Subject: [removed] Digest V01 #72
From: <[removed]@[removed]>
Date: 3/4/2001 7:36 PM
To: <[removed]@[removed];

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


                      The Old-Time Radio Digest!
                         Volume 01 : Issue 72
                   A Part of the [removed]!
                           ISSN: 1533-9289


                           Today's Topics:

 more shark jumping                   [chris chandler <christopher_c@email]
 Re: Old Radios                       [Michael Biel <mbiel@[removed];       ]
 Re: Alice Darling and Mayor LaTrivia [JDavis3153@[removed]                 ]
 need your opinions                   ["Art Shifrin" <goldens2@[removed]]
 Re: The Death of OTR                 [Elizabeth McLeod <lizmcl@[removed]]
 1" of gold in yukon                  [Joelsiegel@[removed]                 ]
 It's not stupidity                   ["Stephen A Kallis, Jr." <skallisjr@]
 Why OTR died in America ...          ["J. Alec West" <Alec@[removed];]
 Old time radio--is it gone for good? ["Ted Kneebone" <tkneebone1@[removed]]
 The Amazing Mr. Smith                [otrbuff@[removed]                   ]
 OTR From Sam's Club                  ["Joe C." <gopack2000@[removed];  ]
 Benny and the Shark                  [Rarotz@[removed]                     ]
 reverse sharking                     [chris chandler <christopher_c@email]
 OMF/Yarborough's Death               [chris chandler <christopher_c@email]

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

Date: Sun, 4 Mar 2001 12:41:19 -0500
From: chris chandler <christopher_c@[removed];
To: [removed]@[removed]
Subject:  more shark jumping

Art Shifrin [removed]


Based on those shows that I've heard, I think that the first  >few CBS
Lucky Strike seasons (with the exception of the first >CBS show---that duet
of Slow Boat To China is terrible) were >the peak of Benny's output.

Another pure gem is the one in which Fletcher Markle and Jack >Warner visit
to convince him not to do the radio
version of The Horn Blows At Midnight (which I regard as very
disappointing).

There's an episode from the same period in which Jack "rehearses" his Ford
Theatre appearance with Claudette Colbert and Vincent [removed]'s
absolutely [removed] a perfect example of the way the series had
evolved since its Jello days.

The best comparable example I can think of is this:  look at a Warner
Brothers cartoon circa 1955, compared to one circa 1940.  The 1957 classic
"What's Opera, Doc", which finds Elmer Fudd chasing Bugs Bunny through an
almost "Fantasia"-style surrealistic setup--while it's similar, and
certainly based on the same concepts, it bears almost NO resemblance to the
earlier "Elmer-Chases-Bugs-Through The Forest"-type outings.  The difference
is a sophisticated sort of self-awareness the Benny series also possessed in
its mature form.  It is outwardly [removed] really quite different from
the brash, "surreal" fashion of humor Benny's writers employed in the '30s.
Of course, maybe it's possible the '40s running gags and writing style are
simply more *accessible* to a modern audience.


A. Joseph Ross [removed]

Funny, I'm quite sure I heard Bob Hope on Tuesday nights for >Pepsident
circa 1955.

[removed]'d simply moved to a time slot an hour *earlier* (into the
former Amos and Andy spot) to get away from stronger competition (at least
on [removed] bigger Tuesday night problem, especially in the big cities,
was Milton Berle over on NBC television!).  And I'm not sure where Hope
ended up on the schedule once Fibber McGee gave up the weekly ghost in 1953.


And speaking [removed] Johnson [removed]

the moment Fibber and Molly ceased to be the same is the moment >SC Johnson
dropped it's sponsorship.

Isn't it funny HOW major a character the "sponsor" was in the big radio
comedies?  In truth, the series had tired creatively long before Johnson's
Wax dumped it.  The 1949 15th anniversary show is much more an exercise in
nostalgia than humor.

But if you want to talk about surreal:  pick up a couple of the even-later
*nightly* Fibber McGee broadcasts (starting autumn, 1953)...Harlow's gone,
so's Gale [removed]'s no studio [removed]'s REALLY like listening
to your favorite show, except it's coming from an alternate universe!  The
Jordans at thsi point could have taken two [removed] down their
schtick to a sort of folksier "Vic and Sade", "Easy Aces"-type of production
(of the kind THEY themselves had run 20 years earlier on "Smackouts")...or
try and re-create their weekly series on a much, much lower budget.  They
chose the latter, and the result, in my view, was not entirely a success.
Of course, it DID prove quite popular with the remaining radio audience,
prompting a similar reformatting by other series.

chris

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

Date: Sun, 4 Mar 2001 13:57:23 -0500
From: Michael Biel <mbiel@[removed];
To: [removed]@[removed]
Subject:  Re: Old Radios

From: Fred Berney <berney@[removed];
Once in a while I am reminded about a Twilight Zone shows in which
an old radio started playing the old shows and I keep hoping that
one day when I turn on the radio, I'll suddenly hear the shows that
I grew up with.

That actually happened to me the first time I bought an old radio and
turned it on.  When I was in graduate school in Evanston, Illinois in
the late 60s and early 70s, inexpensive old radios in working condition
were easy to find at estate and garage sales.  It was either my Radiola
60 or 80 where this happened.  When I got it into my office at school,
checked it out and carefully turned it on, the first thing I heard as it
warmed up was an old show like The Lone Ranger!!  I hadn't set up an
antenna yet and probably either there was nothing or else maybe a two
foot wire attached to the screw so the only station that was coming in
was WEAW in Evanston.  This was early in Chuck Schaden's career and I
quickly realized I had picked up his afternoon show on that station, so
I was more amused than shocked.  But yes, the absolute first thing that
came to my mind was that episode of The Twilight Zone!

Michael Biel  mbiel@[removed]

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

Date: Sun, 4 Mar 2001 13:57:25 -0500
From: JDavis3153@[removed]
To: [removed]@[removed]
Subject:  Re: Alice Darling and Mayor LaTrivia

Hello all,

Yesterday, Charlie had a question or two;

"What happened to Alice Darling on the Fibber and Molly show?"

The character, played by Shirley Mitchell, appeared from 1943 to 1946 when
the McGee's rented out their spare room as a result of the wartime housing
shortage.  It would make sense that after the war, the character was no
longer relevant.  Keep in mind, Miss Mitchell was also the voice of Leila
Ransom, Gildersleeve's widow neighbor, so I'm sure she kept very busy.

"Also, what happened to Mayor LaTrivia?"

I'm assuming the question relates to the absence of the character in the
later years of the program.  Gale Gordon joined the FM&M show in 1939, and
spent thirteen years with the program.  However, when the program changed to
the 15 minute format, beginning October 5, 1953, only two other supporting
players were with the cast; Arthur Q. Bryan as Doc Gamble, and Bill Thompson
as both The Old Timer and Wallace Wimple.

"Why was the change made from the mayor to the weatherman?"

The name of  Mayor LaTrivia was borrowed from New York City's Mayor Fiorello
LaGuardia.  LaGuardia died on September 20, 1947, and beginning with the
October 7th program, the LaTrivia character was temporarily dropped out of
respect.
In place of LaTrivia, Mr. F. Ogden Williams (Foggy), the weatherman appeared.
 Gordon also appeared that season as Karl Snarl, Manager of the Wistful Vista
Finance Company.  The character of Mayor LaTrivia returned on October 5, 1948.

Hope this helps,

Jeff Davis

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

Date: Sun, 4 Mar 2001 14:47:41 -0500
From: "Art Shifrin" <goldens2@[removed];
To: <[removed]@[removed];
Subject:  need your opinions

Hi Gang,

I have some old 10" reels of tape here with rather nicely transferred disks
of line recordings: clean highs, scant disk noise.  Simply tweaking the
playback azimuth to get the best out of each reel.  So far, there's a Crime
Club entitled "Silent Witness" & 4 1/2 hour Molly Goldberg shows.  Is
"Silent Witness" available elsewhere and how's its sound quality?  Are
Goldberg shows worth transferring?  (I realize that these are subjective
issues).  I don't want to spend time & incur wea

Best,
Shiffy

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

Date: Sun, 4 Mar 2001 15:16:58 -0500
From: Elizabeth McLeod <lizmcl@[removed];
To: <[removed]@[removed];
Subject:  Re: The Death of OTR

Sam Levene observes,

I think this has come up before but the only reason we still have some
radio drama and satirical radio comedy in Canada- and I'm certain it's
equally true elsewhere -  is because our main broadcasting system - by no
means the only one anymore but the main one-  is a public radio and TV
network, the CBC.

When one looks past the various cultural theories about the demise of OTR
in the US, one is left with precisely the reason Sam describes: OTR died
in the US because it was no longer economically feasible to produce.

There were two major factors at work: the postwar explosion in the
licensing of new stations and the costs incurred by the networks in
developing a meaningful television service. These costs ended up being
passed on to *radio* affiliates -- by means of the network reducing the
amount paid to the affiliates in compensation for carrying network
programming.

These payments were being cut back sharply by all the networks thruout
the early fifties -- amounting to as much as a twenty-five per cent
reduction in revenue for the average affiliate, and for CBS, NBC, and ABC
most of this money ended up being channelled into television development.
Mutual was a non-player economically speaking -- the original
co-operative structure of the network was in disarray, and the operation
was floundering badly. It never had any meaningful chance of going into
network television under these circumstances, and it just drifted until
it was bought out by General Teleradio, which focused its efforts on
local TV and had no interest in operating an old-fashioned full service
radio network.

The networks had the leverage to approach affiliates and say "we're
cutting your rates 25 per cent" because there were plenty of new stations
on the air to replace those affiliates if they balked. The networks held
the whip hand. So the local affiliates had no choice but to make up the
lost revenue by selling more local advertising time. Invariably, this
ended up cutting into the network portion of their schedules -- it was
simply ended up being more profitable for a station to sell the time
locally than it was for them to clear a network program for the same
slot. The amount of time local stations were willing to cede to networks
became less and less thru the mid fifties -- and by the end of the
decade, the networks were finding it more trouble than it was worth to
maintain radio schedules.

Syndicated dramatic and comedy programming could conceivably have
continued under these conditions -- and, in fact, it did well into the
1950s. But it was far more  profitable for stations to go to a full-time
disc-jockey format, and pack in eighteen minutes of spots an hour, than
for those stations to continue with fifteen minute and half-hour blocks
of dramatic programming which severely limited the amount of advertising
they could sell. Local sponsors, likewise, found individual spot buys a
far more effective method of getting their messages out than to buy an
entire half-hour block of time to present a syndicated drama show.

OTR wasn't "killed." It died as a natural consequence of changes in the
very economic system which created it, and when you look at the state of
the US broadcasting industry in the early 1950s, it become clear that
there is absolutely nothing that could have been done to keep that from
happening. The economic structure of network radio in the US was based on
a very delicate balance of power between affiliates and networks -- and
once that balance was disturbed, the system was doomed.

Elizabeth

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

Date: Sun, 4 Mar 2001 15:17:01 -0500
From: Joelsiegel@[removed]
To: [removed]@[removed]
Subject:  1" of gold in yukon

a few years ago for a story for Good Morning America I actually went to
Dawson City, Yukon Territory, and checked out my square inch of land.
I went to the Territorial claim office where I discovered I was far from the
first person to check out his or her deed (I'd saved the deed; I was 10 or 11
when it was received).
I learned: yes, the land exists, it is on an island, it is farmed,
agricultural land.
There never has, was and most likely will be any gold on the land. Something
i was told the Quaker Oats folks knew back in the early 50's when the
promotion was thought up.
The Quaker Oats people neglected to file the deeds with the claim office so
the land reverted back to its original seller so although I have the deed I
cannot claim my square inch of land.
I found my way to Dawson City aboard a chartered plane but, using a Sergeant
Preston map I had also saved from my childhood leared the map was quite
accurate (unlike the Lone Ranger maps I'd saved which were maps to no place).
Dawson City is a great looking city, like a set for a western movie. Make
that a great looking town.
The local bar where we had lunch had swinging doors, of course I had all the
images of bellying up, ordering a sasparilla or even a milk.
They didn't sell sasparilla but they did sell cappuccini.
On King, on you huskies.
Something else I learned. The deed, today, is worth more than a share of
stock in Quaker oats so us kids laughed last.

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

Date: Sun, 4 Mar 2001 17:12:01 -0500
From: "Stephen A Kallis, Jr." <skallisjr@[removed];
To: [removed]@[removed]
Subject:  It's not stupidity

Stephen Jansen asks why OTR is dead in the United States, noting,

    Quick, [removed] was the last REALLY GOOD movie you saw?  If you
had to think a while to come up with it, do you believe it was your
failing memory?  <<

Shanghai Noon, though this is hardly OTR.  Also The Patriot (Mel Gibson),
Drowning Mona, The Ninth Gate, and Fantasia 2000, just off the top of my
head.  [Going back just a year or so, how about Apollo 13, Saving Private
Ryan, and The Mummy?]  Lots of people forget how many really bad movies
were ground out by the Poverty Row studios during the days of OTR.

    The [removed] advertisers who back our entertainment mediums realize
that it is to their advantage that we consumers remain complacent,
uninformed, and [removed]  Imagination and creativity are
poisonous to their [removed];<

Ah, it's not quite that simple.  It's frequently a matter of the bottom
line: most media want to get the best return on investment, wherefore
quiz shows and "reality TV on video and talk radio and music stations on
radio.

Now let's take a look at the abandonment of OTR in the 1950s.  First off,
TV was a novelty, and very special. It provided the equivalent of a movie
theater in a home -- which was quite something in those days.  Further,
some of the early TV shows were variety types that appealed to a lot of
people, and by contrast, required relatively inexpensive production
costs.  The novelty and star power pulled people away from radio during
prime time.  Notice that the radio version of some Children's Hour shows
disappeared, to resurface on TV (the most seamless of these was Sky
King).

This wasn't an overnight phenomenon because television took time to
spread across the United States, whereas radio was always established.
Radio adapted to its new role, and programs like Make Believe Ballroom
became popular.

Today, a call-in talk show is considerably less expensive to produce.
You need a host, a call screener, and a delay to bleep out
unbroadcastable words; and a telephone hookup.  Nothing else.  No other
on-mike talent, no sound effects crew, etc.  Radio on the cheap.  Also,
an all-music station is even cheaper: it doesn't even need a live crew:
computers can run a station and play recordings all by itself.

Now if anything, the most influential people in the radio medium these
days seem to be the accountants.  You'd have to do quite a selling job to
station (and more important, network) management why they should try to
market an Old-Style Radio (OSR) program: today's programs can be aired at
a small fraction of the expense of an OSR production.

Stephen A. Kallis, Jr.

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

Date: Sun, 4 Mar 2001 17:11:59 -0500
From: "J. Alec West" <Alec@[removed];
To: [removed]@[removed]
Subject:  Why OTR died in America ...

I agree with most of what everyone else has said regarding culture in the [removed]
(or the lack thereof).  One of the best t-shirts I've seen, one that sums
things up pretty well, shows a couple with a glazed expression basking in the
glow of a television -- the caption underneath reading, "They call it
_programming_ for a reason."  Reading books and listening to OTR require
'effort'.  It's far easier to just park-n-sponge information off a tube than it
is to exercise that effort -- also known as imagination.

But, I think that's only part of the puzzle.  This is just a personal
observation but, frankly, I think we live in a culture of sheep who prefer
being led-by-the-hand to our entertainment.  These sheep don't seek out
entertainment -- they wait for someone to hype their interest.  And, wherever
you find sheep, you'll find shepherds who will do just that.  In the 50s, there
was a major "wow" factor surrounding television.  And in a society where
keeping up with the Jones was a virtue, I think a lot of wise shepherds knew
there was a LOT more money to be made in the visual medium than in the audio
medium.  Bottom line?  OTR would NEVER have died if the sponsors didn't abandon
the medium.  But, the merchants of this world were steering their sheep away
from inexpensive radios to more expensive televisions ... and ad agencies
jumped on the bandwagon, knowing the profit potential from TV would be greater
once the sheep were so-steered.

It's normal to think that, under capitalism, markets follow consumer demand.
But in some cases, markets go out of their way to create consumer demand where
it never existed before - giving impetus for market redirection more favorable
to the market.  Kind of like a pusher giving a drug user a taste of a more
expensive (and more addictive) drug ... in the hopes the user will abandon his
current drug for the drug the pusher would prefer to sell.

Regards,
J. Alec West

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

Date: Sun, 4 Mar 2001 17:11:57 -0500
From: "Ted Kneebone" <tkneebone1@[removed];
To: <[removed]@[removed];
Subject:  Old time radio--is it gone for good?

Ryan, the Heretic has written on the general subject of "Why aren't we doing
more to restore OTR to the airwaves?"
    There are a lot of us out there, and here are the categories I see:
    1.  Collectors only.  Listen and bask in the nostalgia.
    2.  Collectors and traders.  Listen and trade and bask in nostalgia.
    3.  Internet people, those who do something about the scene thru their
websites, and also collect, trade and listen.
    4.  Local and regional producers of "old style" and "new time radio"
drama and comedy.  Groups like the Atlanta Radio Theater Co., etc.
    5.  National producers of OSR and NTR like Imagination Theater, etc.;
National Public Radio and Public Radio International.
    In my own personal experience, I have been trying to interest public
radio in South Dakota to air some radio drama for at least ten years.
Letter and phone calls result in nothing, even when I wrote to and talked
with the chairmen of the state public broadcasting board and the Friends of
SD Public Broadcasting.  They point to a survey taken last year which showed
no interest in such programming.  When I pointed out that they have carried
no radio drama since 1984, thus there was nothing for people to use as
samples, they had no answer.
    I must admit that I have not even approached local commercial radio
stations on the subject.  Where would they put drama since all the local
stations are "formatted" to specific music types?  And we have a grand
spectrum of choice there, too:  country, rock, oldies, country, rock, etc.
    There was a time when I felt frustrated, but I am about to enter the
phase that could be called "resignation."
Ted Kneebone / 1528 S. Grant St. / Aberdeen, SD 57401 / 605-226-3344
tkneebone1@[removed] | OTR:  [removed]
[removed]  |
[removed] || Kids of the New Century:
[removed]

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

Date: Sun, 4 Mar 2001 17:11:54 -0500
From: otrbuff@[removed]
To: [removed]@[removed]
Subject:  The Amazing Mr. Smith

In the spring of 1941 MBS carried a 13-week comedy-mystery Monday night
series known as "The Amazing Mr. Smith" that featured Keenan Wynn and
Charlie Cantor in its dual lead roles.

In his book "Radio Programs, 1924-1984" (McFarland, 1999), Vincent
Terrace claims there was an extension of this drama in the 1946-47 season
on CBS starring Alan Johnston and Ed Brophy in the same parts, with
little change in the premise or the original run.

I'm looking for someone to confirm that for me and, if possible, give
precise dates it resurfaced and departed the airwaves in its reprise.
Some of our literary authorities -- among them Hickerson, Swartz and
Reinehr,  Sies, Buxton and Owen, Dunning and others -- make no mention
that there was ever a "second season" of this series.

Where did Terrace get his information?  Can some detective/mystery
aficionado on this list confirm or deny it?

Your prompt assistance, directly to me, will be sincerely appreciated.  I
really need your help on this one!

Jim Cox
otrbuff@[removed]

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

Date: Sun, 4 Mar 2001 19:53:21 -0500
From: "Joe C." <gopack2000@[removed];
To: [removed]@[removed]
Subject:  OTR From Sam's Club

Subject:  OTR Shows at Sam's Club

Wesley Tom mentions that he can no longer find Radio Spirits old-time
radio collections at his Sam's Club in Redlands, CA. Well, here in Las
Vegas, NV, Sam's Club has also discontinued carrying old-time radio
shows. / Gregory R. Jackson, Jr.

Our nearest Sam's Club in Middletown, [removed] I noticed recently also no longer
had OTR in the audio section. Many times Sam's does not carry certain things
for a few months and then they reappear. My favorite muffins and pastries
returned last month after almost 4 months. Try and speak to the manager to
find out why they no longer sell OTR. It may help bring OTR back if enough
people speak to him about it.

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

Date: Sun, 4 Mar 2001 20:35:45 -0500
From: Rarotz@[removed]
To: [removed]@[removed]
Subject:  Benny and the Shark

The thread on "jumping the shark" has been an interesting one, and I've
particularly enjoyed the discussion on Jack Benny.  There are diverse
opinions here, all reasonably supported, as to when the Benny show peaked and
when it wasn't as good as past shows.

But I just wanted to toss this in:  as one poster suggested, most of you are
comparing Benny to Benny, not to anyone else.  Can anyone think of a series,
and you can have radio, television, even movies if you want, that
consistently produced programs of such high quality over such a long period
of time as the Jack Benny show?  Here's a performer that was on the air for
over THIRTY YEARS and obviously *never* stopped doing serious "quality
control."  Has anyone ever heard a really *bad* Benny show?  I know that
every time I get another tape or mp3 file of a Benny show that I haven't
heard, I say, "well, maybe this time," but I still end up laughing and
enjoying the show.  Obviously some are better than others, but I agree that
even the post-Phil Harris shows [and I am a huge Phil Harris fan] are still
better than most of what other comedians were turning out.  I marvel at just
how good, how funny, the show was, consistently, over its entire run.

Can anyone think of anything that matches it?  Of course, very few shows ran
that long in the first place, so I won't insist that you are limited to
things that ran for 30 years.  I'll accept nominations from any long-running
show.  The issue is, in a word, dependability.  You may not always get a
spectacular show from Jack but you get a show that's well done and funny,
every time.  Anyone else compare?

    -- Rhiman Rotz

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

Date: Sun, 4 Mar 2001 20:35:49 -0500
From: chris chandler <christopher_c@[removed];
To: [removed]@[removed]
Subject:  reverse sharking

Joe Salerno [removed]

OK, are there any examples of a program that went from bad to >great in a
single bound?

This is an extreeeeeemely obscure sample, but the first thing I thought of
was the soap "When A Girl Marries"...a definite misfire when it hit the CBS
air in [removed] elements were all there, but the production just didn't
have the "it" necessary to make it stand out in the the daytime muddle.
However, I just got done listening to a rare late 1941 episode, and the
thing had "clicked" in a major [removed] Jane Higby is simply marvelous,
the production had gelled, the show had started to "feel" like the 5PM NBC
powerhouse it would become.

There's also "My Favorite Husband", which underwent a bit of a
transformation with the hiring of producer Jess [removed] changes
were relatively minor--the lead characters' names changed from Cugat to
Cooper, etc--but they gave the Lucille Ball character a much more
middle-American, everywoman "feel" that made her antics somehow funnier.  It
was a smart move, and one the writers remembered when creating "I Love Lucy"
a few years later.

chris

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

Date: Sun, 4 Mar 2001 21:12:08 -0500
From: chris chandler <christopher_c@[removed];
To: [removed]@[removed]
Subject:  OMF/Yarborough's Death

Elizabeth [removed]


It was a bit too dishonest, I think, for Morse and Ware not to >have dealt
directly with the fact of the actor's death -- and >not to have killed Cliff
off, rather than resorting to the
supremely lame expedient of having him suddenly get married and >move to
Scotland. It wasn't really fair to either the actor or >the character.

Completely [removed] WHY did this happen?  I've never really seen it
[removed]'s easy to postulate the company was simply so broken up over
the real-life tragedy they couldn't bear to re-enact it for the radio
audience.  Still, Morse had  Yarborough soundalike Jim Boles playing in the
NY revival of "I Love A Mystery" by this time (and he didn't hesitate to
bring Russell Thorson westward to play Paul when Michael Rafetto's voice
played out several years later)...so that option was open, too.  Anybody
have any behind-the-scenes scoop?

Even more inexplicable was the 1954-55 installation of imposter Mary Adams
as Mother Barbour, upon the retirement of actress Minetta Allen.  Adams is
obviously much younger, and her voice is all wrong.  It would have been a
creative bonanza to have "killed" beloved Ma Barbour at this point:  it
would have given the series a creative shot-in-the-arm as it moved to
[removed] would have opened a world of dramatic possibilities for the
Father Barbour [removed] up some money for some new secondary
[removed] MOST importantly, it would have given the second-generation
female characters SOMETHING to do with themselves.

Having to care for their aging, widowed father would have given Claudia and
Hazel a REASON to be hanging around the family home all [removed] it was,
they did so for no apparent [removed] two characters pretty much
faring the worst as the series aged.  Hazel at least got some juicy marital
problems in 1958 (and to their credit, the writers actually LET hubby Dan
Murray tell Hazel she was a sheltered, somewhat prudish Daddy's Girl)..while
Claudia was reduced to exclaiming "He NEEDS me!" when summoned to Hawaii by
husband Nicholas after her own business venture [removed] if that alone
validated her existence on earth. Unfortunately for a once-great character,
by that point, it was pretty much all she had.

Some of this creative atrophy could have been avoided had Mother Barbour
been sent [removed] no.  Anybody know why not?



chris

[removed]

Amos and Andy visited the home shared by Cary Grant and >Randolph Scott --
to find the two relaxing at poolside and
exchanging teasing wisecracks.

You are making that up!!!!  Aren't you?  hahaha

--------------------------------
End of [removed] Digest V01 Issue #72
******************************************

Copyright [removed] Communications, York, PA; All Rights Reserved,
  including republication in any form.

If you enjoy this list, please consider financially supporting it:
   [removed]

For Help: [removed]@[removed]
To Unsubscribe: [removed]@[removed]

For Help with the Archive Server, send the command ARCHIVE HELP
  in the SUBJECT of a message to [removed]@[removed]

To contact the listmaster, mail to listmaster@[removed]

To Send Mail to the list, simply send to [removed]@[removed]