lbv@sdchem.UUCP (Gordon Schlesinger) (04/29/86)
The April 26 telecast of APHC was not only ripping good fun, but also a chance to see the past come alive. Much more than just providing an opportunity to see what everyone "looks like", the show provided an accurate feel for the stage production of "big time network radio shows" as they once occurred in this country. I vividly recall being taken, as a youngster, to the NBC Radio Network studios in Hollywood to be in the audience of several live network radio shows. For me, Keilor's program not only recreats the "sound" of classic radio, but the *production* (as seen on TV) was also a good representation of "the way it once was", when network radio was at its peak in the years prior to TV. Authentic touches: numerous performers on a large stage in front of a big studio audience, many microphones all over the stage, performers creeping on and off stage as script timing permitted, lighted "on air" signs, live band on stage, announcements read from scripts, pre-show "warm up" by M.C., sound effects crew in the corner. Non-authentic touches: elaborate stage decorations (a 1940's era studio had just a formally draped stage), multiple banners raised and lowered onto stage (an "old time show" probably would have had just one fixed banner on the rear curtain), spotlights. Missing: control booth with glass front window, uniformed ushers. There once was an aura to network radio, in the days prior to the invasion of the boob tube. That aura still lives, every Saturday, thanks in part to the genius of GK. Seeing an authentic live, network radio production, however, provided a touch of history which I, for one, never expected to have the privilege of enjoying again. I don't know for a fact, but I strongly suspect that GK strives for historical accuracy in the show's stage production, as well as in the programming. Numerous tapes of the TV program must now exist. Those who missed the TV program would do well to seek out and borrow a copy. And those who were born too late can now see (as well as hear) what radio was, in the days when the "magic talking box" was king. Gordon Schlesinger UC San Diego Chemistry Dept. "Anything worth measuring....is worth measuring poorly"
mkr@mmm.UUCP (MKR) (05/02/86)
In article <200@sdchema.sdchem.UUCP> lbv@sdchem.UUCP (Gordon Schlesinger) writes: > >The April 26 telecast of APHC was not only ripping good fun, >but also a chance to see the past come alive. Much more >than just providing an opportunity to see what everyone >"looks like", the show provided an accurate feel for the >stage production of "big time network radio shows" as they >once occurred in this country. > > >Authentic touches: numerous performers on a large stage in > >Non-authentic touches: elaborate stage decorations (a >1940's era studio had just a formally draped stage), >multiple banners raised and lowered onto stage (an "old time >show" probably would have had just one fixed banner on the >rear curtain), spotlights. I'm not really sure what to make of this. There really was no attempt to make the show an "authentic" reproduction of 1940's type radio shows. The telecast was simply coverage of what goes on all the time during the shows - it's just that this time there were TV cameras present. You have to remember that APHC is not just a *radio* show, there is also a sold-out live audience there. The stage decorations and all were not there specially for this show, they're always there. As for the "large stage", I went to the newly renovated World Theater last night to see Doc Watson, and I have to report that the theater looked *much* bigger on TV. In person, it's very cozy, and very nice. I don't think there is a bad seat in the house. Great place. > >Missing: control booth with glass front window, uniformed >ushers. There is indeed a control booth with a glass front window in the theater. And the ushers at last night's Doc Watson concert didn't have what I suspect you're thinking of as "uniforms", but they were all dressed in dark blue. > >I don't know for a >fact, but I strongly suspect that GK strives for historical >accuracy in the show's stage production, as well as in the >programming. Historical accuracy? I dunno, I just think he's puttingon an radio show just like any other radio show. I suspect that things are done the way they are because that's the best way to do them, not because of any "historical" considerations. I thought the show was great, and I would love to see it regularly telecast, as long as they didn't change it for TV (showing clips of Lake Wobegon - part of the charm is remebering Lake Wobegon in terms of personal small town experiences and imagination). If they did it as they did for this special, it would be wonderful. I felt like I was in the audience of a regular show, and being in the audience is unfortunately limited to those with the proximity and luck to be there. Through TV many more people were able to see the stage show. > > Gordon Schlesinger >"Anything worth measuring....is worth measuring poorly" --MKR "Anything worth doing is worth overdoing."
ado@elsie.UUCP (Arthur David Olson) (05/09/86)
> I thought the show was great, and I would love to see it regularly > telecast, as long as they didn't change it for TV. . . Indeed. My nightmare is to tune in sometime and hear: GK: "It was a quiet week in Lake Wobegon. . ." BT: "How--how *quiet* was it? (CHORTLE)" -- UUCP: ..decvax!seismo!elsie!ado ARPA: elsie!ado@seismo.ARPA DEC, VAX, Elsie & Ado are Digital, Borden & Shakespeare trademarks.
lbv@sdchem.UUCP (05/14/86)
In response to my original posting, mkr@mmm.UUCP writes: > I'm not really sure what to make of this. There really was no >attempt to make the show an "authentic" reproduction of 1940's type >radio shows. The telecast was simply coverage of what goes on all the >time during the shows - it's just that this time there were TV cameras >present. You have to remember that APHC is not just a *radio* show, >there is also a sold-out live audience there. The stage decorations >and all were not there specially for this show, they're always there. > I have to take gentle exception to these statements. Exactly as for APHC, the early network radio programs also played to "sold-out live audiences". Minor differences, however, would have been that the audiences then probably were larger than that which the World can hold, and often tickets for the network shows were distributed free of charge---one just had to write to the network sufficiently in advance to get them. >>I don't know for a >>fact, but I strongly suspect that GK strives for historical >>accuracy in the show's stage production, as well as in the >>programming. > > Historical accuracy? I dunno, I just think he's puttingon an >radio show just like any other radio show. I suspect that things are >done the way they are because that's the best way to do them, not >because of any "historical" considerations. Ah, but this neatly misses once of the central appeals of GK's charm. Being over 40 years of age, GK would easily remember radio broadcasting at its zenith. Granted that few (if any) network radio shows originated in those days from the Twin Cities, still he would have listened to them avidly (I suspect), and might even have been in the audience for some local broadcasts. Radio broadcasting *must* have had a powerful influence on the young GK. This is further supported in his writings. There is the beautiful story in his book "Happy to Be Here" about the (fictional) station WLT and its history in the Twin Cities. GK has also spoken about his impressions of a visit to the Grand Ole Oprey, after having listened to it (and other notable programs) since childhood. And, of course, there are the countless weekly sketches (and parodies) on APHC about fictional programs and announcers of past years. Not to leave out his song, "The Family Radio", etc. etc. All, of course, the mark of a man who knows radio history. I strongly believe that GK does not do radio by default, but because he remembers what it once was and what it could do, and has an abiding affection for it. (As do I). Finally, concerning the comment about things (at APHC) being done the way they are because that's "the best way to do them": not at all. The current "best way" to do radio is to tape in a private studio, and then apply heavy post-production editing to the result well before air time. People who do live network broadcasting, in front of studio audiences, are either masochists or they truly love their medium. Gordon Schlesinger U.C. San Diego Chemistry > > --MKR >"Anything worth doing is worth overdoing." > > "Everything to excess....moderation is for monks" ---Lazarus Long
jablow@brahms.UUCP (05/15/86)
I believe I read in the New York Times that some stage decorations were added for the TV show, and that they usually use only a black curtain and some chairs. I enjoyed the show greatly, though he's putting less emphasis on the Powdermilk Biscuit commercials than I would like. We should also remember that GK has spoken of *acting* in radio dramas in his News from Lake Wobegon monologues, including one great day when his character in a soap opera was killed off in a hospital scene, but the episode ran short and he had to draw out the dying scene for an extra five minutes. I think he also referred to the popular Minnesota radio show *Iron Range*, a show about lust and passion among the rich and famous that time--did that show *really* exist? We'll need to look up one of the articles on his life to find out. I agree; I don't think the show could survive being jazzed up, edited, or made Hollywoodish. But I think there is one person who could make a film or TV show about Lake Wobegon: Jean Shepherd. Respectfully, Eric Robert Jablow MSRI ucbvax!brahms!jablow