Subject: [removed] Digest V2003 #65
From: "OldRadio Mailing Lists" <[removed]@[removed];
Date: 2/11/2003 8:50 PM

To: <[removed]@[removed];

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

                                The Old-Time Radio Digest!
                                  Volume 2003 : Issue 65
                             A Part of the [removed]!
                                     ISSN: 1533-9289

                                     Today's Topics:

      PBX                                   [ Robert Lewis Leftwich <rleftwich@ea ]
      Ray Erlenborn, Silent Movie Actor?    [ Jordan Young <jyoung@[removed]; ]
      Re: Pratt falls                       [ hal stone <dualxtwo@[removed]; ]
      Re: diction                           [ hal stone <dualxtwo@[removed]; ]
      Re: It's cool to be "cool"            [ hal stone <dualxtwo@[removed]; ]
      Re: Michael's musings                 [ hal stone <dualxtwo@[removed]; ]
      Re: "Denying the Allegator"           [ Elizabeth McLeod <lizmcl@[removed] ]
      Tonto and John Todd                   [ "John DiMezzes" <jadm1@[removed] ]
      Shields/Fitzgerald                    [ "Joe Cline" <joeunited@[removed]. ]
      ThanX                                 [ Derek Tague <derek@[removed]; ]
      Re: Rajput, Hindu Secret Service Age  [ Steven Kelez <otrsteve@[removed]; ]
      The first show with Ben Romero        [ Ronald Staley <mrvintageradio@earth ]
      Bob Hope set                          [ "Walden Hughes" <hughes1@[removed]; ]
      Shadow                                [ "Walden Hughes" <hughes1@[removed]; ]

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

    Date: Tue, 11 Feb 2003 11:32:19 -0500
    From: Robert Lewis Leftwich <rleftwich@[removed];
    To: [removed]@[removed]
    Subject:  PBX
    X-Converted-To-Plain-Text: from text/html

    In response to Derek Teague's question aboutthe use of "PBX" in certain
    instances, the referenceis to an office telephone switchboard.
    PBX means "Private Branch Exchange".  This comesfrom the process of
    easing the tremendous amountof calls placed through a central Bell System
    operator bymoving the handling of those calls closer to the source;
    insidethe particular corporate office.
    Several trunk lines would be run to the business location anda series of
    numbes assigned for that company, such as212-760-0001  through
    212-760-0999 .  This gave the company1000 numbers they could control
    themselves with their ownoperators at the "PBX" console.
    The term is still in use today.  In fact, only a few years ago AT&Thad a
    switch (PBX) that allowed PC file transfers through the systemover the
    existing wiring by means of a card inserted in each PC knownas a
    "PC/PBX".  This card not only allowed you to do file transfers withanyone
    in the office, but to do a split-screen on your PC and see whowas calling
    (a form of caller-ID).   You could even get to your mainframecomputer by
    using the PBX switch and some software known and PBX3270.
    Best wishes,
    Rob

    Robert Lewis Leftwich, President The Leftwich Corporation
    Digital Pager: 540/983-5143

      *** This message was altered by the server, and may not appear ***
      ***                  as the sender intended.                   ***

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

    Date: Tue, 11 Feb 2003 12:16:48 -0500
    From: Jordan Young <jyoung@[removed];
    To: <[removed]@[removed];
    Subject:  Ray Erlenborn, Silent Movie Actor?

    Bryan Wright asked:

>     While reviewing the cast list for Charlie Chaplin's 1931 silent film "City
>     Lights," I noticed one Ray Erlenborn included in the credits. Is this the
>     same Ray Erlenborn of OTR sound effects fame?

    Yes, one and the same. As a child actor Ray did bits and extra work
    in silent  films, including "Safety Last" with Harold Lloyd, and also
    appeared in vaudeville revues.

    Anyone who's ever met Ray or seen him do an OTR recreation knows the
    ham has never left him--he'd probably be the first to admit it. He
    found a great venue for it when he played Capt. Andy in a civic light
    opera production of "Show Boat" in Fullerton, Calif., circa 1990.

    Jordan R. Young

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

    Date: Tue, 11 Feb 2003 12:26:40 -0500
    From: hal stone <dualxtwo@[removed];
    To: <[removed]@[removed];
    Subject:  Re: Pratt falls

    My buddy Walden Hughes recently asked.

>     Hal was mentioning about doing Pratt Falls.
>     I am wondering where there any tricks in doing a Pratt fall from keeping the
>     chance of hurting your self to a minimum?

    Well, Walden, the stage in the radio studio that we worked out of was
    carpeted. That helped of course!

    Then too, I was young and supple back then, didn't weigh as much, :) and
    could brace my fall with my arms when I went down.

    As for Bob [removed] lets just say he carried more padding in his butt. :)
    And I have the pictures to prove it in my book.

    Regards

    Hal(Harlan)Stone
    Jughead          [removed]

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

    Date: Tue, 11 Feb 2003 12:28:05 -0500
    From: hal stone <dualxtwo@[removed];
    To: <[removed]@[removed];
    Subject:  Re: diction

    There has been a recent thread in the Digest about regional dialects and/or
    accents, enunciation and pronunciation, (Phew!) .

    I vividly recall, as a child actor growing up in the business, that it was
    emphatically stressed that "Actors" were expected to speak "General
    American", (correct English) without a trace of a regional or ethnic accent.
    I grew up listening to my father mispronounce the word "oil", using "earl"
    instead.

    Many "elocution" teachers made a fine living training actors to speak
    without a hint of their regional origins. I hated having to take those
    lessons, and continually [removed] "How Now Brown Cow" and other phonetic
    and pronunciation drills.

    It was also important for actors to lose any nasal twang, speak from the
    diaphragm, eliminate any sylbilant "s", Etc. Etc.

    Growing up in New York, my speech was laced with what was was termed "The
    intrusive "R", and I learned to eliminate it. (I sometimes catch myself
    falling back into that old speech pattern). The same would be true of
    wannabe performers needing to lose the Boston "Broad A", or a southern
    drawl.

    However, actors, once they mastered the "General American" speech pattern,
    soon learned that they were more in demand if they also mastered dialects,
    in case the role required it. I had to use a "cockney" accent in one play, a
    "German" accent in another, and a Hell's Kitchen "Dem's and Doze" for the
    Theatre Guild radio play, "Dead End".

    Back then, this was considered pretty standard training for the theatre, as
    well as radio. AND THEN, ALONG CAME MARLON BRANDO. He, and other "method"
    actors, blew that theory all to hell with his success. He had the derisive
    nickname of "Mumbles" by the purists in the business. :)

    Basically, a performers first consideration was to be understood, and not
    have a speech pattern that might conflict with (or distract from) the role
    he or she was playing.

    One of the famous actors that had a problem, and was often teased about it,
    was Tony Curtis. But he was incredible as the Boston Strangler, and fell
    short when he was doing a historical piece. What was that line that
    comedians exaggerated and teased him about?....  "The kingdom of my fadder".

    I can also recall a NY radio character actor named Phil Kramer. He was a
    delightful guy, but had the most high pitched nasal voice you have ever
    heard. It was incredible. That was his normal speaking voice, yet he made a
    living if a director needed someone with a really odd voice.

    For an extreme example, Jimmy Durante would make a lousy King Lear. :)
    But luckily for him, he was a tour de force playing himself. There are
    exceptions to every rule.

    Incidentally, "noctaire" hit the nail right on the head when he posted about
    this subject in Digest issue #37

    Hal(Harlan)Stone
    "Jughead"  [removed]

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

    Date: Tue, 11 Feb 2003 12:28:36 -0500
    From: hal stone <dualxtwo@[removed];
    To: <[removed]@[removed];
    Subject:  Re: It's cool to be "cool"

     Elizabeth McLeod just posted, in response to my glowing praise about the
    film "Chicago"...

>     Hal, I always knew you were a cool guy, but this cinches it.

    Glowing praise from the "Younger generation". Wow! What a boost to my ego.

>     I saw this picture a couple of weeks ago (we got it at our local octiplex for
>     two shows only as a "selected market,") and it blew me away. It's the only
>     time I've ever been to a movie which got a standing ovation over the
>     credits.

    Something similar happened at our showing also. They all applauded but
    didn't stand, (I think they were all still in shock from the experience) but
    no one left their seats during the credits. Even audience applause following
    a movie is rare enough. Besides, they were still playing the great music
    over the credits and everyone hung around to enjoy that reprise.

    I got up to leave towards the end of the credits, and was dancing up the
    aisle.

    By the [removed] I ever tell you guys that I had to study tap dancing as
    part of my early training as a performer. I got to be pretty good at it, and
    can still do a pretty mean "soft shoe". Richard Gere doing his tap number
    was worth the price of admission. :) (And he didn't use a double).

    Elizabet signed off with;

>     Elizabeth
>     (who was in a community theatre production of "Chicago" fourteen years
>     ago -- and won't tell you what part she played. And no, there are no
>     pictures.)

    Aw C'mon, "Roxy". Come clean. I showed you [removed] you can show me yours.
    (Pictures, that is). I promise not to show them around.

    Now, if you will excuse me, I have to cross swords with my friend Michael
    Biel on the subject of "Chicago"...and a few other things.

    Hal(Harlan)Stone
    Jughead           Source for pictures: [removed]

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

    Date: Tue, 11 Feb 2003 12:29:17 -0500
    From: hal stone <dualxtwo@[removed];
    To: <[removed]@[removed];
    Subject:  Re: Michael's musings

    MICHAEL BIEL had this to say regarding some topics in my recent posting.

    On the subject of recording the West Coast feed, I said

> >     Maybe we did the West Coast feed "live" for the first year or
> >     two of the shows 9 year existence. Then, magnetic tape (as opposed to
> >     transcriptions) made recording for Delayed Broadcast practical.

    Michael responded;

>     On Feb 8, 1949 NBC
>     announced that recordings of all types would now be allowed on the whole
>     network, including entirely pre-recorded programs.  They were still using
>     discs at this time.  So tape was not a factor in the decision whether or
>     not to allow recorded repeats.

    Sez who? :) Vas you dere, Sharlie? (Just kidding, Doc!)

    My recollections only concerned my personal experiences doing the Archie
    Show.

    I remember that I was told that the reason we did the live DB's was that it
    was more cost efficient???? Duh?

    I know that if I wanted to "record" the show for any reason, I had to
    contract for an outside facility to cut a disc. One of my prized
    possessions, (That I can't seem to find) was a recording that I paid a
    company (located in WOR's building) to make for me back in 1945. That was
    the day the B-25 crashed into the Empire State building, and the show was
    interrupted to carry a news bulleting about that event. That's on the
    recording. I subsequently had it transferred to a tape cassette.

    I was also informed, (I forget by whom) that we no longer needed to do the
    live repeat broadcasts because they were going to start recording them on
    magnetic tape. I also recall that when I was in the Air Force, there were a
    few times that we pre-recorded the shows as a convenience to fit my
    schedule, and they were done on tape. Did they misinform me? Or is my memory
    totally out of whack? That's possible.

    Then Michael goes on to ask a bunch of questions, which we will take one at
    a time.

>     You've mentioned how you took the bus and/or subway to get into the city on
>     Saturday morning.  How early did you have to arrive at NBC and how much
>     rehearsal time did you have?

    My trip into the city took about an hour. A 5 min. walk to the bus stop, 15
    min. bus ride to the nearest subway stop. 20 min. ride on the BMT line to
    change (transfer) to the IND line, and 15 min. on the "F" express train
    which stopped in the lower level of the RCA building. Then, 5 minutes up to
    the studio floor. That all worked swimmingly unless there was a blizzard and
    the buses had trouble running.

    I had to be in the studio at 8:00 AM, and usually left the house around 6:30
    just in case. (Do you have any idea how tough it is to get a teenager up at
    6:30 AM?) That gave us about 2 hours rehearsal time prior to the program.
    That was plenty. The next answer explains why.

>     Did you perhaps do some rehearsal for the next week's program after the
>     broadcasts?

    Yes. But mostly for a read through, and once on mike. (No more than an hour)

>     Did you allow any fans or audience in for the rehearsals, or were the
>     rehearsals as "blue" as it is said the Howdy Doody rehearsals were?

    No fans or audience. But I might have male friends hang around who had
    attended the broadcast earlier. Or in later years, Girlfriends. But when my
    buddies showed up, (when I was about 18+), we had a ritual. When I was
    finished for the day, we would go across the street from NBC (6th Ave. side)
    to a spaghetti joint for lunch, then over to the bus depot for a quick trip
    across the Hudson river to attend the afternoon performance at the Hudson
    Burlesque Theatre in Union City [removed] ..... that's where we got our fill of
    "blue" material from the "baggy pants" [removed] and (sigh!) Strip Tease
    Artists. But not During "Archie Rehearsals". We had too much respect for the
    female members of the cast.

>     Which brings to mind yet another question--did you know Judy Tyler (in any
>     sense of the word)?)

    [removed] Tsk. Whatever are you implying?  I did know an actress by the
    name of Betty Jane Tyler. Does that count? Do you know a Judy Tyler? Did she
    say she is going to file a paternity suit. It wasn't me.

    Now, here is where I really take issue with my pal Dr. Biel. When I
    commented about seeing "Chicago", and raved about it, he offered the
    following.

>     Interesting.  Last week my daughter Leah went to see the live Broadway
>     production and then on the following day saw the film.  Her reaction was
>     the opposite--she said the play was much better than the film

    Humph! Who's word are you going to take? :) Someone who was in Show
    Business for almost 50 years, a supposed production expert (me), or that of
    someone who is a young college student, in the process of studying
    Broadcasting? :)

    Yeah! I know. Blood is thicker than water. But if Leah joins you again at
    the Cincy Convention, I will contribute to her education and point out
    exactly the MANY REASONS the film version had more impact and was more
    powerful than the stage production EVER COULD BE. Obviously, they are two
    totally different mediums. Sometimes, film does not capture the magic of the
    stage production. "Chorus Line" is a prime example. But in this instance,
    ALL the film production techniques available (lighting, staging (scenery),
    choreography, camera angles, close up's, montages, editing, etc. etc, took
    this production to an entirely different, and far higher plateau.  After I
    get through with her, Leah will "ace" the rest of her college courses. :)

    But seriously Michael, subjective opinions aside. It could well have to do
    with maturity. We are all the sum total of our experiences, and I'm sure
    that having lived a full life might influence how we perceive events.

    I wish I could wait around for Leah to see the film 50 years from now, and
    then we could discuss the relative merits of each version. :)

    Remember, I had a jaded and misspent youth. :) In case anyone is interested
    just how jaded and misspent, go to [removed]   :)

    Hal(Harlan)Stone
    Jughead

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

    Date: Tue, 11 Feb 2003 12:30:01 -0500
    From: Elizabeth McLeod <lizmcl@[removed];
    To: <[removed]@[removed];
    Subject:  Re: "Denying the Allegator"

    On 2/11/03 6:25 AM OldRadio Mailing Lists wrote:

>       Did attorney-at-law Algonquin J. Calhoun ever utter words to the effect of
>     "Not only does my client resent these [removed] he also resents the
>     allegator!"
>       Elizabeth?

    Yes --  this line shows up in the A&A-TV episode "Leroy's Suits."
    However, it's not an original line by any means. It was something that
    was being used in black vaudeville for years prior to this -- possibly by
    Johnny Lee himself. It also turned up white vaudeville, burlesque,
    minstrel shows -- anyplace where you'd expect to find malapropism comedy.
    Constant rerunning of the A&A-TV series in the late fifties/early
    sixties, however, permanently identified the line with A&A in the minds
    of the baby-boom generation.

    There are a few other catchphrases commonly attributed to A&A that had
    nothing to do with any version of the program, including "Do de name Ruby
    Begonia ring a bell?" and "Who dat say who dat say who dat?" "Ruby
    Begonia" is a line attributed both to Pigmeat Markham and Sammy Davis Jr
    (who probably picked it up from Markham,) and refers to a 1920's era
    dirty joke about a prostitute, while "who dat" is the punchline to a
    very, very, very old dialect gag that predates A&A by about fifty years.

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

    Date: Tue, 11 Feb 2003 13:00:24 -0500
    From: "John DiMezzes" <jadm1@[removed];
    To: <[removed]@[removed];
    Subject:  Tonto and John Todd

    Ray Druian asks, "Does anyone know if Todd
    either retired or passed away before the show completed its run? "

    Todd was Tonto for the entire run of the radio show, beginning his role
    while in his 50's or 60's and ending it in his 80's.  He may have been ill
    for the episode you mention or on vacation.  The actor who took over the
    role could have been Rollon Parker, who substituted for a couple of weeks.
    The show you heard, dated 11-8-55, was a repeat because the last live Lone
    Ranger radio broadcast was on or about 9-3-54.

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

    Date: Tue, 11 Feb 2003 13:00:37 -0500
    From: "Joe Cline" <joeunited@[removed];
    To: <[removed]@[removed];
    Subject:  Shields/Fitzgerald

>     . . . correct an error I made some
>     weeks back, when I said that Barry Fitzgerald and his brother Arthur
>     Shields never appeared together in a film. In "The Quiet Man", Shields
>     steals the clergyman role
>     usually played by his brother, while Fitzgerald plays the town bookmaker!

    They also were in The Long Voyage Home, directed by John Ford from a suite
    of one-act plays by Eugene O'Neil; both played sailors on a tramp steamer,
    with shipmates including Thomas Mitchell, John Wayne, Ward Bond and John
    Qualen.

    Joe Cline
    Charlotte

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

    Date: Tue, 11 Feb 2003 15:07:40 -0500
    From: Derek Tague <derek@[removed];
    To: <[removed]@[removed];
    Subject:  ThanX

    Hi Gang:

       I'd like to thank all the Digest readers & respondanfs--on list & off--who
    answered my question about PBX's. This readership is amazing!
       Meanwhile, with today being 11th February, I'd like to give a shout-out
    to my buddy Lee Munsick as today is Thomas Alva Edison's birthday. Edison was
    born in 1847 in Milan [pronounced MY-lin], Ohio.
       Hey, Lee, how's about another Edison story, huh?

    Still yours in the proverbial ether--

    Derek Tague

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

    Date: Tue, 11 Feb 2003 22:43:49 -0500
    From: Steven Kelez <otrsteve@[removed];
    To: [removed]@[removed]
    Subject:  Re: Rajput, Hindu Secret Service Agent

    Hi All,

    Don Frey mentioned a listing for Rajput, Hindu Secret Service Agent. It may have
    been from my website, Radio Showcase, the best kept secret on the web! Some of my
    old files were referenced by my user name, otrsteve, so that may explain where the
    "Steve" reference came from. Anyway, here is my listing for the 3 episodes I have
    in the catalog. They all came from discs I had many years ago, and the sound
    quality is excellent. They also contain the commercials for a tooth paste, the
    name which escapes me at the moment, but the commercials are a hoot!

    And here's another plug for myself. If you are looking for a show, or an actor or
    a date, give [removed] a try first. I have the best search
    feature on the web. I may not have the largest selection in the database (about
    15,000 shows), but you can locate anything in a few seconds. Give it a try, what
    have you got to lose?

    End of plug. Here's the Rajput info:

    AD-492: OMAR, THE WIZARD OF PERSIA / RAJPUT, HINDU SECRET SERVICE AGENT
    Side 1- Curse Of The Emerald: Chapter 13 (Conclusion) , RAJPUT, HINDU SECRET
    SERVICE: , Jasmin Tower Murder Case #5 (Very Good, Syndicated, Mystery)
    Side 2- Jasmin Tower Murder Case #6 , Stolen Plans #13 (Excellent,
    Disc/Syndicated, Adventure) Cassette Length: 60 Min.

    Steven Kelez
    RADIO SHOWCASE

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

    Date: Tue, 11 Feb 2003 22:44:06 -0500
    From: Ronald Staley <mrvintageradio@[removed];
    To: [removed]@[removed]
    Subject:  The first show with Ben Romero

    The Big Sorrow was the name of the first show without the romero
    charadcter. After that time period, Joe Friday ahd one woman partner,
    played by I am not sure whom.

    There was also Vic Perrin, Barney Phillips, Ken Peters, and others I know I
    am missing. It took until setpember/october, I believe before Ben Alexander
    came along.

    Ben would have been picked for future Dragnet resurections, except he had a
    slight problem of being in his cups most of the time; the prime reason Jack
    Webb would not pick him up again.

    Jack, I feel, was very careful to pick voices that complemented rather
    overshadowed his.

    It is ineresting to note that Dragnet was one of the first if not the first
    taped dramatic show on NBC.

    The cast could do as many as four show a day which would later be mixed and
    transcribed for future broadcasts.
    When I worked at UCLA it was not uncommon to find shows with original and
    broadcast dates.

    If you listen very carefully to the good sounding broadcasts of the 1950's,
    you will hear the musical bridge, and as the bridge ends, you will hear a
    high-pitch sort of whistle, as Jack's voice is cut into the show. All the
    music tracks and voice and sound were wild tracks blended to create the
    show. This was also done with Pete Kelley, I understand.

    Ron STaley

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

    Date: Tue, 11 Feb 2003 22:44:21 -0500
    From: "Walden Hughes" <hughes1@[removed];
    To: <[removed]@[removed];
    Subject:  Bob Hope set

    Hi Everybody, is there any one that can buy the 40 shows set of Bob Hope
    from target for $[removed] on this list?  If you can please contact me off this
    list.  I would like to she if we can make arrangements for Bill Farrell who
    was Bob Hope singer to get a copy of them.  That offer would go to any one
    who could get the 24 shows set of Bob Hope from Sam Club too.  Please
    contact me off list to work out any details.  Take care,

    Walden Hughes

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

    Date: Tue, 11 Feb 2003 22:44:29 -0500
    From: "Walden Hughes" <hughes1@[removed];
    To: <[removed]@[removed];
    Subject:  Shadow

    Hi Everybody, when I started to collect OTR in 1976.  One of my first 4
    shows was a Shadow broadcast where a train was highjack, by jewels thieves.
    Does any one know that title of this show and where I can find it I know
    longer have a copy of this show.  Take care,

    Walden Hughes

    --------------------------------
    End of [removed] Digest V2003 Issue #65
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