1 00:00:05,720 --> 00:00:09,119 S1: The memories and Thanksgiving continue today on Chris Fabry Live 2 00:00:09,160 --> 00:00:13,520 S1: as we celebrate radio drama in less than a week, 3 00:00:13,520 --> 00:00:17,080 S1: Moody Radio turns 100 years old. Can you believe it? 4 00:00:17,360 --> 00:00:20,520 S1: And all this month we've been celebrating the voices, the hearts, 5 00:00:20,520 --> 00:00:24,480 S1: the men and women who were visionaries and whose shoulders 6 00:00:24,480 --> 00:00:27,159 S1: we stand on today at the Radio Backyard Fence, we 7 00:00:27,200 --> 00:00:30,840 S1: celebrate the pioneers of radio drama who had a vision 8 00:00:30,840 --> 00:00:34,080 S1: for telling stories and what those stories can do in 9 00:00:34,080 --> 00:00:37,479 S1: hearts and lives. Don't miss the members of the original 10 00:00:37,479 --> 00:00:40,760 S1: Sugar Creek Gang who are still walking down the road. 11 00:00:40,920 --> 00:00:43,280 S1: We'll hear from them and many others straight ahead on 12 00:00:43,280 --> 00:00:45,080 S1: the program. From the heart to the heart for the 13 00:00:45,080 --> 00:00:49,640 S1: Heart online. Chris Fabry live.org. Thanks to Ryan Mcconahay doing 14 00:00:49,640 --> 00:00:52,600 S1: all things technical. Trish is in the producer chair. Lisa 15 00:00:52,840 --> 00:00:56,480 S1: is helping out. Josh will be answering your calls. Special 16 00:00:56,480 --> 00:00:59,040 S1: thanks to Phil Shepherd for getting us the audio we're 17 00:00:59,040 --> 00:01:01,660 S1: going to play today. From the archives, Phil and Kevin 18 00:01:02,620 --> 00:01:05,660 S1: have put together a pictorial history of Moody radio, the 19 00:01:05,660 --> 00:01:09,259 S1: people behind the microphones through the years, and they have 20 00:01:09,260 --> 00:01:12,540 S1: woven a story in this book that shows the faithfulness 21 00:01:12,540 --> 00:01:15,740 S1: of God through those men and women, and through the 22 00:01:15,740 --> 00:01:19,140 S1: listeners who have supported us for 100 years. You would 23 00:01:19,140 --> 00:01:22,660 S1: not have heard the drama produced by Moody Radio without 24 00:01:22,660 --> 00:01:26,180 S1: the support of listeners in the 1930s and 40s and 25 00:01:26,180 --> 00:01:28,740 S1: 50s and beyond. And I want to send you a 26 00:01:28,740 --> 00:01:30,860 S1: copy of this book, but we need to hear from 27 00:01:30,860 --> 00:01:33,260 S1: you soon and very soon. This offer is up at 28 00:01:33,260 --> 00:01:36,179 S1: the end of next week, so call or click through. 29 00:01:36,180 --> 00:01:38,540 S1: Give a gift I want you to have. This is 30 00:01:38,540 --> 00:01:44,140 S1: Moody Radio 100 years Proclaiming the gospel 86695 Faber is 31 00:01:44,140 --> 00:01:51,780 S1: the number (866) 953-2279. Or go to Chris fabry.org. Scroll down. 32 00:01:51,780 --> 00:01:53,540 S1: You'll see how you can give a gift of any 33 00:01:53,540 --> 00:01:55,780 S1: size or become a back fence partner with us if 34 00:01:55,820 --> 00:02:00,350 S1: you'd like to do that, the website. Chris dot ORG. 35 00:02:00,750 --> 00:02:04,590 S1: And thanks for your support of the radio Backyard fence. 36 00:02:06,910 --> 00:02:12,350 S2: It's the Sugar Creek gang walking down the road. The 37 00:02:12,350 --> 00:02:19,270 S2: Sugar Creek Gang that we all know. They're our gang. 38 00:02:19,710 --> 00:02:24,710 S2: They're our guys. The Sugar Creek Gang. 39 00:02:29,910 --> 00:02:32,470 S3: That's what allies are for. To put the garbage in. 40 00:02:32,510 --> 00:02:34,870 S4: Oh, and I just shine my shoes. 41 00:02:34,910 --> 00:02:37,990 S3: I think we go this way. That must be the. Oh! 42 00:02:38,310 --> 00:02:38,830 S4: What? 43 00:02:38,990 --> 00:02:40,470 S3: Be careful. Don't step there. 44 00:02:40,510 --> 00:02:41,270 S4: What is it? 45 00:02:41,310 --> 00:02:42,910 S3: Oh, Bill. It's awful. 46 00:02:42,950 --> 00:02:43,950 S4: What? What? 47 00:02:43,990 --> 00:02:45,269 S3: It's a body. 48 00:02:47,230 --> 00:02:50,790 S5: This Sugar Creek Gang series was based on characters from 49 00:02:50,790 --> 00:02:54,109 S5: the Sugar Creek Gang. Books by Paul Hutchins. 50 00:02:56,850 --> 00:03:01,130 S1: Ladies and gentlemen, direct from Sugarcreek. And that cliffhanger in 51 00:03:01,130 --> 00:03:04,049 S1: those green fields of the mind. Here are three members 52 00:03:04,050 --> 00:03:06,730 S1: of the gang. They haven't aged a bit. We have 53 00:03:06,730 --> 00:03:11,090 S1: Big Jim. Just plain Bill and dragonfly, also known as 54 00:03:11,130 --> 00:03:17,010 S1: Larry Shackley, John Yeager, and Kim Rasmussen. Gentlemen, welcome and 55 00:03:17,010 --> 00:03:20,410 S1: welcome from Sugarcreek. How's everything down at the creek today? 56 00:03:20,650 --> 00:03:25,770 S6: Well, it's a little cooler now, and, uh, I'm. We're 57 00:03:25,770 --> 00:03:27,769 S6: hoping that the rain won't come. 58 00:03:28,330 --> 00:03:31,090 S1: That's dragonfly big Jim. What do you say? 59 00:03:31,570 --> 00:03:34,049 S7: Oh. Hey, Chris, it's really good to be here. I 60 00:03:34,090 --> 00:03:36,090 S7: just love being in charge of the gang and bossing 61 00:03:36,090 --> 00:03:36,970 S7: everybody around. 62 00:03:39,210 --> 00:03:40,770 S1: What do you say? Just plain Bill. 63 00:03:40,770 --> 00:03:43,130 S8: Oh, I miss Mister Paddler. I haven't seen him around 64 00:03:43,130 --> 00:03:44,050 S8: for a long time. 65 00:03:45,450 --> 00:03:46,930 S6: He's in the next segment. 66 00:03:48,290 --> 00:03:52,450 S1: Okay, so give me a fond memory you have of Sugarcreek. 67 00:03:52,450 --> 00:03:54,050 S1: Big Jim, let me start with you. 68 00:03:55,990 --> 00:03:58,670 S7: Uh, well, I came in, I think. Kim, weren't you 69 00:03:59,070 --> 00:04:00,390 S7: part of the original cast? 70 00:04:00,430 --> 00:04:03,710 S6: Yes, yes I was. Came in in the late 70s. 71 00:04:04,550 --> 00:04:07,950 S7: Yeah. And I was a student at Wheaton, and, uh, 72 00:04:08,350 --> 00:04:10,670 S7: I found out there was going to be an audition 73 00:04:10,670 --> 00:04:13,310 S7: for a part, and I went down to audition. So 74 00:04:13,310 --> 00:04:17,790 S7: I joined the cast, uh, after it had already been going, um, 75 00:04:18,110 --> 00:04:22,270 S7: and the, uh, the guy I replaced was a guy 76 00:04:22,270 --> 00:04:25,510 S7: named Adrian Smith, but his real name was Adrian Zmed, 77 00:04:26,110 --> 00:04:29,270 S7: and he went on to star on T.J. hooker with 78 00:04:29,270 --> 00:04:33,270 S7: William Shatner. And, uh, and I got to be in 79 00:04:33,270 --> 00:04:35,390 S7: the Sugar Creek gang, which was much more fun. 80 00:04:37,630 --> 00:04:41,150 S1: Okay, John Yeager, and I'll introduce all our guests. They're 81 00:04:41,150 --> 00:04:44,150 S1: more than just the Sugar Creek gang. But, John, you 82 00:04:44,230 --> 00:04:48,349 S1: you they your talent. You do a lot of writing. 83 00:04:48,350 --> 00:04:51,590 S1: You do, you know, music and all of this. But 84 00:04:51,589 --> 00:04:54,650 S1: there was somebody who saw you and saw your talent. 85 00:04:54,690 --> 00:04:55,330 S1: Who was that? 86 00:04:55,370 --> 00:04:58,290 S8: Mike Kellogg and that's my most memorable moment about Sugar 87 00:04:58,330 --> 00:05:01,850 S8: Creek Gang. The audition. I went into his office having 88 00:05:01,850 --> 00:05:05,570 S8: been warned by phone. We don't hire students. I was 89 00:05:05,570 --> 00:05:07,250 S8: a moody student at the time. I said, yeah, but 90 00:05:07,250 --> 00:05:10,490 S8: I think I could try. We don't hire students. We 91 00:05:10,490 --> 00:05:14,010 S8: use professional actors. Well, but please, could I try? All right. 92 00:05:14,050 --> 00:05:16,690 S8: So I showed up and read this script. I was 93 00:05:16,690 --> 00:05:19,169 S8: real proud of that I'd written, and he was somewhat 94 00:05:19,170 --> 00:05:21,330 S8: critical of the script after I'd read a little bit 95 00:05:21,330 --> 00:05:23,609 S8: and I got up and he said, where are you going? 96 00:05:24,130 --> 00:05:25,969 S8: So I thought we were done. 97 00:05:26,450 --> 00:05:27,210 S6: This was Mike Kellogg. 98 00:05:27,290 --> 00:05:30,610 S8: Yeah. And he says, well, I don't really care for 99 00:05:30,610 --> 00:05:34,690 S8: your script, but you you act rather well. You're hired. 100 00:05:34,690 --> 00:05:36,530 S8: So that was my start. 101 00:05:37,610 --> 00:05:38,530 S1: Fantastic. 102 00:05:39,170 --> 00:05:42,090 S6: I don't remember my audition, but I know I was 103 00:05:42,089 --> 00:05:44,529 S6: I was part of the Moody staff already. I was 104 00:05:44,529 --> 00:05:49,170 S6: working in another department and he was looking for. I'm 105 00:05:49,170 --> 00:05:52,450 S6: sure I read something for him and he. He decided 106 00:05:52,450 --> 00:05:54,180 S6: to use me, so I was grateful. 107 00:05:54,740 --> 00:05:57,580 S1: Okay, so there is one name that's going to come up. 108 00:05:57,580 --> 00:06:00,860 S1: Mike Kellogg is a very important name at Moody Radio 109 00:06:00,860 --> 00:06:03,740 S1: and Moody Drama. I want to go. I want to 110 00:06:03,740 --> 00:06:06,540 S1: shift gears and go from the Sugar Creek gang over 111 00:06:06,540 --> 00:06:11,260 S1: to Europe and the snows and find the treasures of 112 00:06:11,260 --> 00:06:15,500 S1: the snow. Because, Kim, you're in this scene and it's 113 00:06:15,500 --> 00:06:18,180 S1: rather a dramatic scene. I'm going to play this. I 114 00:06:18,180 --> 00:06:21,219 S1: want to have you respond. This is number nine. Ryan. 115 00:06:21,220 --> 00:06:23,980 S1: If I didn't tell you that this is from treasures 116 00:06:23,980 --> 00:06:24,900 S1: of the snow. 117 00:06:26,740 --> 00:06:32,339 S9: Could that be just one moment? Solution. We'll talk more. 118 00:06:33,660 --> 00:06:34,700 S10: Madame Morelle. 119 00:06:36,660 --> 00:06:37,860 S9: What a surprise. 120 00:06:37,900 --> 00:06:39,900 S10: Madame, morale is loose in here. Oh, no. 121 00:06:39,940 --> 00:06:43,740 S9: Oh, yes, of course. Come in. Lucian and. 122 00:06:44,140 --> 00:06:46,420 S10: Lucian. Have you seen Danny? He was supposed to be 123 00:06:46,420 --> 00:06:49,140 S10: home hours ago. We thought maybe you might have seen 124 00:06:49,140 --> 00:06:51,599 S10: him this afternoon. Remember when we saw you? 125 00:06:51,640 --> 00:06:53,159 S9: Is something wrong, Annette? 126 00:06:53,200 --> 00:06:57,080 S10: Danny hasn't come home. And, Lucien, you have seen him, 127 00:06:57,080 --> 00:07:00,200 S10: haven't you? I can tell the way you look. Where 128 00:07:00,200 --> 00:07:01,480 S10: is he? Where is he? 129 00:07:01,520 --> 00:07:06,880 S9: Lucien, you look ill. You, Lucien. Did something happen to Danny? 130 00:07:07,440 --> 00:07:08,680 S10: Lucien. What happened? 131 00:07:08,720 --> 00:07:11,040 S11: Oh! Let go of my arm! You're hurting me, Annette. 132 00:07:11,080 --> 00:07:14,160 S9: Tell me! Annette! Let go of him! Oh, I said 133 00:07:14,160 --> 00:07:14,960 S9: let go of him. 134 00:07:14,960 --> 00:07:17,360 S10: He'd better tell us. He'd better. I'll kill. 135 00:07:17,360 --> 00:07:18,360 S9: Him. Isn't that enough? 136 00:07:18,400 --> 00:07:20,200 S11: Keep her away from me, Lucien. 137 00:07:20,240 --> 00:07:24,600 S9: Lucien, look at me. Look at me. Have you seen Danny? 138 00:07:24,920 --> 00:07:25,720 S9: Have you? 139 00:07:26,760 --> 00:07:29,360 S12: It wasn't my fault. It wasn't. 140 00:07:29,400 --> 00:07:30,880 S10: What wasn't your fault? 141 00:07:30,920 --> 00:07:34,640 S9: You should speak at once. Where is Danny? 142 00:07:35,120 --> 00:07:36,880 S11: He's. He's. 143 00:07:36,920 --> 00:07:37,520 S9: Tell us. 144 00:07:37,760 --> 00:07:40,880 S10: I will call the constable if you don't tell. He will. 145 00:07:40,920 --> 00:07:42,000 S11: No! No! 146 00:07:42,440 --> 00:07:45,600 S9: Annette! Be quiet! Lucien, please. 147 00:07:46,040 --> 00:07:47,160 S11: He's dead. 148 00:07:47,840 --> 00:07:48,520 S10: Dead. 149 00:07:48,760 --> 00:07:51,380 S11: But it's not my fault. It's not my fault. 150 00:07:51,420 --> 00:07:52,620 S12: No, no. 151 00:07:52,660 --> 00:07:54,500 S11: I swear it's not my fault. 152 00:08:06,900 --> 00:08:11,180 S1: That's another part of all the dramas. Was the music. 153 00:08:11,180 --> 00:08:15,540 S1: Some of it was orchestral, uh, like, like we're hearing here. 154 00:08:15,540 --> 00:08:19,020 S1: And other music was, uh, was new music. It was 155 00:08:19,020 --> 00:08:23,060 S1: composed for the dramas. So, Kim, as you hear that 156 00:08:23,100 --> 00:08:26,580 S1: taking you way back decades, that goes way back. 157 00:08:26,620 --> 00:08:30,980 S6: That is, it was a pivotal scene in the story. And, uh, 158 00:08:31,220 --> 00:08:36,580 S6: I remember Dave McAllister when we were recording it, uh, 159 00:08:36,860 --> 00:08:41,340 S6: that was one of the, as I look back, that 160 00:08:41,340 --> 00:08:45,660 S6: was really only the one of the times where I 161 00:08:46,300 --> 00:08:52,510 S6: really acted. And, uh, it was, it was, it was 162 00:08:52,510 --> 00:08:57,069 S6: helpful to me. And, and David also said he loved 163 00:08:57,070 --> 00:08:58,390 S6: that scene too. 164 00:08:59,550 --> 00:09:02,590 S1: Now, the question is, I don't I don't remember what 165 00:09:02,590 --> 00:09:04,430 S1: happened to Danny, but was that him over in the 166 00:09:04,470 --> 00:09:09,910 S1: Sugar Creek? Larry, do you remember? Was that Danny by 167 00:09:09,910 --> 00:09:12,350 S1: the Sugar Creek and the body that they saw? 168 00:09:13,030 --> 00:09:18,350 S7: Yeah, he was floating down the creek. One thing that 169 00:09:18,390 --> 00:09:20,870 S7: one thing that you that we didn't get to hear 170 00:09:20,870 --> 00:09:23,550 S7: with treasures of the snow, which was recorded after I 171 00:09:23,550 --> 00:09:26,670 S7: was on staff. So sometime in the late 70s, they 172 00:09:26,710 --> 00:09:30,670 S7: hired an announcer, a Chicago area announcer named Alan Keyes, 173 00:09:30,950 --> 00:09:33,910 S7: who was a big barrel chested man. I heard a 174 00:09:33,910 --> 00:09:38,110 S7: voice like this. He had this amazing bass voice, and 175 00:09:38,110 --> 00:09:39,869 S7: they got him to come in and do the narrations 176 00:09:39,870 --> 00:09:42,270 S7: for treasures of the snow. Isn't that right, Kim? Wasn't 177 00:09:42,270 --> 00:09:42,710 S7: that Alan? 178 00:09:42,750 --> 00:09:47,110 S6: That's right. Yeah. That one. Yeah. So we had him 179 00:09:47,110 --> 00:09:49,530 S6: I'm in. Yeah. He was the guy that did the 180 00:09:49,690 --> 00:09:51,090 S6: Memorex commercials. 181 00:09:51,450 --> 00:09:55,570 S7: Really? He did commercials for Ravinia and other stuff. But 182 00:09:55,570 --> 00:09:59,209 S7: the radio dramas, um, when we were doing them in 183 00:09:59,210 --> 00:10:03,449 S7: the 70s, involved a lot of people from Goodman Theater downtown, 184 00:10:03,450 --> 00:10:07,850 S7: as well as older people who had actually acted in 185 00:10:07,850 --> 00:10:12,810 S7: Chicago based network soap operas in the 40s. Um, if 186 00:10:12,850 --> 00:10:16,170 S7: you've ever seen the movie Groundhog Day with Bill Murray, 187 00:10:16,490 --> 00:10:19,370 S7: there's a scene where he takes this poor old man 188 00:10:19,370 --> 00:10:23,130 S7: into a diner and buys him some soup. And the 189 00:10:23,130 --> 00:10:26,090 S7: old man with these arthritic hands is eating his soup. 190 00:10:26,090 --> 00:10:28,330 S7: That was less po'd. Well, he used to act with 191 00:10:28,330 --> 00:10:30,010 S7: us on Sugar Creek Gang and stories. 192 00:10:30,010 --> 00:10:30,730 S8: Great questions. 193 00:10:30,770 --> 00:10:31,170 S6: That's right. 194 00:10:31,210 --> 00:10:32,970 S8: Let me tell you a story about Les Podell. He 195 00:10:32,970 --> 00:10:34,970 S8: was in the studio a lot, and I was in 196 00:10:34,970 --> 00:10:37,250 S8: a session, and we always would do a read through 197 00:10:37,250 --> 00:10:39,929 S8: in what's called studio A, and they had desks like 198 00:10:39,929 --> 00:10:43,609 S8: school desks, that little flop down desk panel thing. And 199 00:10:43,650 --> 00:10:47,350 S8: as Larry has mentioned, les had severe arthritis. He had 200 00:10:47,350 --> 00:10:49,830 S8: a cup of coffee that he was nursing. I was 201 00:10:49,830 --> 00:10:53,030 S8: seated uncomfortably close to les as we did this read through, 202 00:10:53,030 --> 00:10:55,390 S8: and at one point his little gnarled hands could no 203 00:10:55,390 --> 00:10:59,670 S8: longer hold the cup properly, and he dumped coffee scalding 204 00:10:59,670 --> 00:11:02,230 S8: all over me at this read through. Never got over 205 00:11:02,230 --> 00:11:02,750 S8: that one. 206 00:11:03,910 --> 00:11:08,510 S1: Yikes. A lot of behind the scenes stories. And if 207 00:11:08,510 --> 00:11:11,830 S1: you are an aficionado of moody radio and you heard 208 00:11:11,830 --> 00:11:15,829 S1: the dramas through the years, I've got good news for you. 209 00:11:15,830 --> 00:11:18,110 S1: You can walk down memory lane. There's a way to 210 00:11:18,110 --> 00:11:21,270 S1: still hear those. Or if you're listening today and you say, 211 00:11:21,270 --> 00:11:24,189 S1: why can't I hear those? You can. And I'll tell 212 00:11:24,190 --> 00:11:27,469 S1: you more about that. We're talking about radio drama and 213 00:11:27,470 --> 00:11:29,750 S1: moody radio. I'd love to send you a copy of 214 00:11:29,750 --> 00:11:33,510 S1: this book. This is Moody Radio. It's our thank you 215 00:11:33,510 --> 00:11:37,670 S1: this month. Go to the website Chris Fabry live.org. Scroll down. 216 00:11:37,670 --> 00:11:39,350 S1: You'll see how you can get a copy of that 217 00:11:39,350 --> 00:11:43,510 S1: by sending a gift of any size. Chris Fabry live.org. 218 00:11:43,550 --> 00:11:47,000 S1: Don't miss our next segment, Straight Ahead on Moody Radio. 219 00:12:03,960 --> 00:12:06,600 S13: Hey, what's this old post? 220 00:12:06,640 --> 00:12:07,760 S14: What's that? 221 00:12:07,920 --> 00:12:09,839 S13: Hey, the thing talks. 222 00:12:09,880 --> 00:12:12,959 S14: Sure, I'm the listening post. 223 00:12:13,000 --> 00:12:14,400 S13: The listening post? 224 00:12:14,440 --> 00:12:18,280 S14: Yep. For years and years I've stood in this spot. 225 00:12:18,679 --> 00:12:23,880 S14: I've seen much. I've heard much. And in my old 226 00:12:23,880 --> 00:12:27,240 S14: wooden heart, our stories. 227 00:12:31,000 --> 00:12:34,240 S15: Hi boys and girls. Our book is little House on 228 00:12:34,240 --> 00:12:37,680 S15: the Prairie and it's written by Laura Ingalls Wilder. It's 229 00:12:37,679 --> 00:12:42,720 S15: published by Harper and Row. The Ingalls family arrived safely 230 00:12:42,720 --> 00:12:47,540 S15: in Kansas and PA's building a log house one day when. 231 00:12:47,580 --> 00:12:51,220 S16: That voice, that voice is so. 232 00:12:51,460 --> 00:12:57,380 S1: Welcome. Her name is Flo Schmid, and she read stories 233 00:12:57,380 --> 00:13:01,140 S1: and it took you to another place. And there's somebody 234 00:13:01,140 --> 00:13:05,100 S1: on the line right now who knows that voice. Her 235 00:13:05,100 --> 00:13:09,500 S1: name is Lisa Helm. Lisa, what goes on in your 236 00:13:09,900 --> 00:13:11,980 S1: heart when you hear that voice? 237 00:13:13,059 --> 00:13:17,380 S17: I love hearing that voice. She that was a girl. 238 00:13:17,420 --> 00:13:19,660 S17: That must have been an early one, because she sounds 239 00:13:19,660 --> 00:13:24,180 S17: really young in that clip. And, um, takes me back 240 00:13:24,179 --> 00:13:28,580 S17: to the lunch table where we would hear the stories 241 00:13:28,580 --> 00:13:31,540 S17: my four sisters and I not on the radio, but 242 00:13:31,540 --> 00:13:34,940 S17: in person. So it's wonderful to hear her voice again. 243 00:13:35,700 --> 00:13:39,059 S1: So you and your husband, who's a pastor, serve at 244 00:13:39,059 --> 00:13:42,440 S1: Christ Church, Chicago, you have a B.A. from Wheaton College. 245 00:13:42,840 --> 00:13:48,000 S1: And flow was your mom. And did you. You also, though, 246 00:13:48,040 --> 00:13:50,320 S1: were part of moody radio dramas, right? 247 00:13:51,360 --> 00:13:54,880 S17: I was I had the wonderful opportunity, even as a 248 00:13:54,880 --> 00:13:58,800 S17: grade schooler, to come down and fill some roles on 249 00:13:59,640 --> 00:14:03,640 S17: various radio dramas and do a few programs on my own. 250 00:14:03,640 --> 00:14:06,880 S17: So it was it was a real experience. Loved it. 251 00:14:07,120 --> 00:14:07,600 S16: Yeah. 252 00:14:08,160 --> 00:14:12,240 S1: And what, what is your memory of being part of 253 00:14:12,280 --> 00:14:16,240 S1: Moody Radio drama? What what did it do in you 254 00:14:16,240 --> 00:14:17,360 S1: to be a part of that? 255 00:14:19,200 --> 00:14:24,080 S17: Well, it oddly gave me a love for the city 256 00:14:25,240 --> 00:14:30,440 S17: and eventually moved there myself as an adult. So driving 257 00:14:30,440 --> 00:14:35,400 S17: down the Eisenhower Expressway into Moody on those Saturday mornings, 258 00:14:36,320 --> 00:14:41,620 S17: various times, it it it made me love the skyline, 259 00:14:41,620 --> 00:14:45,020 S17: love the city. And so that was one thing. But 260 00:14:45,020 --> 00:14:52,660 S17: as far as actual experience in the with all the people, 261 00:14:52,700 --> 00:14:56,380 S17: all the other actors, it was like a family. I 262 00:14:56,420 --> 00:15:01,180 S17: have to say, those older actors took such interest, even 263 00:15:01,180 --> 00:15:07,780 S17: in the kids encouraging us, um, giving us tips and, um, 264 00:15:08,340 --> 00:15:12,619 S17: helping us get better at, uh, radio drama. 265 00:15:12,820 --> 00:15:13,300 S16: Yeah. 266 00:15:13,540 --> 00:15:18,380 S1: See if you can hear Lisa's young voice in this. 267 00:15:26,740 --> 00:15:27,380 S9: Hello? 268 00:15:27,540 --> 00:15:30,500 S18: Hello, Lisa. This is Mark. Can you come right over 269 00:15:30,500 --> 00:15:34,340 S18: to our house? It's time for adventures in music. 270 00:15:34,580 --> 00:15:36,140 S19: Yes, Mark. I'll be right over. 271 00:15:49,310 --> 00:15:53,310 S18: Hello, my name is Mark Shaughnessy. I'm his brother, Jan. 272 00:15:53,510 --> 00:15:54,070 S10: And I'm. 273 00:15:54,070 --> 00:15:58,030 S18: Lisa Schmid. We are your hosts for Adventures in Music, 274 00:15:58,030 --> 00:16:01,350 S18: which is produced by the Moody Bible Institute in Chicago. 275 00:16:01,550 --> 00:16:04,590 S18: Today we're going to listen to the first part of 276 00:16:04,590 --> 00:16:07,190 S18: Peter and the Wolf by Sergei Prokofiev. 277 00:16:07,470 --> 00:16:11,950 S1: Look at that, Lisa. A lot of years ago, right? 278 00:16:12,510 --> 00:16:16,590 S17: Oh my goodness. I have not heard that in decades. 279 00:16:16,710 --> 00:16:18,870 S17: It's amazing to hear. Love it. 280 00:16:19,110 --> 00:16:23,830 S1: Yeah. Larry. Now, you worked with adventures in Music as well. 281 00:16:23,870 --> 00:16:24,590 S1: Is that true? 282 00:16:25,630 --> 00:16:28,430 S7: That's right. Very much at the tail end. The genius 283 00:16:28,430 --> 00:16:31,270 S7: behind Adventures in Music was a man named Larry Moran, 284 00:16:31,710 --> 00:16:36,710 S7: who was one of the top call voice talents in Chicago. 285 00:16:36,710 --> 00:16:39,810 S7: If you lived in Chicago in the 70s and 80s, 286 00:16:39,810 --> 00:16:43,490 S7: you heard Larry on every radio station, you know, doing. 287 00:16:43,850 --> 00:16:47,130 S7: He had a thousand voices. He would do commercials, and 288 00:16:47,410 --> 00:16:49,330 S7: he even had a little. Lisa. You remember he had 289 00:16:49,330 --> 00:16:51,170 S7: a little notebook, and if he came up with a 290 00:16:51,170 --> 00:16:53,810 S7: new voice, he would write it in there like, this 291 00:16:53,810 --> 00:16:56,650 S7: is the voice that I did for this. And. And 292 00:16:56,650 --> 00:17:01,010 S7: he wrote almost all the scripts and funny and just 293 00:17:01,010 --> 00:17:04,850 S7: kind and generous to everybody. You'd never know that he 294 00:17:04,850 --> 00:17:08,209 S7: was like, raking in the money like crazy because he 295 00:17:08,210 --> 00:17:12,930 S7: was just a down to earth guy, you know? And, um, uh, 296 00:17:12,930 --> 00:17:15,050 S7: so he wrote most of the scripts. They were all 297 00:17:15,050 --> 00:17:19,969 S7: based on classical music and they needed to round off, uh, 298 00:17:20,770 --> 00:17:24,170 S7: they needed a total of 65 scripts because you needed 299 00:17:24,170 --> 00:17:27,490 S7: 65 to have 13 weeks of five a day. So 300 00:17:27,530 --> 00:17:29,690 S7: I wrote the last five. But I mean, Larry was 301 00:17:29,690 --> 00:17:32,530 S7: in those and Lisa was in those. Uh, so that 302 00:17:32,530 --> 00:17:34,609 S7: was my only touch with it was at the very end. 303 00:17:35,369 --> 00:17:39,470 S1: Larry was also the voice of Captain Crunch for a long, long, 304 00:17:39,590 --> 00:17:40,869 S1: long years. 305 00:17:40,910 --> 00:17:41,190 S8: Yeah. 306 00:17:41,350 --> 00:17:42,710 S1: And his. Go ahead. John. 307 00:17:42,710 --> 00:17:46,190 S8: Yeah. Larry was the the sun in Kellogg's Raisin Bran. 308 00:17:46,310 --> 00:17:51,470 S8: He was the very first McDonald's monopoly man voice. He 309 00:17:51,470 --> 00:17:55,270 S8: was just all these national spot campaigns, voice overs for 310 00:17:55,270 --> 00:17:58,950 S8: television and radio, as Larry Shaklee has well stated. 311 00:17:59,109 --> 00:18:01,510 S1: Yeah. Okay. Well, so here's Larry. 312 00:18:01,550 --> 00:18:02,109 S7: Oh go ahead. 313 00:18:02,150 --> 00:18:04,190 S1: Here's a clip of Larry. I want you to listen 314 00:18:04,190 --> 00:18:06,150 S1: to this. And then, Larry, I want you to respond 315 00:18:06,150 --> 00:18:10,790 S1: to it. Larry Moran in, I believe, stories of great Christians. 316 00:18:10,790 --> 00:18:12,670 S1: This is him as D.L. Moody. 317 00:18:12,950 --> 00:18:18,710 S11: Extra, extra. Read all about it. Famous evangelist is dead. D.L. 318 00:18:18,750 --> 00:18:23,430 S11: Moody is dead. Extra, extra. Read all about it. Dwight 319 00:18:23,430 --> 00:18:29,910 S11: Lyman Moody dies. Someday you will. 320 00:18:29,910 --> 00:18:34,670 S20: Read in the newspapers that D.L. Moody of East Northfield 321 00:18:34,720 --> 00:18:40,480 S20: is dead. Don't you believe a word of it? At 322 00:18:40,560 --> 00:18:44,200 S20: that moment I shall be more alive than I am now. 323 00:18:45,320 --> 00:18:49,959 S20: I shall have gone up higher. That is all. Out 324 00:18:50,000 --> 00:18:55,080 S20: of this old clay tenement, into a house that is immortal, 325 00:18:56,280 --> 00:19:03,520 S20: a body. Death cannot touch. That sin cannot taint a 326 00:19:03,560 --> 00:19:10,200 S20: body fashioned like unto his glorious body. I was born 327 00:19:10,200 --> 00:19:16,200 S20: in the flesh in 1837. I was born in the 328 00:19:16,200 --> 00:19:24,080 S20: spirit in 1856. That which is born of the flesh 329 00:19:24,480 --> 00:19:31,320 S20: may die. That which is born of the spirit will 330 00:19:31,320 --> 00:19:33,700 S20: live Forever. 331 00:19:38,619 --> 00:19:43,180 S1: What an instrument Larry had and the way he used it. 332 00:19:43,180 --> 00:19:45,179 S1: All right, Larry Shackley, respond to that. 333 00:19:46,100 --> 00:19:50,380 S7: Well, that's a a very dramatic role for Larry. He 334 00:19:50,420 --> 00:19:53,740 S7: he played a lot of character parts because his voice 335 00:19:53,740 --> 00:19:57,460 S7: was so flexible. But for those of us who knew him, 336 00:19:57,460 --> 00:20:00,419 S7: it's just like with Rex Brenner, who was our director 337 00:20:00,420 --> 00:20:03,139 S7: and also was in the Sugar Creek gang, there's a 338 00:20:03,140 --> 00:20:07,020 S7: certain quality in his voice, a little edge to it, 339 00:20:07,020 --> 00:20:09,500 S7: that if you knew it, you could always spot him 340 00:20:09,500 --> 00:20:12,180 S7: when a new commercial would come on, he said, That's Larry. 341 00:20:12,220 --> 00:20:14,419 S7: He could be doing a funny little voice, you know, 342 00:20:14,500 --> 00:20:18,060 S7: or or something serious like D.L. Moody. But, uh, but 343 00:20:18,060 --> 00:20:21,060 S7: there was always Larry was always in there, you know, 344 00:20:21,420 --> 00:20:22,379 S7: he was a great guy. 345 00:20:23,460 --> 00:20:26,940 S1: John, any, any memories that you have of working with Larry? 346 00:20:27,220 --> 00:20:30,700 S8: Well, he was very instructive. Uh, at the time, I 347 00:20:30,740 --> 00:20:34,000 S8: really idolized Larry and all these other actors, and I'm 348 00:20:34,000 --> 00:20:40,000 S8: just 19 and hungry to learn everything. And nobody was 349 00:20:40,000 --> 00:20:43,760 S8: more gracious than than Larry Moran. And so I tried 350 00:20:43,760 --> 00:20:47,120 S8: to be like him. And I created a little demo 351 00:20:47,119 --> 00:20:49,480 S8: tape and, and all those sorts of things that Larry 352 00:20:49,480 --> 00:20:53,000 S8: was doing. And just as Larry Shackley has pointed out, 353 00:20:53,000 --> 00:20:56,280 S8: very kind and gracious and willing to share everything about 354 00:20:56,280 --> 00:20:57,000 S8: the craft. 355 00:20:57,119 --> 00:21:00,120 S6: Yes. And he was funny, too. He he always had 356 00:21:00,119 --> 00:21:01,879 S6: a joke in mind. You know. 357 00:21:02,840 --> 00:21:05,360 S7: He was crazy. He was he could ad lib like 358 00:21:05,359 --> 00:21:07,560 S7: Jonathan Winters. I mean, he had that kind of wit. 359 00:21:07,760 --> 00:21:09,560 S6: Right, right. Yeah. 360 00:21:09,840 --> 00:21:13,879 S1: Uh, Lisa, were there lessons that you learned in the 361 00:21:13,880 --> 00:21:17,360 S1: studio that you still keep with you today? 362 00:21:18,720 --> 00:21:24,720 S17: Oh good question. Well, one is Larry and Dave McAllister 363 00:21:24,720 --> 00:21:31,340 S17: worked really hard with us to not say Chicago. They 364 00:21:31,340 --> 00:21:35,100 S17: said brought to you WMBI in Chicago. We had to 365 00:21:35,100 --> 00:21:37,939 S17: keep saying that to get it, drill it down. Um, 366 00:21:37,980 --> 00:21:43,580 S17: that's a superficial, superficial one, but, um, I just think the, 367 00:21:43,940 --> 00:21:48,620 S17: the great that graciousness is a really good word to 368 00:21:48,660 --> 00:21:55,100 S17: be gracious as you instruct other people. These these other 369 00:21:55,100 --> 00:22:00,420 S17: actors were helpful. They were kind. They were generous. And 370 00:22:00,420 --> 00:22:04,780 S17: it was very collegial. And, um, that's something you take 371 00:22:04,780 --> 00:22:08,380 S17: with you in other areas of life for sure. 372 00:22:08,420 --> 00:22:10,700 S8: Could I jump in with a practical illustration as far 373 00:22:10,700 --> 00:22:13,660 S8: as learning the craft goes? Um, I learned from these 374 00:22:13,660 --> 00:22:16,260 S8: other actors. If you have a scene in which you're 375 00:22:16,260 --> 00:22:19,660 S8: exerting a lot of physical strength, you're lifting up a 376 00:22:19,700 --> 00:22:21,740 S8: body or a rock or a boulder. You're trying to 377 00:22:21,740 --> 00:22:24,380 S8: move a tree in the road. They went all in 378 00:22:24,420 --> 00:22:27,700 S8: physically doing it, and they would smack their own jackets 379 00:22:27,700 --> 00:22:30,390 S8: or whatever they were wearing. And I thought, oh, that's 380 00:22:30,390 --> 00:22:32,270 S8: how it's done. You don't you don't you can't just 381 00:22:32,270 --> 00:22:35,190 S8: hold a little script and pretend everybody's going to think 382 00:22:35,190 --> 00:22:37,990 S8: it's that they actually did it. I thought, okay, we 383 00:22:37,990 --> 00:22:40,750 S8: go whole hog even when we're lifting a tree or, 384 00:22:40,790 --> 00:22:41,869 S8: or a boulder, you know? 385 00:22:41,910 --> 00:22:44,230 S1: And when you're doing this on radio, all you have 386 00:22:44,270 --> 00:22:48,390 S1: is your voice and the sound effects around you to 387 00:22:48,430 --> 00:22:50,990 S1: convey that you don't have the pictures like you do 388 00:22:51,030 --> 00:22:53,190 S1: in film and TV. Right, Kim? 389 00:22:53,869 --> 00:22:57,109 S6: Right, right. I learned a lot from Larry as well, 390 00:22:57,109 --> 00:23:00,950 S6: and all the other actors we worked with. Uh, Mary Skull, 391 00:23:00,990 --> 00:23:02,670 S6: I remember, um. 392 00:23:02,670 --> 00:23:03,710 S7: Oh, she was wonderful. 393 00:23:03,869 --> 00:23:09,950 S6: Uh, Tony Mockus, both senior and junior and Eddie Fisher. 394 00:23:09,990 --> 00:23:13,629 S6: Don Stroup. Yeah. Mary Staver, who was also in, uh, 395 00:23:13,670 --> 00:23:19,910 S6: treasures of the snow. Really, really. Uh, fine men. 396 00:23:19,950 --> 00:23:22,470 S1: Yeah. Larry, talk about those sound effects. 397 00:23:22,990 --> 00:23:26,070 S7: Oh, the sound effects. Uh, that was one of my 398 00:23:26,070 --> 00:23:29,889 S7: favorite things. We had two sources of sound effects. One 399 00:23:29,890 --> 00:23:35,650 S7: of them was, um, records and, and if you had 400 00:23:35,650 --> 00:23:38,369 S7: your copy of This is Moody Radio, and if you 401 00:23:38,369 --> 00:23:43,810 S7: turn to page 122, you can see Bob Neff, who, uh, 402 00:23:43,810 --> 00:23:47,090 S7: was at one time a vice president at Moody. He's, 403 00:23:47,130 --> 00:23:50,970 S7: they're running these sound effects records. And there's another picture 404 00:23:50,970 --> 00:23:55,570 S7: on 128 with John McComb, who did did sound effects 405 00:23:55,570 --> 00:23:58,850 S7: for years. But anyway, these were it says in the book, 406 00:23:58,850 --> 00:24:02,410 S7: he's working. He's putting LP records on. No they weren't. 407 00:24:02,410 --> 00:24:06,290 S7: They were old 78 RPM records from the 40s and 408 00:24:06,290 --> 00:24:10,250 S7: 50s that we still had. And so there were there 409 00:24:10,250 --> 00:24:15,729 S7: were three turntables and multiple tonearms. So if you needed 410 00:24:15,730 --> 00:24:20,129 S7: to have, let's say, an inside the car sound effect 411 00:24:20,130 --> 00:24:22,970 S7: of the motor running and you're talking and the record 412 00:24:22,970 --> 00:24:25,850 S7: is running out, you could put one of the other 413 00:24:26,630 --> 00:24:29,790 S7: tonearms out at the beginning of the record and then 414 00:24:30,190 --> 00:24:32,390 S7: pick it back up from there. And then we also 415 00:24:32,390 --> 00:24:35,350 S7: had all sorts. We had a beautiful thing, and maybe 416 00:24:35,350 --> 00:24:38,550 S7: John built it. Um, it was a door, an actual 417 00:24:38,550 --> 00:24:41,310 S7: full size door for the door sound effects. We had 418 00:24:41,310 --> 00:24:43,869 S7: another little thing that had all sorts of manners of 419 00:24:44,470 --> 00:24:47,190 S7: doorbells and buzzers and stuff on it, and we had 420 00:24:47,190 --> 00:24:50,950 S7: a cash register, and we had little trays of gravel 421 00:24:51,390 --> 00:24:54,590 S7: and sand that you could do footsteps in. And my 422 00:24:54,590 --> 00:24:59,230 S7: favorite thing was a big, big bucket of pieces of 423 00:24:59,230 --> 00:25:02,869 S7: glass that you could break if you needed a sound 424 00:25:02,869 --> 00:25:05,830 S7: of glass breaking for something. And oh, and the little 425 00:25:05,830 --> 00:25:07,990 S7: thing that you would turn with a piece of leather 426 00:25:07,990 --> 00:25:12,350 S7: on it and it made the creaking door sound. They 427 00:25:12,350 --> 00:25:13,030 S7: were great. 428 00:25:13,070 --> 00:25:13,429 S6: Yeah. 429 00:25:13,430 --> 00:25:17,429 S1: Well. And fire sound effects. I've got a clip of Rex. 430 00:25:17,430 --> 00:25:20,350 S1: Maybe we'll play that in the next segment. Rex as 431 00:25:20,350 --> 00:25:25,280 S1: John Huss or as Doctor Lutzer pronounces it Huss because 432 00:25:25,280 --> 00:25:29,880 S1: it rhymes with goose being burnt at the stake. And 433 00:25:29,880 --> 00:25:34,760 S1: we might hear that. And Larry very aptly said, page 122. 434 00:25:35,119 --> 00:25:37,320 S1: If you want to get a copy of this is 435 00:25:37,320 --> 00:25:40,760 S1: Moody Radio 100 Years Proclaiming the gospel. I'd love to 436 00:25:40,760 --> 00:25:43,560 S1: send it to you. Just go to Chris Fabry live.org. 437 00:25:43,640 --> 00:25:45,680 S1: Scroll down, see how you can give a gift of 438 00:25:45,680 --> 00:25:49,679 S1: any size. We'll send it to you. Chris Fabry live.org. 439 00:25:49,920 --> 00:26:06,439 S1: More straight ahead. We continue now with a big Jim, 440 00:26:06,440 --> 00:26:09,359 S1: just plain Bill and dragonfly of the Sugar Creek Gang, 441 00:26:09,880 --> 00:26:13,040 S1: and also known as Larry Shackley, John Gager, and Kim Rasmussen. 442 00:26:13,040 --> 00:26:16,760 S1: You can find out more about them at Chris fabry.org. 443 00:26:16,800 --> 00:26:19,920 S1: You can also hear some of the dramas that we're 444 00:26:19,920 --> 00:26:25,659 S1: talking about on Moody Radio at Moody audio.com. There's a 445 00:26:25,660 --> 00:26:29,659 S1: section called For kids. A lot of the dramas are there. 446 00:26:30,460 --> 00:26:36,900 S1: Just go to Chris Fabry, live.org and Moody audio.com, which 447 00:26:36,900 --> 00:26:40,139 S1: has a lot of these dramas. Sugar Creek Gang is 448 00:26:40,180 --> 00:26:43,060 S1: going to be linked at the website too. So if 449 00:26:43,100 --> 00:26:46,859 S1: you go to chris.org and scroll down, you will see 450 00:26:46,859 --> 00:26:50,260 S1: the book that Larry Shackley just talked about, Big Jim. 451 00:26:50,420 --> 00:26:54,620 S1: This is Moody radio 100 years proclaiming the gospel, and 452 00:26:54,619 --> 00:26:57,900 S1: it's our. Thank you. This month. Would love to put 453 00:26:57,900 --> 00:27:02,780 S1: that in your hands. You can find out more@chris.org. In 454 00:27:02,820 --> 00:27:06,820 S1: this clip, I want you to hear four different voices. 455 00:27:07,100 --> 00:27:10,620 S1: The first one is Myron Kennedy, who we would not 456 00:27:10,619 --> 00:27:14,820 S1: be talking about Moody Radio without him. And he's kind 457 00:27:14,859 --> 00:27:19,300 S1: of telling the story of how he got to be 458 00:27:19,340 --> 00:27:23,400 S1: in Chicago. And then you're going to hear Jim Warren 459 00:27:23,440 --> 00:27:27,360 S1: on Prime Time America, who that day was paying tribute 460 00:27:27,560 --> 00:27:31,320 S1: to Myron Kennedy, who had just passed away at 79 461 00:27:31,320 --> 00:27:33,480 S1: years of age. Here is Myron. 462 00:27:33,800 --> 00:27:37,199 S5: Robert Parsons came up to go through the clinic to 463 00:27:37,240 --> 00:27:40,360 S5: get a checkup. And he was staying with George Edstrom. 464 00:27:41,280 --> 00:27:44,320 S5: And George had the news on at 10:00 one night, 465 00:27:44,320 --> 00:27:47,320 S5: and I was I was giving the news and Mr. 466 00:27:47,320 --> 00:27:52,080 S5: Parsons said, that fella has a good radio voice. And, uh, 467 00:27:52,600 --> 00:27:54,520 S5: George said, you know who that is? That's one of 468 00:27:54,520 --> 00:27:59,159 S5: my boys. So the next morning, Parsons came over to 469 00:27:59,760 --> 00:28:03,800 S5: interview me and, uh, talked to me about coming to 470 00:28:04,200 --> 00:28:08,439 S5: Moody Bible Institute and work at WMBI. And, uh, so 471 00:28:08,480 --> 00:28:13,320 S5: as of January 1st, 1944, I came to work at Moody. 472 00:28:14,040 --> 00:28:17,720 S21: And Bill Pierce. The rest is history because he, he really, uh, 473 00:28:17,720 --> 00:28:19,760 S21: was outstanding. How do you see him as a as 474 00:28:19,800 --> 00:28:21,580 S21: a coworker and a fellow laborer. Bill. 475 00:28:21,820 --> 00:28:25,300 S22: Well, you know, I was impressed. Uh, after not hearing 476 00:28:25,300 --> 00:28:28,780 S22: him on the air or anywhere for so long that 477 00:28:28,780 --> 00:28:32,940 S22: his voice is very easy to listen to, very friendly 478 00:28:32,940 --> 00:28:38,140 S22: and very, very compelling. And it's so flexible. The inflections 479 00:28:38,140 --> 00:28:42,300 S22: are there and it's alive, yet it's not oppressive, you know? 480 00:28:42,660 --> 00:28:44,620 S22: And I could see how he would fit in to, 481 00:28:44,660 --> 00:28:47,020 S22: to various kinds of characters. He just had a. 482 00:28:47,060 --> 00:28:50,220 S21: Which he did. Speaking of someone else who was with 483 00:28:50,220 --> 00:28:54,620 S21: him in characters. Russ Reed joins us, freelance actor and announcer, 484 00:28:54,620 --> 00:28:58,660 S21: of course, uh, uh, for excellence in Chicago. Russ, some 485 00:28:58,660 --> 00:29:00,340 S21: of your memories of Myron, you were with him in 486 00:29:00,340 --> 00:29:01,580 S21: a number of dramas, weren't you? 487 00:29:01,620 --> 00:29:05,860 S23: Yes. Uh, Myron and I worked on several things up 488 00:29:05,860 --> 00:29:08,540 S23: at WMBI. Hi, Bill. First of all. 489 00:29:08,620 --> 00:29:10,260 S22: Hi, Russ. Good to hear from you, sir. 490 00:29:10,300 --> 00:29:15,060 S23: Thank you. Fred. Same here. Uh, Jim, Myron always struck 491 00:29:15,060 --> 00:29:18,860 S23: me as a man, and I tried to talk him 492 00:29:18,860 --> 00:29:22,550 S23: into every once in a while, uh, trying to make 493 00:29:22,550 --> 00:29:26,350 S23: a living in professional radio. But he said, I've got 494 00:29:26,350 --> 00:29:27,030 S23: a profession. 495 00:29:27,070 --> 00:29:27,310 S21: And. 496 00:29:27,630 --> 00:29:32,470 S23: A higher one, and I couldn't agree with him more. 497 00:29:32,750 --> 00:29:37,070 S23: He was a fine talent. Uh, Jim, he he, uh, 498 00:29:37,070 --> 00:29:39,950 S23: he had warmth, as Bill just suggested, in his voice. 499 00:29:39,950 --> 00:29:43,910 S23: But he also had dignity. Uh, I don't think I 500 00:29:43,910 --> 00:29:45,510 S23: ever heard him make a mistake. 501 00:29:46,030 --> 00:29:48,950 S21: I know he he was a one take man, wasn't he, Bill? 502 00:29:48,990 --> 00:29:49,310 S21: You know. 503 00:29:49,350 --> 00:29:51,910 S22: Yes. He was also good with the editing razor. 504 00:29:52,310 --> 00:29:52,550 S21: Oh. 505 00:29:53,590 --> 00:29:56,030 S22: He would work hours in his little office there. Looked 506 00:29:56,030 --> 00:29:56,630 S22: like a closet. 507 00:29:56,630 --> 00:29:57,670 S21: Oh, I remember that. 508 00:29:57,710 --> 00:30:00,070 S22: Uh, making sure that everything was perfect. It wasn't so 509 00:30:00,070 --> 00:30:03,590 S22: much mistakes as he was taking out any extraneous noises 510 00:30:03,590 --> 00:30:05,110 S22: or whatever may have happened. 511 00:30:05,550 --> 00:30:08,310 S21: Well, many of us may remember, uh, stories of great 512 00:30:08,310 --> 00:30:12,270 S21: Christians and, uh, Myron Kennedy acting out d l Moody's 513 00:30:12,310 --> 00:30:14,390 S21: famous gap speech. Yeah. 514 00:30:14,670 --> 00:30:19,290 S5: For the past 25 years, I've been doing evangelistic work, 515 00:30:19,930 --> 00:30:23,050 S5: and there's one idea that continues to follow me wherever 516 00:30:23,050 --> 00:30:26,850 S5: I go in city evangelism. We need a training school 517 00:30:26,850 --> 00:30:30,090 S5: for our workers, so they can be educated properly in 518 00:30:30,090 --> 00:30:33,290 S5: the English Bible and be able to answer every question 519 00:30:33,290 --> 00:30:37,290 S5: put to them. I call you fellow Christian workers, the 520 00:30:37,290 --> 00:30:41,330 S5: gap men. You fill the gap for trained people to 521 00:30:41,370 --> 00:30:43,810 S5: fit in the gap between the laity and the ministers. 522 00:30:44,770 --> 00:30:46,810 S5: I know you've been doing well with the help of 523 00:30:46,810 --> 00:30:52,490 S5: Miss Emma Dreyer, Doctor Edmond, Mr. Blackstone, Mr. Ravel and 524 00:30:52,490 --> 00:30:56,410 S5: other faithful helpers. But we must do better. We must 525 00:30:56,410 --> 00:30:56,970 S5: push it. 526 00:30:57,810 --> 00:31:00,810 S1: So you heard Larry Moran as D.L. Moody, and that 527 00:31:00,810 --> 00:31:04,530 S1: was Myron Kennedy, along with Jim Warren, Bill Pierce and 528 00:31:04,530 --> 00:31:07,690 S1: Russ Reed. Isn't that a kick? John Gager to hear 529 00:31:07,690 --> 00:31:09,290 S1: those voices again and again. 530 00:31:09,290 --> 00:31:13,450 S8: These voices were all very well known, widely heard not 531 00:31:13,450 --> 00:31:15,490 S8: just in Chicago, but most of them throughout the country. 532 00:31:15,490 --> 00:31:18,270 S8: Russ Reed, my goodness, and Larry Moran, the voice of 533 00:31:18,310 --> 00:31:22,350 S8: so many national characters and advertising campaigns of all kinds. 534 00:31:22,550 --> 00:31:25,110 S6: And Russ Russ Reed was in a number of Christian 535 00:31:25,110 --> 00:31:27,790 S6: films as well. Yeah, yeah, yeah. 536 00:31:28,110 --> 00:31:30,990 S1: There's a lot of history, Larry. What as you listen 537 00:31:30,990 --> 00:31:33,310 S1: to all this, what's rolling around your soul now? 538 00:31:34,830 --> 00:31:39,230 S7: Oh, it's just wonderful to to hear it all again. Uh, 539 00:31:39,990 --> 00:31:42,710 S7: and I was the story I was going to tell 540 00:31:42,750 --> 00:31:45,550 S7: earlier that I just came back to me is in 541 00:31:45,550 --> 00:31:50,430 S7: the 60s, uh, my family was able to go downtown 542 00:31:50,590 --> 00:31:54,310 S7: on a Sunday for a K, y, B club taping, 543 00:31:54,590 --> 00:31:59,030 S7: which was Aunt Teresa Warman's kid show. And that was 544 00:31:59,030 --> 00:32:01,110 S7: one of the shows I didn't listen to Sailor Sam 545 00:32:01,110 --> 00:32:02,390 S7: or Ranger Bill when I was a kid, but I 546 00:32:02,390 --> 00:32:05,630 S7: did listen to the K club, and they had a 547 00:32:05,630 --> 00:32:09,070 S7: weekly serial called The Bangles, and it was a family. 548 00:32:09,630 --> 00:32:13,510 S7: And so I was so much looking forward to seeing 549 00:32:13,510 --> 00:32:18,240 S7: the bangles. And so, because I always had pictures in 550 00:32:18,240 --> 00:32:21,720 S7: my mind of what they were doing, what they looked like, and, and, uh, 551 00:32:21,760 --> 00:32:23,720 S7: and so they said, now it's time for the bangles. 552 00:32:23,720 --> 00:32:26,360 S7: And the organist played a little thing. And then these 553 00:32:26,360 --> 00:32:29,800 S7: people just got up and stood by a microphone and 554 00:32:29,800 --> 00:32:33,480 S7: read from a script. And I thought. Where are the bangles? 555 00:32:33,720 --> 00:32:36,040 S7: You know, like, I want to see them doing something. 556 00:32:37,000 --> 00:32:39,800 S7: You know, that was so my first experience of radio 557 00:32:39,800 --> 00:32:43,760 S7: drama was very, very disappointing. But, uh, that was the 558 00:32:43,760 --> 00:32:47,400 S7: same studio where John and Kim and I did the 559 00:32:47,440 --> 00:32:52,840 S7: Sugar Creek Gang a decade or more later. Um, and, uh, yeah, 560 00:32:52,880 --> 00:32:54,800 S7: what a great time. You know, I mean, we were 561 00:32:54,800 --> 00:32:59,240 S7: really the only active, uh, radio drama being produced at 562 00:32:59,240 --> 00:33:02,720 S7: the time and later on focused on the family came in. But, 563 00:33:02,760 --> 00:33:06,080 S7: you know, Moody was the source for, uh, radio drama. 564 00:33:06,760 --> 00:33:09,320 S8: You know, we've just heard these great clips of these people. 565 00:33:09,320 --> 00:33:10,840 S8: And Chris, one of the things that they all shared 566 00:33:10,840 --> 00:33:14,420 S8: in common, I notice was that they carefully marked their 567 00:33:14,420 --> 00:33:17,740 S8: scripts with a pencil. They didn't just, you know, look 568 00:33:17,740 --> 00:33:19,979 S8: at that script, turn on the mic and go. It 569 00:33:19,980 --> 00:33:22,100 S8: was prepped. It was. They understood where they were going 570 00:33:22,140 --> 00:33:24,140 S8: to breathe, what was going to be emphasized, what was 571 00:33:24,140 --> 00:33:26,820 S8: not going to be emphasized. And, and again, as a 572 00:33:26,820 --> 00:33:29,100 S8: young guy, I was watching that too. Kim, I'm sure 573 00:33:29,100 --> 00:33:29,500 S8: you were. 574 00:33:29,500 --> 00:33:30,860 S6: A great learning tool. Larry. 575 00:33:31,060 --> 00:33:32,340 S8: We saw all those things, didn't we? 576 00:33:32,380 --> 00:33:36,780 S7: Yeah, yeah. And we also learned never turn your pages 577 00:33:36,780 --> 00:33:38,620 S7: holding it right in front of the microphone. 578 00:33:39,420 --> 00:33:40,020 S6: That's right. 579 00:33:40,660 --> 00:33:42,979 S7: And you always take the staple out, right? So that 580 00:33:42,980 --> 00:33:45,580 S7: you don't have to flip the pages. You just pull 581 00:33:45,580 --> 00:33:47,380 S7: the top page off and kind of put it behind 582 00:33:47,380 --> 00:33:48,500 S7: your back. Yeah. 583 00:33:49,220 --> 00:33:53,700 S1: Kim, you were part of unshackled and still are in 584 00:33:54,020 --> 00:33:58,460 S1: dramas there probably for many years. And I remember Jack O'Dell, 585 00:33:58,500 --> 00:34:01,860 S1: you know, at the old Lighthouse, that long running, unshackled. 586 00:34:01,860 --> 00:34:06,100 S1: It wasn't produced by Moody, but but you've been a 587 00:34:06,100 --> 00:34:07,900 S1: part of that and other voices that we've heard. 588 00:34:08,380 --> 00:34:12,460 S6: Over over 40 years. I was involved with unshackled, both 589 00:34:12,600 --> 00:34:16,600 S6: both acting. And then later on, that was my last place, 590 00:34:16,640 --> 00:34:21,000 S6: my last full time job where I recorded and edited 591 00:34:21,000 --> 00:34:22,880 S6: the program. Yeah. Wow. 592 00:34:23,400 --> 00:34:27,000 S1: We have not heard. We've heard the name, but we 593 00:34:27,040 --> 00:34:31,600 S1: have not heard the voice of Rex Brenner. And Rex 594 00:34:31,640 --> 00:34:35,560 S1: is one of the lynchpins as far as when when 595 00:34:35,560 --> 00:34:38,200 S1: I came to Moody and saw he and worked with 596 00:34:38,239 --> 00:34:42,480 S1: Mike Kellogg and with with drama in the early days. 597 00:34:42,760 --> 00:34:44,680 S1: And I want you to hear a little bit of 598 00:34:44,680 --> 00:34:48,480 S1: his voice. This is from the stories of great Christians, 599 00:34:48,880 --> 00:34:53,600 S1: the episode with. Of John Huss, where he is basically 600 00:34:53,600 --> 00:34:57,239 S1: burnt at the stake for his his faith. And I 601 00:34:57,239 --> 00:34:59,719 S1: want you to listen to the sound effect of the 602 00:34:59,719 --> 00:35:03,120 S1: fire and see if you know what the fire is. 603 00:35:03,280 --> 00:35:04,239 S1: Here's Rex. 604 00:35:08,440 --> 00:35:12,540 S24: See? All right, all right, Why don't you go to 605 00:35:12,540 --> 00:35:17,780 S24: the west? I'll slip the chain up and the round 606 00:35:19,780 --> 00:35:25,140 S24: proper and fitting for a heretic to the west. The 607 00:35:25,140 --> 00:35:28,380 S24: Elector Palatine is stepping forward now, and the crowd in 608 00:35:28,380 --> 00:35:32,780 S24: the middle quiets quickly. The elector walks up to the stake, 609 00:35:32,980 --> 00:35:35,859 S24: driven onto the soft ground of the meadow, and he 610 00:35:35,860 --> 00:35:40,020 S24: stands looking at John Huss. Bound to it, and he says. 611 00:35:41,380 --> 00:35:43,580 S5: Well, you recant. 612 00:35:45,340 --> 00:35:46,300 S9: God. 613 00:35:46,340 --> 00:35:51,180 S25: As my witness. I never taught or wrote those things. 614 00:35:52,340 --> 00:35:57,380 S25: I had only one purpose in everything to save men 615 00:35:57,420 --> 00:36:06,660 S25: dying in sin. So I gladly seal that gospel truth, 616 00:36:07,780 --> 00:36:15,990 S25: seal it with my death if I must. Know I 617 00:36:16,150 --> 00:36:17,710 S25: will not recant. 618 00:36:19,430 --> 00:36:20,549 S5: You may proceed. 619 00:36:24,230 --> 00:36:34,830 S26: Oh, Christ. Those of the living God. Have mercy on me. 620 00:36:38,110 --> 00:36:43,630 S26: Thou son of the living God. 621 00:36:52,030 --> 00:36:54,910 S1: Love stories of great Christians. Okay. So, did you hear 622 00:36:54,910 --> 00:36:58,430 S1: the fire? Did you hear that sound effect? It sounds 623 00:36:58,430 --> 00:37:02,630 S1: like fire, right? It wasn't really fire, though. Uh, in 624 00:37:02,670 --> 00:37:08,270 S1: that sound effect cabinet back there. John. I don't think 625 00:37:08,270 --> 00:37:11,290 S1: that was record. It wasn't a long you know, a 626 00:37:11,290 --> 00:37:12,930 S1: 78 rpm. What was that? 627 00:37:12,969 --> 00:37:16,890 S8: That would have been cellophane, a stiff cellophane, uh, clear 628 00:37:16,930 --> 00:37:19,370 S8: as you might use in wrapping a gift or something 629 00:37:19,370 --> 00:37:20,810 S8: like that of a thick kind. Yeah. 630 00:37:21,010 --> 00:37:21,490 S1: Yeah. 631 00:37:21,690 --> 00:37:23,609 S8: And there were other things like that. I don't think 632 00:37:23,610 --> 00:37:27,050 S8: they sell cornstarch in a box anymore. But Larry Shackley 633 00:37:27,050 --> 00:37:30,690 S8: and Kim will both remember a box of Argo cornstarch 634 00:37:30,690 --> 00:37:33,649 S8: in the sound effects closet. And you squeezed it and 635 00:37:33,650 --> 00:37:36,210 S8: a little bit puffed out, but most of it stayed in, 636 00:37:36,210 --> 00:37:38,170 S8: and it sounded if you worked it right with your 637 00:37:38,170 --> 00:37:41,930 S8: hands like footsteps in the snow, it literally sounded like 638 00:37:41,930 --> 00:37:43,530 S8: footsteps in the snow. 639 00:37:43,570 --> 00:37:45,050 S1: Exactly. I love. 640 00:37:45,050 --> 00:37:45,210 S7: The. 641 00:37:45,890 --> 00:37:49,649 S1: Telephone. The old telephone that was the dial telephone, you know, 642 00:37:49,810 --> 00:37:52,290 S1: and the ringing of it. Okay, Larry, go ahead. 643 00:37:52,650 --> 00:37:56,290 S7: And we had various bells and stuff. Um, Rex could 644 00:37:56,290 --> 00:37:59,810 S7: do all sorts of voices, but he was the primo 645 00:37:59,810 --> 00:38:03,770 S7: villain of all time. And now on Sugar Creek, he 646 00:38:03,770 --> 00:38:07,190 S7: was always kindly Mr. Paddler. But if you listen to 647 00:38:07,230 --> 00:38:11,990 S7: reruns of Sailor Sam and Ranger Bill, Rex was like 648 00:38:11,989 --> 00:38:17,270 S7: 100 different villains, and my favorite one was on a 649 00:38:17,989 --> 00:38:21,189 S7: Sailor Sam one time. He is. I am King of 650 00:38:21,190 --> 00:38:27,150 S7: the Scorpion people. But if you're on Facebook, there's a 651 00:38:27,150 --> 00:38:31,630 S7: guy who runs a Ranger Bill Facebook page. And almost 652 00:38:31,630 --> 00:38:34,589 S7: on a daily basis, he posts a link to an 653 00:38:34,590 --> 00:38:39,029 S7: old Ranger Bill episode, which features. Myron Canady has two parts. 654 00:38:39,070 --> 00:38:45,350 S7: Bill Pierce is the is the, um, the narrator. Uh, but, um, 655 00:38:45,390 --> 00:38:48,310 S7: Rex is frequently the villain, so if he, I always 656 00:38:48,350 --> 00:38:50,630 S7: go through and try to find Rex, and then I'll 657 00:38:50,630 --> 00:38:53,430 S7: put a little note on the Facebook page, you know, 658 00:38:53,469 --> 00:38:56,070 S7: check out Rex, you know, pretending to be a Frenchman 659 00:38:56,070 --> 00:39:00,750 S7: at at 20 minutes or because he, he had all 660 00:39:00,750 --> 00:39:02,710 S7: sorts of accents and things that he would do. He 661 00:39:02,710 --> 00:39:03,790 S7: did Swedish ones. 662 00:39:03,830 --> 00:39:07,120 S1: And this is so much fun. You shouldn't be allowed 663 00:39:07,120 --> 00:39:09,680 S1: to have this much fun, but we are having it 664 00:39:09,719 --> 00:39:13,839 S1: with my pals Kim and Larry and John here at 665 00:39:13,840 --> 00:39:17,520 S1: the Radio Backyard Fence. Lisa has been with us and 666 00:39:17,520 --> 00:39:19,239 S1: I'm so glad that you're here. And if this is 667 00:39:19,239 --> 00:39:23,000 S1: stirring some memories from for you, go to the website 668 00:39:23,000 --> 00:39:26,280 S1: Chris Fabry live.org. We have that book, this is Moody 669 00:39:26,320 --> 00:39:30,640 S1: radio 100 years proclaiming the gospel featured resource and our 670 00:39:30,640 --> 00:39:34,520 S1: thank you today. I'd love to put this in your hands, 671 00:39:34,520 --> 00:39:39,680 S1: but hurry, next week, this ends. This offer ends next week. 672 00:39:39,840 --> 00:39:44,040 S1: Just go to Chris Fabry live dot more straight ahead 673 00:39:44,080 --> 00:39:45,200 S1: on Moody Radio. 674 00:39:48,640 --> 00:39:50,960 S27: The adventures of Sailor Sam. 675 00:40:03,080 --> 00:40:04,580 S28: Where I. 676 00:40:17,980 --> 00:40:20,580 S27: Hear the creak of the rigging. Listen to the wind. 677 00:40:20,580 --> 00:40:24,820 S27: Whip the sails. Yes, boys and girls. Sailor Sam's big schooner. 678 00:40:24,860 --> 00:40:27,819 S27: The porpoise plunges swiftly through the waves, eager to serve 679 00:40:27,820 --> 00:40:31,180 S27: her master. Where is she going? Wish I could tell you, 680 00:40:31,180 --> 00:40:34,100 S27: but we'll have to find out from Sailor Sam. An 681 00:40:34,100 --> 00:40:39,260 S27: adventurous young man whose hunt for scientific truth takes him anywhere. Yes, anywhere. 682 00:40:39,620 --> 00:40:43,339 S27: And with him go his two young cousins, Buddy and Nancy. 683 00:40:43,940 --> 00:40:47,260 S27: I meet it's full speed ahead now for seafaring thrills 684 00:40:47,260 --> 00:40:49,900 S27: with Sailor Sam. 685 00:40:53,500 --> 00:40:57,100 S1: There's nothing like that organ like there. 686 00:40:57,140 --> 00:40:59,060 S6: Yeah. Ralph Coburn probably. 687 00:40:59,100 --> 00:41:02,500 S1: Was it? Okay. I knew Ralph at, uh, at a 688 00:41:02,540 --> 00:41:05,080 S1: church up on the north side. Okay, so if you're 689 00:41:05,080 --> 00:41:08,920 S1: just tuning in, we are talking about Ranger Bill and 690 00:41:08,920 --> 00:41:12,680 S1: Sailor Sam and all of these great dramas that were 691 00:41:12,680 --> 00:41:16,719 S1: done years and years and years ago with my pals 692 00:41:17,000 --> 00:41:21,520 S1: John and Kim and Larry. And we had mentioned just 693 00:41:21,520 --> 00:41:24,279 S1: a minute ago, Rex Brenner, John, you had a story 694 00:41:24,280 --> 00:41:25,359 S1: about Rex to tell. 695 00:41:25,560 --> 00:41:27,880 S8: Okay. A lot of these dramas in those days were 696 00:41:27,880 --> 00:41:30,720 S8: mixed real time. What we mean by that is instead 697 00:41:30,719 --> 00:41:32,799 S8: of taking time like they do now to record it 698 00:41:32,800 --> 00:41:36,000 S8: on multi-track, and then going back and adding sound effects 699 00:41:36,000 --> 00:41:38,879 S8: and layering it and then checking all the balances. No, 700 00:41:38,880 --> 00:41:42,319 S8: it was all done that day. Sound effects were added, 701 00:41:42,320 --> 00:41:45,800 S8: music was added and it was mixed together real time. Well, 702 00:41:45,840 --> 00:41:47,400 S8: of course, there's a theme that you've heard to all 703 00:41:47,400 --> 00:41:51,239 S8: these programs and, uh, was calling for the theme and 704 00:41:51,239 --> 00:41:54,160 S8: he wanted more theme and more theme. And imagine in 705 00:41:54,160 --> 00:41:56,960 S8: your mind the mixing console. It's, it's got, we call 706 00:41:56,960 --> 00:41:59,440 S8: them faders. You've seen them, they slide up and down. 707 00:41:59,440 --> 00:42:01,319 S8: And he wanted more theme, but the guy who was 708 00:42:01,410 --> 00:42:04,290 S8: mixing at the time, Stan Ferris, had already run out 709 00:42:04,290 --> 00:42:08,049 S8: of room. He'd given all the theme there was. And 710 00:42:08,050 --> 00:42:11,209 S8: so to satisfy Rex Brenner, who was directing, he made 711 00:42:11,210 --> 00:42:15,370 S8: his fingers slide over the tops of those faders upward, 712 00:42:15,610 --> 00:42:18,489 S8: as if he was giving more theme. And apparently the 713 00:42:18,489 --> 00:42:19,890 S8: ruse worked. That's all I can say. 714 00:42:20,170 --> 00:42:20,690 S29: Ah, yeah. 715 00:42:21,890 --> 00:42:24,330 S1: Ah, I could just see that. And that's the old Neve, 716 00:42:24,370 --> 00:42:27,330 S1: the old Neve console that you're talking about. Yes. Yeah. 717 00:42:27,610 --> 00:42:29,890 S7: And there is a picture of that as well in 718 00:42:29,890 --> 00:42:32,970 S7: the book on page 126 126. 719 00:42:33,770 --> 00:42:35,450 S6: That book memorized. Larry. 720 00:42:35,930 --> 00:42:39,170 S7: Dave. Well, I just went through the book looking for 721 00:42:39,170 --> 00:42:41,330 S7: pictures of me, and I didn't find any. So I 722 00:42:41,370 --> 00:42:42,530 S7: looked at all the other ones. 723 00:42:43,810 --> 00:42:47,170 S1: I'm not seeing the Neve on 126. You've got to, uh, 724 00:42:47,170 --> 00:42:47,850 S1: you gotta. 725 00:42:47,890 --> 00:42:51,170 S7: Oh it isn't. Oh, there's a picture of Dave McAllister, uh, 726 00:42:51,450 --> 00:42:54,210 S7: sitting at the, at the thing. I mean, I maybe 727 00:42:54,210 --> 00:42:55,290 S7: got the page wrong. 728 00:42:55,330 --> 00:42:56,770 S1: We'll figure that out. Yeah. 729 00:42:56,810 --> 00:42:59,930 S7: Yeah. Isn't that. Oh, yeah. That's the Neve. 730 00:43:00,270 --> 00:43:03,190 S1: You look for it, you look for your picture. Your 731 00:43:03,190 --> 00:43:07,510 S1: numbers might be different. 128128128. 732 00:43:07,950 --> 00:43:12,710 S7: There it is. There's Mike. Mike Kellogg and Dave. And 733 00:43:12,710 --> 00:43:14,989 S7: we should have mentioned that Flo Schmidt was also one 734 00:43:14,989 --> 00:43:16,550 S7: of the kids on Sailor Sand. 735 00:43:17,110 --> 00:43:21,150 S1: That's right. She did so many voices, so many people 736 00:43:21,150 --> 00:43:25,509 S1: had so such versatile voices. Oh, okay. I see the 737 00:43:25,510 --> 00:43:28,390 S1: need right there. Yeah, that was that was still there 738 00:43:28,390 --> 00:43:32,750 S1: in the 80s before we went into the multi-track years. Uh, 739 00:43:32,790 --> 00:43:36,350 S1: can I play? Would you pull up number three? I 740 00:43:36,350 --> 00:43:39,790 S1: want our, uh, friends to respond to this. This is 741 00:43:39,790 --> 00:43:44,110 S1: from a drama called Little Pilgrim's Progress. 742 00:43:44,590 --> 00:43:46,669 S30: The king helped you then, and. And he will help 743 00:43:46,670 --> 00:43:47,150 S30: us now. 744 00:43:47,190 --> 00:43:49,870 S31: But this is different. Why? Because we've been placed here 745 00:43:49,870 --> 00:43:51,150 S31: in this dark dungeon. 746 00:43:51,190 --> 00:43:53,070 S30: Is it any darker than the dark valley? 747 00:43:53,230 --> 00:43:54,670 S31: But we have been beaten. 748 00:43:54,710 --> 00:43:57,310 S30: Were the beatings any worse than those at Vanity Fair 749 00:43:57,310 --> 00:44:00,569 S30: or or the wounds inflicted by self. But we have 750 00:44:00,570 --> 00:44:04,090 S30: forgotten the King. Do you think he has forgotten us? 751 00:44:05,010 --> 00:44:07,410 S30: Did you not tell me that he promised he would 752 00:44:07,410 --> 00:44:09,050 S30: never leave us nor forsake us? 753 00:44:10,210 --> 00:44:11,010 S31: That's it. 754 00:44:11,290 --> 00:44:11,570 S30: What? 755 00:44:11,610 --> 00:44:12,170 S31: The key. 756 00:44:12,250 --> 00:44:12,649 S30: What key? 757 00:44:12,690 --> 00:44:15,009 S31: The key of promise. Discretion gave it to me at 758 00:44:15,010 --> 00:44:17,570 S31: the palace. Beautiful. She said it would unlock any door. 759 00:44:17,610 --> 00:44:19,170 S30: Oh, Christian, do you still have it? 760 00:44:19,170 --> 00:44:23,690 S31: Let me see. Well? It's here. The key. Shh! 761 00:44:23,890 --> 00:44:26,169 S30: We don't want the giant to hear. What should we do? 762 00:44:26,570 --> 00:44:29,489 S31: It's still night. The giant must be sleeping. I think 763 00:44:29,489 --> 00:44:32,330 S31: we should try it now. Oh, stupid. I've had this 764 00:44:32,370 --> 00:44:34,089 S31: key all this time, and we could have been going 765 00:44:34,090 --> 00:44:38,690 S31: at once. Let's try it. Okay. It fits. 766 00:44:38,730 --> 00:44:40,370 S30: Turn it, turn it, turn it! 767 00:44:41,890 --> 00:44:43,850 S31: It works. Hopeful. It works. 768 00:44:43,890 --> 00:44:46,610 S30: Thanks be to the King. Quietly. The door. 769 00:44:46,650 --> 00:44:47,050 S31: Door. 770 00:44:48,130 --> 00:44:54,130 S1: Little Pilgrim's progress. John and Kim were right there. Uh, John, 771 00:44:54,170 --> 00:44:57,129 S1: you told me in the break a story about Rex 772 00:44:57,190 --> 00:45:00,189 S1: and praying. Tell me that story before we end here. 773 00:45:00,230 --> 00:45:04,110 S8: Lovely memory. Before every session, we would bring the actors 774 00:45:04,110 --> 00:45:06,910 S8: together into our studio A and we would read through 775 00:45:06,910 --> 00:45:09,550 S8: all the scripts in a rehearsal, but Rex always opened 776 00:45:09,550 --> 00:45:12,470 S8: every session with a prayer. He prayed. He made everybody 777 00:45:12,469 --> 00:45:16,990 S8: bow their heads, a room full of mostly unsaved secular actors, uh, 778 00:45:16,989 --> 00:45:20,150 S8: who were were praying and hearing the gospel from Rex. 779 00:45:20,390 --> 00:45:24,150 S8: He never feared. He never flinched. He never failed. And, uh, 780 00:45:24,150 --> 00:45:26,390 S8: so I salute Rex Brenner in that great memory. 781 00:45:26,430 --> 00:45:29,830 S1: Yeah. Last thought from you, Larry. Big Jim, what do 782 00:45:29,830 --> 00:45:30,270 S1: you say? 783 00:45:31,469 --> 00:45:34,870 S7: Well, I'm just grateful to have had that opportunity. Uh, 784 00:45:35,430 --> 00:45:39,030 S7: like John, I was brought in by Mike Kellogg and 785 00:45:39,030 --> 00:45:42,910 S7: Rex Brenner and had a chance to work with, uh, these, 786 00:45:42,950 --> 00:45:46,589 S7: these other guys and, and these other actors we've talked about, uh, 787 00:45:46,590 --> 00:45:49,630 S7: for several years. And it was a great learning experience. 788 00:45:49,630 --> 00:45:51,350 S7: And I'm glad that those things are still out there 789 00:45:51,350 --> 00:45:52,430 S7: for people to enjoy. 790 00:45:52,710 --> 00:45:57,359 S1: Yeah. Moody audio.com. Or just go to Chris chris.org. We've 791 00:45:57,400 --> 00:46:00,560 S1: got a link for you right there. Kim, last thought 792 00:46:00,560 --> 00:46:01,720 S1: from you. What do you say? 793 00:46:02,200 --> 00:46:07,279 S6: Well, I was happy to benefit others with our talents 794 00:46:07,719 --> 00:46:14,160 S6: and also learn spiritual principles from moody radio drama. And 795 00:46:14,200 --> 00:46:16,880 S6: it really helped me in my spiritual life. 796 00:46:17,960 --> 00:46:20,080 S1: And I call him snarky because you were in the 797 00:46:20,080 --> 00:46:24,680 S1: Mohole mystery, uh, series. You were snarky in that series. 798 00:46:24,680 --> 00:46:28,120 S1: So snarky. Thanks for being with us today. What great 799 00:46:28,120 --> 00:46:31,680 S1: fun friends. Go to Chris Fabry live.org. You can see more. 800 00:46:31,880 --> 00:46:34,719 S1: Lisa has joined us today and John and Kim and 801 00:46:34,719 --> 00:46:37,440 S1: Larry get a copy of the book. I'd love to 802 00:46:37,440 --> 00:46:41,040 S1: send it your way. This is Moody Radio Chris Fabry live.org. 803 00:46:41,080 --> 00:46:44,880 S1: Our program's production of Moody Radio, a Ministry of Moody 804 00:46:44,880 --> 00:46:46,360 S1: Bible Institute.