(Television History and Trivia)
Victor Edward Swanson,
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- - - T.H.A.T., Edition No. 235 - - -
I have a very special opening section this time. Over a year ago, I wrote editions of Television History and Trivia that had a bunch of information about Ms. Anna May Wong and, for example, a television series in which she was in in 1951 called The Gallery of Madame Liu-Tsong, and then, I was put aback by the number of people who had wrong information about the series on the Internet and the number of people who were pushing out the idea that, starting in the 1930s (at least), people in the movie industry and in the country were racist against Ms. Anna May Wong, and I thought the stuff was way over the top, based on my examination of Anna May Wong and based on my knowing the television and movie industries. Let me repeat--I have 51 years of research related to television history, and I now have some 170,000 index cards with information about television, and I am the best Detroit television historian in the county and--I can say--the world, and I may be the best national television historian in the country today, and I know movie history. I have to add that, even before I started collecting data and such about television in the United States of America in 1972 while I was enrolled at Wayne State University, I had had about ten years of history of watching television and movies as a boy. I have learned over the years that it is commonplace for many actors and actresses to have short careers. For one, their images over time change, as happens with child actors and actresses of films and movies, many of whom never make the transition to acting as adults in movies and television, since their cuteness disappears. I have learned that many actors and actresses never have much of a career in movies and television, since there are a glut of actresses and actors--there are more performers than parts for the performers. I have editions of Academy Players Director (covering four years), and when I look back at them (covering 1962, 1965, 1969, and 1974), I can see many people who never made it big, and, by the way, I have seen editions of the publication, such as from the 1930s, that are available on the Internet. Over the history of movies and television, actors and actresses often have periods when they are "hot," and time comes when the public's and producers' tastes change, and so actors and actresses go out of favor, such as because they are physically not suited for such-and-such movies. Some other face or body comes on the scene. Remember--Acting is no great thought job, which, for example, might be needed to make a society survive. By the way, I will say that Hedy Lamaar--a beautiful woman and famous actress--did do stuff important, such as her work in coming up with, for example, the "frequency hopping" idea, and, in addition, the movie business and the television business are like the radio business (which I have been involved with for 50 years or so), where stardom is often short, and there are conflict of personalities unrelated to race regularly, and, in the radio business and television business, people often bounce around the country, staying each place for only a short time. Now, I come to the subject of Ms. Anna May Wong. About one year and a half ago, I wrote an email to people associated with Ms. Michelle Krusiec, who had recently played Anna May Wong in a video series for Netflix called Hollywood, and I wanted Michelle Krusiec to see my document called Television History and Trivia #217 (which I had sent with the email), and soon I would write Television History and Trivia #218, which would have more information about Anna May Wong. I was working to counter the idea that the country was racist against Anna May Wong, and the theme by others--especially those of recent days--was a lot of nonsense, though there could have been some racism against Anna May Wong, since that is the way of some people, as can be seen by how Hamas (pushers of hard-line Islamic law and Sharia, which is a rotten political system, really, and which is anti-Hindu, anti-Catholic, and anti other religions and non-religions) has started up a war against Israel and Jews people (starting it up on October 7, 2023). I did not really get any response of any importance from anyone associated with Michelle Krusiec or from Michelle Krusiec in 2022, and so it goes. On November 1, 2023, I got a surprise in the email box; I had an email from a woman named Ms. Mae Adornetto, who was, in essence, associated with Michelle Krusiec, and Mae Adornetto wanted me to send information about The Gallery of Madame Liu-Tsong finally (as a repeat offering, since, in 2022, Michelle Krusiec had had a problem with loading up Television History and Trivia #217 on her computer or whatever it seems). On the evening of November 1, 2023, I sent Television History and Trivia #217 and Television History and Trivia #218 to Mae Adornetto. The following morning, I had no response from Mae Adornetto, but I did not expect to see a response. That morning, I once again went on eBay to look for photographs of Anna May Wong, and I found a bunch, many of which I had seen in the past, and I focused on the 1920s, 1930s, and 1940s. My contention is that Anna May Wong did rather well in the movie business, based on what I know about how short the careers of actors and actresses can be. Her heyday was the 1920s and early 1930s. Then, Anna May Wong--as a young girl and very young woman--had a soft and pleasant and rounded face, and she was cute. Moviegoers were pleased with her. In the early 1930s, Anna May Wong ended up in a movie in which lesbianism was hinted at, and in the early 1930s, the American public was becoming rather displeased with the morals presented in movies, such as those in which bad guys were praised, and what happened is the movie industry fired up a morals code. In a way, Anna May Wong hurt herself with the American audience a bit (maybe) and more with producers of movies, since she tied herself with lesbianism on screen (at least). She hurt her own market value. Many people of today say that Anna May Wong was not given a main part in a movie of 1937-1938 because the movie industry was racist against Anna May Wong, who had been born an American citizen (with Chinese ancestry) in California, and that idea is blown way out of proportion by those working to push the racism idea and avoiding the underlying nature of the movie business [See Television History and Trivia #217 (which can be reached through this T.H.A.T. #217 link) and Television History and Trivia #218 (which can be reached through this T.H.A.T. #218 link) to learn specifics about the movie and more.]. I can report, based on the photographs that I found on eBay (which I have in a digital folder now), that, at least by 1942, the roundness and cuteness (which had helped make Anna May Wong a big star in the 1920s and early 1930s) had disappeared, and the bone structure of the face made Anna May Wong often look tough and hard, and it got worse the older she became. By the way, over the years, because of genetics, such actresses as Mitzi Gaylor, Doris Day, and Gale Storm continued to exhibit cuteness in their faces, or they did not change from cute to hard-edged, if not regularly stern or angry, but that did not happen with Anna May Wong. I reported previous that, in around 1950, Anna May Wong was seriously ill, and I wonder if, based on her small stature and thinness, her party ways of years previously had hurt her, and, incidentally, in the illness period, she had to have blood transfusions. I also think that, around the time Anna May Wong did not get a part in a big-deal film in the 1930s, she had already had a big head about being a star, and she pushed the issue of her importance too far, and so that led to a rift between her and movie producers [Note: At the time, she did not get the part, she was under contract with a different movie studio than the one that was involved with the movie.]. In a way, Anna May Wong did not really fully transition from the silents to talkies well because her face changed (it getting bony looking), and when she grew out of girlhood, she did not develop a body that was really well rounded, which might put her in more romance parts for movies [Note: She did not become as, for example, Emma Samms and Salma Hayek and "Hot Emma" (an Asian gal) of YouTube would, and, the example that I give might be a bit exaggerated, but I am making a point.]. In addition, Anna May Wong remained a small woman and even a thin woman, whose image hinted that she could not be a big star in action movies, such as the cowboy movies, who might be able to take on strong outlaws. In fact, images of Anna May Wong that exist at least on eBay show that Anna May Wong was, in essence, a somewhat weak-looking woman, with little muscle mass. A person looking at photographs of Anna May Wong can see very thin arms and legs, and her image hinted she would not be good in action parts where strength might be involved. In the 1930s and 1940s and even the 1950s, musicals, such as with big bands, were popular, and the films were done with people who had become famous on stage and radio with musical stuff, and Anna May Wong had no experience that would hint she would have been good for such films, and she was no chorus dancer. She was not physically structured to be a big deal in cowboy films, even B-westerns, which would be some of the first films to get shown by television stations in the country in the late 1940s. When World War II came, Anna Many Wong did some war-related films, but such war films often focused on men in war situations, and, as I have noted, by the 1940s, Anna May Wong's image was often hard-edged. I think Anna May Wong became a little too stiff and formal on screen, matching what she was doing in public, as she went from the 1930s to the 1950s. Genetics make up a big theme about what actors and actresses get to do in films and televisions, and I say that, basically, actors and actresses simply play themselves as they look in movies, and actors and actresses--whether big stars or B-type stars--get typecast regularly by their looks, as happened to Cary Grant, John Wayne, Slim Pickens, Humphrey Bogart, Marilyn Monroe, Jane Russell, Bing Crosby, George E. Stone, Allen Jenkins, Raymond Burr...., and Anna May Wong was no exception. A person of today has to analyze what films were being made in the 1920s and 1930s. There were westerns, especially B-westerns, some of which were the first movies to show up on television stations in the country in 1948 and 1949. Anna May Wong would have been useless for a cowboy film. There were gangster films in the 1930s, and, basically, the characters in the movies were Italian types and not Asian types, and in the 1930s, New York--where many mobsters could be found--was not a big place to find Asians [Note: Many Chinese set up home in the far West of he country, such as during the time of the building of the railroads of the 1800s.]. [Note: I hear people bring up how tough the work for the Chinese was in the 1800s, but no one talks about the tough times for, for example, the Swedes and Fins working in the iron mines and copper mines in the Upper Peninsula of Michigan during the same time, and the topic of the people working hard in the coal mines of the 1800s could be focused on.] Topics about aristocrats and such of early American and British society and history would have no place for an Anna May Wong's type, because the characters were Europeans. Ships with pirates mostly working in the the Atlantic Ocean--before 1900--had no place for a Anna May Wong type in a movie about such people. And I could go on. It must be remembered that writers and producers of movies get tired of putting out the same product over the long run, such as ten years or so, as do viewers or theatergoers, and after a while, movies about Chinese-associated society or people get sort of left behind for something else, and producers of years ago were always looking to find the next "star" to promote and to sell movies. Today, no one is making "Bowery Boys"-like movie and "Blondie"-like movie and "Thin Man"-like movies, which are fun; today, it is special-effects-driven movies about super heroes and such, types of characters that had not existed or had not become super popular enough in the 1920s and 1930s to focus on them in movies. Oh, on November 2, 2023, when I was on eBay, I got exposed to a book called Anna May Wong: From Laundryman's Daughter to Hollywood Legend (which was written in Graham Russell Gao Hodges), and I then went to see when the book was originally published, and Amazon had this note about the 2012 book--"...is the phototypical story of an immigrant's difficult path through prejudices of American culture.". I think that statement is bullshit, being pushed along by a modern-day piece of garbage. Remember: Americans helped the China and the Chinese during World War II, before the rise of communism, which led to the deaths of millions of Chinese by Chinese leaders. So, on November 2, 2023, I sent this document--yet in draft form, but basically finished--to Mae Adornetto. And now you are seeing the finished edition of Television History and Trivia #235, which starts out--really--defending Ms. Anna May Wong against the crappy idea that the country was highly racist, as you should have seen.
I have one more theme about Ms. Anna May Wong to pass along, and I am presenting this paragraph through the eyes of a real male and not one related to feminized men, types of guys who seem to be commonplace in this day and age in the United States of America. In the 1920s and 1930s, Anna May Wong pushed out in image of herself, and it was that of a seductive and pretty Asian woman, and, maybe, it was pushed out too much, and she should have done more to make her image more rounded--not stuck on only the image of a pretty Asian woman in gowns and such. Then again, I might be disappointed if things had been different. When I did my little search of images of Anna May Wong on eBay, I found her in many lovely poses, and my favorites are tied to a set of photographs made around August 17, 1934 (the date on the back of the several photographs), and in one in particular, she looks like a beautiful mature woman--like that which I have not seen in years and years in public, given women try to look like men today--whom I would kiss gently while holding her left breast nicely, and that is while she is wearing a sundress-like thing with a pretty flower pattern, and I like seeing gals in sundresses, and I have not seen a nice gal in a sundress in years and years. So now you have that. During the search, I came up with a problem. As I have noted, Anna May Wong was mostly girlish in structure during her lifetime, if not somewhat fragile looking at times, especially in the late 1920s and early 1930s. In the 1929 movie called Picadilly, Anna May Wong does a dance scene, and a viewer can tell she has tiny breasts, and I found a photograph of her in a really sheer blouse-like thing that is sort of tied to the promotion of the movie, and the photograph shows her nipples and small breasts. Also during the search, I found a photograph in which Anna May Wong (supposedly) is nude, sitting on the backs of her legs and her head covered by her arms while she looking away from the camera, and her breasts are exposed well enough, and the nipples do not seem to be like those that are sort of shown in the photograph tied to Picadilly, being bigger. The conflict in the shapes of the nipples make me wonder if the photograph of Anna May Wong (supposedly) sitting on her legs is really a photograph of Anna May Wong. It may be a correct photograph, but I thought I would have some fun bringing up a controversy, which is a better controversy to talk about than the one being pushed by people today in which they work hard to sell the idea that the country was and is racist against Asians, especially Anna May Wong. Yes, heydays for actresses and actors are often short, and, today, people can see Anna May Wong in her heyday through the many photographs that exist of her, such as on eBay.
From 1937 to 1951, it was commonplace for people in the country to hear episodes of The Cinnamon Bear (a syndicated radio series) on radio stations through syndication in the fall time, and then in 1951, the shows were adapted into a television series that got syndicated in the country, but the television series never aired in Detroit, and now it seems to be a good time for you to learn about and see the television series (at least partially) and hear episodes of the radio series. A company called Radio Transcription Company of America (informally known as Transco) made and put the radio series into syndication for the fall of 1937, and it was designed to be presented between Thanksgiving Day and Christmas Day, and the show was on records (and records would be a popular medium till the 1980s). One of the first radio stations in the country to air the radio series was KFBK (of the Sacramento area of California), and the broadcast of the series began on Friday, November 19, 1937 (and not on Friday, November 26, 1937, as many entities on the Internet report (incorrectly) today). The series was designed to air six days a week and for 15 minutes each time. In some markets of the country, the show was aired year after year, and in some cities, stores did tie-ins with the radio show, having, for instance, a guy dressed up as "The Cinnamon Bear," and the goal of the stores was to sell bear dolls of some type. In 1951, a television series--mostly featuring hand puppets--based on the radio series was put together and syndicated, and it was made up of 26 episodes, as the radio series had been, and each episode was to be used in a 15-minute block of airtime with commercials and such by a television station [Note: In at least 1953, the syndication company was Fitz and Associates.]. The television series was produced by Gilwin Productions (of Beverly Hills, California) (and not by WGN-TV, as some entities report in webpages on the Internet). What is unusual about the television series is much of the audio was simply taken from the radio series; in episodes one and two and probably episode 26, some live people were in scenes, so some new audio was put in, such as when two children were playing the main characters. The radio series and the television series had the same plot, of course. It was the story of two children--Jimmy Barton and Judy Barton (twins, who were nine years of age and lived at 1000 Sunnyview Lane with their parents)--who go on a trek to recover a "silver star" for their Christmas Tree, and they get help from a bear called "Paddy O'Cinnamon" (a.k.a. The Cinnamon Bear). Early in the story, the three are joined by Crazy Quilt Dragon (the name that I use based on a record with a record label that I saw on the Internet with "Crazy Quilt" and not "Crazyquilt" (which many other entities use)). The puppets that played the characters in the story are well done; for example, Judy and Jimmy are cute and pleasant. Hold it! One of the characters is Queen Melissa, and I say that, if there were a contest for one of the prettiest puppets in television shows of the late 1940s and early 1950s (the heyday of puppet shows for local television), I would put Queen Melissa way up at the top of the list of winners. Queen Melissa is quite pleasant. Other characters in the television series (and the radio series) were Santa Claus, Penelope (the pelican), King Blotto, and Wintergreen Witch. While I was making this section of Television History and Trivia, I found no good information about the cast in databases for old magazines and newspapers, but I found bits of information about people involved in making the series, such as the writer, who was Glan Heisch. At one point in the search, I found websites or webpages with cast lists, and there was one main conflict, and that was about who did the voice for Jimmy. Wikipedia noted that it was Bobby La Manche [the spelling seen], but that seemed to be defective to me, since I found that, in the late 1930s and early 1940s, Bobby LaManche [the spelling that I use based on old newspapers, though many others of today use "La Manche"] did not do much in radio, especially when compared with Walter Tetley (who was 16 years of age in 1937 and who did a lot of radio work in the late 1930s and 1940s and who did work in television, such as for "Peabody and Sherman" stories in cartoon series featuring Bullwinkle the Moose and Rocky the Flying Squirrel of the 1960s or so). Many entities (such as PdxHistory.com) said that Walter Tetley was Jimmy, and some entities, such as Radio Archives, had the credit blank (or "unidentified"). At one point, I was going to leave this document with a "blank" for Jimmy. Incidentally, one reason that I was discounting the information tied to Wikipedia is, as I have shown in the past, Wikipedia is known for having bad television history information; for example, the article about the DuMont Television Network does not report that officially the network died on September 15, 1955, the date used in relation to tax filings, and if the date were put in the article, so much of the article would have to be redone, as would many articles on the Internet. Finally, I stumbled across an article called "The Cinnamon Bear: The Actor Behind Jimmy Barton Discovered", which was tied to the Old Radio Times product of November-December 2021 (number 117), and it had a link to an article called "Observations on the Obscure: Actor now identified who portrayed Jimmy Barton in the Cinnamon Bear" of a newsletter known as Hollywood360 (for September 2021, volume 5), and the article was written by Karl Schadow. I discovered Karl Schadow was associated with the Library of Congress. Karl Schadow, who (it seems) has done a lot of research about old-time radio, reported that he did investigating in materials tied to the Radio Transcription Company of America that were stored at the Library of Congress, and he found that Bobby La Manche [the spelling that he used] played Jimmy or was the voice of Jimmy for the radio production, and he reported that Bobby La Manche did other work for Radio Transcription Company of America. [which had been founded in about 1930] [Note: Karl Schadow did not report whether or not Walter Tetley did something for Radio Transcription Company of America in around 1937, and a person's having that information might seal the deal for Bobby LaManche over Walter Tetley.]. In the article, Karl Schadow provided the full cast list for people to see. Here is the information that Karl Schadow reported from the files at the Library of Congress (with bits added by me, such as the nickname "Bud")--John "Bud" Hiestand (as the announcer), Barbara Jean Wong (as Judy), Verna Felton (as the mother, Mrs. Barton), Jack Lewis (as Stork), Joseph Kearns (as Crazy Quilt Dragon and King Blotto the 3rd), Joseph Franz (Captain of the Inks), Edwin Max (as the assistant executioner), Rolfe Sedan (as Samuel Seal), Lindsay MacHarrie (as Bos'n, the wailing whale), Elvia Allman (as Penelope the Penguin), Elliott Lewis (as Mr. Presto and Mudley), Cyrus Kendall (as Captain Taffy), Arthur Van Syke (as the first pirate), Ed Porter (as the policeman), Ted Osborn (as Professor Whiz the Owl), Leone Ledoux (as Fraidy Cat), Joseph DuVal (as Fe Fo the Giant), Cliff Carpenter (as Rhyming Rabbit), Martha Wentworth (as Wintergreen Witch), Rosa Barcelo (as Queen Melissa), Hanley Stafford (Snappersnick the Crocodile), Gale Gordon (Oliver Ostrich), David Kerman (as MacMudd), Howard McNear (Slim the Cowboy), James Blaine (as Indian), Gene Reynolds (as Nicky Froodle), Clayton Post (as the snowman), Lou Merrill (as Santa Claus), Fred Harrington (as Jack Frost), and Frank Nelson (as Captain Tin Top). There are some things I must point out about the list. It should be "Ted Osborne" instead of "Ted Osborn" (for the actor who played the professor), and the character known as "Slim" is fully called "Slim Pickens" (a name that would be tied to a famous cowboy actor in movie history), and the wailing whale should be "Wesley" (as I heard it to be in episode five), and I note that some entities on the Internet incorrectly use "Westley" or "Weasley" in their lists, and I know not where "Bos'n" came from, having not heard it said on the series. Now I take you into weeds (as I will say informally). I do have to wonder whether or not the list is the official final list, given it has some errors (as if it were a preliminary list that survived over what could have been made as a final list). Of course, everyone agrees that Buddy Duncan was the voice (the Irish-sounding voice) of Paddy O'Cinnamon (the bear). Wikipedia and "PdxHistory.com" have Howard McNear as Samuel the Seal, and both entities have Dorothy Scott as Fraidy Cat, and "PdxHistory.com" has Gale Gordon tied to Weary Willie (the stork). So far, you can see conflicts exist with people and characters. Lindsay MacHarrie gets credits for doing the "Grand Wonkey" (though I am not sure if the spelling is correct and whether or not it should be "Wonky"); at the time the radio program was made, Lindsay MacHarrie was officially the "production manager" for Radio Transcription Company of America. Wikipedia and "PdxHistory.com" have Chief Cook and the Bottle Washer done by Cyrus Kendall. I am going to stop with the listing now. Given I found a few little problems with the list, I continued on with my tracking work to see if I could add proof that Bobby LaManche and not Walter Tetley played Jimmy. I can report that, indeed, The Cinnamon Bear radio show was made in the Los Angeles area of California. In 1937, the president of Radio Transcription Company of America was Charles C. Pyle (634 Gramercy Place, Los Angeles, California), and, starting on June 30, 1937, newspapers began to announce that Charles C. Pyle filed papers to marry Elvia Allman (Elvia Allman Tourtellotte, 404 Poplar Street, Laguna Beach, California), and they did marry in around July 1937, and Elvia Allman, who did a voice for The Cinnamon Bear radio series, would be married to Charles C. Pyle till he died on February 3, 1939. The Cinnamon Bear radio show was made in the Los Angeles area of California, using people based in the area. Now, I move on to Walter Tetley. In 1937, newspapers reported that Walter Tetley was a "juvenile" or 16 years of age or 17 years of age. Today, a number of entities, such as Wikipedia, report that Walter Tetley was born on June 2, 1915. That causes a problem. If Walter Tetley was about 16 years of age in 1937, he was born in about 1921 and not in 1915, and if Walter Tetley was born in 1915, he would be about 22 years of age in 1937. I found too many old entertainment magazines that, when articles were analyzed by me, clearly indicate that Walter Tetley was not born in 1915, so Wikipedia has another big error. Plus, I did find information that hints his mother was sort of his escort in about 1937. In 1937, Walter Tetley was living in Edgewater, New Jersey, or articles hinted he lived in "Edgewater" or "Beverly Place" (which seemed to be about the same place), and it was editions of a newspaper called The Record (Hackensack, New Jersey) that passed along the ideas of where Walter Tetley was living in 1937. I am only going to look at 1937 (January 1, 1937, to December 31, 1937). By the way, Edgewater was located in New Jersey very near the border between New Jersey and New York--the Hudson River. Between January 1, 1937, and about June 1973, Walter Tetley was doing radio work in New York for several radio shows, and he was also in something like middle school or high school (or whatever term was used in the Edgewater area in 1937), and I found no evidence that he did work in California, and he was sort of trapped in New York for the first part of 1937 by work and school [Note: On May 4, 1935, the Buffalo Evening News reported that Walter Tetley was 15 years of age and was attending the Professional Children's School of New York.]. I found two publications that noted that, in the summer of 1937, Walter Tetley was scheduled to go to Hollywood to be in a motion-picture production, but the date seems to be preliminary. Around the second week of August 1937, Walter Tetley was vacationing at Sea Gate of the Coney Island area of New York. The Record (of September 29, 1937) finally reported that Walter Tetley and his mother were now in Hollywood, and Walter Tetley was going to take part in the making of a movie called Sally, Irene and Mary (a film that did get released in 1938 [but I have no evidence that Walter Tetley can be seen on the film today, since I cannot fine a full copy of the film to see]). I say that, in late September 1937 and early October 1937, it would be too late for Walter Tetley to take part in the making of The Cinnamon Bear, since the maker of the production and the distributor of the production would have to had the product ready way before November 19, 1937 (at least) so that it could prove the radio product was done to managers of radio stations and so that a salesman might show a sample of the finished product to managers of radio stations, who would decide to buy or not buy the product. I have to now talk about radio and television together. A broadcast season usually started in September or October of a year in the 1930s, 1940s, and 1950s, and it was commonplace in the 1930s, 1940s, and 1950s for a series to have episodes run for 39 weeks, and then people would take vacations, and summer replacement shows would take over for 13 weeks (covering the summer). Walter Tetley was probably locked in to staying at home in the New York area from about September of a year to about June of the next year because of radio work, even if not because of school.* So, based on all that has been presented so far in this section, I can say that the list found at the Library of Congress by Karl Schadow does have value, and I say that, indeed, Walter Tetley did not play Jimmy, and, certainly, Bobby LaManche did play Jimmy, despite what a bunch of "fans" of The Cinnamon Bear try to say, based on their listening to voices. While making this section, I found an entity called "martingram.blogspot.com" that reported-"...The program never made a successful transition to a visual medium, remaining solely as a radio property....". That information is not quite true. For one, WGN-TV, Chicago, aired The Cinnamon Bear in the fall of 1951, and it was liked by television viewers in the Chicago area it seems, since the series showed up on WGN-TV again in the fall of 1952, the fall of 1953, and the fall of 1954, but, based on a rough survey, I do report that it seems not too many television stations in the country carried the television series between 1951 and 1954 (at least), but it was a time of the upswing of the heyday of filmed weekly programs in syndication--especially in 15-minute form and 30-minute form--and the radio program was still being used in the country, and when I look at the television series, I think it was well done for a puppet show for 1951 and can be called a success today (especially since it is fun to watch) [Note: In 1951, there were only a little more than 100 television stations in the country, and, in Detroit, full daytime broadcasting had only started about a year previous, and when CKLW-TV, Channel 9, which would be able to be seen by Detroit-area viewers starting in 1954, it would not begin to run programs till early afternoon, and other television stations in the country had yet to do full-daytime broadcasting in the early 1950s, so slots for programming were limited. Yet another blocking factor related to the television use of The Cinnamon Bear was that, in the middle of the summer of 1951, stations were hearing that soon the coast-to-coast television connections would be made by AT&T so that programming could be aired live in New York for all parts of the country and could be aired live in Los Angeles for all parts of the country, and in the fall of 1951, the connection was made, and coast-to-coast broadcasting got started, and stations had more network programing that could be picked up, reducing the available time for syndicated programming (till stations offered more hours of broadcasting each day, such as late at night.]. It was reported in 1937 that The Cinnamon Bear series had eleven original songs, which were heard on the television version of the series, and some of those songs were The Candy Buccaneers, The Wailing Whale, and Never Say Boo To A Crazy Quilt Dragon. Today, all the episodes of the radio version of the series can be found on YouTube, and only ten of the television episodes can be found on YouTube. I recommend showing the series to people, especially children, because it is fun and nice and cute. Of course, a person would have to figure out how to present it. Does a person start with episode two of the television series, or does a person start with a episode one of the radio series (especially when presenting it to children)? A presenter, such as a parent, could show a few moments of the second television episode so that people, especially children, will have an idea of what the main characters look like and then run the audio version of the first radio episode, and then the presenter can then bounce from the television stuff to the radio stuff to the television stuff, et cetera, still the 26th episode is reached. The television episodes available on YouTube have no credit information on them. I found information about a few people involved with the show, but I will leave most of them unmentioned here, lacking good information from publications made of between 1937 and 1951 that can be good backup sources, but I will mention a person not mentioned by any entity talking about the series today that I came across. On March 15, 1953, a man named Lou R. Winston died, and at the time, he was listed as the head of Gilwin Productions (Beverly Hills, California) and Radio Producers of Hollywood; Radio Producers of Hollywood existed at least from 1938 (or so) to 1951, and Lou R Winston had had a company called Radio Recorders in around 1937, and I found that for a while Radio Producers of Hollywood and Radio Transcription Company of America were at the same building and with the same telephone number in around 1948, and in about 1948, Radio Transcription Company of America seems to have disappeared (duties of which may have been picked up by Radio Producers of Hollywood), and it is possible Gilwin Productions (as a television-based production company) was set up for the production of the television version of The Cinnamon Bear around that time [Note: My fifty years or so of television research has found that sometimes a company is created specifically for the production of one program or series or whatever, and I note that Gilwin Productions was listed in an article about syndicated shows, being tied to the television series called The Cinnamon Bear.]. It seems very likely Lou R. Winston was instrumental in getting the television version of The Cinnamon Bear made. I am not done with Lou R. Winston. In about May 1949, Radio Producers of Hollywood (which had Lou R. Winston as the president) sold a bunch of radio transcription product to Bruce Eells and Associates (which was related to Broadcasters Program Syndicate (or BPS), which was associated with some 154 radio stations in the country in relation to providing radio programs), and some of the transcription products--series stuff--were Magic Island, Speed Gibson, and The Cinnamon Bear. Something that I will probably never know is if Bruce Eells and Associates had to be dealt with by Gilwin Productions at the time the television series was being made, having the audio product of 1937 in hand. So, there is yet a little conflict--maybe--in relation to who did some voices for the radio series known as The Cinnamon Bear, and there are yet other performers--those in the television series--who have to be identified yet. In the television series, at least in episode one and episode two, two children (who looked to me to be real twins) played Jimmy and Judy (not as puppets but as real children). Episode one of the television series is not on, for example, YouTube, but maybe a woman played Mrs. Barton in the first episode. In fact, a person could have played Mrs. Barton in the final episode of the television series, too, and, certainly, the two child actors probably were seen in the final episode of the television series. In addition, episode twenty has a "Singing Tree" character, and a pretty young woman's face is shown as the face of the tree, and that woman--who lip-syncs a song from the radio show (rather weakly)--is unknown. Since a little more than half of the television episodes seem to be lost, I cannot report if other real people appeared in episodes of the television series. I note that maybe a look in editions of Academy Players Directory for around 1951 might result in a person's finding the names of the unknown performers in the television series, but maybe it will not (since the performers may not have been professions and since they could have been related to people at Gilwin Productions or Radio Producers of Hollywood in the early 1950s). I say that, in the end, the series was probably a success--financially and more. For one, Gilwin Productions did not have to spend much money--it seems-on performers to appear in the television version of The Cinnamon Bear, and almost all the audio came from the radio series, and it seems the radio actors did not get paid again for the television product. For this holiday season, call up The Cinnamon Bear!
[Note: Frank Nelson, Joseph Kearns, Gale Gordon, Elvia Allman, and Howard McNear would become super famous on television in the 1950s or 1960s, and they can be seen regularly--in essence--in episodes of old television shows aired today, such as on MeTV.]
[Note: I did a preliminary search (such as in newspapers) to see if I could come up with the maker of the puppets for the television version of The Cinnamon Bear. I did that, thinking I might see some puppets that seemed to be made by the maker the puppets for The Cinnamon Bear, since puppet makers have a style. I have found nothing yet. It seems to me the puppets were made by someone in California. Maybe someone at a puppet museum in the country might be able to come up with a possible answer.]
[Special note: Some people get into writing about the history of some subject, though they know nothing about the subject. I am the best Detroit television historian in the country, and I am one of the best national television historians (and now maybe the best, depending on who is still alive), having some 51 years of work in the field. Yet, I am one of the best historians on several other topics. For 27 years, I worked at AAA Michigan, and while I was there, I was involved in promoting tourist attracts and museums and such on radio stations all over Michigan, and since 2004 and since being at AAA Michigan, I have had a website that, for one, talks about museums and such in Michigan on a monthly basis. I was a volunteer guide at 40 Mile Point Lighthouse (a museum near Rogers City, Michigan, for a while recently, and I am an expert on the history of the place, and I made and have a model of the lighthouse as it was from 1914 to 1919 [which can be seen through this 40 Mile Point Lighthouse model link], and I made some gals for my model (as a fun joke thing) [which can be seen through this My Gals link], models that turned out pleasant and nice and even great], and I have a history document about some 450 lighthouses around the country, which focuses on the lenses and characteristics of the lighthouses, which had been put together in my search for the first Fresnel lens used at 40 Mile Point Lighthouse, which seems to be stored today at the Maine Lighthouse Museum (as something unidentified). I am probably the best historian for another museum in Michigan, and the museum is centered on the former U.S. Coast Guard icebreaker known as The Mackinaw WAGB-83 (and originally known as The Mackinaw WAG-83), which is at Mackinaw City, Michigan, and I have 1,800 photographs of the outside of the ship, and I have a document that is made up of about 660 pages (in single-space form as rated by WordPerfect) about the ship, and I have helped out Mr. Scott Price of the U.S. Coast Guard Archives about the former icebreaker. I can talk about television, and I can talk about museums and such. Some people at museums--which have nothing to do with television--think that they should be involved in writing about television history. I found a page called "A Bear, A Star and the Great Depression: A Christmas Story" on the Internet while putting this section together about The Cinnamon Bear, and it was a page tied to the McHenry County Historical Society and Museum, and the piece was written by Emily Datillo (who had been formerly with the museum), and I wondered why the page was produced, since Emily Datillo was and is no television historian. I read the piece, and I quickly recognized it to be a feministic and socialistic piece of crap. I could spend a lot of time tearing apart the article, which was short. One sentence of the piece was--"...Most of the shows aired on the program were not directed at children, but every year between Thanksgiving and Christmas I finally got to hear the children's show....". That is defective thought. Articles in old newspapers show the series was aimed a children, especially during the times when people dressed up as bears at store and worked to sell, for example, Teddy Bears. The article is political crap, in which the author is working hard to put a rotten political slant on a fun television series or to make the series look bad. Look at this material from the article--"...In terms of gender roles, Judy an Jimmy behave in ways expected for girls and boys of the time. Jimmy is the assertive twin and defends the team from the various threatening creatures they encounter. Judy, on the other hand, is more sensitive. She often cries and other characters comfort her when the going gets especially tough. All of these representations are frustrating, but they provide important insight into how 1930s Americans saw themselves, their neighbors and their society....". That is political garbage! And Emily Datillo is so worried about so-called racist things. For example, another piece of the article is--"--Given some of the stereotypical characters in the program, I was surprised to find some representation of minority groups in the casting of main characters. Barbara Jean Wong, a Chinese-American actress, voiced Judy Barton. Buddy Duncan, a vaudeville star with dwarfism, voiced Paddy O'Cinnamon. Experts and fans haven't been able to figure out the identity of Jimmy Barton's voice actor, but Walter Tetley, a radio and screen actor, is the strongest possibility....". And Emily Datillo had this written down--"...For better or worse, The Cinnamon Bear cannot be separated from its historical context.....". Bullshit! Emily Datillo is reading too much into the radio show and, indirectly, even the television show, corrupted by (it seems) her rotten politics! She is seeing the series as if she has the eyes of a communist or socialist or progressive or liberal of today, and her article resulted in nonsense history being taught. Incidentally, the television series actually has a black character. Why the hell did the McHenry County Historical Society and Museum--which has no background or ties to television history--have Emily Datillo's article on the website for the entity and why does it still have the article on the website? By the way, the McHenry County Historical Society and Museum is located at Union, Illinois. I say that the series--the radio series and the television series--was made to make people, especially children, feel good during the holiday season each fall, and that is it. It was fun for the sake of fun and not for the sake of jackass political crap of today. [Note: It was in September 2023 when I wrote the main structure for this section. On September 6, 2023, I sent an email to the McHenry County Historical Society and Museum (using the email system tied to the website for the entity), and I wanted to get an email address for the entity and an email address for Emily Datillo. In the end, I learned Emily Datillo was now associated with the Mt. Prospect Historical Society. Ultimately, I got email addresses, and I sent a draft of this section of T.H.A.T. to the McHenry County Historical Society and Museum and to Emily Datillo, and that happened on September 9, 2023, and, by the way, the management of the McHenry County Historical Society and Museum was working to say that the entity should be left out of the discussion about the document, even though the entity had published the story by Emily Datillo on the Internet and still had the document on the Internet. On September 11, 2023, I received an email from Janet Barron (volunteer and outreach coordinator) of the McHenry County Historical Society and Museum, and the email shows off the nature of the management of the entity--"Mr. Swanson, I understand you sent a question to our general email address about an opinion piece published on our website. You disagree with the content, so we asked you to discuss this with the author. The content, as was presented at the time, is the opinion and interpretation of the author, and we will not remove or amend their work. Again, if you would like to argue your points with the author, you can contact her directly through the email address associated with her blog.". The email shows how rotten information can on the Internet for years and teach nonsense. For example, the piece by Emily Datillo will continue to push out the idea that Walter Tetley was involved with The Cinnamon Bear radio show.]
[Note: Wikipedia often has been information about television, especially about Ms. Anna May Wong and the DuMont Television Network, and to see a look at good history about Ms. Anna May Wong and The Gallery of Madame Liu-Tsong, use this T.H.A.T #217 link, and to see why most people give out the wrong date about the end of the DuMont Television Network, use this DuMont link, and to see documents about places to see in Michigan, use this Michigan Travel Tips link.]
Announcement for the novice again (reworked in March 2019): To get useful television-delivered news or Internet-delivered news, try Breitbart News Network (the history of which goes back to 2007), WorldNetDaily.com, Newsmax TV (which was started up in 2014), CNS News (which is on the Internet and which was launched on June 16, 1998), and One America News Network (a.k.a. OAN), since the entities do not blindly support Barack Obama-type people (communists, socialists, progressives, liberals, and Shariaists), as do CNN, MSNBC, NBC-TV, CBS-TV, and ABC-TV (Note: To learn about bad journalism, you might tune in to CNN, MSNBC, NBC-TV, CBS-TV, and ABC-TV from time to time to see how they differ from the better places mentioned). I note that the Fox News Channel is evolving into a rotten channel, becoming like those that I have put down in this paragraph. If you are unclear of my intentions, I say in different words that you should boycott CNN, MSNBC, NBC-TV, CBS-TV, and ABC-TV and even now much of what is on the Fox News Channel and hope they lose more ratings and advertising revenues, since they are expendable, and it is time for you to find the guts to be mean and heartless and cancel them--since they are hurting you. In 2019, "The Drudge Report" was sold, and it should be treated as suspect for now. [Note: Everyone in the Democratic Party in the country is rotten, and the Republican Party establishment has shown itself to be socialistic and communistic within the last few years, and only a few of the rotten people tied to the Republican Party are U.S. Senator Mitch McConnell, Mitt Romney, Jeb Bush, and Chris Christie.]
[Note: Here is an example of Chris Christie's rottenness. On Sunday, February 6, 2022, Chris Christie was a guest on This Week with George Stephanopoulos (of ABC-TV), which had Martha Raddatz as the host, and Christ Christie pushed out crap. For example, Chris Christie said--"...And let's face it. Let's call it what it is. January 6 was a riot that was incited by Donald Trump...an effort to intimidate Mike Pence and the Congress into doing exactly what he said in his own words last week--overturn the election. And he's trying to do a cleanup on aisle one here...." and "...He actually told the truth by accident. He wanted the election to be overturned....". That is bullshit!]
Between September 1954 and January 1980 (roughly), I paid attention to Channel 9, CKLW-TV, of Windsor, Ontario, Canada, because it had a lot of programs that were likeable and were things that people in the Windsor area and the Detroit area could enjoy seeing. Actually, CKLW-TV when on the air about one year after I had been born, and I really did not pay attention to CKLW-TV--as something to see--till the very late 1950s. By the time the 1980s came, the management of CKLW-TV had, in essence, given up on airing programs that might be likeable to people of the United States of America. In late 1954 and early 1955, CKLW-TV, was only broadcasting in the afternoons and evenings; the station had started out in September 1954. The broadcast day in that period usually started in the two o'clock hour in the afternoon or the one o'clock hour in the afternoon, and each day began with a prayer and a billboard (which had, for one, announcements). Now, let me bring in another subject. Today, it is possible to see some of the early programs of television history on YouTube, where there can be errors tied to videos because of the posters (those who post stuff) or where there can be information lacking about a particular video. Recently, I showed how a video about a television program called Dilemma (the episode called "The Girl Who Knew Too Much") had or has wrong information, and I came up with the very likely answer to who the gal was in the video who played the main character, and you can learn about that television series by seeing Television History and Trivia #230 (which can be reached through this T.H.A.T. #230 link). I am happy that some early television shows are available on YouTube, since I can show what the early days of television were like. From Tuesday, November 30, 1954, through Tuesday, March 29, 1955, Channel 9 aired a syndicated television series on a weekly basis at 2:15 p.m., and each episode of the series ran about 15 minutes (it was the program proper and commercials or whatever). Television listings at the time called the program Bobo the Hobo. But the full title was and is Bobo the Hobo and his Travelling Troupe. By the way, the program came on the air each time after the station had done the roughly five-minute long prayer-and-billboard segment for the day. It was in 1953 when stations around the country could begin to order Bobo the Hobo and His Travelling Troupe as something to show viewers, and the program was distributed by National Telefilm Associates, and the program had 25 episodes--on film. And the show was originally shot on color film, and in 1953, the color standards for television in the United States of America--the broadcast standards for transmitters and transmitting television images and sound and such--were set by the Federal Communication Commission, but I know not if the series was originally distributed in color; by the way, a few years earlier, The Cisco Kid had been filmed on color film, but it had been distributed originally in black-and-white form (in black-and-white "prints"), and it would not be till the 1960s when color prints would be distributed. Bobo the Hobo and His Travelling Troupe had no live actors--it had puppets. Given the show had puppets, you can guess that the show was aimed a children, and it was. The main character was Bobo. Look at the episode titles of the episodes of the series that can be found on YouTube today--"Bill Brawney Private Eye", "The Three Musketeers", "In Old Vienna", and "The Toy Shop". If you see Bobo the Hobo and His Travelling Troupe on YouTube, you will see that it was simply produced and was probably made on a small budget (in relation to other series that were put on film in the early 1950s), but that is no matter. Since there are four episodes easily available for you to see, you can get a good idea of the format and feel of Bobo the Hobo and His Travelling Troupe. And if you look at the series, you will get a feel for what CKLW-TV was in the middle of the 1950s--at least a little. Incidentally, the program day for weekdays on CKLW-TV from November 1954 to March 1955 started up with something for children on several days, and Funny Bunnies (on Thursdays) was another show for children, and I have not found it on YouTube yet, and the other days of the week had Sands of Time, Man's Heritage, and All About Babies (as a rule).
Announcement: Recently, I have added some new documents to the collection of my documents at the website for The Hologlobe Press. One of the documents is entitled A Document that Dispels Myths and Nonsense of Science-Fiction Books, Movies, and Television Shows (A Logic Puzzle), which can be reached through this Myths link. Another document is And So You Think You're Going to the Moon, Mars, or the Stars..., which can be reached by using this Moon link. And yet another of the documents is entitled And the Stupid Women Shall Lead--and Lead Every Good Individual into Shit, Driven on by Communism, Feminism, and Defective Female Beliefs and Little-Girl Thinking, which can be reached through this Stupid Women link. And here are other documents--A Review of What Television Controlled by Socialists and Communists Worked to Sell as Truth in Relation to the U.S. President Donald J. Trump Impeachment (at Impeachment) and T.H.A.T. Special Edition--The First Helicopter-based Traffic Reporters on Radio for the Detroit area of Michigan (at Helicopter Traffic).
Now I have a commentary section--a commentary section with fact--and commentary without fact can be found easily with media entities today, and this commentary section talks about 75 Years of 7, a television special that WXYZ-TV (Channel 7.1) put on the air on Sunday, October 8, 2023, at 7:00 p.m. and that ran for one hour (with commercials). I reported in the previous edition of Television History and Trivia that I was not going to talk about the special till this edition of Television History and Trivia because my television history files were at the time some 270-miles away, and I wanted my review of the special to be more than a one-line thing. Before I get into the review proper of the television special, I have a bunch of other information that must be in your mind first.
Ten days before 75 Years of 7 would be broadcast, the management of WXYZ-TV put three video pieces related to the forthcoming special on the Internet, specifically on YouTube, and the pieces were called "Robbie Timmons remembers her time at WXYZ for 75th anniversary" (which runs 15 minutes and 8 seconds), "Diana Lewis remember her time at WXYZ for 75th anniversary" (which runs 24 minutes and 38 seconds), and "Jerry Hodak remembers his time at WXYZ for 75th anniversary" (which runs 32 minutes and 27 seconds). I looked at the three pieces before I would see the television special. In essence, the three interview pieces, which involved some girl--named "Marie" [it seems]--interviewing the three former employees of WXYZ-TV. The three pieces showed some of the reasons television news--and really the news industry--has gone to crap overall. I report, as I have in the past, that the more women have come into control of news and politics, the worse the country has become, and the reason is related to the differences in the ways the brains of women and men work--Women are more emotionally based, and men are more logic based, and that results in more fluff-based and emotion-based results in, for example, news stories and news shows with women in charge or mostly in charge. I have seen the problem develop in earnest in television, radio, and newspapers since the 1970s. I have reported how television promos from the Detroit television stations have shown how the news is being presented to touch the heart and reach the emotions. Well, the two video presentations involving Robbie Timmons and Diana Lewis make the point well. The concentration was on "family," "family," "family," et cetera, in relation to what WXYZ-TV was, and there was talk about how the members of WXYZ-TV worked to be like not only family members with the staffers of the station but also family members of the viewers, making the viewers feel they were part of the WXYZ-TV family, and, for instance, Diane Lewis pushed out the idea that we "did care about people" [the audience members]. Oh, at one point, Diana Lewis noted that the staff at WXYZ-TV "stood up for love and stood up for justice." Little real history about Channel 7 was given by Diane Lewis and Robbie Timmons, which was not surprising to me, since they know nothing really about WXYZ-TV history, but Diane Lewis did note that she and her daughter (Glenda Lewis, who I also call "Ms. Erotic News Gal") did appear together in a newscast for the first time on Mother's Day of 2004 (May 9, 2004), and Diana Lewis noted that her first day at Channel 7 was on July 4, 1977, working with Bill Bonds. In contrast, the piece focusing on Jerry Hodak was not so much based on emotional filler, but the piece with Jerry Hodak will forever present some defective television history to the world for years and years to come. In the first couple minutes, Jerry Hodak--trying to think of things from a fuzzy memory--passed along most of his defects. For one, Jerry Hodak noted that between 1948 and the very early 1950s, the networks did not provide a lot of programs, and his defective information is like that which I have talked about in relation to Tim Kiska and Ed Golick (so-called Detroit television historians who were involved in the making of the crappy and crummy anniversary program for WDIV-TV of last year, which was called Go 4 It: The inside story of the rise of WDIV). I report again that the reason Detroit viewers did not get a lot of network programming from 1947 to the fall of 1949 is that the East Coast (where the network headquarters were located) and the Midwest were not yet connected so that network broadcasts from the East could be shown live in Detroit, and the country--East to West and West to East--was not connected till the fall of 1951. Another reason there was not a lot of programming between 1948 and the early 1950s is there was not a lot of money--from advertisers--to make programs and to have more employees run the stations and have the stations open for more hours. It was not till the fall of 1950 when Channel 7 became the first station in the Detroit area to broadcast morning and early midday programming in earnest, offering, for instance, Coffee 'N Cakes and Dream Busters (with Johnny Davis). Next, Jerry Hodak reported that, as he remembers, Channel 7 did not get started broadcasting in the very early days till mid-afternoon, and I say that that is passable information, but Jerry Hodak said that it was cartoons that started off the day, and that is wrong information. In the early days, programs mostly for women (who were at home usually) were the main targets for programmers in relation to the daytime periods, and the viewers were given talk shows and movie shows (though movies were often "B"-quality westerns), and, in relation to children, some of the first shows for children on WXYZ-TV were, for instance, offered in late-afternoon time slots, examples of which are Billy the Kid, Time for Beany (which was not based in Detroit), and Captain Video (which was not based in Detroit). For viewers of Channel 7, the first cartoons for weekdays showed up in a stand-alone show on Monday, January 15, 1951, and the cartoons were offered up on weekdays from 4:45 p.m. to 5:00 p.m., and the shows did not start off the broadcast day. Jerry Hodak talked about a program called Pat & Johnny (with Pat Tobin and Johnny Slagle), and that program was not a morning program at any time, as pushed out by Jerry Hodak. I report that Pat & Johnny had such air times as weekday afternoons, Saturday afternoons (for a while), and even late-night weekdays (for a short while), starting at, for instance, 11:00 p.m., 11:10 p.m., or 11:15 p.m.. The biggest problem from Jerry Hodak is related to time. Jerry Hodak noted that Channel 7 had a guy named Johnny Ginger, and then Jerry Hodak noted that, after there was Johnny Ginger, there was Soupy Sales. That is reversed. Soupy Sales came first, showing up for his first show on WXYZ-TV in June 1953 (on 12 O'Clock Comics), and Johnny Ginger showed up on Channel 7 in September 1958 (on Curtain Time). And Jerry Hodak mentions that Soupy Sales' midday show was Lunch with Soupy, but the midday show was 12 O'clock Comics and Noon Time Comics, and it was a Saturday show for and on ABC-TV (starting in October 1959) that had the Lunch with Soupy Sales name. Jerry Hodak had other information that seemed to be passable, such as his note that he played a boy who took money from a wallet in an episode of a Channel 7-produced series called Youth Bureau (which ran from March 1956 to September 1962). Of the three 2023 video pieces on YouTube, the piece with Jerry Hodak was the only one that really brought up anything about old shows. Oh, Jerry Hodak talked about an incident in which, one day, I-94 was flooded, and Bill Bonds (a famous television news anchor) tried to use a "green screen" to give information about how people could get to the airport (Metro Airport), and Jerry Hodak noted how the attempt to help from Bill Bonds failed. Yes, Jerry Hodak had some memories, but the overall presentation was not "girlie" stuff and fluff tied to emotions and emotion-based thinking.
Hold it! I have to pass along a little history. I am currently running my annual full fall survey of the Detroit television stations to find out who are the anchors and reporters and weathercasters and sportscasters for the news blocks. Recently, I noted on a card that Ali Hoxie is the current main anchor for the noon newscast of weekdays on WXYZ-TV, and Ali Hoxie can be joined by weathercaster (such as Hally Vogel or Mike Taylor), and there might be one reporter shown during a newscast, and that reporter will be doing a live report, or the report from the reporter will be a recorded report. Now, I go back to April 9, 2004, and provide information from a video clip on YouTube, and the clip shows the noon newscast for that day had Robbie Timmons and Carolyn Clifford as the anchors and had--as live reporters on the street--Kimberly Craig, Anu Prakash, Ray Sayah, Blake Schnebelt, and Bill Spencer, and there was a weathercaster (Blake Chenault, who was subbing for Dave Rexroth). In the last twenty years, the news shows of the Detroit television stations have been going more fluff and more shallow every day, and the numbers of people on the air, especially as reporters, has been going down. It seems people (viewers) are not watching and advertising is going down, and I report again--as I have reported recently--so many commercials from law firms seem to be the driving forces of newscasts.
Now, it is time to pass along information about 75 Years of 7. The show was hosted by Carolyn Clifford, Glenda Lewis ("Ms. Erotic News Gal"), Brad Galli, Mike Duffy, Keenan Smith, Brian Abel (whose segment was mostly done by Kimberly Craig and Kennan Oliphant, the current news director), and Alicia Smith. The special had recorded salutes to the station from members of Good Morning America, Kelly Ripa and Mark Consuelos (of Live with Kelly and Mark), David Muir (of World News Tonight), Mario Lopez, Ginger Zee (a weathercaster for ABC-TV), Tom Izzo, and Jim Harbaugh. For the special, the main interview material came from the three video interviews that I have talked about in the first main paragraph of this section, but there was old clip material from Dick Osgood (who had been, years ago, a radio guy, a host of two movie shows on WXYZ-TV in the 1950s (Studio A and Movie Playhouse), and a writer for the Detroit Free Press), and there was clip material from Erik Smith (who had been an employee at WXYZ-TV for a bunch of years). Oh, in one of the interview presentations that I have talked about, "Marie" (it seems) gave viewers the impression that she got some background information for the interviews through videos on YouTube. Basically, it looks as if very little television research was done to make 75 Years of 7. A problem for me is that the special offered up no credit information at the end, so I have no idea who directed the show or produced the show or wrote the show, and that means I have no idea if Ed Golick and his buddy called Tim Kiska were involved in the making of the show. At this point, I can report that the special was a very shallow presentation. As I expected, the special only touched on a very few of the early on-air stars of the station, such as Soupy Sales (seen in a video at the opening of the show), Rita Bell, and Edythe Fern Melrose, and the special made no mention when roughly the people were at the station, such as through graphic information. I have to report that Jerry Hodak's statement about network programming being made up of few programs was chopped up for the special; the producers removed the thought that the "network" did not offer up much programming, and the producers made the statement only hint that there few programs (so I could argue it was an "out-of-context" presentation to suit the needs of the special and time). The special had the current news director--Kennan Oliphant--on camera, and he passed along the idea that he thinks weather is so, so important to WXYZ-TV today, and that was said even though Detroit television is loaded with weather reports (such as through other television stations, Fox Weather (a national subchannel network), Scripps News (a national subchannel network), and NewsNet, and Kimberly Craig pushed out girlie based thinking, such as about we are "in this together" and we "talk with people and get their stories" and we are "respectful in our coverage," and it showed the station is more about touching the heart with emotional stuff than with offering useful hard news. I have to report that the Diana Lewis recording had Diana Lewis's noting that we [the people at Channel 7 years ago] "gave them what they wanted," but I say that maybe the station did not give them what they needed to know really, and if the viewers had really been given what the nature of the Detroit was over the years, the bankruptcy of Detroit might have been avoided because people would have put better people in Detroit government.
[Note: I have an aside. In 1965, AAA Michigan started up a broadcast unit, which would have for decades, for instance, the Icicle News Service, the Weekend News Service, and the Bring 'em Back Alive Holiday News Service, and the entire thing was the biggest promotional thing for a company in the history of radio in Michigan, since is promoted the company, promoted safe driving, promoted tourism in Michigan, gave listeners information about whether or not to travel long distance on some really bad winter days, and more, and the overall thing gave the company a lot of free airtime on radio stations all over Michigan (which it could not have gotten otherwise without putting out a lot of money), and then the entire thing went to crap and became the worst thing in radio history in Michigan at the turn of the century, since, for one, it was morphed into something that was designed to provide local traffic to local stations (such as little stations in little towns) all over the state, even though it could not be done (lacking information sources and lacking staff and lacking the idea of promoting safe driving and more), and the theme of the new system ties in with what I remember hearing from Debbie Pearson (the immediate head of the morphed thing) one day around the time the system was set up--the service was put together by asking stations what the stations wanted [asking people who were of low-level thinking broadcasters and inexperienced broadcasters, such as from "Specs" (a broadcast school) what they wanted), but the management of AAA Michigan did not take into account what could be provided (especially on time) and what would be useful and what could be done), and so the service ended up as a useless thing for about five years, having no value at all, and it all disappeared in about 2009. It was like asking children what they want, even though they know not what they need to have. I can say that the falling part of the news-service stuff at AAA Michigan and the fading away of the news-service stuff of AAA Michigan was taking place in the same way and at the same time as the falling apart of the news industry in the Detroit area and the country. And that is what you get from shallow and stupid people!]
Hold it! Much of the news reported today on television stations in Detroit is useless to most people. For example, there is too much weather talk in a time when weather reports are everywhere, and there is too much about local traffic crashes and fires, and way too much about charity events and such, and there is too much about fires and crashes taking place in other states--when hard news about the workings of the world and local cities and businesses and such should be more covered. On October 8, 2023, Channel 7.1 broadcast 75 Years of 7, and two hours after the show ended, I got exposed to the news (through WJBK-TV, Channel 2.1) that there was a shooting in the 400 block of Biltmore Street in Inkster, Michigan, a few hours previously, and I discovered the WXYZ-TV website noted the shooting incident took place. The 400 block of Biltmore is from ten houses to 15 houses south of where I lived on Biltmore (295 Biltmore) from about June 1953 (when I was born) to the middle of the 1970s. That news is a side-note information for my mind about how Inkster has gone to crap from the time when I and friends could run around the street at 8:00 p.m. and 9:00 p.m. and 10:00 p.m. in the summers in the 1950s and 1960s and had no fear that we would have gun shots, but it is not really important to most people in the Detroit area. And I have to report that I bet Channel 7.1 newscasts and Spotlight (hosted by the crappy Chuck Stokes) did not note the horrific ruling of September 26, 2023, by Judge Arthur Engoron of New York as being "fascism" in hard-core form, and the fascism is that the judge reported that Donald J. Trump defrauded money lenders by over-stating the value of property, such as Mar-a-Lago (of Florida), and the judge said that, for instance, Mar-a-Lago was only worth about $20-million, and because the judge deemed Donald Trump over-rated, for instance, Mar-a-Lago, the judge could take away business-license stuff related to Donald Trump with New York, and I report a judge has no authority to make such a ruling (especially about the value of property in another state), and I report that Judge Arthur Engoron should be removed from the bench for corrupt practices, since when a government decides who gets to run and not get to run businesses and what businesses get to sell and not sell based on defective thinking and corrupt thinking, you have a fascistic government and a rotten government, and when a news entity does not point out that fascisim, as Channel 7 probably did not, you have a rotten news entity (which is supporting enslavism). The Trump thing is useful to everyone in the country, showing the crap that is infecting the country, and the story about Inkster as no value or almost no value to people in the country and in the Detroit area.
[Baldas, Tresa. "Inkster mayor indicted on bribery charges." Detroit Free Press, 4 October 2023, pp. 4A and 6A.]
I now return to the look at 75 Years of 7. The special was no real celebration of the history of WXYZ-TV, and it was a disappointment, not that I had expected it to be anything good, based on my analysis of what the people at WXYZ-TV present regularly today and have presented in recent years. In a way, the special was mostly a look at a few past stories about Detroit done by people at Channel 7, especially in the case of sports, and about some recent history of Detroit. The program left out too much stuff of the past so that stuff of today could be put in. The reporters or anchors of the past who got the most mentions were Bill Bonds, Robbie Timmons, Diana Lewis, Vince Wade, Shellee Smith, and Steve Wilson, and the part with Steve Wilson, Shellee Smith, and Vince Wade seemed to be offered to viewers to--not report history really--sell viewers on the worthiness of the current "investigators" at the station (Heather Catallo and Ross Jones), and, in fact, about half the show seemed to be a promo to get people to see the newscasts of Channel 7 today, which are about the only things the station offers viewers today in live programming. The special did not provide through photographs more of the early on-air celebrities, such as news people and non-news people, of Channel 7 (with text information). The so-called special should have had stuff related to George Pierrot (World Adventure Series), one of the most famous television personalities of Detroit television history, who actually had programs on two stations at the same time. The special could have made people remember the Joe Lewis Invitational Golf Tournament of September 1949, the first big-deal thing in golf for Detroit television. The 2023 special program could have noted how WXYZ-TV was the first station in Detroit to broadcast regularly on weekday mornings, and the producers of the special could have shown a photograph of Johnny Davis (who was the first real morning talk-show guy in Detroit and who was the main singer (and dancer of sorts) of the song called "Hooray for Hollywood" at the opening of the film called Hollywood Hotel). Other missing things that could have been noted about WXYZ-TV, especially in relation to the 1950s and 1960s, are--Rube Weiss (as "The Hawk" of Tales of the Hawk), movie-host Lori Marx (as "The White Camilla" or 'The Huntress"), Woods and Water, Starlit Stairway (which had several hosts), Wax Wackies, Stag Party, Captain Flint, Jazz Nocturne, Robin and Ricky, Detroit Deadline, Club 1270, Sunday with Surrell, Michigan Sportsman, Ed McKenzie's Saturday Party, Championship Bowling, The Black Spider, Lou Gordon, Warren Michael Kelly, Sagebrush Shorty, The Diane Dale Show, Hello Girls, The Todd Purse Show, Jean Loach's Notebook, The Jackie Kannon Show, Meet Mr. Callahan, Michael Young and Friends, Blacktalk, Haney.... Stop! I could list more. The producers of the 2023 special would not have needed video clips tied to the shows named by me or only some of the shows named; they could have shown photographs with graphics superimposed on them--noting the person, noting the name of the show, and noting the rough date of the show tied to the person. Then the special might have felt like a celebration of WXYZ-TV in the past and over the years. The interview clip on YouTube with Jerry Hodak and the interviewer ["Marie" (it seems)] had information about Bill Bonds and the flooding on I-94, and Jerry Hodak noted that the event is on a blooper reel or tape, and it would have been fun to see that event with Bill Bonds on the special, but the special pushed out the old Bill Bonds event in which he was interviewing U.S. Senator Orrin G. Hatch (a Republican tied to Utah) and Orrin G. Hatch ended the interview while angry with Bill Bonds, and it seems the producers of 75 Years of 7 used the bit to make it seem that Bill Bonds was some great guy and great reporter and a great news hero (fighting against a "Republican" and non-Democrat [who, clearly, today is not very likely to be a communist, a socialist, a progressive, a liberal, or a Shariaist, types who make up the Democratic Party, all of whom have shitty political beliefs and rules for people that get people hurt and killed, as history shows and is not well reported on in the main media today]). By the way, the clips of the "Dream Cruise" and the "Charity Preview" in the special were from this year, instead of from some time of years ago (which would have shown more past members of the station), and the images of the today stuff made me think that that was the easiest thing to do to get the special filled. What I consider important missing materials could have been used to displace nonsense from Kennan Oliphant, who was made more prominent than past on-air members were, such as those of the 1950s and 1960s, and, in fact, much from Kennan Oliphant (who came off as a girlie guy) should have been left on the cutting floor. Yes, more time in the program could have been used, such as through a couple minutes in total, to show photographs of more past people, and photographs could have come from the Detroit Public Library or the Detroit Historical Museum or the Detroit Free Press (morgue) or The Detroit News (morgue), and that would have made the special seem more like a celebration by showing the faces of people that viewers saw years ago, and that work tied to photographs would not have been hard to do.
I have to expand my thought about Kennan Oliphant and the bit of video tied to him. Why was Kennan Oliphant given so much time (in relation to the entire production that was supposed to be about celebrating WXYZ-TV between 1948 and now)? Yes, the Kennan Oliphant lasted less than five minutes or so, but the entire production only ran about 45 minutes (when you remove the commercials and promotional announcements for the current newscasts of today). I have noted that Kennan Oliphant came off as a girlie guy or a feminized male. In the production, his talk showed his general nature, and, at one point, he was shown interacting with someone in the news area (a gal with blonde hair), and it was presented as a fun moment. To me, it seems, for one, the special ran through old history quickly so that it could focus on today, such as on Kennan Oliphant. Kennan Oliphant was used to try to sell the idea that the news department is run by a non-hard-minded real male and that the newsroom is a fun place and nice place, and given that, viewers should like Channel 7 and watch Channel 7, especially the newscasts, which are mostly presented in a lighthearted or shallow manner. Yes, the people in the news area are working to be like family and be nice and make watching Channel 7 fun. It is crap! Plus, Kennan Oliphant is black, so the station was celebrating that it has a black guy as the news director. It is crap, crap, crap! In hard times, I cannot trust the newscasters and reporters at Channel 7--especially under the direction of Kennan Oliphant (who it seems has not really done anything hard or built anything tough)--to be like adults, such as tough-minded real men. The segment with Kennan Oliphant was propaganda and not history of Channel 7 to celebrate.
I was bored with the program by some time before the end would come. At the end, Carolyn Clifford pushed out the idea of her hope for another great 75 years of WXYZ-TV, but I say that that is very unlikely, and overall, I felt the research for the special was done sloppily and done quickly by a low-level researcher (such as a girl or young woman with the mind of a girl), the driving force of news entities today, and that is the state of news of many types of news entities in the country today. And, really, all the hosts had closing comments, and Carolyn Clifford wanted viewers to be "safe and informed", and the others offered such comments as--we "want people to smile," and we want to "get to the heart" [of viewers], and we want to talk about "people's lives," and nothing was really about presenting information that would make viewers understand when crap in going in the Detroit area and the country, such as that tied to Joseph Biden and his associates, such as his violation of federal immigration laws, which is an impeachable offense.
And on October 5, 2023, Mike Murri (the vice president and general manager of the station) presented this statement in an editorial ("WXYZ Editorial: Thank you for supporting WXYZ-TV for 75 years")--"...Our commitment to journalism has certainly connected us to the history of this city, state, and region....".
I report that 75 Years of 7 was not good or high-level journalism and that it was something put together by kids!
[Note: Here is a test of Channel 7.1, WXYZ-TV, Action News or Spotlight. Over the last number of years, I have seen the guys and gals at Channel 7.1 cover stories that take place elsewhere in the country, such as a fire or a numerous-vehicle accident on a freeway. It is not important news really! On Sunday, October 8, 2023, the Governor of California--Gavin Newsom (a Democrat, a.k.a. socialist at least) put his signature to a bill known as SB 274 (which was sort of an extension of a 2019 law known informally as "419"). In essence, "SB 274" takes effect on July 1, 2024, and it will block teachers and managers of schools from disciplining students related to "willful defiance" in class. It is a crap law, which will take away more discipline in the classroom, and discipline has been getting watered down since the 1970s (at least) or maybe the late 1960s. Did your favorite newscaster at WXYZ-TV note that the law was created, and did anyone at WXYZ-TV point out the rottenness of the law? The law is important national news, since the action could start to be adopted elsewhere in the country, such as in Michigan, which has a rotten woman (a socialist at least) as the governor, and her name is Gretchen Whitmer, and I have already shown in documents on the Internet that she is rotten and even evil, especially when, in 2020, she claimed in several public press conferences that the medical community is racist against blacks. The California story is really and truly national news--for all races. ["California law will make student suspensions for 'willful defiance' illegal." cbsnews.com, 10 October 2023.; Rios, Edwin. "California students can no longer be suspended for 'willful defiance'. Could nationwide change be next?." theguardian.com, 14 October 2023, 14:00 EDT.]
[Note: And I have one more thought. In the 1980s, when I was working at AAA Michigan as a writer and broadcaster and when I was getting ready to report live by telephone stuff to J.P. McCarthy on WJR-AM, I often had to wait ten minutes or fifteen minutes or longer "on hold" till J.P. McCarthy would put me on the air (even though I had called at scheduled times), and at such times, I was taking part in fifteen-hour-a-day work schedules (for the "Bring 'em Back Alive Holiday News Services"), and to keep alert, I would often sit on hold and skim Modern American Usage, a book about grammar and such, to keep alert and learn. Today, I follow the rules set down in Modern American Usage, such as the rules about what pronouns to use with what gender groups or individuals. Did you see people at WXYZ-TV point out that, in around October 11, 2023, employees of the U.S. Department of Health and Human Services (a.k.a. HHS) were learning that they now had to follow the new "Gender Identity and Non Discrimination Guidance" rules, and if a person were not to follow the rules, the person could be punished or fired from the HHS? The rules are crap, since, for one, a person can be either a male or a female, and that is it, and a person who thinks that a person can be changed from one gender to the other through chemicals and surgery is defective or has a defective mind. The head of HHS is Andrea Palm, and the secondary head of the HHS is Rachel Levine, who was born a male and changed the outward of the appearance of the self through chemicals and surgical means to look female, and they work to sell the idea that a person can change sex from one gender to the other, and, around the time the new laws are issued, Rachel Levine pushed out--"...We need to expand opportunities for the use of puberty blockers for children and perform operations according to their approved gender....". That is rottenness, and it should have been reported well by the people of WXYZ-TV, and if it was not reported, that shows the rottenness of the people at WXYZ-TV. In addition, the rules forced on the roughly 80,000 employees of HHS will slowly get passed on to people not in the HHS, and that will screw up more the rules for the good usage of English, which is already getting screwed up by, for example, children and young people adopting the rotten rules for writing used in "texting," which will make them less likely to get better jobs in the future, since they will have defective vocabulary and bad grammar and spelling habits. [Fishmore, Mike. "Biden's Trans Health Official Imposes 'Pronoun Mandate]." America Insider, 17 October 2023.]
I report, here, that the next edition of Television History and Trivia will have a review of the 75th anniversary related to WJBK-TV.
Here is the Looking at the Movies segment (sort of), but this time I call it Looking at the Old TV Shows. Back in the 1960s, CKLW-TV(Channel 9) played a bunch of television series that came from England, specifically from the minds of Gerry Anderson and Sylvia Anderson, and these shows featured marionettes or puppets as the main characters. Some of the series that I recall fondly are Supercar, Stingray, Thunderbirds, and Fireball XL5. One reason that CKLW-TV played the such series is the Detroit television stations had no or little open space on their schedules to air the series (it seems), and there was a Canadian content rule imposed on Canadian television stations by the Canadian federal government, and that rule was that, generally speaking, stations had to air at least 45 percent or 55 percent (depending on the month or year) Canadian programming in the 1960s (and French and British shows could be counted in the percentages). By the way, Canadian stations still have a content rule. One of the shows tied to Gerry and Sylvia Anderson did not air on any Detroit-based television station or on CKLW-TV, and that series was Joe 90. I have found, for example, that a television station sort or near Windsor, Ontario, Canada, that was in the Kitchner-Waterloo area of Ontario did air the series, starting on Saturday, December 13, 1969, airing it weekly at 10:30 a.m.. I noticed that Wikipedia reports that the series aired in the United States of America, but that seems to be wrong, based on a rough and quick search of a newspaper database, which does show that people in Canada and England had the series on their television sets and which hints, for one, that people near Vancouver, Canada, who were in the United States of America, could see it by seeing a Canadian station in 1969 or so, but I have found no widespread use of the series in the United States of America. The first episode is about a professor who makes a machine that can be used to plant information in to the heads of people electronically, and, at first, the viewer sees that the information only stays in the head when the person's head is tied to a computer ("Big Rat") through wires or electrodes. The information goes away when a person is disconnected. The test that the viewer sees is done on a boy called Joe, who is the professor's son. Later, viewers learn the professor is associated with "World Intelligence Network" (or "WIN"), and viewers see how Joe is made an agent of WIN, and he gets an ID, a pistol (specially made for him), a communicator, and a pair of glasses, and it is the glasses that substitute for the wire setup. In the first episode of Joe 90, Joe ends up on a mission to retrieve a Russian MIG 242, getting help from information that is put in him and comes from Big Rat. I watched the episode, and the open sequences reminded me of the feel of "Matt Helm" movies (having Dean Martin) of the 1960s and the "Derek Flint" movies (having James Coburn) of the 1960s, one of which was In Like Flint. Instead of having children watch the Saturday morning garbage that is commonplace on television stations today, such as the climate-related nonsense stuff, which, in essence, is being pushed on children by the federal government and is propaganda, have children look at episodes of Joe 90. Now, Joe 90 is more sophisticated in tone and puppet design than are older series from Gerry and Sylvia Anderson, such as Supercar, and Joe 90 is less cute than, for example, Supercar, but Joe 90 is watchable.
[Note: By the way, in the summer of 1962 and the summer of 1963, for instance, the content rule in Canada was dropped from 55 percent to 45 percent for Canadian broadcasters, since it was said that, for example, summer offered up less revenue for stations.]
Oh, I have to make this note. On Saturday, October 14, 2023, NBC-TV pushed out the premiere episode of Saturday Night Live for the 2023-2024 season. It was a bomb! Colin Jost and Michael Che passed along, as usual, political crap. Host Pete Davidson tried to sell the idea that we should feel sorry for the Palestinians in Gaza (whose culture is rotten), and that was crap [Note: Before the war in Gaza started, many of the people in Gaza had voted to put in political office the people who started the attack on Israel on October 7, 2023, so the people of Gaza get the blame, too, and if war comes to them, that is life.]. Ice Spice--a rather ugly short gal with no talent--was the musical guest, and she did rap crap or crap rap.
In a way, MeTV is developing in to sort of what WXYZ-TV was in the middle of the 1950s, when it had a bunch of people hosting movies as various characters, such as The Huntress. In about April 2023, Svengoolie (of Svengoolie, the Saturday evening series) introduced a character called Nostalgiaferatoo, who was played by Bill Leff, and the character showed up in bits over the next number of months. On October 7, 2023, Svengoolie introduced as a group his "Sven Squad," and the squad was made up and is made up of Nostalgiaferatoo (a bald vampire-type guy), Gwengoolie (who has been dead for about 65 years), and IMP (a.k.a. Ignatius Malvolio Prankenstein). I will say that, generally speaking, the "Sven Squad" is fun enough and likeable enough--for the family.
And here could be some fun for a few Americans, those who could see CBC-TV programs of Canada years ago. I discovered that, on October 10, 2023, a program called Mr. Dressup: The Magic of Make-Believe became available on a service called "Prime Video." I do not go to Prime Video. The program looks at the history of Mr. Dressup, which was on CBC-TV affiliates (such as Channel 9, CKLW-TV) from February 13, 1967, to September 2006, but the program was only in rerun form from February 1996 to September 2006. Ernie Coombs played Mr. Dressup, and a gal named Judith Lawrence did the puppet work and voices for friends Casey and Finnegan; Mr. Dressup had been seen on a program called Butternut Square from October 1954 to February 1967 on CBC-TV affiliates. If you want to pay the money, you might think about seeing the 2023 special about Mr. Dressup.Remember: The Prisoner with Patrick McGoohan was a television show that was produced across the pond and shown on CBS-TV in the late 1960s, and I urge you to find The Prisoner on DVD, maybe from a library, and watch it, and you should show it--all the episodes--to teenagers, or buy it as a present for teenagers.
P.S.: You are urged to see my document entitled One of "The Rules of Man"--A Rule About Health Care that No Politician May Supersede with Law, which can be reached through this Rule1 link. I have deduced that all the Democrats and most Republicans support the Patient Protection and Affordable Care Act of 2010 and have no intention of killing it, though it should be killed for violating, for one, "The Rules of Man." For example, Republicans Jeb Bush and Chris Christie support the rotten law, and that is one reason that I define them as stupid men and not men who are good enough--in this day and age--to be the U.S. President. I note that the "mandate"--which forces everyone to buy government-approved health-care insurance--violates one of "The Rules of Man," and it is a rule that is attacked in the Patient Protection and Affordable Care Act of 2010. Anyone who supports the "mandate" is not a good enough person or a smart enough person to be the U.S. president--the mandate is "enslavism," and the "mandate" allows government people--who are often usually bad people, as history shows--decide what health care a person can get, and that is bad.
copyright c. 2023
Date published: November 10, 2023
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