Subject: [removed] Digest V2003 #167
From: "OldRadio Mailing Lists" <[removed]@[removed];
Date: 4/20/2003 10:32 PM
To: <[removed]@[removed];

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


                            The Old-Time Radio Digest!
                              Volume 2003 : Issue 167
                         A Part of the [removed]!
                                 ISSN: 1533-9289


                                 Today's Topics:

  Re:Mechanics of Fear                  [ "Michael Adams" <michaeladams@peopl ]
  Re: Cincy Con.                        [ hal stone <dualxtwo@[removed]; ]
  Re: filter booths                     [ hal stone <dualxtwo@[removed]; ]
  Re: Cincy Convention                  [ hal stone <dualxtwo@[removed]; ]
  Re: Rick Keating's script             [ hal stone <dualxtwo@[removed]; ]
  Today in radio history                [ Joe Mackey <joemackey108@[removed] ]
  Re: Bumper Stickers                   [ Elizabeth McLeod <lizmcl@[removed] ]
  Re: Cinci Convention                  [ Fred Berney <berney@[removed]; ]
  Fibber & Molly Museum                 [ "Jeff Quick" <jeffquick@[removed] ]
  Re: echo chamber                      [ Fred Berney <berney@[removed]; ]
  Re: Dealers                           [ Fred Berney <berney@[removed]; ]
  gas rationing                         [ Kermyt Anderson <kermyta@[removed]; ]
  Re: Benny Books                       [ StevenL751@[removed] ]

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

Date: Sun, 20 Apr 2003 10:39:25 -0400
From: "Michael Adams" <michaeladams@[removed];
To: <[removed]@[removed];
Subject:  Re:Mechanics of Fear

This maybe a stretch you be the [removed] I see the request came from a
librarian who must read numerous book reviews. In a 1999 review of the book
America the Fearful. The Reviewer wrote. Alfred Hitchcock a man who knew the
Mechanics of Fear once said,"There is no terror in the bang only in the
anticipation." Is this the birth of a rumor of a lost series or episode?. I
was unable to find an reference to such a series or episode iso I offer this
Hypothesis. Still Looking.

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

Date: Sun, 20 Apr 2003 10:40:14 -0400
From: hal stone <dualxtwo@[removed];
To: <[removed]@[removed];
Subject:  Re:  Cincy Con.

George Wagner posted;

If this was your FIRST Cincinnati Old Time
Radio Convention, please note that the attendence
was uncharacteristically sparse this year.

Gee, George, while this was only my second Cincinnati Convention, perhaps
I'm not qualified to dispute your claim, but I suggest the following.

It may have seemed "sparce" because the facilities were nicer and more
spacious than last year.

Sales at my own dealer's table were off by
at least 90 percent, due entirely to the
exceptionally low turnout.

Well, maybe the economy had had a little something to do with that. Besides,
I saw a lot of the same people at this years event that had attended the
prior year. Maybe they had already bought what they wanted back then?

(UPDATE) Before sending this on to the Digest, I read other folks response
to your point of view.  Except for three people who should have been there,
the attendance duplicated that of last year. See, I was right. :) It's proof
that we had lots more room to move about, so it just seemed that attendance
was down.

But I do agree that publicity and promotion would probably help increase
attendance in the future and draw in some new faces.

But from where I sat, everyone seemed to have a good time, and I would like
to once again publicly thank the two "boob's" (Ooop's, I mean the two
"Bob's") for putting it all together, and for inviting me to attend again
this year. I do appreciate it, and appreciate the efforts they make to
promote the OTR hobby.

Hal(Harlan)Stone

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

Date: Sun, 20 Apr 2003 10:41:46 -0400
From: hal stone <dualxtwo@[removed];
To: <[removed]@[removed];
Subject:  Re: filter booths

My compatriot Bill Murtough (radio engineer par excellence) had this to say
on the subject of filter booths.

Hal Stone did well replying to the question about "filter" mikes. However
he fell short in describing the "filter" booths. He didn't describe about
the "lousy" odor inside these booths. These units were about four feet
square with a small glass window in one side. The entrance way had a
drape of "monks cloth". The interior was finished with "Ozitte " which,
to put it midly, "stunk". A small homemade wooden horn with an earpiece
from a "headset" as a driver unit was clamped to the microphone to
furnish the audio so that the actor could hear the program.

Yikes Bill, Where were those broadcast studios located? Afghanistan?
And I know your not old enough to have been working at the turn of the
century. (I mean the 19th, not the last one). :)

NBC New York at 30 Rockefeller Plaza had ritzy filter booths. Befitting the
ritzy address.

And what did you have to complain about? If there was an odor, you engineers
just had to breath it for a minute to hook up the mic. Pity the poor actors
who had to work inside it for extended periods. :)

But NBC's didn't stink, and as I said, we had two sizes. The smaller (that
you described) was about 4x4, and sound deadening composition tiles were
attached to the walls and ceiling. You said your booths [removed]

The entrance way had a drape of "monks cloth".

It must be hell to be poor. NBC had real doors that were also covered in
those same acoustic tiles. And I seem to recall that the window was double
glass. They were painted glossy black, (not the glass, the exterior walls,
silly) and were mounted on huge casters. As for the STINK that your booths
had. Do you suppose some drunk actor mistook it for a porta-potty?

A small homemade wooden horn with an earpiece from a "headset" as a driver
unit was clamped to the microphone to furnish the audio so that the actor
could hear the program.

HUH??? A wooden horn? Like one of those things that deaf people used to hear
sound through? Did the actor have to hold this "horn" with one hand, the
script in the other? Hmmmm. I wonder how he turned pages? :)
(Just kidding around, Bill).

Ours had the typical headset ear piece (I forget what material they were
made from, but it was hard and uncomfortable, but they also had the wire
"headband" that you placed across the top of ones skull, with the ear piece
covering one ear, so both hands were free. They were uncomfortable to wear
for any length of time. It irritated the top of ones head, causing the skull
to go numb eventually. Did you know that's where the expression "Numbskull"
originated? (I don't know what gets into me sometimes).

As for wealthy and "state of the art" NBC, we also had the larger version of
the 4x4 "one stinky actor" filter booth.

The larger version  was made with the same materials, and I would have to
guess the size to be at least 4x8, and the window was much larger. That big
booth was usually used in NBC's studios 6A & 6B. (I logged many hours in
that booth) since for years, the "Archie" shows standard opening involved a
phone call.

The smaller booths was used in the 3rd floors smaller studios. (Ingenious,
don't you  think?) I'm not sure how many of these Filter Booths were made,
but I'm sure there were enough to accommodate NBC's daily schedule. Keep in
mind, every studio did not have their own booth. Since they were so mobile,
they could be moved from studio to studio as the scheduled dictated. That
task fell to NBC's studio set up crew. (Much like stagehands in the
theatre).

Every once and a while, graffiti (in pencil) could be spotted on the walls.
But that must have been from uncouth visiting CBS actors.

Hal(Harlan)Stone
who used deodorant

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

Date: Sun, 20 Apr 2003 10:41:46 -0400
From: hal stone <dualxtwo@[removed];
To: <[removed]@[removed];
Subject:  Re: Cincy Convention

Christopher Werner posted an interesting and very concise overview of his
first OTR Convention. It appears that he thoroughly enjoyed himself. But my
name was mentioned a few times in his dissertation, so I have to respond.

When we returned I remembered it was Thursday night and time
for the OTR chat (I'm usually flying home and miss them).

I asked Chris to fill in for me in the Chat room. But I had a note from Lois
excusing me. :) 

I seem to occasionally be lucky in life, like staying loyal to my Apple
Macintosh until Microsoft introduced Windows 95 - then I switched.

I certainly hope you just switched software, not computer systems. :) Curly
Summers and I would never forgive you.

Rooms were adequate, I missed my mini-fridge and microwave and the bathroom
was a little tight but comfortable just the same

To which I [removed] less time in the bathroom. :)
 
Speaking of the recreations, Chris said;

I did enjoy them all, especially the smooth low timber of John Rayburn, the
familiar 'Commissoner Gordon' voice of Bob Hastings and the mellow voice of
Hal (who didn't squeak once all weekend).

That's comforting to hear. But someone stole my patented voice when they
portrayed a squeaky voiced character in one of the episodes. :)

Next up was Boston Blackie, one of my personal favorites. I was curious how
Hal Stone was going to play the Irish Policeman.

And????

He and the rest of the gang did a good job finding the furs and catching the
criminal. 

"Good"? Not "Stellar"? Hummph!

Of course at $[removed] a day what do you expect. Now the dinner is $30 -
suddenly Hal Stone owns a suit and tie- WOW!

You can clean me up and take me anywhere, or so my wife says.

The fellow who played the bellhop and the monkey used a high shrill voice.

That's my Jughead voice he shamelessly stole. :)

Bob Hastings played Phillip Marlowe in a very laid-back manner.

He was "on" something! Anymore laid-back and you'd have heard him snore! :)

The bellhop started to ad lib his lines adding a "Reeelaaax" Phillip in the
middle of the dialog.

See, he stole my  act. :)

At one point Terry Solomonson (who presented the Parley Baer
awards) began a long introduction to someone who has done so much for the
hobby. Hal Stone began walking toward the stage as if the award was
destined for him.

Gosh, I hope everyone knew I was just clowning around.

It was fun. It was memorable.

We aim to please. Glad your first Convention left you with such positive
memories.

Hal(Harlan)Stone 

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

Date: Mon, 21 Apr 2003 00:00:17 -0400
From: hal stone <dualxtwo@[removed];
To: <[removed]@[removed];
Subject:  Re: Rick Keating's script

Rick posted;

I just wanted to say thanks again to all those who
participated in the performance of my Johnny Dollar
script at the Cincinnati convention.

I for one want to commend Rick for writing such a well crafted Johnny Dollar
script. And to thank Don Ramlow for assigning the lead character to me.
I gotta tell you folks, it was a special treat to finally be recognized as
an "mature" actor. :) For the first time in my long and varied career, I got
to play the adult male lead in a legendary OTR series. I have finally,
(hopefully) kicked my image as a squeaky voiced juvenile. And I guess I
acquitted myself fairly credibly. None other than Charlie Summers
complimented me on my performance. Those are the first kind words old "curly
locks" has given me since I met him.

Rick went on to say;

I should mention, just for clarification's sake, that
there was a typographical mix up in the script near
the end, and Johnny ended up with one of the killer's
lines.

Now you tell me? Sheeesh! :)

For the record, I decided not to mention that goof
because I didn't want to risk the actors getting
confused about who had which lines if changes were
made on the physical script.

Rick, for future reference, do not hesitate to make changes, corrections,
deletions at any time during rehearsals. Professional radio performers are
very adept ato marking up their scripts, inserting dialogue, whatever. It's
an integral part of the craft, and doesn't confuse them in the least. Except
maybe newcomers like Hastings. :)

Besides, original OTR shows sometimes had slight goofs like that, so it
fits.

That's heresy! :) (just kidding)

On a related note, why do OTR performers read from
their scripts instead of memorizing their lines as
actors do on the stage, screen or TV? Is it so they
can synchronize their words and actions with the sound
effects people, or for another reason?

To set the record straight, memorizing a lead role for a stage play takes
many weeks. Memorizing dialogue for a film, which is usually shot in short
scenes (or takes) is not as difficult, Usually, the actor needs to memorize
only a page or two of dialogue each day. And the set-up time (Cameras,
lighting, etc) usually takes so dang long, that the actors are also studying
their lines during those periods.

The performers who amaze me are the one's who do the daily TV soaps. After a
performance, they immediately go into rehearsal for the following day,
(reading from scripts) and memorize their lines that night. Then they go
into a "dry" rehearsal again the following morning on the set, (Dry means no
cameras), then rehearse again for camera blocking, then a dress rehearsal
before they go "live". Nowadays, of course, the telecast is not live, but
videotaped. Then too, TV performners have the advantage of teleprompters off
to the side of the cameras to help them so they don't blow their lines.

There is a very logical explanation why OTR performers read from scripts.
There was simply no need to memorize lines, thereby eliminating that very
time consuming process. In OTR, after a number of rehearsals, most of the
good actors didn't "read" the lines in the script. They "Delivered" them.

By the time they went on the air, they were quite "familiar" with the
dialogue, and only needed to glance at the script so they could pick up
their cues, and often could deliver their next line while looking at the
person they were playing opposite.

That was a technique that helped the OTR performers relate to each others
character. Since they would usually be playing directly across the mike from
each other, eye contact and facial expressions (even body language) helped
to add nuances and believability to the vocal performance.

I hope that answers your question Rick.

Again, it was nice meeting you. I hope I did justice to your interesting
script. :)

Hal(Harlan)Stone
[removed] :)

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

Date: Mon, 21 Apr 2003 00:11:01 -0400
From: Joe Mackey <joemackey108@[removed];
To: otr-net <[removed]@[removed];
Subject:  Today in radio history

   From Those Were The Days --

1935 -- Your Hit Parade was first broadcast.

1947 - Fred Allen didn't find things so funny when censors cut him off
the air during his broadcast. Allen was telling a joke about a mythical
network vice-president when he was suddenly taken off the air. One
moment [removed]

   Joe

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

Date: Mon, 21 Apr 2003 00:11:34 -0400
From: Elizabeth McLeod <lizmcl@[removed];
To: <[removed]@[removed];
Subject:  Re: Bumper Stickers

On 4/20/03 10:58 AM OldRadio Mailing Lists wrote:

It looks like a bumper sticker and American Heritage _says_ it's a bumper
sticker, so I assume that they're at least that old.  People have been stuck
in traffic since the 1920's, so I'd be surprised if bumper stickers didn't
originate then.

The idea of bumper stickers probably traces back to the popularity of
novelty spare-tire covers, which were popular in the 1920s and 1930s on
cars with rear-mounted spares. These were round leather or leatherette
covers that would lace or snap into position -- and offered a convenient
flat surface which was often painted with advertisements for businesses
or popular slogans of the day like "Repeal The Eighteenth Amendment" or
"Keep Cool With Coolidge."

There were some very impressive spare-tire covers used in the 1936
Republican presidential campaign, painted to look like large Kansas
sunflowers. (Use of this symbol by the Landon campaign prompted the
incumbent President, in one of his wittier moments, to point out that
sunflowers were yellow, had a black heart, were useful only as parrot
food, and always died before November.)

Elizabeth

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

Date: Mon, 21 Apr 2003 00:11:43 -0400
From: Fred Berney <berney@[removed];
To: [removed]@[removed]
Subject:  Re: Cinci Convention

To say a great time was had by all would be an understatement. I'm still
trying to catch up on my sleep.

I think it was Friday night that I sat with Martin Grams, Jr. and Sr. till
about 2 AM. We had all gone out to dinner and then just continued the
conversation at one of the tables outside of the meeting rooms. Rick and
his girl friend Susanne were also there, but then as the evening turned
into morning, they went off to their room.

A good part of the time was watching Martin Sr. perform card tricks. I
could sit and watch him all night. Actually I did sit and watch him all
night. Then Martin Jr. and I just keep talking and before you know it, it
was 2 AM.

The next night after the banquet, we were on our way back to our room when
we stopped to talk to someone who was getting ice from the machine on our
floor. Then Charlie Summer and his wife walked up to get ice and we started
talking. I never looked at my watch, but it was at least 30 minutes and
could have been an hour.

I'm sure the people who may have been trying to sleep in the room we were
standing outside of really appreciated our conversation and laughter.

The dealer room is great. Even better this year with all the room. The
re-creations are fun and enjoyable to watch. But the most enjoyment I get
out of the convention is talking with friends I've have met at these
conventions. Many started out as contacts via email or this digest and
others as someone I met at a convention, but over the years, they've become
friends that I really enjoy spending time with.

Bob and Robert have done an excellent job bring a great convention to all
lovers of OTR. Thank you both for all your efforts.

Fred
[removed]

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

Date: Mon, 21 Apr 2003 00:12:06 -0400
From: "Jeff Quick" <jeffquick@[removed];
To: <[removed]@[removed];
Subject:  Fibber & Molly Museum

Hi Everybody, could some one drop me a private email how to contact the
people who will run the Fibber McGee and Molly museum.  Frank Bresee was a
close friend of Fibber and would like to donate material to help the museum
out.  Take care,

Walden Hughes

Walden,

I'm dropping you a line off list with Leo Jordan's e-mail addy.  Leo is the
nephew of Jim Jordan.

The museum is tentatively scheduled to open in Peoria this fall.  Leo was
one of many interesting people I got to meet at the Cincy show.  We were
lucky enough to be seated with him at dinner Saturday night & he told us of
plans to finally get a museum opened up in honor of Peoria's (IMHO) most
famous citizen.

Thanks,

Jeff Quick

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

Date: Mon, 21 Apr 2003 00:12:32 -0400
From: Fred Berney <berney@[removed];
To: [removed]@[removed]
Subject:  Re: echo chamber

Hal Stone made a remark that reminded me of something. Back in 1965, we
were in New York, trying to sell our feature film. I was at Columbia
Records and noticed a sign above a door that lead to the stairway. It said
"quiet recording". I asked about the sign and was told that they used the
stairs for an echo chamber.

A mike was place at one level and a speaker at another. No electronic echo
for the Columbia recording folks. They had real echo.

Hal's remark reminded me of this and that I also heard that early echo
chambers were done the same way.

Fred
[removed]

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

Date: Mon, 21 Apr 2003 00:13:17 -0400
From: Fred Berney <berney@[removed];
To: [removed]@[removed]
Subject:  Re: Dealers

At 07:31 PM 4/19/03 -0400, you wrote:

But when a dealer purchases OTR
material, and skillfully fixes the quality, and then is willing to make
copies available at a fair, competitive price, he has every justification to
recoup his costs before someone downloads or copies the material, and
"pirates" the show without consideration of the dealers investment.

Well said Hal.

(Look Charlie, I did it properly. Hal's remarks on top and mine below) :-)

Fred
[removed]

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

Date: Mon, 21 Apr 2003 00:13:27 -0400
From: Kermyt Anderson <kermyta@[removed];
To: [removed]@[removed]
Subject:  gas rationing

Could somebody explain the difference between the
different gas rationing cards--A versus C? Was there a
B card as well? How much gas could be used by the
holders of each card? What determined who got each
kind of card? And, by the way, what was mileage like
on cars in the 40s? I imagine it was pretty poor. (But
then, I've also heard that PT Cruisers have pretty
poor mileage as well!)

If anybody can provide an overview of the rationing
system in general, or can point to a website that
covers this, I'd greatly appreciate it. Of all the
topical, dated material that crops up in OTR
(especially in references on Gildy, Fibber and Jack),
rationing is the one I understand the least. I
understand the general concept, but the details about
specific points, stamps, books and cards (which often
seem key to understanding the jokes) escape me.

Kermyt

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

Date: Mon, 21 Apr 2003 00:13:42 -0400
From: StevenL751@[removed]
To: [removed]@[removed]
Subject:  Re: Benny Books
X-Converted-To-Plain-Text: from multipart/alternative
X-Converted-To-Plain-Text: Alternative section used was text/plain

In a message dated 4/20/2003 10:56:30 AM Eastern Daylight Time,
[removed]@[removed] writes:

Can anyone recommend one Benny book over another -
mostly for factual accuracy and readability?
I've seen books by Mary and  Hilliard Marks, Joan Benny, Irv Fein and
Milt Josefsburg. (sp?)

I would recommend the Milt Josefsberg book hands down as the most enjoyable
read.  It has a lot of great stories and also gives the most informative, "in
the trenches" look at what it was like to work on the Benny radio show.

The Joan Benny book contains large portions of an unfinished, unpublished
autobiography written by Jack, and for those sections alone that book is
indispensible reading for Benny fans.

The Irving Fein and Mary Benny/Hilliard Marks books are both okay, but
they're rather dry reading by comparisson.

- Steve Lewis

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--------------------------------
End of [removed] Digest V2003 Issue #167
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