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

[removed] Digest				Volume 96 : Issue 356

Table Of Contents: 

	 Cassette Tapes
	 Will the real Shadow please stand up?
	 Jack Armstrong & Superman
	 ILAM
	 [removed] tapes
	 Re: Contemporary Lone Ranger
	 Lionel Barrymore as The Shadow & another Christmas Carol
	 Pat Novak
	 Re: Chesterfield Supper Club
	 THE SUSTAINING PROGRAM
	 THE WHISTLER
	 No I haven't dissapeared into the Shadows.
	 Mike Fright

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

Date: Fri, 27 Sep 1996 07:28:57 -0500 (CDT)
From: caldwell@[removed] (Wayne Caldwell)
To: otr@[removed] (otr mailing list)
Subject: Cassette Tapes
Message-Id: <[removed]@[removed]>
Content-Type: text/plain; charset=US-ASCII
Content-Transfer-Encoding: 7bit
Content-Length:        798

Charles
 I like TDK D60 tapes. You can buy them from Sams in packs of 16 tapes for
about $[removed] I think you will like them.

-----------------------------------------------------------------------------
  Wayne Caldwell        |                                  |   
  [removed] 831183        |    caldwell@[removed]    |   972-436-2724
  Richardson, Texas     |    MSGID = CWB                   |  answer machine
  75083-1183            |                                  |   
                    [removed]
-----------------------------------------------------------------------------
"They say your memory is the second thing to go. But I can't remember what
 the first was."
-----------------------------------------------------------------------------

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

Date: Fri, 27 Sep 1996 08:45:41 -0400 (EDT)
From: Bruce Rudesill <lranger@[removed]>
To: otr@[removed]
Subject: Will the real Shadow please stand up?
Message-Id: <[removed]@[removed]>

I'm surprised that with all the recent expert opion being expressed about
The Shadow that one very salient fact has not been mentioned. The pulp and
the radio Shadow were two very distinct and different people. Other than
sharing the same names there's hardly any simularity between them.

The pulp Shadow was a creature of the night, garbed all in black (except
once when he wore all red) he slunk un-noticed through the shadows. He had
a number of agents to assist him, a secret sanctum, an autogyro. None of
these really appeared on the radio. Margo Lane was a creation of the radio
writers, and her sudden appearance in the pages of the pulp caused a howl
of outrage from the faithful readers. The Shadow of the pulps had no ability
to "cloud men's minds". Rather, he relied on stealth and concealment in the
shadows of the real world. Overall, I prefer the pulp Shadow to the radio
Shadow. That's not saying I dislike the radio version, but that I feel the
pulp version had more going for him.

If you look around the web/internet you may find a very active group that
indulges in trading xerox copies of the pulp Shadow novels.

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

Date: Fri, 27 Sep 1996 08:46:32 -0400 (EDT)
From: Bruce Rudesill <lranger@[removed]>
To: otr@[removed]
Subject: Jack Armstrong & Superman
Message-Id: <[removed]@[removed]>

Much has been said lately about Jack Armstrong. I like this show. I grabbed
the one long run that's currently available the first opportunity that I
had to. The show was a pleasant surprise. It's quite listenable. The story
is good, the writing is good, the descriptive narration is outstanding. The
show's only weakness for me was the two kids. "Jumping geepers" they're a
pain in the neck.

Dick Lupoff was pretty close about Superman the ballplayer. It so happens
that I just listened to this sequence a few weeks ago. So my memory is
fresher than his. The villain wasn't Lex Luthor. To the best of my
knowledge Lex never made it to the radio show. Rather Superman's enemy was
George Latimer, who had been released from prison. Latimer came into
possession of the fourth and final piece of Kryptonite. He then employed
an unrepentant ex-Nazi scientist to do his dirty work. Once Superman was
weakened they fed him liquified Kryptonite which induced his loss of
memory and would have eventually killed him. Becoming suspicious, Supes
refused to drink his milk and finally escaped.

His trail eventually led him to the Metropolis ball team. Jimmy Olson, a
rabid baseball fan was the first to recognize him. As Clark Kent. Jimmy,
Lois LAne and Perry White all went to the ballpark and tried to convince
him that he was Clark Kent. He wouldn't believe them. All this time
Latimer was in hot pursuit trying to finish his vengeance. I won't spoil
the rest of the story for you. But it's a pretty good one and no real
Superman fan should be without it.

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

Date: Fri, 27 Sep 1996 06:18:45 -0700
From: dean allchin <dallchin@[removed]>
To: [removed]@[removed]
Subject: ILAM
Message-Id: <[removed]@[removed]>
Content-Type: text/plain; charset="us-ascii"

Dear radiomeisters

Does anyone know the exact reason why the vast majority of I Love a
Mysteries are not circulated?  I'd rather have not known that there were 35
later ILAMs with Tony Randall , Jim Boles, et. al. made that are lost to us;
it makes me heartbroken to desire something I can never listen to. The other
five I know nearly by heart. There are so few of Carleton E. Morses sagas
left, but for plotlines and action sequences, these adventures cannot be beat.

Did the originals merely disintegrate? were they thrown away? is someone
hanging onto them? are they tied up in court?

I'd sure like to ask Mister Randall if he knows anything about them!

Thanks
Deaner
Pat Novak quote:  "She was wearing green slack pants without a lot of slack."  

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

Date: Fri, 27 Sep 1996 09:22:08 -0400
From: "Thomas C. Fichtner" <tficht@[removed]>
To: [removed]@[removed]
Subject: [removed] tapes
Message-Id: <[removed]@[removed]>
Content-Type: text/plain; charset="us-ascii"

From: "F. Charles Simar" <FCharlesSimar@[removed]>
To: [removed]@[removed]
Subject: Airdates/Cassette Tapes

I just obtained some shows that have no airdates.  I hope someone can help
me with these.

The Aldrich Family - The Babysitter
The Aldrich Family - The New Hat
The Great Gildersleeve - Back To Basics
The Whistler - Death Has A Thirst ---- August 22,1942
The Whistler - The Letter
 
        Above find one of the dates you were looking for. Hopefully someone
else on this Digest will be able to fill in the rest as I need them too.
                        
                        Tom  

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

Date: Fri, 27 Sep 1996 08:17:37 -0500
From: "Andrew C. Green" <acg@[removed]>
To: [removed]@[removed]
Subject: Re: Contemporary Lone Ranger
Message-Id: <[removed]@dlogics>
Content-Type: text/plain; charset="us-ascii"

Rhiman Rotz--IU Northwest <rrotz@[removed]> writes:
>	Of course, my *first* choice to do the Ranger would be
>Fred Foy [...]
>	Next to that, it's Dorn, and I'll pay closer attention
>to his allegedly Beemeresque [?] rhythyms next time I watch Worf.

Dare I suggest Kelsey Grammer? His voice seems to fit the description
too. His work as the voice of Sideshow Mel (or was it Sideshow Bob;
no doubt someone will correct me on that) in "The Simpsons" is full of
nuances and dramatic pauses, even though ironically he's playing it
for comedy.

Andrew C. Green            (312) 266-4431
Datalogics, Inc.
441 W. Huron               Internet: acg@[removed]
Chicago, IL  60610-3498    FAX: (312) 266-4473

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

Date: Fri, 27 Sep 1996 08:47:40 -0600
From: Chet Cox <CHCOX@[removed]>
To: [removed]@[removed]
Subject: Lionel Barrymore as The Shadow & another Christmas Carol
Message-Id: <[removed]@[removed]>

I went into a fit of giggles (I have GOT to stop reading these things at
work!) when I read Ken's heading of "Scrooge and the Shadow" --
because I immediately flashed on the idea of Barrymore as
Cranston/Shadow using that "heh heh heh" laugh he made so irritating in
_It's a Wonderful Life_ and _Key Largo_.  'Twould have made an
interesting interpretation, to say the least.

Dove Audio's Christmas OTR tape collection includes "transcribed,"
Barrymore as narrator & Scrooge in a version of _A Christmas Carol_. 
Dove lists it as "Theatre Royale," the announcer merely says "the National
Broadcase Company [removed]"  A recorded copy of his Mayor show?

And I actually got to read "the Shadow Unmasked" a decade or so back,
and was disappointed.  Not only is the story rather unremarkable, but
there is no real purpose for introducing Allard as the Shadow's true
identity.  For all extents and purposes, Allard acts just like Cranston.  And
the "reason" for Allard showing up is given that the Real Cranston has
just damaged himself overseas and it appears in the paper which Weston
is reading - while standing next to Faux Cranston.  It rrrreally doesn't
make any sense for Gibson to have introduced Allard in such a manner,
and I wish someone had asked him the Reason Why it was handled this
way.  (Ron Frantz and I were gonna ask him when we were flying him
down for an OAFcon in Oklahoma City, but Gibson's health took a turn for
the worse about that time and he was unable to make it.)

This may remain one of those mysteries which only the Shadow knows.

*jeep!
~~~~Chet
----------------------------------------------------------------------------------------------------
Quote of the day:  "Thrift is a wonderful virtue--especially in an
ancestor."  --N. Heritter
----------------------------------------------------------------------------------------------------

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

Date: Fri, 27 Sep 1996 09:11:46 -0700
From: "JACK MANN" <jmann@[removed]>
To: <otr@[removed]>
Subject: Pat Novak
Message-Id: <[removed]@[removed]>
Content-Type: text/plain; charset=ISO-8859-1
Content-Transfer-Encoding: 7bit

Here's another great quote from Pat Novak, For Hire, from the episode entitled
"Go Away, Dixie". I've sent part of this to the Digest before, but it's so great it's
worth repeating:
"The door to my apartment opened and the place began to get crowded. From
where I sat the crowd looked good. She sauntered in moving slowly from side
to side like 118 pounds of warm smoke. Her voice was alright too. It reminded
you of a furnace full of marshmellows."

Jack

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

Date: Fri, 27 Sep 1996 16:32:01 -0400
From: BCH66@[removed]
To: [removed]@[removed]
Subject: Re: Chesterfield Supper Club
Message-ID: <960927163200_531471579@[removed]>

This musical program also featured Perry Como and for years was heard every
Mon-Fri from 7:00 -7:15 pm ET on NBC. It occuipied the time slot that during
the 30s was filled by Amos n [removed] show of course had moved to CBS for
its last 15 minute run and would  be back to NBC  in the mid 40s as a 30
minute program.
The Supper Club was performed twice 7pm and 11pm ET . The 11pm show was for
"western" listeners which even included those in chicago where the show aired
at 10pm on WMAQ.
I beleive the 11pm show was even simulacst for awhile on the NBC
tv network somewhere around the late 40s or very early 50s.

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

Date: Fri, 27 Sep 1996 16:57:04 -0400
From: BCH66@[removed]
To: [removed]@[removed]
Subject: THE SUSTAINING PROGRAM
Message-ID: <960927165703_531493719@[removed]>

We all know that a sustaining program was one that was unsponsored and
therefore the cost of production  belonged to the [removed], I have
read that sustaining programs were on the schedules to fill time when neither
the station nor the network had a sponsored program to [removed] that stations
were not required to air sustaining programs unless they were network
prestige programs ( also known as must carry sustaining shows).
When a show was sponsored an advertiser basically bought time on the network
and the stations were paid for airing THE KRAFT MUSIC HALL or the LUX RADIO
THEATER.
( Stations in smaller markets were referred to as bonus [removed]
  they were not paid for network shows because they were in markets no
advertiser would actually pay for. So basically those stations would be
allowed to bring in and air the network show without payment. The benefit of
this of course was it made the smaller stations local time mor eattractive to
advertisers in their own area.)

Anyways back to sustaining shows .If at 8pm CBS had sold the time to some
advertiser but at 8:30 had not  at 8:30 the network would program an
unsponsored feature. Now it is my understanding
that at the local level the station is free to sell the time locally if they
can find a sponsor. Because as stated before a sustaining program only filled
time when neither station or network could sell to a sponsor. But if the
network sold the time eventually that immediately cancelled any local
contracts and the time shifted back to the network. This of course made
selling the time locally
a tough practice.

I want to mention that the opinion has also been expressed that the business
arrangement between network and station regarding sustaining features did not
work in that way at all. That when sponsored the advertiser paid for the
station time when sustaining the station time was still paid for but by the
network.

So any one out there know how it really worked ????

I became curious about this arrangement when I realized that sustaining
features such as ESCAPE, and SUSPENSE in its unsponsored years would often be
pre-empted by stations or recorded and played  at odd times.
AND the CAMPBELL's PLAYHOUSE WAS certainly carried by more stations than when
it was an unsponsored feature known as 
THE MERCURY THEATER.

any thoughts???..........

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

Date: Fri, 27 Sep 1996 17:05:21 -0400
From: BCH66@[removed]
To: [removed]@[removed]
Subject: THE WHISTLER
Message-ID: <960927170521_531500949@[removed]>

When Hollywood adapted this radio program and made a few films 
it has been stated that they were trying to cash in on the whistlers 
radio popularity. But the Whistler was unknown outside a few Pacific Coast
states. AND even the eastern version only lasted one season and did not catch
on back east. 
My feeling is that when the movies came out most people had no idea who the
whistler was.
The show aired in 6 western states . Certainly California, Washington., and
Oregon. ( maybe Arizona, Nevada ??).
Wherever Signal gasoline was I guess.

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

Date: Fri, 27 Sep 1996 17:24:42 -0700
From: [removed]@[removed] (Donald Dortmund)
To: [removed]@[removed]
Subject: No I haven't dissapeared into the Shadows.
Message-ID: <[removed]@[removed]>
Content-Type: text/plain; charset=US-ASCII
Content-Transfer-Encoding: 7bit
Content-Description: cc:Mail note part

  Apologies for using the digest for "point to point communications".
  MY SERVER AND MY NET ADMINISTRATOR HAVE BEEN HAVING MAJOR SPASMS LATER, 
  (ALTHOUGH I'M NOT SURE WHICH IS GIVING THEM TO WHOM).
   Some days I can only send e-mail and some days I can only receive 
  e-mail. 
    All e-mail problems are supposed to be fixed, at this writing.
  If you still can't get a message to me, you can try the old fashioned 
  phone, my voice mail at work is usually up 90% of the time.
  
  Donald J. Dortmund
  work phone 1-800-723-6245 ext. 2795
            or 312-474-2795
  [removed]@[removed]

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

Date: Fri, 27 Sep 1996 19:23:02 -0400
From: Bigkids@[removed]
To: [removed]@[removed]
Subject: Mike Fright
Message-ID: <960927192302_531620233@[removed]>

I know, I shd be fighting that deadline, but I can't resist putting in just a
few words about mike fright.

I have a distinct recollection from the Golden Days (say, late 1940's) of a
game show host or hosts, over and over, telling their guests, "Don't be
afraid of the microphone, it won't bite." This would draw a reaction from the
audience, a mixture of laughter and a sort of supportive collective deep
breath, and the guest would always come through bravely, with name, rank,
serial number, place of birth and number of children.

For some reason, whenever place-of-birth (or "home-town") happened to be
Brooklyn, there would be a roar of laughter from the audience. What was so
funny about Brooklyn and why did it always evoke laughs? I even recall hosts
cautioning audiences about excessive derision of Brooklyn.

Why?

When the number of children was given, the response was always a huge round
of applause from the audience. The larger the number, the louder and more
sustained the applause. I also wondered about this -- and still do. Was it a
contest? If Mrs. Jones could have five children, then Mrs. Smith had to have
eight, and Mrs. Henderson would have fourteen . . .

And what's so wonderful about exaserbating the overpopulation problem?

I know, I know, I'm looking at the world of 50 years ago through the eyes of
the present. We weren't aware of overpop problems back then.

But still . . .

A tiny personal note: I started writing for radio in 1955, started working
on-mike a decade later, and haven't stopped yet. Never did suffer from mike
fright. But camera-shy, now that's another matter.

Whenever I have to work on TV (which is, fortunately, not often) or in motion
pictures (even less often) I am always convinced that the camera will catch
me with a finger up my nose, a spot on my jacket, my hair sticking up or
otherwise embarrassed. So far it hasn't happened -- I've always survived TV
and my very few film appearances, and never had a disaster -- but I'm always
conscious of the possibility of disaster, and that always makes me
uncomfortable working to a camera.

Well, maybe if I did a lot of vid-or-film work I would get comfortable with
the camera.

But until and unless that faraway day should arrive, just give me a good old
friendly, homely, comforting microphone any time!

Dick Lupoff




--------------------------------
End of [removed] Digest V96 Issue #356
*******************************************

