He posts regularly in the Facebook group, usually sharing posts of OTR episodes he believes to not be in circulation.


On Sun, Nov 28, 2021 at 1:03 PM Walden Hughes < waldenhughes@...> wrote:

Jerry is still with us and he is running his web site.  Take care,

Â

Walden

Â

 

Â

From: main@OldTimeRadioResearchers.groups.io [ mailto:main@OldTimeRadioResearchers.groups.io] On Behalf Of Larry Maupin

Sent: Sunday, November 28, 2021 10:48 AM

To: ' main@oldtimeradioresearchers.groups.io' < main@oldtimeradioresearchers.groups.io>

Subject: [OldTimeRadioResearchers] A Question

Â

Does anyone know whether Jerry Haendiges is dead or alive?  If he is alive, do you know if he is still running Vintage Radio Logs and mailing out CDs when orders come in for them?

Â

Thank you.

Â

Larry

--

Larry Maupin

JAWS Certified, 2014.
http://www.FreedomScientific.com/Certification

Does anyone know whether Jerry Haendiges is dead or alive?  If he is alive, do you know if he is still running Vintage Radio Logs and mailing out CDs when orders come in for them?

--
Larry Maupin

Listening Post and TV Review
By Allen Rich
 
Last Sunday George Allen extended an invitation to me to visit Studio 2 at CBS and see how �The Whistler� is produced.
 
Now, on the year�s hottest Sunday a man shouldn�t be working, but Mr. Allen worded his invitation with devilish cunning.  He said: �Betty Lou Gerson will be in it.�
 
That did it because it is a well-known fact to one and all that I am very much that way about Miss Betty Lou Gerson and there is only one thing that keeps us apart.
 
Her husband Joe Ainlee - who is six-feet four.
 
After receiving a report from my private private eye Estes Kefauver that Joe wouldn�t be around I accepted the invitation.
 
I arrived at the rehearsal to find that Betty Lou hadn't forgotten me.
 
�Hi,� she said passionately, so touched that she almost looked up from her script.
 
Modus operandi on �The Whistler� goes like this:
 
Each week Ed Bloodworth, director and supervisor of the show for the Barton A. Stebbins Agency selects the best possible script from the many submitted.
 
A first reading by the cast commences Sundays at 2:30.
 
The players, seated around a long table, read their roles under the guidance of CBS Director-Producer George Allen.
 
Although none has seen the script prior to the first reading they managed to give excellent interpretations.
 
Reason for this is that only seasoned players are used on �The Whistler.�  It is old stuff to them.
 
During this part of the proceedings Allen offers only a few suggestions, permitting the cast to get the feel of their various roles.
 
Occasionally an actor will ask permission to change a word here or there for better, clearer meaning or mood.  His case is heard patiently by Allen - and often the change is made.
 
The first reading takes about an hour and then after cuts and revisions have been taken care of  Producer Allen and his aides repair to the control room and the serious business of the day begins.
 
Sunday�s show, in case you didn�t hear it, was titled �You Can�t Trust a Stranger.�
 
Cast members were Gerald Mohr, Miss Gerson, a cute trick entitled Charlotte Lawrence, and Shep Menkin.
 
It is during the rehearsal following the first reading that the mood of the drama, the nuances of the lines, the timing, the sound effects are really set.
 
It is here, when necessary, that Allen gives HIS interpretation of the readings to the actors - and they listen.  Sometimes they dissent.
 
Allen is always open to suggestions and if he agrees he�ll go along - if not his is the final say and the players do not argue about it once he assumes his well-known tone of firm authority.
 
Special mention here should be accorded that very fine actor Gerry Mohr.  He responds to suggestion and direction like a Stradivarius to the clever fingers of a master violinist.
 
And while dispensing the orchids let�s not overlook the sound men Bern Surrey and Ross Murray who toiled mightily and with intelligent anonymity throughout Sunday�s show.
 
I clocked the following effects: A motor idling, a motor speeding, cars passing, squealing of brakes, a car crash, chimes, clock ticking, men walking on earth, men walking on gravel, doors opening, closing, banging, crickets, a car going over a ledge into the water, and many others.
 
An error or two on their parts and �the program that has rated tops in popularity for a longer period of time than any other West Coast program in radio history� could easily go from the highly dramatic to the ridiculous.
 
Following the rehearsal we have just discussed all hands take time out for dinner and are told to return at six o�clock.
 
Now the final stage, the dress rehearsal, is at hand.
 
New scripts containing all corrections made during the afternoon are put in use, Wilbur Hatch and his musicians, members of the quartet who do the Signal Oil Co. singing commercial.  Announcer Marvin Miller and Dorothy Roberts, the gal who does the program�s famed �live� whistling have all come in.
 
It is during this session that these components parts of the show are correlated and it is all done with a minimum of fuss.
 
You realize that �The Whistler� is a team affair with actors, sound men, musicians and producer working smoothly together for the common good of all.
 
The program will go on the air at 7:30 and by about 7 the dress rehearsal is over.
 
Assistant CBS Director Bill Nelson glances at the notations on his script and tells Producer Allen how the show ran for time.
 
Sunday�s dress was about 25 seconds too long.  This was easily corrected by deleting perhaps five lines and speeding up the reading.
 
The remaining moments until air time are given over to final instructions by Allen and I noted with interest that when all was in readiness it was 7:27.
 
Allen invariably likes to wind things up close to air time because in that easy there is less chance for a letdown by the cast.
 
And then there�s the exciting warning, �One Minute.�  Allen raises his arm in the air.  Everyone has taken their positions.
 
Then: �Five seconds.�
 
The jumping red second hand of the control room clock reaches for �straight up,� or exactly 7:30, and simultaneously Allen drops his arm, flips the cue as the engineer flicks a switch.
 
�The Whistler� is on the air!

JAWS Certified, 2014.
http://www.FreedomScientific.com/Certification

The Suspense episode number you are looking for is #389.  It is not in the OTRR library presently.

 

Labor ipse voluptas

 

 

Critic Allen Rich visits a rehearsal and a broadcast of The Whistler. It's a nice window to early 1950s network production. The show he writes about is in circulation, 1952-07-27 You Can't Trust a Stranger.

The nature of the image is that it would be difficult for some of our blind members to have it read by their OCR software.

Could someone record their reading of the story and save it as an audio file attached to this thread?


--

Can you send me the image file and I will check to see if it is readable?

Larry

Critic Allen Rich visits a rehearsal and a broadcast of The Whistler. It's a nice window to early 1950s network production. The show he writes about is in circulation, 1952-07-27 You Can't Trust a Stranger.

The nature of the image is that it would be difficult for some of our blind members to have it read by their OCR software.

Could someone record their reading of the story and save it as an audio file attached to this thread?


--

Critic Allen Rich visits a rehearsal and a broadcast of The Whistler. It's a nice window to early 1950s network production. The show he writes about is in circulation, 1952-07-27 You Can't Trust a Stranger.

The nature of the image is that it would be difficult for some of our blind members to have it read by their OCR software.

Could someone record their reading of the story and save it as an audio file attached to this thread?


--