of [removed] Digest V01 Issue #80
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