
 SEE INFO SECTION AT END OF THIS DIGEST FOR UNSUBSCRIBE AND OTHER INFORMATION. 
	  	         === Last Update 1/17/95  ====





	    [removed]   Volume 96 : Issue 33


Articles in this issue of [removed]:

	 The water cure
	 Jim & Max are on the mark!
	 RE: Early Shadow and other things
	 Radio Classics Live
	 10-year-old comic
	 Superman Radio URL
	 Re: Gildersleeve (s)
	 Joan Blondell on a Radio special
	 RE: HARRY LIME
	 Burns baby, [removed]
	 Hal Peary and William Waterman
	 Imus -- who cares?
	 Then There's Print-Through!
	 Water and Tape Recorders
	 MElrose 5-5300
	 Godfrey singers
	 Acetate Disks
	 Re: Imus before Stern (WAY before)

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

Date: Wed, 24 Jan 1996 18:45:45 -0500 (EST)
From: Mark Kinsler  <kinsler@[removed]>
To: [removed]@[removed]
Subject: The water cure
Message-Id: <[removed]@bobcat>

It isn't likely that a tape machine would suffer too much damage from 
wetting the tape to silence squeal if rubbing alcohol was used instead of 
water.  This would ensure that anything that got into the works would 
evaporate quickly.  They used to use an alcohol-water solution for 
"wet-playing" records (remember _that_, high-end audiophiles?).  The 
alcohol shouldn't bother anything in the machine, though it would be best 
if the machine was upright (that is, tape spindles horizontal) instead of 
on its back.  
  I would assume that you'll be doing this just once for each tape in 
order to salvage the material thereon.  It seems like an awfully tedious 
way to go about playing tapes for every-day listening.  

                               Mark Kinsler 

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

Date: Tue, 23 Jan 96 22:58:30 EST
From: platecap@[removed] (Bob B)
To: otr@[removed]
Subject: Jim & Max are on the mark!
Message-Id: <m0tfEzW-000YNaC@[removed]>

I don't understand why there is controversy over the details on the
Shadow lawsuit.

But I did want to verify that the facts that Jim Widner and Max Schmid
relayed are very accurate. They presented very factual information which
is all verifiable public knowledge.

How do I know?  Because I was one of the named defendants in this
nuisance case.  I scraped together thousands of dollars to pay an
attorney.  I have all the documentation to prove it.

Stay tuned for availability of War in the Oxide Trenches soon.
Then after that, please, let's drop the subject.  This happened five
years ago.  It's time to move forward.

Btw, thanks Max for your support.

-BB

Bob Burnham; BRC Productions; [removed] Box 2645; Livonia, MI 48151
voice (313) 277-3798;  fax (313) 277-3095; internet platecap@[removed]

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

Date: Wed, 24 Jan 1996 17:49:34 -0600
From: lgenco@[removed] (Louis Genco)
To: otr@[removed]
Subject: RE: Early Shadow and other things
Message-ID: <[removed]@[removed]>

In the last issue of the Internet OTR Digest, Tim Turner asked about The Shadow.

For a short history of The Shadow on the radio, see my OTR WWW page.

The page also has a FAQ, including methods to de-squeak tapes.
It also has a large list of radio stations playing OTR today.
There are also connections to places with =real= info about copyrights.

(It really is worth a visit, and may obviate the necessity of your asking
questions of Digest subscribers!)

Lou
------------------------------------------------------------------------
WWW page on "Old Time Radio":                   [removed]
------------------------------------------------------------------------

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

Date: Wed, 24 Jan 1996 19:27:48 -0500
From: alabok@[removed] (Bob Jennings)
To: otr@[removed]
Subject: Radio Classics Live
Message-Id: <[removed]@[removed]>

 Hello everyone;
        I want to announce that the 7th annual Radio Classics Live
performances will take place this year on Friday March 29 and Saturday March
30, 1996.  The main performance will be held on Friday as always, and will
at the Massasoit Community College auditorium in Brockton, MA.
        This is a recreation of the golden days of radio's yesteryear with
many old time radio guest stars and talented amateurs and local
professionals.  All proceeds from this event go to support the Peg Lynch
Radio/Television Scholarship Fund at Massasoit Community College.
        This year's show will feature special guests Dick Van Patten,
Rosemary Rice, Fred Foy, Jess Cain, Norm Nathan, Arthur Anderson, Don Buka,
and of course Peg Lynch and Bob Drynan doing a recreation of Ethal and
Albert  Barney Beck, Mutal's famous sound effects man, will handle all the
special sound effects for all programs.
        The Friday program will feature a recreations of "I Remember Mama",
"Ethel & Albert". "The Bickersons" and "Duffy's Tavern"  Show time is 7:30
to 10:30 PM, doors open at six forty-five.
        The Saturday program on March 30th will be held at the Brockton
Holiday Inn at the Westgaste Mall (just around the corner from the college)
and will be a buffet dinner and reception.  Performances after the dinner
will include "The Thin Man". "Sorry, Wrong Number" "Ethel & Albert", and
"Let's Pretend".
        Tickets for the Friday show at $[removed]  Tickets for the Saturday
show and dinner are $[removed]  Or you can save six bucks and get both shows
for one low price ofr $[removed]
        This  has always been a stellar event and a real treat for fans of
old time radio.  Bob Bowers, professor at Massasoit and a long time otr
collector, arranges this production every year and puts on a great show with
a teriffict mix of comedy and drama, and an outstanding cast of talented
amateurs, local professionals and old time radio stars.
        If you can get to the Brockton MA area at the end of March this is a
show well worth seeing.  Remember, all proceeds benefit the Peg Lynch
Scholarship Fund.  You can order tickets from Bob Bowers (make all checks
out to Massasoit Foundation) , Massasoit Communit College, One Massasoit
Blvd, Brockton, MA 02402.
        Anyone needed more information or specifics, directionsm, hotel room
rates at the Holiday Inn or whatever can contact Bob Bowers  (or his trusty
assistants) at 508-427-1234.   I've personally attended many of these in the
past and had a wonderful time.  Give this event your special attention and
plan on attending the show this year at the end of March; you'll really
enjoy it.

                ----Bob Jennings

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

Date: Wed, 24 Jan 1996 18:23:52 -0800
From: alvo@[removed] (Alan Voorhees)
To: [removed]@[removed]
Subject: 10-year-old comic
Message-Id: <[removed]@ [removed]>

For those who might have missed it, here is the response to the NY Post
story on the condition of George Burns as it came over the Associated
Press. I think there may be a typo re: his age :^) ...

^AM-CA--George Burns,280<
^Friend Says George Burns Is Ill, But Not Near Death<
^AP Photo NY112<
^btnysm2<
^By BOB THOMAS=
^Associated Press Writer=
           LOS ANGELES (AP) _ George Burns' manager disputed reports that
the 10-year-old comic is gravely ill, saying Tuesday that Burns is
eating and wants to go to the office.
           Burns ``may live a year, he may live two months, he may go
tomorrow,'' said manager and longtime friend Irving Fein. ``George
is exactly the same as he was last Saturday. He's weak, but he is
eating.''
           New York Post columnist Cindy Adams reported Tuesday that Burns
was too weak to eat and near death and that the gravity of his
condition was being hushed up.
           Burns, who is using a wheelchair, stopped performing after he
was injured in a bathtub fall in 1994. More recently, he caught the
flu after attending Frank Sinatra's Christmas party, and he
recently stopped his daily trips to his Hollywood office and to the
Hillcrest Country Club to play bridge.
           Adams said Burns was unable to eat solid food and that people
close to him were debating whether to have him fed intravenously.
           The columnist, wife of comedian Joey Adams, also said Burns
hardly responded to Fein and old friend Barry Merkin, who visited
him on his birthday Saturday.
           Not so, said Fein. He said Burns was asleep when Fein visited
and they didn't talk. Fein also denied Burns couldn't recognize
Merkin.
           ``He has not changed much in the last year and a half since he
had the fall in the bathtub,'' Fein said.
           ``Yesterday he had a big breakfast and wanted to go to the
office,'' the manager said. ``There's no intravenous. He hasn't
seen a doctor in three weeks.''

           (Copyright 1996 by The Associated Press.  All Rights Reserved.)
           AP-NY-01-23-96 1514EST<

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

Date: Wed, 24 Jan 1996 18:31:31 -0800
From: alvo@[removed] (Alan Voorhees)
To: [removed]@[removed]
Subject: Superman Radio URL
Message-Id: <[removed]@ [removed]>

The correct URL for the Superman Episode on the web is:
[removed]

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

Date: Wed, 24 Jan 1996 20:49:29 -0600 (CST)
From: Charlie D Matkin <cdm01@[removed]>
To: [removed]@[removed]
cc: otr@[removed]
Subject: Re: Gildersleeve (s)
Message-ID: <[removed]@[removed]>

Hal Peary (?) has been dead for many years, but Willard Waterman died 
only about a year ago. We had been in touch about having him come to New 
Orleans to take part in our re-creations, but he is now REALLY on the 
"airwaves". Charlie Matkin

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

Date: Thu, 25 Jan 1996 00:31:04 -0300
From: Art Rockwood <rockwood@[removed]>
To: [removed]@[removed]
Subject: Joan Blondell on a Radio special
Message-Id: <[removed]@[removed]>

Sometime between October, 1942 and March, 1943 Joan Blondell appeared in a
command performance from Carnegie Hall along with some other performers
(whose names I unfortunately don't know). The show was broadcast worldwide
through AFRS. I'm afraid I can't be more specific than that because that's
all I know, but I'm trying to find a copy of that particular show. Can
anyone help?
Thanks in advance.

Art Rockwood                                rockwood@[removed]
St. John's, NF, Canada                          Check my Web Page --
[removed]~rockwood/

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

Date: Wed, 24 Jan 1996 21:05:58 -0800 (PST)
From: Joseph Ward <jward@[removed]>
To: [removed]@[removed]
Subject: RE: HARRY LIME
Message-ID: <[removed]@[removed]>

Thom Bray wanted information on HARRY LIME.  According to Frank Brady in 
CITIZEN WELLES, Welles wrote the following scripts: A Ticket To Tangier, 
Operation Music Box, Two Is Company, The Dead Candidate, Too Many Crooks, 
and The Golden Fleece.  The book THIS IS ORSON WELLES adds to this list: 
Greek Meets Greek (a script Welles later recycled for MR. ARKADIN), and 
It's In The Bag.  (A show titled Buzzo Gospel is also mentioned, but this 
is just the show The Dead Candidate retitled from above.)  

Brady gives the most information to be found in any of the popular 
biographies of Welles and lists what may be the definitive work on the 
show, a book by Frank Tavares, A Critical Analysis of Selected Dramatic 
Elements in the Radio Series, "The Lives of Harry Lime."  [removed] 
dissertation, University of Texas, Austin, 1976.

Anyone near Austin ever check this out?

Joe Ward

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

Date: Wed, 24 Jan 1996 21:30:34 -0800
From: AndyBlatt@[removed]
To: [removed]@[removed]
Subject: Burns baby, [removed]
Message-ID: <960124213033_23272457@[removed]>

Responding to the comment regarding the harsh, cynical way in which the NY
Post referred to George Burns' imminent demise
("Say Goodnight, George").  This paper is owned by none other than Rupert
Murdoch, the same paper that got someone into David Berkowitz's apartment in
1977 to photograph his scribblings about being Son of Sam (Sam was his
landlord's dog).  The NY post also regularly included pictures of dead people
sitting on slabs at the coroner's office (Was it John Lennon, I can't
remember?)  So this should come as no surprise.  Here in NY we're used to it.
 To sell papers in the outer boroughs (non-Manhattan) he charges only 25
cents ("for a limited time only").

****New Topic****
On occasion I am amazed by how some material becomes non-p[ublic domain after
being in the public domain.  There are some radio programs, when re-packaged
and redited with new intros and outros are then re-copyrighted (as well as
the originals that were assumed to be in the public domain).  What about
"It's a Wonderful Life"?  Every Christmas in every market you could see this
movie at least once on every station - either public or [removed]
colorizes it, adds some comments from current stars and voila!  Instant
ownership and the only place you'll ever see it is on NBC next Christmas.
 Can someone please enlighten me as to how this works?

****Someone asked about Gildersleeve****Don't know about Hal Peary but
Willard Waterman passed-away last [removed] was a fixture at both Cincinnati
and Newark conventions.

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

Date: Wed, 24 Jan 1996 21:50:14 -0800
From: MikeTimble@[removed]
To: [removed]@[removed]
Subject: Hal Peary and William Waterman
Message-ID: <960124215011_23273629@[removed]>

Being a big fan of The Great Gildersleeve, I am also a fan of Hal Peary.
William Waterman did a good job too, but it's hard to step into the shoes of
someone who defined the character. Considering everything, Waterman was quite
good.

The thing that has always bothered me is why did Hal Peary leave the show?
What were the events that led to this? What did Peary do after Gildersleeve?
 I'm not aware of anything, but I'm probably not as versed in this as many of
you on this list are. Anyone have input?

Oh, I almost forgot, I read in the book about Fibber McGee and Molly,
"Heavenly Days" that the name, Throckmorton P. Gildersleeve was inspired by a
street in Chicago (Throckmorton or Gildersleeve--I'm not sure which). I did a
search on a map of Chicago streets and found no such street. Anyone have info
on this?

Thanks

Mike Timble
Chicago

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

Date: Wed, 24 Jan 1996 22:38:45 -0800
From: AndyBlatt@[removed]
To: [removed]@[removed]
Subject: Imus -- who cares?
Message-ID: <960124223837_23276880@[removed]>

How did we ever get onto the topic of Don Imus?  If it weren't for the fact
that he stopped playing music by the time WNBC became WFAN and he stayed in
his time slot while the station changed call letters, formats and owners (as
well as studio locations), and if he weren't associated with a company that
could probably syndicate dead air (Infinity has syndicated or tried to
syndicate all of its talk-show personalities), he would be nowhere.  His best
years are behind [removed] 1970's on WNBC and the comedy albums (including
such bits as Billy Sol Hargis; 2,000 hamburgers to go) are classics. 
Stern claims Imus stole his whole routine as "shock jock"...(Stern didn't
even hit the New York market until Imus got hired, fired and hired
[removed]'d been at WNBC for at least 5 years when Stern came on board).
 The original shock jock?  WPLJ's Alex Bennett or the original,
less-conservative Bob Grant (at the time, on WMCA)...
Stern and Imus seem to be on a tear to see who can be more outrageous ---
they claim they hate each other, but they both work for the same company!
 Anyone in a major market has heard, seen more than they care to of either
Mssrs. Stern or Imus.  How can anyone talk about the radio drama or even
radio from the past and then mention either of these two egomaniacs?

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

Date: Wed, 24 Jan 1996 15:43:47 -0600 (CST)
From: joliver@[removed] (W. Joe Oliver)
To: otr@[removed]
Subject: Then There's Print-Through!
Message-id: <01I0E6SJ6RUA000C5P@[removed]>

     Recent writing here about crosstalk and channel leakage leaves 
incomplete a discussion of why you may hear more than one signal playing on 
an audio tape at the same time.  I know many readers are familiar with the 
phenomenon of print-through.  It's something we live with in the world of 
magnetic analog recording.  A concise description of the phenomenon is that 
magnetized strands of thin ribbon (recording tape) tend to allow captured 
patterns of sound recording to seep through to the next layer.  The result 
is you hear faintly a pre-echo effect of what you're about to hear after the 
next revolution of the tape. Once this occurs, you're pretty much stuck with 
it.  Tape thickness, tape type, recording level, temp, humidity, and storage 
time all play their part in this well known phenomenon.  I don't know how 
many readers need information about this nagging problem--most probably have 
already reached accommodation with it.  For reel collectors, a reminder of 
one technique broadcasters sometimes use to is to store tapes "tales-out."  
Storing an unwound tape makes the sound layer transfer post-echo rather than 
pre-echo--therefore it's somewhat less noticeable. Digital recording, when 
we're able to convert to it, will eliminate this problem.




    
W. Joseph Oliver
Department of Communication
Stephen F. Austin State University
Nacogdoches, TX  75962

   (409-468-4001)

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

Date: 25 Jan 1996 07:03:26 GMT
From: [removed]@[removed] (Ron B. Hare)
To: otr@[removed]
Subject: Water and Tape Recorders
Message-Id: <[removed]@[removed]>

To Max Schmid and others who are hesitant about lubricating squeaky tapes with
water.

The old "water and electricity don't mix" rule simple does not apply to using
water as a lubricant for squeeky tape. It takes very little moisture to
eliminate the squeaking. A damp paper towel in contact with the tape provides
enough moisture in many cases. In the extreme, a very damp paper towel works.
Not dripping, just very damp.

You definitely need to clean the machine after playing a squeaky tape. You'll
find lots of debris, but there will be no water. Very little gets onto the
tape and it will have evaporated by the time you get around to cleaning the
tape path.

Try it. You'll like it.
------------------------------------------------------------------------
Transmitted via LiveWire, a Virtual Valley service. Modem: [removed]
(FirstClass, VT-100)  Voice: [removed]; E-mail: online@[removed]

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

Date: 25 Jan 96 08:46:18 EST
From: "Robert I. Scherago" <[removed]@[removed]>
To: Old Time Radio <[removed]@[removed]>
Subject: MElrose 5-5300
Message-ID: <[removed]@[removed]>

On 1/25, BSF@[removed] wrote:
>I'm trying to find the name of the sponser of an old radio commercial that
>was heard in new york city around the 1940's. It had a jingle that included
>the telephone number MElrose 5-5300. Please contact me via e-mail if you
>remember the commercial and the name of the sponsor. It's keeping me up at
>night!!!
Burt,
I grew up in northern New Jersey (exit 17, but before the Turnpike) in the '40's
and
'50's and, too, remember the jingle. I believe it was for Barney's, the upscale
clothing store that has advertised very heavily on radio for years. Of course,
they stopped using that jingle years ago when phone numbers all became
numeric, rather than alpha-numeric. I hope I'm right, and that you can get some
sleep.
BTW, Barney's has recently declared bankruptcy.
Bob Scherago

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

Date: Thu, 25 Jan 1996 08:55:09 -0500
From: JRayb71827@[removed]
To: otr@[removed]
Subject: Godfrey singers
Message-ID: <960125085508_303786735@[removed]>

   Regarding requests for singers on the Arthur Godfrey show, it'll take
quite a bit of space to list them all (or most of them, anyway.)
   Let's start with:  Frank [removed] [removed] [removed]
[removed] Chordettes (they won on a "Talent Scouts" show)...The
[removed] [removed] LaRosa (about the "falling out", Godfrey
fired him on the air.  Julie apparently wasn't "humble" enough anymore.  I
did an on-air show with LaRosa later and he expressed no rancor about
it.)...Carmel [removed] McGuire [removed] [removed] [removed]
Ann [removed] (check me on the spelling.)
   Of course, some of those didn't stay as long-time regulars but they were
there anyway.
   Incidentally, in an interview with Carmel Quinn (an absolutely delightful
lady) she told me that when she came over from Ireland she had never even
heard of Arthur Godfrey.  One of the cute things she added (in her charming
Irish accent) was, "I always thought my sister was better than I was.  But,
she wanted to get married and have children and didn't want to perform."

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

Date: Thu, 25 Jan 1996 09:01:34 -0500
From: acosentini@[removed]
To: otr@[removed]
Subject: Acetate Disks
Message-ID: <1078e020@[removed]>

     Acetate disks are very delicate. Extreme care 
     should be taken when handling them. Certain 
     various problems arise depending on the year 
     the "blank" was manufactured and when it was 
     recorded. Not to mention who manufactured it 
     and who recorded it.
     
     The most important thing one should do is to 
     have the proper size stylus. If you are 
     working on a 16 inch disc you better have a 
     tone arm longer than the type you would use 
     on an LP or 78. So often I have seen acetates 
     that have been ruined because they were 
     handled carelessly. Acetates should not be 
     played as though they are 78's LP's or 45's.
     
     I've been told that I should write a book on 
     how to remaster acetate discs but this isn't 
     the place to do that. So I'm available for 
     free advice concerning audio restoration.
     
     I don't mean to plug but if there are any 
     individuals or companies who need the 
     services of an audio restoration engineer 
     give me a call. I've worked on everything 
     from Edison Cylinders circa 1888, wire 
     recordings and my favorite OTR acetates.
     
     Adrian Cosentini
     Chief Audio Engineer
     Rodgers & Hammerstein Archives of 
     Recorded Sound, Lincoln Center, NYC
     212-870-1609
     acosentini@[removed]

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

Date: Thu, 25 Jan 1996 11:16:23 -0500
From: Jblackie@[removed]
To: [removed]@[removed]
Subject: Re: Imus before Stern (WAY before)
Message-ID: <960125111558_406129730@[removed]>

In a message dated 96-01-23, Tim S. Turner writes:


>[removed]: ....  And Imus is still just
>       a Stern ripoff.  Just ask Pete Franklin.

Baaaaaaahhhhhh-  Wrong answer!

Sorry, Tim.  I was around in New York when Don Imus was on 
the air.  A DECADE before How-Weird Stern.  Stern was a DJ 
doing Imus imitations before he got "recognized".
In the beginning there was Don Imus, period.  No Stern. 

But they were on the same network, eventually- Imus in the 
morning, the other guy in the afternoon.  They did NOT get along.  
Don felt he was being ripped off.  He WAS!  Imus had a record 
"Are You Naked" with his "naughty" humor.  Stern took that
and made it worse.  Then worse again.  Then STILL worse!
Now he demonstrates how a lack of intelligence and 
imagination and be disguised through use of raunch and the 
worst instincts of humanity. ("How big ARE your breasts? 
Would you take off your shirt here in the studio?")  Sounds like
listening in on a grammar school basement party. This stuff is funny?
This is what KILLED radio.  Bring back Jack Benny, Fred Allen.  Or
at least Jean Shephard!  

Sorry, Tim.  You pushed one of my buttons.  I agree with your views on the
Shadow, completely (your main message).  Don't consider this a flame at you,
but at "him."

Jim (who must be getting old, because he doesn't like rap "music" either)

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

    


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---- 
End of [removed] Digest V96 Issue #33

