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	  	         === Last Update 1/17/95  ====





	    [removed]   Volume 96 : Issue 239


Articles in this issue of [removed]:

	 Chicken Heart
	 The [removed] imposter?
	 REPS Convention Report
	 shadow
	 missing digests
	 The quality of classic radio
	 Re: Introducing OTR to SOs
	 Hoppy's Horse-reversal

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

Date: Sat, 6 Jul 1996 15:33:14 -0400 (EDT)
From: Mark Kinsler <kinsler@[removed]>
To: [removed]@[removed]
Subject: Chicken Heart
Message-Id: <[removed]@bobcat>

I'm reading a book about science fraud, and I have come across the story 
of Dr. Alexis Carrel, a biologist at the Rockefeller Institute in New 
York from 1906-1938.  Dr. Carrel was famous for his ability to grow 
animal cells in the laboratory.  One of his co-workers, Albert Ebeling, 
was able to keep cells from an embryo chicken heart alive from 1912 until 
1946.  These experiments apparently captured the attention of the press 
at the time, and I wonder if they might have formed the basis for the 
famous horror show "Chicken Heart".  I never heard the show, but I've 
heard it discussed here and, of course, by Bill Cosby.  
                     
                                   Mark Kinsler 

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

Date: Sat, 6 Jul 1996 16:45:41 -0400
From: Lynchmob17@[removed]
To: [removed]@[removed]
Subject: The [removed] imposter?
Message-ID: <960706164540_571058869@[removed]>

Okay, gang.  I've got a problem.  I've been a big fan of the George
Sanders/Tom Conway Falcon movies and I decided to purchase
some episodes of the radio series.  Was I in for a surprise.  In the
films he was called Gay Lawrence.  He had a sidekick named 
Goldy.  On the show(which was nothing like the movies) his name
was Michael Waring(?!?).  They claim that the character was
created by Drexel Drake(?!?) whereas the movie Falcon was created
by Michael Arlen.  There was no Goldy either.  Whahoppa?  Can
someone help?  This is driving me batty!!

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

Date: Sat, 6 Jul 1996 20:04:28 -0400
From: KENPILETIC@[removed]
To: otr@[removed]
Subject: REPS Convention Report
Message-ID: <960706200426_571134758@[removed]>

Hi Gang -                   July 6 - 1996 -- Saturday, 7 PM cdt 

For the past month I have been on a long motor trip.  I drove close 
to 8,000 miles - fortunately, the car ran perfectly most of the way.
Of course I had no access to any e-mail, hence was unable to keep up
with anything happening here on the otr digest.  

Starting with issue 237 I'll be current, and I'll try to read all the
previous issues (back to and including 199) within the next week or so.
I'll try not to mention anything specific until I read those issues. 

A highlight of my trip was the REPS convention in Seattle, Washington. 
It was known as REPS RADIO SHOWCASE IV  This was the fourth annual
"Showcase" by the Radio Enthusiasts of Puget Sound, and the theme of
the convention was "Twisting the Dial in 1946". 

Having attended Newark and Cincinnati numerous times, it was interesting
to compare the REPS convention with the other two.  REPS was well 
organized.  All of the productions took place in auditoriums, so everybody
had a good seat and the acoustics were very good.   Unfortunately, no 
taping was allowed, so I have nothing to share except memories.  The REPS
did make a tape for their membership, and I plan to inquire as to whether
I can purchase a copy from the club. 

A well-thought-out program package was given to each attendee.  The 
schedule was contained in a pocketed file folder with ample room for 
flyers and other written material, so everything could be kept in one 
place.  The program of events included "Brief Biographies of Our Special 
Guests".  

The guests (in alphabetical order) were: 

Parley Baer, Harry Bartell, Richard Beals, Frank Buxton, Colby Chester, 
Wayne Cody, Stewart Conway, Sam Edwards, Herb Ellis, Ray Erlenborn, Fred
Foy, Jim French, Pat French, Esther Geddes, Art Gilmore, Merrill Mael, 
Tyler McVey, Bill Murtough, Norma Jean Nilsson, Gil Stratton, Jr., Ginny
Tyler, Anne Whitfield (Phillips), Rhoda Williams, and Douglas Young. 

The night before the "official" convention, was coincidentally (or by 
propor prior planning) the taping of KIRO MYSTERY PLAYHOUSE in the 
McFachern Autitorium, which is part of the Museum of History and Industry 
in Seattle.  Jim French, writer/producer of the show, generally tapes two 
original radio plays at these monthly sessions, but this time he did 
three.   Some of the guests of the REPS participated in these productions.

The three plays were:
HARRY LIME "The Counterbalance Case"
REMBRANDT (a new production of the 1963 program) 
THE MANNEQUIN.

Harry Lime is an ongoing detective series that until recently has only
been heard in the Pacific Northwest.  

Rembrandt was broadcast with a semi-professional cast in 1963 as an
"experimental" program.  Jim wanted to see what a professional cast
would do with this script, so this program had a cast which included
Art Gilmore, Herb Ellis, Fred Foy, Parley Baer, Frank Buxton, Harry Rose,
Rhoda Williams, Merrill Mael, Jan Darcy, Tyler McVey, Sean O'Mera, and
Pat French.  This was the largest assembled cast for KIRO Mystery 
Playhouse, which is being syndicated under the name "Mystery Playhouse", 
(without the KIRO), I believe.  More about that later. 

The Mannequin cast consisted of only three characters which were portrayed
by Harry Bartell, Gil Stratton, Jr., and Pat French.  Interesting story.

Jim said that he is now syndicating this series, and that a station in 
Chicago will be carrying it.  He told me that it was "The Classical Music
Station", of which Chicago has two - WNIB and WFMT.  I suspect WNIB would
be the one that will carry the program, but I have nothing to confirm 
that.  The above three programs are scheduled for broadcast in August. 

Be sure to check the stations in your area that broadcast otr.

At the convention, several re-creations were done in the auditorium of
the Overlake Hospital Conference Center in Bellevue, Washington.  

These re-creations included:
SUSPENSE "The Game" 1955  
VIC & SADE "Peddling Hyena Grease" March 27, 1944 
THE RIGHT TO HAPPINESS "#1379"  Feb 1, 1945 
THE LONE RANGER "Fear"  May 7, 1946 
LUX RADIO THEATRE "The Clock"  January 26, 1946

The dial had to be twisted quite a bit from 1946 to include the 
SUSPENSE program, but the reason is that both Gil Stratton, Jr. 
and Sam Edwards were in the original production.  Besides, it was
a tale well calculated to keep you in Suspense - and it did. 

In addition to the re-creations, there were "News Headlines" from 
1946 read (from the wire) by Merrill Mael at several intervals throughout
the convention. 

There was another room for panel discussions and workshops while the
rehersals took place in the auditorium.  There was also a dealers room
where cassettes, ET's, and other radio memorabilia were being bought and
sold.  

Frank Buxton announced that the (updated) book "THE BIG BROADCAST" by
Frank Buxton and Bill Owen will be published in 1977 - 320 pages,
ISBN 0-8108-2957-6  $[removed] cloth, by Scarecrow Press, Inc, and he
was offering a pre-publication discount (20 percent) at $[removed] 
 
I don't know if the form is required, but you can call Scarcrow Press'
order number 1-800-462-6420 and see if you can save a few dollars by
ordering early. 

The attendance was about the same size as Cincinnati.  I recoginzed 
several people from other conventions (and they recognized me, too),
so I was not totally among strangers.  By the time the convention was
over I made several new friends in Old Time Radio.  

Since I wasn't sure I could be in Seattle/Bellevue at the proper time 
for the convention, I did not have a prior reservation.  Fortunately 
for me there were a few (very few) no-shows, and I was able to partake
of all the activities, including the dinner.  

As is the case with Newark and Cincinnati, awards presentations followed 
dinner, and there was live entertainment as well.

The entire convention committee obviously worked many long hours to make
everything come off so well.  The committee was chaired by Mike Sprague, 
who did an outstanding job so that the convention ran smoothly. 

I did not recognize any names as being those of "otrdigest" contributors.
I presume that since Seattle/Bellevue is a long drive for most of us that
nobody from the digest except me attended.  I did, however, ask around 
for "otrdigest" people.  Interestingly, very few people in attendance are
active on the internet.  

I'd be intersted in learning if anybody reading this was at the REPS RADIO
SHOWCASE IV.  Please e-mail me directly.  I'd like to compare notes about
the convention.   

Happy Taping --  Ken Piletic - Streamwood, Illinois 
kenpiletic@[removed] 

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

Date: Sat, 6 Jul 1996 08:20:34 -0700
From: [removed]@[removed] (Donald Dortmund)
To: [removed]@[removed]
Subject: shadow
Message-ID: <[removed]@[removed]>

  in response to :
  
  >Date: Mon, 1 Jul 96 23:58:30 UT
  >From: "Bruce Rosenberger" <BR3D@[removed]> To: otr@[removed]
  >Subject: Shadow/ILAM/Thanks for the Logs Message-Id:  
  >Was in the local 'funnybook' shop the other day and found a two tape set 
  >of Shadow shows claiming to be 'never before released'.  
  >Circle of Death
  >The Death Triangle
  >The Destroyer
  >The Little Man Who Wasn't There
  
  >The first two show are Orson Welles,  
  
  >Bruce M. Rosenberger - Hellertown, PA
  
  My wife works for OSCO Drug (American Drug) stores, OSCO just recently 
  started carrying some OTR cassettes, on a trial, guaranteed sales, basis.
  The tapes are distributed by Great American Audio corp ;
  33 Portman Road 
  New Rochelle NY 10801
  These tapes also say 'never before released', the first two episodes you 
  list are on one of the tapes she bought me. 
  Circle of Death              Nov 27,1937
  The Death Triangle           Dec 12,1937

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

Date: Sat, 6 Jul 1996 08:23:45 -0700
From: [removed]@[removed] (Donald Dortmund)
To: [removed]@[removed]
Subject: missing digests
Message-ID: <[removed]@[removed]>

  I have been saving the old copies of the digest and I notice that every 
  so often I miss receiving an issue. I am missing 240,220,234.  I would 
  like to get the back issues, and find out if there is a problem with my 
  server or address, Any clues???
  DON

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

Date: Sat, 6 Jul 1996 23:59:10 -0400 (EDT)
From: "'A. Joseph Ross'" <lawyer@[removed]>
To: [removed]@[removed]
Subject: The quality of classic radio
Message-Id: <[removed]@[removed]>

> Date: Fri, 5 Jul 1996 21:07:41 -0400
> From: Platecap@[removed]
> To: otr@[removed]
> Subject: old time radio, family values and a better era
> Message-ID: <960705205508_428286636@[removed]>
> 
> I think the thing about classic radio shows that shouldn't be overlooked is
> that it promoted wholesome family values, but the same cannot be said for
> much of what is being broadcast today.  

Probably because it was heavily censored.  When Mae West and Don Ameche
did an Adam & Eve routine on NBC that was somewhat steamy by the standards
of the times (Listening to it today, it's hard to see what they objected
to), there were Congressional hearings.
 
> There was genuine QUALITY radio programming produced and distributed by the
> major networks.   During radio's golden era, the industry was loaded with
> talent in all areas and programming geniuses who were allowed to flourish.
>  If that hadn't been the case, talent like Jack Benny wouldn't have been able
> to enjoy a successful 23 year radio career in quite the same way.  

There was plenty of mediocre radio in those days, too.  We remember and
preserve what was best, not what was worst.  The reason Jack Banny
flourished was the same reason shows flourish today:  He got high ratings.
 
> Back when Suspense and the Lux Radio Theater were enjoying their 20 year runs
> on network radio, we didn't have hate mongering radio the way we do now -
> [removed] commentators who have gained tremendous followings doing little more
> than bashing the very government and country where they earn their
> multi-million dollar salaries.  

True, bashing the government too much was usually not allowed on radio in
those days.  But there was plenty of hate-mongering aimed at Jews and
blacks by certain radio preachers.

BTW, the bias in favor of government in the media was not entirely
healthy.  I remember when, in the late 1960s, the president of Boston
University felt it necessary to apologize when the editor of the student
newspaper called for the impeachment of President Johnson, as if it were
something treasonous.  This attitude is part of what led to the events we
call Watergate.
 
> It's too bad the *sheeple* who listen to those red-hot talk shows today
> (which have actually leveled off in popularity and have started to decline)
> couldn't have been weaned on some kind of current version of Fibber McGee &
> Molly or Dimension X.

Dimension X, BTW, was not from the Golden Age of Radio, but from the early
1950s, when bug-time network radio had already given way to television as
the nation's mass medium.
 


======================================================================
A. Joseph Ross, [removed]                                      617/367-0468
15 Court Square                                   lawyer@[removed]
Boston, MA 02108-2573                    [removed]~lawyer/
======================================================================

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

Date: Sun, 7 Jul 1996 03:52:59 -0400
From: JackBenny@[removed]
To: [removed]@[removed]
Subject: Re: Introducing OTR to SOs
Message-ID: <960707035258_428916051@[removed]>

In a message dated 96-07-04 04:26:39 EDT, you write:

>These are just a few of the shows that I think might serve the purpose. But
>really, I think the more important question is that of the shows to avoid.
> 
And I'll probably get flamed for this, but I'll say it anyhow.  I would
actually NOT recommend starting off with a Jack Benny program.  Because, you
know, I've been in the company of the non-Benny-initiated and listening to
shows.  I recall one specifically where there's some comment about Phil
passing out in a theatre or restaurant when Dennis was in attendance.  "Boy,
was I proud!" declares Dennis.  I'm laughing away, and everyone around me is
looking at me as though I've turned green.  I have to explain first that Phil
is supposed to be the drunken bandleader, so his passing out in public is a
reference to enebriation.  Secondly, Dennis is a very silly, naiive
character, so being associated with someone who has passed out in public
because their enebriated would normally be embarassing to most people, but
Dennis is proud.

By the time you explain all of this, they then understand the joke but don't
find it funny any more.  Moreover, you've just talked over at least three
minutes of the show (if you can't pause it).  SO IN SHORT, the JB program is
often so character-based that you have to have some familiarity with it in
advance to truly appreciate it.  Think about it--if you had no idea what the
Jack Benny character stood for, would "I'm thinking it over" have as much
impact?

OK, flame away.

--Laura Lee
International Jack Benny Fan Club

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

Date: Sun, 7 Jul 1996 10:23:53 -0500 (CDT)
From: James Ouzts <jouzts@[removed]>
To: [removed]@[removed]
Subject: Hoppy's Horse-reversal
Message-Id: <[removed]@[removed]>

Many laughs from Ken Greenwald's Hoppy's Poopy story.  No wonder the 
stereoptic effect of wagonwheels turning backwards!  To avoid what the 
horses had deposited, maybe!

Thanks, Ken.

Jim Ouzts

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

    


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---- 
End of [removed] Digest V96 Issue #239

