Friday, February 23, 2018

Radio Drama and Comedy Writers, 1928 - 1962

Ryan Ellett has a new book out through McFarland Publishing. For radio buffs like myself, this is a welcome addition to my bookshelf. My concern is whether or not this 230-page reference guide will be accepted with arms wide open from the general collector. As Ryan explained in his Preface, "In a literature that includes hundreds of books and even more articles penned by professional historians and devoted amateur enthusiasts, the writers of those old-time radio programs lack a resource with a singular focus on their output. This book attempts to remedy that oversight..."

What Ryan is referring to is the consultation of published reference guides as they lend themselves to assistance in research. In my field, for example, my custom-built bookshelves contains two shelves of "essentials" -- that is, books I consult so often that I group them together for easy access. Some of the paperbacks were made into hardcovers thanks to my local printer (or replaced with the hardcover editions when they became available). Then there are the second tier reference guides -- books I pull off the shelf to consult the indexes and determine if any of them have something I might be looking for. Nothing in the index? Back on the shelf they go. The third tier books are ones I have rarely consulted but maintain possession in the event I need to turn to them. The price was right at the time and I could not turn them down. Some are so old and loaded with so many mistakes that the only reason I keep them is to consult once in a blue moon on the off chance I can use them to track down the source of errors. 

Ryan's book falls into the second tier level and this is not to say his book is bad. On the contrary, within minutes of flipping through the pages I knew this was an essential second-tier book because of the wealth of material contained in alphabetical order. Like all the other books on my shelf, almost every radio program I research in the future will require a quick consultation of what has been put to print and Ryan can be sure I will be pulling this one off the shelf many times. 

Essentially this book lists radio script writers and brief biographies, along with extant radio credits. Les Crutchfield, for example, was working as an engineer at Cal Tech when he first met Norman Macdonnell. His graduate studies included physical chemistry and mathematics which led him for a time into the mining industry as a foreman and explosives expert. He eventually became an established radio script writer for such programs as GunsmokeThe Man Called X, Suspense, Yours Truly, Johnny Dollar and Escape, among others. This is the kind of information you can find easily with or without the index. 

Ryan Ellett attempted to fill a void that was necessary for researchers of old-time radio programs to pull off the bookshelf with ease of access. He accomplished his goal and for that, my sincere appreciation.

You can purchase your copy here:

Friday, February 16, 2018

Filmfax Magazine Celebrates A Milestone

In 1986, editor Michael Stein introduced us to a new magazine that would preoccupy hundreds -- if not thousands -- of hours of pleasurable reading, saturating my love of nostalgic pop culture. As Stein remarked in his editorial in the premiere issue, "Filmfax is not a 'nostalgia' magazine. Filmfax is a graphic time machine powered by your interest, and the memories and opinions o those who have contributed to our editorial body." If you love those old Universal Studios monster movies, 1950s film noir, The Three Stooges, Space Patrol, interviews with actors and directors like Roger Corman and Julie Adams, this is a great magazine.

I first discovered Filmfax in 1992 when I bought the most recent issue from a vendor at a convention in Baltimore. There was the creature from This Island Earth plastered on the cover, larger than life. There was an article about comic book heroes adapted for the cliffhanger serials, an interview with character actor Turban Bey, an interview with Russell Johnson (Gilligan's Island), an interview with Mark Goddard from Lost in Space and Johnny Gringo, and other engrossing articles. Over time I enjoyed reading an interview with Fess Parker, the making of Disney's 20,000 Leagues Under the Sea, a biography of Hans Corned, a history of radio and television's Dragnet, an interview with Bill Scott (co-creator of Rocky and Bullwinkle), a making-of documentary of Beverly Garland's Decoy, and a rare interview with Margaret Hamilton (the Wicked Witch of the West from The Wizard of OZ). 

As a fan boy, the magazine was fantastic. For a generation that grew up with Famous Monsters of Filmland, I could understand how a bi-monthly magazine would become part of my childhood. I remember when one of my high school teachers took the magazine away from me because I was more fascinated in reading an article than classwork in front of me. (He would return the magazine to me a fe ways later but not before confessing that he himself read the magazine and loved those old black and white monster movies.) Over the years I sought out back issues when the pricing was affordable and I am proud to say I now have almost every issue in my collection. For collectors today: The first two issues sell for ransom prices and fluctuate based on market trends -- from $125 to $280. Issues #3 to 14 sell anywhere from $10 to $30. Issues #15 and up can sell anywhere from $3 (sale price) to $5.  

By issue #61 (June/July 1997), I started noticing an editorial change with two issues consisting of VHS/video reviews (possibly because the magazine was swamped with too many complementaries that was necessary to review else the complementaries stopped coming in) and too many articles about Bela Lugosi and Bettie Page to make me question renewing my subscription. Also, there were too many advertisements of products sold by the magazine (not a third-party paid advertiser) that I felt like I was paying for a mail order catalog. Factoid of the day: Most people do not decide overnight to stop subscribing to a magazine -- they simply let the subscription lapse and have no incentive to renew when the time comes around. That is exactly what I did. And for five years I stopped receiving the issues. 

One afternoon at the Monster Bash convention I noticed a vendor liquidating overstock of Filmfax at a rock bottom price of $2 per issue. And there were issues I never received because I let my subscription lapse. After careful review I discovered there were multiple editors over the years and as anyone with an I.Q. above room temperature knows, a magazine is only as good as the editor. So, without skipping a heartbeat, I renewed my subscription.

In full disclosure: Today, with limited time on my hands, I only read one or two articles in each issue. But I find the magazine worthy of subscribing. What arrived in my hands this week was issue #150, a milestone to be publicly acknowledged. Articles in the latest issue include "Space Kidets from the 1950s," an interview with Dick Tracy newspaper strip writer Mike Curtis, an article and interview with Clint Walker, and a biography of Marie Coolidge-Rask, who wrote the photoplay based on the famous London After Midnight motion-picture. There are a few other articles but I had to skip past seven pages of advertisements to get to the table of contents...

The magazine is no longer published six times a year. Now available as a quarterly magazine, you can subscribe at the price of $30 per calendar year or $55 for two years. There is an official website that you can make payment and sign up for a subscription,, which has not been updated since issue #127, but do not let that throw you off. The company is reliable and your subscription is ensured. Collectors also have the option of purchasing back issues for $3 or $4 a piece using an order form in their latest issue. (And a sale where you can buy ten issues for $50 postpaid, 20 issues for $90, etc.) Do not ask me why it is cheaper to buy back issues than to subscribe to today's issues but it is what it is. Many of those back issues are gems. The sale price starts with issue #15 (which features an interview with Mel Blanc) and I would recommend you start there and work your way up. A bargain of a price for hundreds of hours of satisfying reading.

Friday, February 9, 2018

Myth Debunked: Bass Reeves was NOT the Inspiration for THE LONE RANGER

For almost a decade there has circulated a myth that falsely suggested an African-American U.S. Deputy Marshal named Bass Reeves was the inspiration for the fictional character of The Lone Ranger. Triggered by recent folklore and influenced by racial bias, the myth circulated across the internet like wildfire. With a lack of concern for factual documents, many on the internet mistook myth for fact. While the real life of Bass Reeves deserves to be better-known, it is unfortunate that this fanciful “inspiration for the Lone Ranger character” theory is what has brought him additional attention.  

Besides documenting the true accomplishments of Reeves, a book published a decade ago caused unnecessary confusion by falsely suggesting he was the inspiration for the fictional character of The Lone RangerFollowing examination in archives across the country, it was discovered that three individuals, living in two different states, were responsible for the formation of The Lone Ranger. On top of this, proof was found that The Lone Ranger was intentionally patterned off of Robin Hood and Tom Mix, debunking the myth that one person deliberately created a children's program based on a historical figure that was never printed in reference books until two decades later. 

Type Bass Reeves on a standard google search and you will find websites claiming he was the inspiration for the Masked Man, but no archival or historical documents proving this statement. Thankfully, a recent 22-page thesis was published, now available as a free eBook (in PDF format), debunking the myth in detail. Also included are reprints of archival documents to back up the facts.

A link to that free PDF can be found below.

Bloggers today would provide a good turn to Bass Reeves by documenting his accomplishments, rather than repeating a myth that diverts attention from his achievements. You can also do Bass Reeves (and The Lone Ranger) a good turn by sharing this pdf on your blog, newsletter, Facebook page and other venues to get the word around. The author and publishing company is giving this away for free. And the next time someone on Facebook or social media reprints the myth, you can provide them this link.

Friday, February 2, 2018

Atari: Game Over, An Engrossing Documentary

It has been years since I watched a documentary as entertaining as Atari: Game Over. Available on DVD and instant streaming on Netflix, this 2014 documentary chronicles the fall of the Atari Corporation and investigates one of the biggest mysteries of all time, dubbed "The Great Video Game Burial of 1983." In the early 1980s, Atari supposedly buried nearly a million copies of the video game, E.T. the Extra Terrestrial, considered one of the company's biggest commercial failures and often cited as one of the worst games ever released -- in a New Mexican desert landfill. The producer of this stand-alone documentary (which was meant to be the first of a series of documentaries about the video game industry) interviewed the financial wizard of the Atari Corporation, video game programmers who worked for the company, and chronicled his attempt to get approval from the small New Mexico town to dig and excavate what might be the secret burial ground for a major product dump. Never have I been so engrossed than the 66 minutes director Zak Penn put together.

Over time, reports of this strange mass burial became an urban legend. Every company that established some form of pop culture has been subject to self-obsessed fanboys who create ridiculous stories that gives credence to second thought. Yet, as the documentary unfolds, revealing the huge profits Atari made with their video game, Raiders of the Lost Ark, and the poor financial decisions to license E.T. ($22 million for licensing? Really?), I understood where Penn was going with the story -- an academic explanation of why Atari would have made a business decision to dump excess product from a warehouse into the landfill a small mid-Western New Mexico town. Ludicrous and unbelievable? Not really.

Last year my wife and I saw the other great video game documentary, The King of Kong: A Fistful of Quarters (2008), the saga of Steve Wiebe, a Redmond, Washington, dweeb who set a new high score for the video game, Donkey Kong, only to see his accomplishment challenged by the grand poobahs of the gaming establishment. It seemed he broke the record set by Billy Mitchell in 1982. Mitchell was not happy about being overthrown so he set about beating Wiebe's record. The rivalry between the two was delighted disbelief -- I marveled that such people existed -- and gladly allowed themselves to be filmed. I learned more about Donkey Kong than I knew beforehand and the director, Seth Gordon, presented a straight-forward documentary that did not mock these gentlemen, but rather presented us with a world of eccentrics. That was what brought me to watch Atari: Game Over.

Jumping back and forth from the history of the Atari Corporation to the present-day attempt to get approval from the town council (who almost immediately had concerns of poison gas seeping into the air if such an excavation was conducted), interviewing the caretaker of the landfill, and finally getting past the red tape to find out if there was any truth to the rumor... all makes this documentary engrossing. And believe me, I was on the edge of my seat for those last ten minutes as the answer was about to be revealed. The rise and fall of the first generation video game industry is preserved on celluloid through this killer documentary.

Fact or fiction? I will not spoil the ending but needless to say, if the premise of this documentary or the urban legend intrigues you, take time to seek out this documentary. You will not be disappointed.

Friday, January 26, 2018

The Wine Lover's Daughter: A Memoir

In The Wine Lover’s Daughter, Anne Fadiman examines – with all her characteristic wit and feeling – her relationship with her father, Clifton Fadiman, a renowned literary critic, editor, and radio host whose greatest love was wine. An intellectual and public personality, Clifton Fadiman was perhaps best known as a literary critic for The New Yorker magazine. Pop culture enthusiasts know him as the weekly host of Information, Please, which later spawned an annual Almanac. Fadiman's witticisms and sayings were frequently printed in newspapers and magazines. "When you reread a classic, you do not see more in the book than you did before, you see more in you than there was before," was one of the better known. Fadiman became a prime example of the "witty intellectual" and if you remember those “Book of the Month” mail order clubs… you can thank Fadiman for establishing that good ol’ pastime.

Anne’s book arrived in my mail box this week and like many of those 250-page memoirs that are overshadowed by the tens of thousands of books available on library shelves, this one is worthy of your time and attention. In full disclosure, I was partly responsible for the contents of this book. When Anne’s daughter contacted me, assisting her mother with this book, seeking information about her grandfather’s professional career, I mailed complimentary copies of my book on Information, Please, published many years ago by Bear Manor Media in Oklahoma. Hence the reason why the complimentary, autographed copy arriving at my door.
This book documents the personal side of Clifton Fadiman, his appreciation of wine – along with a plummy upper-crust accent, expensive suits, and an encyclopedic knowledge of Western literature – which was an essential element of his escape from lower-middle-class Brooklyn to swanky Manhattan. But wine was not just a class-vaulting accessory; it was an object of ardent desire. The Wine Lover’s Daughter traces the arc of a man’s infatuation from the glass of cheap Graves he drank in Paris in 1927; through the Ch√Ęteau Lafite-Rothschild 1904 he drank to celebrate his eightieth birthday, when he and the bottle were exactly the same age; to the wines that sustained him in his last years, when he was blind but still buoyed, as always, by hedonism.
Clifton Radioman
Along the way, this book educates you with the basic appreciation of fine wine. After Fadiman sampled a glass, he once remarked how wine lived “a triple life: one in the mouth, another in the course of slipping down the gullet, still another, a beautiful ghost, the moment afterward.” As Anne revealed, her father was a lousy driver and a two-finger typist, but he could open a wine bottle as deftly as any swain ever undressed his lover.
Along the way this book provides us with the reminder that not all greats are destined to perfection of the basic tasks that we take for granted and assume everyone is capable of performing. After all, we ourselves generate fallacy and live within its shadows. Whether we discover something new about ourselves or a gentle reminder to forgive and forget the fallacies of others, perfection is rarely a word to brand about… and the true reason why memoirs are a full-course meal for the wise. Wine is the spine of this touching memoir; the life and character of Anne Fadiman’s father, along with her relationship with him and her own less ardent relationship with wine, are the flesh. The Wine Lover’s Daughter is a poignant exploration of love, ambition, class, family, and the pleasures of the palate by one of the finest essayists. Anne may not have inherited her father's love of wine, but she most definitely has his gift for writing and love of all things literacy. 

Thursday, January 18, 2018

The Passing of Two OTR Legends

One hell of a way to start the new year, or any new year... On the morning of January 2, we lost two legends who practically changed the landscape of the hobby of old-time radio: Bob Burchett and Frank Buxton. While we spend hundreds of hours a year listening to old-time radio recordings, and reading magazine articles and scholarly journals, we often forget the trendsetters of the times who made the hobby what it is today. 

Bob Burchett at the Cincinnati OTR Convention
Bob Burchett was a guiding light in the hobby and as Rodney Bowcock so aptly mentioned on Facebook: "Bob was never afraid to take the initiative and do things himself. He wanted a convention in Cincinnati? He got some folks together and started one. Someone wanted to form a club where members could trade shows? He started Hello Again Radio. Fan magazines drying up? No reason not to keep printing The Old Time Radio Digest. He did that for years."

Bob Burnham of BRC Broadcast Services recalled the time Burchett, inspired by a recent visit to the Friends of Old-Time Radio Convention in Newark, New Jersey, wanted to replicate the same in Cincinnati, Ohio. "Bob called me up outta the blue and said, 'If he put on a convention in Cincinnati, would ya come?' Cincy is only about a five hour drive from Detroit and that would begin the first of my many treks to Cincy. I only missed one or two out of a couple decades worth. The last one, I think, was 2012. Bob seemed in good health and his usual upbeat spirit that made those trips so much fun. In 2006, he presented me with the Stone-Waterman Award basically for my efforts and support. But the award should go to him, and I believe he did get one in Newark."

Bob Burchett played a larger role than most people in the hobby know. He was, for many years, the official photographer of the Friends of Old-Time Radio convention, preserving the image of fans meeting their idols such as Jackson Beck, Fred Foy, Carlton E. Morse, and the great Hildegarde. Few photos can be found of Burchett at those early convention years because Bob was behind the camera, not in front. And he tended to forget to have his own photo taken with the legends. For decades he maintained a bi-monthly magazine devoted solely to old-time radio, The Old Time Radio Digest. Those early issues are gems and Bob was responsible for selecting articles with meat and substance. Some of the earliest documented findings of Duffy's Tavern, Suspense, The Adventures of Superman and The Great Gildersleeve can be found within the pages. He was blessed to meet Ezra Stone and help preserve Stone's legacy as the Henry Aldrich of radio fame. In recent years he was also the editor of the OTRR magazine, reporting of recent discoveries from archival finds.

"Bob was the moving force behind the Cincinnati radio conventions," recalled Terry Salomonson. "I attended every one of the conventions from the beginning. He was a long term, and very good friend. Bob was the first person to receive the Parley E. Baer award. He also was the only one that received it from Parley's hands to his."

Jim McCuaig, a Canadian collector of old-time radio, added: "Bob's dedicated work with the Cincinnati OTR Convention led to my meeting many American friends for the first time, and boosted my interest in OTR, classic television and nostalgia conventions in general. I owe him a great deal." Indeed, we all owe Bob a great deal. We can take comfort in knowing he is sharing laughs with Willard Waterman, Rosemary Rice and Ezra Stone, among others.  

Larry Albert and Frank Buxton at REPS in Seattle.
For years Frank Buxton served as a board member for the annual San Francisco Silent Film Festival, which seems ironic when you consider among his accomplishments a book about old-time radio -- a medium consisting primarily of sound. In 1966, the same year Erik Barnouw introduced us to A History of Broadcasting in the United States, Frank Buxton teamed up with Bill Owen for a book of their own: Radio's Golden Age: The Programs and the Personalities (Easton Valley Press). This ultimately led to an expanded version in 1972 titled, The Big Broadcast: 1920-1950 (Viking Press, Inc.). The dust jacket even promoted the encyclopedia as "A new, revised and greatly expanded edition of Radio's Golden Age." For years The Big Broadcast, compiled in an era before the Internet, was the only encyclopedia about old-time radio available to collectors.

John Dunning's Tune in Yesterday went a step further by providing more content about the programs, and published in 1976 made a perfect companion with The Big Broadcast. Possibly because word on the street was that Dunning was revising and expanding his edition for Oxford University Press, in 1997, a second edition of The Big Broadcast hit the shelves, this time as a red hardcover and published by Scarecrow Press. Dunning's expanded version, re-titled On the Air, was published a year later in 1998. Again, both revised editions compliment the other.

John Tefteller, a collector of old-time radio and frequent convention attendee, shares the same admiration others have expressed: "When I was very young, like ten or eleven, my mom brought home Frank Buxton's book on old-time radio. I devoured it and it was the first book on old-time radio I ever read." It was Buxton and Owen's encyclopedia that established a cult fan base for old-time radio programs, providing reference material that would be consulted for countless magazine articles.

Buxton's other accomplishments included hosting and producing the ABC television documentary series, Discovery, from 1962 to 1966. Teaming up with Hal Seeger, Buxton provided the voice for all 100 Batfink cartoons. He hosted a game show, Get the Message, for ABC in 1964, later to be replaced by Robert Q. Lewis. He played supporting roles in such movies as What's Up, Tiger Lily? and Overboard. As a writer, producer and director for Paramount Television, he is credited for Love, American Style, The Odd Couple, Happy Days and Mork & Mindy

Buxton's love for old-time radio never diminished. A frequent attendee of the Friends of Old-Time Radio Convention, REPS and SPERDVAC, he participated in panels and radio re-enactments. His contribution, though minor compared to what has evolved over the decades, cannot be forgotten. The Big Broadcast book is considered by fans as the first encyclopedia ever published on old-time radio, and while some might debate that statement, few can argue. Frank Buxton also passed away on January 2. He was 87. Perhaps no better compliment could be provided than the casual reminder that fans back then, as they do today, refer to The Big Broadcast not by the title, but as "the Buxton and Owen book."

Friday, January 12, 2018


Journalist Dan Rather was once quoted of saying, "An intellectual snob is someone who can listen to the William Tell Overture and not think of The Lone Ranger." For scholars and historians of old-time radio, it is difficult not to be reminded of radio station WXYZ, in Detroit, whenever a recording is played of the William Tell Overture, also known as "The March of the Swiss Soldiers." While the masked man and his faithful Indian companion rode the plains across all 50 states courtesy of line feeds and transcription discs, few across the nation knew the western dramas originated from Motor City.

Simplistically, the radio broadcasting industry worked like this: Radio stations across the country worked independently and produced their own local programming including music and news. Throughout the early 1930s, almost every large radio station across the nation formed its own repertory company to produce radio drama for evening entertainment. Some conceived and wrote original dramas. Others licensed radio scripts from other production companies. As "networks" were formed, including NBC and CBS, independent stations signed contracts to join the network and sacrifice prime time for national coverage of such luminaries as Bob Hope, Rudy Vallee and Edgar Bergen - the network paid the station for their coverage, thus eliminating hours of original programming sorely needed at the local station employing a minimum of staff. Most of the national network feeds originated from Los Angeles or New York City, with Chicago the third (but minor-league) hub of prime time entertainment. 

WYXIE WONDERLAND painted a portrait of a radio station responsible for such programs as Bob Barclay, American Agent, Ned Jordan, Warner Lester -- Manhunter, The Lone Ranger, Challenge of the Yukon, The Green Hornet and Ann Worth, Housewife. At the same time, author Dick Osgood painted a disheartening portrait of George W. Trendle, a lawyer, theater owner and businessman who, multiple times, attempted to pay his employees less than scale. Through historical hindsight, Trendle was not responsible for single-handedly creating syndication through transcription but the idea did germinate from station manager H. Allen Campbell, considered the business genius behind the station's profits. The Lone Ranger quickly syndicated across the nation in 1938, helping to pull WXYZ out of the red and became Trendle's cash cow. 

By 1954, when Trendle sold The Lone Ranger property to Jack Wrather for a historic $3 million, an inventory of the finances revealed Trendle made more than $300 million in the course of 20 years -- and that was only counting money garnered from The Lone Ranger!

Dick Osgood's book, WYXIE WONDERLAND, was published when many of the radio staff, writers, directors and actors, were still around to provide testimony to an industry each of them shrugged off on their day of retirement as merely a nine-to-five job. Historian Osgood benefited from this immense advantage, while research today is restricted to audio interview recordings that survive and circulate among old-time radio collectors. He had unfettered access to photographs, copies of employment contracts and other materials that would make the mouth water of any historian today. WYXIE WONDERLAND was a romantic look at a by-gone era -- the "Golden Age of Radio" -- when radio was the dominant form of entertainment. Not until a decade-and-a-half later was any serious scholarly research published in the form of reference guides. Osgood beat those to the punch.

Over the years, as historians continue to dig deep into the archives, the published reference guides tend to become obsolete. What was considered a fact at the time of publication becomes outdated with new information uncovered two decades later. Books like Tune in Yesterday, The Big Broadcast and On the Air have practically become obsolete as a result of thousands of errors discovered after the fact. With this introduction of new evidence and factual discoveries, as is not uncommon in historiography, a re-interpretation of record occurs, changing professional scholars' orthodox views about the historic aspect of radio broadcasting. This is no fault to any author who, at the time their book was published, assumed their information to be accurate.

Through the past decade, a great deal of archeological digging in public and private archives has unearthed tens of thousands of documents, providing indisputable facts behind the formation of numerous radio programs, including The Green Hornet, The Lone Ranger and Sergeant Preston of the Yukon. Careful review of these documents provided a perspective that is practically impossible to say about almost any other reference book written prior: Osgood got the facts straight. Perhaps there is no other book that has been so accurately written about old-time radio prior to 1990, even though Osgood relied mostly on memories from cast and crew without any paperwork to substantiate the stories. A rare feat indeed.

This is not to say the book is without error. Osgood relied on a story told by Al Hodge regarding the origin of the Detroit Local of AFRS, and the story of The Green Hornet overheard over a Canadian radio station, including a remark by H. Allen Campbell about recently losing sponsorship of the United Shirt Distributors. The Union was formed in 1937. United Shirt Distributors sponsored the program beginning in 1944. Osgood fact-checked the exact date of the Union formation as September 26, 1937, but was unable to verify sponsorship and therefore, reference to the United Shirt Distributors is incorrect.

Osgood relied on testimony from one actor regarding the whereabouts of Tokatoro Hayashi, the Japanese actor who played the role of Kato on The Green Hornet, following the U.S. entry in the war. According to Osgood in chapter 24, sometime in 1942 the U.S. Government sent official notice to the actor that he be sent back to Japan. The actor was promptly replace day actor Rollon Parker and, according to Osgood, Hayashi "disappeared, presumably to a concentration camp in the west." The truth about Hayashi became known only a few years ago. He went to the West Coast and became a gardener for a wealthy family who took him in. Hayashi lived to a ripe old age and was blessed with a large and loving family. 

The two examples above are the most significant blunders. Others are minor. In the grand scheme of historical revisionism, debate among scholars is not warranted, especially over controversial points-of-view. Osgood set out to document the history of the George W. Trendle empire, the formation of the Michigan Radio Network, the famous programs synonymous with radio station WXYZ (which employees referred to as "wyxie"), and the legendary icons who would have normally faded into the sunset without such acknowledgement. (John Lund, Martha Scott, Betty Hutton, James Lipton, Casey Kasem, Mike Wallace and many others got their start at WXYZ.)

The book was first published in 1981 through a University Press and over time became highly sought after by fans of The Lone Ranger. In many cases, especially through's marketplace and Abe Books, the average ransom price of the book was $85 -- more if the original hardcover contained a dust jacket. Thankfully, Rich Harvey of Bold Venture Press went to get expense to license the book and reprint Dick Osgood's book in paperback format. Formatted with an updated font and graphic layout, along with scanned photographs to ensure better replication of the same photos in the 1981 original, along with additional photographs, this improved version is now available for a retail of $29.95. 

If you are a fan of The Green Hornet, Sergeant Preston or The Lone Ranger, this is a must-have book. Whether you are a fan of The Lone Ranger or old-time radio in general, this is one of the dozen essentials for your bookshelf. A direct link for you to purchase a copy on is provided below.

Friday, January 5, 2018

The Shape of Water (2017) Movie Review

Let me start off by saying I have never been a fan of Guillermo Del Toro, his directing style or his choice of material. The Shape of Water, written, produced and directed by Del Toro, dramatizing the story of a mute janitor who falls in love with an aquatic creature housed at a Government lab in the 1960s, will probably be regarded as one of his best films. A bizarre love story, this whimsical fantasy has a little of something for everyone and provides us with the best acting performance of 2017.

Sally Hawkins plays the role of Elisa, a mute woman working for a government agency in Baltimore, Maryland. Single and lonely, she found friendship among the oppressed -- a black woman who also works as a janitor at the same employment, and her next-door neighbor, a closeted gay man who tries to take back his job as an artist for an advertising agency in an era where photographs are replacing custom art. During her daily routine as a janitor, she sneaks off during lunch time to find solitude and companionship with an amphibious creature, brought to the lab under special guard. But when the military insists dissecting the gill man may provide the key to beating the Russians in the space race, Elisa, with assistance from her friends, sets out to free the creature and return him to his native habitat.

Everyone playing leads in this movie delivered fine performances but the Oscar-worthy contender here is Sally Hawkins, best known for Godzilla (2014) and the two Paddington movies. After watching numerous silent films featuring Charlie Chaplin, Buster Keaton, and Laurel and Hardy, she mimics the best of a silent screen actress by communicating through the use of facial expressions and emotion. For the benefit of the audience who did not understand sign language, subtitles were provided at times; actors reading her hand signals verbally communicated on screen as well. But no one needed either of these to read her thoughts as projected on celluloid. This was how Hawkins delivered what might be the best performance of the year. The actress will receive numerous nominations come awards season -- and deservingly so.

Many who saw the movie trailer promoting The Shape of Water might have suspected this was an updated rendition of The Creature from the Black Lagoon. The costume of the gill man was clearly inspired by the 1954 classic. Michael Shannon's character says early in the movie that the creature was picked up in a river in South America, the same setting for the 1954 horror classic. But this creature has heart in a world where everyone privileged is being mean to everyone else. This may be why the relationship between Elisa and the gill man stands out through the movie.

Do not mistake this as a horror film. This is clearly a love story, inspired by the 1940s studio musicals (Betty Hutton, Alice Faye, etc.) so it comes as no surprise that the director initially wanted to shoot the entire film in black and white. Believe-it-or-not, it costs more to shoot a film in black and white these days and due to budgetary concerns, the film was shot in color with green motif. Watch carefully for numerous tip-of-the-hat references such as Jenkins' sketch of Audrey Hepburn on his drafting board in one scene -- Sally Hawkins' character was named Elisa, the character Audrey Hepburn played in My Fair Lady. Hawkins even mimics Audrey Hepburn early in the movie.

To enjoy this offbeat underwater love story, director Guillermo Del Toro set out to accomplish  suspension of disbelief -- an essential element to watching a fantasy similar to Mr. Peabody and the MermaidLost Horizon and King Kong. Even if the movie does not win a ton of awards in the coming months, it can be regarded among one of the best fantasy movies made.

Monday, January 1, 2018

Happy New Year!

The way I look at it, if Sports Illustrated can have their own swimsuit issue, we can have one of our own to ring in the New Year!

Ann Rutherford
Clara Bow
Jane Greer
Olga San Juan
Cyd Charisse
Jennifer Jones still opening packages for Christmas.