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IRADBO

istener

In This Issue

What is the

SECRET

Rudy Vallee's

Success?

"Main Street

Sketches "

Set

Radio Record

Amos V Andy
Radio's First
Comic Strip

WANTED:
Air Personality!

And
Other Features

December
1929

i^i niaa uou miant to read

The Tragedy of Neglected Gums

Cast of Characters :
Your Dentist and You

you: "My gums are responsible for this
visit, doctor. I'm anxious about them."

d.d.s.:" What's the matter?"

you: "Well, sometimes they're tender when
I brush my teeth. And once in a ivhile they
bleed a little. But my teeth seem to be all
right. Just how serious is a thing like thisl"

d.d.s. :"Probably nothing to bother
about, with a healthy mouth like
yours. But, just the same, I've seen
people with white and flawless teeth
get into serious trouble with their
gums."

you: "That's what worries me. Pyorrhea
— gingivitis — trench mouth — all those hor-
rible-sounding things! Just a month ago a
friend of i?iine had to have seven teeth
■pulled out.

d.d.s.: "Yes, such things can happen.
Not long ago a patient came to me
with badly inflamed gums. I x-rayed
them and found the infection had spread
so far that eight teeth had to go. Some
of them were perfectly sound teeth,
too."

you: {After a pause) "I was reading a
dentifrice advertisement . . . about food.

d.d.s.: "Soft food? Yes, that's to blame
for most of the trouble. You see, our
gums get no exercise from the soft,
creamy foods we eat. Circulation lags
and weak spots develop on the gum
walls. That's how these troubles begin.
If you lived on rough, coarse fare your
gums would hardly need attention."

you: "But, doctor, I can't take up a diet of

BRISTOL-MYERS CO., Dept. RR-129
73 West Street, New York, N. Y.

Kindly send me a trial tube of IPANA TOOTH
PASTE. Enclosed is a two-cent stamp to cover
partly the cost of packing and mailing.

Name

Address

City Stale

c 1929

•«-«-«-««-e-«-«-*-«-«-*-«-«-«-«-'i-««-c-<s c-c-z-e-s

raw roots and hardtack. People would
think I'd suddenly gone mad."-

d.d.s.: "No need to change your diet.
But you can give your gums the stimu-
lation they need. Massage or brush
them twice a day when you brush
your teeth. And one other suggestion:
use Ipana Tooth Paste. It's a scientific,
modern dentifrice, and it contains
special ingredients that stimulate the
gums and help prevent infection."

n imaginary dialog? An imaginary
"you"? Admittedly, but the action is
real. It is drawn from life — from real
tragedies and near-tragedies enacted
every day in every city of the land!

And if dentists recommend Ipana, as
thousands of them do, it is because it is
good for the gums as well as for the
teeth. Under its continual use, the
teeth are gleaming white, the gums
firm and healthy. For Ipana contains
ziratol, a recognized hemostatic and
antiseptic well known to dentists for
its tonic effects upon gum tissue.

Don't wait for "pink tooth brush"
to appear before you start with Ipana.
The coupon brings you a sample which
will quickly prove Ipana's pleasant
taste and cleaning power.

But, to know all of Ipana's good ef-
fects, it is far better to go to your near-
est druggist and get a large tube. After
you have used its hundred brushings
you will know its benefits to the health
of your gums as well as your teeth.

an-*»»3»-s^r- »-a-»«-»-»-:e-s-R-3-»-*-2-s-:&-3^-^-»

NOV 26 1929 ^

©C1B 50830

CADIC EEVUE

FOR THE LISTENER

Volume I Number 1 DECEMBER, 1929

CONTENTS

Cover Design: Rudy Vallee , . . . By Theodore G. Auge

Rudy Vallee's First Leading Lady (Photograph) 2

What Is the Secret of Rudy Vallee's Success? 3

Sound Your "A" (Photographs) 6

Amos 'n' Andy, Radio's First Comic Strip By P. H. W. Dixon 7

Main Street Sketches Set Radio Record for Applause Mail By Bruce Gray 9

If Radio Is To Survive, It Must "Hitch Its Wagon to a Star". . . By K. Trcnholm 12

A Sonnet to the Instrument International By Alice Kemscn 14

Brings Charm of Old Spain to Radio (Photograph) 15

Dale Wimbrow Whittles 16

Philco Hour Revives Favorite Light Operas of the Past By Henry M. Nccly 17

Philco's Diminutive Prima Donna (Photograph) 19

Wanted: Air Personality By Allen Haglund 21

Westinghouse Salute Introduces New Type of Program . .. . . 23

Glorifying the American Girl's Voice (Photographs) 24

Static From the Studios 26

A Glimpse "Behind the Mike" During the Palmolive Hour By Herbert Dci/ns 27

Mr. Average Fan Confesses that He Is a "Low Brow" ... By Average Fan 30

Crowned Radio's Queen of Beauty .... (Photograph) 33

Philadelphia Orchestra Succumbs to Lure of Radio . By Willie Perceval-Monger 3 5

Ether Etchings 37

Program Notes 39

Editorials: Radio Revue Makes Its Bow; Radio Censorship Impracticable 40

Returns from Opera Triumphs Abroad (Photograph) 41

Radio in the Home (Edited by Mrs. Julian Heath) 42

Bruce Gray, Editor

Contributing Editors:

Allen Haglund H. Raymond Preston

Mrs. Julian Heath Walter H. Preston

Willie Perceval-Monger K. Trenholm

Published monthly by RADIO REVUE INC., Six Harrison Street. New York. N. Y.. H. Ravmond Preston. President: Benjamin F. Rowland, Vice-President-

"alter H. Preston. Secretary and Treasurer; George Q. Burkett. Advertising Manager.

-Manuscripts and photographs submitted for publication must be accompanied bv sufficient postage if their return is desired

Advertising rates will be gladly furnished upon application. Copyright, 1929, )yy Radio. Revue. Inc. ,yAll rights reserved. Printed in U. S. A.

Subscription Prices: United States, $2; Canada, $2.50; Foreign, $3; Single Copies, 25c

RADIO REV U E

STEIL'HEN.

Rudy Vallee's First Leading Lady

Anne Franklin [Mrs. Richard O'Connor) Was Recruited from the Ranks of Radio

VV7HEN Rudy Vallee was engaged to make his first talking picture,
his leading lady was, appropriately enough, recruited from the ranks
of radio. Pictured above with her five-year-old son, Jimmie Dick, is
Mrs. Richard O'Connor, of Dover, N. J. She is secretary to John W.
Elwood, vice-president of the National Broadcasting Company. Under
the name of Anne Franklin, she acted opposite Vallee in "Campus Sweet-

hearts," which was produced by Radio-Keith-Orpheum, in conjunction
with the R. C. A. Photophone, at the latter's Gramercy Studios in New
York City. This picture recently won for Mrs. O'Connor the first award
in a national contest to find the loveliest young mother in America. The
judges, who unanimously voted her first place in this contest, were John
Barrymore, Cornelius Vanderbilt, Jr. and F. Scott Fitzgerald.

DECEMBER, 19 2 9

What is the SECRET

of RUDY VALLEE'S

Success?

Does the reason for
Rudy's popularity lie
in his personality or
his appearance — or is
his singing the cause
of his rapid rise?

He has become a
national figure and, in
some respects, almost
a national problem —
the joy of the wife,
the despair of the
husband, the idol of
the flapper and the
envy of the young
man.

WHAT is this nationwide craze over Rudy Vallee?
How did it start and what caused it? The mete-
oric rise of this young orchestra leader, accomplished
almost entirely through the medium of radio, is the out-
standing feature of the year in broadcasting circles.

The hold that radio's first "matinee idol" has on the
hearts of the women of the country, is truly startling. It
was his crooning of sentimental ballads over the radio
that first brought him into the public eye and this same
suave, seductive manner of singing is now rapidly on its
way to becoming a national institution.

His popularity has increased amazingly — at least, among
the ladies. They swear by him — and the men swear at
him. Like any widespread craze, Rudy has his detrac-
tors, as well as his admirers. In many instances, argu-
ments over Rudy have resulted in a "house divided against
itself."

But the reasons underlying his phenomenal success re-
main a mystery — even to Mr. Vallee himself, who is at
once pleased and bewildered at the trick of Fate that has
carried him from obscurity to a place in the hearts of mil-
lions of America's flappers and matrons. He has become

RADIO REVU E

a national figure and, in some respects, almost a national
problem — the joy of the wife, the despair of the husband,
the idol of the flapper and the envy of the young man.

Does the secret of Rudy's success lie in his personality
or his appearance? Possibly — although there is nothing-
unusual about this Don Juan of the radio. He is of aver-
age height, slender, and carries himself well. He is in-
variably well groomed and exudes a feeling of quiet con-
fidence. He is of fair complexion, with blue eyes that
slant slightly downward at the outer corners. He has a
well-formed head, crowned by a wealth of light, curly
hair. His appearance is not unlike that of the average
young college man.

Further light is shed on
his personality by John S.
Young, NBC announcer,
who was a fellow student
of Rudy's at Yale. He
says : "With all the suc-
cess and good fortune that
have been showered upon
him. Rudy remains the
same unassuming, modest
and splendid young man
that I remember on the
Yale campus. He is mod-
est to the point of being
diffident and shy. I believe
that his success is due to
the old formula of hard
work. At least it was made
without benefit of press
agent and, best of all, it
has not spoiled him."

Is Rudy's singing the
reason for his rapid rise?
Possibly so. At the micro-
phone he is truly a roman-
tic figure. Faultlessly at-
tired in evening dress, he pours softly into the radio's
delicate ear a stream of mellifluous melody. He appears
to be coaxing, pleading and at the same time adoring
the invisible one to whom his song is attuned. The bare
microphone seems strangely cold and unresponsive to his
serenading.

\\ hen he is not broadcasting, Rudy sings through a
small black megaphone that has accompanied him all the
way from Yale.

The recent observations of Richard Watts. Jr., feature
writer of the Xew York Herald-Tribime, on the Vallee
craze, are interesting. Referring to Rudy as "the Clara
Bow of the orchestras." Mr. Watts writes:

"The reason for Mr. Vallee's enormous success has al-
ways been something of a mystery. True, he offers the
novelty of being a wistful, rather than a wise-cracking,
leader, and his calm crooning has a curious way of making
each woman in the audience think he is singing directly
to her. Both of these traits have been convincingly ad-
vanced as an explanation of his success, but the matter

Studied SaxopJwnc by Mail

remains puzzling. A commonplace looking young man,
with a commonplace voice, and a second-rate orchestra, he
still manages to be the matinee idol of his day."

One of Mr. YYatts's correspondents summed up the case
for her hero somewhat devastatingly, when she concluded :
"No matter how atrocious he seems to the gentlemen
(and all whom I have encountered have nothing favorable
to say of this 'male Clara Bow of the orchestras') the
women like him. They are entitled to like him, because
it was they who made this lad what he is today. No mat-
ter if he be on the air, in a short subject or in person, the
majority of women will continue to worship him."

"All this being conceded,"' Mr. Watts continues, "it
might be of assistance to us jealous male outsiders to note
what the women correspondents have to sav of Mr.
Vallee's virtues and endeavor to profit thereby. Carefully
itemized, his admirable qualities are, unless the letters to
this department are deceptive, in the following" order:
( 1 ) He is a gentleman ; (2) he is modest ; ( 3 ) he is ador-
able ; (4) he croons nice sentimental melodies; (5) he is,
as one correspondent puts it, 'anything but a hardened
Broadway showman type and, therefore, he was a refresh-
ing change from the general type of masters of ceremo-
nies.'

Something of a Genius

"The amazing thing about these suddenly admired quali-
ties is that they are so negative and, hitherto, so com-
pletely neglected. 'A boyish modesty while taking en-
cores' ; 'no swell head about him, and if anyone ought to
have a swell head, it is he"; 'reserved and quiet in man-
ner, no hot numbers like the usual band plays over the
radio' — these attributes, so confidently advanced by his
fans to explain his success, have somehow never been con-
sidered in the past as short cuts to popularity, and the
news that being modest and a gentleman aid in Broad-
way success, is just a bit overwhelming. When Mr. Vallee
can make a lack of aggressiveneess and an absence of bia-
tancy assist rather than handicap him in his chosen occu-
pation, then maybe he is something of a genius, after all.

"It i> because the thought that a young man. bringing
such incredible qualities to Broadway and getting away
with it. is now overwhelmingly popular so pleases him,
that it is with deepest regret that this observer confesses
he is still puzzled by the Vallee success. Gentility and
modesty and the change from the spirit of the jazz age
may be admirable things, but it is still difficult to see why
they should cause the emotional hysteria among the girls
that Rudy Vallee has aroused. It still seems to me that
he is a commonplace looking young man, with a common-
place voice and a second-rate orchestra."

A later correspondent of Mr. Watts writes of Rudy
Vallee :

Too Emotional for Comfort

"It is quite true that he is idolized and-lauded, for what
reason no one, apparently, has been able to discover ex-
cept myself. The reason Rudy Vallee is so popular is
Rudy Vallee. the name itself. You will note that it is
nothing more nor less than that of the beloved screen

DECEMBER, 19 2 9

star. Rudolph Valentino, all over again. An easy name to
remember, a pleasant name to say — the ladies love to say
the name, therefore, they idolize the person to whom it be-
longs. I defy you to show me where I am wrong."

"It all goes to suggest," Mr. Watts resumes, "that the
Vallee problem has grown a bit too emotional, on both
sides, for comfort. It does suggest, though, that Mr. Val-
lee's popularity transcends all matters of musical skill,
technical prowess, looks or orchestral effectiveness. It is
entirely a matter of emotion. In a word, since women
adore him and since more women than men go to the
theatres — he is a smash. Since, however, none of my
friend's admirers has insisted that he is important as a
musician, or as a personage, but only as a shy, wistful
gentleman, who pleases the romantic ladies, this depart-
ment is willing to consider that a compromise and, after
expressing its final conviction that his orchestra is second
rate, let it go at that."

Let us learn more of the man. Hubert Prior Vallee —
to give him his full title — was born 27 years ago in Ver-
mont, but spent the greater part of his life in Westbrook,
Maine, a paper-mill town of about 10,000 population.

He is of French-Irish descent.

He has been musical since childhood. His father owned
a drug store and wanted Rudy to become a pharmacist, but
Rudy could not see it that way.

While in high school he had various jobs to occupy his
spare time. One of these was as an usher in a motion pic-
ture theatre. There he became enamored of the clarinet
in the orchestra and he saved his money until he could
buy one. He soon learned to play it. Then somebody
gave him a saxophone and, as the two instruments are
played almost in the same manner, it took him only about
a week's time to master the saxophone sufficiently to play
in an orchestra. To further perfect his art, however, he
hired a small room in the Westbrook Town Hall at five
dollars a month, where he could practice without creating
a public disturbance.

Heard Rudy Wiedoft Play

Rudy thought he was progressing quite well with his
saxophone until one day he heard a Victor record by Rudy
Wiedoft. the dean of saxophone players. Instantly he
realized how little he knew about playing his chosen in-
strument. He became a staunch admirer of Wiedoft. so
much so that later in college his friends dubbed him
"Rudy" after the saxophone king. A long correspondence
followed, culminating in a course of saxophone lessons
from Wiedoft by mail.

After completing his high school course. Rudy entered
the University of Maine. There his skill with the saxo-
phone quickly brought him into the limelight. He was
made a member of the Sigma Alpha Epsilon Fraternity
and was literally snapped up by the college band.

However, the field for his talents was not wide enough
there so, after a year, he transferred to Yale. There he
at once eclipsed all his former triumphs and started a
new march to fame. He played in the Yale Commons.
Woolsey Hall, under Les. Ladin, band director, and

later in the Yale University Band. He was .in great de-
mand at all the big dances and for two years earned about
$1,500 a year, at the same time carrying on his college
studies.

Then, in 1924, came an opportunity to play for a year
in the orchestra of the Savoy Hotel in London, the finest
organization of its kind in Europe. Rudy accepted and.
after obtaining leave of absence from Yale for a year,
went to London. There he met with further success and
captivated England's smart set with his playing.

Just before he was to return to America to complete his
course at Yale. Rudy was invited to teach the Prince of
Wales to play the saxophone, but declined, as he did not
care to delay his college work any longer.

Back at Yale, Rudy's popularity continued to spread
rapidly. He became leader of the famous Yale Football
Band and of the college dance orchestras.

After his graduation, in 1927. Rudy and his band went
on a vaudeville tour across the country. When it was
over he played for a while in Boston and led some 'of the
best orchestras in that city. However, he had his heart
set on a New York career and, as soon as the opportunity
presented itself, he set out to conquer Broadway.

In Xew York, Rudy had no difficulty in obtaining
work, but he did have trouble in getting the Broadway or-
chestra leaders to play dance music according to his ideas.

Favors Simplicity in Dance Music

Simplicity has always been Rudy's keynote in playing
dance music. He has never been in favor of the over-
elaborate dance arrangements that have grown out of the

31®

The Idol of the Flapper

early jazz band craze. He wanted to do away with most
of the brass instruments. He believed that the inherent
rhythm of a good syncopated melody was sufficient to put
it over, without any trimmings.

It was not long before Rudy organized bis own orches-
tra. In so doing he realized the fulfillment of a dream
(Continued on page 46)

RADIO REVU E

SOUND

YOUR "A"

/GODFREY LUDLOW, the well known Australian
^-* violinist, tunes up his trusty fiddle before going
on the air on WEAF, Sunday afternoon. Too bad
that television isn't a reality yet, because the girls
would just love that auburn "permanent" wave of
his.

FT* HE gentleman above, attired in the
-*- masquerade costume and playing a
foreign ukulele, is Sven Von Hall berg.
Despite his make-up, he directs Echoes of
the Orient, Sunday evenings, on WEAF.

TTERE we see a dress rehearsal of "Felines on
■*"*• the Ivories.'* There doesn't seem to be much
co-operation, but Kathleen Stewart, popular staff
pianist of NBC, assures us that the effect is
wonderful — just what she wants. "It's the cats!"
says Kathleen.

DECEMBER, 19 2 9

Amos 'np Andy

Radio's First
Comic Strip

By P. H. W. DIXON

AMOS 'n' Andy have made radio history.
Freeman F. Gosden and Charles J. Correll, creat-
ors of the two famous radio characters heard every
night except Sunday over a network of NBC stations,
have found what dozens of others have been vainly seek-
ing— the technique of being funny on the air.

Amos 'n' Andy are funny. The antics of the two black-
face adventurers, their mishaps with the Open Air Taxi-
cab Company and the dozens of funny situations in which
they involve themselves are keeping thousands of listeners
up later than the customary time for retiring and they are
not doing it one night a week but for six consecutive
nights — which, in itself, is another radio record.

Amos 'n' Andy were born of necessity. Correll and
Gosden, who previously had made themselves famous on
the air under the names of "Sam and Henry." decided not
to renew a contract with the Chicago Tribune, which had
sponsored the "Sam and Henry" broadcasts. The Tribune
owned the characters of "Sam and Henry." so the two
comedians developed "Amos 'n' Andy." Their inspiration
was a good one for, while "Sam and Henry" were popu-
lar, the new blackface characterizations were, in the lan-
guage of vaudeville, wows. Since the two characters
came into being, a book has been written about them and
their creators have made numerous tours of the country.

On the Air Since 192 5

Correll and Gosden have been on the air since 1925.
V\ hile they had previous theatrical experience, they had
never done negro characterizations until they were work-
ing from radio studios.

Correll, the "Andy" of the team, was born in Peoria,
111. He says he was born with a desire to be an actor
and that the ambition grew with years. As often hap-
pens, he found himself far removed from the footlights,
in the business of building houses. Finally he gave up
construction work and went on the stage.

Gosden, or "Amos." comes from Virginia. His an-

*8^*s

Freeman F. Gosden and
Charles J. Correll, the
highest paid radio per-
formers in America, are
now on the air at seven
o'clock every evening ex-
cept Sunday.

cestors came from England and for three generations
lived in Virginia. Freeman was the first Gosden to leave
the state. He was born in Richmond in 1899 and lived
there throughout his school years with the exception of
one year spent at a military school in Atlanta, Georgia.

He was raised in the customary southern fashion with
a negro mammy. Gosden's mother took a young negro
lad into her household, who was raised with Freeman.
His name was "Snowball," and he has been the inspiration
for no small percentage of the Amos 'n' Andy episodes.
Sylvester, the lovable lad in Amos 'n' Andy who helped
them solve the garage mystery and many other troubles, is
no other than "Snowball." One can even find "Snowball's"
traits in Amos, himself.

Gosden's stage experience began at the age of ten, when
he won over a skeptical audience by diving into Annette
Kellerman's tank. When he was but twelve, he assisted
the great magician, Thurston, by holding a handful of
eggs.

Discovered by Alex Robb

Alex Robb. manager of the Chicago division of the Na-
tional Broadcasting and Concert Bureau, is credited with
discovering the talents of Gosden and Correll. the imper-
sonators of Amos 'n' Andy.

While managing the production of a home talent min-

RADIO REV U E

strel show at Richmond, Mr. Robb answered Gosden's re-
quest for a job with a part as a dogger and end man in
his presentation. He did so well in the part that Mr. Robb
gave him a permanent position as his assistant. Correll
was working for Mr. Robb at the time and when the
youths met they started rooming together and thus began
the team now known as "Amos 'n' Andy."

Thrown together constantly for the next few months,
the two men discovered that their voices blended and that
they made a good team. The show went to Chicago and
eventually closed. Correll and Gosden, "just for the fun
of it." asked for an audition at Station WEBH in Chi-
cago. The manager of the station put them on the air,
but told them there would be no salary for their efforts.
That was in 1925.

Their first broadcasts were so
successful that a contract to
broadcast from WGN, the Chi-
cago Tribune station, followed.
On January 12, 1926, "Sam and
Henry" made their radio debut.
Two years later, when the Tri-
bune contract expired, they went
to Station WMAQ in Chicago
and "Amos 'n' Andy" were born
to the radio world.

They started their work over
a national network of NBC sta-
tions under the sponsorship of
the Pepsodent Company on the
night of August 19. 1929. Their
popularity has steadily increased
since that time.

No Time for Temperament

Concerning" the personalities
of the pair, Mr. Robb declares,
"I don't believe these boys ever
heard of the word 'artistic tem-
perament.' Every place we went
when we were appearing on the
vaudeville circuit, the managers
always complimented me on their

workman-like attitude. They don't let anything inter-
fere with them when they're on the job. With a radio per-
formance six times a week and with as many as six and
eight personal appearances during one day on their sched-
ule, they simply haven't time for temperament."

Concerning his management of the team, Mr. Robb
says, "I didn't have to worry about booking appearances
because, after they became known, there weren't enough
appearances to go around. All I had to do was select the
ones we wanted. The hardest part of the business was
keeping the boys undisturbed while writing their episodes,
what with hundreds of fans seeking interviews with
them."

Correll and Gosden aren't quite sure what makes their
two radio characters so successful.

"How yo' spell that word 'exaginate,' Andy,"
asks Amos, "wid a 'k' or wid a 's'?"

"Wait a minute, Amos, wait a minute," replies
Andy. "Nevah min' exaginate. Chanqc dot word

to 'lie.' "

"Maybe it's what they say ... or maybe it's the way
they say it," Correll said.

"And probably it is both," Gosden added.
If there is any secret in their success, it is based on the
fact that Correll and Gosden have made living characters
out of the personalities they created. So much so, that
at times, it would appear, neither they nor the radio audi-
ence are quite convinced that Amos and Andy do not
exist. When Amos needs a ring for Ruby Taylor, for
instance, the sympathetic public sends dozens of rings of
all sizes and descriptions. And when Andy gets too rough

with his meeker and milder bud-
dy, his mail is filled with letters
warning him to "lay off."

Follow Fans' Suggestions

Fortunately for the feelings of
such fans, the letters do not go
unheeded. Many of the doings
of the two characters come as a
result of some suggestions, made
either consciously or unconsci-
ously, by these letter writing en-
thusiasts.

In order to get material for
their act — and to write a differ-
ent fifteen minute sketch every
night is a real job— the two men
spend much time among Negroes,
studying their accents and nat-
ural witticisms and picking up
ideas for situations. The Open
Air Taxicab idea is a counterpart
of a real situation they dis-
covered in one small city and
many of their stories or droll
remarks have been picked up
in New York's Harlem or in
the negro section of Chicago.

So fair and deft have been
their characterizations of the
southern Negro transplanted
to the north that never have
there been protests from the colored race about the pro-
grams. In fact, many of their most ardent admirers are
of the same race as the characters in the radio program.

Taylor Buckley Leaves NBC

Taylor Buckley, baritone, who has been with the NBT
for several years, recently severed his connection with the
National in order to accept an excellent offer to continue
with the "Evening in Paris" Hour, which has switched
from the NBC to the Columbia chain. Mr. Buckley had
been with the program since its advent on WEAF. His
place in the Salon Singers has been filled by Edward
Wolter, baritone. Darl Bethman has replaced him as
baritone of the Serenaders quartet. William Daniels has
taken his place in the Ramblers trio.

DECEMBER, 19 2 9

Main Street Sketches

Set RADIO RECORD

for Applause Mail

By BRUCE GRAY

WHEN the spotlight of public approval is sud-
denly turned in any definite direction, there seems
always to be a rush among those in the immedi-
ate vicinity to get their faces "in the picture." This has
been true of the "Main Street Sketches," which appear
on Station WOR every Tuesday evening and which, in a
comparatively short period, have become one of the out-
standing features of radio.

Attention was focused on this program, first : because
it was entirely different from anything that had been
broadcast up to that time, and secondly: because it had a
human, homely appeal that was at once humorous and
convincing.

Naturally, when this program had gained widespread
prominence, would-be impresarios rushed from all quar-
ters and claimed the credit for originating the idea. How-
ever, Leonard E. L. Cox, who is now program director of
Station WOR, is the logical candidate for the honor.
About the best argument to back this assertion is the fact
that Mr. Cox is still producing the original program every
week — and it has not lost any of its prestige.

Sets New Applause Record

As a matter of fact, the program has set a new high
mark for other advertising
programs to shoot at. As
the result of a single "Main
Street" broadcast on April
23, 1929, sponsored by the
Reid Ice Cream Company,
that concern has to date re-
ceived 200,000 letters. This
is a record that is not like-
ly soon to be surpassed.
Furthermore, it is a signifi-
cant indication of the vast
audience that this program
has developed and the wide-
spread interest that is felt
in the characters.

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Luke Higgins's Store in Titusville

For some months prior to the time that the first "Main
Street" program was put on the air, Mr. Cox had been
considering the idea and, while it had not been definitely
formulated in his mind, he had given a great deal of
thought to it. He had in mind a program dealing with
real country types, but not the proverbial hicks or rubes.

One day the late Ann
Lang, a contralto crooner,
asked Mr. Cox to listen to
a program she was going to
give.

"What is it called?" he
asked her.

"The Country Store."
was the reply.

Like a flash this suggest-
ed the long-sought idea that
he had been thinking about,
namely, to have the pro-
gram take place in a typical
country store.

Leonard had no occasion

RADIO REVU E

to use this idea until a short time before Thanksgiving-
Day, 1927. About that time Charles Gannon, who was
then in charge of Station YVOR, telephoned Cox and
asked his help. Mr. Gannon said he had sent out pub-
licity for a special Thanksgiving Day program, but some-
thing had gone wrong and he did not have any material
for the program.

Discussed Idea at Lunch

They agreed to meet for lunch and discuss the situation.
On the way, Mr. Cox met
George Frame Brown and
asked him to come along.
The three finally agreed on
a program that approxi-
mated the "Main Street"
type. Cox then went home
and pounded out the script
on his typewriter. It took
him until the early hours
of the next morning to
complete it.

Up to that time George
Frame Brown had made a
reputation chiefly as a
monologist and, in so do-
ing, had created several
distinctive characters,
among them Ole Olsen, a
Swede. Cox incorporated
these characters in his
script and Brown supplied the dialogue for them.

The initial program was a huge success and evoked
much favorable comment. With the approach of Christ-
mas, it was decided to give another of these presentations.
Brown immediately suggested calling it "Christmas Eve
in the Grange Hall," and this title was adopted. The
same procedure as before was followed in preparing this
program and again it was a great success.

By this time the program had caused such a stir in
radio circles that the officials of YVOR summoned Cox
and asked him to stage a series of presentations of this
type. In the meantime Cox had entered the employ of
L. Bamberger & Co.. owners of WOR, but was not in the
radio division. However, he agreed to try it and was
allotted $75 a week to engage talent and stage a weekly
performance. No provision was made for paying him
anything extra for writing the script and staging the show.
The bulk of this amount went to George Frame Brown.

After some discussion the name of Titusville was coined
by Cox to represent a typical small country town in
which the chief event of the day is the arrival of a train
at the depot.

Title Has Clung to Program

Everyone agreed that "Main Street" was the ideal name
for the program but it was felt, if that name were used.

Golden Eagle Lodge Boys in Action

there might be legal difficulties, owing to its being con-
fused with Sinclair Lewis's book of the same name. So
Cox finally hit upon the name "Main Street Sketches"
and, although this title did not meet with general appro-
bation, it was finally adopted and has clung to the hour
ever since.

The program went on the air as a regular feature on the
first Tuesday evening in 1928 and has appeared practically
every week since. It now has about 110 performances to
its credit.

At one time the program struck a snag when, through a

misunderstanding, it was
sold as a commercial fea-
ture to two different adver-
tisers at the same time. The
result was that neither ac-
count took it, but it has
since appeared under ijhe
commercial sponsorship of
the Reid Ice Cream Com-
pany and the Merlin Prod-
ucts Corporation.

The program received
reams of newspaper public-
ity at the time George
Frame Brown left the cast.
However, this phase of the
situation was untangled by
legal experts and, although
Brown now produces "Real
Folks," a similar type of
program, on the NBC
chain, he and Cox are still the best of friends.

Leonard Cox is an interesting study. He is tall and, al-
though rather slender, is nevertheless wiry and well
proportioned. He has an abundance of nervous energy
and is capable of handling a multitude of executive duties
without any apparent exhaustion. He has had an ex-
tremely checkered career and has traveled extensively. At
different times in his life he had been a hobo, a cow-
puncher, a rancher, a miner, a traveling salesman, an
aviator and a radio editor.

Born in British Central Africa

He was born in Chandi, British Central Africa, where
his father was Chief Commissioner. All of his family at
present are serving with His Majesty's forces. At the
age of eight he was sent to relatives in London to be edu-
cated and made the long journey from Durban alone.

After a few weeks in London, Leonard was sent to a
convent school in Liege, near Antwerp. When he had
been there only two weeks, his father and mother returned
from Africa and he was taken out of school. He toured
Europe with his parents until the outbreak of the Boer
War. when his father returned to his African post.

In 1900 the Cox family moved to Canada, migrating to
an unexplored region in the Rockies, 90 miles from Cal-
gary. There his father started a ranch. This venture

DECEMBER, 19 2 9

Ivalutty Pewitt

Horace Peters

Charlie Ellis

failed, however, and the family then moved to an
isolated water station on the Southern Pacific
Railroad between Tehachapi and Bakersfield,
Calif. There his father pumped water into loco-
motives as they passed through.

Later the family moved to Mojave, where
Leonard took his first job in the gold mines. Un-
til then he could neither speak nor read English.
The family conversed only in French.

After a year Leonard drifted off for himself.
He arrived in Los Angeles in 1902 and went into
ranching. His employer was a Basque, who took
an interest in him and taught him the rudiments
of English. Leonard later took a job in a book
store in Los Angeles and studied English at night.
Two years later he became the yachting editor of
the Los Angeles Times. This job lasted until
the McNamara brothers bombed the Times Build-
ing.

He then went back to ranching and wandered
from California to the lumber camps of Wash-
ington and Oregon. Later he went into the fish-
packing business in Alaska. From there he drifted
back to California and then worked successively
as a cowboy, wheat thresher and hayer in South-
ern California, New Mexico and Arizona.

Studies Telegraphy as Office Boy

In 1910 he became an office boy for the Com-
mercial Pacific Cable Company in Honolulu and
studied telegraphy, when he was not sweeping the
office or running errands. He subsequently quali-
fied as an operator and took charge of little sta-
tions on the Southern Pacific.

He next returned to San Francisco and got a
job operating a crane in a ship-building plant.
Then for a while he waited on the table in a
Los Angeles restaurant and later became night
clerk in a hotel there. About this time he became
acquainted with Ralph Newcomb, a west coast
aviator, and decided to become a flyer. The two
barnstormed in an old Curtiss plane from Los
(Continued on page 48)

Sadie Westphal

Spot Haywang

Dave Kraus

Fleck Murphy

Wilbur Higgins

Sary Higgins

Luke Higgins

Emily Snodgrass

The Cast of "Main Street Sketches

','■

RADIO REVUE

If Radio Is To Survive

it M UST

"Hitch Its Wagon
To a Star"

By K. TRENHOLM

TfDITOR'S NOTE— Few

people are as well
qualified to discuss the development of ra-
dio broadcasting from the entertainment angle
as is Miss Trenholm. For over five years she
has written a daily critical column on radio in
the "New York Sun" and she has seen the field
of air amusement grow from its humble begin-
ning to its place as a necessary part of present-
day life.

WITH the expansion of broadcast programs and
the perfecting technically of receiving apparatus
it is only natural that the radio artist should step
jauntily to the center of radio's stage — there to re-
ceive the applause and acclaim of a "personality starved"
audience. Yet there has been in the past four years a
slow, steady fight behind the progress of each artist's
flight to stardom and to recognition — a fight that has only
just begun.

Radio personalities, or "names," were the original link
between the few scattered fans and the broadcasting stu-
dios. Back in the days when WJZ occupied a corner of
the ladies' rest room in a dingy brick building in the old
Westinghouse plant at Newark, stars of the theatre, the
musical stage and the concert platform were imported
as frequently as they could be lured by the weird story
of having their voices heard many, many miles away with-
out visible means of transmission — a story which, truth
to tell, few of them actually believed.

Billy Burke, Paul Whiteman, the Shannon Four, now
the Revelers, Mme. Johanna Gadski, Mme. Olga Petrova,
Charlie Chaplin, Douglas Fairbanks — these were only
some of the names written etherealy in the early days
of broadcasting history. And, except for a very limited

Billy Jones and Ernest Hare, the Erstwhile "Happiness

Boys" Now Struggling Rather Fruitlessly to Re-establish

Themselves Under Another Commercial Name

"budget" for entertainment purposes, these celebrity pro-
grams cost not one cent in artist fees !

Volunteers in Early Days

Then there was another phase of early radio that dealt
with its artistry — that of the loyal volunteer entertainer
who, week in and week out, stood by in the studio, ready
to "take the air," turn the phonograph handle or do any-
thing else that might be demanded at the moment. From
the ranks of these enthusiasts have come many of radio's
most prominent stars. Trained thoroughly in microphone
technic, cognizant of every small detail of the development
of that technic, pioneers themselves in experimenting
with the transmitted voice, and with a long-established
contact with their public, these artists have "arrived."

This, perhaps, is the "pretty" part of the picture —
"the home-town boy makes good in the big city." There
is another side, however, one that has come along with
the ever-increasing competition and one that is not so
pretty. It is the story of the prevailing injustice in broad-
casting studio circles in the exploiting of radio "names,"
and classification of artists, not to mention the total lack
of balance in the pay-roll.

For two or more years radio interests sotight openly to
down the tide of "personality appeal" in broadcast enter-
tainment.

"Exploit the artist," one broadcaster explained to me
as recently as 1927, "and you put in his, or her, hand the
weapon which may mean your destruction. We cannot
afford to make the mistake the motion picture business
did in creating public demand for individual artists. We
have not the money to pay huge salaries, nor will the re-
turns coming in justify the experiment."

DECEMBER, 19 2 9

But the gentleman reckoned without the commercial
sponsor. Paying celebrities unheard-of fees for broad-
cast recitals started in 1925 with the Atwater Kent series.
Paying radio artists large fees under contract for fifty-
two weeks is more recent and is to be directly attributed to
the commercialism in radio. This, quite naturally, has
worked a hardship on the less fortunate entertainers, who
depend on the stations and much smaller fees and who
contribute ten times as much in actual labor to the radio
public's enjoyment. The scale is all out of proportion,
with the result that there is a great deal of discontent
and unhappiness in artistic ranks. In several cases re-
cently, artists have changed from one chain to another, in
an effort to improve their status.

The advent of the so-called Artists' Bureau, in con-
junction with chain companies, has helped somewhat to
promote the cause of the radio artist in arranging personal
appearance tours or recitals for which the artist collects
a stipulated fee and pays the Bureau a certain per cent.
But even so, there are only one or two who have prof-
ited to any extent by this arrangement.

The surest method for accumulating wealth via the
radio route seems still to be through exclusive contract
with a commercial sponsor. And the surest way that an
artist may insure himself against discrimination is to de-
velop an original line and then have it exploited by either
station or sponsor, as the case may be, with full credit
to himself.

Press Agents for Artists

Recently I have been repeatedly asked by artists for
an opinion as to the
practicability of en-
gaging personal "press
agents" or publicity
representatives, irre-
spective of such
service as rendered by
broadcasting compa-
nies or advertisers.
Newspaper critics are
supposed to harbor a
traditional dislike of
paid publicity agents.
Personally, I am of
the opinion that radio
artists, more than any
other group of pub-
lic entertainers, need
the press agent and
the business manager.

There is an in-
creasing demand for
"personality" matter
on the part of the
readers of our daily
newspapers. Maga-
zines, likewise, are
more freely than ever

5". L. Rothafel, Known to Mil-

llions as "Roxy," the First Radio

Matinee Idol

The Record Boys: Frank Kamplain, Al

Bernard and Sammy Stept, Favorites in the

Old WJZ Days

before accepting radio artists as good material for "hu-
man interest" stories. There is a wide field for popular-
izing the radio star which has barely been touched upon

as yet, for the Amer-
ican people, it has
been said, must have
their matinee idols
upon whom to bestow
their affections.

With the growth of
broadcasting as a
business, the average
entertainer, no mat-
ter how well qualified
he may be or how
great may be his art-
istry from the radio
viewpoint, is lost in
the shuffle unless he
has, in a sense, been
"radio dramatized."
Sometimes a catchy
headline will establish
him in the minds of
the listeners over
night ; sometimes it
means months of per-
sistent exploitation.
The dramatic artist, who is engaged on regular programs,
may turn the trick by becoming so associated with the
role he plays each week that he cannot be lost to his
public.

Announcers' Day is Over

There can be no stronger example of the
dramatizing of unseen personalities for the
artists to follow than that of radio announc-
ers. These gentlemen, worthy though they
may be. have too long monopolized the broad-
casting stage. They are not — when perform-
ing their announcerial duties — to be regarded
as radio entertainers in the full sense of the
term. They are not, it has been shown, time
and again, even necessary to a large per cent
of the broadcast programs, except for the
reading of commercial credits. Yet to them
has been handed the lion's share of radio's
laurels in the past — simply because circum-
stances made it easy for them to exploit them-
selves or be exploited, while the radio artist,
neglected as an identity and too modest to pro-
test his rights, has too often found himself
nothing but "a voice" that passed into the
night.

Every story has its hero ; every play its hero-
ine, every motion picture its star — why, then,
not radio? Those features that played up the
personality appeal have gone down in radio
history as the major attractions of their time.

Strand.

RADIO REVU E

There are the never-to-be-forgotten "Gold Dust Twins" ;
the inimitable "Happiness Boys," who are still struggling
rather fruitlessly to re-establish themselves under a dif-
ferent name for commercial
reasons ; the once-renowned
"Record Boys," and Vaughn
De Leath, the "original ra-
dio girl," who is now a head-
liner. There is "Roxy," the
first radio matinee idol and
all his "Gang," each of whom
received a precious heritage
in the form of the repu-
tation he built for them in
those early days of broad-
casting.

Few Stars in Radio Now

Coming down to the
present, there are only a few
artists who may be consid-
ered as having reached the
point of stardom. Directors
do not "star" their performers any more than they can
help and sustaining features are even more lax in this re-
spect excepting where the Artist's Bureau rights must

White

The Gold . Dusi Twins, Harvey Hindermeyer and Earl
Tuckeniian, Popular WEAF Duo When Radio Was Young

be considered and then the artist is rarely more than
identified by name.

True it is that the element of time plays an important

part in the artist's loss of
exploitation. The air has
few moments to spend in
building up reputations in
this way under the present
system of arranging and
presenting entertainment,
which is why I believe the
publicity expert could be of
service, both to the artist and
to the public . . . not the
press agent who creates
stories, but the trained spe-
cialist who discovers stories.
And to go a step further in
drawing the picture of the
day when radio artists shall
have come into their own, I
would include the oft-sug-
gested "Equity" association,
for their own protection. If
radio is to survive as an art, it must do so by "hitch-
ing its wagon to a star" as all other amusement lines have
done before it !

A Sonnet

to the

I nstrument International

By ALICE REMSEN

Flung to the four winds of the earth

Music and song, comedy and drama,

Rhythm and melody, words of precious worth,

Picked up from space by urbanist or farmer.

Awaiting the touch of an armchair explorer —

Tubes, magic wires and batteries unending,

Out from the box of this up-to-date Pandora

Things good, things bad, continually are sending,

From here to anywhere, from pole to pole,

Think of the marvel, the glory and the wonder

Of that space-flung voice, that ether-riding soul,

Adapted by man from out Jehovah's thunder!

Composed of elements intangible, still in embryo,
The latest implement of man that men call — radio.

DECEMBER, 19 2 9

Brings Charm of Old Spain to Radio

Countess Albania Soprano, Came to Microphone from Behind the Footlights

\ LTHOUGH she is a native of Barcelona, Countess Olga Medolago
•^*- Albani was educated in this country, at the Academy of Saint
Joseph, Brentwood-in-the-Pines, Long Island. She has been in
radio for more than a year and now is heard regularly in her own
program every Sunday night on Station WEAF. She came to radio
from the stage, where she appeared in the original production of

The New Moon, a Broadway success of last winter. A dramatic
actress of acknowledged ability, she has just completed the first
of a series of two-reel sound pictures, with songs and dialogue
entirely in Spanish. The story, entitled La Omga Vuelta Mariposa,
was her own composition. It was produced by the Sono-Art Film
Company, for distribution in Spain, Italy and Latin America.

RADIO REVUE

DALE WIMBROW Whittles

DALE WIMBROW apparently has the same
penchant for whittling that ex-president Coolidge
has. The only difference is that Dale's work with the
knife is doubly productive. In the first place, he turns
out, for his friends, handsome walking sticks that are the
envy of all who see them and secondly, the whittling stim-
ulates an already fertile brain into greater activity.

We happened upon him the other day when he was
working on a walking stick that he was making for Wil-
liam E. Paley, president of the Columbia Broadcasting
System. He had started with a solid piece of mahogany,
two inches square and about three and a half feet long.
He had already whittled it down to the proportions of an
ordinary stout walking stick.

However, in design this was no ordinary stick. It fol-
lowed a definite motif. The head represented an ibis, or
snake-eating bird of South America, that was lately thrust
into public notice by the crossword puzzle craze. A
vicious-looking snake was coiled around the shaft.

Dale, who is well known as an entertainer and as
master of ceremonies on the La Palina Smoker, on WABC
every Wednesday evening at 9 :30, has made these sticks
for, among others, Paul Whiteman, Rudy Vallee, Ben
Bernie and Vincent Lopez.

Has Hit Song That Is Flop

While whittling, he fell to cogitating on the irony of the
song-writing business. In the past he has written such

Columbia Chain Artist

Carves Out Bits

of Radio's Past

song successes as "That's What I Call Heaven" and
"Think of Me Thinking of You," and now he says he is
in the peculiar predicament of having a real hit song that
is actually a flop.

Here's how he explains it. This song, "Every Moon's
a Honeymoon," has been programmed by some of the big-
gest orchestras on the air, of their own volition, which in-
dicates that they realized its possibilities. It has received
a number of excellent plugs but, according to Dale, the
girls behind the music store counters are stocking only the
moving picture theme songs and are pushing them, with
the result that other songs, such as his, receive little or no
attention.

As the skilled knife continued its artistic moulding,
Dale reminisced a bit. He has been in radio broadcasting
since the days when WJZ was located in the Aeolian
Building on West 42nd Street, New York. He wrote the
first program that was broadcast as the Bonnie Laddies
and performed it, along with Wilfred Glenn, the bass who
later became prominently identified with the Revelers.

About that time Dale also was responsible for the Del-
Mar- Va Hour, which extolled the beauties of the Eastern
Shore peninsula. The name is a combination of the names
of the three states that make up the peninsula, Delaware,
Maryland and Virginia. Dale travelled from one county
seat to the other, selling the idea. He wrote a different
theme song for each county and
worked tirelessly to put over his
plan for radio advertising.

A Great Opportunity Lost

"That was a case where a
great opportunity went aglim-
mering," said Dale, in that char-
acteristic drawling manner,
which immediately stamps him
as a native of the East-
ern Shore. "We tried
one type of program
similar to the present
'Main Street Sketch-
es' which are now so
(Turn to page 44)

&. =.

DECEMBER, 19 2 9

Philco Hour Revives
Favorite Light Operas

of the Past

By HENRY M. NEELY

(.<•

MEM'RIES, mem'ries, mem'ries of you . . . ."
The strains of the Philco Hour's signature
song die away as the loyal company of stars, who have
sung their way into the hearts of radio's millions, move
back from the Station_WJZ microphone. Harold San-
ford, director of the -orchestra, mops his brow for the
last time that evening and the musicians start to put
away their instruments.

A little lady, her hair tinged with gray, rushes up, em-
braces Jessica Dragonette, soprano star of the hour, and
exclaims enthusiastically, for the fifth or sixth time in a
year, "My child, you were wonderful, as you always are."
This little lady has come to be one pi the regular visitors
at the Philco Hour, which is now two years old and is
regarded by radio editors and unbiased critics as one of
the outstanding programs on'the air.

The little lady's interest in* the_ Philco Hour of The-
atre Memories, which is sponsored by the Philadelphia
Storage Battery Company, is shared by thousands in
every city of any size in the United States, judging by the
fan mail that I receive every week. The one question,
that is asked again and again by those who are interested
in the success which has come to our radio productions,
is: "What is the secret of the Philco Hour's success?"

Radio Stimulated Revivals

My answer invariably is: "The hour itself." By that,
I mean the music. The Victor Herbert operettas and the
others we have chosen are, I believe, nationally popular.
As proof of this we can cite the fact that Broadway is
now seeing revivals of "Mile. Modiste," "Naughty Mari-
etta" and other light operas, which we on the Philco
Hour have helped to keep alive. It has been conceded
that the radio performances of these operettas stimulated

"Philco's Old Stager"

Henry M. Neely is acknoivled ged to be one
of the oustanding showmen of radio. He was
born and bred in Philadelphia, and has
travelled all over the world. He became in-
terested in radio when it was in its infancy
and has followed its development closely.

He entered radio production work several
years ago, after a long period of active news-
paper work, in the course of which he edited
a radio magazine. He has been responsible
for programs like the Philco Hour, For ban's
Song Shop, Maxwell House Coffee Hour,
Physical Culture Hour and Eversharp Foun-
tain Pen Hour.

Last June he was married to Miss Gertrude
M. Jones, tvho for some time had been his
partner in a successful flower amf fruit farm
of 30 acres at Beverly, N. J. Thtr Neelys now
live on this farm and Mr. Neely commutes to
New York regularly to do his radio work.

RADIO REV U E

Harold Sanford, Conductor

public interest to the point where the stage revivals
were deemed advisable.

The Philco Hour originated two years ago, as the result
of a request made by James M. Skinner, vice-president
and general
manager of the
Philadel-
phia Storage
Battery C o m -
pany. and Sayre
M. Rams-
dell, sales' pro-
motion manager
of the same con-
cern. They
suggested that I,
as a pioneer in
radio work, as-
semble a "The-
atre Memories"
program and put
iit on the air. I
had broadcasted
when radio was
in its infancy. I
knew Harold
Sanford well and he was my first choice as musical di-
rector. That choice has been more than justified by the
widespread popularity of the orchestral part of the hour.

At that time, Jessica Dragonette was playing the lead
in "The Student Prince," but before long she succumbed
to the lure of the microphone. Colin O'More,
who had sung in light opera on Broadway
with success, came with us as tenor and leading
man. The other members of the original com-
pany, who are still with us, include Muriel
Wilson, soprano ; Mary Hopple, contralto, and
Charles Robinson, bass. Later additions to the
cast were: Kitty O'Neill, mezzo-soprano; Wal-
ter Preston, baritone, and Henry Shope, tenor.

Calls for Greatest Accuracy

There is a great deal more to the staging
of a radio program like ours than the average
person realizes. It is no hit-or-miss process,
but one that calls for the greatest accuracy.
First we select the light opera we are to
broadcast. Then Mr. Sanford, with the com-
plete musical score, and I, with the prompt
book, go over the entire show together. We
choose the oustanding musical numbers and
those that will fit in best with our general plan
for the program.

Next we time the numbers provisionally.
Then I go through the prompt book and pick out the bits
of dialogue that will tell our story to the best advantage.
The next step is to prepare my continuity, supplying those
details of the story that are not provided by the dialogue.

We usually have three rehearsals for each show. At
the first rehearsal with piano, the singers familiarize them-
selves with the music. During the process I obtain an-
other timing of the musical numbers by means of a stop
watch.

At the second rehearsal, I again time the mu-
sical numbers, dialogue and continuity carefully.
By that time I am able to judge quite accu-
rately whether or not we will be able to com-
plete our show in the allotted time. This is
most essential, because our program much fin-
ish right on the minute in order not to en-
croach on the one that follows.

Entire Show Rehearsed

STEIN

At the final, or "dress," rehearsal, we put
on the entire show with the orchestra. Again
I time the program and make any cuts or addi-
tions that are necessary. At this rehearsal,
careful attention is paid to the microphone set-
up, in order to get the proper balance of or-
chestra and singers, and also to produce the
desired sound effects.

In view of the necessity for everything being
timed so accurately, a slight miscalculation on
my part can create havoc, as I have learned several times,
to my discomfiture. But, all in all, it is highly attractive
work and offers a rich reward in the satisfaction derived
from staging a good performance.

The Philco Hour has been privileged to present the

premier radio
performances of
such popular
light operas as
"The Vagabond
King," "T h e
Student Prince,"
'Blossom
Time," ''My
Maryland" and
"Maytime." A
number of oth-
ers, equally as
interesting, are
now being pre-
pared for the
air.

There
in our
company
prit de
that is truly re-
markable for a
group of artists.
Each one works with the sole aim of putting on a good
show. If any member of the cast sees a chance to help
one of the others, either in the singing or dialogue, he
does so. Such suggestions are accepted in the proper

exists
Philco
m es-

corps

Colin O'More, Leading Man

MtTRAY

DECEMBER, 19 2 9

FITZ

Philco's Diminutive Prima Donna

Jessica Dragonette, Soprano, Deserted Broadway to Sing Light Opera on Air

'T1 HE leading lady of the Philco Hour was born in Calcutta. Her
■*■ early life w^as spent travelling with her parents. At the age
of six years, she entered Georgian Court, a convent school at
Lakewood, N. J. After graduating, she came to New York and
studied singing with Estelle Liebling. At that time The Miracle
was being cast. The only solo part in the production was open.

Jessica tried as a contralto, but without success. Later she -went
back and sang in her natural soprano voice and 'was given the
part. Subsequently she played opposite Howard Marsh in The
Student Prince. Then one day Harold Sanford asked her to sing
on the air. Since then her -work on the Philco Hour has placed
her in the front rank of radio artists.

RADIO REVU E

Zero Hour in the studio, with the Philco stars and orches-
tra ready for action. Harold Sanford, left, stands with
baton upraised, ready to call for the opening number. Next
in order among the stars are Henry M. Neely; Colin O'Morc,
tenor and leading man; Jessica Dragonctte, soprano ; Charles
Robinson, bass; Emily Woolley, soprano; Mary Hopple,
contralto; Kitty O'Neill, mezzo-soprano; Muriel Wilson,

soprano; Walter Preston, baritone; Dan Gridley, tenor.

spirit and do much to improve the general effectiveness of
the program.

Unquestionably the individual personalities of the
Philco singers have endeared them to the radio public.
Our leading
lady, dainty
Jessica, is en-
dowed with
an abundance
of charm.
She takes her
work serious-
ly and applies
herself d i 1 i -
gently to the
task of por-
traying a new
character in
each light
opera. She
is a convent-
bred girl. Her
hobby is
h o r s e b ack
riding.

Colin
O'More, our
leading man,

has had a wide and varied experience. After meeting
with great success on the concert stage, he turned to
grand opera and light opera, and repeated his former
triumphs. He originally studied to be a concert pianist,
but was compelled to give it up,
owing to an injury to his wrist.
He is an unusually fine musician,
a splendid actor and a fine fellow
in the bargain. His hobby is
cooking. The meals he prepares
are legend among his fellow-
Philcoites.

Typical Irish Beauty

Kitty O'Neill, who is Mrs.
Colin O'More in private life, has
a beautiful mezzo-soprano voice.
She came into the cast directly
from the' musical comedy stage.
She is a typical Irish beauty, with
more than an ample share of the
wit that made that race famous.

Mary Hopple, contralto, made
her reputation chiefly in the con-
cent and oratorio fields. She
originally came from Pennsyl-
vania. She possesses a lovely voice of truly remarkable
range and is extremely easy to look at. Her favorite
recreation is swimming.

Muriel Wilson's limpid Soprano voice broadcasts beau-

tifully. She came to radio from a position in the United
States Internal Revenue Department, Custom House,
New York City. She is exceedingly jolly and has a "bit
o' the divil" in her eye.

In Radio Since Early Days

Charles Robinson, bass, has
been in broadcasting since the
early days of Station WEAF.
He originally came from San
Francisco and has had a wide
range of experience.

Walter Preston, baritone, was
for ten years the news editor of
a national trade paper, "The
Produce News." He started
singing as a side line, but it has
long since supplanted the news-
paper work as his main occupa-
tion. He has written the lyrics
for four popular songs that have
been published and three radio
signature songs, including
"Slumber On."

Henry Shope, tenor, is the
latest addition to the cast. Orig-
inally a Pennsylvania boy, he
tried a number of fields of endeavor. For a while he
studied the violin and eventually took up singing. He has
appeared in musical comedy. His voice is a lyric tenor
that can park on the high C's with the utmost facility.

Last, but
by no means
least, is Har-
old Sanford.
For 18 years
he was the
bosom friend
and right-
hand man of
the beloved
Victor Her-
bert. Harold
knows Her-
bert's music
better than
anybody else
does and is
never hap-
pier than
when he is
conducting a
Herbert
light opera.
He is universally admired for his ability and charming
personality. He originally came from Massachusetts
and was a violinist for years.

(Continued on page 44)

A wedding in the Philco family — Here are members of
the Philco cast at the recent wedding of Henry M. Neely, at
Beverly, N. J. Left to right: Harold Sanford, conductor;
Kitty O'Neill, mezzo-soprano ; Jessica Dragonette, soprano;
Colin O'More, tenor; Mrs. Henry M. Neely; Mr. Neely;
Muriel Wilson, soprano; Walter Preston, baritone; Mary
Hopple, contralto; Charles Robinson, bass.

DECEMBER, 19 2 9

Wanted: Air

Personality!

By ALLEN HAGLUND

IT is a sad but true commentary on
radio broadcasting that, at times,
the sounds that emanate from the
loud speakers in our homes are, dis-
turbing as it is to relate, far from beautiful — in fact,
often they are quite terrible. And in these days of per-
fect reception the fault must be laid, not to a loose grid-
leak or to a variable condenser that refuses either to
condense or to be variable, but to the artist who has thus
stirred the ether waves.

Who among us amateur warblers and bathroom tenors
has not exclaimed "Great Scott, if that singer gets paid
for that, I ought to be Radio's Sweetheart"? And again,
"Say, if that Sapolio Soprano has a voice, then I'm going
up to that studio and show them a Galli-Curci or two."

Well, why don't you? I say, why don't you? You
will be surprised to find that, instead of being summarily
dismissed and landing on your ear outside, you will be
given a thorough and courteous audition. Moreover,
mirabile dictu, you will find yourself, in a day or two,
actually singing before a microphone. It is true that
your voice will not be going forth into the highways and
byways of the world, but you will be receiving a fair
audition such as you sought ; your song will be transmitted
to an adjoining room where a competent, well-salaried
judge will be listening to give you the rating you deserve.

Enough Aspirants Already

It is to be hoped, of course, that these few words will
not send everyone with the semblance of a voice scurrying
to the broadcasting studios in search of vocal stardom via
the air. The crowding would make the situation intoler-
able, and the splendid disposition of the big broadcasting
concerns to get the best of talent, even if it is latent, would
have to undergo some change. Besides, the crowd of
aspirants is already large enough.

One of the most popular stations in the East estimates
that it gives, on an average, thirty auditions a day. To do
this it employs several well-trained men, accomplished
musicians themselves, and maintains a whole outfit of
efficient clerks, with their inevitable filing cabinets, to keep
the records. Three piano accompanists do almost nothing

VAUGHN DE LEATH, the popular
contralto crooner, now an exclusive
Firestone artiste, is the outstanding pos-
sessor of Air Personality. Known for
many years as the Radio Girl, she has
sung to a worldwide audience and is
credited with originating her particular
style of entertainment. She must be
heard to be appreciated.

but

for

— <*

play
aspiring singers.
Altogether, the
sum thus ex-
pended during
a year would
keep any grand
opera prima
donna in the
best of style and
temper for a
long, long time
— no small sum,
you must admit.

So, although at times the singers on the air may sound
fairly awful, it is a fact that the broadcasting concerns
are spending real money to improve the calibre of their
artists. Some of the most popular radio singers today
are the products of this liberal system of auditions. Of
course, a good many had made their reputations long be-
fore seeking to broadcast, but a large number had never
trilled a note outside of their church or shower bath be-
fort starting their climb to fame, wave-length by wave-
length.

Search Continues Unabated

The search for a beautiful voice or a distinctive radio
personality continues day after day. There are on file in
this big broadcasting station of which we speak the names
of twelve hundred singers who have received a rating of
eighty per cent or over. Those who have failed to rate
that high are not listed, and the number of unsuccessful
aspirants is fully double that of those who have achieved
a place in the files.

As for most of them, a place in the files is all that they
do achieve. Only the best are put on the air. When one
stops to consider that there are some 180 tenors on record
in this one station, the difficulty of breaking in and super-

RADIO REVU E

seding the flock of warblers there is all too apparent.

To the many unsuccessful applicants who inquire, often
with exasperation, why no radio bookings have resulted
after their auditions, this very tactful and usually very
true answer is given : "Sorry, but you haven't a radio
voice." To which there is absolutely no comeback. One
either has, or one hasn't, a "radio voice," and just what it
is, few can sav.

judg-
have

Those who pass
ment upon singers
certain qualifications in
mind which . are discover-
able in the true "radio
voice." It must have what
is technically known as
"frontal resonance" — that
is, the tone must be pro-
duced in the forepart of the
mouth rather than in the
back of the throat. It is
this factor which diminish-
es the effectiveness on the
air of some of the great
opera singers and even
makes them failures as
radio performers.

Introducing "Mike Fright"

Diction is a very impor-
tant factor; it must be
crisp and incisive, but not
labored. Then there is
poise, usually (though not
always) bred of confidence

but, at any rate, an indispensable requisite. It is curious
to note that singers of long operatic and theatrical experi-
ence, who have faced vast audiences with perfect equa-
nimity, have completely succumbed to "mike fright," at
the sight of the round little metal demon known as the
microphone.

Singing off pitch is a damning trait to the aspirant to
radio honors. It is in this particular that most of the
would-be stars fail. It is true that the fault is shared by
some of the outstanding singers in the land today, who
seem to hold to their laurels and gather new wreaths de-
spite their tendency to produce a flat when a natural is
plainly wanted, but, when the fault is shown by the radio
novice, it counts heavily against him.

Singing off pitch, if it does not signify a lack of
artistry, or faulty vocal technique, means that the aspirant
is deficient in the quality of repose ; it is a very good sign
that, when the inevitable disturbances of a radio studio
arise, the singer will not have the calm control and
dynamic concentration to override the commotion and do
a perfect job. Discomposure registers all to easily on the
microphone, and disturbances in the studio are really the
rule rather than the exception. The experienced radio
performer must be able to maintain absolute repose, even

The Bathroom Tenor Takes the Air

though the production man may be madly gesticulating
instructions from the control room.

Others lack the ability to read music at sight and, at the
same time, to sing it. This is not always a completely

prohibitive fault ; Frank Munn.
or Paul Oliver as he is widely
known, could read scarcely a
note when he started. The over-
whelming" beauty of his voice.
however, compensated for his
lack of musical education; but
very few, alas, have the Munn
larynx.

These and the basic elements
of artistry, which, thank good-
ness, will not be discussed in this
article, are the outstanding
qualifications sought in the
novice, but they make, by no
means, the complete formula
for radio stardom. The for-
mula, to tell the truth, is a
good deal of a secret. No one
yet can quite say why, for in-
stance, the Broadway star is
often so thoroughly over-
shadowed on the radio by
some less known singer, whose
only experience has been gath-
ered in a short career of per-
forming before the micro-
phone. There is some in-born
quality capable of holding an
invisible audience, perhaps
best termed "air personality,"
which makes the one successful, while the other, star that
he might be before a visible audience, so dismally fails
to click.

Nor can it be laid to the fact that the one does and the
other does not have the proper microphone technique.
The audition committees discount this completely ; they
realize that technique can be attained by study and proper
direction, but the other thing, that will o' the wisp "air
personality," that little subtle something which in radio,
probably more than in other fields, distinguishes the mere
singer from the embryonic star, that is the quality that
is so painstakingly sought.

Few Have Elusive Quality

So rare indeed is this quality that only one out of every
hundred aspirants ever makes a radio appearance, and the
fraction who become stars is, of course, much smaller.

However, the hordes who seek radio fame are not so
convinced of the rarity of "air personality" — in fact, they
are all quite sure they have it. One man, for instance,
came all the way from Australia, because, so he said,
Australia could not appreciate his great gift. Unfortu-
(Continued on page 46}

DECEMBER, 19 2 9

Westinghouse Salute

Introduces

New Type

0/ Program

T B Kjl ; ■

HK|

rfbfp

HM^"k

IMEBSaSMB

Cesare Sodero, the Master Musical Hand Behind
the Production

ANEW form of radio entertainment was intro-
duced recently by the Westinghouse Electric and
Manufacturing Company of East Pittsburgh, Pa., which
inaugurated a series of programs over the NBC chain.
These programs have been lauded in the press as a tri-
umph for the radio industry, a long step forward in im-
aginative and beautiful program building, and a standard
for the future.

This reviewer had the pleasure of seeing and hearing
the initial boradcast, the
Tribute to Steel, and his
hat is off to all the clever
ladies and gentlemen in-
volved in that production.
It was radio entertainment
of the highest type, afford-
ing pleasure alike to audi-
ences and to the artists tak-
ing part.

One hardly knows where
to start with the praise, but
Cesare Sodero, the maes-
tro of the NBC studios,
composed and arranged a
splendid score for the fea-
ture, and directed with a
patient and unremitting

hand a huge orchestra, reinforced by an imposing vocal
element. At the close of the first performance this shy,
diffident Italian gentleman was cheered literally off his
feet for four minutes by the stop watch. Only those
privileged to hear his choral and orchestral fortissimo,
sweeping down to an almost imperceptible pianissimo can
realize how well he earned all the glory showered upon
him.

Edward Hale Bierstadt, playwright and NBC continu-
ity writer, was responsible for the "book," and he, too,
wore his laurels modestly. Here was a good idea, well
developed, adequately produced, and sufficiently rehearsed.

Distribution of the Praise

Let us take a look at the other important people in the
work. We refer to them "in the order of their appear-
ance." That elegant, scholarly actor, Pedro de Cordoba,
the narrator, on "voice," of the spoken interludes ; Joseph
Bell, stage director of the production; Gerard Chatfield,
program supervisor ; Keith McLeod, musical supervisor.
{Continued on page 47)

A First Night on the Radio. The Entire Cast, Focal Ensemble and Orchestra at the
Premiere of the Westinghouse Salute in the NBC's Beautiful Cathedral Studio

RADIO REVUE

GLORIFYING the

MURIEL WILSON, Soprano, NBC —
Muriel's voice is ideally adapted to
radio. Her clear, limpid tones

broadcast beautifully. Heard with
-National Light Opera, Philco Hour,
National Grand Opera, Federation
Hymn Sing. (Photo by Apeda)

MARY HOPPLE, Contralto, NBC —
Mary's voice is unusual in its range,
beauty and power. She sings with
National Light Opera, Enna Jettick
Melodies, Philco Hour and Ar
strong Quakers. (Photo by G. Mail-
lard-Kesslere)

HARRIET LEE, Contralto, CBS — If you
have ever listened to the Ceco Couriers
program on Station WABC, you will re-
member this deep contralto voice, with
its soothing propensities. (Photo by G.
Maillard-Kesslere)

GLADYS SWARTHOUT, Mezzo-soprano
(center) — One of the new faces at the
Met this season. Has already sung over
radio. Formerly sang with Chicago
Civic Opera and at Ravinia Park. (Photo
by Torres)

PAULA HEMMINGHAUS, Contralto,
NBC — Paula's rich voice is the kind that
makes you stop short to listen. Heard
with National Grand Opera, Salon
Singers and Dr. Cad man's Hour. (Photo
by Times Wide World)

DECEMBER, 19 2 9

American Girls VOICE

AIMEE PUNSHON, Soprano, NBC — A
native of St. Louis. Was ingenue in
Municipal Opera there and later soloist
with St. Louis Symphony. Heard with
Salon Singers and on Dr. Cadman's
Hour. (Photo by Apeda)

SANTA BIONDA, Soprano (center) — A
newcomer at the Met this season. Was
born in Palermo, Italy, and lives in
New Haven, Conn. Recently was guest
soloist on At water Kent Hour. (Photo
by Mishkin)

DOLORES CASSINELLI, Soprano, NBC—
A perfect type of Latin beauty. Before
entering radio field, she made a repu-
tation in the movies. Now singing oper-
atic roles for sound pictures. (Photo
by G. Maillard-Kesslere)

RADIO REV U E

1Y/1TIC rccM the XtLDICX

Leslie Joy is the jovial founder of
the NBC Slumber Hour, a feature
that is still going strong. But that is
not the point of this joke, if any.
Stuart Ayers was visiting Leslie, who
lives in a little red school house in
Connecticut. It is called "Sea View,"
but it is far from any sea.

"Why do you call this place 'Sea
View?' " said Stuart Ayers.

"Because you get up on the roof to

'Sea View' can see it?" replied Leslie,

just like that.

* * *

"Well," said Ray Knight,
production department of NBC,
"If you want to take a 'Trip to
Mars,' why not plan-it?" The
police lieutenant says the slayer
will go free.

sfc ^ ^

A new magazine, "Voice of Colum-
bia," edited by E. Wood Gauss and
intended for advertising agencies and
those interested in broadcast advertis-
ing, made its debut with the October
issue. It will be published monthly by
the Columbia Broadcasting System.

The latest Scotch joke came
to light recently at the NBC
studios, when an enthusiastic
Scot telegraphed from Winni-
peg, Man., congratulating the
Company on securing the artis-
tic services of Sir Harry Lauder.
The telegram was sent collect!
* * *

Vic Irwin and his Hollywood or-
chestra returned to the air over WOR
recently, when the popular Victor re-
cording artist opened at the new Holly-
wood Restaurant, Broadway, between
48th and 49th Streets. He inaugurated
his return with a new air signature, at
present unnamed, written by Benny
Davis and J. Fred. Coots. The radio
public is being asked to title the air

signature. Vic Irwin, since his last
Manhattan appearance at the Hotel
Manger, has been featured over the
Publix Circuit and his band is a Roxy
stage band. Last summer he played
at the Woodmanston Inn.

Evelyn De La Tour, heard each week in
"Show Folks" skits over the Columbia Broad-
casting System, has become convinced that
truth is stranger than fiction. A few weeks
ago she played the part of Marie Lavelle, one
of the principal characters in a heart-interest
story. After the broadcast a telephone call
was received at Station WABC from some
one who demanded that Marie Lavelle be
summoned to the phone. The telephone op-

erator informed the caller that there was no
such party in the studio.

After quite an argument -with the in-
sistant fan, Evelyn De La Toui, who had
been playing the part of Marie Lavelle, was
asked to speak to the telephone caller. She
did so, and was accused of being, not Evelyn
De La Tour, but in reality a Marie Lavelle,
who had left home some fifteen years ago to
go upon the stage, and who had never been
heard from since. The caller insisted that
she recognized the voice and the name, and
could not be fooled. The odd part of it all
is that the name "Marie Lavelle" was strict-
ly imaginative, and came from the mind of
Dave Elman, the writer of the "Show Folks"
sketches.

^ ^ ^

When the all-star special program
was broadcast by the NBC for Com-
mander Byrd and his Antarctic Expe-
dition recently, Frank Luther, the
wise-cracking tenor, announced that
he was scheduled to sing a solo.

"What will it be, Frank?" he was
asked.

"Byrd Songs at Eventide," was the
reply.

* * *

Phil Maher of Station WABC, who
has had many years of experience in
every kind of show business, suggested
the recent expose of stage hypnotism,
which was the basis for an interesting
radio dramatization. In addition to

being the father of the idea, he wrote
from memory the exact speeches of in-
troduction which were used years ago
by one of the best-known hypnotists in
the theatrical game.

* * *

Alois Havrilla was so completely
saturated with the subject matter of
his program a few weeks ago that he
inadvertently announced that the Mo-
biloil Hour would feature an "Oil" —
Friml program. When Alois came out
of the emergency hospital two weeks
later — all the bandsmen had thrown
their instruments at him — he said he
felt much better, except for three
broken ribs and a bad scalp wound.

Lady Luck has visited Helen Nu-
gent, leaving her card in the form of
a prize winning automobile. While
in Cleveland four or five months ago,
Helen bought a raffle ticket at a
church charity event. A telegram
from her mother recently announced
that she held the winning ticket and
that the automobile would be deliv-
ered to her in New York. Miss Nu-
gent is known in radio over the CBS
system and co-stars with Ben Alley
in various broadcasts.

Franklyn Baur, "The Voice of Fire-
stone" arrived at the NBC recently for
his weekly broadcast in a brand new
automobile with a specially designed
body, which incorporated several of
Franklyn's own ideas. The car was
equipped with special white rubber
tires — one guess is allowed for the
name of their maker.

* * *

The latest authenticated evi-
dence of economies practiced by
the Scotch deals with a kilted
gentleman, who purchased a sec-
ond-hand radio set for thirty-
five shillings in the Old Coun-
( Continued from page 34)

DECEMBER, 19 2 9

A Glimpse "Behind the Mike"

During the

Palmolive
Hour

By HERBERT DEVINS

NINE-THIRTY Wednesday night. To millions of
radio fans from coast to coast, it means a pleasant
circle about the family loudspeaker for another Palm-
olive hour.

To ushers and page boys at the New York studios of
the National Broadcasting Company, it means another
problem in higher mathematics, to make the Cathedral
Studio's 400 chairs accommodate twice that number of ap-
plicants— all eager to
catch a glimpse of
the nationally fa-
mous Palmolive
entertainers actually
working before the
mike.

For visitors in
New York have
learned the way to
NBC's secluded stu-
dios, high above
Fifth Avenue near
Central Park. Every
night brings new
crowds of the curi-
ous. But the great-
est number by far.
week after week,
storms the sound-
proof doors pre-
cisely at 9:30 on
Wednesday night.

Those, who are

Alfred Cheney Johnston.

Olive Palmer (Virginia Rea) Exclusive
Palmolive Soprano

The Inimitable Revelers. Standing, left to right, Elliot Sham,
baritone; James Melton, top tenor; Wilfred Glenn, bass. Seated,
left to right, Frank Black, accompanist and arranger; Lewis James,

second tenor

fortunate enough to be among the first 400 applicants for

the cards admitting
them to the studio,
quietly take their
places a few min-
utes before 9 :30. At
9:29 the doors are
closed and stalwart
guards take their po-
sitions before even-
entrance.

Guards Not Mere
Ornaments

The guards are
not mere ornaments.
Theirs is the task of
quieting the crowd
of tardy arrivals and
those who failed to
obtain admissions in
advance. A signal
flashes. 9:30. "On
the air !" Under no

Apeda.

RADIO REVU E

circumstances may the door be opened now. The mur-
mur in the corridor subsides as the disappointed gather
at the windows. All they see, however, is row upon row
of smiling faces. These are the early ones, now watch-
ing intently some scene invisible to those outside.

Inside, the scene is colorful and bright, as gay lights
concealed within
the studio diffuse a
warm glow around
the crowd of per-
formers and or-
chestra. Just a few
inches beyond the
first row of audi-
ence seats is the di-
rector's stand, with
a full symphony
orchestra
ranged before it.
Between the di-
rector's desk and
the semi-circle of
first violins is an
open space. Here
are two micro-
phones, one to
catch the music of
the orchestra, the
other for vocal
solos and novelty
instruments.

Standing at the
announcer's microphone on a platform at the far end is
Phillips Carlin, master of ceremonies for the Palmolive
Hour. As the second hand of a clock ticks 9:30, he lifts
his arm — and Director Gustave Haenschen, his back to
the audience, raises his baton.

"Good as a play," whispers one woman to her neighbor.
A uniformed usher immediately tiptoes over and, with
finger on lips, cautions her to silence. The slightest sound
is apt to record on the sensitive microphones now con-
nected with millions of American homes from the At-
lantic to the Pacific.

Fast Pace Must Be Maintained

The baton in Haenschen's fingers swoops down, and a
surge of melody from the orchestra swings into a march-
ing rhythm. This creates immediately a sensation of
speed and movement, setting a pace that must not lag for
the next sixty minutes.

Out in the corridors, the disappointed ones wonder
what causes a general grin on the faces of seatholders
inside. The grin is caused by the antics of Director
Haenschen, who by this time has dropped his baton and
is now leading with elbows, knees and feet, as well as his
fingertips.

Haenschen cuts a graceful figure on the stand. He is
tall and curly-haired, with shoulders that are a joy to his

Director Gus Haenschen
board his yacht, which is
hobby.

Apeda.

tailor. He combines an air of authority with irrepres-
sible boyishness, the latter heightened by his "Charleston"
and "Black Bottom"- technique in leading the orchestra.

Before the orchestra has finished, Paul Oliver and Olive
Palmer, two of the highest-salaried singers on the air,
take their places before the microphone for their first
duet. They stand quietly while the orchestra ends the
overture, and wait for Phillips Carlin to introduce their
opening contribution. Carlin drops his arm in signal,
and the two bring their lips within a few inches of the
microphone as Haenschen again lifts his hand over the
orchestra in accompaniment.

Audience in Studio Amazed

The visible audience in the studio is amazed. Why,
they can hardly hear the two familiar voices above the
music of the orchestra ! How is it that the voices sound
so clearly over the air, with the orchestra but a dim ac-
companiment ? The answer lies on the secret of dis-
tances from the microphone, and in a set of black knobs
on the mixing panel to be seen in the "monitor board"
beyond.

Meanwhile, all eyes are glued on the faces of the solo-
ists. Paul Oliver, garbed in neat evening clothes,
stands as imperturbably as a Brahmin at the mouth-
piece of the mike, his face a perfect mask as he puts all
the expression and color into his voice alone — that rich
tenor comparable only to McCormack's. He holds one
hand cupped over his ear.

But look ! Olive Palmer too holds her hand in the
same curious way, although her body sways more in
time and her features reflect the expressions carried
through the ether by her voice. What mean these
strange gestures ? It is a professional trick of radio —
one that found its origin in the phonograph recording
laboratories. It enables the soloist to sing softly close
to a microphone, and still hear his own voice above the
louder orchestra behind.

As the last notes of the duet fade away, Phillips Carlin
again switches in from his microphone in the corner.
While he tells what beauty experts say about "that
schoolgirl complexion," the star singers move away from

the central space to make
way for four young men in
dinner jackets and gleaming,
starched shirtfronts. There
is a rustle in the audience.
It recognizes that quartet,
which is none other than the
famous Revelers, recently re-
turned from fresh triumphs
abroad.

Frank Black at the Piano

Before the Revelers begin

their inimitable close har-

Frank Black mony, all four glance toward

DECEMBER, 19 2 9

Apeda.

The Palmolive Ensemble in Rehearsal. Director Haenschen is seated to the left. Frank Black is at the piano.
Olive Palmer is seated front center. Paul Oliver (Frank Mnnn) tenor, is standing to the left in the rear

the piano, which is placed within arm's length of their
place. This calls attention to the pianist, who has gone
unnoticed until now. The dark Mephistophelean coun-
tenance and angular figure proclaim him Frank Black,,
who makes the Reveler's special arrangements, and, in
addition, conducts orchestras on other programs. Before
this program is over. Director Haenschen will consult him
for sound musical advice on how to handle a number for
which the time has grown too short.

But the Revelers begin, and they are again the center
of all eyes. A glance ranges across the four faces, assur-
ing the beholder that they are there in person — Lewis
James and Jimmie Melton, tenors ; Elliott Shaw, baritone,
and the only Wilfred Glenn, basso profundo. This sum-
mer Paris audiences yelled for nine encores, made them
take fourteen curtain calls — and then cried for "Speech!"
France likes the Revelers more every year.

As the quartet completes its number and moves away
from the mike. Director "Gus" steps down from the dais.
Simultaneously a dozen hand-picked jazzmen in the big
orchestra stand up and bring their instruments closer.
Haenschen now stands in profile towards the audience.
All the feminine members lean forward in their chairs.

Then Haenschen starts his men on a madcap tune by
means of a series of contortionist waves. His whole body
moves now, and he is never on more than one foot at a
time. Is he skipping rope or leading the jazz group?
Listen to the sounds, and receive an answer. A wide grin
wreaths his own youthful face as he remounts the stand
at the end of the number.

Olive Palmer Sings a Solo

Next a solo by Olive Palmer, displaying the coloratura
ability which was lost to grand opera when radio gained a
star. Another concert selection by the orchestra — or per-
haps a symphonic fragment. Then the most curious as-
sortment of all steps before the microphone.

Andy Sannella, virtuoso of many instruments, stands
closest to the mike with a Hawaiian guitar slung across
his chest. Behind him stands Murray Kellner, no longer
the dignified first violin but now a jazz fiddler. Nearby is
Larry Abbott, "one of the sweetest alto saxes in New
York," — -but that is no saxophone he holds. It is an or-
dinary comb, with tissue paper wrapped over the side
nearest his lips. At a nod from Haenschen they go into
action, this weird assortment, — and what action. Sannella
leaps like a jumping jack with the guitar on his chest,
making sounds for which no guitar was intended. But
this music can not be described. A gleam lights the faces
of the audience as they see the solution of the puzzling
music they had heard in other Palmolive Hours. They
knew it was somewhat different but they couldn't tell why
or how.

And so the minutes fly, with a rapid succession of solos
and combination vocal and instrumental groups that main-
tain the swift pace set by the opening rhythmic selection.
A grand finale by the whole company brings the hour to
its climax and finish — and there is a deathly pause while
Phillips Carlin makes the closing announcement. He
(Continued on page 48)

RADIO REVU E

Mr. Average Fan

Confesses

REACTIONS OF A "LOW BROW

that He is a

"Low Brow

By AVERAGE FAN

LIKE millions of others, throughout the country, I
am a radio fan. I have been one for the past five
years, when I bought my first set, and now I am
just as interested and enthusiastic about radio as I was
then. I still derive just as much pleasure from roaming
around the dials, trying to bring in some out-of-town
station, and I still get just as thoroughly disgusted as I
did years ago when, after listening to what I fondly im-
agined was a distant station, I heard some one say "This
is Station WAAT, of the Hotel Plaza, Jersey City."

There are, of course, all kinds of radio fans. There is
the one who likes to tear a machine apart and rebuild it
again. There is the one who has his house full of sets
he has built. He tells you the most wonderful stories
about the distant stations he has brought in with these
sets, right through WEAF, WJZ and WOR. Strangely
enough these miracles always happen when he is alone
and never when his friends, attracted by his yarns, gather
to hear his wonderful machine.

There there is the
other kind, probably
the most numerous of
the lot : the one who
knows nothing about
how or why the
blooming thing oper-
ates and cares just as
little. All he wants is
to get the programs as
clearly and consist-
ently as possible. He
knows what he wants
and does not care how
it comes, just so he
gets it. Amphfica- The Ipana Troubadors , one of my

Unblushingly, I confess that I like jazz.

Big symphony orchestras, playing Bach er
some of the other so-called old masters, bore me
excessively.

I have had more enjoyment out of the trou-
bles of Amos '«' Andy than anything else on the
radio.

As for announcers, I used to get my greatest
thrill from listening to Norman Brokenshire.

Graham McNamee and Ted Husing are my
favorite sports announcers.

I will tune off anything else at any time to
listen to Jimmy Walker.

H. V. Kaltenborn has a snappy way of talk-
ing that holds my interest.

Formerly favorites of mine, Roxy and Vin-
cent Lopez lately have become too sweet to be
natural.

Radio has kept me at home more than ever
before.

It is difficult to predict what will happen
when — and if — television becomes as universal
"""V as radio now is. S^

tion, radio frequency and all those highly technical terms
are so much Greek to him. When he hears them he looks
wise, pretends to take them all in, and promptly forgets
all about them until he has trouble, and then he calls in
an expert to get him out of his trouble.

Mechanics of Radio a Mystery

This latter class is the one to which I belong. The
mechanics of a radio, how and why sounds emanating
from some place thousands of miles away can be brought
to your home and you can hear them as clearly as if they
were coming from the same room, always have been to
me — and probably always will be — one of the world's
deepest mysteries. Experts have tried to explain it, giv-
ing me a lot of fine-sounding talk about sound waves

being sent through the air
and gathered up by your
machine, through the trans-
former and converted into
music or speech, but they
have never made me thor-
oughly understand it. All
1 do know is that they come
in with more or less
clarity, depending upon
weather conditions and the
set you have.

Personally, I know the
difference between a screw-
-Foto Topics driver, a monkey wrench
Favorite Dance Orchestras ;il1r' a hammer. However,

DECEMBER, 19 2 9

"•■Ik

H. V. Kaltenborn, to ivhose Talks on
Current Events I Listen Every Monday
Evening at 6:30 on the Columbia Chain

the practical application of any of these useful imple-
ments is as much a mystery to me as how and why the
radio operates. I know what purposes they should be
used for, but how to do it baf-
fles me completely. The re-
sult is that when my radio
stops radioing I pull up the
lid, fool around with the tubes
and other gadgets inside and
then promptly telephone my
radio man to come over and
fix the thing.

Possibly I may be dumber
mechanically than the average,
but at the same time I am
willing to gamble that there
are thousands of radio own-
ers like myself. Otherwise,
there would be no reason for
the little radio repair shops
that dot nearly every block of
any business section in the
metropolis. And it has been
my experience that some of
these so-called experts do not
always know what they are
doing or why. They gener-
ally find out whether you
know anything about a radio

or not and, if you don't, that makes it just so much easier
for them. They look wise, fill you full of technical in-
formation, take the machine away,
days, and then come back with the
They never forget the bill.

Has Listened for Five Years

My introduction to the radio took
place about five years ago. I had heard
it talked about indefinitely, but had not
paid much attention to it. One evening
I happened to be in a little shop near
home. I was attracted by the fact that
my son was going to sing that night —
without pay, of course. While we had
been listening to him for years at home,
his mother wanted to hear him over the
air. Possibly I was more attracted by the
fact that Will Rogers, for whom I have
always had a sneaking fancy, was going
to talk.

We heard both, with interruptions due
to static and other troubles, and three
days later we were the proud owners of
a radio set, which really worked. We
have never been without one since and
never will be again, if we can help it.

It was a five-tube set, with three dials and a horn. It
made what sounded to us then as the grandest music im-
aginable, although there was frequently a lot of humming

and, during the summer nights, a large and undue amount
of static. Never will I forget the thrills I received from
that machine, crude though it was in comparison with the
fine pieces of mechanism they produce these
days. Night after night I would sit up
twirling the dials and bringing in all varieties
of noises and occasionally a distant station.
The strange part of that machine was that
it could bring in stations that were in a di-
rect western line with New York but it had
difficulty in catching the extreme northern
of southern stations.

The first time I brought in WOW of
Omaha, the farthest west my set had ever
reached — I was willing to swear that I had
the finest set in existence and that radio
was one of the world's wonders. After
midnight I frequently could tune in WCCO,
Minneapolis ; WREO, Lansing, Mich. ; the
Chicago Stations ; the Fleetwood Hotel, at
Miami Beach. Fla.. and good old WSB at
Atlanta, the station that "covers Georgia
like a blanket."

keep it for a
machine and a

few
bill.

DX Craze Dies Out

The DX craze died with me. as it does
with every radio owner. New York sta-
tions began to multiply with such rapidity
that it soon became almost an impossibility
to tune through them with any degree of success, unless
you wanted to sit up until the wee sma' hours and doing
the latter is not always conducive to maritial happiness.
There is no doubt that we New Yorkers get the cream

has become common
knowledge, but to
learn the real truth
of this, one need

of the radio broadcasts. This fact

only
town,
business
to Los
When I
there, I

go out-of
Recently

took me
Angeles,
got out

was told

what fine programs
they had on the
Coast. I listened
in and heard a
miscellaneous 1 o t
of junk over
the air, interspersed
at least every five
minutes with the
most blatant kind
of advertising. This
would not be toler-
ated, much less lis-
tened to, at home. After a while, I found out that about
the only programs on the Coast worth listening to were
those which came over the NBC or the Columbia chain.

Foto Topics

Ted Hnsing, One of My Favorite Sports An-
nouncers, Giving a Word Picture of a Football
Game

RADIO REVUE

Practically the same conditions, as far as I could
learn, prevailed in many of the large cities with the pos-
sible exception of Chicago, and most of the small ones.
Chicago has a few fine stations like WGN and WMAQ
and broadcasts some excellent programs, but even they
depend a great deal on the chain programs broadcast from
New York. Some people in New York may complain
once in a while about the programs they get but, if they
would travel over the country and listen to some of the
small stations, they would be thank-
ful they lived in New York.

Tastes in Programs Differ

As to what constitutes a good
broadcasting program tastes differ as
greatly as do individuals. Unblush-
ingly I confess that I like jazz. I
have set forth this liking more or
less loudly at times and, as a result,
have been called many things, the
mildest of which is "low brow." If
liking lively, tuneful music is low
brow, I am all of that and more.
Big symphony orchestras, playing
Bach or some of the other so-called
old masters, bore me excessively.
They are my particular abomination
and they cannot hold me for five
minutes. When they come on, I tune
off, if possible, to Helen Kane,
Rudy Vallee or Paul Whiteman.

Everyone, of course, has his or
her favorite performer, announcer
and program. I derive more pleas-
ure from Amos 'n' Andy, the Main
Street Sketches, the Clicquot Eski-
mos, Ipana Troubadors and Eddie
Cantor than I do from a dozen sym-
phony orchestras or a lot of high brow opera singers. To
me the latter are a total loss. If I never heard them
again, it would be too soon. Possibly I am like George
Moran, of Moran and Mack, "even if it was good, I
wouldn't like it."

Personally, I have had more enjoyment out of the trou-
bles of Amos, Andy, Madam Queen and the Kingfish,
not forgetting Flossie White, the snappy "steenographer,"
than anything else on the radio. The way Andy lords it
over Amos and the manner in which the latter balks occa-
sionally, furnish me with a real thrill which I cannot get
from high brow music.

Brokenshire a Favorite

As for announcers, I used to get my greatest thrill from
listening to Norman Brokenshire. He seemed, more than
many of the others, to be spontaneous and his voice came
over well. Graham McNamee always seems to me to be
vitally interested in what he is doing and he imparts this
enthusiasm to his hearers. He and Ted Husing are my
favorite sports announcers, although I believe the latter

Stein

Norman Brokenshire, ' fhc Announcer

Whose Spontaneity Used to Give Me My

Biggest Thrill

is better, if you are interested in a really technical account
of the event being broadcast. Milton Cross, Lewis Reid
and the late John B. Daniels are other favorites. David
Ross, of WABC has a deep, sonorous voice, but seems
to take himself quite seriously. There are a few an-
nouncers whom I abominate, but, again quoting George
Moran, "why bring that up?"

There may be more perfect radio voices than those of
Mayor James J. Walker, H. V. Kaltenborn and John B.
Kennedy, associate editor of Col-
liers', but I have never heard them. I
will tune off anything else at any
time to listen to Jimmy Walker. He
knows just what to say, has a beauti-
ful speaking voice and never talks
over your head. John B. Kennedy
does not talk often or too long at a
time, but he does say what he has to
say well. The only possible objection
I can fiqd to him is his "thank you,
Curt Peterson, friends of Collier's"
every Sunday evening when Mr.
Peterson introduces him to the radio
audience. Kaltenborn has a wide
knowledge of world affairs, and a
snappy way of talking, that holds my
interest.

Too Sweet to Be Natural

When I first started to listen to
the radio, my favorites were Roxy
and Vincent Lopez. However, lately
I have sickened of both of them.
They seem to be too sweet to be nat-
ural. Mary and Bob have always at-
tracted me, and, then again, there is
the girl who plays the principal role
in the Collier hour. She seems nat-
ural and unaffected. This may be a pose, but it is a con-
vincing one.

In my case the radio has kept me at home more than
ever before. In the pre-radio days the movies attracted
me four or five nights a week. There was no place to go
and little else to do. Now, seemingly, there is something
on the air nearly every night that I really cannot miss. As
a result, the movies are neglected. It is possible to get all
the entertainment one wants at home, amusement that is
more varied and certainly much cheaper. It is difficult to
predict what will happen when — and if — television be-
comes as universal as radio now is. Possibly then, when
we can see as well as hear, it will become impossible to
drag us away from home, even when business calls.

"Sax" Wizard Goes Over the CBS

Merle Johnston, the wizard of the saxophone, left the
NBC fold recently to go under the Columbia banner. In
making the change, he is said to have given up seven
commercial accounts at the National. He already is di-
rector of two hours on the CBS.

DECEMBER, 19 2 9

Crowned Radio's Queen of Beauty

Olive Shea, of Station WABC, Chosen from i6; Entrants in Nationwide Contest

' 1 1HE committee of judges that conferred the title of "Miss Radio"
■*- for 1929 on Miss Shea consisted of Jess Hawley, of Chicago,
chairman; Florenz Ziegfeld; Victor Frisch, sculptor, and McClel-
land Barclay, artist, both of New York, and Morris Metcalf, of
Springfield, Mass. Miss Shea was born in New York City eighteen
years ago. After completing elementary school, she attended Our

Lady of Lourdes Convent for four years. Later she applied to
the Columbia chain for an audition and passed 'with high honors.
Since then she has taken part in many of its big hours. She is
five feet, three inches tall and weighs 110 pounds. Her hair is
golden brown and her eyes are blue. Her favorite sports are
swimming, riding and tennis.

RADIO REVUE

/TATIC prcm the JtUDIO/

(Continued from page 26)
try. He made repeated com-
plaints to the dealer that his
newest purchase was most un-
satisfactory. The dealer called
to see him at his cottage. The
set was found in good order, re-
ception was good, and air pro-
grams were coming in merrily
enough.

"But, mon, I canna see to
read wi' them small electric
lights inside!"

^ ^ *

The Columbia Broadcasting System
has added WHP of the Pennsylvania
Broadcasting Company, Harrisburg,
Pa., to its network. WHP is a 500
watt station operating on 1430 kilo-
cycles. This station is known as "The
Radio Voice of Central Pennsylva-
nia." W. S. McCachren is president
of the P. B. C.

"Old Salts," now spending their
declining years in the various sea-
men's missions in and about the met-
ropolitan area, have adopted the
"Half Seas Over" program on WOR
each Saturday night as their very
own, Letters have reached the sta-
tion demanding to know the name of
the director of the program. As a
matter of fact, Postley Sinclair, who
writes the continuity for the feature,
is a comparatively young man "some-
where in his thirties," and has never
been aboard a full rigger in his life
— nor has he even been to sea.
* * *

Leslie Joy and Bill Rainey, both of
NBC, recently had their pictures
drawn by "Jolly Bill" Steinke of "Jol-
ly Bill and Jane." They were pub-
lished in the Evening World Radio
Magazine. The result is that Bill
Rainey is now wearing bright blue
shirts and Les Joy parts his hair in the
middle and is cultivating an English
accent. That is just what publicity

does for two good hard-boiled scouts
— they go Arabian right away. We
don't know what this paragraph will
do to them, but we fear the worst !

* * *

"I say, have you heard that lovely
song, 'By the Bend of the River,' by
Clara Edwards?" asked Count John
de Jara Almonte, a gentleman of vast
importance and personality in the NBC
organization.

"No, but I have heard a lovelier
one," replied Phillips Carlin, of the
same company. "It is called 'By the
Bend of the Elbow,' by Al, the Bar-
tender."

Edwin Whitney and Dariel Jones,
production experts for NBC, are joint
discoverers of the zvorld's loudest
voice. During recent auditions at the
studios a feminine applicant boasted:
"All my friends say my voice is un-
usually good for radio. Why, the last
time I broadcast, they heard my voice
in Valparaiso, Chile."

* * *

Charlie Speeri one of the continuity
writers of the CBS, has a plan that
brings absolute precision of descrip-
tive writing in musical programs.
When he is given a continuity for one
of the symphony concerts, he gets the
records of the symphony and plays
them on a portable phonograph which

he has in his office. He supplants the
music he hears with references from
the Columbia library. He believes that
in this manner alone may the true feel-
ing of a musical work be portrayed.
The young writer has all of the sym-
phonies that have been recorded, as
well as the entire recording of the
Niebelungen Ring as it was presented

in ( iermany.

* * *

Vaughn de Leath, originator of the
crooning type of singing now so pop-
ular, recently returned to New York

from her home, "The Hitching Post,"
in Connecticut. She has moved into
an apartment on Fifty-fifth Street,
jut around the corner from the NBC
studios, from which she broadcasts
regularly

What is believed to be the shortest
"applause letter" on record was re-
ceived recently by the National Broad-
casting Company. On a letterhead the
program title "The Family Goes
Abroad" was written. Below it was a
rubber stamped "O. K.' with the ini-
tials of the head of the firm mentioned
on the letterhead included in the stamp
mark.

Speaking of the Radio Show, as no-
body was, one of the funniest sights
we have witnessed in years was
George Dilworth's bulky octet,
Messrs. Branch, Shope, Jamison, Ty-
ler, Bethman, Buckley, Salathiel and
Cote, trying to get into regulation
aviator' costumes for the feature
"Roads of the Sky." After some re-
lentless struggling, the trousers of
the costumes were discarded and the
jackets were stretched with some
difficulty around the portly tenors
and basses. The helmets seemed to
fit all right, and, despite the variety
of nether garments, a visiting scribe
was fooled into asking: "Who are
those aviators?"

An interesting sequel to this story
is the fact that, when Maurice Tyler,
tenor, felt in the pocket of the coat
he was wearing, he came upon the
business card of an intimate friend
of his from Richmond, Va. He is
till trying to establish the connection.

Leon Salathiel, NBC basso, recent-
ly surprised his studio friends by an-
nouncing his marriage to Miss Betty
Sickels. It all happened on Leon's va-
cation. He visited his home town, In-
(Continued on page 38)

DECEMBER, 19 2 9

Philadelphia Orchestra

Succumbs to Lure of Radio

First Two Stokowski

Broadcasts Arouse

Mixed Emotions

By WILLIE PERCEVAL-MONGER

THE lure of the radio, the persuasive powers of the
Philco Company, the facilities of the National
Broadcasting Company, added to its well-known persua-
sion or, perhaps the relentless march of progress com-
bined with all of these, brought the genius of Leopold
Stokowski and his Philadelphia Symphony Orchestra to
the ether waves for the first time at 5 :30 on Sunday eve-
ning , October 6, 199. In the judgment of this critic, this
broadcast marked a great step forward in this ever-chang-
ing business.

We do not claim to know what particular factor broke
down thep resumed aversion of Maestro Stokowski to
radio broadcasting, but we feel he has done radio and
its millions of listeners a great service by coming into the
family.

Stokowski apeared in the joint capacity of conductor
and announcer of the musical items of his program. While
he shone in the former capacity, he was extremely brief
in the latter. Extensive preparations had been made by
NBC officers, engineers, announcers, and production men,
the hands of Gerard Chat field and William S. Lynch be-
ing particularly visible, and over all was felt, rather than
seen, the uncanny skill of O. B. Hanson in matters tech-
nical. An old friend, Harry Neely, the "Old Stager" of
the Philco Hour, introduced both the conductor and Ed-
ward Davis, president of the sponsoring company.

The complete program gollows :

Choral Vorspiel "Wir Glauben all' einen

Gott" (We All Believe in One God) Bach

Symphony in G-minor.

Allegro Molto, Andante,

Minuet and Trio, Finale,

Allegro Assai. Mozart

Overture, Bacchanale and Venusberg music

from "Tannhauser" Wagner

The noble grandeur of the lofty Bach choral prelude
was likened by Stokowski to "a great three-sided pyramid"
and, in the form it was given to us, a most adequate ex-

position by the Philadelphia Orchestra, it seemed likely to
endure as long as the Egyptian monuments themselves.

Mozart Symphony Follows

Mozart' favorite symphony in G-minor, probably com-
pleted in 1788, his only one in the minor key. followed.
This work attracted the attention of Mendelssohn and
Beethoven. Of it Schubert said : "One can hear the
angels singing in it." Its exquisite melodies, graceful
dance forms and song-like passages were woven into a
second monument of orchestral material. Speaking from
the radio standpoint solely, one can only refer a little
hesitatingly to the slight prominence of the string-basses
in this delicate work. It should be recalled, however, that
the means at the composer's command were probably the
"small orchestra" of the day, the usual quartette of strings,
two horns, a flute, two clarinets, two oboes and two bas-
soons. Stokowski's strings of the smaller families with
their neighbzoring wood-winds sang beautifully, even
though at times the listener found tempi slightly retarded.

RADIO REVU E

With the symphony laid aside, Stokowski's forces at-
tacked one of the greatest works of Richard Wagner, the
Overture, Bacchanale and the colorful Venuberg music
from "Tannhauser." Here, as the conductor explained to
use, were mysticism, religious sentiment, revelry and orgy,
with a concluding episode of love and beauty.

More appropriate, to the day and to the City of Phila-
delphia, was the Song of the Pilgrims, with which the
overture opens, but alas ! the blight of the New York night
club soon falls upon the calm tranquillity. Sinful excite-
ment follows and the doings of the gilded palaces of the
Venusberg are exposed in musical whoopee, but finally
the artificial clamor
dies down and — just
as if the announcer
had said "We now
return you to Phila-
delphia"— the quiet
Song of the Pil-
grims resumes com-
mand.

Patient Rehearsal
Evident

In the perform-
ance of this work,
evidence of patient
rehearsal and abso-
lute control was
plentiful. The con-
trasting themes of the swirling violins and obstinately
insistent brasses and wood-winds were so articulated as to
carry perfectly over the radio. Unlike the Mozartian
offering, it would be difficult to quarrel with any particu-
lar choir of instruments. The balance was notably
good.

We understand that actual tones of the orchestra were
gathered in a concentrating or focussing microphone. Fa-
miliar with the performances of the Philadelphians one
missed the "eye-and-ear" effect, the presence of Stokow-
ski himself, his ability to "lift" his orchestra and his
audience alike, the highly-drilled musicians and the huge,
quiet audience. We believe that a slight readjustment
of the seating of the orchestra for radio broadcasting
is al that is now required for perfect reception.

In concluding Mr. Stokowski announced a Stravinsky
number for, November 3, "Sacre du Printemps," and
asked his audience to be prepared to listen sometimes
to the things of our day. On this date, he said an all-
Russian program would be presented, and he solicited
suggestions as to the character and presentation of pro-
grams. One promise he made we hope he will hold to
steadfastly.

"We are not going to play popular music. We are
going to play the greatest music — the best or nothing !"

Despite the howls of controversial clamor that this
statement may arouse among the well-known masses, we
are in sympathy with Mr. Stokowski's frame of mind

A Portion of the Famous PJiiladclphia Orchestra

Second Broadcast Better

The second broadcast of the Philadelphia Orchestra,
under the direction of Leopold Stokowski, confirmed the
earlier impression that music lovers have been denied
this pleasure too long. Here was better broadcasting,
as far as this listener's particular set was concerned, and
adequate explanations of the program, given at first-hand
by the conductor himself.

The first item was Borodine's Polovetsian Dances from
the opera, "Prince Igor," a work completed after the
composer's death by Rimsky-Korsakoff and Glazounov.

A skilled exposition
was given by the
Philadelphi-
ans of this wild,
onrushing music,
with its marked Ori-
ental and Russian
rhythms. The ballet
music was worked
up to a great climax
after a metriculous
survey of all its
changing forms.

Second on the
program was the
modernist Stravin-
sky's "Sacre du
Printemps." M r .
Stokowski prefaced
this composition by an eloquent plea that the listener
should strive to follow "this beautiful music" and to hon-
estly endeavor to understand it. A musical pagan riot
followed, wherein the flute, English horn, trumpets and
drums strove for first place in the battle. It was a glori-
ous orgy of sound, this consecration of Spring, depicting
the worship of the forces of Nature by primitive man.

This writer tried faithfully to follow the music and to
understand it, in strict obedience to Mr. Stokowski's
admonition, all the way from the adoration of the earth,
through the harbingers of Spring, the dances of the ado-
lescents, the round dances of Spring, the games of the
rival towns, the procession of the sage, pagan night, mys-
tical circles of the maidens, to the ritual of the sacrifice,
the evocation of the ancestors and the final sacrifice.
From a program note by the distinguished commentator,
Lawrence Gilman, I quote :

Lawrence Gilman's Comment

"Now the elected victim, who has thus far remained
motionless throughout these activities, begins her sacri-
fice, for the final act of propitiation has been demanded,
and she must dance herself to death. The music expresses
the mystical rapture of this invocation of vernal fertility
in rhythms of paroxysmal frenzy. There is nothing in
music quite like this frenetic close of Le Sacre du Prin-
(Continued on page 47)

DECEMBER, 19?

I Ether Etching/ I

Mathilde Harding, Pianiste

A RADIO look into the life of this young artiste,
■*- Mathilde Harding, familiarly known as "Billy," re-
veals that her first pianistic studies were at the Washing-
ton Seminary, Washington, Pa., under the direction of
Julia Moss. She won the Juilliard Foundation Scholar-
ship in 1926, '27, '28 and '29, and, her first public concert

appearance was in
1918, with the Rus-
sian Symphony Or-
chestra, under the di-
rection of Modeste
Altschuler.

Her first radio ap-
pearance was over
KDKA in 1922 and
in addition to this sta-
tion, she has played
for WEAF, WJZ,
WOR, WABC, and
CFCF. Her favorite
composer among the
classics is Brahms,
while Debussy has her
vote in the modern
school. She is happi-
est when learning a
new piano concerto
and also when playing
the work with a full
orchestra.

Mathilde Harding
has a powerful, vi-
brant and radiant per-
sonality and her play-
ing, when occasion de-
mands, is full of fire
and dash. Curiously
enough, the radio, which has made her name famous, al-
most ended her career. At KDKA, when, in girlish curi-
osity, she was exploring the control room, she attempted
to reach up and touch the high-power switch "to see what
would happen." "What happened" was a blow from a
big Irish engineer that knocked Mathilde spinning almost
into unconsciousness but into absolute safetv.

Mathilde Harding

N. Y. U. Gives Courses Over WOR

New York University recently inaugurated its ninth year
of broadcasting over WOR. This marks the fourth year
that WOR has been the radio mouthpiece of the Univer-
sity. These radio courses have already been announced.

"Radio Needs Standardized Diction"

wQ PEAKING from the announcer's angle, what radio
^ needs most is uniform diction, a definite standard
of good, clear, understandable English." This from Mil-
ton J. Cross, the well-known radio announcer, an inter-
nationally known figure on the concert stage, and recently
the winner of the gold medal for good diction, presented
by the American
Academy of Arts and
Letters.

"I believe that, in
England, the standard
of diction centres
somewhere between
the Universities of
Oxford and Cam-
bridge, while Dublin
University claims un-
usual purity of speech
and the Scots, not to
be outdone, announce
that the finest English
in the British Isles is
that of Edinburgh
University. But I like
to think that the aver-
age of these four
great schools is really
fine English.

"Here we have no
such standard — at

least on the air. We are guided largely by our own par-
ticular education and by our own taste in the matter of
diction. I am frank to say that some of the results are
a little disastrous. It seems that some of the early an-
nouncers 'on the air' were chosen for personality and
musical voices, rather than for distinguished diction.

"I know there were notable exceptions among my
friends and colleagues, but the radio business grew — and
is still growing — at an alarming rate, and the first diffi-
culties were naturally those of getting competent men to
man the ship. Some of the first sailors — to continue the
simile — were reliable, rather than artistic."

School Children Hear Broadcast

More than 5,000.000 school children in 50,000 class
rooms in the United States, Canada, Mexico, the West
Indies and even as for away as the Philippines listened to
the first of the Music Appreciation Concerts broadcast
under the directions of Walter Damrosch and presented
by the N. B. C, according to Pres. M. H. Aylesworth.

Milton J. Cross

RADIO REVUE

JTATIC pccm the XtLDICI

[Continued from page- 34)
dependence, Kans., and the wedding
took place while he was there. He and
Miss Sickels had been life-long
friends, She is said to be a talented
pianiste. Leon sings on the Enna Jet-
tick Hour and also with the Ballad
Singers, the- Sixteen Singers and on
other NBC programs. Leon brought
his bride back to New York with him
and they plan to make their home at
some point convenient to the NBC
studios.

"Bill" Schudt's "Going to Press"
began as a one-station feature last
December. Not yet a year on the
air, this feature, dedicated to news-
papermen and newspaper topics, is
now on the coast-to-coast facilities of
the Columbia Broadcasting System.

Paul Dumont — and we have no means
of knowing how he secured the proper
technical information — is unusually
realistic in the drinking scenes of tlie
NBC light operas. When Harold San-
ford was conducting "Her Regiment,"
Victor Herbert's bright light opera,
one of the characters invited the sol-
diers to line up and take a drink. "Col-
onel" Dumont lined up a little ahead of
the others, at the "mike," and behaved
as one does late in the evening in
Those Places. He staggered around,
despite the caution of the production
manager, and caused poor Harold
Sanford to smack his lips unthinkingly.
* * *

Bernie's Lexington Hotel Orches-
tra is broadcasting over WOR for
the hostelry of the same name.

^C ^I ^

In response to 4,971 inquiries, Da-
. riel Jones is a perfect lady, Leslie
Frick is a contralto, and Leslie Joy is a
baritone. Vernon Radcliffe has the
same difficulty as Jerome K. Jerome,
the British novelist. Some people call

him by his first name and some by his
last, but nobody seems to know which
is right.

* * *

"My beautiful 'seven-passenger
Nash sedan has been stolen," Henry
Shopc, NBC top tenor, recently tele-
phoned to the police. It seems that
Henry had let a friend use his car. The
friend, who was leaving town, parked
the car and left the keys and a note,
telling where the car was parked, in
the care of a drug clerk at 711 Fifth
Avenue. When Henry went to look
for his car, he could not find it. After-
reporting his loss to the police, he
bought a Ford to replace his Nash.

Four days later the friend returned
and, when informed of Henry's loss,
went in search of tlie car. He found
it exactly where he had parked it.
There had been a misunderstanding as
to the street. The car Imd not been
touched for four days. The police had
not come across it in their search — nor
had they picked it up for exceeding
the parking limit. Now Henry is won-
dering what to do with the "other car."

* * *

Stuart Avers, Don Juan of the NBC
continuity writers recently discovered
on Madison Avenue what he believes
to be the height of futility. A blind
beggar, hopelessly crippled, was play-
ing a battered guitar, accompanying a
song. . . . "The Pagan Love Song !"

* t- *

"Elsie Pierce Class in Beauty," a
new program under the sponsorship of
Elsie Pierce, beauty specialist, and the
National Grocery Company, are two
new commercial broadcasts over
WOR.

% H* ^

Augusta Spette, soprano, who until
recently was a member of the girls' oc-
tet at the NBC, is reported to have
joined a trio of girls that is singing on
the "Moonbeams" program at WOR.

In making the change she replaced
Mary McCoy, soprano, who has joined
the NBC forces.

* * *

The Spaghetti Winders' Association
and the Society for Louder and Bet-
ter Yodelling, both housed at 711
Fifth Avenue, report the prospect of a
busy season with the advent of the cool
weather. Walter Kiesewetter, official
pianist of the Yodellers, spent his
Summer in Europe. He says Munich
is still wet.

* * *

Further foreign news comes from
Leslie Frick, contralto, who returned
recently from Munich. She says "the
beer was beyond words, not to men-
tion the Wagner and Mozart, which
were wonderful."

^c :[; $

Genia Zielinska, the Polish colora-
tura soprano, recently was seen proud-
ly carrying a lovely song, with lyrics
by Mildred Merle, music by Henry
S. Gerstle, the boy arranger, entitled
"Autumn's Coming." The song,
which is dedicated to Miss Zielinska,
went on the air recently. It sounded
verv well.

"Say, Walter," said Mary Hopple,
contralto, in the NBC studios the
other day, "I have just taken a new
apartment and I've bought one of
those no-end day-beds for it."

"I don't know why you mention
it to me," said Walter Preston, bari-
tone, "but, at that, you should have
'no-end' of comfort from it."

Among the most recent of America's
citizens is Miss Genia Fonariova, so-
prano, heard weekly in Troika Bells
over the NBC Miss Fonariova, a na-
tive of Russia, received her final nat-
uralization papers recently. She has
been in the United States for nearly
fifteen years.

DECEMBER, 19 2 9

PccecAAi Ncte/

Durant Motors, Inc., On the Air

A new weekly series of dramatic
sketches, depicting incidents in the
lives of great men who have moulded
history and set the standard of truth
and accomplishment, made its debut on
radio recently. The series, known as
"Heroes of the World," is sponsored
by Durant Motors, Inc., of Lansing,
Mich.

The Durant Orchestra, under the di-
rection of Dana S. Merriman, con-
tributes an appropriate musical back-
ground. The sketches are written by
Burke Boyce, NBC continuity editor,
author of "Wayside Inn," and origi-
nator of the "Rapid Transit" sketches,
as well as other original radio dramas.

Members of the cast include Alfred
Shirley, Charles Webster, Harry Ne-
ville, Gladys Erskine Shaw, Harvey
Hays, Bennett Kilpack and Katharine

Renwick.

* * *

Rutgers Programs Over WOR

Rutgers University, which is the
State University of New Jersey, and
Station WOR, largest broadcasting-
station in the State, are again co-oper-
ating in offering a series of air pro-
grams this year. The first started on
Wednesday afternoon, October 23.
The Rutgers Lecture Program will run
for twenty-three weeks. The speakers
will be prominent members of the uni-
versity faculty, who will discuss such
subjects as child psychology, interna-
tional relations, child guidance, music,
drama, literature, journalism, and edu-
cation. The general University Pro-
gram will be given for ten consecutive
weeks. These programs will be of
one-half hour duration and will consist
of both lectures and music. Later in
the year, probably beginning in Janu-
ary.

^ ^ ^

Six Symphonies on G. E. Hour

Six complete symphonies will be
performed during the winter for radio
listeners by the General Electric Sym-
phony Orchestra, according to Walter
Damrosch, who recently resumed con-
ducting the Saturday evening concerts
over NBC.

Religious Leaders Back on Air

Three famous religious leaders re-
turned to the air recently in a series
of winter services which will be broad-
cast by the NBC. Dr. S. Parkes Cad-
man started his seventh season be-
fore the microphone, while Dr. Daniel
A. Poling, leader of the National
Youth Conference, opened his fifth
season. Dr. Harry Emerson Fosdick,
who conducts the National Religious
Service, began his third season on the

same day.

% % ^

Recent Appointments at NBC

Five executive appointments were
announced by the National Broadcast-
ing Company to become effective re-
cently. William Lynch, former an-
nouncer, became assistant eastern pro-
gram director, and Katherine Seymour
became assistant continuity editor. The
three other appointments are : Marley
Sherris, night program representative ;
Norman Sweetser, program represen-
tative, and Curt Peterson, supervisor
of announcers. The new appoint-
ments were announced by George En-
gles, vice-president in charge of pro-
grams.

WOR Offers Philharmonic Series

WOR recently started its third suc-
cessive season of broadcasting the
Philharmonic Symphony Orchestra of
New York. Under the baton of such
eminent conductors as Arturo Tosca-
nini, Willem Mengelberg and Bernar-
dino Mollinari, with an unrivalled per-
sonnel of 111 men and with an in-
creased schedule of concerts planned
this season will become a landmark in
American musical annals. The sea-
son will last twenty-nine weeks, one
week longer than last year. Mr. Tos-
canini will officiate during the first and
last eight weeks of the season. Mr.
Mengelberg will direct eight weeks be-
ginning November 25, and Mr. Mol-
linari the next five weeks from Janu-
ary 20 through to February 23.

^ ^ ^

New Program on "Famous Loves"

Dramatic moments in the lives of
the world's greatest lovers are revealed
to the radio audience in a program en-
titled "Famous Loves," which made its
debut over the NBC System recently.
Katharine Seymour, assistant editor,
NBC Continuity Department and au-
thor of the series of sketches heard
during the past summer, "The Family
Goes Abroad," has delved deeply into
the histories and biographies of such
historic lovers as Cleopatra, Ninon de
l'Enclos, Diane de Poitiers, Nell
Gwyn. Mme. du Barry and many oth-
ers for the scenes dramatized in these
playlets. This program is sponsored
by the Craddock Terry Company, of
Lynchburg, Va.

* H: *

"Cheerio" Returns to the Air

With the program time lengthened
to half an hour and the station list
increased to nearly thirty, "Cheerio"
returned to the radio audience recently.
He now brings his message of inspira-
tion and cheer six mornings a week
through the NBC. The Cheerio pro-
gram has not been off the air, but
"Cheerio" himself, that near-mythical
figure that is the spirit and personality
of one of the most unusual broadcast
series in radio history, was on a vaca-
tion for three months.

Editorials

RADIO REVUE Makes Its Bow

TT will be the aim of Radio Revue, a magazine for
-*■ the listener, to give, clearly and impartially, news about
radio personalities, the radio business, both from the
broadcasting and manufacturing angles, the rights and
wrongs of advertising clients, the woes of announcers, the
crimes committed by radio fans, the punishments deserved
for these crimes, blasphemous errors in diction and in
musical announcements, distortion and war-provoking
mispronunciations of foreign wrords known to every music
student, blatant self-advertisements by announcers, sala-
cious and unfair advertisements, overpowering use of
advertising material, the uplift in music, the downpush in
jazz, the curse of the crooners, etc., etc., ad infinitum.

We do not expect to revolutionize and reform the radio
business over-night, nor do we intend to investigate and
imprison a lot of nice people, nor attack commissions,
assault governors, and threaten governments with the
press, nor threaten the press with the governments.

We believe that there is a definite need and place for
such a publication. Five years' practical experience in
radio broadcasting and a much longer period spent in the
publishing field have caused us to arrive at this conclusion.

Radio broadcasting has had an unprecedented growth
and bids fair to continue its amazing progress. In the
process, however, a number of important things have been
overlooked or slighted. We hope to have a part in rem-
edying some of these shortcomings. To this end, we
shall campaign, among other things, for:

1. Wider dissemination of news and information
about radio artists and program developments.

2. A general improvement in the standard of radio
programs being broadcast.

3. More extensive use of radio broadcasting for edu-
cational and economic purposes.

4. A decided improvement in reception conditions
for the radio listener.

5. A wider appreciation of the need for better and
more standard English diction in all radio broadcasting.

However, lest we be accused of becoming too stuffy and
pompous, we wish to have it distinctly understood that
this magazine will be edited with the editorial tongue
always in' the editorial cheek. We do not want to become
too serious about this business — especially when there are
so many opportunities in it for real humor.

With this introduction we now commend to your atten-
tion our newly-born infant, conceived in the ecstasy of a
new idea and born in the agony of pre-publication uncer-
tainty. We bespeak your kind indulgence for its defici-
encies and assure you that, whatever they may be, we
shall try to overcome them in future issues.

We expect to have plenty of fun with this magazine.
Our prime purpose is to make a lot of money — and, of
course, to publish the most entertaining magazine possible.

RADIO REVUE

Radio Censorship Impracticable

f*\ N the face of it, radio censorship seems as imprae-
^^ ticable as it ' must appear preposterous. Here we
have no physical thing, like the book or the film, products
created at a tremendous expense, which can be — and
often must be — altered and amended to satisfy a large and
discriminating public, as well as a small group of official
moralists.

Once a voice or a band has gone on the air, it has gone
beyond the power of recall through human agencies. Each
must be as nearly perfect as possible before its agent will
permit a broadcast. The more prominent radio corpora-
tions are continually endeavoring to improve their broad-
casts, and their energies and capital are not only expended
upon class, but upon type as well. By that is meant the
nature of the program as well as the grade of the per-
forming artist and the music itself.

The public finds but little fault with the artist as a rule,
because the broadcasting company, through its tests and
auditions, can generally have the best entertainers at its
constant command. The difficulty lies with the nature of
the program.

Programs may be classified, roughly, under three heads :
classical, popular, and a third class that strikes a happy
medium between these two. Classical programs, as a rule,
refer to symphony concerts, song recitals, and the radio
presentations of grand opera and famous plays, or
specially dramatized resumes of standard books. In the
third class we must include performances of light operas,
original skits of a reminiscent nature, travel talks, band
concerts, and the analyses of world-wide interest which
are generally seen on the news reels in the motion picture
theatres. All of these have their tens of thousands of
enthusiastic radio fans.

The complaint — a real one — has been directed some-
what against the popular program, and specifically against
jazz music — not against the remarkably fine, polished per-
formances of a small number of skillul orchestras under
competent and sensitive leaders, but the raucous, blatant,
stupid noises of poorly-manned bands, whose chief asset
is a villainous "director," or a tin-throated tenor with cast-
iron lungs.

The hig'h-grade syncopating ensembles will quickly
enough be featured by one of the radio companies or ad-
vertisers of national importance ; the second raters will
have to confine themselves to the small hotels and cabaret
enterprises which provide expense money for them, while
they give their services gratis to the smaller broadcasting
stations. And, if they are not to be wiped off the slate
of radio through natural means, then a form of censor-
ship must be set up to save our tortured ears from their
continued and cacophonous assaults.

An instrument ultimately may be devised to measure
purity of tone, balance, finesse, and perhaps even that
elusive quality, "radio personality." With this miracle
performed, whoever and whatever does not come up to
a certain standard will be dropped. The unkind critic
will doubtless add that they should be dropped from the

air

. and from a great height.

DECEMBER, 19 2 9

MISHK1X

Returns From Opera Triumphs Abroad

Irma de Baun, Coloratura Soprano, Enjoyed Sensational Success in Eur of e

T^HIS singer, who is well known to the radio audience here,
-*- recently returned to the air on the "Evening in Paris" pro-
gram over Station WABC at 9:30 every Monday evening. While
in Italy she sang the roles of Gilda in Rigoletto, Lucia in Lucia di
Lammermoor, Rosina in The Barber of Seville and Micaela in
Carmen. Appearing at Turin, Milan, Gorizia and Venice, she

was accorded a great ovation at every performance. She received
other offers of engagements sufficient to keep her abroad all win-
ter, but previous contractual obligations in America prevented her
from accepting these. Her operatic contracts for the coming win-
ter and spring include appearances in Havana and Buenos Aires.
She also is booked solid for Italy next summer.

RADIO REV U E

Eadic in the Home

•

Edited by Mrs. Julian Heath

Pioneer Broadcaster of Market Reports and Daily Menus

%^SSSSSSS%

\s\\\\s\ss\\\\\\sssssss%sxs^\\\%%\\\\sssss\\s\\\s

Hello, Neighbors!

After my five years' daily contact with you over Station
VVJZ, my many years' service as president of the National
Housewives' League and now with the added contact af-
forded by this new magazine, I feel that the time has
come for a "merger" of the home executives, the house-
wives.

I want you to help me in my capacity as editor of this
special home department, so that this may be our page —
not mine alone. Our business of home-making is the big-
gest business in the world. Indeed, it is the center of all
business. We buy what the world produces. We must
buy properly — and we must use properly that which we
buy.

Each American home represents an individual business
and should be organized just like any other business. This
we can accomplish by means of our daily radio contact
and this printed page, through the medium of which you
can "talk back," as your letters indicate you would like
to do.

It is because we are neighbors that this home page will
be a neighborly page — just a place to exchange ideas and
thoughts, and to discuss any home problems. You doubt-
less have many problems that present themselves in the
housing, clothing, feeding and educating of your family.
These we will discuss and attempt to solve together.

^ >K ^

Broadcasting studios are extremely interesting places,
and the radio artists are likewise charming, intelligent peo-
ple. They all have their human side, in addition to the
artistic, and they all appreciate the good things of life.

One day, not long ago, Joseph Latham (you know, he
took the part of Peter Philbin, the boy who ran away
and went to sea with the Forty Fathom Fish crew) said
to me :

"Mrs. Heath, may I have that recipe for cheese cake
that I heard you give over the air the other day?"

"Surely," I said, and the next day I handed it to him.
A day or two later he reported, with shining eyes, that the
cheese cake had been "fine."

The story does not end there, however. Some weeks
later I was sitting in the NBC reception room when a
charming lady introduced herself to me. She proved to be
Mrs. Latham. Thanking me for the recipe, she said :
"I just wish you could have seen how thoroughly Mr.
Latham enjoyed the cheese cake, and how he hung around
the kitchen and watched me make it." Here is the recipe :

CHEESE CAKE
We will divide this recipe into two parts, the pastry and the
filling. The pastry calls for:

1 cup flour

l/z cup sugar (scant)

x/z teaspoon baking powder

1 tablespoon butter

1 unbeaten egg

2 tablespoons water
Proceed as follows:

Sift together the flour, baking powder and sugar. Then work
in with the finger tips one tablespoonful of butter. Then add
one unbeaten egg and two tablespoonfuls of water. Use a knife
to blend this all together. Then toss on a floured board and roll
one-quarter of an inch thick. This dough breaks easily. Patch
wherever needed with an extra piece of dough.
The cheese cake filling calls for:

1 pound pot cheese

J/4 cup melted butter (about 2 oz. )

% cup sugar

3 yolks of eggs

1 cup evaporated milk or cream

2 tablespoons corn starch (rounded)
r4 teaspoon lemon juice

2 teaspoons vanilla extract
5 drops almond extract
1/3 cup seedless raisins
Proceed as follows:

Mix together pot cheese and melted butter. Mix together the
sugar and egg yolks. Mix together the evaporated milk and the
corn starch. Blend all of these ingredients thoroughly. Then add
the lemon juice, vanilla extract, almond extract and the raisins.
Blend these ingredients well and then fold in the stiffly beaten
whites of the three eggs.

Butter a cake pan and line it 'with the cookie dough or pastry
as given. Pour in the mixture and then fold over the dough
which, of course, will be higher than the mixture in the pan.
This will make a sort of collar for the mixture.
Bake in a moderate oven 45 to 5 5 minutes.
^ % ^

Then there is Milton J. Cross's favorite dessert. One
day. back in the old West 42nd Street studios of WJZ,
Mr. Cross was putting my program on the air. That day
we were giving recipes for "Father's Favorites." It
struck me that this popular announcer might have a fa-
vorite sweet, so I asked him what dessert he liked best.

"Toasted cocoanut pie," was his immediate answer.
And. as Mr. Cross's pie is a staple in our radio circle, I
am giving it here.

TOASTED COCOANUT PIE
The ingredients are:

1 small box cocoanut

2 eggs

% cup sugar

1 pint milk

2 level tablespoons corn starch
Proceed as follows:

Put the milk on a slow fire to ■warm, adding sugar. Separate
the eggs, dissolve the corn starch in cold water and add beaten
yolks and salt. Stir into milk, cook until thick and then stir in
three-quarters of the cocoanut. Bake the pie crust and pour this
mixture into the shell. Cover with stiffly beaten whites of eggs, to
■which two tablespoons of powdered sugar have been added. Sprin-
kle with rest of cocoanut and brown in a quick oven.
* * *

Further evidence of the fact that radio artists appre-
ciate good things came to light the other day when Frank
Croxton, the NBC basso, stopped me and asked :
(Continued on page 45)

DECEMBER, 19 2 9

HUMPTY-DUMPTY SAT ON A WALL...

You remember the grief
and consternation which
ensued later, when

"All the king's horses and

all the kin^s men
Couldn't put Humpty-Dumpty

together again."

\A/ HAT a tragedy, if all the eggs in the world suddenly
disappeared — forever! No more omelets, no "ham
and — ", no cake-baking, no egg-batter for frying, no egg-nogs
for invalids. In a flash, a thousand and one uses for eggs would
race frantically through the mind of every disconsolate house-
wife.

And yet — because eggs are seldom advertised — there is
perhaps no food product so little understood. Certainly there
is no food product about which knowledge would prove more
valuable to you.

Here, from month to month, will be unfolded a "serial story"
of eggs, wherein will be set forth much to interest, and more
to surprise you. "My goodness," you'll say as you read, "I
never knew there was so much to an egg."

There is. Good eggs don't "just happen."

A trip is planned for January — on the magic carpet of
imagination — to a paradise of the poultry kingdom, the land of
perpetual spring.

RADIO REV U E

She Loves a Loud Speaker

•©£"OTMA-BE"ATPlCE-BPAIMAPD-

HP HIS lady, Bertha Brainard, is familiarly known in the
*- XBC studios as "B. B.", Eastern Program Director.
Bertha is a most valuable scout for she is always rescuing
someone from some difficulty or other, or saving some-
body from something. She has a singularly good-looking
office at 711 Fifth Avenue, in which the furnishings and
decorations express her good taste. This includes the
lamp shown above which moves at her will. On her floor
— the 12th — there is the Shipwrecked Sailors' Club, to
each member of which Bertha has lent a helping hand in
moments of dire distress. Of this club, Bertha is Com-
modore.

In response to a barrage of impertinent questions, the
Eastern Program Director announces that her full name
is Bertha Beatrice Brainard, and her place of origin South
Orange, N. J. Her entry into the radio world dates back
to 1921 with Station WJZ. which was then at Newark.
Her spare time — if and when she gets any — is occupied
with swimming, dancing, riding and drinking tea. She
does not collect anything except friends. Being a Titian,
she does not know why Gentlemen Prefer Blondes.

Bertha Brainard is the only person living who really
loves a loud speaker — that is, a radio loud speaker. The
louder the speaker, the better she likes it, she says, and a
specially-devised sleep destroyer is now being designed
by the XBC engineers for her exclusive benefit.

The bird-like gentleman on her desk is Nemo, the
match-man. The space not occupied by Nemo is usually
covered with flowers.

Philco Hour Presents Favorite Light Operas

(Continued from page 20)

Harold is widely known for his workmanlike orches-
trations and his compositions. He wrote the music for
our signature song, "Mem'ries," and I furnished the
lyrics. He is affectionately called "Harold the Six-
teenth" because, in rehearsing the singers, he is exceed-
ingly particular that they give the exact valuation of each
sixteenth-note. Harold prefers riding on a locomotive
to any other form of recreation. He says that, if he had
not become a musician, he certainly would have been an
engineer.

Telegrams, telephone calls, fan mail and occasionally
flowers for the prima donna continue to make the Philco
artists happy in their work. Sometimes a letter is re-
ceived from some shut-in far out West, and often a tele
gram arrives from some "man of mystery," who has
become enamored with Miss Dragonette's voice. Re-
peatedly the story comes to us — and some editor seeks to
verify it — that Jessica and Colin are engaged. However.
Kitty O'Neill is always on hand, so we just cannot satisfy
this attempt to have real romance run rife in the Philco
crowd.

The Joseph Hilton & Sons concern is sponsoring a new
radio feature at WOR, as is also Fioret, Inc., 677 Fifth
Avenue, New York.

Dale Wimbrow Whittles —

(Continued from page 16)

popular. However, after the audition, it was decided to
change the entire presentation.

"We finally went on the air, using Gus Haenschen's
orchestra, Virginia Rea, the soprano who is now so widely
known as Olive Palmer ; Douglas Stanbury, baritone of
Roxy's Gang, and myself. In those days WJZ was not
selling its time on the air. It donated the time to respon-
sible organizations that would agree to pay for all of the
talent used.

"Well, that line-up of talent cost exactly $575. includ-
ing the orchestra. It could not be duplicated today for
man_\- times that amount. However, the folks back home
thought that $575 a week was an unusually heavy expen-
diture for advertising, particularly in view of the fact that
they did not sell 40 or 50 farms immediately after the
first broadcast. And so they discontinued the program
after five performances.

"As time went on, however, they saw their mistake. A
year later they tried to go back on the air but, in the in-
terim, radio had made tremendous strides and WJZ was
then selling its time at about $600 an hour, I believe. In
addition to that amount, they would have to pay the cost of
the talent.

Still Receiving Reactions

"The strange part of it is that, to this day, they are
still receiving reactions from their five-week broadcast
and people are writing to ask them if they are going on
the air again. They have reached the point where they
would be willing to spend SI, 500 a week for an hour's

DECEMBER, 19 2 9

program similar to the one they originally broadcast, but
such a program today would cost them approximately
39,000 for the same talent and coverage they had then.

"In those days WJZ's powerful transmitter covered a
tremendous area and there was not as much interference
from other stations as there is now. In order to cover
the same territory today, an advertiser would be com-
pelled to buy a chain of stations. Such is life."

With a few deft motions. Dale put the finishing touches
on the walking stick and then closed his knife. The com-
pletion of his whittling seemingly ended the mood for
reminiscences and he hurried away to present the stick
to its new owner.

"Go Rest, Young Man, Go Rest'

Radio in the Home

(Continued from page 42)

"'Did you ever tell your radio audience about eggplant
with tomato sauce ?"

"No, I don't believe I have," I replied. "Tell me
about it."

"Well," he said, "my mother prepares the eggplant in
the usual way for frying, by pressing out the water under
the weight of a flatiron. Then she fries it and. when
serving, pours over it a thick cream tomato soup." The
way his eyes glistened when he told me about it was mute
testimony of how good it tasted.

While he was talking to me, a number of other artists
were listening and each one was ready to tell me something
that he thought would far surpass the eggplant with
tomato sauce. I'll let you know more about their ideas
later.

Then, too, many of the women artistes are good house-
wives. I know that they will have a number of interesting
tninsrs to tell also.

1o£|NWlLW°OD MIS' WoQB)

-Vice. PP5£it>eioT Hf.-ooNo.t- 9<Joao Cftsriwe CWoau*

Policeman a Radio Fan

Traffic Policeman Geiger, six feet and some
inches of regal and legal magnificence, who func-
tions most admirably at Fifth Avenue and 5 5th
Street, is by origin a Boer. Dr. Theophil Wendt,
the South African conductor-composer, often a
guest at the NBC, knew him in South Africa
twenty years ago, when he was fighting as a
good South African against the British King.

Dr. Wendt fought on the other side— with the
British — in the Cape Mounted Police. Dr. Wendt
said he always had admired the refusal of the
Boer to pledge allegiance to the King, against
the dictates of his conscience. The Doctor and
the Boer have remained good friends.

Officer Geiger has a comfortable home, which
is "open house" to all his friends, particularly
those from South Africa. He has found happi-
ness in the good old U. S. A. and has managed to
retain most of his British friends, Boer or no
Boer, war or no war.

Officer Geiger occasionally calls on the engi-
neering department of the NBC for advice on
technical radio matters, as he is an ardent radio
fan.

T TERE is the long awaited picture of John W. Elwood,
-*- -*- the youngest vice-president of the XBC. and general
supervisor of table entertainments. John is a pioneer in
the radio field, having served the General Electric Com-
pany with distinction, and also the Radio Corporation of
America since its inception. He has attended most of the
important radio conferences abroad that have dealt with
the present radio set-up and program exchanges. He is a
product of the Empire State, Ilion, N. Y., claiming him as
a native.

He is distinguished for never doing anything that he
can get anyone else to do. At this he is quite successful,
for he has a staff of willing helpers, who jump around at
his slightest wish. His motto has always been: "Go rest,
young man, go rest.''

His principal hobby, and one that comes before cooking
and entertaining his friends, is "Ginger." "Ginger" El-
wood is a diminutive but most important lady of four
Summers to whom Jolly Bill and Jane have dedicated
their children's programs, since Papa Elwood was the
originator of this astonishingly popular radio feature.
"Ginger" often takes a hand in the studio and "goes on
the air" as part of the "Jolly Bill and Jane" program.

RADIO REVUE

What Is the Secret of Rudy Vallee's Success?

(Continued from page 5)

that had been his since his early college days. His lucky
chance came with the opening in Greenwich Village of a
new night club, Don Dickerman's "Blue Horse." This
new club could not afford to engage a well-known band,
and so gave Rudy his chance. He assembled seven players,
christened them "The Connecticut Yankees" and pro-
ceeded to whip them into shape.

"Something different" had always been Rudy's ideal in
dance music and, as he says. "We worked, sweated and
cursed together until we got something different." One
evening some time later, Rudy sang a vocal chorus to one
of the dance numbers. The crowd liked it and applauded
wildly. That was the beginning of his singing career.

His first opportunity to make phonograph records was
with the Columbia Phonograph Co., but he and his band
are now recording with Victor. Later, he started broad-
casting and it was through this medium that he became a
national figure. He receives about two hundred letters
a day from his admirers. He reads as many of these as
he possibly can and answers some of them. He and his
"Connecticut Yankees" have appeared on the R-K-0
vaudeville circuit.

Recently he and his boys — he still has all the original
nembers of his band with him — went to Hollywood to ap-
pear in a talkie entitled "The Vagabond Lover," which
has just been released by Radio Pictures. When he re-
turned to New York recently, Rudy received a great ova-
tion at Pennsylvania Station. He posed for numberless
snapshots, along with his parents, Mr. and Mrs. Charles A.
Vallee, who had accompanied him to Hollywood, and
many others.

He then immediately started to work, following a sched-
ule that will keep him busy for eighteen hours a day. He
and his band have been appearing at the Brooklyn Para-
mount Theatre and they recently returned to the air on
the Fleischmann Sunshine Hour over the XBC network.
In addition, they will be heard in a series of programs
emanating from the Villa Vallee. Rudy's own exclusive
night club. It is understood that Rudy hopes soon to
make a tour of Europe.

Rudy has little cause to worry about the future. For
the coming year he has a half million dollars' worth of
contracts lined up. including Victor phonograph records,
talking pictures, vaudeville, night club and public appear-
ances, not to mention the income from various other
sources, such as writing popular songs, etc. Not an un-
pleasant prospect for a boy still in his twenties. As long
as Lady Luck continues to favor him as she has in the
past, Rudy need not worry about what the secret of his
success really is.

None of the evidence so far presented actually estab-
lishes the basic reason for Rudy's popularity. Could it
possibly be that he is an idol moulded of the crumbling
clay of American sentimentality?

Wanted: Air Personality!

(Continued from page 22)

nately, the sea air — or something else — had so affected his
vocal chords that, though he tried on two different occa-
sions to show the committee how great a gift was his
great gift, he was unable to raise his voice above a squeak.
On another occasion a cock-sure young man applied
for an audition and almost toppled the committee over
by announcing, in answer to the query as to what type
of voice he had, that he was a soprano. It was only a few
days later that a young lady appeared and proved equally
astonishing by saying that she was a baritone. The re-
sourceful clerk put her down as a mezzo-contralto and.
for all I know, she. is still going down.

Adds Radio Pioneer to Staff

So rapidly has the Majestic Theatre of the Air devel-
oped and so large have its program activities become, that
Wendell Hall, its director, has found it necessary to add
to his staff. Lee J. Seymour, one of radio's pioneers and
well known in the northwest, is Majestic's latest executive,
and has taken up his duties as business manager. Mr.
Seymour, born in South Dakota, has built up a large fol-
lowing with WCCO, the Columbia Broadcasting System's
outlet in Minneapolis, where he has been production man-
ager and official sports announcer for some time. To-
gether with Mr. Hall and Fred Smith, Mr. Seymour is
now at work planning Majestic's winter broadcasts.

What
Is Your
Opinion—

about RUDY VALLEE
and His Success ?

The Editors of RADIO REVUE will
pay Ten Dollars for the best letter on
this subject and Five Dollars for the
second choice. Write plainly and on
one side of the paper only. Address:

RADIO REVUE

Six Harrison Street, New York, N. Y.

DECEMBER, 19 2 9

Philadelphia Orchestra Broadcasts

(Continued from page 36)

temps, with its famous alternations of meter — bars of
5-16, 3-16. 7-16, 4-16) — and its delirious culmination as the
victim falls dead.'

It is the writer's humble opinion that there is nothing in
music, on the earth, or in the waters under the earth quite
like the Stravinsky score, and it would not surprise him
to learn that several listening victims fell dead at the ''de-
lirious culmination." At its close one felt the urge either
to fall over dead or to go somewhere and start a first-class
war.

There may be enjoyment somewhere in the musk, but
it is seriously to be considered whether ears attuned to
German and Italian forms can take up this altered form
and tempo without a little more notice. Perhaps Stra-
vinsky speaks in the language of our time and the genera-
tion now growing up. innocent of musical traditions, may
enjoy his pagan snortings. shouting, hissings and beatings,
but here are sensibilities and ears attuned to older meth-
ods, and we failed miserably, not to listen patiently, but
to understand anything.

We are ashamed to say that the only reaction we
achieved was a bloodthirsty desire to go home and beat a
Negro servant slowly to death. (Ritual of the Sacrifice!)
Fortunately for us, Mr. Stokowski had provided a seda-
tive exactly for this occasion.

The overture "La Grande Paque Russe" (The Russian
Easter; by Rimsky-Korsakow followed, based upon im-

THE BIG TEN

Best Selling Popular Songs of the Month

Singin' in the Rain

from Hollyzcood Revue.

Tiptoe Through the Tulips

from Gold Diggers of Broadzcay.

Painting the Clouds

from Gold Diggers of Broadzvay.

Am I Blue?

from On JJ'ith the Show.

Pagan Love Song

from The Pagan.

Lovable and Sweet

from Tlie Street Girl.

Song of the Nile

from The Drag.

Little by Little

from The Sophomore.

Sleepy Valley

from Tlie Rainbow Man.

10.

Love Me

pressions gathered near the Tikhvin Monastery and the
Russian Easter cathedral service. Here we have ecclesi-
astic motives of lofty inspiration, grand hymns of the
Russian church, great and reverent songs of the Resur-
rection, angelic choirs and trumpets, incense, innumerable
candles, and the chiming of triumphant bells.

This was music more familiar to ears in accord with the
older music, and it was the more acceptable after the
sketch of several high-powered locomotives tearing their
way through tin-roofed sheds which preceded it. The
murder instinct had left our soul.

But Mr. Stokowski must speak to us in the language
that is printed before him, as a duty to the times in which
we live, and it may be that the fault in not being able to
understand some of his messages is largely ours.

Westinghouse Program a New Idea

(Continued from page 23)
All these gentlemen labored nobly in a good cause.

Praise, too, is due Gladys Shaw Erskine, in the sketch
"The Black Knight," Florence Malone and Charles War-
burton, of the same episode ; Richard Gordon and Vir-
ginia Gardiner in "The Night Before They Sailed." In
writing praise of the finished and inspiring work of Miss
Gardiner, one is apt to become a little incoherent from
over-enthusiasm. If this writer meets that gentle lady
again, he will go mediaeval, hire a black horse and a suit
of shining, silver armor, and carry her off. And also a
bow to Ivan Firth, the herald with the resounding voice
. . . and to the mob.

Here were moments of real romance, a surging flood
of great music, imaginations allowed to play, musicians
and singers ably directed, gorgeous lighting (yes, right in
the radio studio), and a spirit of cooperation behind the
whole. Here indeed was the clash of steel and the noise
of battle before our eyes and ears, the burning of a town
with real red fire, gallant knights with braids of ribbon-
wound hair on their sword-hilts, fair ladies smiling down
upon them, urging them to greater deeds, and the songs
and dances of old France and old England. What if im-
maculate evening dress did supplant the glittering armor?
It was a brave show . . . and well done. Westinghouse.
... we salute vou. — W. P-M.

WHY, OH, WHY?

This is Station YOY broadcasting, in an honest
attempt to learn something.

Why do announcers wear loud golfing suits?

Why do the superdreadnoughts of opera com-
panies of the vintage of 1908 come to the air
announced as "famous stars"?

Why do impossible window cleaners and wait-
resses attend "auditions"?

Why do thousands of dollars find their way
into the pockets of so-called "great artists," who
have failed on the road, while younger and much
better artists fail to get even a hearing?

And why is that pink woodwork stuck all
over the entrance hall of the Columbia Broad-
casting System's new home?

RAD1 O REV U E

Life Insura

Herbert L. Westfall

Special Agent

99 Warren Street

New York City

Suite 122

'Phone— BARclay 7169

Main Street Sketches Set Record

(Continued from page 11)
Angeles to Daytona Beach, Fla.

Leonard went to Xew York next, but could find nothing
to do there, so he hurried back to the Pacific Coast. Back
in Los Angeles, he got a job as an extra with the old
Kaleni Motion Picture Company and worked with them
and also with the Vitagraph, 101 Bison, Fox, Essanay and
Triangle companies for three years.

In 1914 he enlisted in the Canadian Engineers in Van-
couver and was immediately sent to France. In a short
while he was transferred to the Royal Flying Corps. He
was wounded in battle at Liege, where he had gone to
school, and was sent to a hospital in Greenwich. England,
to recuperate. When he was stronger, he was sent to
Arizona, where he entirely regained his health.

Leonard then went back to shipbuilding. After a few
weeks on the job, a huge bilge fell on him and he was
sent back to the hospital. When he was discharged this
time, he went to Arizona and started to work in the cop-
per mines. After two days on the job he was buried for
72 hours in the cave-in of a shaft that was 1.475 feet un-
derground. And so he was carried to the hospital again.

Shortly afterward he became a travelling salesman, sell-
ing automobile accessories and electrical appliances. How-
ever, he soon tired of this. His next venture was auto-
mobile racing, trying to beat the Overland Express in
high-powered racing cars.

He again set out for Xew Yorl
ton as a salesman for radio sets. He travelled throughout
the southern states and settled in St. Petersburg, Fla., for
a while. Later he became radio editor for the St. Augus-
tine News. Next he opened a radio shop on board a mo-
torboat, with which he travelled from one river town to
another, trying to interest people in radio.

After a few years he again went to Xew York, where
he got a job as part time announcer with Station WJZ.
Later he handled production work. He spent a year at
this post and then went to WABC, where he was made
studio director. This station was the laboratory in which
he worked out the first successful and unusual radio pro-
ductions; using sound effects to create the desired atmos-
phere. It was here that he originated "Nights at Tony
Pastor's." a program of vaudeville sketches reproduced
as they had been presented 40 years previous.

In December, 1027. Leonard joined the sales depart-
ment at WOR. Here, after he had created "Main Street
Sketches" and several other striking programs, he was
made program director. He is constantly striving for
new effects and is ever alert for original program ideas,
but the "Main Street Sketches' remain his particular pet.

but wound up in Bos-

"Behind the Mike" on Palmolive Hour

(Continued from page 29)
holds his arm up in warning for several seconds, and then
with a throw of a switch drops his arm. Another gnu
lightens his face as he releases the audience from its bond
of silence with the cheerful call: "Party's over!"

W h at 1 1 a laxative

lor loveliness P

IT may seem strange to you — bring-
ing this word "laxative" into a dis-
cussion of beauty! And — what, pray,
has a laxative to do with creams and
lotions, with fair complexions and
young and supple skins?

It has a great deal to do with them !
It is almost all- important! For, unless
you keep clean internally, your skin is
bound to suffer, and will always lack
the clear, fresh bloom which every
woman wants!

Those tiny blemishes which baffle
the cleverest cosmetics can be defeated by
Sal Hepatica! Women who know the
saline method, who use salines as the

family laxative, know how quickly they
purify the bloodstream and bring new
color and translucence to the cheek.

In Europe, the wonderful saline
springs have for years been thronged
with men and women sent there by
their physicians to drink the saline
waters for the sake of their complexions
and their health.

ual Hepatica is the American equiva-
lent of these saline springs. It rids the
body of poisons and acidities. That is
why its use is a great relief for head-
aches, colds, rheumatism, auto-intoxi-
cation, constipation, indigestion, com-

Jsjal |-|cpatica

plexion disorders and many other ills.

Sal Hepatica, taken before breakfast,
is speedy in its action. Rarely, indeed,
does it fail to act within thirty minutes.

Get a bottle today. Whenever con-
stipation threatens your complexion
with blemishes and "broken out" spots,
take Sal Hepatica. And send now the
coupon for the booklet which tells in
detail how Sal Hepatica keeps your skin
fresh and free from blemishes and how
it relieves many common family ills.

Bristol-Myers Co.,Dept.RR- 129,71 West St. ,N.Y.
Kindly send me the Free Booklet that explains
more fully the many benefits of Sil Hepatica.

Name

Streets

City-

State-

l/imniiiMfwm

flL RADIO //TUBES>

Be guided by a name that has meant absolute tube integrity for the past
fourteen years. -:- The name is Cunningham — choice of the American home.

E. T. CUNNINGHAM, Inc.

NEW YORK CHICAGO SAN FRANCISCO DALLAS ATLANTA

Manufactured and sold under rights, patents and inventions owned and or controlled By Radio Corporation of America

RADIO
REVUE '4*-

\forth

DLIVE SHEA

)'s Queen of Beauty
WABC

In This Issue:

All About

the

"Original

Radio Girl"

Prize Letters

Rudy Vallee

Contest

Slumber Hour

Changes Habits

of Listeners

Lucrezia Bori

tells Why she

Likes Radio

And
Other Features

January
1930

<^f num uou mia/it to y read

The Tragedy of Neglected Gums

Cast of Characters :
Your Dentist and You

you: "My gums are responsible for this
visit, doctor. I'm anxious about them."

d.d.s. ."What's the matter?"

you: "Well, sometimes they're tender when
I brush my teeth. And once in a while they
bleed a little. But my teeth seem to be all
right. Just how' serious is a thing like thisl"

d.d.s. :"Probably nothing to bother
about, with a healthy mouth like
yours. But, just the same, I've seen
people with white and flawless teeth
get into serious trouble with their
gums."

you: "That's ii-hat worries me. Pyorrhea
— gingivitis — trench mouth — all those hor-
rible-sounding things'. Just a month ago a
friend of mine had to have seven teeth
pulled out.

d.d.s.: "Yes, such things can happen.
Not long ago a patient came to me
%vith badly inflamed gums. I x-rayed
them and found the infection had spread
so far that eight teeth had to go. Some
of them were perfectly sound teeth,
too."

you: QAfter a pause) "I was reading a
dentifrice advertisement . . . about food.

d.d.s. : ' 'Soft food? Yes, that's to blame
for most of the trouble. You see, our
gums get no exercise from the soft,
creamy foods we eat. Circulation lags
and weak spots develop on the gum
walls. That's how these troubles begin.
If you lived on rough, coarse fare your
gums would hardly need attention."

you : "But, doctor, I can't take up a diet of

BRISTOL-MYERS CO., Dept. RR-129
73 West Screet, New York, N. Y.

Kindly send me a trial tube of IPANA TOOTH
PASTE. Enclosed is a two-cent stamp to cover
partly the cost of packing and mailing.

Name . .
Address -
City ....

Slaii

raw roots and hardtack. People would
think I'd suddenly gone mad."

d.d.s.: "No need to change your diet.
But you can give your gums the stimu-
lation they need. Massage or brush
them twice a day wrhen you brush
your teeth. And one other suggestion:
use Ipana Tooth Paste. It's a scientific,
modern dentifrice, and it contains
special ingredients that stimulate the
gums and help prevent infection."

L.n imaginary dialog? An imaginary
"you"? Admittedly, but the action is
real. It is drawn from life — from real
tragedies and near-tragedies enacted
every day in every city of the land!

Don't wait for "pink tooth brush"
to appear before you start with Ipana.
The coupon brings you a sample which
will quickly prove Ipana's pleasant
taste and cleaning power.

ssr; ^s-s^a-s-s-a-s-T^s-^-r^r s •^s---? »>^«»

©GIB &9770

RADIO CEVLC

FOR THE LISTENER

Volume I Number 2 January, 1930

CONTENTS

On the Cover: Olive Shea, Actress, WABC By Jack F. Tester

Vaughn de Leath, the "Original Radio Girl" By Gaspano Ricca 2

Oscar Writes Margy all about the "Original Radio Girl" By P. H. W. Dixon 3

Outlook for Radio in 193 0 Highly Promising By William S. Paley 5

Famous Radio Couples (Photographs) 6

Ohio Soprano and Georgia Tenor Win Atwater Kent Auditions 7

1929 the Greatest Year in the History of Radio By Merlin H. Aylesworth 8

Radio Gives Dan Cupid a Helping Hand By Allen Hagliuui 10

Consider the Actor: Every Show a First Night on Radio By Herbert Devins 11

Achieves Stardom in Few Months (Photograph) 13

Slumber Hour is Changing Habits of Listeners 14

Moonlight Sonata By Alice Rem sen 1 5

Mr. Fussy Fan Admits that He is a "High Brow" By Fussy Fan 16

Radio Boasts Own Dramatic Star (Photograph) 19

Browne and His Banjo Moulded Career Together By Robert Taplingcr 20

Metropolitan Star Puts Stamp of Approval on Radio . . By Willie Perceval-Monger 21

Merle Johnston Succeeds by Virtue of his "Sax" Appeal By Jeanette Barnes 23

Will Radio Wonders Never Cease? By I. B. Hansom 24

Maid for any Mood (Photographs) 2 5

A VALLEEdictory By Dale Wimbrow 2 6

Mere Man Wins First Prize in Rudy Vallee Contest 27

Static from the Studios 28

Radio Gave Gypsy Violinist Chance to Become Famous By Bruce Gray 29

Turned to Singing After Accident (Photograph) 3 1

America's Radio Programs Lack Variety and Imagination . By Julius Matt f eld 3 3

Editorials: RADIO REVUE Thanks You; The Theatre of Illusion; Put an End

to This Panic 34

Ether Etchings 3 5

Program Notes 37

Colorful Russian Soprano is "La Palina" (Photograph) 3 8

Listeners' Forum 39

Radio in the Home (Edited by Mrs. Julian Heath) 40

Bruce Gray, Editor
Contributing Editors:

Allen Haglund H. Raymond Preston

Mrs. Julian Heath Walter H. Preston

Willie Perceval-Monger K. Trenholm

Published monthly by RADIO REVUE, INC., Six Harrison Street, New York, N. Y., H. Raymond Preston, President; Benjamin
F. Rowland, Vice-President; Walter H. Preston, Secretary and Treasurer; George Q. Burkett, Advertising Manager. Manuscripts
and photographs submitted for publication must be accompanied by sufficient postage if their return is desired. Advertisiny
rates will be gladly furnished upon application. Copyright, 1930, by Radio Revue, Inc. All rights reserved. Printed in U. S. A.

Subscription Prices: United States, $2; Canada, $2.50; Foreign, $3; Single Copies, 25c

RADIO REVUE

Vaughn de Leath, the "Original Radio Girl

JANUARY, 19 3 0

Oscar Writes Margy

all about the

"Original
Radio Girl

As Rescued from the Waste Basket
By P. H. W. DIXON

DEAR MARGY:—
Well, Margy, here I am in the big city and in
the radio business and am making good in a great
big way. Now, Margy, don't say I'm forgetting all my
friends back in Yoakum just because I'm a city man, but
honest, baby, I've been so busy I haven't had any time at
all. I've been getting fitted into my new uniform, as all the
page boys at the NBC wear uniforms and look pretty slick.

I'll never forget that night we parted, Margy. Never.
Though it may be forever. And to show you that I
haven't forgotten even the unimportant things you said
— even that joke about not to take any wooden nickels —
I have been doing some sleuthing and have got the whole
life history of Vaughn de Leath that sings exclusively
over our networks.

Naturally, Margy, in my new position of page at the
NBC I come in intimate contact with a lot of celebrities
— I bought Graham McNamee a pack of gum the other
day — and I'm getting sort of used to them. But even I
got a thrill when I met Vaughn de
Leath. Of course, it was a sort of
informal meeting. She was in a
studio rehearsing with Hugo Mariani
— you ought to meet Hugo, Margy,
he's got whiskers just like the Green-
wich Village artist like we saw in
that movie "The Bohemian Love
Song" — and someone called her on
the phone and Miss Campbell, who
was hostess on duty, sent me in to
get her. So I walked right up to her
and said:

"Pardon me, Miss de Leath, but
you are wanted on the phone."'

She Gave Me a Big Smile

And she said it must be Presi-
dent Hoover or somebody, but it
wasn't because I heard her call the

I've been getting fitted into my new
uniform

person Gladys. But,
as I was going to
say, she looked at
me and gave me a
great big smile and
said:

"You're a new
studio attashay

aren't you?" I told her I was and she said she was sure
we'd be friends. She's smiled at me five times since and
that was only two weeks ago.

But I was going to tell you that I found out all about
her. First she was born in Mount Pulaski, Illinois, which
is just a small town like Yoakum. But that's no handicap
because most people in New York who are important
come from small towns and she went to California with
her parents at an early age. I couldn't believe that, be-
cause she didn't even mention California when I met her,
but she really did. She had a musical education in Cali-
fornia and sang on the concert stage
out there.

Of course, though I haven't men-
tioned it, the real reason I came to
New York was in order to be a great
radio singer myself, but I don't
guess I started soon enough. Would
you believe it, Marge, Miss de Leath
started her career when she was
three years old back in Mount Pul-
aski. She sang in a home-town
minstrel show like the Yoakum
B. P. O. E. gives every year, when
she had just passed her third birth-
day. And there was a big write-up
in the Mount Pulaski News about
young singers showing great promise.
That was one time the newspaper
was right, Margy.

Even after she made the trip to
California and found everyone out

RADIO REVUE

there was more interested in how you screened and not
how you screamed (pretty good, hey?) she continued her
musical career. She wasn't out there long before she was
twelve years old and had organized and was conducting
an orchestra. And then she wrote a song called "Old
Glory, I Salute You."

Published Twenty Years Later

There's another lesson in that because she didn't find a
publisher for that song until about twenty years later.
But now it has been published and when I get to know
her better I'll send you an autographed copy. But she
wrote some other songs — when she was a little girl I mean
— and she sold one of them. I
know just how she felt — you
know, the emotion you get
when you first do something
important. I'll never forget
the time I sang a solo at the
public school graduation a few
years ago.

But I was telling you about
the Original Radio Girl. Af-
ter she'd got a musical educa-
tion she sang in some concerts
and then she decided to go
to New York and be a suc-
cess. Which she did. She
came east in 1919 and made
some phonograph records and
didn't attract much attention
because New Yorkers are kinda
down on Californians because
they're always talking abcuL
California sunshine and they
always pick a rainy day to
talk. But I gather she had a
pretty hard time of it and
they do say she lived for a
whole week on a can of cocoa
and has never felt the same
about cocoa since.

But about that time some-
body invented radio or broad-
casting or maybe both, and

Miss de Leath decided she would be a radio star. Which
she did. She went down to a building on Fortieth Street
— that's one of the important streets here — about as im-
portant as Congress Street is to Yoakum — and she climbed
up into the tower and there was a microphone and an ac-
cordion player, and Dr. De Forest said, "Well, it looks
like we're gonna broadcast," and Miss de Leath said, "Okay
by me" or something like that and with those simple
words she started singing and became the Original Radio
Girl. I forgot to tell you that was the first time a woman
had ever broadcast but they've been at it ever since. That
was ten years ago this month. And she has her first fan
letter she received about that time but not the dress she
wore. That proves it. I mean that proves she thinks
more about her public than her clothes, which is what a
great artist should do. I'm going to be like that, Margy,
as soon as I get my first fan letter.

Well, after Vaughn — I mean Miss de Leath — though I
always think of her as Vaughn, Margy, — but anyway,

She looked at me and gave me a great big smile.

after she had sort of started the custom of singing on the
radio, a lot of other people tried it and pretty soon it got
so you could buy radio sets on the installment plan or
the parts at the five-and-ten and radio became a great
industry.

Well, Miss de Leath after a while started to listen to
other women sing and she read a lot of smart cracks
about radio sopranos, so she decided after they'd worn
out the jokes about sopranos they'd get around to the
contraltos, which she was, so she invented a new style of
singing called crooning. Now you know, Margy, when
we listen to Vaughn de Leath back home you can hear
her in the kitchen if the speaker is turned up, but honestly,
Margy, you wouldn't believe it, but you can't hear her

in the studio when she sings.
Now I'm going to have to
get technical, Margy, and you
may not understand all this,
but the reason you can't hear
her in the studio, but can hear
her in Yoakum, is because of
technicalities. She sort of
gets awfully close to the mi-
crophone and sings in a low
voice to it, soft and sweet like,
and then they take that little
low voice and magnify it with
electricity and you have croon-
ing. She can sing in a loud
voice too and it is pretty swell
but the low voice is easier on
the tubes which cost money.
They do say that was the rea-
son she really invented croon-
ing in order to save tubes back
in the old days when they
didn't have many, but I think
she did it just to be different.

You'll probably be glad to
know that she's married,
Margy, — not that I had any
serious intentions or anything
because you are the only girl
in the world for me — but I
know you have been worrying
about me up here among all
these beautiful women, though you know I have a strong
character and will not be led astray by a Broadway butter-
fly. Now I don't mean Miss de Leath is a Broadway but-
terfly— because she isn't. She's very nice and doesn't
smoke and would rather go to the opera than to Texas
Guinan's if she was open, but I mean there are lots of
Broadway butterflies. But don't you worry — none of this
wild night life for me. I have my career to think of.

Many Frenchmen Propose

But I was going to tell you about Vaughn — I mean
Miss de Leath. Singing in the Voice of Firestone every
Monday night isn't the only thing she does. She makes
phonograph records and writes music and songs and makes
personal appearances. Her records are popular not only
in this country but in France, and every time a ship comes
in she gets letters from Frenchmen proposing marriage.
{Continued on page 45 )

JANUARY, 19 3 0

Outlook for Radio

1930

Highly
Promisin

By WILLIAM S. PALEY

President, Columbia Broadcasting System

WHEN I consider the outlook for radio in 193 0, my
reaction is one of real pride. My feeling of pride
particularly wells up when I think of the progress
made in radio broadcasting during the past year and of
the part my company has played in refining its programs.
"When I contemplate 193 0 I anticipate even greater prog-
ress than during 1929. I look forward to a happy and
prosperous New Year.

During 193 0, the Columbia Broadcasting System, will
present to audiences over its network, the country's fore-
most concert, operatic, stage and screen talent and the
most distinguished speaking talent on the radio, in addi-
tion to comprehensive programs of an educational nature.
Whereas Columbia's growth in coverage during 1929
brought us to a total of sixty-five stations, plans now
under way will provide for Columbia during 193 0 a net-
work that will reach practically every radio receiving set
in the United States, a large portion of Canada, Cuba,
Porto Rico and Mexico.

With the recent granting of a license for increased
power to WABC, key station of the Columbia network.

we shall put into operation, early in 193 0, our new plant
of 5 0,000 watts power.

During 1929, the Columbia Broadcasting System Farm
Community network was inaugurated under the direc-
tion of Henry A. Bellows. This network, emanating
from the center of the nation's great farm community,
already is an assured success. Its programs are devised
by leaders in agricultural life and, through the inter-
changeability of member stations, assures a lasting network
of importance to the great farm belt.

Columbia's headquarters organization has been amplified
during 1929 by the addition of department heads of wide
experience in their several fields. Their added efforts in
strengthening the Columbia Broadcasting System are now
beginning to bear fruit.

Columbia, on the whole, faces 1930, assured that its
growth during the ensuing year will be even greater than
in any year in its history.

RADIO REVUE

Famous Radio Couples

The "Two-Person
Revue" on the
Brown - bilt Hour,
CBS, is really a
family affair.

Kathleen and Gene
Lockhart (at left).
are — and it's not
actually a secret —
Mr. and Mrs. Lock-
hart.

JANUARY, 19 3 0

Ohio Soprano and Georgia Tenor
Win Atwater Kent Auditions

Both Singers Aspire to Concert Work
In Preference to Operatic Careers

MISS GENEVIEVE I. ROWE, 21 years old, of
Wooster, Ohio, has returned to her home. So
also has Edward A. Kane, 22, of Atlanta, Ga.

This fact, under ordinary circumstances, would be of
little interest outside their immediate circle of family and
friends. But Miss Rowe and Edward Kane aren't in ordi-
nary circumstances these days. They are the winners of
the National Radio Auditions, finals of which were held
in New York, Sunday night, December 15 th.

As such, they returned to their homes burdened with
honors, memories of gala
entertainment, t u i tions,
broadcasting contracts and
cash prizes. Returned to
the glory of the prophet
who brings honor on his
or her home town. Re-
turned to fresh honors
from their own people
that pale in magnificence
only before those they re-
ceived in the National
Capitol of Music — New
York.

Also, it might be noted,
they returned home to
prepare afresh for study in
the concert field, from
which both turned aside,
momentarily, for their ef-
forts in the auditions.

Grand opera holds little
charm for this year's radio
winners, both declared,
soon after they had re-
ceived their awards.

"I am interested only in the concert stage and it is in
this field that I will endeavor to carve a place for myself,"
they chorused almost as one when they received their
awards of $5,000 each at the conclusion of the audition
finals through the NBC system.

Both declared they had never had other than concert
ambitions, and that they would devote the two years of
study, furnished by the Atwater Kent Foundation as
part of the award, to furthering their early wishes.

"Unless the lure of the microphone proves too strong,"
Miss Rowe, who made her radio debut during the prelim-

inary auditions, declared, "I plan to remain entirely in
concert work."

Kane expressed himself as equally fascinated by broad-
casting. Both declared they got the biggest thrill of their
lives in the knowledge that they were singing through a
coast-to-coast network in the audition finals.

The youthful Georgian, "the big fellow with the strong
tenor voice," has been a vocal student since he was 17.
And Atlanta folks knew him long before he had even
thought of this year's auditions.

Long before he began
serious voice study, Kane
was regarded as a "boy
with a good voice."
Quartets were considered
incomplete unless he sang
the tenor and he was called
on often as soloist before
clubs and churches.

Active in College Glee
Club

During his student days
at Emory U n i v ersity,
young Kane was noted for
his activity on the college
glee club. It was there
that his voice drew atten-
tion of Atlanta's musical
people and launched him
on a career of serious
study.

For the past several
years the youth, who grad-
uated from the university
with an A. B. degree, has been soloist of the North Avenue
Presbyterian Church, in his home city. He is a son of
M. H. Kane, a banker.

Although he has no aversion to formal dress — in fact,
"rather likes it" — Kane was the only one of the five male
singers competing in the audition finals to appear in street
clothes.

"Gee, I feel rather out of place," he remarked just be-
fore he started singing his "Celeste Aida'' into the micro-
phone.

(Continued on page 46)

ting Checks to Winners.

RADIO REVUE

1929 the Greatest Year

in the

History

Radio

By MERLIN H. AYLESWORTH

President, National Broadcasting Company

WIDENING the horizons of broadcasting to the
point at which it is no longer visionary to think
of presenting programs to the whole world has
made 1929 the most significant year in the short history
of radio entertainment.

A year ago we felt that we had seen a notable advance
when the establishment of permanent trans-continental
networks made it possible to present to the whole nation a
program of entertainment or an import-ant event from
almost any point within the nation, on short notice.

This year we have made a beginning in international
broadcasting. The experiments of our engineers, working
with the engineers of European broadcasting companies,
have convinced us that it should be possible to exchange
programs across the Atlantic on a fairly regular schedule.
We are working at present with England, Holland and
Germany, and the coming year should see this work bear-
ing fruit in the
form of regularly
excha n g e d pro-
grams.

While we do not
now c o ntemplate
goi ng beyond
Europe for inter-
national programs,
it is quite possible
that our engineers
will find it practi-
cable to begin def-
inite experiments
with picking up
programs from the
other side of the
earth.

With each of Fanner Governor Smith before

Harris C> Euiug

Merlin H. Aylesworth

this year's programs from the other side of the Atlantic, a
definite improvement could be noted. The National
Broadcasting Company's first attempt of this nature was
on February 1. On that day our listeners heard an or-
chestra playing in Queen's Hall, London. Atmospherics
were.' bad but, when we rebroadcast the Thanksgiving ser-
vice for the recovery of King George, reception was im-
proved.

By the time we picked up the Schneider Cup Races on
September 7, the engineers had reached the point where
they could make every word heard,
and even allow our listeners to hear
the motors of the speeding planes.
Einstein's speech from Berlin on
October 21 was marred to some ex-
tent by static, but the special pro-
gram fcr America, broadcast from
Huizen, Holland, five days later,
came in as clearly as if it had come
by wire from a point in the United
States. Who can tell what advances
may be made next year?

The thrill of hearing voices and
music on the other side of the Atlan-
tic was but one phase of activity in
the greatest year of radio. For the
first time, the ceremonies incident to
the inauguration of a President of
the Mike the United States were carried

J ANU ARY , 19 3 0

throughout the nation by our networks. Half a dozen
radio reporters, including one in an airplane, covered the
story of Herbert Hoover's induction into office. For the
first time, a microphone was installed in the United States
Senate Chamber for broadcasting the oath of Vice-Presi-
dent Curtiss. Calvin Coolidge's farewell to public life was
broadcast from the train that carried him into retirement
in Northampton, not far from his early home.

B r o a dcasting
the inaugural was
only a part of
radio's reporting
of the govern-
mental and politi-
cal story of the
year. Most of the
cabinet members
of t h e Coolidge
and Hoover ad-
mi n i s t r ations
stepped b e f o re
microphon e s in
the NBC's New
York and Wash-
ington s t udios,
and a series of
programs entitled
"H a 1 f Hours

with the Senate" presented a large number of members of
that important body. A number of Representatives ap-
peared over the air, as did Bureau Chiefs and experts from
a large number of departments. Interpretations of Wash-
ington events were broadcast by David Lawrence, William
Hard and several others among the Capital's outstanding
newspaper correspondents.

A new schedule of religious broadcasting affords the
maximum variety of ser-
vice to our listeners. In
co-operation with the Fed-
eral Council of Churches
we are now presenting
five distinct series, each
with a specific work to
perform. The Jewish faith
is now represented on the
air with a new and more
elaborate religious pro-
gram. The Roman Cath-
olic Church has made use
of our facilities during the
year in connection with a
charity campaign, and it
is expected that this
church will inaugurate
radio r e 1 i gious services
after the first of the year.

In music, the country's
most distinguished con-
ductors, singers and in-
strumentalists have fea-
tured the year's entertain-
ment. Walter Damrosch

has inaugurated a three-year schedule of Music Apprecia-
tion concerts designed for the schools, and is heard each
week as conductor of a symphony program for adults. The

President Hoover Addresses the Nation

Wide World

Jack Dempsey Embarks as Boxing Promoter.

Graham McNamee (left) turns over the

Mike to Jack (right) at first bout latter

stas.es in Chicago Coliseum

Rochester and Cleveland Symphonies have been broadcast .
again, and Leopold Stokowski has brought the Philadelphia
Symphony orchestra to the microphone for the first time.

The Chicago Civic Opera Company's presentations are
being offered to the listeners this year on a sustaining
basis, and the Puccini operas are being broadcast for the
first time. An opera, "Ombre Russe", written by Cesare
Sodero, the conductor of our own National Grand Opera

Company, had its
premier over the
air, with a dis-
tinguished audi-
ence of critics
and m u s icians.
Sir Harry Lauder
made his micro-
phone debut,
John McCormack
returned to the
microphone after
an a b s e nee of
three years, and
practically every
opera and con-
cert star and al-
most every dis-
tinguished musi-
cian per formed
for the radio audience on nationwide networks.

Throughout the year there has been a multitude of not-
able events on the air. Let me cite a few as samples.
January brought such diverse diet as the welcome to Cap-
tain George Fried and the radio operators of the America
after their rescue of the crew of the Florida, President
Coolidge's budget speech, former Governor Smith's ad-
dress on January 16, the dedication of the Great Northern
Railroad's Cascade tunnel, and the first en-
durance flight broadcast, that of the Ques-
tion Mark.

In the next month, besides the Queen's
Hall broadcast, we had two speeches by
President Coolidge, Edison's birthday ad-
dress, the broadcast from a plane followed
by one from a tunnel under the East River,
the opening of "Half Hours with the Sen-
ate" and the Sharkey-Stribling boxing
match from Miami.

In March, after we had done the inaug-
ural, we broadcast a talk by Captain Sir
George Hubert Wilkins, the Antarctic
flier, the motorboat race between Commo-
dore Gar Wood and Major H. O. D. Sea-
grave off Miami, and the Mickey Walker-
Tommy Loughran fight in Chicago.

April saw the opening of the Universal

Safety Series, a campaign to reduce accident

casualties, Governor Roosevelt's address to

the State Economic Congress, addresses by

President Hoover, the award of the medal of

the American Academy of Arts and Letters

for good diction on the radio to Milton J.

Cross, and the opening of the baseball season.

Former Vice President Dawes was heard in May, and

President Hoover spoke again. The Army air maneuvers

(Continued on page 48)

RADIO REVUE

Radio Gives Dan Cupid
a Helping Hand

By ALLEN HAGLUND

AS every little boy and girl knows, it's love that
makes the world go 'round. Next to food and drink,
love is really the most important thing. Some will
even argue that it comes before food and — well, it all
depends on the drink.

But love, however primal and powerful an urge, must
have a vehicle, must have those little encourage-
ments that tend to get a thing started — whether it is a
stock panic, a bad cold or, as in this case, an af-
fair of the heart. And radio, that great new Ameri-
can institution, can rightfully claim that it has done
its part in furnishing impetus to keep the parsons busy
and the Lohengrin wedding march a popular tune. As a
matter of fact, when you come down to it, radio is one of
the best little aids to courtship that Old Dame Nature and

her special agent, Dan
Cupid, ever had.

At this point some per-
verse and argumentative
soul, with a pocketful of
statistics, may step up and
say that the figures on
marriages show that the
custom of joining in holy
matrimony is dying out,
that the boys and girls
think it too old-fashioned

or expensive, or something. He may pull out one of his
deadly graphs on me and try to show that, although radio
has been popular for the past six or seven years, the curve
indicates that marriages continue to drop off.

But will I be nonplussed? Will I bow down before his
silly old graph, admit the fallacy of my statements and
cease writing this splendid article? On the contrary; with
unerring strategy, I shall concede his major premise that,
as his curve indicates, marriages are less frequent; then,
continuing with my article, I shall go on to prove, to his
utter demolition, that marriages would have been still less
frequent, had it not been for the coming of that great new
life-moulding influence, radio.

Remember the Early Days?

Remember the early days of radio, when
crystal sets and earphones were the latest
thing? There were deadly instruments for
you! Of a Wednesday evening a fellow would
get a shave, a shine and a dash of Keepcomb,
and drop in to see little Penelope — just a
friendly call, you know, with maybe a kiss or
two as the evening waxed.

But there was Penelope with a brand new
crystal receiver, and no help for it but to get
together and jiggle the cat's whisker to bring
in a station or two. With heads touching and
only one earphone where two might well have
been, it wasn't very long before the tingle of
her hair on his cheek made him tell her, to the
tune of a throbbing fox trot in his ear, how
very much he cared, and Dan Cupid, the vic-
tory won, sang a paean of praise to the fair
(Continued on page 42)

JANUARY, 19 3 0

on Radio

By HERBERT DEVINS

CONSIDER the actor.
He needs consideration — in radio. The lowliest
trouper on the three-a-day dreams some day to see
his name in electric lights on Broadway. This is some-
thing tangible and real: the flashing lights that spell his
name can be looked at and remembered.

But then his radio struggle is just beginning. The
climax of his stage career is just the starting signal for
offers from the radio studios. And this way leads to
despair.

For here there are no blinding lights to remind the
audience who plays the part. Just a simple announce-
ment of the actor's name, slid gently through a gleam-
ing disc to disappear forever into the blackness of the
night — like trying to write his name in water, or the
forgetful sand.

Consider the actor's plight. He hopes to win a nation-
wide audience with only one performance — and every per-
formance is a "first night" on radio. There are no runs
and no printed programs to be taken home for remem-
brance. The show does not go on before packed houses
brought there by the en-
thusiasm of previous audi-
ences. Just one brief hour
or less in a single evening
that is crowded with other
features, all clamoring for
a chance to impress their
own particular message up-
on the listener's memory and
few actually doing so.

And yet consider the
actor's hope. He knows
that this same forgetful
microphone is the avenue
to greater audiences in a
single night than can be
crowded into a Broadway
playhouse in a year's suc-
cessful run. Harvey Hays

Consider the Actor :

Every Show a

First Night

The Famous Balcony Scene from "Romeo and

Julie f as played recently over the air by Eva

Le Galliennc and Donald Cameron

No wonder he thirsts for just the chance to try his
skill in winning this wayward host of slipper-clad, com-
fortable stay-at-homes. They're all human, he knows,
and subject to the same emotions at their firesides that
they experience in any theater. Perhaps he may be able
to touch the secret spring that enables his voice to wring
their hearts.

And if he wins — what need then of electric lights down
a side street off Broadway? Then the greatest audience
in the world will be his — and ten million Americans can't
be wrong.

Every actor feels that no one yet has realized the full
possibilities of radio. There have been several major
triumphs, it is true, but even the heroes and heroines of
these shiver to think of their fate had they not earned
the right to follow up their advantage in further broad-
casts.

Shipwreck Tale Enjoyed

Already the dramatic studios of the NBC in New York
have their legends of signal triumphs. Perhaps the great-
est of these was scored by one who is not even an actor
— "Red" Christiansen, the hero of the famous Galapagos
broadcast, which radio listeners demand to hear repeated
at least once every year. He was the sole survivor of a
shipwreck on the Galapagos Islands, and recreates his
Robinson Crusoe adventures in intensely dramatic style.

Another ray of hope to the despairing radio actor is
the success of Rosaline Greene, Eveready's leading lady,

RADIO REVUE

who recently repeated her famous radio portrayal of the
historic "Joan of Arc."

Few Real Air Personalities

Besides these, there are only a few really outstanding
air personalities, who can be numbered almost on any one's
two hands. There are only a few who have really suc-
ceeded in carving their names in the ether, so to speak.
Harvey Hays, Pedro de Cordoba, Frank Moulan, Charles
"Webster, Arthur Allen, Alfred Shirley, Loren Raker,
Helene Handin, Marcella Shields, Florence Malone and
Virginia Gardiner head the list.

A few more, of course, have succeeded in varying de-
grees in the difficult task of making their voices alone
present a vivid personality through millions of loudspeakers
from coast to coast. These are the ones with little black
stars after their names in the "theatrical bible of the air,"
the radio who's who, under
lock and key in the casting
offices of the NBC.

There are five black books
of them already, these clas-
sified lists of eligible actors
for parts in radio dramati-
zations. Practically all the
important names of the
American theater are there,
with a condensed report of
their auditions, and a sum-
mary of their stage records.
That's why they're kept
under padlock, to protect
the findings of radio cast-
ing directors who listened
critically to trial broadcasts
that got only as far as the
audition chambers — just be-
yond a soundproof glass
window, usually.

None of these "perfect
radio voices" was acquired
by accident. They were de-
veloped through gruelling
years in the theater, by
learning every trick of in-
flection and modulation
which might help to in-
tensify the emotions evoked by the lines.

Fifteen years ago this same Harvey Hays was on the
stage, winning stardom in such outstanding hits as "Lord
and Lady Algy," in which he appeared with Maxine
Elliott and William Faversham; in "Romeo and Juliet"
with Ethel Barrymore, and with Tyrone Power in "The
Servant in the House."

On Radio While on Broadway

Pedro de Cordoba, heard weekly as the narrator of the
Westinghouse Salute, kept his Broadway appearances run-
ning concurrently with his radio performances. He was
with Jane Cowl in "The Road to Rome" and more re-
cently in "See Naples and Die," by Elmer Rice, who also
wrote the Pulitzer prize play, "Street Scene."

One actor, who is heard in broadcasts of NBC light

Sf^i

opera and productions of the Radio Guild, played with
both Sarah Bernhardt and Walter Hampden. His name
is Ted Gibson, and he also played the lead in that great
Broadway hit, "Turn to the Right." Before that he
played in works of Anne Nichols, of "Abie's Irish Rose"
fame.

Charles Webster, who created for the radio such char-
acters as Cyrano de Bergerac and Beau Brummel, has also
repeated the role he created on Broadway, that of Halmer
in Ibsen's "Doll's House." He continues to distinguish
himself with the Radio Guild, NBC's laboratory of classic
radio drama, directed by Vernon Radcliffe.

Regular members of the cast for Radio Guild produc-
tions include such noted footlight artists as Charles War-
burton, distinguished Shakesperian actor who headed his
own company abroad; Josephine Hull from the Theater
Guild; Peggy Allenby, former star of "Among the
Married;" Alma Kruger, from Eva le Gallienne's company,

the Civic Repertory; Etien-
^ * ne Girardot, Frohman star

who created the lead in

"Charley's Aunt" — but

why go on?

i i },:■.

Rosaline Greene and Alfred Shirley in a Scene from
"Famous Loves"

Face New Problem

They're faced with an
entirely different problem
now. Not that they're all
discouraged. Harry Neville,
who is the Dudley Digges
of the air, says he thor-
oughly enjoys the irony of
playing in one performance,
to nearly half the world-
wide audience that he's
played to in forty years of
trouping around the globe.
Arthur Allen, who spent
years on the legitimate stage,
has found a most successful
outlet for his talents in ra-
dio. He has established a
reputation as one of the
leading character actors to
appear before the micro-
phone. His work in the
Soconyland Sketches, Re-
told Tales and as Gus in the Schradertown Program will be
vividly recalled by all who have heard these hours. He
likes radio broadcasting and is exceedingly happy in his
work.

But still they miss the electric lights. So next time
there's drama on the air — consider the actor.

Philco Hour Moves to CBS

The Philco Hour of Theatre Memories, which has been
a feature on WJZ for over two years, will move to the
Columbia chain after January 1. It is said that a different
type of program will be broadcast, one featuring an or-
chestra and a different Broadway celebrity each week.
None of the eld Philco cast, which included Jessica Drag-
onette as leading lady and Colin O'More as leading man,
will change with the Hour, but Henry M. Neely, the
"Old Stager," will conduct the program.

JANUARY, 19 3 0

Achieves Stardom In Few Months

Virginia Gardiner, Actress, Came Into Radio Field by Way of Concert Platform

ALTHOUGH she has been appearing before the microphone for
only about three months, Miss Gardiner has in that brief time
achieved stardom in her own right. She comes from a distinguished
Philadelphia family. She studied voice with Mme. Marcella Sem-
brich, at the Curtis Institute of Music in the Quaker City. Her
voice is a dramatic soprano. She was invited to sing grand opera

with a Pennsylvania organization, but declined in order to con-
tinue her dramatic -work. Miss Gardiner lives quietly -with her
family in New York. Hers is a vibrant personality, glowing with
latent fire. She has been heard on Mystery Hour, Westinghouse
Salute, Great Northern, Empire Builders, Triadrama Radio Guild,
The Eternal Question and Famous Challenges, all NBC programs.

RADIO REVUE

SLUMBER HOUR

(.(.(.

I LUMBER MUSIC is it? Why I'd stay up all
night to listen, if they'd play that long!"
That's the comment of one discriminating
listener on the alleged soporific effect of the NBC's nightly
"Slumber Hour."

The great majority of listeners find the late broadcast
soothing. They say the placid depth of the master works
presented lulls away the cares cf the day and prepares
them for a restful sleep. This program is even changing
the habits of some of the early-to-beds. Ex-
pert musicians, however, have discovered that
the "Slumber Hour" group is a complete little
symphony of unusual versatility.

Just glance at the members of the orchestra
— the original "Slumber Hour" group now in
their third year of nightly broadcasts. The
secret of their never-failing popularity is now
revealed — they're a group of the finest musicians
in the NBC's big symphony orchestra.

Ludwig Laurier, the conductor, is a former
first violin and orchestra manager from the
Metropolitan Opera during Toscanini's reign.

Raphael Galindo, violinist, comes from the
Madrid Symphony Orchestra, and is a featured
soloist in his own right with the Russian Cathe-
dral Choir on the air Sunday nights.

Angelo Sasso, violin, is a pupil of the great

Habits

Listeners

Kneisel and a star performer in radio symphonies.

Samuel Zimbalist, viola virtuoso, is the brother of
Efrem Zimbalist, but hides the fact in order to win recog-
nition on his own.

Oswald Mazzucchi, 'cello, is a former solo 'cellist of
the Philharmonic Orchestra.

Milan Smolen, piano, is a versatile genius who was chosen
as entr'acte soloist for the Radio Guild. Every time
he plays a solo over the air there is a deluge of admiring
letters from professional pianists. Robert Braine, another
pianist who sometimes plays on the hour, is well known
as a composer.

Carl Weber, organ, has displayed masterly musician-
ship in designing special arrangements of gigantic works
which enabled the group to play them without loss of
effect.

These are the men who have played a full hour every
night for the last 700 nights, without interruption ex-
cept for Sundays and emergencies, such as the Democratic
and Republican National Conventions.

Yet these same men frequently take part in broad-
casts of jazz music under another name, — with what a
difference! Nothing slumbrous about them then, as they
sit perched on the edge of their chairs swaying to the
syncopated rhythm of Broadway's latest dance tunes.

Tin

Magic of Director Lanrier's Baton Litres the Spirits of the
Old Masters

JANUARY, 19 3 0

Ten minutes later they occupy important places in a
full radio symphony orchestra, or take part in a grand
opera or light opera presentation. Perhaps they are heard
as unknown soloists in a straight concert program, but
more frequently appear as featured artists, playing con-
certos from the pen of master composers.

Put Radio Stations to Bed

But they all prefer the "Slumber Hour." With this
they "put to bed" a long list of radio stations associated
with NBC — by playing their own favorite selections.

Very often their programs are made up entirely of
selections specifically requested by the radio audience. Ac-
cording to Director Laurier, Rubinstein's "Kammennoi
Ostrow" is the most frequently requested number. Two
Schubert favorites are next, he says, the "Ave Maria" and
"Serenade."

It must be understood, however, that their programs
are made up in advance; as much as four and five weeks
before the actual date of broadcasting. Then, too, they
must avoid all danger of monotony from too-frequent
repetition of the greatest favorites, so this explains the
apparent failure to grant some requests. All letters from
the Slumber Hour audiences are carefully studied as repre-
senting a cross-section of the most highly-cultured and
discriminating listeners. These are the sort of people at-
tracted by such music, and their express wishes are granted
as soon and as often as possible.

Some of the letters received by Director Laurier and
Announcer Milton Cross (who frequently sings the "Slum-
ber Song" at the beginning and end) are highly inter-
esting.

One of the biggest Chicago hotels reports that it would
lose some of its important patrons if it failed to receive
the "Slumber Music." This hotel emphasizes a home-like,
friendly atmosphere, and provides a cozy nook with com-
fortable chairs and dim lights for the nightly gathering
of regular guests who never miss the late-hour broadcast
before retiring to their rooms.

Changes Lady's Schedule

A certain lady in Philadelphia, now advanced in years,
writes that, since hearing the "Slumber Hour," she has
given up her long-established practice of retiring early,
but has to make up for it by taking a nap earlier in the
evening. She says this enables her to stay up long enough
to hear the entire program without upsetting the schedule
of rest required by her health.

A minister stationed in the backwoods of Canada says
that now he, too, remains awake longer than had been
his wont just to hear the "Slumber Music," but that he
makes up for it by sleeping-in one hour later the next
morning. Many letters received are in the nature of good-
humored complaints about the broadcast "keeping them
up too late," and many others seriously request some mea-
sure which would bring the program to them at an earlier
hour.

One message from Pittsburgh was signed by eighteen
different people, who described themselves as students,
complimenting the NBC on the high musical quality of
this hour and suggesting certain selections to be included
in future broadcasts. Every one of the numbers listed
reflected a highly-cultured musical taste, and indicated an
unusual degree of discrimination on the part of the au-
thors of the joint communication.

Meanwhile, Ludwig Laurier spends hours each day
wandering among the shelves of the NBC's great music
library, picking out the world's greatest classics for presen-
tation by his competent group. Then another hour of
intensive rehearsal on that night's program, which was
made up weeks before, and the "Slumber Hour" is ready
for the air.

It is significant to note that the theme melody of this
program, "Slumber On," heard at the opening and closing
of each broadcast, is the creation of two men identified
with radio programs from the earliest days of WJZ. They
are Keith McLeod and Walter Preston. McLeod is now
musical supervisor of the NBC, and Preston is a baritone
soloist featured on many NBC programs.

MOONLIGHT SONATA

(Inspired by Robert Brai

Solo on the "Slumber Hour")

By ALICE REMSEN

A White Witch is dancing on the water,

A witch with silver arms;

Spray is dripping from her moon-drenched fingers.

O, White Witch, cast your spell upon me;

Bewilder my senses with your beauty

Before the dawn breaks my enchantment.

Kiss me, O White Witch;

Shower me with silver diamonds from your hair;

Lead me up the shimmering path that burnishes the water

Lend wings to my feet,

That I may catch the fringe of your ecstasy

Before it passes beyond my reach.

RADIO REVUE

Mr. Fussy Fan

Admits
that He is a
"High Brow

By FUSSY FAN

FOR the past five years I have been a radio addict.
That is the term that best describes a radio listener
of the category into which I fall. With me, listen-
ing has been practically an obsession. It took hold of me
in much the same manner that golf makes its inroads on
its hapless victims. When I tuned in a distant station at
Northfield, Minn., on my first set, I received a thrill as
great as that enjoyed by the new golfer who, for the first
time, sees one of his drives sail far away over the hill. It
is a thrill that gets you.

However, I have always been able to take my radio or
leave it alone. I have no sympathy with the calamity
howlers who continually complain about the poor programs
they get on the radio. In the first place, I try never to
lose sight of the fact that all of these entertaining and
educational programs come to me absolutely free of charge.
Secondly, I realize that I can always exercise one of radio's
most admirable prerogatives — that of tuning out any un-
desirable program by a mere twist of the dial.

My introduction to radio took place about five years
ago, when I went to
Station WEAF, then
at 19 5 Broadway,
New York, to hear
and see a friend of
mine, a tenor, broad-
cast a fifteen-minute
program of songs. It
was all very novel and
fascinating. I soon
became intensely in-
terested and bought a
four-tube reflex re-
ceiver. To me that
set seemed little short
o f marvelous, a 1 -
though, as time went

REACTIONS OF A "HIGH BROW

If a desire to hear good music rendered
artistically stamps one as a "high brow" then
I plead guilty to the charge.

The late John B. Daniel was one of the
finest extemporaneous announcers that radio
has ever had.

I feel that today there are entirely too
many dramatic programs on the air.

When it comes to music, I prefer the clas-
sics to jazz every time.

Milton Cross still remains my favorite an-
nouncer, particularly for concert and op-
eratic programs.

For sporting events, I prefer Ted Husing.

Among my pet radio aversions I number
Roxy, wise-crachmg announcers, tvhisper-
ing baritones and all contralto crooners ex-
cepting Vaughn de heath.

Radio listeners get too much for nothing
and hence fail properly to appreciate what is
done for them.

If in no other way, radio justifies its exist-
ence alone by bringing to the masses the
beautiful music of our major symphony
orchestras.

(

on and certain refinements and improvements were intro-
duced into radio receivers, I began to realize that my set
was not exactly the finest thing of its kind.

In those days, as many will recall, programs were on a
lower plane than they are today. The principal reason
for this was that, as yet, commercially sponsored broad-
casts had not become general. Radio was still a great toy.
Singers and musicians of all ranks were only too glad to
contribute their talents in order to experiment with this
new medium of artistic expression. Some of these experi-
ments proved to be happy ones but, on the other hand,
many of them turned out rather unfortunately. Inas-
much as few artists were being paid for their services,
many crimes were, of necessity, countenanced in the

name of radio.

In Purely Experi-
mental Stage

The Clicquot Club Eskimos, Whose Dance Music 1 Enjoy

However, radio in
those days was in a
pur ely experimental
stage. As yet no
definite radio technic
had been evolved, and
little had been learned
of the real possibilities
of this new medium.
For this reason, the
majority of programs
consisted of vocal or

JANUARY, 19 3 0

instrumental recitals and lectures of various kinds. Very
often these seemed interminable, but they were listened to
with remarkable patience because of the element of nov-
elty involved.

What has always seemed rather paradoxical to me is the
fact that radio listeners, who were paying nothing at all
for their air entertainment, gradually became more par-
ticular about the kind of programs they heard over the
ether. I was no exception at that time — although I have
since become more philo-
sophical on the subject.
My taste in radio programs
steadily became more ex-
acting. Soon I reached
the point where I became
annoyed and often indig-
nant at programs of in-
ferior quality that were
broadcast by the big
chains. As a result, I was
branded a "high brow"
by my less particular
friends. If a desire to hear
good music rendered ar-
tistically stamps one as a
"high brow", then I plead
guilty to the charge.

There were many pro-
grams from which I used
to derive a real thrill in
the early days of radio.
These included the Eveready Hour, Roxy's
Gang, Maxwell House Hour under Nathan-
iel Shilkret's direction, the Royal Hour with
its musical comedy hero and heroine, the
Gold Dust Twins, the A. & P. Gypsies, the
Silver Masked Tenor, the Landay Revelers
with Norman Brokenshire announcing, the
Happiness Boys and the WEAF operatic
productions under Cesare Sodero's direction.

In those days WEAF was generally con-
ceded to be the pioneer station and for a
long time held the lead in program presen-
tations. However, WJZ forged ahead rap-
idly and soon reached the point where it "Twin"
gave WEAF the keenest kind of competi- Above:
tion. Regrettably enough, such rivalry no
longer exists between these two stations,
inasmuch as the same artists appear on both chains. If
the old spirit of rivalry had been maintained, the present
standard of programs would doubtless have been much
higher.

Announcer's Part Important

The part played by the announcer in the programs of
the early days was exceedingly important, I am told. Upon
his shoulders fell the task of taking a number of diversi-
fied features and welding them into a strong unit. He
had no written continuity to read from, as he now does,
and so he was compelled to rely almost entirely upon his
own personality to put across the program. Those were
great days. They developed a group of brilliant announcers
who came to mean as much to radio as some of its biggest
program features.

To my mind, the greatest staff of all-around announcers
ever assembled by one station was the quartet that served
WJZ in the early days. This group included Norman
Brokenshire, than whom there is none than-whomer, Mil-
ton J. Cross, Lewis Reid and the late John B. Daniel. The
latter was one of the finest extemporaneous announcers
that radio has ever had. He had an easy flow of language,
his diction was excellent and he presented his ideas clearly
and logically. Radio lost one of its shining lights as a
result of his untimely passing.

The WEAF favorites at that time were
Graham McNamee and Phillips Carlin, who
were often referred to as "the twins," be-
cause of the similarity in the sound of their
voices over the air, Leslie Joy, James Haupt,
Ralph Wentworth and Arnold Morgan. Of
these, McNamee is still one of radio's head-
iners. I understand that Carlin announces
occasionally, but is principally occupied
with executive duties. Joy is also kept busy
in the business end of broadcasting. The
rest have wandered into other fields of ac-
tivity, mostly in connection with radio.

In any discussion of an-
nouncers, Tommy Co-
wan, of WNYC, must
not be overlooked. He
was one of the real
pioneers. He started an-
nouncing with WJZ in
the days when its studio
was located in Newark.
He has been the moving
spirit of New York's mu-
nicipal station for a num-
ber of years. He combines
a thorough musical knowl-
edge with a ready wit and
an attractive radio voice
and personality. In my
opinion, he still ranks as
one of the best.

In those early days, pro-
grams were largely musi-
cal in character. Grad-
ually a hue and cry was
raised by newspaper critics
for more showmanship
and originality in radio. As a result, the big chains set
about creating new types of programs. Slowly but surely
the number of straight dramatic programs increased, until
now the ether is crowded with offerings that have vary-
ing degrees of merit — mostly quite poor.

Too Much Drama on Air

I feel that today there are entirely too many dramatic
programs on the air. While I recognize the fact that a
dramatic sketch has definite entertainment value, based
largely on its continuity of idea, I believe that it likewise
loses a large portion of its audience for that very reason.
I know that I — and the same holds true of many of my
friends — often like to listen to my radio more or less sub-
consciously, while dining or playing bridge, for instance.
At such times I could not possibly give the attention that

Announcers of the Early Days
: Graham McNamee; Below.
Phillips Carlin

RADIO REVUE

is required to enjoy properly a dramatic program.

For this reason, I venture the humble prediction that
the program pendulum will swing slowly backward, per-
haps not to where it was before, but at least to a point
that will be a compromise between the old order and the
new. At such a time I believe we will have the pleasure
of hearing a happy blending of musical and dramatic fea-
tures on each program.

When it comes to music, I prefer the classics to jazz
every time. Not that I condemn jazz. On the contrary,
I like it immensely, when it is well done, as in the case
of Gershwin's "Rhapsody in Blue." I believe, though, that
this composition is so soundly con-
structed that it will eventually
come to be regarded as a classic.

My preference for classical mu-
sic is attributable largely, I believe,
to the fact that it has real last-
ing power, due to its firm musical
foundation. Most of the modern
jazz is ground out so rapidly and
haphazardly, by men who have no
musical background whatever, that
it is no wonder it soon palls on us
radio listeners when it is dinned
into our ears morning, noon and
night.

Many of the jazz tunes are
either stolen or borrowed from the
classics, but I do not believe that
even the classics themselves would
stand the strain of such severe mal-
treatment. I hope the day will
come when the broadcasting of all
songs will be regulated by either
the composer or the publisher for
his own good. Only then will we
be able to listen to the radio with-
out becoming thoroughly disgusted
at having banal tunes figuratively
thrust down our throats until we
turn off the radio in disgust.

The part that radio plays to-
day in religious, educational and
amusement fields is truly amazing.

From a novelty of questionable value, it has come to be
almost a household necessity. Nor have its possibilities
been fully realized. It has been a great boon to shut-ins
and a source of enjoyment to millions.

So many of the present day programs attain a high de-
gree of excellence that it is difficult to select the out-
standing ones. However, I think that radio — if by no
other way — justifies its existence alone by bringing to
the masses the beautiful music of our major symphony
orchestras. I believe the results of these concerts are being
seen in a steady improvement in the musical taste of our
people.

Of the regular programs on the air, there are a few
that, to me, are eminently superior. The Palmolive Hour,
for one, has an array of talent that might well be termed
"the aristocracy of the air." It manages to afford me
great pleasure, even though its commercial credits detract
immeasurably. Other favorite broadcasts of mine are
Amos 'n' Andy, whose negro characterizations, I think,
are remarkable; Main Street Sketches; the Nit Wit Hour,

Ted Husing, who covers sporting events
better than anyone on the air

one of the most gorgeous bits of fooling on the air; the
True Story Hour; Slumber Hour; Hank Simmons's Show-
boat and the various programs of grand and light opera.

When I want to hear good dance music, I listen to the
Lucky Strike Orchestra, which includes in its ranks about
all of the leading jazz virtuosi extant, Paul Whiteman's
orchestra, Sam Lannin's Ipana Troubadors and the
Clicquot Club Eskimos. All this furore about Rudy
Vallee impresses me as "much ado about nothing." I like
the way he puts over a song but, so far as I can see,
that lets him out. However, more power to him in capi-
talizing his talents before his popularity wanes.

Milton Cross My Favorite

Milton Cross still remains my
favorite announcer, particularly for
concert and operatic programs. He
is dignified, scholarly and possesses
a musical background that mani-
fests itself advantageously in any
program he announces. I heartily
agreed from the first with the de-
cision of the American Academy
of Arts and Letters to award him
the gold medal for having the best
diction of any announcer on the
air. Certainly no one was more de-
serving of the honor.

For sporting events I prefer Ted
Husing, who, by the way, started
at WJZ shortly after the quartet
of announcers to which I referred
earlier. He knows his subject and
his rapid-fire observations enable
one to follow the contest easily and
accurately. He never becomes so
emotional that his account of the
contest becomes incoherent.

While I have never been a de-
votee of Graham McNamee, I ad-
mire his enthusiasm. When it is
kept within bounds it is quite in-
fectious. I thought he did a singu-
larly fine piece of work in connec-
tion with the recent Light's Golden
Jubilee broadcast. He seemed to appreciate that he was
seeing history in the making and succeeded in painting the
impressive picture very well for the listeners.

I have always enjoyed Norman Brokenshire's work. I
understand that he was one of the last to give in to the
changing order for announcers, by which they turned from
extemporaneous announcing to the reading of prepared
continuities. As a result, his work has necessarily been
robbed of much of its charming spontaneity and individ-
uality, but he still is one of the outstanding personalities
of the ether. Among the other announcers whose work
I particularly enjoy are Alois Havrilla, Curt Peterson,
Perry Charles and David Ross.

Among my pet radio aversions I number Roxy, wise-
cracking announcers, whispering baritones and all con-
tralto crooners excepting Vaughn de Leath.

I have often wondered what the future holds for radio
broadcasting. It has always been my contention that the
entire business operates on the wrong basis. The listeners
(Continued on page 46)

JANUARY, 19 3 0

Radio Boasts Own Dramatic Star

Rosaline Greene Was the First Actress to Confine Her Activities to Broadcasting

TJfTHILE at college Miss Greene became leading lady of WGY
' players, a pioneer group whose weekly radio plays 'were an
outstanding attraction in the early days of broadcasting. For three
years she appeared weekly in a full-length drama. This afforded
her an opportunity to play every type of character. In 192 6 she
was awarded the Radio World's Fair prize for having the most

perfect radio voice. Miss Greene has devoted her efforts entirely
to radio, except for a brief engagement on the stage in "The Pearl
of Great Price." She is leading lady for the Eveready Hour, on
which she has appeared as Joan of Arc, Evangeline and other famous
characters. She has been heard on a number of other programs.
She was born in Hempstead, L. I., on December 3, 1905.

RADIO REVUE

Browne and His Banjo

Moulded

Career

Together

(.(.

H, SUSANNA, Now Don't You Cry for Me;
I've Come From Alabama Wid My Banjo on My
Knee."

So sang a young soldier of the American forces in Cuba
in '98. If the entertainer had been a bit more accurate
he would have sung, "I've Come From Massachusetts Wid
My Banjo on My Knee," for the Berkshire Hills were the
home of Harry C. Browne and his stringed instrument,
now popular with the radio audience through his frequent
appearances in programs of the Columbia chain. "Hank
Simmons's Showboat" is probably the most outstanding of
these programs.

This young man and his banjo were boon companions.
In school Browne was a football player of renown, and in
the earlier ' days of this sport's popularity it was no five
o'clock tea. The scars of battle were numerous.

Though quite adept at baseball, he did not play because
he feared that he would injure his fingers. With disabled
digits Harry realized that he would be unable to strum the
accompaniment to his vocal efforts. The banjo evidently
appreciated the sacrifice made for it and, in return, pro-
vided the means of procuring spending money, namely by
entertaining the townspeople.

The Browne family was not at all enthusiastic about the
son's strenuous activities as a minstrel. The father had
attained only partial success with the burned cork and pic-
tured his "pride and hope" as a prosperous member of the

By ROBERT TAPLINGER

Bar. Without consideration for his decided protests they
made plans for his education in law. For a few months he
attempted to wade through Blackstone and the lesser lights.
The call to arms in 1898 was pleasant music to his ears.
He now had a most excellent excuse for dropping his law.
Soon he and his banjo formed a very definite part of army
life at the training camp. The Second Massachusetts Regi-
ment was in Florida within three weeks' time.

Great Success as Entertainer

Harry's success as an entertainer was soon firmly estab-
lished. In Cuba he was always in demand to play for the
officers, and in this
way he escaped
many of the tasks
that his less talent-
ed companions per-
formed as part of
the daily routine of
army life. Despite
his relea s e from
these duties, his
part in warfare was
an active one. He
was there when his
company led the
way in capturing
El Canal. In the
rush to disembark
at B a i quairi, he
forgot even his
precious banjo.

Browne returned
home so thin that,
as he puts it, "I
scarcely cast a
(Turn to page 44)

Mr. Browne, as Henry Clinton,

Ballyhooing "Hank Simmons's

Showboat"

J AN U ARY , 19 3 0

Metropolitan Star Puts

Stamp o
Approval

On
RADIO

By WILLIE PERCEVAL-MONGER

RADIO broadcasting has been a little severe on opera
stars. It has turned the fierce light of magnifica-
tion on their vocal faults but, at the same time, it
has emphasized, in a most favorable manner, the beauties
of a good voice. Sound vocal production has always been
enhanced by the radio.

If an artist is able to "deliver the goods," without un-
necessary display of bad taste or temperament, remember-
ing that he or she has no stage spectacle, no friendly
audience, no striking appearance nor claque of horny-
handed galleryites to assist him, then the radio and its vast
audience have been kind to that artist. But, stripped of
all the trappings, of the sentiment, of the color, of the
sight of a great orchestra competently directed, the artist
singing over the radio faces a problem entirely different
from operatic presentation. Here only vocal merit tells.
Everything considered, radio treats the true operatic artist
handsomely.

On the other hand, how does a great operatic star regard
radios? A famous singer who, stripped of all operatic
embellishments, remains a vivid personality — one who has
reached the heights largely through the medium of a gor-
geous voice and her own real charm — was approached on
the question.

Lucrezia Bori, who is perhaps the ideal prima donna
and is certainly one of the most popular stars of all time,
likes radio, both from the angle of a pioneer broadcaster
and an enthusiastic listener.

Received Many Letters

"I like radio broadcasting enormously," she told me the
other day. "I think it is the best reproducing medium
we have. And I have received so many thousands of
pleasing letters from great distances. Instead of the ap-
plause that is generally, I am very happy to say, bestowed

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Lucrezia Bori and Rowdy.

upon me, I receive stacks of charming letters from, how
do you say, "radio fans', and I am going to preserve them
all and re-read them long after the echo of the opera
house applause has died away.

"It was a little difficult for me at first, because I missed
seeing my audience. I like to note the expressions on the
faces of my friends and to watch them, at the close of an
act, as they turn to each other and say nice things when
I have had a success. I like, too, to hear the rustle of the
programs.

"According to my contract with the Metropolitan,
I am allowed to sing only twice a year over the radio,
with the Atwater Kent and the Victor companies, but
I am very proud of my contract with the Metropolitan
Opera Company and, after all, one cannot have every-
thing.

"I will sing 'Louise' in January for the first time, and
I am very excited, of course, over the prospect, as I like
the work.

"Do you know that Vincenzo Bori, my brother, attends
all my opera performances, and he is at once my best
friend and severest critic?' ' The singer here laughed a
little at her lack of originality.

Obliging and Agreeable

For a person of her attainments Lucrezia Bori is very
obliging and agreeable to interview. "Whether in her
splendid apartment in a New York hotel or walking up
Fifth Avenue, she is always very informal, and Rowdy, her
very Irish terrier, joins with her in extending a welcome.

RADIO REVUE

Her salon contains paintings of herself by the world's
most famous artists. When this fact was pointed out,
Miss Bori laughed gaily; "You see, I like myself!" she said.
The piano is decorated by large autographed photographs
of their Majesties the King and Queen of Spain, each bear-
ing an affectionate greeting. "Yes, they like me too!"
she said with quiet simplicity.

"Yes, I really enjoy radio broadcasting," she went on.
"John McCormack and I were the first people of our rank
to sing over the air. This was back in 1925. The re-
sponse after that concert was quite overwhelming; I
received more than 5 0,000 requests for autographs and
photographs.

"I have no favorite role, and
I do not diet. I take proper
exercise, of course. I have sung
thirty-five different roles, and I
like them all. Some of my
friends like to see me in special
roles, but I remain loyal to all
my characters, and impartial.
I am not in love with anyone;
I'm in love with my work, you
see. Whether I get married or
not does not depend upon my
own decision." (Another mys-
terious little laugh.)

Miss Bori is a slender lady,
with dark, luminous eyes and a
dazzling smile. Around her
centers one of the most tragic
stories of all opera — the loss of
her magnificent voice.

There is little theatricalism
connected with Miss Bori. She
has very expressive hands, and
she calls them into play now .
and then to emphasize a point.

"My early training as a girl, walled around with all the
traditions of old Castile, served me faithfully during my
entire career," she continued. "I do not waste my energy
in useless worry and in foolish posings. There were many
dark months when I was not permitted to talk or to sing
a single note, but I did not lose faith that some day my
voice would be restored to me. I believe in God and, like
most of my race, I have quite a little belief in luck. But
it was my belief in a divine purpose that gave me the
strength to carry on.

"Early in my life I had to battle with my family for
permission to become an opera singer. My father was my
only ally, and I finally persuaded him to let me go to
Rome to study. It was in Rome, after four months of
study, tha,t I sang Micaela in Carmen, and the people liked
me. Other works in the Italian repertoire followed and in
April, following my debut at Rome, I sang at the San
Carlo Opera House in Naples, which was my most im-
portant engagement up to that time.

"Ricordi, the Italian music publisher, heard me sing
and sent a complimentary message back. It was he who
arranged that Puccini should also hear me, and then
Gatti-Casazza and Toscanini. They came all the way
from Paris to Milan to hear me. Then I sang Puccini's
Manon Lescaut opposite Caruso in Paris. I had good
success and was acclaimed as a 'discovery of Puccini'.

"I came to America first in 1912, and it was in 1915

The Siveet-Voiced Tenor of the Air.

that an operation on my vocal cords became necessary,
and I found I could not sing." (A long silence followed).
"It is terrible to be a singer and not be allowed to sing —
not a single note. It is like being stricken suddenly with
blindness when all the world is flooded with sunshine. The
rebuilding of my voice was a slow and laborious process,
but in 1918 and 1919 I was able to sing again in Monte
Carlo. It was not until 1921 that I felt strong enough
and sure enough of my voice to return to the Metropolitan,
and my first role after my return was Mimi in La Bobeme".
Miss Bori speaks Spanish, of course, and is equally
voluble in Italian and French. She talks English rapidly
but, when a word fails her, lapses into French. She ex-
plains that she learned the Eng-
lish language here in America.

With a gracious word of
thanks to the interviewer, she
disappeared, smiling, into an
inner room.

Superb in Manon

Of the many roles that Miss
Bori is called upon to portray
during the course of a season
at the Metropolitan, it is my
opinion that she excels as
Manon in Massanet's opera of
that name. Not only is she an
excellent actress, but her voice
is ideally suited to the beautiful
music and her personal charm
and pulchritude combine to
create a sympathetic atmos-
phere that is in keeping with the
story. She may create many
characters during her operatic
career, but I do not ever expect

to be thrilled as greatly as I was when I saw her in Manon.

She was superb.

Critical Note on "The Messiah"

On the Sunday before Christmas the NBC made a con-
tribution to the holiday season in the form of a perform-
ance of Handel's famous oratorio, The Messiah. It was a
most commendable production. The orchestra was under
the direction of Graham Harris, who gave an exceptionally
fine reading of the score. The work of the Sixteen
Singers as the ensemble was excellent. Their diction was
particularly good.

The soloists call forth further superlatives. Lewis
James, tenor, sang the aria "Every Valley Shall be Exalted"
with magnificent style, phrasing and vocal finish. While
he has done praiseworthy work in many varied forms, it is
to be doubted if he ever shone to such great advantage as
on this occasion. The other soloists were equally capable.
Elizabeth Lennox, contralto, sang with her usual richness
and finesse. Theodore Webb, baritone, sang beautifully
and authoritatively, and Genia Zielinska, soprano, con-
tributed a musicianly interpretation. In all, it was a
performance that left little to be desired. — W. H. P.

JANUARY, 19 3 0

Merle Johnston Succeeds

by Virtue Oj

His "Sax
Appeal

By JEANETTE BARNES

MERLE JOHNSTON and the saxophone have be-
come almost synonymous along broadcasters' row.
While Merle thinks the saxophone made him, some
critics claim that he made the instrument. At any rate,
their arrival in public favor was almost simultaneous.

It was in 1922 that Johnston spent long, weary weeks
tramping Broadway and searching vainly for a friendly
face. Finally he joined a jazz band as saxophonist and
toured the country. He returned to New York and subse-
quently was engaged to play in a night club.

The great possibil-
ities of the saxo-
phone were first
brought to his atten-
tion by the trap
drummer in this
night club. Merle
had never before
associated the saxo-
phone with anything
but jazz. However,
from that moment
he became a man
possessed of a single
idea, namely, to lift
the saxophone to the
level of other solo
instruments.

"I had to go about
my task alone," he
says. "The instru-
ment was so heartily
despised that in the
entire world there

right:

Merle Johnston's Saxophone Quartet. Left to
Michael Ships, Merle Johnston, director and founder,
Herman Yorks and Larry Abbott.

was no master to whom I could apply for instruction. The
saxophone then was a favorite of only the jazz-hungry
element, and nobody ever dreamed
that it could be converted into an in-
strument for playing the classics."

In order to accomplish his task,
Merle studied and dissected music in
much the same way that a great sur-
geon studies the most difficult case.
He bought phonograph records made
by the world's finest musicians, and
listened to them by the hour, care-
fully noting how each tone and
nuance was produced.

Found Saxophone Flexible

Then followed a long period of
diligent practicing, during which he
attempted to put into his saxophone
playing the same expression, warmth
and beauty of tone that these musi-
cally great did on their solo instru-
ments. He found the saxophone to be
as flexible as the human voice and,
{Continued on page 43 )

RADIO REVUE

Will Radio Wonders
Never Cease?

Invention of Left-handed Microphone
Likely to Revolutionize Broadcasting

By I. B. HANSOM

Manager of Plants, Orchestrations and Racketeering
Natural Broadcasting System

DITOR'S NOTE-

We could not go to press
without having a technical
article for those of our read-
ers -who are so inclined, so
■we called upon I. B. Hansom
to write about radio's latest
development. He has done
so in a manner that leaves no
doubt as to his fitness for the
position he holds.

RADIO engineers, ever alert to in-
vent or develop new devices for the
convenience of announcers, artists
and others who present the broadcast
offerings to the public, have made an-
other great discovery. It is the left-
handed microphone and it may safely be
referred to as the most radical develop-
ment in microcraftsmanship in the past
three years.

In order to take this great step for-
ward, it was necessary to take a step
backward. Years of research have proved
that it is impossible to develop a left-

handed

Mr. Hansom in a charac-
teristic pose

c o n d en-
ser micro-
phone and
that only
the carbon
type of

"mike" could be used. Yet,
so great is the superiority
of the left-handed mike
over the type generally in
use that it has been con-
sidered practicable to junk

Here is Mr. Hansom examin-
ing the two latest types of

microphones, which will doubt-
less be thrust into oblivion by
his latest invention

the expensive condenser types. It has
always been the policy of the Natural
Broadcasting System to discard without
hesitation hundreds of thousands of dol-
lars' worth of equipment if the public
is to be benefitted in any way.

The secret of the left-handed micro-
phone may be found in the shape of the
tiny grains of carbon that give the car-
bon mike its name. In the old type
microphone the bits of carbon were
slightly longer than they were wide, the
third dimension being indifferent. This
caused the minute particles of carbon to
revolve slowly to the right when agitated
by a High C note or the mocking wails
of a double bass.

Third Dimension Indifferent

In the new type the carbon particles
are slightly wider than they are long,
the third dimension remaining indifferent.
This causes the particles to move in a
left-handed direction. Another impor-
tant phase of the new development is
that the sex of the artist before the
microphone has no effect whatsoever on
the carbon contents.

While the average layman may won-
der what difference this minor change in
directional activity can make, to the en-
gineer it is obvious. The tempo of the
frequencies, which heretofore has been
casual, is changed and the pitch co-effi-
cient is greatly improved.

Another interesting angle is that each bit of carbon —
(Continued on page 45)

N. B. — We have discovered quite inadvertently that the young lady standing
before rhe jmall mike is Olga Serlis, pianistc and director of the Parnassus
Trio. What she can be doing there is beyond us, as we do not believe she sings,
but there is absolutely nothing we can do about it.

JANUARY, 19 3 0

MAID ft,

or any

MOOD

Mildred Bailey

(above) WABC's

fine contralto, sings
on the Paul White-
man Hour. Paul
likes her immense-
ly, and you will,
too.

The bright-eyed
lady at the right is
Stephanie Diamond,
whose thrilling
work in dramatic
roles over the CBS
will delight you.
A dynamic maid,
if ever there
one.

A cute little
blonde ts Mary Mc-
Coy (above) so-
prano on the Chase
& Sanborn Hour
and other NBC
programs. Maybe
you've seen her on
Broadway in "A
Wonderful Night".

And this lovely
lady is Astr id
Fjelde, statuesque
Nordic blonde, who
sings those beauti-
ful but difficult
arias over the
NBC chain. A bril-
liant soprano,
you'll declare.

RADIO REVUE

A VALLEEdictory

G. Maillard-Kesslere.

Here is the Bard of Broadway, surrounded by a

flock of the songs for which he has been

responsible.

TJDITOR'S NOTE — When Dale
Wj Wimbrow showed us the lines
he had written about Rudy
Vallee, we were ready to award him
RADIO REVUE'S prize for the best
contribution outlining a reader's
opinion of the reasons underlying
Rudy's success.

But, with becoming modesty, Dale
declined to have his composition en-
tered in the contest, saying he did not
think, it was quite fair that he, a pro-
fessional song -writer, should compete
-with our other readers. However, he
said we could use his effusion in what-
ever -way -we -wished, so here it is.

By DALE WIMBROW

TpVERY Mary, fane and Sally
I J Raves about this Rudy Vallee;

All the magazines an' "tabs" are fidl of junk

'Bout the name that he's been gainin',

But, fer all o' the explainin',

'Tivixt the two of us — the most of it is bunk.

Ym a friend o' his, I'm hopin' ,

An', ivhile others have been gropin'

Fer the reason, I have known it all along;

'Tain't his looks, er sex-appealin',

Er the style the rest are stealin';

It's the plain an' simple way he sings a song.

While the rest of us were bio win',

This here Vallee guy teas showin'

What it means to sing a song 'as she is tvrit';

Fer, with all this "boop-a-doopy"

Folks got tired o' viakin' ivhoopee

An' them soot bin' songs jest had to be a hit.

Don't fcrgit this, ivhile you're readin',

That a thing this world is needin'

Is a little more politeness, man to man;

Vallee's style, while self-effacious,

Came just like a cool oasis

In a greedy, money-grubbin' desert land.

We don't like him, men are boastin' ,

But the cause of all the roastin'

Ain't his manner, er his method, er his curls;

'Taint his songs — though they are cleaner —

Er his voice, er his demeanor;

It's the flutter he has caused among the girls.

While we men take up the hammer

An' protest, an' "yip" an' "yammer,"

Our best girl friend tacks his photo on the wall;

First we're cussin', then we're moonin',

He jest goes on softly croonin' —

Maybe Vallee is the wise guy after all.

JAN U ARY , 19 3 0

MERE Man Wins First Prize
in RUDY VALLEE Contest

Flood of Letters from All Sections
Testifies to Young Man's Popularity

LITTLE did the editors of Radio Revue realize,
when they planned this contest for letters on the
reasons underlying Rudy Vallee's success, how uni-
versally popular is this young man. Letters poured in
from all sides and from many sections. There were so
many excellent ones that it was an extremely difficult task
to select the best.

Ironically enough, the choice for the first prize letter
finally centered on a mere man, Martin Hansen, of
Decatur, 111. His letter was selected chiefly because it dis-
played a keen insight into the
enigma that Rudy Vallee pre- ^ —
sents. It was writen in a de-
lightfully informal style.

The second prize was
awarded to Miss Catherine
Oest, of Yonkers, N. Y. She,
too, presented a capable an-
alysis of the problem, one that
differed somewhat from Mr.
Hansen's theory, but was
nevertheless logical and inter-
esting.

It is only proper that some
of the other outstanding let-
ters should receive honorable

mention.

Announcement of a new -*&>

contest will be found on an-
other page. We invite all of our readers to participate.
Letters should reach the Radio Revue not later than
January 20, 1930. Winners will be announced in the
February issue.

AAA

First Prize Letter

When a hardboiled ex-marine like myself sits down to write his
explanation of Rudy Vallee's success, don't think for a minute that
its because I'm trying to kid you out of ten bucks in prize money.
And when I start quoting scripture to prove my point, don't faint and
say: "Here's a religious nut from the Bible belt." And when I men-
tion the word "love" in capital letters, keep in mind that its 20 years
since I read Elsie Dinsmore.

Rudy Vallee is reaping the harvest of a seed that is seldom sown
this day and age: LOVE. The good-looking little son-of-a-gun really
and honestly LOVES his audience and his art. He LOVES to please
listeners — LOVES it more than he does his name in the big lights, his
mug in the papers. He loved all those unseen women as passionately
as a voice can love, long before they began to purr and to caress him
with two-cent stamps.

Here is that threatened quotation from Scripture: (I think its
found in the 13 th chapter of Second Corinthians. 1

"Though I speak with the tongues of men and of angels, and have

Awards in Rudy Vallee Contest

FIRST PRIZE— (Ten Dollars) — Martin
Hansen, Decatur, 111.

SECOND PRIZE— (Five Dollars)— Miss
Catherine Oest, Yonkers, N. Y.

HONORABLE MENTION— Florence R.

Hancock, New York, N. Y.; Alberta
M. Miller, Philadelphia; Lola F. Asbury,
Jersey City, N. J.; Viola Yousoff, New
York; Helen L. Anderson, Cambridge,
Mass.; Rita Driscoll, Brooklyn, N. Y.;
Marie Wardell, Brooklyn, N. Y.; Miss
C. Wegge, Long Island City, N. Y.;
Ronnie Higgins, Jersey City, N. J.;
Wanona R. Glenn, Hopewell, Va.

not LOVE, I am become as sounding brass or tinkling cymbal . . .
"LOVE vaunteth not itself, is not puffed up; doth not behave it-
self unseemly."

Modest and Unobtrusive

That's all I remember of the chapter, and I don't have a Bible handy
to check up on it. But doesn't the second sentence of that quotation
fit the l'il heartbreaker? Isn't he becomingly modest and unobtrusive?
At least, so the reams and reams of press notices have said.

And as to the first part of the quotation: I break down here and
confess that I am not only a hard-boiled ex-marine, but I am a veteran
newspaper reporter and more recently a radio announcer.

A blind guitar player, who became a radio entertainer quite inad-
vertently, started me thinking about this LOVE business as it concerns

microphone personalities. Johnny

Jjgl Grassman is his name. To hear

Johnny in the studio, you'd wonder
how he ever got past the audition in
the first place. Hear him on the air,
and you don't think of whether he
can sing with the guitar or not. He
just gets you. Johnny LOVES to
sing for people if he thinks they en-
joy it. His sightless face lights up
like a burning oil well when you hand
him a bouquet of mail that has drift-
ed in like a Dakota blizzard. And its
not pride in his work, but LOVE for
the other fellow. And Johnny started
loving people, over the microphone
he couldn't see, before he got his first
letter.

Microphone Most Delicate

The microphone picks up some-
thing you can't hear, but you can
feel. I think there must be a sort
of telepathic carrier wave goes along
— ^ with the radio wave, that tells folks
that you are thinking of them while
before the mike. If I'm tired or have just had a run-in with the boss,
or I'm worried about the payments due on that automobile, and don't
shake it before I face the old mike, I don't get the responses to my
programs that I get when I'm feelin' fit and just wanting to put the
old program over for the folks.

You can get by without this thing called LOVE, and make a hit
on the stage. I've seen it done. But if you get by its because you can
screw your face into a synthetic smile and your eyes into a bogus
twinkle. But you can't fool the mike. You can't fake the fringes
of warmth of voice that say: "Folks I LOVE to do this for you, and
I'm doing it, not because I'm afraid of going to the poorhouse if I
don't get over."

Rudy Has Much Technical Skill

I'll leave it to Rudy Vallee himself to tell you whether this letter hits
or misses . . . as to the LOVE part. Of course, we must consider
that Rudy does have a lot of technical skill to hook up with it. But
the reason Rudy is so dog-gone modest about it all is that he knows
he isn't as hot as some of our orchestras. And if he ever loses his
head and starts LOVING himself instead of his audience, he'll very-
soon put a banana peel under his patent-leathered heel and go down
lower than Joe and his bass horn in "Piccolo Pete." Tell him I said
so. Tell him I'm not crazy about his music, but I'm for him because
he's sincere. — Martin Hansen, Decatur, 111.

{Continued on page 47)

RADIO REVUE

Static prom the Xtldicx

Dr. Robert A. Goetzl, the Viennese
conductor who directed a performance
of Johann Strauss's "Die Fledermaus"
given by the National Light Opera
Company over an NBC chain last year,
was engaged by the Messrs. Shubert to
direct the forty-piece symphonic or-
chestra, which is playing for their re-
vival of this Strauss operetta. It is
called "A Wonderful Night" in this re-
vival.

Dr. Goetzl has directed this operetta
on numerous occasions in Europe. He
acted in that capacity during the entire
centennial celebration in honor of the
composer, given in Vienna in 1925. In
1923 Dr. Goetzl was decorated by
Queen Wilhelmina of Holland, after she
had witnessed a performance of "Die
Fledermaus" in Amsterdam, which he
directed.

Kitty O'Neill, NBC mezzo-
soprano, 'who is heard every
morning with the After Break-
fast Trio and also -with the
Philco Hour and the National
Light Opera, tells this one on
herself. When she was play-
ing in "Rosalie," the Ziegfeld
production of last season, the
famous Florenz took one look
at Kitty's slim figure and re-
marked "My, what a lovely
voice you must have."

WNYC recently presented an unique
artist, Mme. Caterina Marco, who at
77 years of age sings with a voice that
is remarkably preserved. Mme. Marco
is a contemporary of Adeline Patti and
sang Micaela to Mme. Patti's Carmen
at the old Academy of Music. The New
York critics were amazed at the still
brilliant quality of Mme. Marco's voice
at a recent recital she gave in New
York.

Georgie Price, popular Broadway
comedian who returned to New York
recently to appear on the Brownbilt
Footlites on Station WABC, told how
he was held up lately in Chicago. As
he was leaving the Palace Theatre by the

stage door, he was accosted by a man,
who told him to "hand over all valu-
ables before I shoot." Unable to call
for assistance, Georgie was forced to
hand over everything. A hard-earned
pay check and railroad tickets home
were among the valuables. Georgie was
compelled to postpone his departure for
New York until the next day.

Listeners who remember Lewis
Reid's "Gamboleers" of last year
are getting another sample of the
writing ability of WOR's chief an-
nouncer in a series of programs he
is producing at the Bamberger sta-
tion. They are heard weekly on
Friday nights at 9:00 o'clock and
are called "Tuneful Tales." All
the programs are humorous in na-
ture and employ about five people
in the cast. An orchestra supplies
the background of music.

Willie Perceval-Monger, the hysterical
musical historian of the NBC, has never
been able to boast of an excess of mental
stability. His partner at a recent dance
at the Plaza was a young Czecho-Slova-
kian girl, well known in New York's
musical circles. After gazing at this
moon-eyed gazelle throughout a long
dinner, Willie, accompanied by Marcha,
arrived at the top of the grand stair-
case all dressed up for the ball. Willie
spoke to the check room girl as follows:

"Pardon me, I wish to Czecho-Slova-
kia hat and coat!"

Josef Pasternack, the well known
conductor, is the proud possessor of a
gold tipped baton, presented to him re-
cently by J. Walter Thompson &• Com-
pany, as a token of appreciation for his
work in conducting the "Around the
World with Libby." The baton is of a
fine grade ebony, decorated with deli-
cately chased gold, and bears a suitable
inscription. Mr. Pasternack has been
regular conductor on this series since its
inception, June 6, 1929.

In a recent broadcast written es-
pecially for a birthday luncheon to

George F. McClelland, the popular
vice-president of the NBC, "Jolly
Bill" Steinke had the pleasure of
seeing and hearing himself bur-
lesqued by Ray Knight in "Jolly
Bull and Little Pain." "Jolly Bill"
joined in the laugh on himself.

Arthur O. Bryan, the WOR an-
nouncer, was ordered out of the Court
of Oyor and Terminer in Newark re-
cently, when he said he had scruples
against convicting a man when capital
punishment would be the penalty.

Bryan was called as a talesman in the
trial of three men who were under a
murder indictment. Among the ques-
tions put to him by the prosecution
was:

"Are you opposed to capital punish-
ment?"

Bryan replied that he was.

"Get out of here. Get out of this
court room. Get out of this building,"
Judge Dallas Flannagan shouted. Bry-
an left.

- WHO

There is a dark-eyed and
quite beautiful young lady in-
strumentalist in one of the
broadcasting studies, who
when she gets tired, becomes
excited and stutters. This is
a recent conversation:

"Do you know a book called:
"All cuck-cuck-cuckoo-Quiet
on the Wee-wee-wee-wee-
Western Front?" The other
person said he did.

"And surely you have read:
''Poo- poo-poo-pa-doop-
poo-Oh, pardon me,-poo-poo-I
mean "Possession." The other
person had.

Flora Collins, mezzo-soprano well
known to radio audiences, was chosen
to sing the solo parts of Andre Caplet's
"Le Miroir de Jesus." This work was
done by the Adesdi Choir, under the
direction of Margaret Dessoff, at Town
Hall, on December 22. Miss Collins
made her radio debut a few months ago
(Continued on page 32)

JANUARY, 19 3 0

RADIO Gave Gypsy Violinist
Chance to Become FAMOUS

Harry Horlick Fled from Russia I
and Found Refuge in United States j

By BRUCE GRAY

ROMANCE and adventure have played a big part in
the life of Harry Horlick, who is known to the
radio audience principally as the conductor of the
A. & P. Gypsies, one of the oldest and finest salon orches-
tras on the air. His rise has been comparatively rapid in
recent years, but, before he came to this country, he suf-
fered great hardships.

Harry lived in Russia during the turbulent times that
witnessed the rise of Bolshevism. He was a native of the
Black Sea district. His
one pleasure in life
was to play his violin,
which many times he
did in the face of
much opposition. He
was compelled to join
the Bolshevik army
and he served in it for
a while. However, he
seized the first oppor-
tunity to escape. That
was in 1921. He
made his way, with
great difficulty, to
Constantinople.

All Harry had was
his violin. He had
no friends and no
money. He remained
in Constantinople for
about eight months,
earning enough with
his violin to pay his
passage to the United States. He landed in New York
with four or five of his countrymen. For a while he was
in difficult straits, but he finally was engaged to play with
the City Symphony, a new orchestra that was giving a
number of concerts in and around New York.

Some time later Harry was employed, along with some
of his compatriots, to play in a Russian club called
Petrouschka. It was this engagement that indirectly
brought him into radio. Someone who was interested in

The A. & P. Gypsies as They First Went on the Air

radio heard Harry and his Russians play their native music,
as only they can play it, and brought them to the atten-
tion of the director of Station WEAF, which then was
owned by the American Telephone & Telegraph Company.

Wanted Distinctive Feature

Just about that time the Great Atlantic & Pacific Tea
Company was considering radio broadcasting as a new

means of advertising
its nationwide chain
of stores and was
looking for a feature
that would be entirely
distinctive. The
WEAF authorities
s u g gested Horlick's
orchestra, which was
summoned to play an
audition. Needless to
say, Harry did not
know much about this
new medium of musi-
cal expression but, af-
ter all, he felt, it
might mean an en-
gagement and a larger
income.

The audition was
all that it had been
expected to be. Harry
and his musicians
played the wild gypsy
melodies and the Russian and Hungarian folk tunes with
fiery abandon, mingled with a pathetic and wistful quality
that sprang from their longing for their native home.
Their performance was so distinctly different from any-
thing that had been heard in musical circles up to that
time that they were immediately engaged to broadcast.

The A. & P. Gypsies, as they were christened, first ap-
peared on the air in the Spring of 1924. Their programs
were made up entirely of these Russian and Hungarian

RADIO REVUE

The Gypsies as They Nou> Appear, One of Radio's Finest Salon Orchestras

melodies. Because of their freshness and peculiarly ap-
pealing quality, these songs immediately caught the pub-
lic fancy. Many of these songs had never before been
heard in this country. Harry had played them in Russia
and had taught them to his men. Many of them later
were written down and arranged. These have since be-
come widely popular all over the country. They owe
their introduction here to Harry Horlick.

Personnel is Increased

During the first year the Gypsies' most popular selec-
tions were "Black Eyes" and "Shadows of the Past." In
1925, "Dubinushka" was the favorite; in 1926, "Black
Eyes," and in 1927 "The Old Forgotten Hungarian Song
and Dance." Gradually the original five-man string en-
semble began to grow. The repertoire was expanded, and
so various other instruments were needed. More strings
were added, then a woodwind or two, a flute, and a drum-
mer who could play castanets and lend additional color
to some of the compositions rendered.

By this time, the Gypsies had become definitely estab-
lished as an outstanding radio feature. Satisfied that Harry
Horlick and his musicians could play the typical Russian
music better than any of their contemporaries, the radio
audience gradually began requesting music that required
a larger orchestra. So a brass section was added to the
Gypsies and they made their debut as a small orchestra.

Their repertoire was greatly increased, enabling them
to give a widely varied program. Although they still re-
tained the characteristics of the original string ensemble,
they were now able to play the more popular types of
music and the more ambitious compositions. And still the
listeners were not satisfied. They began asking for music
that was in the province of a symphony orchestra. They
wanted not only popular dance and novelty numbers but
the great masterpieces as well.

So again the personnel of the Gypsies was increased. The
orchestra grew in size until today it is a great symphonic
body of twenty-six pieces, equipped to play anything in
the realm of music. In recruiting his musicians, Harry

Horlick has adhered to the same exacting standard that
distinguished his ensemble in the early days. He points
with pride to the high artistic status of his men — mu-
sicians who play regularly with the major symphony or-
chestras.

Something of Gypsy About Him

Harry is an interesting study. There seems still to be
something of the gypsy about him. One moment he is
alive and vibrant, breathing fiery brilliance into the inter-
pretation of an Hungarian czardas, and the next instant
he is painting a sombre and melancholy picture of old Rus-
sia through the medium of a folk song.

First, last and always he is a musician and a true artist.
Little else matters in his life outside of his music. Since
his orchestra has grown to such large proportions he no
longer plays the violin regularly, inasmuch as directing
demands his undivided attention. However, many times
he cannot resist the temptation to seize the nearest violin
and join his boys, as in the old days, while they play the
now famous "Two Guitars," which has been the signature
of the Gypsies' hour for years.

Harry is a graceful figure as he wields his baton. Of
medium height and well proportioned, he seems quite
young to be directing such a large orchestra. Although
he often laughs and jokes with ljis men he asserts his au-
thority, when the occasion demands, in a quiet but force-
ful way that leaves no doubt in the musician's mind as
to who is in charge. He seems to live only for today and
apparently has no fear of the future. It took care of him
during all his trials and tribulations in Russia, so it is not
likely to play him false now. All in all, he is one of the
most interesting figures in radio circles.

Announcing a New Department

Beginning with the February issue, Radio Revue will
inaugurate a column, entitled "The Oracle," in which it
will answer any questions its readers may care to ask in
connection with radio broadcasting and those on the air.

JANUARY, 19 3 0

Turned to Singing After Accident

Frank Munn (Paul Oliver) Tenor, was Injured While Working as a JS/lechanic

Y¥7 HEN the United States entered the World War, Frank Munn
*" was assigned to duty in a shipyard as an expert mechanic.
His beautiful, untrained voice was first heard at the shipyard
patriotic exercises. One day on the job he met with a serious acci-
dent. His hand was so badly injured that he was compelled to
forego mechanical work. While he was in the hospital, he was

visited by Dudley Buck, noted voice teacher. Mr. Buck offered
to train him for the concert stage. Frank accepted. After sev-
eral years he was given a chance to make phonograph records, and
was eminently successful. His next step was into radio broad-
casting, and he is now exclusive tenor soloist on the Palmolive
Hour, NBC. Frank is modest and unassuming, despite his success.

RADIO REVUE

JTATIC from the XtUDIC/

(Continued from page 28)
over Station WABC. She was immedi-
ately engaged for solo appearances on
Grand Opera, Cathedral and Voice of
Columbia radio hours.

It is too bad that announcers are not
able to carry microphones around with
them all the time. When an aeroplane
fell on a roof near Central Park in
New York City several weeks ago,
Graham McNamee happened to be
nearby and rushed to the scene of the
excitement. A policeman, recognizing
him, said: "Say, Mac, all we need is a
mike and we could broadcast this to the
whole world."

Frank Moulan, the noted comedian,
recently received a fan letter from a
girl in Pennsylvania, commenting on
his work in the National Light Opera,
NBC. She said she enjoyed his songs
very much but asked him would he
please sing something in his "natural
voice." Frank is still wondering how
to take the girl's request.

Bill Munday, the "Georgia
Drawl," -whose voice de-
scribed football games through
the N. B. C. System this past
season, has never heard a foot-
ball game broadcast. The rea-
son is that Bill has always been
at a game every week-end dur-
ing football season for the past
four years.

No matter how important the broad-
cast, the doors to the NBC studios from
which it goes on the air can never be
locked. This is not a superstition but a
fire regulation. In order to keep "crash-
ers" out of the studios — and radio has
its crashers — every door is guarded.
Signs also advise passers-by that the
studio is "on the air" and not open to
visitors.

■■■<■ * *

Vic Irwin, who, with his orchestra,
opened the Mayfair Roof recently, has
returned to "radiocasting" via "WOR.

Mr. Irwin, who has been playing in
practically every state in the Union,
last entertained in New York at the
Hotel Manger Grill. He left the hotel
to become master of ceremonies at the
Roxy Theatre. After conducting the
110-piece orchestra at the Roxy, he
took charge of a Publix theatre unit,
with which he toured to the Pacific
Coast.

Not often does Milton Cross lose his
dignified manner over the air, but one
Sunday night recently, while an-
nouncing the Armchair Hour, he went
completely to pieces. It all started when
he began to tell the personnel of the
Armchair Ouartet. He announced his

own name and, instead of saying "first
tenor," inadvertently said "first tennis."
Whereupon there was much merriment
among the other boys in the studio.

"First tennis," repeated Marley Sher-
ris, the bass of the quartet, "and then
golf," and thereupon ducked behind a
drapery to stifle a guffaw.

' Milton struggled bravely to regain
his composure but to no avail. He got
by "Maurice Tyler, second tenor," but,
when he reached "Walter Preston," he
had to throw the switch and go off the
air until he could stop laughing. He
made a final desperaate attempt and
then gave up announcing the names.

His listeners apparently enjoyed the
incident more than Milton did, judging
from the many letters he has received
commenting on it.

In response to innumerable in-
quiries, the editor wishes to state
most emphatically that Helen
Janke, contralto, is not one of the
Connecticut Yankees, of Vallee
fame.

Emil Cote, bass, who had been with
the NBC for several years, recently sev-
ered his connection with that company
in order to sing over Station WABC of
the Columbia chain with a quartet
called the Alumni Boys, which he or-
ganized some months ago. This quartet

sings on the Bremer-Tully Time, Gold
Seal Moments, Kolster Hour, Forty
Fathom Trawlers and the Voice of Co-
lumbia Programs.

George Dilworth, NBC conductor,
will sail on January 4 for a two weeks'
cruise to Havana. His trip will be in
the nature of a much-needed vacation.
He has received a number of "orders"
from his friends, to be filled down
there, but fears that he may be com-
pelled to dispose of the prescriptions
before he returns.

Bert Reed, the well known
arranger for Remick's, was lis-
tening to the radio the other
night while he was dining. He
heard a rather small voice
coming over the air that he
seemed to recognize. How-
ever, he could not recall the
singer's name.

"Why, you know," said
Mrs. Reed, "that's that Irish
tenor."

"Irish tenor?" spoke up
Bert's son, "-why, he sounds
to me more like a Scotch
tenor — the way he saves his
voice."

The first radio Santa Claus 'way back
in 1922 was "Jolly Bill" Steinke, of
"Jolly Bill and Jane", when he made his
spectacular descent down the radio
chimney of WOR. In case there are any
any other claimants, Bill weighs 230
pounds and has a mean temper.

Inside information reveals the fact
that the NBC has a real Chess Club.
Promptly at six o'clock, on Mondays
and Fridays, the chess hounds scurry
off to a little corner-place near Madi-
son Avenue, and fight bitter battles
with the pieces. The members are
George MacGovern, chairman; Julian
Street, Jr., and Stuart Ayers, all of NBC
continuity room, also Norman Sweet-
ser, of the same company's production
room. It is regrettable to have to add
(Continued on page 36)

JANUARY, 19 3 0

America's Radio Programs

LACK

Variety

and

Imagination

By JULIUS MATTFELD

EDITOR'S NOTE — Having seen the
"back-stage" operations of the two
large broadcasting systems, Julius Mattfeld
is -well qualified to discuss his subject. He
gave up his executive position with the
NBC's music and book library to take charge
of the CBS departments in the same field.
His opinion is expressed here with his charac-
teristic frankness.

RADIO broadcasting, as we enjoy it today, is the re-
sult of about ten years of development and growth.
In this comparatively short time, it has offered en-
tertainment as well as education and edification along every
conceivable line of human endeavor. It has given us
operas, light and grand; concerts, both symphonic and
popular; dramas and melodramas; oratorios and cantatas;
dramatizations of novels, magazine stories and serials; ac-
counts of baseball, football, prize-fighting, horse-racing and
yachting events; it has revived interest in the old Negro
minstrel shows; it has brought before the microphone
speakers and orators of national and international eminence;
it has helped to spread ideas of personal hygiene and bet-
ter living conditions; it has transferred religious instruc-
tion from the church to the home — in short, it has been
the world's greatest medium of direct intercourse among
people since the invention of the printing press.

It stands today before the world like the figure of the
god Janus — one face turned toward the past, the other
looking hopefully into the future.

What will be its future? we may now ask.

One cannot answer this question except by asking:
has it accomplished all that it could have done in the ten
years of its existence?

The answer to this query is a categorical NO!

The radio public today is complaining of the character
of the programs "put on the air". Tune into whatsoever
station it may, it finds a similarity of programs and a dupli-
cation of material offered all along the dial.

j=F

?=S=

5=6

zzsz

t ?, > 'Li I ' ' ^—jg==feS

fcci e

»/

The Herr Doktor Julius Mattfeld, hemmed in
by Wagner, Strauss, music paper and musico-lit-
erary queries, every one of which he can answer
without even looking at the book.

America Lags in Programs

Although America is far ahead of Europe in its radio
developments, it is behind the older continent in program-
building imagination. There is still a vast amount of
literature and music which has not been even superficially
touched by our American program builders. Too much
stress is laid by them upon what they think the public
wants; in their haste they forget — or, rather, overlook —
the fact that the potential American radio public is infinite-
ly smaller, despite the calculations of radio statisticians,
than the population of the country; that many a radio is
silent because the musical and artistic desires of its owner
are unsatisfied.

The libraries of the world are rich in materials which
could be adapted to radio presentation. Several of the
larger American radio organizations in the East, following
the example of the British Broadcasting Company, are wise-
ly developing libraries of their own. These, it is no breach
of business ethics to say, already contain many things which
have never come to the attention of the station's program
builders — in fact, they contain many an item which would
help to diversify the present programs.

Some day, unless official politics conspire to prevent it,
the library, instead of functioning, as it now does, merely
as a supply agency for programs, will be the real, originating
source of programs, and will include as its adjuncts both
the program and the continuity departments, as well as the
publicity department — all then, under the supervision of
one master mind; a twentieth century librarian!

Editorials

RADIO REVUE Thanks You!

A NY doubts or misgivings we may have had as to the
-^*- manner in which our first issue of Radio Revue
would be received were soon swept aside when this newly-
born infant. was presented for public inspection. We thank
you all. The reaction was most pleasingly favorable. It
warmed the cockles of our editorial hearts and caused our
editorial pulse to beat at an hitherto unknown speed.

While this reception was most gratifying — and we do
not question its sincerity — we hasten to point out that we,
more than anyone else, most fully realize the shortcomings
of that initial issue. We have remedied some of these in
this issue and shall continue our efforts to make this maga-
zine the most entertaining and informative one of its kind.

You listeners can help us in this respect. We invite you
to write us as freely as you wish for information concern-
ing radio programs, entertainers or those "behind the
scenes." Let's make Radio Revue the listener's forum.
If you have a grievance to air, let us help you give it wide
circulation. Write us what you like or
dislike in the way of programs — and why.
Tell us frankly who your favorite broad-
casting artists are, what announcers you
prefer or cannot stand, and also which sta-
tions you think put on the best programs.

What artist's picture would you like to
see on the cover? What program would you
like to read a feature story about? What
does radio mean to you and your family?
Which of the radio stars or programs of the
early days do you best recall? If you will
but take the time, you can help us to make
this a magazine of the listener, by the lis-
tener and for the listener. Remember, this
magazine is edited exclusively for you, the
listener. Why not lend it the advantage
of your support and encouragement? Again,
we thank you!

The Theatre of Illusion

iYTTTH tne decay of the charming theatre of fanciful
** illusion and the substitution of plays dealings with
trench life, speakeasies and questionable hotels, for the
imaginative comedies of a gentler age, the broadcasting
business may find and take advantage of a rare opportunity.

Only a few months ago Andre Wormser's delightful
mimo-drama "Pierrot, the Prodigal" found its way across
the ether, with proper incidental music and the pantomimic
action recited by a reader. Many complimentary remarks
were heard throughout the land and, indeed, it seemed a
welcome relief to get away, for an hour at least, from the
revolting language of the saloon, the gunman's lair, and
the jarring remarks of abandoned women.

Why not let us have a few more plays of this kind, by
Pirandello, Rostand, Giacosa and Lord Dunsany? And

RADIO REVUE

how about Tschaikovsky's Christmas pantomime, "The
Nutcracker", "Drigo's "The Enchanted Forest", Delibes'
"Coppelia", Ibsen's "Peer Gynt" with Grieg's music, Felix
Borowsky's "Boudour", John Alden Carpenter's "The
Birthday of the Infanta", and Julius Mattfeld's "The Vir-
gins of the Sun"?

There is much material to draw from and much more
could be written. Let the imaginations of the writers play
a little and, in its turn, let the imagination of the audience
come to life again. If the theatre is in a bad way — and it
certainly seems to be — the quality of recent plays and
the language used in those plays are responsible. It seems
to us that there is a tremendous opportunity for the powers
that be in radio to take advantage of this situation, to
produce delightful plays of charm and imagination, with
adequate music, and even specially written, when it is
necessary.

One hears on all sides the remark: "We do not go to the
theatre. We cannot afford to pay $8.80 to see the lurid
spectacles exposed on Broadway". A large portion of the
public is apparently hungry for some of the finer things.
If the radio programs can restore to these people the old
theatre of illusion, the land of make-believe, that will en-
chant children from six to sixty, then writers, musicians
and listeners will develop, and the radio will truly succeed
where the commercialized theatre has failed.

We have no wish to see the radio supplant the theatre,
but the present theatre is accomplishing its
own ruin by rotten plays, by greedy specu-
lators and by language that is hardly fit for
sailors' ears. It seems to us that it is the
duty of the radio to fill the gap with the
things of fantasy, of charm, ofimagina-
ticn and of fine music.

Put an End to This Panic

THE radio business is kept alive largely
through income derived from adver-
tising; that is, a sponsoring company has its
wares announced frequently and eloquently
— sometimes too frequently and not elo-
quently enough — through the musical pro-
gram, or the dramatic episodes that compose
entertainment for the listener.
"^«v, A survey of two broadcasting systems re-

veals the fact that a certain type of adver-
tiser is becoming far too aggressive on the
air and certainly too objectionable in the studios. With
a few hundred dollars to spend, he writes his own "con-
tinuity", he blatantly inflicts his product on music that
was certainly not intended to assist in selling any such
commodity and, when his salesmen stalk into the great
studios of the broadcasting business, a veritable panic re-
sults.

Officers and administrators grovel before this merchant
"king," engineers and production men are literally kicked
out of the studios, writers and musicians are banished from
the building, carpet is laid to the street, and, as one writer
expressed it, "The Presence of God" descends for four
hours on a huge business and paralyzes it. Clever and
independent workers become a lot of hat-touching, grovel-
ling slaves. A second-rate manufacturer is exalted to a
positions of divinity. He is allowed to make a crude
(Continued on page 46)

JANUARY, 19 3 0

Ether Etching/ I

"Exchange Artists and Promote Peace"

i4"|\T USIC can play a definite part in creating a better
-'-"-*■ understanding among nations and thus leading to
permanent international peace," says Kathleen Stewart,
pianiste. "I believe that, with the intelligent exchange of
good musicians, we would be well along the road to lasting
peace. Where friendship exists there can be no war. Let
us hear the singers and players of other lands. Let our
musicians go abroad for public concerts. We exchange
ambassadors, college professors, prize scholars and even
Boy, Scouts. Why not exchange artists?"

"Last Summer I made a delightful tour of England and
France. I liked England very much and was impressed

by the low musical
pitch of the Eng-
lish woman's
speaking voice,
particularly where
the native culture
has been brought
to play upon this
natural gift. I
found the French
people a little more
sophisticated and
light-hearted. But
I received marvel-
ous receptions in
both countries."

Kathleen Stewart
is essentially the
product of radio,
She was heard
"over the air" long
before her slight
figure, her violet-
blue eyes and her
dark, graceful
head, appeared in concert halls. Miss Stewart is a native
of this country, born on the high Palisades overlooking
the New York City from the far side of the Hudson River.
Her teachers in this city were Frederick Von Inten and
Howard Brockway, and she made her first public appear-
ance at the age of seven. Miss Stewart has studied the
violin and organ, in addition to piano, and has composed
and arranged for the 'cello and piano.

Away from the studio, where she radiates a true musical
personality, Miss Stewart is an exceedinglv busy young
lady. She is an ardent, capable horsewoman and few men
can drive an automobile better than she can. An expert
cook and baker, a rare housekeeper, and a skilled architect,
when additions or alterations to her charming country
house must be made, she is essentially a domestic figure at
home. She sews, makes dresses and does elaborate embroid-
eries with consummate skill.

Kathleen Steivart

"Europe Listens In by Telephone"

Wf ALTER KIESEWETTER, who has been "on the air"

** through various stations for many years, returned
recently from Europe. This means that his two large
studios near Central Park will resume their accustomed
activity and lavish hospitality.

It was through the patience, imagination and rare musi-
cal skill of Walter Kiesewetter and his gifted wife, Eleanor
MacLellan, that the year-old feature Musical Overtones
came into being and ran with much success over Station
WOR.

On this hour have appeared Adele Vasa, soprano; Ruth
Haines, soprano; Mary Sylveria, soprano; the Glenn Sisters;
Beatrice Kneale,
contralto; Helen
Oelheim, contralto;
Lucien R u t m a n,
tenor; Noel Enslen,
bass-baritone; Wil-
liam Menafra, bass-
baritone; George
Leache, baritone,
and Herman Wil-
li a m s, bass-bari-
tone. Many other
pupils of the Kiese-
wetter studios have
broadcast from
WABC, WOR and
on many offerings
of the Judson Ra-
dio Program De-
partment.

The Kiesewet-
ters' reactions to
their European trip
follow: "Very lit-
tle jazz is heard on

the other side. Only the best orchestras and operas are
broadcast. Radio sets are not as common in the U. S. The
telephone is the chief means of bringing in musical mes-
sages. The telephone subscriber pays the Government a
very moderate sum monthly, for which he can listen in at
any time.

"In Munich, to hear any of the operas from the various
opera houses, all one has to do is to turn on the switch
and use the head receivers or the loud speaker at will. One
can remain comfortably at home and listen to all of the
festival performances. The program manager in Munich,
I am delighted to say, said he liked our Musical Overtones
hour of last season immensely."

Walter Kieseivetter

The popularity Rudy has gained caused a wag to remark
recently that the old Messiah aria should be changed to
"Every Vallee Shall be Exalted."

RADIO REVUE

JTATIC pccm the XtWDICX

(Continued from page 32)

that George MacGovern owns the one
chessboard and pieces, and that the
other members of the club are con-
vinced that it is "fixed."

Henry Shope, NBC top
tenor, recently went on the
Hollywood 18 -day diet in or-
der to reduce. However,
■when he reached the eleventh
day, there was not enough on
the menu to appease his appe-
tite, so he decided to go back
to the third day's bill of fare,
in order to satisfy his pangs.

It is not always the crooner of popu-
lar songs who receives the most letters
from radio fans. As proof of this, Elsie
Pierce, who conducts a class in beauty
over WOR every Tuesday morning at
11:15, has received so much mail since
she started to broadcast a number of
weeks ago, that she has been forced to
employ three secretaries to take care of
this detail.

Margaret Harrison, supervisor of educa-
tional broadcasting at Teachers' College,
(formerly with the NBC), Walter Stone, of
NBC Press Relations, with Florence U.
Pierce, (who is really Mrs. Walt Stone),
program board secretary of NBC, went to
Yale recently to visit Miss Noel Pierce, one
of radio's coming playwrights, who is now
studying under Professor George Pierce
Baker. But that is not the story.

Walter tried to do the correct thing
just outside the Yale Bowl. He stopped
the car and opened a package declared to
be "right off the ship". He put the con-
tents into a pewter shaker, a wedding
present. And lo! the shaker melted"

It is said that Rudy Vallee has intro-
duced a novelty in his late dance pro-
grams in the nature of the Theremin
instrument, which operates on the prin-
ciple of controlled static. It is being
featured in solos, with piano accom-
paniment.

With all the expert electrical engi-
neers the NBC has under its roof, it
seems rather ironical that a stranger
from the outside should fix the loud

speaker in one of the reception rooms
at 711 Fifth Avenue, but such was the
case recently.

A man approached the hostess and,
smiling blandly, said: "Well, I fixed it."

"Fixed what?" she asked.

"Why, the loud speaker in that re-
ception room was out of order and I
fixed it."

"Are you connected with the NBC?"
she asked him.

"No, but I happened to be in there
when it went out of order and I un-
derstand those things, so I fixed it."

And, so saying, he departed, not even
waiting to be thanked — or reprimanded.

John W. Rehauser, a local arranger
well known in radio circles, toured
some years ago with Sir Harry Lauder
as conductor. Upon arriving in Aus-
tralia, John asked Sir Harry not to lay
undue emphasis on his nationality,
pointing out that he was not a Prussian,
but a Bavarian from Munich, where the
beer comes from. In Sydney, Sir
Harry introduced John as follows:

"Don't mistake my conductor, John
W. Rehauser, for a German. He's a
Bulgarian!"

Among the recent musical groups to
have auditions in the NBC studios was
a quartet of violins led by Anthony
Rizzutto, of Brooklyn. This is said to
be an unusual musical combination.
I * * *

Raymond Knight, of NBC, has been
promoted again. He is now Vice-Presi-
dent in Charge of Lunacy.

In one of his recent Music Apprecia-
tion Hours at NBC, Walter Damrosch
conducted Ravel's "Daphnis and
Chloe." In order to play this composi-
tion it was necessary to add to the or-
chestra a G-flute. This is probably the

first time that this type of flute has
ever been heard over the air. The G-
flute, he explained, is a fifth lower than
the ordinary flute and it gives a hol-
low, ghostly sound. It is to the flute
family what a consumptive person is
to a healthy family.

Lucrezia Bori, accompanied by her
bright-eyed terrier, Rowdy, and Willie
Perceval-Monger were seen strolling up
Fifth Avenue the last sunny day, con-
versing in Italian.

The Metropolitan star and her dog
attracted considerable attention.

The most chesty and exalted an-
nouncer in the world is John S. Young,
of the NBC. He went to Yale with
Rudy Vallee. Autograph hunters and
photograph fiends please note!

WOR is the scene of consid-
erable friendly rivalry among
its announcers, who in their
spare time are engaged in writ-
ing continuity for many new
programs now being heard on
the station. WOR has a board
composed of its executives and
presided over by Alfred J.
McCosker, director of the sta-
tion, which passes upon the fit-
ness of all contemplated pro-
grams. This board, which
realizes that announcers are
best informed as to how a pro-
gram "clicks," gave them an
opportunity to do some writing
on their own account. This
rule was responsible for such
excellent bits of entertainment
as Lewis Reid's "Tuneful
Tales," Postley Sinclair's "The
Troupers," and Basil Ruys-
dael's "Red Lacquer and Jade."
George Shackley, music direc-
tor of the station, not to be
outdone by the announcers,
came forward with the Rack-
eteers, a Friday night feature.

JANUARY, 19 3 0

Prcgram Nctex

"Checker Cabbies" on WOR

A distinctly urban program is that
sponsored by the Checker Cab Sales
Company, under the title "Checker
Cabbies", which began a series of broad-
casts covering thirteen weeks over
WOR recently. It has a master of
ceremonies, who not only does a turn
of his own, but introduces guest stars
of the various Broadway shows and cab-
arets. Sherbo's Orchestra, under the di-
rection of Murray Kellner, furnishes the
syncopation.

To Start Educational Series

The most comprehensive and thor-
oughly worked out series of educational
broadcasts for school-room reception
ever attempted on a nationwide scale
will be inaugurated over the Columbia
Broadcasting System on February 4,
193 0, sponsored jointly by the Colum-
bia Broadcasting System, Inc., and the
Grigsby-Grunow Company of Chicago,
it was announced recently by William
S. Paley, president of the Columbia
System and B. J. Grigsby, president of
Grigsby-Grunow.

Two afternoon half -hours each week
running until the first of June, will be
utilized in presenting programs for
classes from fifth grade through junior
high school, which will cover a number
of subjects and utilize several types of
presentation in an attempt to deter-
mine the most satisfactory method of
using radio for education. The decision
to present this series was arrived at after
several months of intensive research in
radio education conducted by both the
sponsoring companies.

CBS Offers Service Bands

The Army, Navy and Marine Bands
inaugurated a long-time radio schedule
with the Columbia Broadcasting System
recently when the first concert by the
U. S. Navy Band was broadcast to the
nation directly from Washington, D. C.
The number of band concerts by the
service units will be expanded early in
January, when Wednesday evening pro-
grams will be broadcast alternately each
week by the three units. These start on
January 8. Broadcasting will be car-
ried during these Wednesday evening
schedules between eight and eight-
thirty o'clock eastern standard time.
The Army, Navy and Marine Band
concerts are now being carried over

WABC and affiliated stations of the Co-
lumbia System five times a week. These
morning and afternoon concerts origi-
nate in Washington, D. C.

Government on Air Often

The Government of the United
States consumes more time on the air
than any organization or individual, it
was revealed recently by M. H. Ayles-
worth, president of the NBC. In the
first ten months of this year, the letter
disclosed, 245 government officials, in-
cluding the President, were presented in
programs over the NBC chains. More
than 3 00 hours of broadcasting time
was utilized for government activities
during this period, it was stated.

WOR Stars on New Program

Three of WOR'S outstanding stars,
George Shackley, Roy Smeck and Don
Carney, have combined their talents in
an hour which is expected to become
one of radio's most notable features.
There is scarcely a program emanating
from WOR which does not have a
"Shackley" trademark. He is the music
director of the station and is respon-
sible for many individual programs,
such as Moonbeams and Choir Invisible.

Roy Smeck is regarded as one of the
world's best performers on the banjo,
guitar, ukulele and a half dozen similar
instruments. He learned to play from
phonograph records, and is now in de-
mand by all of the big recording com-
panies. Mr. Smeck is not only a star
of the Keith-Albee circuit, but is one
of its highest paid artists. He was one
of the first of the Vitaphone stars as
well.

For this program, Don Carney steps
out of his character of Luke Higgins.
His friends say that it will show him
in his true role, that of a comedy singer
and humorist.

Bob Pierce, "Old Man Sunshine"

Sherry's Tea Music on Air

Tea dance music from Sherry's Res-
taurant on Park Avenue is being broad-
cast over the NBC System by Emil
Coleman's orchestra three afternoons
each week. These dance programs come
directly from the main dining room and
the Gold Room of Sherry's, where Park
Avenue gathers. The orchestra is
heard on the following weekly schedule
over WEAF and associated stations:
Fridays, from 4:30 to 5:00; Tuesdays,
5:00 to 5:30; Wednesdays, 4:30 to
5:00 P. M.

New Station on CBS Chain

Effective recently, Station WMT,
Waterloo, la., was added permanently
to the coast-to-coast CBS network. The
newly added station operates with a
power of 500 watts on a frequency of
600 kilocycles, and is owned and man-
aged by the Waterloo Broadcasting
Company, owners and publishers of the
Waterloo Tribune, one of the leading
daily newspapers in the state.

Three New Stations for NBC

Three stations recently have been
added to the NBC networks, making a
total of seventy-four stations on its
chains. One of the new associated sta-
tions is KECA, Los Angeles, owned and
operated by Earle C. Anthony, Inc. It
becomes seventh station on the Pacific
Coast network of the NBC. KECA
operates on a wave length of 209.7
meters and a frequency of 1430 kilo-
cycles. It uses a power of 1,000 watts.

The addition of Station WJDX in
Jackson, Miss., makes it the first sta-
tion in Mississippi to become a perma-
nent outlet for a national network. This
new addition is owned and operated by
the Lamar Life Insurance Company. It
operates on a wave length of 236.1
meters and a frequency of 1270 kilo-
cycles, with a power of 500 watts.

In response to an overwhelming de-
mand on the part of Canadian radio
listeners, as expressed in petitions, tele-
grams and letters, Station CKGW in
Toronto, Canada, was added to the
NBC network. This station operates
on a wave length of 434.8 meters and
a frequency of 690 kilocycles. It uses
a power of 5,000 watts. Gooderham &
Worts, Ltd., of Toronto, own and op-
erate the station.

RADIO REVUE

Colorful Russian Soprano Is "La Palina

T>1

Zinaida Nicotine One of Radio's Most Gifted Artistes, Has Sung for Royalty

/COMPELLED to leave Russia after the Revolution, Mme. Nicolina
^-* found refuge in Constantinople, where she remained as a guest
at the Royal Palace. King Alfonzo of Spain, M. Millerand, then
president of the French Republic, the late Ambassador Herrick
and many titled personages have heard her lyric voice in special
recitals. Morris Gest, the well-known impresario, was instru-

mental in convincing Mme. Nicolina that she should come to
America — and in his Chauve Souris. She has found everything
here very much to her liking. Although she has appeared on the
stage, in concert and recital, on the large vaudeville circuits and
in supper clubs, radio holds the greatest appeal for her. She ap-
pears as La Palina on WABC and the Columbia chain.

JANUARY, 19 3 0

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A Really Minute Revue

To the Editor of Radio Revue:

Enclosed find $4 for two subscriptions to Radio Revue.
Long may Radio Revue live, is my wish. A really up-to-
date and minute revue. — W. K., New York, N. Y.

AAA

Calls First Issue a Treat

To the Editor of Radio Revue:

It was a real treat to read through the first issue of your
new magazine. To me, the fascination and success of it
lies principally in the fact that one need not be technically
radio-minded or even a rabid "radio fan" to find keen de-
light in it. The cover was splendid and the lay-out ex-
cellent. My heartiest congratulations to you and my best
wishes for your success. Put me on your subscription list.
— M. E. C, New York, N. Y.

AAA

Takes Issue With "Average
Fan"

To the Editor of Radio Revue:

I am delighted with Radio Re-
vue. Enclosed please find my sub-
scription for one year. I have
always thought a radio magazine as
necessary to a "fan" as "Photo-
play." The public is very much
interested in the personalities of the
radio; there is the same lure of the
studio as there is of the stage.

There are things in your first
issue that I especially commend.
First: "Wanted: Air Personality,"

by Allen Haglund, and "Behind the Mike during the Pal-
molive Hour — this latter is one of my favorite hours on
the radio — also the story on the Philco Hour. I have
had the pleasure of hearing this ensemble broadcast in the
NBC studios and it was a most enjoyable experience.

I have often wondered why my favorite prima donnas
of grand and comic operas came over the air so negligibly.
Now I know. They may have stage, but not "air" per-
sonalities. This will interest many listeners, I know.

Up to date I have not learned "the secret of Rudy Vallee's
success," but that is wholly my fault — I was born in the
wrong generation.

Please let me wish you the greatest success in your new
venture, "plenty of fun with this magazine," and lots of
money. Personally, I haven't the slightest doubt but that
it will prove to be "the most entertaining magazine
possible."

I have read the article by "Average Fan" and I differ
so violently from him that, being of Irish descent, I want

to start something. Some things he likes just make me
shudder:

Jazz! Horrible stuff! When I hear it I am so thankful
that it is a radio that I can shut off. If it were a talkie,
mon Dieu! Amos 'n' Andy — shades of Primrose and
West — but, enuff said. There are no words! (unless cuss
words — and I don't use 'em).

Being bored by "big symphony orchestras playing Bach!"
I admit Bach is not the fondest thing I am of. But Wal-
ter Damrosch's delightful voice is such a joy! Please let
us have the symphonies. Don't let "Low Brow" get all
the joys of radio.

Now, just to show how broad some listeners can be: I
heartily agree with "Average Fan" about the "sweet
sweets," Roxy and Lopez — Kaltenborn, too. But I hope
your magazine will remedy this. In the hinterland, where
I live, I don't get him. I know — I might just as well live
in Los Angeles. You New Yorkers get so much that you
think that when you leave New York, you are camping
in the wilderness.

Jimmy Walker! Not for me —
and I'm a Democrat most of the
time. I'm such a good Democrat
that I am mighty glad Al Smith
wasn't in the White House during
the stock market crash.

But, I do like your magazine.
It has entertained me all evening,
just as well as any radio program.
— Timidly, L. G. Currin, Newport,
R. I. (The Irish burn out that way.
They start flaming mad, but just
fizzle.)

AAA

To the Editor of Radio Revue:
I wish to congratulate you on
the way Radio Revue's first issue looked. It has made
quite an impression, both at my office and at home. Mrs.
A. found it most interesting reading and informed

me that she felt it has wonderful possibilities. At once
she became interested in the Main Street program, which
happened to be on the air at that moment. Reading the
article and seeing photos of the characters certainly made
a vast difference.

To my mind, Radio Revue will do for radio what the
movie magazines have done for the movies. I feel certain
that you have a wonderful opportunity in your new field
and I wish you every success. I hope to see your new
magazine one of the leaders real soon. — T. G. A., New
York, N. Y.

AAA

To the Editor of Radio Revue:

We wish to add our congratulations to those you have
no doubt received on the appearance and contents of your
first issue. — M. S. B., New York, N. Y.

RADIO REVUE

Eadic in the Home a i

Edited by Mrs. Julian Heath

Pioneer Broadcaster of Market Reports and Daily Menus

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Hello, Neighbors!

We have been kept busy responding to the hearty ap-
plause that greeted the first issue of this publication.
Everyone gave the entire magazine a rousing welcome. I
am particularly pleased that you all liked this department,
which is dedicated to you.

The radio makes us all neighbors. Recently a listener,
who lives in West 70th Street, New York, referring to
my salutation, wrote: "I like our daily radio conference
over WJZ. It is all right, excepting the 'neighbor' pari:.
There are no neighbors in New York City." I am indeed
sorry that this friend has not yet acquired radio conscious-
ness.

Well, we could chat a lot about how the radio "makes
the whole world akin," but the Editor said to me: "Give
them more of the artists' recipes. Everyone likes them.
Indeed, the girls in the office could hardly wait to get the
magazine off the press, in their anxiety to try Milton
Cross's favorite dessert, the well-known toasted cocoanut
pie." Did you try the recipe?

AAA

I wandered through the studios the other day, and gath-
ered some more of these artists' recipes for you. You, of
course, know Henry M. Neely, Philco's "Old Stager." My
first introduction to Mr. Neely was five years ago, when
he wrote to me from Philadelphia, and requested a recipe
for chocolate ice box cake, which then was, and still is,
popular. I wish I had his letter to give you now. It was
a veritable SOS. It was extremely interesting and quite
characteristic of Mr. Neely. However, I can give you
the recipe that went to him by return mail. Here it is:

CHOCOLATE ICE BOX CAKE
The ingredients are:
1 lb. lady fingers

4 squares bitter chocolate (more if desired)

5 eggs

1 cup confectioners sugar

1 teaspoonful vanilla

1 pint whipped cream
Proceed as follows: Melt chocolate to thick consistency, add-
ing two tablespoonfuls of milk to the chocolate. Now add
yolks of eggs and one cup of sugar, then the beaten whites of
eggs, and then the vanilla.

This is how the cake is made: Use spring form pan. First
place in the pan a layer of lady fingers, then a layer of the
chocolate mixture, then lady fingers, and repeat with choco-
late mixture until all are used. Next place whipped cream on
top and let stand in ice-box over night. You can sprinkle
with nuts, if you like, or garnish to suit your fancy.

AAA

You know, we who are on the air always like to receive
your letters in order that we may be of greater service
to you. Moreover, the program managers learn from your
letters whether or not you like the programs and the ar-
tists. Radio letters are silent applause, which speaks more
loudly than you think.

AAA

I ran across Mrs. Harold Branch, wife of the NBC tenor.

She was not at the piano this time, but at the telephone.
"Tell me," I said, "What does Mr. Branch like best to
eat?" The question seemed far away from the beautiful
sonata she had just played on the air but, after a mo-
ment's thought, she said: "Steak." "Nothing else?" I
asked. "No, just steak, provided he has plenty of it." I
am sure that most men will applaud his choice.

These touches of the artists' home life must not all be
devoted to the gentlemen. There are many ladies whom
you hear on the radio, and now we will give them the
last word. They say that we women will have it anyway.
Miss Kathleen Stewart, pianiste, who is "Kathleen" to
everyone at the NBC, is charming, beautiful, and an ar-
tiste to her finger-tips, pianistically speaking. Recently
I met her and said: "Kathleen, please give me a recipe for
the listeners-in. What do you like best to cook?" She
paused a moment, with creamy fingers poised in the air —
she was busy creaming her face — and said: "Why, I have
so many favorite dishes I hardly know which to choose.
Possibly you would like to know about my meat pie."
Here it is:

ENGLISH MEAT PIE
The ingredients are:

2 pounds chopped beef
2 cups milk
2 cups bread-crumbs
l/z onion, finely chopped

J/2 teaspoonful thyme or poultry seasoning
Proceed as follows: Blend beef and bread crumbs. Add
milk and let stand until absorbed. Work in onions and
thyme.

The ingredients for the pastry are:
2 cups flour
l/z teaspoonful salt
1 cup shortening
Proceed as follows: Bake in pie tin in oven, first hot then
moderate. Serve very hot.

Kathleen told me about a neat little decoration that she
adds to her meat pie. It's quite a trick. Take a strip of
pastry 1 l/z inches wide. Slash the top edge about one-
half inch down. Now roll it up and insert it in a hole
in the center of the pie. After you have it placed, open
the slits as if you were bending down the petals of a
flower, and, when the pie is baked, it will be "Oh, so at-
tractive," as Miss Stewart put it. "Oh, yes, it is baked
with two crusts in a pie plate, not a casserole," she added.

You can see from this that Miss Stewart is as practical
as she is artistic. Moreover, she whispered to me — and I
now whisper to you — "This is the recipe I use for my best
beaux." (Note the plural.)

AAA

Well, I guess that will be enough recipes for this issue.
Try them and, if no ill effects are reported, I'll gather
more for you next time. You see, all of these artists enjoy
good things to eat. In fact, they are always talking to me
either about what they have just eaten or are just going
to eat. You folks get their artistic side, while I see them
from another angle.

JANUARY, 19 3 0

BRUSHED BV POWDER-PUFF CLOUDLETS,

THE MAGIC CARPET FLOATS

OVER THE LAND OF

PERPETUAL SPRING

Let's make a landing
— anchor the Magic
Carpet to a tree,
somebody. We'll ex-
plore these inviting
valleys* and twist
nosegays of fluttery
golden poppies.

This is Poultry Paradise — the abiding place of Spring. Year-long
she lingers, her green robe starred with blossoms. But surely there
is snow on those emerald hillsides? — Only the snowy plumage of
myriad hen-princesses. And those egg-cases, speeding along the roads
in smartly painted trucks? — They are the jewel-boxes of the hen-prin-
cesses . . . rows of milky pearls . . . and every pearl an egg brimming
with vitamins . . . the gift of Spring's gentle sunshine.

No icy breath of winter here to "chill" these pearly eggs — no
broiling summer days to "heat" their delicate contents, and spoil the
freshness of flavor which has won them fame.

Fastidious babies, fanciful invalids, and fussy cooks
where . . . wait eagerly for these gems of healthf ulness.

. every-

"Yes, but where are we?" you interrupt, insistently. Didn't you
see the blue Pacific as our Magic Carpet sped? To become geograph-
ical, our gypsy trail winds through chosen localities in Central Cali-
fornia and Western Washington — the beautiful country selected by
expert poultrymen as the source of "PEP" and "SUNRISE" eggs.

.*. W

Pacific Egg Producers

COOPERATIVE INC.

*CH£ €GG IVZTTf *GHS 91£?>Z7<T^4TI02V"'

SAN FRANCISCO

NEW YORK

CHICAGO

Seattle, Los Angeles, San Diego, Detroit, Pittsburgh, Boston
Panama, Buenos Aires, Valparaiso, Lima, London, and Glasgow

RADIO REVUE

A Streak of Sunshine

THIS long streak of sunshine is Dariel Jones, of NBC.
She is the Daddy Long-Legs of radio and is a real
radio beauty. Born in Chicago, Dariel was educated
in grammar and high schools there, and finally landed in the

University of Minnesota,
of which latter institu-
tion she is a graduate.
She studied music pri-
vately and in college, and
became an accomplished
pianist, but in her pres-
ent capacity of produc-
tion representative she
can order other artists to
play for her. Dariel
joined the NBC forces
early in 1927, booking
day-time programs, and
she has made a host of
friends.

Miss Jones likes the
theatre and music, and
has advanced about three
holes in the science of
golfing with the aid of
a professional. She is
rapidly learning the golf-
ing language, and the
necessary oaths. Her
most prominent vice is
painting apartments and
furniture. Dariel can
take a lot of nice furni-
ture and a new apart-
ment and make them
look like an undigested
vegetarian dinner. In
this process of painting,
a great quantity of the
assorted color lands on
Dariel. She has often
been mistaken for a piece
of modern furniture, largely due to her lofty, fireproof
construction. (See sketch).

As soon as an apartment is painted and the furniture
changed beyond recognition, Dariel starts right in re-
painting for the Fall, or the Winter. If she cannot repaint
for the fall or winter, she puts on her smock and repaints
for the spring or summer. Seasons mean just so much
repainting to Dariel. Her real name, by the way, is Dariel
Harriet Jones. People with the middle name of Harriet
are always fussing with houses and apartments, as you well
know, and nothing will stop them.

Although she is a remarkably good-looking girl, Dariel
Jones's pet aversions are being photographed or inter-
viewed. The best we could do was this drawing, sneaked
in a moment when she wasn't looking, and this interview,
which she will promptly deny. She has definite hates of a
number of people, but these are more than compensated for
by the number of apparently intelligent people who get
in her way when she passes, so that the sunshine of her
presence, or the shadow of her sunshine, or whatever it is,
may fall upon them.

Dariel Jones

Radio Gives Dan Cupid a Helping Hand

{Continued from page 10)

goddess Radio, who had helped him line up the pretty pair
so that a single arrow might transfix their beating hearts.
The advent of the loudspeaker and the vacuum tube
changed things a bit, but radio lost none of its effectiveness
as a matchmaker. There's probably not so much rubbing
of heads nowadays, but, at that, it takes quite a bit of close
work to bring in a distant station. I've lost several pals
that way.

Nothing to Break the Spell

As a general thing, there is nothing more conducive to
spending an evening in the parlor, where, as everyone knows,
Cupid fights and wins most of his battles, than the promise
of a few hours of music, good, sweet or hot, as the fancy
turneth. Curled up in the big chair, with the electric light
fuse in no danger of blowing out, Bill and Beatrice are
lulled into romantic mood by the steady outpouring of
tuneful melodies. No changing of needles, no turning of
records, no disturbing sessions with the crank handle, noth-
ing to break the spell.

And somehow those ingenious gentlemen who build pro-
grams see to it that the glamorous theme of romance runs
unfailingly through each precious Hour. Thus there is a
sequence of songs seemingly calculated to put ideas into
young folks' heads. They hear, in the rather significant
order named, Love Me, Vagabond Lover, Kiss Me Again,
You're the Cream in My Coffee, Lover Come Back to Me,
All 1 Need is You, Singin' in the Rain, The Pagan Love,
Song, I Love You Truly, I Can't Give You Anything But
Love, Girl of My Dreams, I May Be Wrong — But I Think
You're Wonderful, Woman Disputed, I Love You.

By this time the great conspiracy has done its work, and
the conversation, which is now hardly more than a purring
of coos and gurgles, has turned to such important subjects
as platinum settings, engraved invitations, honeymoons,
apartments, furniture on installment, and so on. As the
Hotel St. Whoozis Orchestra (the ideal place to dance —
adv.) winds up its program with a rousing Papa Loves
Mama, the contract is sealed with a very appropriate kiss.
Bill reaches for his hat, and Beatrice, discerning little hunt-
ress, switches off the radio, thinking what a splendid in-
vestment it was.

Such Conquests Are Easy

But such conquests are comparatively easy for Dan
Cupid. It's the problem of separation that bothers him.
Distance doesn't lend enchantment, he has found, nor does
it make the heart grow fonder. When Bill and Beatrice are
torn asunder, the great difficulty is to keep their affection as
bright and glowing as when there are no miles between
them, and to this end Dan Cupid has again enlisted the
aid of radio.

It's one of his own ideas; he calls it the Radio Date, and
it works something like this: Bill is now in Pittsburgh —
one of those important business calls that prove so danger-
ous to the continuity of a romantic theme. Beatrice pines
at home. Letters are so infrequent, and 'phone calls so very
expensive. If only she knew what Bill were doing at that
very moment, where he was and what he was thinking.

JANUARY, 19 3 0

Then comes the Radio Date. They have arranged that,
at exactly 9:30 P. M., both shall listen to a certain pro-
gram— the good old Sapolio Hour, for instance. And Bill,
'way out in Pittsburgh, hears the very same things in the
very same way and at the very same time that Beatrice,
back here in old New York, hears them. Every note of
that song at exactly that moment is tingling in Bill's ear,
just as it tingles in hers, is bringing up the same thoughts,
the same memories. The very same vibrations that she
thrills to are at one and the same time thrilling him. It's
just as if they were in the same room together, enjoying
the same music, the same emotions; he seems so close, so
near, he's holding her, his breath's on her cheek, he's mur-
muring something!

Oh, isn't love grand! Isn't radio glorious!

One of the "Daddies" of Radio

Merle Johnston Succeeds by Virtue of
"Sax" Appeal

{Continued from page 23)

therefore, capable of the finest musical expression.

Once he had mastered his saxophone, he had no difficulty
in obtaining engagements to make phonograph records and
to broadcast. His radio work increased tremendously, to
the point where it now absorbs practically all of his time.
He is heard as soloist on many hours and also as a con-
ductor. Since he started to broadcast he has been identified
on the air with 45 commercial accounts. This, he claims,
is a record number. Included in these are the Ipana
Troubadors, the original Clicquot Club Eskimos, the
Palmolive Hour, Cities Service Hour, A. & P. Gypsies, the
Seiberling Singers and the R. C. A. Hour.

Mr. Johnston recently left the NBC fold to go over to
WABC, where at present he is conducting the lively Ceco
Couriers Hour. It is said that at almost any time now the
Gold Strand program will go on WABC under his able
direction.

Some time ago Mr. Johnston organized a saxophone
quartet that has attained widespread popularity as a radio
feature. This quartet plays popular tunes, but makes a
specialty of the classics. All its numbers are specially
arranged by a man whom Mr. Johnston has employed to
work exclusively for him.

An interesting fact, especially to musicians, is that Mr.
Johnston is the designer of the B-flat tenor mouthpiece,
which permits easy blowing and gives a rich, resonant tone
quality. He says he will gladly send to anyone who writes
him at his studios, 1 5 1 West 46th Street, New York City,
a fine booklet describing this mouthpiece.

Holds High Place in Field

In addition to his many other activities, Mr. Johnston
is a composer of high standing. He has written several
excellent saxophone solos, including Valse Elegante, Morn-
ing Glory, Blue Streak and Tip Toes. These have all been
published by the Robbins Music Corporation.

That Merle Johnston has succeeded in his effort to raise
the saxophone to a place of dignity among musical in-
struments is attested by the high place he now holds in
that field. And yet, despite his success, he still remains the
student. He listens to all the masters, either in the recital
hall, over the radio or on the records. He realizes full
well that there is still much to be learned.

ewe OF 'HE-

oeitjiwrtes of

Toe. "Ner l/meic"
-To THiS 0« HE

Vm> -"nets "

YOU will not fail to recognize this estimable gentle-
man. He is George Ford McClelland, vice presi-
dent and general manager of the NBC, the bright
Pollyanna-like person who likes only work and radio. He
and Commander Dick Byrd are the only two living peo-
ple who have had special broadcasts written and directed
especially for and at them.

George was seated right in the midst of a bevy of tele-
phone girls downtown when the stork walked in with the
new baby WEAF. This was early in 1922 and the young-
ster even then was reasonably healthy. He did not quite
know what to do with it, so he carried it from 34 Walker
Street to 19 5 Broadway, where they will take in anything,
it seems. He was at that time in the Commercial De-
partment of the New York Telephone Company, and he
at once became identified with the management of the
new WEAF, in the capacity of commercial manager.
W. E. Harkness was then station manager, and the first
two announcers were Vischer Randall and A. V. Leufrio.
Sammy Ross was then program director — if you are in-
terested in all this history — Helen Hann, first accom-
panist and director of phonograph records, and Marion
Lamphere was mistress of programs.

Things were not so hot in 1922. Broadcasting was
done two or three times a week — when the transmitter
worked — and sometimes the programs went "on" but not
"out". (A program may be on, but it is not always, out
on the air!) Jack Truesdale was plant manager in charge
of the refractory transmitter. Sometimes he had it tamed
and obedient.

George Ford McClelland is a connoisseur of good things.
His only diversions are the radio, from early morning until
the midnight "sign off'", and his annual vacation in Ha-
vana, where he purchases the year's supply of the cele-
brated Nemo cigars. His popularity is astonishing
throughout the works. He was responsible for the first
transcontinental broadcast, and for the first commercial
network broadcast .
scout.

And he is a thoroughly good

RADIO REVUE

THE BIG TEN

Best Selling Popular Songs of the Month

RADIO floods the country's homes with music and brings
the popular songs of the day before the public as does
no other medium. In fact, most of these songs become
popular in proportion to the extent to which they please
radio listeners.

Each month Radio Revue prints here the names of the
ten best selling popular songs of the month. For the past
month, as compared with the previous month, it is interest-
ing to note that Sin gin' in the Rain, which had topped the
list, has dropped to fifth place. The two song hits of the
Gold Diggers of Broadway, Tiptoe Through the Tulips and
Painting the Clouds with Sunshine, have moved from second
and third places to first and second places respectively. Loie
Me has advanced from tenth place to seventh.

It is interesting to note that six of last month's Big Ten
have dropped out of the group entirely. Such stand-bys as
Am I Blue?, Pagan Love Song, Lovable and Siveet, Song of
the Nile, Little by Little and Sleepy Valley have been re-
placed by // / Had a Talking Picture of Yon, Love, My
Sweeter than Sweet, My Fate Is in Your Hands, I'm a
Dreamer; Aren't We All? and A Little Kiss Each Morning.
This demonstrates how quickly the American taste in popu-
lar music changes.

1 . Tiptoe Through the Tulips

from Gold Diggers of Broadway.

2. Painting the Clouds with Sun-
shine

from Gold Diggers of Broadway.

3. If I Had a Talking Picture of
You

from Sit ii n y Side Up.

4. Love

from The Trespasser.

5. Singin' in the Rain

from Hollywood Rente.

6. My Sweeter Than Sweet

from Sweetie.

7. Love Me

8. My Fate is in Your Hands

9. I'm a Dreamer; Aren't We
All?

10. A Little Kiss Each Morning

from The Vagabond Lover.

Another notable fact is that last month, of the ten best
selling songs listed, nine were' theme songs from talking pic-
tures, whereas this month's list contains only seven theme
songs in the first ten. This may mean that the theme-song
idea has about run its course and that we shall shortly see a
reversion to the old order.

Browne and His Banjo Moulded Career
Together

(Continued from page 20)

shadow." Unable to do real work because of his condi-
tion, he turned to the lecture platform. He travelled
throughout the East delivering his talk, "Six Months With
Uncle Sam," in which he embodied all the elements of
drama so that each listener would feel that his fifty cents
was wisely spent.

When it appeared to Browne that every one who so
desired had heard his lecture, he decided to seek a career
in politics. That was in 1900. He lost. No more politi-
cal aspirations. But the odds had been decidedly against
Browne. He spoke for William Jennings Bryan.

Then he turned to the "boards" in an effort to elevate
the American stage. He found it a difficult task, but for
twenty-five years he continued in his efforts. Whatever
he has done for the theatre, he believes that it has done
much for him in return.

During the last ten years he has played every conceivable
kind of a part in comedy, drama and tragedy, and for
four seasons has had prominent parts in musical comedies.
He appeared as leading man with Lillian Russell, Mary
Ryan, Rose Stahl, Frances Starr, Edith Taliaferro and
Irene Bordoni.

Only a short time ago he appeared in the leading role of
Channing Pollock's "The Fool', succeeding James Kirk-
wood. His last engagement in the theatre was the por-
trayal of the Rev. Morrel in the Actor's Theatre produc-
tion of "Candida", by Bernard Shaw.

Acted With Early Movie Stars

Browne also was with many of the stars in their earlier
moving picture successes. He played opposite Mary Pick-
ford when her now shorn curls were just coming into
prominence. One of his last appearances was with Con-
stance Talmadge in "Scandal". Between these two pic-
tures he had feature roles with Mae Murray, Hazel Dawn
and Corinne Griffith.

All this while the banjo was hibernating. Finally the
opportunity came. The Columbia Phonograph Co. offered
him a contract to record his numbers with his own accom-
paniment.

In January, 1926, George Harrison Phelps saw great
radio possibilities in this versatile man and offered him the
management of Station WGHP, in Detroit. Browne and
his wife deliberated as to the possibilities of the "Air" and
finally decided to leave the good ship Drama for the
shores of Radioland. There he was an instantaneous suc-
cess. In August, 1927, he joined the Columbia Broadcast-
ing System, at the suggestion of Major Andrew White.

Here his years of experience in the dramatic and musical
lines stood him in good stead. He originated and produced
the Cap'n Kid program, in which he was the "Old Rascal"
himself. He later portrayed the Cap'n in the Buccaneers
and his singing in the opening chorus was a feature.

Browne takes a hand in everything from announcing —
he was known to the radio public as the "Voice of Co-
lumbia"— to heavy "Mellerdrammer" in his "Hank Sim-
mons's Showboat", one of radio's most popular programs,
now in its fifteenth month over the Columbia chain.

JANUARY, 19 3 0

Farmers Want Less Jazz

The farmer is reported to be highly inter-
ested in the movement initiated by Secretary
Wilbur to increase educational broadcasting.

Farm people are demanding a greater num-
ber of educational programs and will take full
advantage of any broadcast that brings them
knowledge or information, says Morse Salisbury,
chief of the radio service of the Department of
Agriculture.

Answers to questionnaires regarding the im-
provement of programs have indicated that a
large percentage of farmers believe there is too
much jazz music on the air and that they would
welcome more educational features, he said.
Surveys have shown a pronounced demand for
more talks, for old songs and other "good

Will Radio Wonders Never Cease?

{Continued from page 24)

and there are 2,974 by actual count in each microphone —
is stamped with the letters NBS. This was found neces-
sary in order to prevent spurious detection.

With the development of the left-handed microphone
the NBS found it necessary to establish a new department
which will be known as the Carbon Particle Audit division
and which will be in charge of a vice-president as is the
company's wont. Here a large staff of expert carbon coun-
ters will be kept busy each day checking the number of par-
ticles in the microphones. If, through fusion or coherence,
the number of particles is decreased or nullified, the pecu-
liar functions of the new equipment automatically become
inconsequential.

The new type of microphone will be demonstrated dur-
ing the initial broadcast of the Kiwanis Kapers program,
a new presentation sponsored by Rotary International,
which will be heard through a shore-to-shore broadcast
over a network of stations associated with the Natural
Broadcasting System.

Oscar Writes Margy All About "Original
Radio Girl"

(Continued from page 4)

She has had to reject three counts already.

I have also heard some other interesting things about
her, Margy, which I will tell you. She always wears ear-
rings and has such a big collection she could change them
three times a day for two months and never wear the
same pair twice. She has a farm up in Connecticut where
she lives in the summer and she likes accordion music —
she says it is swell, which is a gag, sort of. She is a good
cook and likes to give parties and I hope to be invited
someday after I have become a great radio tenor.

Well, Margy, if there is anything more you want to
know about Miss de Leath or any of the other important
radio stars just ask me as I expect I will know them all
personally. Now I have to run up to Milton Cross's
house, as he forgot his rubbers.

Love and kisses,

Oscar.

Life Insurance! and Annuities

Herbert L. Westfall

Special Agent

99 Warren Street

New York City

Suite 122

'Phone— BARclay 7169

FRANK LUTHER

PERMANENTLY LOCATED AT THE

HOTEL
KNICKERBOCKER^

RECOGNIZED RADIO ARTISTS' HEAD-
QUARTERS

NEW YORK

WEST 45th ST. TIMES SQUARE

RADIO REVUE

►***VVVVVVV*VVVVVV*VVVV*VVVVVVVVVV*%VVVV*VVVVVVVVV%<|

WHO
Is Your
Favorite
Radio Artist? j

—and Wfvy.7 j

'TpHE Editors of Radio
-*" Revue will pay Ten
Dollars for the best
letter on this subject and
Five Dollars for the sec-
ond choice.

Write plainly and on
one side of the paper
only.

Winners will be an-
nounced in the February
issue.

S Radio Revue I

Six Harrison Street
New York, N.Y.

Ohio Soprano and Georgia Tenor Win
Atwater Kent Auditions

{Continued from page 7)

"Don't let it worry you," was the reply of an NBC
official who happened to overhear. "Neither of the last
two winners wore dinner clothes."

But no one encouraged Miss Rowe when she was selected
as No. 1 and asked to sing first by telling her that the
No. 1 singer had been adjudged the winner for the past
two years. She did not learn this until after she had
cried in her father's arms on hearing Graham McNamee
announce her name to radio listeners as the victor.

Miss Rowe's soprano voice was nourished in an atmos-
phere of music. Her father, Neill O. Rowe, who played
the accompaniment to her "Shadow Song," from
"Dinorah," by Meyerbeer in the finals, is Dean of Music
at Wooster College. Her mother also is a fine musician.

As a result, Miss Rowe has "been singing ever since I
could talk." Three years ago, when she was eighteen, she
began serious voice cultivation. Since then she has been
actively identified with church choirs, the Wooster College
Glee Club, the Oratorio Chorus, the Fortnightly Club and
other vocal and musical organizations in her home town.

Both young singers will be heard frequently in Atwater
Kent programs through the NBC System.

Mr. Fussy Fan Admits He is a "High Brow"

{Continued from page 18)
get too much for nothing and hence fail properly to appre-
ciate what is done for them. Of course, some method of
taxing each owner of a radio set and using the funds so
obtained to put on high class programs — such as is done in
England — would perhaps have been the most effective
means of stabilizing the industry. However, the infant
radio grew so rapidly and to such vast proportions that
there was no holding it.

Will the present system continue, or will there be an
entirely new order? What will be the result when tele-
vision develops to the point where millions of homes have
their own sets, as they now have radio receivers? What
would happen to radio if the Federal Radio Commission
enacted a ruling that prohibited chain broadcasting? These
are all questions that face the radio listener who is in-
terested in the future of broadcasting. Only time can

answer these queries.

»-. ■ m •-•

Editorials

{Continued from page 34)

speech into the microphone, and people who ought to know
better kneel down muttering "The Presence is here!"

When an advertiser takes a thousand dollar advertise-
ment into the office of a great newspaper, do the presses
cease to function and does the editorial force rush to the
street with red carpets and servile salutes? They do not!
And the sooner the radio business recognizes that the ad-
vertiser comes into its halls as a guest, and not as a con-
trolling and paralyzing influence, the happier will be lots of
people working in it.

The radio business, until it finds some other dignified
source of income, will have to take the advertiser's money,
we presume. But do not let us witness the spectacle of a
great corporation and it officers kneeling in fear and trem-
bling before a tin merchant "idol." While the radio busi-
ness may require money, does it need it as badly as that?

JANUARY, 19 3 0

Mere Man Wins First Prize in Rudy Vallee
Contest

(Continued from page 27)

Second Prize Letter

I was glad to see in your inaugural issue the article about Rudy
Vallee. But the author — or are Ye Editors to blame? — just would
bring up the question of what is the secret of Rudy's success with the
women. As if anyone really knew — excepting Rudy! I don't pre-
tend to know, but I have views on the subject.

In the first place, the women aren't in love with Rudy at all, but
with everything that he stands for — love and romance. From the
very beginning of our country's history, when the first Priscilla helped
her John Alden along the uncertain roads of courtship, to the present
day, when the more aggressive "boy-friend" practically sweeps his
lady-love off her feet, so to speak, the American women have been
the soul of romance, living for love, calling for it, ever searching for
romance.

But they are not so fortunate as the women from European coun-
tries— France, Italy, Spain — whose husbands are lovers even after mar-
riage. In America, when a man wins his wife and marries her, that
one part of his job is done. He has told her he loves her, proved it
by marrying her — what more does she want — what more could she
want? He doesn't realize — or doesn't he care — that her life is love —
that she wants always to be loved, and to love. That is where Rudy
Vallee comes in.

Calls Rudy the Eternal Lover

He is the eternal lover — and the little boy at the same time. He
loves — and is loved copiously by these women. Always breathing
romance, singing the praises of love, enrapturing his phantom sweet-
heart with his ardent whisperings, and at the same time yearning for
his own dream girl — he makes the women believe that each one is
the only one — that she alone is his beloved. To the young girl he
is the personification of her ideal — tall, handsome, blond, strong and
tender — her dream lover come to life, with the sweetest voice in the
world and the heart of gold — come to find her.

To the flapper, he is the antithesis of her modern jazz-mad "boy-
friend." He is everything that is quiet, modest, sweet, charming and
lovable.

But to them all he is the same — a romantic figure, unapproachable,
distant, indifferent to their worship — always foreign, yet all the more
lovable for it. He is beloved of them all. And he doesn't seem to care
— except that he is giving them happiness, and is glad of it.

Again, I say, it is not the real, every-day commonplace Rudy that
his friends know and love for himself, with whom the women are in
love, but the atmosphere with which he has surrounded himself. And
until that atmosphere disappears; until the American man warms up
a bit — which is doubtful; until the American woman becomes cold
to love — which is not only doubtful, but equally impossible; and until
Rudy loses his voice — or, which is worse, becomes married and loses
his romance — (for he is only human, after all) — until then, Rudy
Vallee will continue to be a success with the ladies, and his success a
mystery to the men. — Catherine Oest, Yonkers, N. Y.

New Women's Hour Series on CBS

The greatest institution of service for women yet fur-
nished by radio is now offered by the Columbia Broad-
casting System, in conjunction with the National Radio
Homemakers Club, of which Ida Bailey Allen is president.
According to Ida Bailey Allen, under whose supervision the
new series will be conducted, a real women's magazine
of the air has been established, in which all matters of
interest to housewives are treated completely in depart-
mentalized broadcasts. Furthermore, the various subjects
are balanced in such a manner that no one will receive
more attention than another.

The plan, as it has now been completely developed,
entails the broadcasting of two hours daily, excepting
Saturdays and Sundays, on subjects of interest to women.
The hours between 10 A. M. and 12 noon, eastern standard
time, have been selected as the most effective to reach the
audience most interested in the material to be presented.
This constitutes a new record in the matter of actual time
devoted daily and continuously by any network to broad-
cast for an exclusively feminine audience.

Congratulations
to RADIO REVUE
and Best Wishes
r 1

RADIO REVUE

Do a

Good Turn
For a Friend

If you know somebody who is an
ardent radio fan and is interested in
what is on the air, why not send him a
year's subscription to Radio Revue
with your compliments?

Or, if there is some one "back home"
who would like to know more about
how broadcasting is done and who
does it, just fill in the blank below and
send it to us. We will do the rest.

One Year, $2.00; Two Years, $3.00

RADIO REVUE. INC.
Six Harrison Street
New York, N. Y.

Gentlemen :

Please enter my subscription to RADIO REVUE

for ......... years. I enclose Dollars in

cash, check, currency to cover.

Name

Street Number

P. O.

State

1929 Greatest Year in the History of Radio

{Continued from page 9)

near Cincinnati were covered from an airplane, and a
little later a demonstration of refueling in mid-air over
New York was also covered from a plane. May 1 8 brought
the famous Kentucky Derby. The Fort Worth endurance
fliers made their record in the same month, which finished
with the radio opera premiere and the Indianapolis Speed-
way 5 00-mile auto race.

Early in June we broadcast a flying memorial service to
aviators who had lost their lives in attempting to fly the
Atlantic, and in the same month we presented from Old
Orchard Beach the take-off of Roger Williams and Lewis
Yancy, who made it. We also had the Harvard-Yale boat
race, the Poughkeepsie regatta and the broadcast from un-
der Niagara Falls.

July was marked by three events in the world of avia-
tion: Williams and Yancy were given New York City's
official welcome on their return to the United States, and
the stories of two more endurance flights, those of Mendell
and Reinhart and Mitchell and Newcombe, were broad-
cast. The same month also brought the Thanksgiving
service from London.

A parachute jumper broadcast his sensations as he was
falling through the air on August 12, and much of the
rest of the month the world was watching the goings and
comings of the Graf Zeppelin. The ship arrived in Lake-
hurst from Germany on August 4 and returned at the
end of its around-the-world flight on August 29, and in
the interim every movement was covered by press asso-
ciation bulletins and reporters stationed on both coasts.

Gloria Swanson sang from London for an American
audience on September 5, and two days later we rebroad-
cast the Schneider cup races. Sergeant Alvin C. York,
the World War hero, returned to the public eye by way of
the microphone and Sir Harry Lauder used the microphone
for the first time to keep in the public eye.

In October Jack Dempsey went on the air during the
Fields-Dundee match in Chicago, the World's Series opened,
and Premier J. Ramsey MacDonald arrived from England
to talk peace with President Hoover. A Canadian station
was added to the NBC network to present the Premier's
addresses. Leopold Stokowski began his broadcasts, Walter
Damrosch came back to the air with his programs for
schools, the Light's Golden Jubilee program presented Al-
bert Einstein from Germany and President Hocver, Thomas
A. Edison and Henry Ford from Dearborn, the football
season opened and a Holland program was rebroadcast.

October and November brought the New York City
mayoralty campaign to the microphone, and early in the
latter month Mayor Walker, who had spoken half a dozen
times earlier in the year, welcomed the Russian fliers to
the city. The Chicago Civic Opera programs opened
with the dedication of a new opera house, President Hoover
made his Armistice Day address from Arlington Ceme-
tery; a Puccini opera was broadcast for the first time in the
United States, and John McCormack came back to the air.

Early December brought Secretary Mellon, an abstract
of President Hoover's message to the new Congress, and
President Hoover's address to the members of the per-
manent business conference. Leaders in the Governmental
and financial worlds also came to the microphone in a
series of talks on economic subjects.

What!! a laxative

for loveluieA^ r

titer

Those tiny blemishes which baffle
the cleverest cosmetics can be defeated by
Sal Hepatica! Women who know the
saline method, who use salines as the

family laxative, know how quickly they
purify the bloodstream and bring new
color and translucence to the cheek.

In Europe, the wonderful saline
springs have for years been thronged
with men and women sent there by
their physicians to drink the saline
waters for the sake of their complexions
and their health.

Oal Hepatica is the American equiva-
lent of these saline springs. It rids the
body of poisons and acidities. That is
why its use is a great relief for head-
aches, colds, rheumatism, auto-intoxi-
cation, constipation, indigestion, com-

plexion disorders and many other ills.

Sal Hepatica, taken before breakfast,
is speedy in its action. Rarely, indeed,
does it fail to act within thirty minutes.

Sristol -Myers Co.,Dept.RR-l 29,71 West St.,N.Y.
Kindly send me the Free Booklet that explains
more fully the many benefits of Sal Hepatica.

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S tarks Golden Delicious

Introducing
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"The Man Who

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Joe is going to have many
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IPAMDIiai

REVUE

r mm

February
930

In This Issue:

Norman Brokenshire

Jessica Dragonette

Graham McNamee

Andy Sannella

Nit Wit Hour

Mary and Bob

1 Phil Cook

Other' Features

RADIO STARS

from the Studios of

Donald McGill

Baritone

WOR—WEAF

American Opera Company

LUCIEN RUTMAN

Tenor
WEAF—WOR

WALTER KIESEWETTER

33 West 67th Street
New York

Telephone: Trafalgar 8063

Adele Vasa

Coloratura Soprano
WABC— WEAF—WOR
American Opera Company

Brownie Peebles

Mezzo-Soprano

Canadian National

Railways

WOR—WEAF

American Opera Company

Mary Silveira
Lyric Coloratura Soprano

W OR— WABC
American Opera Company

FEB ^ m°

©C1B 60264

CADIC CEVLE

FOR THE LISTEAfER

Volume I Number 3 February, 1930

CONTENTS

On the Cover: Norman Brokenshire By Gaspano Ricca

Jessica Dragonette (Photograph) 2

What Light Opera Role Do I Love Most to Play? By Jessica Dragonette 3

The Muscular Diva : By Clifford McBride 6

What Price Announcing! By Norman Brokenshire 7

Andy Sannella — a Real Miracle Man of Music By Herbert Devins 10

Andy Sannella By Gaspano Ricca 1 1

Have You a Little Nit Wit in Your Home? By William Schudt, Jr. 13

Taught Self to Play Banjo — Roy Smeck Now Teaches Thousands, By Dai id Casein 16

McNamee "a Great Guy," Oscar Writes His Girl Friend, Margy

By P. H. W. Dixon 17

"Quaker Girl" Starred on Broadway (Photograph) 19

Rector Again Points Way to Epicurean Delights By Florence Smith Vincent 20

Radio's One-Man Show, Phil Cook, Is Marvel of Versatility, By Gene Mulholland 21

Mary and Bob Start Their Third Year of Air Wandering By Jeanctte Barnes 23

One of the Immortals By Martha Beattie 24

A Case for Television (Photographs) 2 5

Majestic Hour Experiment Portends New Era in Conducting By Bruce Gray 26

An Open Letter to Mr. Average Fan from Mrs. Upstate Listener 28

Static from the Studios 30

New Meteor Flashes Across "Blue Heaven" By Walter Preston 3 1

Ether Etchings 3 2

Editorials 34

Challenging the Grownups (Photographs) 3 6

Program Notes 37

Enrique Madriguera, Master of Jazz and the Classics 3 8

Listeners' Forum 3 9

Radio in the Home (Edited by Mrs. Julian Heath) 40

The Announcer Speaks for Himself: Marley Sherris 42

The Big Ten — Best Selling Popular Songs of the Month 44

A Typical Radio Week By Joyce Sears 44

The Itinerant Listener — "He Tunes In and Reports at Random" 46

Bruce Gray, Editor

Contributing Editors:

Allen Haglund H. Raymond Preston

Mrs. Julian Heath Walter H. Preston

Willie Perceval-Monger K. Trenholm

Published monthly by RADIO REVUE, INC., Six Harrison Street, New York. N. Y.. Telephone: Walker 2677-2678: Uptown Office:
Room 1215, Hotel Knickerbocker. 120 West 45th Street. New York, N. Y.. H. Raymond Preston, President: Benjamin F. Rowland,
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RADIO REVUE

Jessica Dragonette

NBC Soprano as Nadina Popoff in "The Chocolate Soldier"
Composing a Letter to Lieutenant Bumerli

F EBRU ARY , 19 3 0

what Light Opera Role

Do I hove Most

to Play ?

Frankly, says the
dainty NBC prima
donna, it is difficult
to single out any one,
since each character
has its own particu-
lar hire and fascina-
tion.

Having played sixty-
five roles over a per-
iod of two and a half
years, the erstwhile
leading lady of the
Phil co Hour, NBC,
attempts to analyze
the best known char-
acters and discover a
preference.

By JESSICA DRAGONETTE

WHAT character do I love most to play? I have
been asked that question so many times! Frankly,
it is difficult to single out any one, since each
character has its own particular lure and fascination.
While I am playing Fiji in Mile. Modiste, for instance, I
think she is my favorite; or, again, if it is Sylvia in Sweet-
hearts, I am sure she is — and so it goes with all the light
opera personalities I portray.

As far back as I can remember I have loved to imper-
sonate people. As a child, I was permitted to go to the
theatre once a year — that was on my birthday! That
day stood out as a notable day indeed. I was passionately

fond of the theatre. For weeks afterwards I would act
the entire play for my playmates, taking all the parts my-
self. What was a childish game has grown into a de-
lightful and absorbing occupation.

Character-study is of all studies the most intriguing
to me. In the subway, on the street, in the theatre, the
market place, at tea, in department stores, in restaurants
— wherever people are — I find myself absorbed with
countless mannerisms and iodiosyncrasies that go to make
up characterizations. The way people walk, talk, act;
the way they use their hands, all these things interest me.
These bits of life that I have from time to time observed

RADIO REVUE

are tucked away in
the pigeon-holes of
my mind and un-
c o n s ciously find
their way into the
building of a
character.

Must Know
Proper Walk

"But why", you
may ask, "must
you know how a
character walks in
order to play her
over the radio?"
Oh, but I must
know! The walk
sets the tempo of
the scene. Long
before my en-
trance in Mile.
Modiste, for exam-
ple, I was walking
up and down in
the studio, looking
back to see if the
gentleman was still
follow ing me.
Otherwise, I could
never have given a
true picture of
Fiji, out of breath
and expectant, during the scene with Hiram Bent.

Do you remember the scene
between Barbara and the two
soldier-deserters in My Mary-
land? Barbara cajoles the men
with a song about "Old John
Barleycorn" and gets them
intoxicated. She knows they
intend to kill her lover, Cap-
tain Trumbull, when he passes
the house where they are bar-
ricaded. Barbara shoots one
of the men just as he is aim-
ing to kill Trumbull. She has
saved her lover, she knows,
but the strain of the situation
has made her hysterical. She
alternately laughs and cries. I
was truly weeping in the cli-
max of this scene, but the
crescendo began with the ca-
joling of the two men.

Before I do a scene, I ask
myself certain questions:
Where is my character com-
ing from? Where is she go-
ing? What has she been do-
ing? Whom has she seen?
This helps me to play the
scene in the right mood and
proper atmosphere.

As Marietta, in "Naughty Marietta"

Leaving by Aeroplane to Fill a Concert Engage-
ment in Baltimore. Left to Right: Robert Simmons,
tenor; Jessica; Kathleen Stewart, pianiste, and H. P.
di Lima, NBC Representative.

Fusion of Music and Drama

In light opera, there is, of course, the two-fold inter-
pretation, the musical as well as the dramatic. They are
so completely united, however, that it is difficult to divorce
one from the other. Rather the one enhances the other.
For example, Arms and the Man, by George Bernard Shaw,
is complete drama. In The Chocolate Soldier the drama
is heightened a hundredfold by Oscar Straus's music.

I shall never forget the first character I created in light
opera over the air. It was The Merry Widow, which I
have since played several times. I had never done any-
thing like it before and all sorts of difficulties loomed up
— principally the fact that I was playing Sonia to Mr.
Donald Brian's Danilo. He had created Prince Danilo
some twenty years before. How was he going to be recon-
ciled to me! I was so 1927! Suddenly I thought Merry
Widow and gradually I felt her personality descending
upon me. I was no longer myself — in fact, I was left far
behind, still wondering, while another I, as Sonia, joyfully
sang The Merry Widow!

Of course, one naturally likes best the character one
admires most or finds most appealing. The tastes and
sympathies of my audience are varied and definitely selec-
tive. Everyone does not like Zorika in Gypsy Love. Yet
someone else prefers the dark, romantic girl far beyond
the quaint and prim Prudence of The Quaker Girl. It is
only by loving all my characters that I can understand
their varied personalities.

Radio Enables True Portrayal

Some times an actress on the stage cannot play a cer-
r.ji". character because of too great physical differences.
This fact has made for "type"-casting, which is discussed

. so frequently in the theatre.
Radio, of course, removes
this handicap. Since the es-
sence of personality is mental
and emotional, the radio ac-
tress who can project with
mind and spirit the potent
qualities of her role gives, per-
haps, a truer portrayal than
does the actress on the stage
who merely "looks" the part.
All this is not as difficult
to arrive at as it would appear.
With certain basic principles
set down, characterization be-
comes a matter rather of com-
bination. First of all, a char-
acter must be universal in
soul. Then whatever exter-
nal qualities are added must
be inevitable, potent and sure.
Weave through this human
being, in varying combina-
tions, charm, caprice, subtlety,
lovableness, gayety, mischief,
generosity, wit, courage, gal-
lantry, or naivete; add to these
qualifications situations like
poverty, riches, loneliness,
boredom, ambition, and you

F EBRU ARY , 19 3 0

have material for a thousand characterizations.

But still you ask: "What character do you love most to
play?" Let me see — I have played some sixty-five roles
over a period of two and a half years. Perhaps if I re-
view some of them I may discover preferences.

Marietta, in Naughty Marietta is dear to me because
of her mischievous fiery Italian temperament. Her moods
are as scintillating as the stars. She is April, laughing
one moment and weeping the next. Her personality is
all bright darts until, slowly and like a flower unfolding,
you see her romantic nature bloom.

Cannot Part With Angele

Angele, in The Count of Luxembourg, is very different.
She is French and her flashes of personality contrast
markedly with the little Italian girl. Angele is taller and
more beautiful. Besides, Marietta has a title and Angele
is- marrying for one, so . . . being an actress her charm
is heightened ten times. She is graceful, poised, gay and
subtle. She has humor, too — and a certain good sports-
manship which she adequately displays in her beautiful
opening aria "Love, Good-Bye!" No, no, I cannot part
with Angele!

Do you remember O Mimosa San, the dainty fluttering
little creature in The Geisha? And Kafhie, the blonde,
vital, laughing barmaid in The Student Prince? From
her first rippling laugh in the first act to her "Good-bye
Heidelberg" tears in the last, I love her.

Then there are Babette, Zoradie in The Rose of Algeria,
Gretchen and Tina in The Red Mill; Elaine in The Debu-
tante; Mary and Jane in The Babes in Toyland; Vivien in
The Enchantress; Greta in The Singing Girl; Irma in The
Fortune-Tcller, Seraphina in The Madcap Dutchess; Eileen
and Rosie Flynn in Eileen — all of these are beloved Vic-
tor Herbert roles — Flora and
Janet, so sweet and heathery
in de Koven's Rob Roy; An-
itza, thoroughly Americanized
by George Cohan, in The
Royal Vagabond.

Princess Pat, a girl to dream
about, poured forth her ro-
mantic soul in some of Her-
bert's loveliest music, "Love
is the Best of All"; "All for
You," and "I Need Affection,
oh, so Much!"

Ottilie of the Mauve
Decade

Ottilie, in Maytime is Amer-
ican, quaint and of the mauve
decade. She is the girl who
tells her lover in the first act
"Your arm is like a pump-
handle, — there's no cuddle to
it!" This same girl grows
older and older throughout
the play, until she finally ap-
pears as a grandmother.

Throughout the whole time
and space of the play she has
never forgotten the words of

"Uncle Bob" Sherwood, last of Barnum's Clowns,

Congratulates Jessica on her recent Debut as exclusive

Soloist on the Cities Service Hour, NBC. Conductor

Rosario Bourdon seconds the Motion.

her lover, and they
echo from genera-
tion to generation
"To life's last
faint ember, will
you reme m b e r?
Springtime! Love-
time! May!"

I could go on
and enumerate still
more characters,
all dear to me.
They pass the
horizon of my
memory like de-
lightful dreams
each leaving a fa-
miliar footfall.

The business of
the artist, whether
she be singer or
actress, is to trans-
f e r feeling. A
great many people
think that, if an
actress is to por-
tray anger, she
must do it with
contorted face,
clenched fists
shouting and arm-
waving. Yet we
readily admit that
in real life the

greatest emotion is expressed with the least vehemence.

We read that Wendell Phil-
lips (who probably had a
greater effect upon his audi-
ences than any other orator
of any age) seldom made a
gesture and seldom raised his
voice. On what, then, did his
success depend? I believe, in
his ability to project feeling,
which at once becomes the
absorbing problem of the ra-
dio artist.

Must Transfer Feelings to
Listener

The dramatist or musician
has woven certain feelings
into character, incident, scene
or story. When these feel-
ings in their utmost power
have been transferred by the
artist to the listener, so that
he, too, is infected with them,
the cycle of art is complete.

Which role do I love most
to play? I really cannot name
any one. I love them all —
but principally the one I hap-
pen to be playing.

As Fifi, in "Mile. Modiste.'

RADIO REVUE

The Muscular Diva

By Clifford McBride

Courtesy of the McNaught Syndicate.

F EBRU AR Y , 19 3 0

What Price

ANN OUN CINQ!

Why is it that those "old
timers," who have become
real personalities to thou-
sands of listeners tlyrough
their announcing since the
beginning of radio, are
now heard so seldom}

Let those who have list-
ened to radio consistently
recall the names of an-
nouncers who began seven,
six or even five years ago
— where are the owners of
those names now?

By NORMAN BROKENSHIRE

THE announcer is dead! Long live the announcer!
Why is it that the better a radio announcer becomes,
the less he is heard? Why is it that those "old tim-
ers," who have become real personalities to thousands of
listeners through their announcing since the beginning of
radio, are now heard so seldom? These and numerous
other questions of similar nature come to me so often that
I ani sure a true story of the evolution of the art of an-
nouncing, and an unvarnished picture of the announcer
is due the listener.

Seven years is a long time to spend in any type of work.
Especially is this true when those seven years are spent
with an infant industry, and my seven years in radio an-
nouncing constitute the years of growth. If a boy, seven
years ago began as an office clerk and attended diligently
to his duties, he would now be a proud assistant to the
office manager, if not the manager himself. Let a youth

go into apprenticeship, seven years later will find him an
expert. I know personally a young man who took a place
as an usher in one of the largest theatres in New York City
—five years later he was house manager over two hundred
employes. And so it goes in all the ordinary walks of life,
but not so in this new industry.

Let those who have listened to radio consistently recall
the names of announcers who began seven, six, or even
five years ago — where are the owners of those names now?
If they turned out to be good announcers, they are still
announcing; if not, they have fallen by the old familiar
wayside.

What Has Happened in Announcing?

A fellow does not have to believe in the Darwin theory
to know that progress is inevitable. At least, individuals

RADIO REVU E

do not stand still;
they either ad-
vance or retro-
grade. So, let us
look into this
matter thorough-
ly and see what
has happened to
the art of an-
nouncing— a very
important and vi-
tal part in broad-
casting.

We must, first
of all, remember
that broadcast-
ing, when it be-
gan, was not at
a 1 1 commercial.

Time was not sold and artists were not paid
was a novelty that brought certain attentio
those who owned the station and those w
entertained. In the case of the larger com-
panies who broadcast, it was a matter of
experimentation to see what could be
developed in this new field of commu-
nication. Even then it was realized
that a complicated organization was
necessary.

There was a great divide between
the business and artistic sides. Who
should be chosen to manage a broad-
casting station? A business sense
was necessary, for the expenses were
large. An artistic sense was necessary,
for there were programs to be con-
structed and presented. A mechanical .
sense was necessary, for broadcasting was
an intricate process. Unlike other organi-
zations, it was not a step by step building,
wherein one position led to and trained for
next, but it was one of complete contrasts.

The operating staff was essential, of
course. Then came the managerial staff,
and then the compromise — the announcer
who was the go-between. He it was who
found out what the manager wanted in
the way of talent, and then used his con-
nections to invite the proper artist to
participate at the proper times. He it
was who found out just what the oper-
ators wanted by way of placement and
arranged with his artists to stand just so
and sing or play just so. He it was who,
by means of letters from the listeners,
found out what the public wanted and
how they wanted what they wanted an-
nounced.

The Program of the Early Days

And so it is evident that there were
many sides to the work of announcing
in the early days that were not realized
by the listeners. I recall very distinctly

Introducing Jack Dempsey over the CBS.
It

At Atlantic City in 1925, Nor-
man chose this Beauty as "Miss
America."

The Reading Railroad Revelers, an early WJZ Feature,
obtain Local Color. Left to right: Bob Newton, Herb
Glover, Elliot Shaw, Ed Smalle, Norman, Wilfred Glenn

the execution of a program then.

When the announcer came on duty, he
would look about to see who of his invited
guests had come. Then, with pencil and
paper he would visit with each one or group
and find out what music they had with
them. With these notations in hand, he
would hastily balance the program and then
put them "on the air". He had to see that
the artists began on time and finished on
time. He placed them for balance, he
cheered them and gave them courage, if
they were nervous before the "mike". He
made the necessary apologies when an artist
broke down or delayed because of lost music,
he filled in the time necessary to repair a
broken string on a harp or a violin, sadly
out of tune. While one program was on its
last selection, he was busy in the reception
room building the next. And so it was through
hours, as many as fifteen hours a day.
Whether it was a Bach concerto or a report
of the produce market, a dance orchestra,
or an "in memoriam", the announcer
had to fill the bill. There were also
many out-of-studio assignments, ban-
quets, night clubs, celebrations, res-
taurants, lectures and jubilees. In these
places the announcer was also entire-
ly responsible for seeing that things
went smoothly and were completely
covered.

How a Program Is Staged Now

But, how times have changed ! To-
day, a program, whether commercial
or sustaining, is made up three weeks
or more in advance, artists are carefully
losen by means of auditions, wherein
v compete with dozens of others. When
ly cast, the program is rehearsed and
timed to within split seconds of the
time allotted.

When the day of the program comes,
a page in uni-
form or a hos-
tess directs the
artist to one
of a maze of
studios where he
or she is greeted
by the director
and production
man. The an-
nouncer is given
a script and the
"dress r e hear-
sal" begins. The
script that the
announcer will
read is the prod-
uct of a con-
tinuity depart-
ment, whose
business it is to

F EB RU ARY , 19 3 0

turn out all the sustaining programs and a
majority of the "commercials".

A signal from the central control man to
the operator handling the program is re-
layed to the assembled and rehearsed artists
bv the production man. He in turn signals
the announcer who reads the opening an-
nouncement and advertising data. The pro-
gram has begun. Throughout the entire
offering, the production man watches the
placement and time, the program director
watches the cues for each artist or reader,
(also the announcer), the operator watches
the gain control, a page or porter guards
the door and a hostess-pianist stands by to
fill in, should anything unforeseen happen
to break the flow of the elaborately prepared
continuity.

Oh, yes, there has been evolution in an-
nouncing, but at what a price to the profession
True, the really proficient announcer of the old
days still announces, for to him it is an art.
Through his art, he has experienced the
romance of the growth of a gigantic in-
dustry, he has thrilled with the adventure
of new achievements, broadcasting first
from the studio alone, then from re-
mote points, then from airplanes in
flight, and now from a dozen places
at once. There have been many
thrills and, through fan mail, he has
had a concrete form of apprecia-
tion.

Many Thrills in Announcing

Can't you stretch your imagination
and appreciate the thrill that came to
me when I stood on the Capitol steps on
March 4, 1925, with waiting millions de-
pendent upon me for a description of the
excitement during the Coolidge Inau-
guration, and when, unaided, I carried
the radio end of the historic event for
over three

Iutroduch,

'Red" Grange over the CBS.

Norman working with George

Olsen and his band at WJZ in

1925.

hours! Can't
you sense the
quickened pulse,
when at Mit-
chell Field I
stood inthe
stand, micro-
phone in hand,
and, together
with the Prince
of Wales, the
Governor of the
State and the
Mayor of the
city of New
York, awaited
the return of
the 'round-the-
world flyers?
Imagine the

A typical Brokenshire Production in Radio uas the Kan-
sas Frollickers. Here are "Brother" Macy and "Brother"
Brokenshire as the "Mirth Quakers."

tenseness that was
mine on Labor
Day, 1924, as,
"mike" in one
hand, field glasses
in the other, I
announced the
very first horse
race to go on the
air, the Zev-Epi-
nard race at Bel-
mont Park Track.
Can you blame
me for asking
Will Rogers to
autograph m y
card as I sat be-
side him in the
speakers' stand at
the first Democratic National Convention to be
broadcast? When the resolution was passed to
hold the First Joint Session of the Senate and
the House of Representatives of the United
States to hold memorial services in honor
of Woodrow Wilson in the hall of the
House of Representatives on December
15, 1924, can't you feel the pride that
came to me as I was chosen to carry
the first microphone into the sacred
precincts of the hall of the House of
Representatives and to officiate at
the services for the listening radio
public?
Can you feel with me the solem-
nity of the occasion when, as one of a
group of mourners in the nation's Cap-
itol, I was called upon to broadcast the
services that put to rest our greatest
orator, William Jennings Bryan? And
then to be the first to enter the sanctum
of Herbert Hoover, in the Department of
Commerce Building, while he was Secretary of
Commerce, to place the microphone on
his desk so that he might speak to the
nation regarding the newly-appointed
Radio Commission.

Arrival of the Graf Zeppelin

And so it went through the years, un-
til last August it was my privilege to
board the special plane to meet the Graf
Zeppelin on its world-famed flight from
Germany and to report not only over
the air but through the Associated
Press, the greetings of Dr. Hugo Eck-
ner and the story of the Zeppelin's ar-
rival.

Surely you can easily sense the pride
with which we veteran announcers look
upon our profession. And the sorrow
that comes to us as we find that we can
no longer stay with the organizations
with which we grew, for such is really
(Continued on page 48)

RADIO REV U E

Andy Sannella

A Real

A BUNCH of the boys were whooping it up — but
Dan McGrew wasn't there. For this was not the
old Malemute of storied fame, but the American
Hotel in Panama City. The merrymakers were a group of
tars from the Destroyer "Farragut." The armistice had
just been signed. The boys knew they would soon be dis-
charged and so it was easy to get shore leave.

The good-looking "gringo", who seemed to lead his
mates, was fascinated by the motley orchestra. Without a
word, he took the violin from the loose fingers of one
musician.

"Lookut Andy! He thinks yuh play 'em like his guitar
aboard ship. Hot dawg! Watch this — "

The sailors not only watched, they began to listen. So
did everyone else in the saloon. Natives and Americanos
alike formed a spell-bound circle around the soloist. Not
even his shipmates had suspected that Andy Sannella had
once been a concert violinist. He was all prepared to
invade Europe at the age of fourteen, but his father died
and he lost interest. This was the first time he had touched
one since. His guitar? Just a fancy, to liven up the
fo'c'stle.

But this was real — a breath from another world in this
little hotel in Panama City. When the sailor returned the
battered fiddle to its owner, the latter stared at it help-
lessly. But the manager sputtered in broken Spanish and

Miracle

Man

of Music

By HERBERT DEVINS

with many gestures made it plain that he wanted the sailor
to stay and play at his hotel in uniform during the re-
maining four days of carnival week. This celebration
was held in honor of the service men and, while it lasted,
they had the freedom of the city.

Offered Job for Four Days

Andy grinned. That was real success, an offer of steady
work — even though it was only for four days. He looked
at his gang. They all howled with glee. But, after all,
why not? Acting on impulse, Sannella accepted — just
for the lark. But he had to obtain permission from Rear
Admiral Johnson to carry it through. The officer saw the
joke and consented.

By the time his four-day engagement had ended, Andy
had gotten the fever. There was no more work to be had
just then at the American Hotel, but he learned that a
pianist was wanted at the Silver Dollar Saloon nearby.
He got the job and, after he had played there for six weeks,
the owner of the American Hotel re-engaged him in charge
of the orchestra.

The first saxophone Andy Sannella bought, he paid $2 5
for and his boss offered him $ 5 0 if he would throw it away.
This happened only a short time after he had started. He
had organized an entirely new orchestra, which was be-
coming famous in the neighboring country. There were
so many demands for appearances out of town and at near-
by camps that he seldom could be found at the Hotel.

On one flying trip he saw the saxophone in a music
store window. With customary abruptness he went inside

FEBRU ARY , 19 3 0

Andy Sannelh, the Miracle Man of Music

RADIO REVUE

and bought it, for $25. From that time on he spent all
his spare time practicing, at first just to get any sound
at all, and then to sweeten the tone.

Before he had established friendly relations with the
instrument, his boss complained. "So you don' lose money,
I pay feefty dollair for heem. Then you see customers
come back.-' Andy decided he had been insulted, he re-
fused to bz comforted and went home to New York.

Perfects "Sax" Technic

After visiting his family, he returned to Panama City,
taking with him a pianist from the United States. During
his visit to his home, he had done a great deal of practicing
on the saxophone, and had become proficient enough on
the instrument to alter the boss's views. So from then on
he continued to perfect his saxophone technic. Today
the nation's youths are practicing saxophone in secret,
studying the famous "Andy Sannella Method."

In 1922 Andy returned to the United States seeking an
engagement. He did
not know a soul in
the music business in
New York. He wan-
dered around for
months before he
finally secured a
chance to play in a
cabaret in Brooklyn.
There he played saxo-
phone in the dance
band and violin for
the show in the cab-
aret. After playing
on this obscure en-
gagement for about
three months, he was
asked to play an en-
gagement at the Van- Aniy and the Collection
derbilt home on Fifth

Avenue, with Mr. Mike Markel, who did much of the so-
ciety orchestra work in New York at that time. The oppor-
tunity to play with a very well-known leader delighted him
and soon after he became Markel's principal saxophonist.

After a year and a half with the Markel Orchestra,
playing in some of the most exclusive homes and clubs in
New York and vicinity, Andy accepted an engagement at
"Castles by the Sea" at Long Beach, Long Island. Later
he toured the country with Ray Miller's Orchestra. Dur-
ing this time he became rather well known and later was
offered several steady engagements. However, in the in-
terim he had also become known to the recording depart-
ments of the various phonograph companies and decided
to be a "free lance" and to devote the majority of his
time to recording.

Services in Great Demand

Today, Andy's services are in great demand in New
York. When the most prominent leaders have exception-
ally important recording engagements with special num-
bers, he is often engaged as the lead saxophonist. How-
ever, this is not the main source of his income. The
voice of his saxophone is heard by millions each week over
the radio, as he is the first saxophonist on about 1 5 of the

more important programs nationally broadcasted from
New York City. It is said that his weekly income aver-
ages close to four figures.

If you listen to the radio often, you have heard his work
on the saxophone, his fine style, brilliant tone and finished
performance. The obligatos which Andy broadcasts or
records almost at a moment's notice and without previous
preparation are the talk of the popular music world today.
A short time ago Andy was lying flat on his back at
home, convalescing from an illness, when he heard the
strains of a familiar saxophone growing louder and louder.
He thought the fever had weakened his mind, for the music
was that of his own saxophone on a record he had made
for Victor just a short time before. The sound grew
louder and louder beyond the power of any phonograph.
It seemed to come from the sky. Convinced that it
was an hallucination, he investigated anyway. It was a
stunt plane flying over the housetops with a phonograph
and powerful amplifier apparatus, "broadcasting" a San-
nella record. Thus the mystery was solved.

Andy is a real
aerial star. Not con-
tent with broadcast-
ing several hours a
night, he spends part
of every day in his
own airplane, unless
weather prevents. It
was he who organized
the now-famous "Al-
batross Club" at
Roosevelt Field, com-
posed of noted flyers
like Paul Whiteman,
Gene Austin and
Franklyn Baur. He
travels back and
forth bet ween the
flying field, the broad-
casting studios and
the recording laboratories in a speedy Packard roadster.

of Instruments He Plays

Has Written Many Numbers

Although he is one of radio's busiest figures, Andy
manages to spend some time at his beautiful apartment
on Riverside Drive, too. His wife is an accomplished
pianiste. It was for her that he named his first composi-
tion, a saxophone solo, "Aileen." His other best known
numbers are "Jack and Jill," "Millicent" and "Saxanella."
He has written 2 5 other spectacular bits to demonstrate
the flexibility of the "most maligned instrument." That's
what Andy calls the saxophone.

Musicians everywhere know Sannella. They know his
trick of smooth rehearsal. With a cigarette in one hand
and baton in the other, his eyes half closed, he never
misses a movement or tone of even the most remote mem-
ber of his band. They know his method of coaxing the
'nth' degree of melody from a saxophone or clarinet, and
the Sannella knack of getting the best radio results from
a guitar.

These same musicians and other associates of Sannella
know the pleasing personality and good humor the young
musician radiates while he works. They know there isn't
(Continued on page 43)

F EBRU ARY , 19 3 0

Have You a Little NlT WlT

In Your
Home?

By WILLIAM SCHUDT, JR.

NIT WITS", says Bradford Browne, writer and
producer of this popular radio feature, "are not
difficult to find — but good Nit Wits! Ah!
There's where the trouble begins!"

The Nit Wit Hour, broadcast over WABC and the CBS
chain every Saturday night, was originally suggested by
Georgia Backus, of the WABC continuity department.
She told her idea to Bradford Browne, who, believing it to
be something unique, set

G. MailhrJ-KessIe

Brad ford Br nunc, Chief Nit Wit

to work on the script im-
mediately.

When Bradford finally
had completed scripts for
three consecutive hours,
he began to search for
the proper characters to
enact the various roles.
After interviewing over
one hundred applicants,
Bradford was amazed to
find just the proper char-
acters in the continuity
and program depart-
ments of WABC! And
so the Nit Wits were or-
ganized.

David Ross, genial
announcer of WABC,
can do Jewish comedy to
perfection — he calls it
"bronchial English" —
and, as a result, he has
become a semi-permanent
member of the cast.

"Peggy" Young, for-
merly assistant program

Meet the Famous Nit Wits. Left to Right they are: Chief Nit Wit
{Bradford Browne); Lizzie Tivitch, the cooking expert {Yolande
Langworthy) ; Professor R. U. Musclebound , Physical Culturist
{Harry Swan); Aphrodite Godiva {Georgia Backus); Eczema
Succotash, accompanist {Minnie Blauman) ; Patience Bumpstead,
the interior desecrator {Margaret Young); Madame Mocha de
Polka, operatic slinger {Lucille Black); and standing in the rear
is Lord Algernon Ashcart {Chester Miller).

manager for CBS and now Mrs. Bradford Browne, could do
little funny pieces on interior decoration. These were

changed and highly bur-
lesqued by Mr. Browne.
The finished product, as
offered by Miss Young
on the air, was called
"Talks on Interior Dese-
cration with Advice to
the Lovelorn"' and the
orator was assigned the
name of "Patience Bum-
stead". Peggy was an
immediate success on the
air, as her many enthusi-
astic letters will testify.

The Sweet Singer of
Sour Songs

Lucille Black is ordi-
narily the CBS staff
pianiste. However, as
Browne transforms her
each Saturday night, she
becomes Madame Mocha
De Polka a former mem-
ber of the Russian Grand
Opera Company, who is
known as the "sweet
singer of sour songs".

RADIO REVUE

Chester Miller, the announcer, has been assigned a dual
personality by the Nit Wit director. He plays "Lord Ash-
cart" and "Congressman Felix O'Beefe", the noisy poli-
tician.

Yolande Langworthy and Georgia Backus, continuity
writers for the station, are versatile character actresses and
are usually given different parts every week. Miss Lang-
worthy always enacts the role of Lizzy Twitch. Miss
Backus usually assumes the role of Aphrodite Godiva.

"Yes, We Have No Bananas" is the official theme song
for the Nit Wit Hours. It is offered in six varieties and
in thirteen keys. The Nit Wit pianist is Minnie Blauman,
who in everyday life holds forth in the Artists' Bureau.

Bradford Browne is master of ceremonies during each
broadcast. Browne, in addition, gives the official weather
report by the "Depart-
ure from Agricul-
ture", which is usually
for Twenty-third Street
at Seventh Avenue and
the Sahara Desert!

The Nit Wits take
their rehearsals very
seriously, Browne says.
The hilarious parts and
funny episodes are all
gone through with the
most serious of expres-
sions on all of their
faces. "Fun for all and
all for fun" is the
slogan.

As Chief in the
weekly escapades of the
Nit Wits, Bradford
Browne has most of the
work thrust upon his
shoulders. It is entirely
up to him to keep the

pace of the program balanced. Bradford is a versatile actor,
a writer and a first class singer and announcer.

Not Long Ago He Was Floor Walker

Strange as it may seem, only a short time ago this same
Bradford Browne was pacing up and down the corridors of
a Newark department store, performing the regular duties
of a floor walker. In fact, Bradford's life in itself is an
interesting story. Let us peep into this background for a
few minutes.

Bradford Browne is the brother of Harry Browne, who,
incidentally, is the writer and producer of "Hank Sim-
mons's Show Boat'', heard every week over the Columbia
chain.. Bradford was born in North Adams, Mass., and
has had a versatile career.

No doubt the success of the Browne productions can be
traced to the fact that much time is spent on every script.
Detail and time mean much to radio productions, Browne
will tell you. How many hours does Bradford work?
Usually from about ten o'clock in the morning until mid-
night, during which time he writes scripts, announces,
plays parts in his own productions' rehearsals or broad-
casts, and does his regular work as continuity writer.

"You have to give them something good on the radio,"
Browne told this writer. "Poor stuff just doesn't go. It
falls flat and causes your regular listeners to lose faith in

The Nit Wit Hour in Action

your acts and tune them out on other nights." That is
why he spends so much time on the details. If it's a comedy,
Bradford believes in giving the audience a laugh a minute.
Failure to do so means suffering the consequences.

"You haven't got the people in your theatre," he ex-
plained. "They are out there, scattered everywhere, and
if you don't 'click', your act is tuned out." Bradford
laughed. "Just like that," he said, snapping his fingers.
"They don't care," he continued, "who you are or what
you might give them later in the program. It's what you're
giving them every instant that counts and you either give
them a thrill or a laugh a minute — or you lose two or
three million listeners."

Bradford Browne's first attempt at radio drama, "The
Cellar Knights," was made about four years ago, just after

he left the department
store and became affil-
iated with a Newark
station. The Cellar
Knights were so good
that some months later,
when Bradford was
asked to join the staff
of WABC, then owned
by A. H. Grebe, the
officials asked him to
continue his skit over
their station. This
Bradford did and, when
the Columbia Broad-
casting System pur-
chased WABC early in
1929, the "Cellar
Knights" skit was im-
mediately put on the
nationwide chain.

It was shortly after
Columbia had acquired
WABC that Bradford
got the idea for the "Nit Wit Hour". Half a dozen scripts
were prepared and promptly discarded following rehearsals.
Bradford knew what he wanted but, when the production
went into rehearsal, it did not sound just right. So he
started all over again. Finally he hit on the keynote idea.
The present Nit Wit Hour series is the result.

The popularity of this highly burlesque hour of enter-
tainment can best be judged by the fact that, in a recent
voting contest conducted by the New York Telegram, the
"Nit Wit Hour" was named among the biggest hours on
the air in America today.

Edson Bradford Browne has had an eventful life. He
was born in North Adams, Mass. His father was the end
man in a minstrel show. Most of Bradford's relatives are
musically inclined. A banjo was the inspiration that sent
Bradford Browne on what was eventually to lead to a
music-drama life in the business world.

Studied Law At Georgetown

Browne never studied music. When he became of age
to study for his future profession he took up law. He
studied law at Georgetown University and finally was
graduated with honors.

But that is getting ahead of our story. Back in North
Adams, Bradford plunked away on his banjo. Now and
then he would play something that sounded different and

F EBR U ARY , 19 3 0

people would sneer and think him funny.

From the banjo Bradford went to plunking on his
father's piano. Here is where he first began composing
original music. His musical ability made him the "life of
every party" and it was not long before he was in great
demand.

His musical education ended here for a brief time. He
became "pin" boy in the local bowling alley. Then wander-
lust gripped him and he went to Washington, and from
there traveled extensively.

After the war he worked in

a department store in Newark, M,

where he became floorwalker
. and held a large assortment of
other jobs in the organization
over a period of four years.

This work just didn't appeal
to Bradford, and he turned to
his music work again. In
Newark he teamed up with Al
Llewelyn, who was later to be-
come his colleague in the Cel-
lar Knights act at WABC.
They sang well together. People
often said so. They sang so
well, in fact, that it was not
long before the duo received
an invitation from a Newark
radio station to appear over the
air. This they did and the re-
sponse was electric.

Bradford liked the atmos-
phere of the radio broadcasting
station and spent much of his
spare time there. Finally one
day his chance came. One of
the announcers was ill. The
others, for some reason or
other, were not present. Per-
haps young Browne could aid
them, the studio manager
thought. Browne jumped at

the suggestion. He did very ■%$

well; in fact, so well that he

earned himself a job immediately at the station, where he
became announcer and finally chief continuity director.
In this latter capacity he turned out many interesting
dramatizations, which brought much fan mail in the early
days of radio.

Takes Position With Station WABC

Then one day Bradford received an invitation from
officials of the Atlantic Broadcasting Corporation in New
York, then operating WABC, WBOQ and other broad-
casting stations. He was offered a position and he accepted
it. For a while things went rather quietly at WABC for
Bradford Browne. He did a great deal of announcing.

Although he had been at WABC for only a few months,
Bradford soon was working day and night, preparing sur-
prises for his radio listeners. He knew that these might not
get on the air for many months, perhaps not for a year —
he worked that long on one of his presentations! On the
other hand, he has written a feature in barely thirty min-
utes before it was broadcast. Even these hastily prepared
scripts have met with wide approval in radio fandom.

Nit Wits Know Their Onions

AT last, the source of the CBS Nit
Wit Family's mental discrepancy has
leaked out. "Brad" Browne, Chief Nit
Wit, was found, a few days before Christ-
mas, busily untying a suspicious, bumpy-
looking package. Surrounding him, tremb-
ling with an air of expectancy, were the
remainder of the Nit Wit family.

The contents revealed a number of aro-
matic and artistically treated onions, re-
sembling each of the Nit Wits. With the
roots for beards and other facial expres-
sions dexterously touched on with a brush,
the male Nit Wits immediately recognized
their likenesses.

The girls, Lizzie Twitch, Mocha de
Polka, Aphrodite Godiva and Patience
Bumpstead evidently didn't know their
onions, for to each of theirs was tied a
card designating a brand of perfume. For
Lizzie, it was "Christmas Bells," for
Mocha it was "Caron," for Aphrodite it
was "Djer Kiss," and for Patience "Coty."

Itching to know from whence this gift
of frankincense and myrrh came, Pa-
tience Bumpstead hastily examined the
wrapper, only to find that "within five
days" it was to be returned to one of New
York State's prominent institutions!

This writer vividly recalls one night when Bradford
Browne was so busy that he didn't get a chance to write
his act until one hour before time to put it on the air.
For thirty minutes he pounded out copy on his typewriter —
he is an expert typist. For the next thirty minutes he re-
hearsed his act, in which were featured eight persons, in-
cluding a vocal quartet. The act was broadcast right on
time and, to the surprise of all, critics far and wide praised
this particular dramatization as one of Mr. Browne's out-
standing achievements.

Browne has even taken a
0, crack at rural skits — he collab-
orated in the "Oshkosh Junc-
tion" periods, which ran on
WABC.

What Bradford Browne's
scripts look like in print can
be gleaned from an excerpt
from one of his "Nit Wit"
Hours. The following concerns
the football resume which was
one of the highlights of the
Nit Wit broadcasts during the
last football season.

Quotation from Browne's
Script

"And now, ladies and gen-
tlemen, we bring to you the
results of some of roastings
and fryings, not to mention a
few of the stewings, which oc-
curred today on various grid-
irons throughout the country.
Maybe we're wrong about
some of these, but you can't
sue us, because — well, you just
can't, that's all. Now, let's
see. In New Haven, that's
where Yale is located — and
where John Coolidge does his
railroading — well, in New

^ Haven, the Bulldogs — that's

Yale — started to mess around
with the Princeton Tigers and, after two hours of frightful
carnage, the only thing found between the goal posts was
the referee's wooden whistle and that wouldn't whistle.
Score — yes and no.

"Let's see. Over in Pennsylvania — what a time, what a
time. The laddies from Carnegie Tech, dressed in their
new kilts, journeyed far over into Philadelphia, where they
engaged the Pennsylvania Quakers in the good old game
of toss it, kick it and rush it. Well, the high spot of the
afternoon was the cheering sections. First, the Carnegie
Skibos would cry out with a loud voice "hoot mon, hoot
mon", to which the Quakers would reply "aye, verily,
brethren".

"Well, in the third quarter the thees and the thous got
the ball on their own ten-yard line and, after going into a
huddle, they executed a line plunge and all the Scotch
laddies got kilt. That is most of the Scotchmen got kilt.
Those not kilt were running around getting their breath
in short pants. Score — same as last year.

"Well, well, well, another great game was played today.
{Continued on page 43)

RADIO REVUE

Taught Self to Play Banjo

ABOUT a year ago, a stranger came into ¥OR's studio,
followed by two porters carrying eight instruments.
From the breast pocket of his coat a harmonica pro-
truded. He was carrying two press books.

"Where's the boss of the station?" he asked WOR's In-
formation Bureau.

"Have you an appointment?" came the return query.

"No" was his response.

"I don't think you will be able to see him then," was
the rejoinder.

"Can't I play for somebody else then?'- the newcomer
queried.

Finally he encountered the Press Agent, and insisted on
showing him his clipping books. They were so lavish in
their praise that the stranger could not be ignored.

"It will establish a precedent if I listen, but I'll take the
chance," said the Press Agent, conducting him to the audi-
tion room, where the man began "whacking" a banjo in
spectacular fashion.

In a moment, work in all departments was disrupted.
Every one marvelled as he brought forth stirring strains on
one instrument after another. He got the only AAA rating
that has been given at auditions and was booked imme-
diately.

The man was Roy Smeck, known on the stage and air as
"The Wizard of the Strings," and one of radio's stars.

Could Not Afford Lessons

There's a very human story back of Mr. Smeck, one that
antedates his crashing WOR. Mr. Smeck was born in
Reading, Pennsylvania, and has all the happy-go-lucky

ROY SMECK

Now Teaches
Thousands

By DAVID CASEM

traits of the Pennsylvania Dutch, as well as their desire to
play some sort of instrument. Parental finances did not
permit the indulgence in lessons, however.

Roy left school almost before he got started, and became
a boss, as he put it — boss of a broom in a shoe factory,
where his job was to corral leather cuttings into one heap.
After several months he managed to save enough to buy a
ukulele and a few phonograph records of that instrument,
together with a self-instruction book.

Armed with these, he began a campaign of practice that
took in even his working hours. A foreman caught him
one day and, as his opinion of the "uke" was anything but
enthusiastic, he told Roy that working should never be
allowed to interfere with his playing. The foreman then
proceeded to separate Roy from his job.

Shortly afterward he found a backer and opened a tiny
music store in Binghamton, New York, where he whiled
away the time between customers by learning to play from
records that he had in the store. When he had attained a
high degree of perfection on the "uke", he took up the
banjo. Then followed the guitar, steel guitar, harmonica
and long-neck banjo, which, next to the octochorda (his
own invention), is his favorite.

Paul Specht Discovers Him

One day, while Paul Specht, famous popular orchestra
director, was playing in Binghamton, he found himself
without a banjoist. A local musician told him of Smeck.
An audition proved his worth and Roy "chucked" the store
to join the organization which was scheduled to open the
then new Alamac Hotel in New York.

The ability of the youngster was so marked that Mr.
Specht had him go out on the floor. His first appearance
stamped him as a solo artist. Not long after, he went on a
sixteen-weeks' tour of Keith's Vaudeville Circuit at $600
a week, and second from the top.

His playing, according to press notices, was such that he
should have been the headliner, since he won first place in
(Continued on page 42)

FEBRUARY, 19 3 0

As Recorded for Posterity
By P. H. W. DIXON

DEAR MARGY:—
Well, Mary, this letter is going to contain some
good news. I've been promoted. I'm now working
permanently on the thirteenth floor of the NBC building,
having been advanced from the twelfth floor.

Now, girl friend, please don't think I am trying to be
funny by saying that moving from the twelfth floor to
the thirteenth is a promotion. It's really important.
Nobody but a lot of engineers and continuity writers and
other hired hands are on the 12 th floor. But on the thir-
teenth floor they really broadcast and the important people
come there. And that's how I came to meet Graham
McNamee and now I can answer all your questions about
him.

Graham, I mean Mr. Mc-
Namee, is a great guy. He's
not bad-looking. No collar
ad, you know, but I never did
like those kind anyway. He
has a swell grin and always has
time to say "hello" to every-
body and he tells stories. He
had a swell one to tell us the
other day. I'd tell it to you
only you wouldn't understand
it, Margy.

He's about five foot eight
inches tall and weighs, I guess,
about 15 5 pounds. He's pretty
broad-shouldered and would
make a good half back. He
moves around pretty fast and
sticks his head a little forward

McNAMEE "a Great Guy"
OSCAR

Writes His Girl Friend

Margy

OSCAR
The Page Boy

Announcing the Arrival of the Graf Zeppelin

when he talks and cocks it to one side when he is listening.
He still has all his hair and is young-looking. I heard him
say something about reducing, but he doesn't look like he
needs to much.

But I was going to tell you how I came to meet Mr.
McNamee. I was on duty on the thirteenth when a man
stuck his head out of a door of a little office and called me.

He Gave Me Figures to Add

"Can you add?" he asked me. Of course, Margy, I
didn't tell him that my mathematics were always the
pride and joy of Yoakum High School, but I said I could
add. So he gave me a whole string of figures to add up

and I added them and the
total was $192.37.

"That's just ten dollars
more than I got", he said.
"Doggone these so-and-so ex-
pense accounts anyway." But
it was not until later that I
learned I had helped Graham
McNamee out of a tight situa-
tion.

Mr. McNamee doesn't have
to announce for a living,
Margy. He is also a baritone
and can make almost as much
money singing songs as by de-
scribing a world's series. But,
shucks, the woods are full of
baritones, so you ought to be
glad he's decided to keep on

RADIO REVUE

When he finally Found the Fish, the studio could not be
used for five days

announcing. I would hate to have some of the baritones
we have around here describe a baseball game. Anyway,
some of them can't speak any English.

I want to tell you something about his life, Margy. He
was born in "Washington, but at an early age moved west
with his parents, to Minnesota. At least up here in New
York they think
Minnesota is way
out west, but then
they've never been
to Texas, so we
both know it's
really way up
north. When he
went to school he
played a lot of
baseball and he is
a southpaw . . .
which means he is
left - handed. He
also played foot-
ball, and hockey
and boxed some,
all of which came
in handy later
when he became
an announcer.

He learned to
play the piano

when he was seven years old and sang in a church choir.
When he was seventeen he decided to be a great singer
and was doing right well at it only radio was invented and
he got a job as an announcer because he had a hunch it
had a future. Which it did. And then came the Demo-
cratic convention in New York and McNamee did such a
swell job describing it that they started having him de-
scribe prize fights and other important events.
Before that he sang in a concert at Aeolian
Hall, which is a high-hat auditorium in New
York. You gotta be good to sing there, Margy.

I guess it is unnecessary to remind you what
he has done since especially since he is now on
the same program with Rudy Vallee and you
hear him every week. He knows a whole lot
of celebrities, too, like Babe Ruth and Jack
Dempsey and Colonel Lindbergh and One-
Eyed Connelly and people like that. And
everytime he goes to a ball game or a fight
people say "hello, Mac," and whether he has
been introduced to them or not he says
"hello", which shows you he is a good guy
and not high-hat or anything.

You know you can pick up Campus Humor
or Life or any of those magazines and almost
always find a joke about McNamee. Some
of them aren't complimentary but he doesn't
care. He likes them and • clips them out to
show his friends.

He has written a book and some day, when
I get to know him better, I am going to get a
copy and have him autograph it.

Left Gift of Fish in Studio

He gets lots of presents and all kinds of

funny things. One time somebody sent him a barrel of
oysters and another time someone sent him some fish, and
he forgot and left the fish in a studio. They couldn't use
the studio for five' days after he remembered where he'd
left those fish. One of the other boys told me that every
year he gets a big watermelon from some one down south

and that he divides it up
with the people in the
studio. I hope I am here
next summer.

Of course, you hear a
lot of stories about him
and the funny things he
sometimes says on the
air. They say that,
when the crew of the
Graf Zeppelin came to
New York, Mr. Mc-
Namee was describing
them coming ashore
from a boat and Lady
Drummond Hay was
coming along with a big
bunch of flowers and he
couldn't think of how
to describe it so he said
she looked like a swell
funeral. And then a lit-
tle later when some of
the other people on the Graf came along, he said: "The
crew is now passing out". But shucks, Margy, when you
stop to think that he has been talking pretty steady for
eight years he's bound to make a slip once in a while.

I wasn't able to find out what size hat he wears, but I
noticed he likes old ones. He's kinda conservative about
his necktie, too. He plays golf and is pretty good at it.

Someday I'm going
to ask him to let
me caddy for him.
That's about all
I can think of
about Graham,
Margy. When I
get to know him
better I will tell
you about our con-
versations. Then I
may decide to be-
come an announcer
instead of a great
radio s i nger. I
guess I better ask
him about that,
because he has
been both and
knows w h ich is
worse — I mean
which is the hard-
est.

Now, Margy, I

have to go on duty

and, be sides, the

man who uses this

(Continued on

page 47)

Graham McNamee, NBC announcer extra-
ordinary

F EBR U ARY , 19 3 0

Scandlin

"Quaker Girl' Starred on Broadway

Lois Bennett Came to Radio After Successes with Ziegfeld and Ames

'PHIS lovely titian soprano is a Texas maid. Born in
Houston, she came to New York at an early age to
study music. The Brooklyn Daily Eagle critic, who -wrote
her first press notice, urged her to go on the stage. She
never forgot this advice. One day she met Florenz Ziegfeld.
He engaged her to succeed Vivienne Segal in his current

follies. She was a success from the start. Then Winthrop
Ames starred her in his Gilbert and Sullivan revivals. She
played leading roles in The Mikado, lolanthe and The Pirates
of Penzance. Months later she met the same critic, now president
of the Judson Radio Program Corporation. This time he said:
"Your future is in radio." Again Miss Bennett took his advice.

RADIO REVUE

Rector

Again

1 oints W

epicurean Delights

Famous Restaurateur Divulges
Secrets of Culinary Art via Radio

By FLORENCE SMITH VINCENT

WHEN it's 9:45 in the morning by central time, it is
something else again beyond the Rocky Mountains
and Way Down East. But when the clock's mov-
ing finger points to that hour in Chicago, housewives from
the Pacific's blue waters to New England's rock-bound
coast call a halt in the day's
occupations and tune in to
voices in the air.

"Good morning! What shall
we have to eat today?" comes
the pleasant query, followed
promptly by the response in
the sonorous tones of a man: —
"Well, we might try Pea a
L'artuvee, made with bacon.
What a favorite dish that was
with the diners-out in the
Nineties!"

The Libby morning hour is
on and off — to a flying start.
Mary Hale Martin, nationally
known home economics expert,
and George Rector, famous
restaurateur whose name is a
synonym for culinary perfec-
tion, are riding their mutual
hobby, food — Mr. Rector ex-
patiating on the epicurean su-
periority of a day when Amer-
ica in all truth was a nation of
"diners-out", the gentle Mary
Hale Martin putting in a soft
word now and then to turn
the raconteur's wrath away
from the sad state of affairs as
they exist, now that we have
turned into a "tribe of sandwich-grabbers".

Within the scientifically constructed kitchen in the
plant of Libby, McNeil & Libby in Chicago, the scene of
the regular Wednesday morning broadcast, all is calm. The
man in the little glassed-in control room, whose uplifted
finger has just fallen in the "all-ready" signal, is on the alert
to make sure that all is well with the wild waves of ether.
Two young assistants, wholesomely charming in their
spic and span white aprons, stand by ready to offer their

Mary Hale Martin, director of Home Economics De-
partment of Libby, McNeil & Libby, and George
Rector, well-known restaurateur, discuss cooking as
an art on program broadcast from the Libby model
kitchen in Chicago every Wednesday morning.

services. Mary Hale Martin, blue-eyed, golden-haired and
very earnest director of the Home Economics Department
of the plant, watches Mr. Rector animatedly and inti-
mately talking to his unseen multitudes, his restless clever
fingers busy the while in actually making the dish of which

he is telling the world.

In the corridor outside, look-
ing in through the plate glass
window that serves the kitchen
as one of its four walls, are
scores of visitors who have
come to verify with their eyes
what their ears have told them,
doubtless on the principle that
"seeing is believing!"

George Rector's dark eyes
glisten and he shrugs expressive
shoulders as ruthlessly he turns
back the pages in Time's log
book and reveals a past gayer
than our professedly decorous
Pas and Mas would admit to.
They didn't have a dull time
at all in the good old days
when Rector's was New York's
cross-roads inn, where East
Side and West Side and All-
About-the-Town met over the
table cloths and listened to the
lilting melodies of Victor
Herbert.

Started New Year's Revels

"As a matter of fact, if it
had not been for Rector's, the
custom of celebrating the Old
Year's passing might never have come about!" naively re-
marked Mr. Rector. "No, nor any cabaret, either. To the
best of my knowledge, that idea was born on a certain
night I well remember, when several stage and opera stars
rose from their tables where they had been seated as guests
and gave impromptu numbers — an unprecedented perfor-
mance, for actor folk then took their art seriously and
saved themselves for their professional appearances."
{Continued on page 3 8)

FEBRUARY, 19 3 0

Radio's ONE-MAN Sh

PHIL COOK

is marvel of
Versatility

By GENE MULHOLLAND

Illustrated by Phil Cook

CERTAIN vaudeville entertainers formerly created a
sensation by billing themselves as "one-man shows."
Others managed to please a rather skeptical public
by appearing as "lightning change artists." It is a matter
of record that any number of people once made an excel-
lent living by playing a varied number of roles before the
footlights in a limited amount of time.

But radio has a "lightning change artist," who might
well be booked as a "whole troupe of one-man shows."
And he has a half dozen other profitable means of earning
a living as well.

This one-man broadcasting station is Phil Cook. Dur-
ing a recent half hour program he played every part heard

— | — | | £

PANCAKE MAN

during the broadcast, including a Negro, an Italian ped-
dler, a "down-East Yankee" and an Irishman. The only
other voice heard was that of a vocal
soloist, which came in only twice dur-
ing the thirty-minute sketch, and it
has since been determined that this
voice, too, was Phil's.

And, at that, he didn't exhaust his
stock of roles. At other times he has
been known to add Jewish, German
and French dialects to his vocabulary,
switching back and forth between the
seven mannerisms of speech without
the customary interruption by an-
other voice.

His Fan Mail Is Immense

Such conversation with himself
may be a bit trying on the vocal
cords, but they are pleasing to the
ear if the listener-letter reaction is a
criterion. Cook's fan mail is im-
mense, although many of his listeners
may not fully appreciate the wide
variety of entertainment their "one-

RADIO REV U E

SHULTZ

MOE

/BUCK

POP

man show" provides in his own inimitable fashion.

However, voice versatility is not the only reason why
Cook is liked by the radio audience. And it is far from
being the only reason those who write about radio con-
sider him "good copy."

During the five years he has been in radio, Cook has
never used a song unless the words were written by himself.

One writer introduced Cook to his readers as follows:

"Once upon a time there was a writer of musical shows,
or;

"Once upon a time there was a commercial artist, or;

"Once upon a time there was a blackface comedian who
never used burnt cork, despite his fair skin, or;

"Once upon a time there was a violinist, or name your
own brand of entertainment and you'll know Phil Cook."

This writer neglected to mention Cook's ability with
the ukulele and guitar. He did bring out, however, that
three of the Phil Cook shows, "Molly, Darling," "When
You Smile" and "Plain Jane," had Broadway runs, but
neglected to men-
tion several a RT
others that Cook - ^!_ ' _
has found time D I RECTO K
to do, but. which
never reached
Broadway.

His Art Work

No Mere

Hobby

The writer al-
so explained that
Cook's work as a
blackface artist
had always been
before a micro-
phone, where
makeup isn't
necessary. And
the writer added
that "Cook's

commercial art work is no mere hobby. He draws posters
and magazine covers and gets paid for them."

Another point that was overlooked is that Mr. Cook
writes every line of radio skits. During recent months
Cook has appeared before NBC microphones as "Buck"
of the Buck and Wing programs; in the Flit Soldiers pro-
gram and, during the summer months, he substituted for
Billy Jones and Ernie Hare on the Interwoven program.

Here's the story of Phil Cook's life as written by him-
self recently:

"Howdy, folks: This is the Radio Chef! I just want
to dish you out a few home-cooked ditties, using the little
old ukulele for a frying pan — so pull up your chair and
let's have a good time!"

"One Monday afternoon, about five years ago, the oper-
ator in the control room of WOR heard these words and,

for the next fifteen minutes, probably wished that all
ukulele players were in Hiwiia! (I never could spell
Hiwiia.) But, in spite of what the operator might have
thought, the studio director evidently believed the listeners
wouldn't take my 'uke' playing seriously. He assigned
me a series of fifteen-minute periods, in which I was al-
lowed to do and say about as I pleased.

Featured on Sponsored Hour

"So for three months I knocked off a half hour at weekly
intervals from my duties as art director of an advertising
agency, and sang and played for my own amusement. And
to my great amazement, at the end of that period I found
myself 'signed up' as featured entertainer on a sponsored
program.

"The thought of having a good time and getting paid
for it was too much for me and I immediately quit my job
of drawing pictures for advertisements and plunged into

this new field.

"There follow-
ed two sponsored
programs and a
trip abroad as
'America's worst
ukulele player.'
Finally, upon my
return from
abroad, I suc-
ceeded in crash-
ing the gates of
the National
Broadcast-
i n g Company.
And I have been
appearing before
the microphones
there in various
disguises since.

"I have dis-
covered that my
original thought of having a good time and getting paid
for it has changed to having a time and getting paid for it.
"This business of trying to be funny two or three times
a week is not as simple as it sounds. Radio is a business
and I find my ten years of punching a time clock stand me
in good stead.

"In case anybody's interested, here's a list of my various
activities on the air: Radio Chef, Klein's Shine Boy, Seely
Air Weavers, Champion Sparkers, Physical Culture Slwe
Prince, Cabin Door, Real Folks, Flit Soldiers, Interwoven
Entertainers, Fleischmann Hour, Eveready Master of Cere-
monies, Buck and Wing, a few fill-in programs that have
cropped up at odd moments and now The Pancake Man.

"Now we'll wind up this little monologue with the har-
rowing details of 'where born and why.' I was born in
{Continued on page 47)

FEBRU ARY , 19 3 0

Mary and Bob

Start Their
Third Year

of
Air Wandering

By JEANETTE BARNES

A VISIT to the True Story Hour on WABC is some-
thing like going to the circus. There's so much to
see. Three rings — vaudeville, concert and theatre.
And, of course, Mary and Bob.

And yet, after seeing, after watching a program of this
amazingly successful hour, I realize more and more that
any radio performance, if it is to find favor with its pub-
lic, must be designed and executed so that, unlike the small
boy, it is to be heard and not seen.

The True Story Hour is most assuredly of this type. To
appreciate it, you must not look at it. If it was like a
circus to watch, it was like a circus to leave. There was
so much that was missed. One can't hear the True Story
Hour in the studio.

The performance that I watched unfold happened to
be the one that started Mary and Bob off on their third
year of air wandering. The studio was jammed to the
doors when I arrived. But, with splendid interference by
two of the Columbia Broadcasting System's most aggres-
sive page boys, I eventually found my way to a seat ad-
joining the roped-off enclosure wherein only the performers
are admitted. And then I turned my attention to the
"three rings."

There was a sharp command of "silence!" that left one
hardly daring to breathe; a minute of absolute quiet that
seemed at the time interminable, and then — the show was
on. No parade or anything. It just began.

Kaleidoscopic and Confused

What I saw in the hour that followed was kaleidoscopic.
What I heard was confused.

What I saw — kaleidoscopically — was . . .

William M. Sivccts
Producer of "True Story Hour"

David Ross, announcing with hand cupped to ear. . .
Howard Barlow, with baton raised, ready to signal the
first beat of the theme song . . . Expansive Fred Vettell
dramatically singing the theme song ... an orchestra ap-
pearing unusually tense . . . Mary . . . Bob . . . Two
charmingly engaging young personalities ... a quiet
young man going about, whispering into the ears of mem-
bers of the cast who were seated against the rear wall . . .
Behind a glass window which shut out the control room,
a group of strong silent men . . . very serious . . . very
intent . . . Everything is serious and intense . . .

Another man following the musical score and giving
cues to the actors by means of a downbeat of a pencil
. . . Men and girls walking up to the microphone quiet-
ly and speaking earnestly, gesturing, and then stepping
away when they had said what they had to say . . .
Scripts — long sheets of paper ... A table laden with a
curious assortment of contrivances — an automobile horn,
telegraph keys, typewriters, toys, bells, a gavel, what-nots
. . . And a little group of two men and a woman who
fussed about with them . . . Singers . . .

Columbia's "Nit-Wits," who appeared to be very intel-
ligent persons, despite the name which has been given them
... Helen Nugent, a beautiful girl . . . Harriet Lee, a
fascinating girl . . . Bradford Browne as master of cere-
monies, a man you could easily fall in love with . . .

RADIO REVUE

Actors . . . one of them, Arthur Vinton ... I saw him
in "The Big Fight" with Jack Dempsey . . . Wilmer
Walter, beloved by stock audiences the country over . . .
Joan Blaine, whom Broadway has recently discovered . . .
Frank Allworth, who recently ended a year and a half run
in "Hold Everything" . . . Elmer Cornell, of "Gentlemen
of the Press" . . . And there was Minnie Blauman, a
charming picture at the piano . . . But what are they
saying?. . .

What I heard — confusedly — was . . .

Music ... an occasional voice ... a sudden blast of
an automobile horn that scared me nearly to death . . .
music . . . laughter . . . But at that, only those with
scripts could know . . . The clicking of telegraph
keys . . . Must be a newspaper office, or a
telegraph office . . . Curious sounds mads
by curious toys . . . Music played gor-
geously by an interested orchestra . . .
The last few notes of the theme song as
Fred Vettell backed Caruso-like from the
mike to sing them . . . Nothing at all of
Harriet Lee's solo as she sang, almost
kissing the microphone . . . But what
are they saying? . . .

And that is what I saw and heard
during a personal visit to the True
Storv Hour. Had I been at the
other end, beside my radio, I
would have listened, according
to my friends, to a repre-
sentative program of this
air feature, skillfully
blended, i n t e r e stingly
maneuvered — Mary's and

Mary and Bob, One of Radio's Most Famous Couples

Bob's usual intimate repartee, music and a True Story, de-
lightfully dramatized.

But, as it was, I saw only a number of very interesting
and talented persons and heard only a number of interest-
ing but disassociated sounds.

Following the performance, I inquired what it was they
vere saying. My host replied by introducing me to Mary
and Bob.

"And what was it all about?" I asked Mary.

She handed me her script, thirty pages of it.

"Take this," she said. "I won't need it for the midnight
show. I can look on Bob's."

The midnight show, I learned later, is the second per-
formance of the program, which is sent to the Pacific
Coast at midnight, eastern time, so that it can be heard
at nine o'clock, Pacific Coast time.

To talk to Mary and Bob is a real pleasure. They are
genuine, sincere representatives of young America.

Ask them how they happened to become so well known,
how they happened to become Mary and Bob, and they'll
probably tell you, as they told me, that they "don't really
know. It just happened."

Both Mary and Bob are keenly interested in music,

books, art and outdoor life. Bob is at present taking

a course of instruction in aviation and expects soon

to receive his pilot's license. Mary has flown with

him on several occasions. Much of her spare

time, she told me, is devoted to writing.

'Did you write this?" I asked, pointing to
the script she had given me.

"Oh, no," she explained, "Mr. Sweets did
that."

Mr. Sweets, it developed, was William
M. Sweets, the quiet young man I had
noticed earlier in the evening, whisper-
ing to the actors. He, I learned, has
written, cast and directed all of the
True Story programs since their
inauguration in January, 1928.
At present with the advertising
firm of Ruthrauff & Ryan,
Mr. Sweets is a pioneer in
radio broadcasting. He was
former studio manager of
WRC, continuity editor
of WJZ, and the first per-
son to hold the title of production manager at the Na-
tional Broadcasting Company. That was in the good old
days when WJZ's studios were at 3 3 West 42nd Street and
radio was getting its bearings.

Upon further inquiry, I discovered that Mr. Sweets
came to radio from journalism, having formerly served as
newspaper correspondent in New York, London and Wash-
ington.

I suspect he will agree with me that no radio pro-
gram, if it is to be successful, is any kind of a show to
watch. As a matter of fact, you can't tell what it's all
about.

One of the Immortals

By MARTHA BEATTIE

A little gray mouse, while wandering about,

Got caught between leads — and the lights went out;

News items were scarce, so a minute or two

Was used to tell what a mouse can do —

How men centralized trouble, the labor, expense;

For what that mouse did there luas no defence;

And the little dead mouse from on high looked down

On the darkness and havoc he'd caused that town,

When clear through the ether on sound waves came:

"The short circuit ivas caused by" — and then his name!

F EBR U ARY , 19 3 0

A Case fir Television

A pretty girl and
a pretty melody
make a great com-
bination. Beatrice
B e 1 k i n (above) ,
NBC soprano,
would make any
television set the
most attractive
piece of furniture
in the house. Bea-
trice, as everybody
knows, is a member
of that famous
gang of Roxy's,
heard on Monday
evenings.

A talking pic-
ture of little Mar-
garet Schilling (at
right) can't dec-
orate our mantel-
piece any too soon.
She sings on the
RKO hour over the
NBC chain.

No one would
want to keep this
Wolfe from the
door. Rosalie, a
brilliant NBC so-
p r a n o (above)
would be a wel-
come visitor in any
home.

We're going to
take this picture
of Dorsey Byron
(at left) Colum-
sweet soprano,
right up to
television experts.
That'll make them
quit their non-
sense and get to
work.

RADIO REVUE

AJESTIC JTIOUR i^xperiment

Portends

:*!. IM

Lee J. Seymour
Majcstic's Director of Broadcasting

EW J2RA

(conducting

MANY interesting experiments have been tried in
radio broadcasting, but probably none has caused
more widespread comment than the one which was
successfully demonstrated in the Majestic studio of the
Columbia Broadcasting System in New York City one
recent Sunday evening.

As I looked into the studio through the thick glass
windows of the reception room, there appeared to be a
conductorless orchestra in action. My imagination was
immediately cap-
tured by the
novelty of an
orchestra of sym-
phonic propor-
tions playing in
perfect synchron-
ization with the
voice of a so-
prano, who was
singing a difficult
operatic aria.
Timing was per-
fect, yet no
member of the
ensemble seemed

1 10.,

m-m-m

ma* mmU. \t^L^^\^ *^B ^^VBk

\y^A V^A V^^ *

Arnold Johnson Conducting His Orchestra from Behind Glass Partition.

By BRUCE GRAY

to pay the slightest attention to the singer. The repro-
duction from the loud speaker in the room was perfect.
Curiosity prompted an investigation. Just before the pro-
gram started, Arnold Johnson, conductor of the Majestic
Orchestra, said in reply to several of my questions:

"I can well imagine that to one on the outside of the
studio the spectacle of an orchestra cuing a singer per-
fectly, with no conductor in sight, would seem strange.
It is the result of an idea that I have had in mind for a
long time. In my years of directing orchestras for radio
broadcasting, the greatest handicap I have experienced has
been trying to give a singer the proper orchestral accom-
paniment.

"You know how some of these radio artists sing — right

up into the
"mike." To a
person in the
s t u d io, though
only a foot or
two away, there ■
is no sound at
all. I have often
thought that a
loud speaker
a 1 o n g s ide my
conductor's stand
would simplify
matters. But
that, of course,
would be impos-

f EBRU ARY , 19 3 0

sible, as what is technically known as "feed-back" would
ruin any radio program if a loud speaker were placed in
the studio.

Director in a Separate Room

"Finally, a little over a year ago, I decided that the
most logical way in which to direct an orchestra during a
radio program was for the director to be in a separate,
sound-proof room, equipped with a loud speaker and built
with a glass partition facing the studio. This would give
him every tonal inflection of the singing voice, the bal-
ance of each section of the orchestra in relation to the
performance of the whole as a unit, and would allow him
to hear the program just as it was to be worked out to
insure perfect co-ordination of performer, orchestra and
director.

"At one time a few months ago, I discarded the idea
as being too new and untried,
but my attention was called
to an article in one of the
leading periodicals describing
the broadcasting situation in
Europe. The writer stated
that several of the major
studios throughout England
and France had successfully
demonstrated that an orches-
tra could be conducted by a
director in a separate glass
booth. I again became en-
thusiastic about the idea and
began working out details.

"Fortunately, the new stu-
dios of the CBS were con-
structed with two control
rooms, each having glass par-
titions between the operator's
panel and the studio. This
simplified matters to some ex-
tent and eliminated the neces-
sity of building a separate
booth for the conductor. Ex-
periments were made with va-
rious types of lighting, to re-
move the glare from the

double glass partitions separating the conductor and his
orchestra. A system of signal lights was installed and a
new grouping of instruments was worked out to make it
possible for all members of the ensemble to see the director
behind the narrow double glass panel.

New Era in Conducting

"This afternoon, at our dress rehearsal, we smoothed
out the rough spots, and I am sure tonight's broadcast will
prove conclusively that a new era in orchestral conduct-
ing for radio is being ushered in."

As the writer was ushered into the studio by a courteous
page boy, a violin solo was being played by one of the
orchestra men. As I tip-toed to my seat, thinking the
program was on the air and that any noise would be little
short of a criminal offence, Mr. Johnson shouted: "How
much was it." "Two-thirty," was the reply. I knew
from this that I was early. I soon found out that the

orchestra rehearsal was over and that Mr. Johnson was
timing the violin solo. Every number is accurately timed
before the program goes on the air.

The program opened with Song of the Bayou, the com-
position of Rube Bloom that won a prize in the recent
Victor Talking Machine Company contest. The vocal
interlude was sung by Barry Devine. I learned that David
Rosensweig was the violin soloist and that on this par-
ticular program the Majestic Orchestra was featuring its
individual players in the various selections.

As the program progressed, I had the opportunity of
seeing in actual operation Mr. Johnson's new method of
conducting from a small room next to the control room.
It seemed to be working fully as well as he had predicted it
would. Mr. Johnson stood behind a large glass window
in this room and led his orchestra. Not only could he be
seen easily by the men, but he also was able to hear, by
means of the loud speaker installed in the little room, just

how the program was going
out over the air and thus regu-
late his orchestral balance.

Several times during the
program Mr. Johnson motion-
ed to various musicians, sig-
nalling them to move nearer
to the microphone or away
from it. In this way he was
able to produce exactly the
effects that he wanted and
that the score called for. It
seemed to me that this new
idea in c o n d ucting should
make for more perfect broad-
casts, inasmuch as the con-
ductor is the one who is best
fitted to tell what the various
instruments are capable of do-
ing and when they should play
louder and softer.

Muriel La France, Soprano; Red feme Hollinshead,

Tenor, and the Majestic Male Quartet, on the

Majestic Hour.

Departs from Custom

In all broadcasts it is the
custom for the production di-
rector to station himself in the
control room behind the glass
partition, so as to judge how the program is being re-
ceived over the air, and to make improvements in its
reception by signalling his instructions through this win-
dow to the musicians or the orchestra leader. This new
idea, adopted in the Majestic Hour, puts this duty on the
hands of the orchestra leader himself, who is the logical
one to do it. After all, it is usually the orchestra leader
who is criticized if the orchestra is not properly balanced.
While a production director may be highly capable, he
cannot be expected to know as much about the musical
portion of the program as does a specialist in that line.

Upon the completion of the program, which was spon-
sored by the Grigsby-Grunow Co., makers of Majestic
radio sets, I was introduced to Lee Seymour, who an-
nounced the hour. He is the director of all Majestic
broadcasts. He is assisted by Henry P. Hayward. They
all seemed highly pleased with the experiment of con-
ducting "behind the glass," and said that the practice
would be continued.

RADIO REVUE

An Open Letter

"The People in an adjoining apartment thought we had
caught a Burglar. It was Cincinnati!"

DEAR MR. AVERAGE FAN:
I read with much interest your article in the
first number of Radio Revue, and now feel the
urge to burst into print and take issue with you on several
points.

You claim to present the views of an "average fan".
What you say may be, and probably is, the true expression
of the majority of radio fans who are compelled to live in
the metropolis, but to consider yourself the spokesman for
the entire country is going just a bit too far. What about
us poor souls who do not possess the inestimable advantage
of living in New York? Are we to be just ignored as not
counting in the scheme of things? Or may we raise a
timid voice to have our say on this burning question?

I haven't a lot of statistics at my finger-tips, nor have
I even heard some of the performers to whom you refer.
But, nevertheless, I claim to be just as truly representa-
tive of the class of fan who gets one of his greatest in-
terests from the radio as you are.

To begin with, perhaps I had better mention the points
on which I think your judgment is sound. We both con-
sider ourselves lowbrows — and are proud of it. We both
get a terrific kick out of the so-called popular programs.
I, too, have been a radio addict for many years — and am
growing more so every day. I have been the owner of a
more or less capably performing set since the days of 1923.

Thought We Had Burglar

Never will I forget the thrill of that first set! The
people with whom we lived then had one of those cat-

Mr. Average Fan

from

Mrs. Upstate
Listener

whisker, now-you-get-it-and-now-you-don't affairs and,
when, we went them one better and bought an honest-
to-goodness four-tuber, we were the envy of all be-
holders. The first night we had the set, my husband
was "tinkering"' very late and had the headphones on.
All of a sudden I was horribly startled by hearing him
shout: "I've got 'em — oh, I've got 'em!" I jumped up
and hollered back: "Hang on to 'em, don't let 'em get
away!" Whereupon the people from an adjoining apart-
ment came rushing in, thinking we had caught a burglar!
And it turned out to be Cincinnati !

Since those early years we have had a variety of sets, all
the way from a one-lunger to our present super-het, and
have followed the progress of the programs pretty closely.
You hit the nail on the head when you say that the radio
is not always conducive to marital felicity, but we have
safely weathered the prospects of having our family life
completely disrupted. We emerged victorious from the
threat of manslaughter or divorce, and have now arrived
at a fairly comprehensive working basis.

Mr. Average Fan, I want to congratulate you on your
wise choice of announcers — excepting that you fail to
emphasize strongly enough the appeal of Norman Broken-
shire and you overemphasize that of Ted Husing. Not
being especially a sport addict, the latter leaves me quite
cold. But the former! Well, it's a case of "Oh baby, look
what you've done to me!" Seriously, Brokenshire is a
marvelous announcer, whose voice comes over perfectly
at all times, and is free from the slips which are noticeable
with some others.

My Favorite Announcers

We like McNamee for sport, also Ted Husing. But for
other types of programs give us Milton J. Cross, David
Ross, and the newcomer, Frank Knight, all of whom
possess delightful voices and splendid diction. Phil Carlin

F EBRU ARY , 19 5 0

Mrs. Upstate Listener gets Mr. Average Fan's Ear

used to be a favorite, but he developed a certain cynical
effect that doesn't go over very well with this fan.

It is quite true that many programs originating west of
New York are mighty poor but, on the other hand, have
you ever listened to some of the
programs emanating from To-
ronto, or Eastman's in Roches-
ter? We often hear from these
stations concerts of
which New York it-
self would have no
cause to be ashamed.
However, we can
have no real quarrel
on this point, for I
agree that there can
be no question but
that the finest in
the world come
from either NBC or
Columbia.

You don't say
much about the plays that come over often and from
which I get a tremendous thrill, almost as great as from
the theatre itself. However, I'll forgive you this omission
in view of the fact that you refrained from making that
wisecrack, which we read in every radio column in every
paper in the country, about the "radio soprano." I don't
think I could have borne it if you had talked about this
much-maligned creature. After all, in spite of the storm
of slams she gets, she still remains practically the highest
paid artist on the air, as witness Olive Palmer, Jessica
Dragonette, et al. And that must mean something.

Still Gets Thrill From DX

As for the question of DX dying out, it no doubt has
in such a place as New York, where the sta-
tions are so thick they get in your hair, and
where one must pierce the haze of heterodyn-
ing to get any distance at all. But to us in the
sticks, the thrill of staying up late at night
to hear a still small voice say, so softly as
to be almost unheard, "KFI, Los Angeles,"
still remains pretty strong. Although to
be sure, with the super-het it is no trick at
all to get the coast on any good night.

They say that gasoline engines are human
and have all the cussedness connected with
the normal human being. If this be so,
then how much more human is the radio
set. Surely most of us have experienced the
aggravation of inviting friends in to hear
us get California, only to have the darn
thing lay down on us, and then have to en-
dure the incredulous smiles of our guests.
If that isn't just like a kid refusing to show off, I don't
know what is.

Now Mr. Average Fan, here's the real crux of my com-
plaint. I object strenuously to your claiming that the
average fan, in the person of yourself, prefers to tune in,
say, Helen Kane, to a symphony concert. One does not,
necessarily, have to be a high brow to prefer good music
to that which can't, by any stretch of the imagination, be
termed music at all. I know it is possible to love both

Walter Damrosch and- Rudy Vallee. I know it, for I do
so myself. And I contend that there are many thousands
of listeners who have never heard of Helen Kane, and who,
if they did happen to stumble across her boop-a-dooping
merrily along, would lose no time in putting them-
selves elsewhere pronto. Station Me speaking, for
example.

Bully for you, in saying Vincent Lopez and Roxy
are too sweet for words. I'm
off-a sugar anyhow. And I'd
love to know who among the
announcers you abominate.

Well, it's a great life, and I
for one am growing more at-
tached to my radio than to
shows, social life or anything
else in the way of amusement,
and now I am getting fairly
well acquainted with what the
inside of my home looks like.

I've spoken my piece now

and, like Ben Bernie, "I hope

you like it!" and will forgive my temerity in venturing to

express a few words on behalf of the "Hicks from the

Sticks." — Margaret H. Heinz, Buffalo, N. Y.

Braine-Child Has Premiere

I1 HE ballet music from The Eternal Light, a new Orien-
-*- tal work in opera form by Robert Braine, American
composer, whose SOS was recently presented to the radio
audience by Dr. Walter Damrosch, had its premiere under
the baton of the same conductor on the General Electric
Hour, on Saturday night, January 11, at 9 o'clock.

The first part, Oriental Dance is true to the accepted
ideas of Oriental music, but is treated in an original way
in the orchestra. The second part is a languorous love-
waltz with a definite sweep to it, and a melody that falls
gratefully upon the western ear. The
Temple Dance of Els Cosiers is set
to a different rhythm, accented by
a gentle tambourine beat, while a
totally different mood is established
by the Dance of the Flower Girls,
-the second part of which is a stately
ritual dance, well-orches-

trated and attuned to its
subject. It develops later
into a swirling, gay dance
in which the horns and
xylophones joined merrily
with the strings, bringing
the piece to a whole-
hearted climax.

Concerning the work
Mr. Damrosch says:

"The Dance of Els Cosiers
is especially interesting, being an impression of the Spanish Temple
Dances described by Viullier as follows: 'A body of dancers called Els
Cosiers consisted of six boys dressed in white, with ribbons of many
colors, wearing on their heads caps trimmed with flowers. One of
them, La Dama, disguised as a woman, carries a fan in one hand and
a handkerchief in the other. Two others are dressed as demons with
horns and cloven feet. Every few yards they perform steps. Each
demon is armed with a flexible rod with which he keeps off the crowd.
The procession stops in all the squares and principal places and there
the Cosiers perform one of their dances to the sound of the tambourine
and the fabiol. When the procession returns to the church they dance
together around the statue of the Virgin.' " — W. P.-M.

"Oh, Baby! Look what you've done to me."

RADIO REVUE

JtATIC from the XtUDICX

Sam Herman, NBC's demon xylo-
phone player, was married in
Philadelphia late in December to
Miss Alma Knopfel. They both
come from the Williamsbridge sec-
tion of the Bronx. Sam had known
his bride about a year before they
were married. They first met at
Curtiss Flying Field, where Sam
was a student flyer. Having re-
ceived his pilot's license, he says, he
now feels capable of piloting the
young lady through life. They are
now living in a penthouse apart-
ment at 76th Street and Amster-
dam Avenue, New York. Inci-
dentally, Sam just lately signed a
contract to play exclusively for
NBC.

A A A

Setting-up exercises at Station WL W,
Cincinnati, have a new snap to them
since January 5, when Miss Jeanne
Carolyn Burdette arrived at the home
of Robert Burdette, director of exer-
cises, and assistant program director
for both Crosley stations. It is under-
stood that the young lady has already
started to broadcast.

AAA

Julius Mattfeld, that lean, lithe
music-hound, continues to give exhibi-
tions of shadow boxing before the CBS
orchestras. Julius is a fine musician,
and there is absolutely no truth to the
rumor that he aspires to the middle-
weight championship of the world. He
declares that his fights are strictly
verbal, and are only with musicians and
friends.

AAA

It does not always pay to be
right. The other day, in one of the
NBC light opera performances,
Gitla Erstinn, soprano, was the
only one in the entire company who
held a certain note the prescribed
time. The others all fell by the
wayside. After the broadcast Gitla
was complimented by Director
Harold Sanford and the rest were

admonished. But the ironical part
of it is that an outsider, comment-
ing on that performance, said: "It
was fine, but who was the girl who
held on to that note too long?"

AAA

Publicity often has its perils. Wil-
liam Wirges, well known orchestra
leader and arranger, recently has re-
ceived a great deal of publicity in con-
nection with a yellow clarinet he owns
that has 13 keys. It was first owned
by his grandfather, who played it in
the days when he led a regimental band
in Buffalo. As a result of this pub-
licity Bill has been singled out as the
"hot" clarinet player on several of the
hours he conducts. As a matter of fact,
Bill doesn't know a thing about play-
ing a clarinet. His instrument is the
piano and, if you could hear how he
makes the ivories do his bidding, you
would have no reason to suspect that he
might be a clarinet player.

AAA

The children of the radio studios
brought out for Christmas and the New
Year a truly funny magazine called
"The Tin Trumpet", which for a mo-
ment threatened the popularity of
Radio Revue. The first edition, a very
limited one and the work of the kids
themselves, was sold out before it left
the bindery. Look for the February
number, (free advt.)

AAA

An English critic, reviewing a phon-
ograph record made by the erstwhile
American taxicab driver, Eddie Wal-
ters, called him "The Crystal Spoofer."
Eddie spends most of his time these
days trying to ascertain what the Brit-
isher meant. The record was "Good-
ness, Gracious, Grade" and, since it
was the only record accepted by British
distributors out of approximately forty,
his friends say that the London writer
meant to be complimentary. Walters
was on WOR recently, strumming his
uke and singing the newest comedy

songs. He is an exclusive Columbia
phonograph artist.

AAA

Will Osborne was guest of honor at
the Women's Home Guild Luncheon in
Brooklyn recently and received a big
ovation. Will took his CBS orchestra
with him and entertained the ladies.
Everything went well until the ladies,
becoming curious, asked him a lot of
personal questions such, as "Can you
cook, Mr. Osborne?" and "Have you
got a home?" and so forth. Will man-
aged to get off one answer and brought
down the house when he replied to the
first question. He said he cooked his
own breakfast only because he liked his
toast burnt. At this luncheon Will met
many of the ladies who have followed
his croonings over WABC and Colum-
bia stations for long time.

AAA

One evening not long ago, Frank
Croxton, bass of the American Singers,
NBC, was proudly displaying part of
an orchestration in manuscript for a
song he was to sing. It turned out to
be "Gypsy Love Song" of Victor Her-

(Continned on page 33)

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NATIONAL BROADCASTING AND

CONCERT BUREAU
711 FIFTH AVENUE NEW YORK

FEBRU ARY , 19 3 0

New Meteor Flashes

Across

"BLUE

HEAVEN"

By WALTER PRESTON

DURING the past two years there has been great con-
sternation among the constellations in "Blue
Heaven," which is the Happy Hunting Ground
for jazz players and orchestra leaders. The disturbance
originated with the unheralded appearance of a new
meteor which has flashed with ever-increasing brillance in
recent months. Latest reports indicate no dimming of the
bright star that is Bert Lown, orchestra manager extra-
ordinary.

Bert is a mere lad — he is only twenty-six — but already
his bands stretch to the far corners of this hemisphere,
elastically speaking. In fact, the pulsing beat of his
syncopation has been felt in Paris, London and South
America. He has graduated orchestras more numerous
than Jimmy Walk-
er's welcoming re-
ceptions and has
succeeded in making
his little name a big
factor in Broadway
orchestral circles.

He conceived the
idea of being an or-
crestra magnate
about six years ago.
His first step up the
scale con sisted of
teaching himself the
notes according to a
simple system of his
own. Then he trav-
elled, to gain a little
experience. Later, in
an effort to learn the Tom Cline and his Brunswick Recording Orchestra

secrets of successful salesmanship, he sold typewriters.
Finally he- took a correspondence course, to acquire a
knowledge of business.

In 1927 he decided that he was about ready to try his
luck, so he opened a Broadway office. Opportunity not
only knocked at his door, but came in and paid him a
sociable call. The result was that Bert got along famously.

He soon had estab-
lished a wide repu-
tation for himself as
an orchestra organ-
izer. Two of his
better known prod-
ucts are Tom Cline's
Collegians and Rudy
Vallee's C o nnecti-
cut Yankees.

Through the
Melting Pot

Broadway is nat-
urally the hub of
activity in jazz cir-
cles. The best or-
chestra talent in the
{Turn to page 43)

RADIO REVUE

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Likes Light-Housekeeping

r I ^HIS tall and very capable lady is Margaret Cuthbert.
-*- You may not have met her, for she seldom leaves
her office, on the fourteenth floor of the NBC building.
She has an office, a department, and this column all to
herself. Her full name is Margaret Ross Cuthbert. She
was born on the banks of the Saskatchewan at Prince
Albert in Canada and was educated at Cornell University,
winning the degree of M. A. Miss Cuthbert's father is

Assistant C o m m i s-
sioner of the Royal
Canadian Mounted Po-
lice, which explains her
height and courage.

She joined the busi-
ness of broadcasting in
1924 at WEAF, tak-
ing charge of all speak-
ers and educational
programs, and she still
holds this position at
711 Fifth Avenue, but,
instead of presenting
two speakers a day,
the average back in
1924, Miss Cuthbert
now places forty
speakers a week before
the microphone.
As everyone knows, who knows Margaret Cuthbert, her
favorite occupation outdoors is riding. Had she been a
boy, she would probably have won distinction in the Royal
Canadian Mounted Police, for she rides very well. Her
pet aversion is a certain class of women, to whom you
say: "How are you?" and they then proceed to tell vou
exactly how they are, and a lot of things in addition, tak-
ing up four hour of your time on a busy day and com-
pletely upsetting your day's routine.

Her secret ambition is to retire to a light-house, where
she declares that she will take up light-house-keeping. She
has been cautioned about making jokes like this. She has
one frightful perversion and that is an appetite for hors
d'oeuvres for breakfast, which, as you know, simply isn't
done.

Miss Cuthbert has written many short stories and some
good poetry, but she has never had the time to write a
book, although she has started several.

Some of the celebrities she has "put on the air" are
Prince William of Sweden, Sarojani Naida of India, Presi-
dent of the National Women's Congress; Molyneux,
Padriac Colum, Lord Dunsany, Mrs. Franklin D. Roose-
velt, Heywoon Broun, Don Marquis, John Galsworthy,
Richard W. Child, and a lot of others who might be
taken almost at random from a literary, artistic or social
"Who's Who".

Margaret Cuthbert

Work His Chief Amusement

\ MODEST and retiring gentleman is Keith McLeod,
-^*- who supervises the music on NBC programs. He is
a native of Loveland, Colorado, and was educated at
Denver University. A brilliant pianist and organist, with
much experience in the fields of orchestration, arrange-
ment and composition, he is an ail-American product
musically, for all of his studying was done in this country.

He plays for the 711 Personalities, when he is in the
mood, and has always
been a tower of
strength to the Arm-
chair Quartet, for
which he makes un-
usual vocal arrange-
ments and also plays
piano, organ or vibra-
phone, as the occasion
demands. Contrary to
an opinion long held by
many musicians, Mr.
McLeod did not invent
the vibraphone, al-
though his judgment
has been sought in con-
nection with the
manufacture of the
latest types of this in-
strument.

His first radio ex-
perience was gained at
WJZ in 1923, where
he served as accom-
panist in charge of au-
ditions. In the early days he was often complimented on his
spontaneous "stand-by programs," which he shared with
Milton J. Cross and other announcers who were gifted
musically. He seldom leaves the studio and takes many a
meal at his desk. He claims that his main amusement is
work. In addition to the routine of his office, which
often requires long hours, he has found time to write
quite a stack of good music, excerpts from which are
often heard on the NBC networks.

His published compositions include Southern Skies, My
Prairie Rose, Slumber On, the amazingly popular signa-
ture of WJZ's famous Slumber Hour, a number of piano
arrangements of old favorite songs for which Godfrey
Ludlow made violin transcriptions, Memory's Treasure
Chest, signature for the Stromberg-Carlson Hour, and a
number of other works. He has a tremendous capacity
for composing and takes an absorbing interest in it.

His pet aversions are whistling page boys, insurance
canvassers, subways and bootleggers, and he is compiling
quite a long list of names marked "For Immediate and
Violent Removal". He likes riding, automobiling and golf.

Keith McLeod

FEBRUARY, 19 3 0

Jtatic rccM ™e Xtudicx

(Continued from page 30)

bert, and this particular part of the
orchestration was done in Victor Her-
bert's own writing, frank explained
that, on one of the tours he made with
Herbert about 1 5 years ago, the pub-
lishers had sent him a printed orches-
tration. Herbert found if so unsatis-
factory that he sat right down and did
part of it entirely over for Frank.
Naturally, Frank now prizes the manu-
script highly.

AAA

Harry Link, of Santly Bros., Inc., music
publishers, was one of the real radio pio-
neers. For several years he was manager
of Station WIP in Philadelphia and he has
had a long and varied connection with
radio bradcasting, dating back to about
seven years ago. The funny part of it is
that, in all this time, Harry has never
owned a radio set. However, he has ap-
parently seen the error of his ways, be-
cause one of his friends met him the other
night on his way to buy a radio receiver.
Probably one reason for his decision was
the fact that Harriet Lee, crooning con-
tralto soloist on the Ceco Couriers, WABC,
had just broadcast for the first time
Harry's latest song, called "Gone."

A few iveeks ago Maurice Tyler,
NBC tenor, was suffering from throat
trouble. He bought an atomizer and
sprayed his throat at regular intervals.
However, on one occasion, the nozzle
of the atomizer worked loose and, be-
fore he realized if, he had sivallowed it.
This apparently has opened his eyes to
talents that he did not know he pos-
sessed, because he can be seen almost
any night now at a nearby restaurant,
practicing sword-sivallowing with the
silver knives there.

AAA

Ralph Edmunds, popular station man-
ager of Station WRC, Washington, has
been transferred to the NBC, where he
has many friends. He was last seen with
Anna Knox, the English novelist, and
J. H. Benrimo, the author-actor-pro-
ducer, seeking "rognone trifolati" in a
small but very good Italian restaurant.

Despite Ralph's faultless French and
Italian, and his exotic tastes, he is a
Londoner, with an Eton College educa-
tion, and a bright sense of humor.

Judson House, NBC tenor, is at
present busily engaged in an effort
to reduce his weight. He has been
promised a contract to sing leading
roles in light operas that are to be
filmed as talking pictures, if he
takes off 40 pounds by March. He
has already lost over 3 5 pounds by
means of an orange juice diet and
seems to be well on the road to a
more svelte waistline.

AAA

Irma de Baun, coloratura soprano,
who is on the Evening in Paris Hour,
CBS, sang a group of songs recently at
an informal tea given by the Home
Making Center of the New York State
Federation of Women's Clubs in the
Grand Central Palace. Leonora Corona
and Eleanor La Mance, both of the
Metropolitan Opera Company, poured.

AAA

Recently Walter Preston, NBC
baritone, was discussing operatic
and dramatic roles with Virginia
Gardiner, the bright star of NBC
dramatics.

"Before I go to the microphone,"
said Miss Gardiner, "I always know
my roles by heart."

"What a baker you must be —
to know your rolls so well," replied
Walter, as he faded out of the pic-
ture.

AAA

The name John McCormack is synony-
mous with a high standard in singing.
The same seems to apply regardless of
how the name is spelled. At WOR is a
youngster who spells it McCormick. He
is a baritone, however.

Young McCormick broke into WOR a
year ago only to be turned down by a
man who might reasonably be expected to

give him a chance George Shackley, music

director of the station and his first cousin.

"Go out and get some more instruction
before you come in here", he was told.

"If you ever get on WOR it will be
through merit and not because of your re-
lationship to me. Remember that you will
have to pass an audition board of seven
and you will have to get the approval of
all of them".

The youth walked out somewhat discon-
sloately. Several -weeks ago he returned
and not only got the approval of the seven
auditors but their highest compliments as
well. He went on the air recently.

AAA

Norman Fierce, the ''Bachelor Poet"
and formerly one of the leading an-
nouncers at WMCA, has joined the Litf-
mann forces to do special broadcasting
during the fourteen half-hour programs
on the air via WABC by that sponsor
every week. He will be heard' on the
air several times each week.

AAA

From the office of John de Jara
Almonte, assistant to the Vice
President of the NBC and in charge
of executive offices at night, comes
the information that he has been
host to over 95,000 guests who vis-
ited the NBC studios at 711 Fifth
Avenue during 1929. In the same
period of time, and for the eve-
(Confinued on page 3 S )

Electric Clock

Place it on your radio set, and get accu-
rate time for tuning in on your favorite
program.

Tickless, springless, care-free operation.

Plug in on light socket.

Case in walnut finish, Bakelite.

Three inch silvered dial, heighth 7J4
inches.

Sent Prepaid — Price %9.95

William H. Enhaus & Son
26 John St. New York City

Editorials

Second Issue Sold Out!

r I ^ HE editors of Radio Revue were totally unprepared
-*- for the rush that greeted its second issue. We
rather expected that the elments of novelty, which might
naturally be expected to accompany a first issue, would
wear off and that the second issue would be received and
accepted more as a matter of course. However, such was
apparently not the case, much to our pleased astonish-
ment.

The extremely cordial reception that Radio Revue has
had on all sides is truly heart-warming to us. We are
more convinced than ever that there is a definite need
and place for such a magazine. Letters and subscriptions
have been pouring in from listeners in all parts of the
country. These letters, a few of which are reproduced in
another column, have been a great inspiration and guide
in planning future issues.

Again we invite all of our readers to write us frequently,
expressing their likes or dislikes in radio programs, mak-
ing suggestions for improving conditions for listeners in
any way, asking information about radio artists or pro-
grams, or suggesting what artists or programs they would
like to see featured on the cover or in special articles. Help
us to make Radio Revue a real listeners' forum, a medium
for the exchange of opinions on radio broadcasting by
those who listen in.

Radio Fans Cannot Be Denied

r I ^ HE affections of radio fans cannot be trifled with.
-*• This the Pepsodent Company, which sponsors Amos
'n' Andy, has learned through rather costly experience.
This company, which was the first national advertiser to
use the radio every day, took over the Amos '»' Andy
program last fall. It is understood that the company
pays for this program about $750,000 a year. Of this
amount A?nos '«' Andy, in private life Charles J. Correll
and Freeman F. Gosden, are said to receive about one-
fourth.

Not long ago the company tried to change the time of
its broadcast from ten to six o'clock central
time and, in fact, did so for a short time.
However, protests immediately began to pour
in from all sections. It is said that a hun-
dred thousand letters, telegrams and tele-
phone calls were received within a week.
Merchants in the middle West complained
that their trade was being ruined because
customers had to hurry home to listen to the
radio. Employers protested that their clerks
and stenographers were sneaking home early.
People all over the country threatened to
boycott Pepsodent unless the broadcast was
changed to a more satisfactory hour. News-
papers printed protest ballots and dealers
wired in, declining to handle Pepsodent any

RADIO REVUE

longer. Such is this program's great hold.

In all, it was a most unique situation, the like of which
had never before arisen in radio broadcasting. In the end
the fans won. Since November 25 Amos 'n' Andy have
been on the air twice every night, at seven o'clock eastern
time and 10:30 central time. Incidentally, this serves as
a vivid illustration of the amazing hold that these two
characters have on the listening public throughout the
country.

The Ramifications of Radio

GREAT and manifold are the workings of radio. This
is shown eloquently by the list of subjects handled
in a few months by one of the great chains. The com-
prehensiveness of the list of lectures, talks, explanations,
illustrations and discussions makes the most erudite of us
feel positively ignorant of what is going on all around us.
Over the air we have been intimately informed of archi-
tecture in most of its important branches and we have
been introduced to the staggering skyscraper of the future,
just as we have been led by the hand into the two-room
bungalow.

Not only that. We are on intimate terms with classic
sculpture, cut gems and other jewels, the inner workings
of the prosaic laundry, the inmost essences of cooking and
the dark corners, if any, of the kitchen. For those who
can still afford to wear clothes, dress-making has been
touched upon in all its forms, so have art exhibits and
Russian art (a nice distinction!), Persian poetry, Indian
art and literature and the American Indian dance.

Coming down to earth (pardon us!) we have also been
informed of stunt flying for movie thrills, and new forms
of cremation and burial of the dead, a natural sequence.
Then we have been enlightened on gardens and gardening,
psychology, sports and recreation, the French language,
most of the other languages including the Scandinavian,
hand weaving, women in civic work, city planning, noise
abatement (perhaps we should not mention that in an
editorial like this!) the drama, literature, short story
writing (however did that get on the air?), and musical
appreciation.

Are you interested in breeding game birds, judging dogs,
and child training (why put them in the same category?)
then go to your dials, young people. Then we have the
cultivation of the speaking voice, the political crises in
Europe, the League of Nations, health, travelling through
Italy, hunting big game in Africa, "dude" ranching in
the Northwest, how to write an income tax
return, the inner workings of the New York
State Laws of Inheritance, Alpine climbing,
and deep sea diving.

Ida Bailey Allen

Whetting the Nation's

Appetite

Our Uptown Office

1" N order to serve its advertisers and sub-
■*■ scribers more adequately, Radio Revue
has opened an uptown office on the mezza-
nine floor of the Hotel Knickerbocker, 120
West 45 th Street, New York. The editorial
and advertising offices will continue at Six
Harrison Street, as at present, but the new
uptown office will be more easily accessible.

FEBRU ARY , 19)0

XTATIC tccm the XtWDICX

(Continued from page 33)

ning period, beginning at six
o'clock, John has been responsible
for the reception of over 50,000
artists and visitors come literally
from all parts of the world.

AAA

Genia Zielinska, the Polish colora-
tura soprano of NBC, is a pupil of Maes-
tro Paolo Giaquinto, organist and com-
poser, who is a prominent member of
the musical staff at the Cathedral of
Saint Patrick, on Fifth Avenue. Genia 's
favorite amusement is giving the an-
nouncers the titles of her songs in
Polish, such as "Wzlobie Lezy", "Gdy
Sie Clorystus Rodzi", "Lulajze Jezuniu"
and "Wsrod Noenel Ciszy". One an-
nouncer, who has no sense of humor,
suffered a nervous breakdown when he
saw the list.

AAA

Jeff Sparks has returned to Columbia.
Jeff was formerly with the CBS an-
nouncing staff, but until recently he
had been with WMCA. He has joined
the WABC staff in the capacity of pro-
duction man. Columbia also has two
new announcers: Franklin Scott and
George Beuchler.

AAA

Someone gave "Jolly Bill" Steinke
a nice new alarm clock as a New
Year's present. On January sec-
ond this self-winding (you wind it
yourself!) radium-faced wonder
refused to explode at the early hour
required for "Jolly Bill and Jane's
Cream of Wheat Hour." Little
Jane, who is only nine, carried on
the entire program with her nurse,
in Bill's absence.

AAA

At the funeral of the late Claire
Briggs, noted cartoonist of the Herald
Tribune, it was noted that radio was
well represented. Many artists and
writers were at the simple services, and
the organist and quartet were all prom-

inent radio figures. Frank Croxton, ot
the American Singers, was the bass in
the quartet.

AAA

G. Underbill Macy, known to the
radio public as Hank Simmons, of
Showboat fame on WABC, and also as
Tony, the Wop, and Fred Tibbetts, on
Real Folks, NBC, resigned the role of
Hank Simmons recently. Mr. Macy
had been playing the role for almost
two years and had been doubling in
numerous other parts in the Showboat
program.

AAA

Recent changes in the Columbia staff
include the transfer of Bradford
Browne, Chief Nit Wit, from announc-
ing to continuity, where it is believed
his genius will find a wider scope.
"Chet" Miller is reported to have left
the field of announcing for new pas-
tures.

AAA

At the turn of the year, Mathilde
Harding, well-known radio and concert
pianiste, joined the Columbia Broad-
casting System as assistant program di-
rector, in charge of the Ida Bailey Allen
broadcast and other Columbia features.
Miss Harding also continues with her
work as solo artiste and accompanistc.

AAA

states, but Willie Perceval-Monger is at
work on a beautiful competitor for this
piece entitled:

"Weeping for East 5 8th Street, New
York City."

AAA

Walter Damrosch stepped out of his
role at the NBC recently when he sud-
denly took a notion to play the tympani
in a performance of Brahms's "Song of
Fate" that was being conducted by
George Diluvrth. The eminent edu-
cator showed a surprising technic with
the kettle drums.

AAA

On a recent Columbia program
Hawaiian tunes were featured,
with Norman Brokenshire announc-
ing and explaining. Toward the
end was "He-Mana Ohe Aloha."
At first this looked like something
about the Hawaiian He-Man, but
it turned out to be a native yodel.
It seems that the Society for Lou-
der and Better Yodelling is spread-
ing its insidious propaganda right
across the Pacific.

AAA

All announcers and production
men of the Columbia chain and
WABC are required to dress for
mally after six o'clock in the eve-
ning, according to an official an-
nouncement made recently by Jack
Ricker, production and studio di-
rector of the CBS. Apparently the
fever, which started some months
ago at the NBC, has spread.

AAA

Someone is trying to establish a vogue
for songs about specific localities. We
suspect that the song pluggers have
affiliated with the real estate boys.
Columbia had "Crying for the Caro-
linas". We don't know why anyone

should cry for these two particular

CONRAD'S

(Efte Japanese Hantern

Delicious Food

Home Cooked

at
Popular Prices

Banquets Luncheons

Solicited

193 Madison Avenue
New York City

RADIO REVUE

L>hallen

gmS

theXJ

Not all the brilli*Ui
work on the air is done
by the big folks. Some of
the most enjoyable pro-
grams are put on by
youngsters, as radio fans
can attest.

This fluffy-haired young-
ster (at left) is already a
radio star. Although only
six, Marjorie Jennings

plays one of the leading
parts in Mountainville over
WABC. She also stars as
the vamp in the "Our
Gang" comedies.

A talented little actress
is smiling Elizabeth
Wragge, only 12 years old
(at right) . She plays on
many NBC hours, among
them the Lady Next Door,
Milton Cross's Children's
Hour and, formerly, Gold
Spot Pals.

Jean Derby (at left)
with the long dark curls,
is one of the Columbia
chain's juvenile leading
ladies. And she is only
nine years old. She plays
of the principal roles
in Mountainville Sketches,
which are presented over
WABC every Monday eve-
ning from the Tiny Tots
Theatre. Little Miss Derby
also plays in the Land of
Make-Believe, a Sunday
feature, over the same
chain.

The lovely little miss at
the right is Florence Bak-
er, who trods the boards
of the Barn Theatre with
fine dramatic fervor every
Saturday afternoon. This
program is announced over
Station BARN, which may
or may not be a real sta-
tion of the NBC chain.
Florence will soon be thir-
teen years old.

rownups

These four gifted young people
help to make the Childrenys Hour
every Sunday morning a most delight-
ful feature. Reading from left to
right, they are: Julian A I cm. in , vio-
linist; Sylvia Altman, his sister, pian-
ist; Edith De Bald, dramatic reader;
and Mae Rich, trumpet soloist.

F EBRU ARY , 19 3 0

Program Note/

¥OR Offers "Moonbeams"

From 11:30 until midnight, nightly,
at WOR there is a program that de-
spite its comparatively recent birth has
achieved the distinction of being one of
the most beautiful and melodious on the
air. It is called ""Moonbeams", a con-
tinuity written by Arthur O. Bryan,
one of the Bamberger station's young-
est announcers; that is, in point of ser-
vice. ^

In addition to Mr. Bryan, credit is
due to George Shackley, who arranges
and directs the music, Rhoda Arnold,
first soprano; Annette Simpson, second
soprano; Veronica Wiggins, contralto,
and the two house instrumentalists,
Samuel Kissel, violinist, and Albert
Wohl, 'cellist, who, with Mr. Shackley
at the celeste and vibraphone, provide
the music.

▲ ▲ ▲

Ward Tip Top Club on Air
The first of a series of radio programs
over WABC and the CBS was heard re-
cently when the Ward Tip Top Club
carried the radio audience on a visit to
Old Mother Hubbard. The program,
written by Georgia Backus and Don
Clark, revolves about the efforts of the
various members of the club to enter-
tain the hostess and her friends. It in-
troduces specialty numbers, popular and
classical music and old familiar melodies.

▲ ▲ A

Archbishop Leighton on CBS

The Most Reverend Arthur Edward
Leighton, D. D., Metropolitan Arch-
bishop and Primate of the Episcopal
Catholic Church, announces an exten-
sive lecture series to be broadcast over
WABC and the CBS early this Spring.

AAA

NBC Offers "Penrod" Series

Radio has joined the stage and screen
in presenting the works of Booth Tar-
kington. "Penrod," the Hoosier au-
thor's ever-amusing novel of boyhood,
is being presented in a series of drama-
tizations by Julian Street, Jr., over the
NBC System, Sunday evenings, at 9:15
o'clock (E. S. T.).

Street, a member of the NBC con-
tinuity staff, follows in the footsteps
of his author-playwright father, who
collaborated with Mr. Tarkington in the
writing of the Broadway play, "The
Country Cousin." The younger Street

is the author of some of the sketches of
New York life heard in the program,
"Rapid Transit," and of the dramatiza-
tions, "Golden Legends," produced by
the NBC on the Pacific Coast during
the past summer. By special permission
of the author and his publishers, Double-
day' Doran & Co., this presentation is
heard for the first time over the NBC
chain.

AAA
Mildred Hunt Back on Air

Mildred Hunt, one of radio's earliest
contralto crooners, recently renewed
her acquaintance with the microphone
following an absence of six months, in
a new program called Broadcasting
Broadway, on WEAF.

Hits from Broadway musical com-
edies and light operas, both past and
present, are included in the program,
which goes through a wide network of
NBC stations each Friday night from
9:30 to 10 o'clock (Eastern Standard
Time.)

Co-starring with Miss Hunt in her
new radio vehicle is a galaxy of broad-
casting celebrities, including Erva Giles,
soprano, Robert Simmons, tenor, and a
concert orchestra under the direction
of Harold Sanford.

During her absence from the mi-
crophone Miss Hunt toured the R-K-O
circuit from coast to coast.

AAA

New Publix Hour on CBS

The first nationwide radio program to
originate in Brooklyn, N. Y., was broad-
cast over WABC and the CBS directly
from the stage of the Paramount The-
atre there, on Tuesday night, January
14, at eleven-thirty o'clock. This per-
formance inaugurated a long series of
unusual and highly entertaining pro-
grams to go on the air every Tuesday
night at the same time.

Each presentation lasts thirty minutes
and is under the personal direction of
Louis A. Witten, pioneer radio an-
nouncer, who acts as master of cere-
monies. The series is known as the
"Publix Radio-vue" Hour.

The regular features heard from this
point of broadcasting each week in-
clude: Paul Ash's twenty-piece hand-
picked band; Bob West, Paramount Or-
ganist; Elsie Thompson, the "singing
organist"; and the Publix gala stage
show.

"Home Banquet" on Air

Again radio offers "something dif-
ferent." This time it is a new series
of programs, inaugurated on Monday
evening, January 20, at 6:3 0 o'clock,
eastern standard time, and known as
the American Home Banquet. Spon-
sored by the American Radiator Com-
pany, the new series is broadcast
through an NBC network.

The first departure from precedent
in the new series is that, instead of
weekly presentations, the Home Ban-
quets are heard for a half hour every
night excepting Saturday and Sunday.
This alone places the sponsor at the
head of the list of buyers of eyening
broadcasting time for, in addition to
the two and a half hours a week de-
voted to the new feature, the same or-
ganization, in association with the
Standard Sanitary Mfg. Company,
sponsors the radio adaptations of the
Puccini operas, heard once a month.

The program itself is designed as a
"banquet"' for radio listeners every-
where. The continuity and music are
designed to create the illusion that the
listener is actually at the banquet.
Radio re-incarnations of famous per-
sonages, brought to the banquet table
on their birthdays, will be a feature of
the programs. Vocal and instrumental
offerings by widely known radio artists
will be woven into the program.

AAA

4 -4

^STRID
FJEIDE

dramatic
soprano

with
national
grand opera
company

studio

49West57St.

CONCERT
ORATORIO
OPERA

management
NATIONAL BROADCASTING AND

CONCERT BUREAU
711 FIFTH AVENUE NEW YORK

RADIO REV U E

Enrique Madriguera

Master of Jazz and the Classics

NOT many years ago in beautiful, romantic Spain there
lived a little dark-eyed, dark-haired boy of seven, who
wanted a violin for Christmas above all things. In Spain,
"The Magic King" comes at Christmas, instead of Santa
Claus, and distributes presents.

So little Enrique Madriguera wrote two urgent letters
to "The Magic King," asking for a violin and promising
to be so good in return. However, his father expressed

doubts as to whether
"The Magic King"
would bring so small
a boy a violin.

As Christmas day
dawned, little En-
rique awoke early,
as is the custom of
children the world
over, and hurried
out to the balcony
where the gifts were
always left. He
looked anxiously,
but to his bitter dis-
appointment, there
was no violin.
Glancing across at
the balcony of his
little friend and
neighbor, which ad-
joined his, he saw a
violin. How he
wanted that violin! And among his own presents he
noticed a train of cars, which he knew was one of the
gifts his little friend had ordered when addressing his
wants to "The Magic King." Why, of course, he reasoned,
it was plain enough — just an error on the part of the
busy "Magic King," what with the balconies so closely
adjacent.

With a view to righting the error, he took the train of
cars, slipped over to the other balcony, left the cars there
and came back bearing the violin. His family was gen-
uinely surprised to learn "The Magic King" had brought
Enrique a violin!

As he grew older, his love for the violin increased.
When he was seventeen, a friend, appreciating his talent,
suggested that he go to London to purchase a good violin.
There, while all London was celebrating the Armistice
with mad revelry, the music-loving Spanish youth was
in his hotel room, trying out the different violins which
the tradesmen had brought him. The one he chose cost
$10,000. Nothing daunted, the friend purchased it for
him, and it is the one he now uses. Since then, Enrique
has studied under such masters as Leopold Auer and Joan
Manen.

Although his work takes him away from his native
Spain, he always spends some time there each summer, and
visits his birthplace, Barcelona, every year.

Enrique Madriguera

He has been eminently successful in his chosen profes-
sion. His concert tours of Europe have won him fame
as a concert violinist, while in America, he has gained
wide popularity, due to the essentially American quality
of his jazz. It is unusual for a concert violinist and a
foreigner to have captured the spirit of American dance
rhythm so thoroughly as to place him in the front ranks
of orchestra directors of popular music.

In addition to being an artist in two distinct fields,
Mr. Madriguera is an able business man. He recently left
the NBC to become musical director of the Export De-
partment of the Columbia Phonograph Company.

He can be heard on the air every Monday evening from
9:30 to 10 as a soloist on the "Evening in Paris" Hour
on WABC.

Madriguera's interest seems to lie principally in group-
ing unusual orchestral combinations for phonograph re-
cording and radio programs. His orchestras feature au-
thentic Spanish tangos, oriental and Moorish airs, African
rhythms and Gypsy Sevillian folk lore. "All of this takes
time," he says, "and much of the work I do during my
annual visits to Europe and the Orient.

Rector Again Points Way
to Epicurean Delights

(Continued from page 20)

It might not be far from the truth to say that George
Rector was born in a restaurant. Certainly as the son of
the famous Charles, who was called the man who had run
an oyster stew into a million, George in his youth was
never far removed from one, and at an early age he went
into business with his father. Then, as is ever the way
with sons, he grew weary of following in father's footsteps
and burned with the desire to make his own footprints in
the sands of time. So he set up good-restauranting in a
shining palace of his own, nicknamed "Young Rector's
Snare".

According to the ex-host to pleasure-hunters of our
parent's past, the guests arrived in broughams, always in
jovial mood, even though dignified and in full dress — white
gloves for the gentlemen, if you please, trains for the ladies
and plenty of hair and hat-pins.

Slipper as a Loving Cup

On New Year's Eve at the witching hour they used a
lady's slipper as a loving cup and drank toasts to their best
girls while the orchestra played "Hot Time in the Old
Town". The lights went out and everybody kissed every-
body.

"The ladies like soft lights," reminisced Mr. Rector. "So
the bulbs in the crystal chandeliers were rose-colored in
summer and amber in winter. The napkins we used were
a whole yard square and none too large at that for folks
who ate everything on the menu from caviar to nuts, with
hearty gusto. Dieting was not popular in an age when
curves were symbols of feminine health and beauty."

George Rector is up to his old tricks again — raising
cooking from the field of science into the realms of art and
romance. Once he catered to the epicurean elite in his own
cuisine. Now his sphere is unlimited. He makes the humble
art seem a bigger and better thing to radio's countless
millions .

F EBRU ARY , 19 3 0

Ll/TENER/* fCRlH

SXXXJ«3«38S3»3SX3«XXXXXXX3«XXX^^

Thank You, Mr. Geddes!

To the Editor of Radio Revue:

Accept my congratulations on the very interesting mag-
azine you have launched. I have often thought there
should be a big field for a magazine of this type and wish
you all success. I am enclosing my check for a year's sub-
scription.— Bond Geddes, Executive Vice President, Radio
Manufacturers Association, Inc., New York, N. Y.

AAA

Impressed by Authenticity

To the Editor of Radio Revue:

I finally found time to give your
initial issue a pretty thorough and
very interested reading last night.
It should be very interesting to the
great number of people who take
their radio listening at all seriously,
and it is really very valuable to
anyone who makes use of radio
broadcasting in business.

I think the thing that impressed
me most was the apparent authen-
ticity of all the information con-
tained in it. While its primary
function is, no doubt, entertain-
ment, I could not help feeling that
it probably contained a greater
amount of actual fact than a great
many of our trade papers do. — Fred
H. Strayer, Sales Manager, Sylvania
Products Company, Emporium, Pa.

AAA

Exactly What She Has Wanted

To the Editor of Radio Revue:

I just happened to pick up your Radio Revue from the
newsstand while waiting for a train and, as it is exactly
the kind of a radio magazine I have been looking for for
the past three or four years, it did not take me long to buy
a copy. My family cares nothing for the technical radio
magazines and, until I discovered your Radio Revue yes-
terday, that was about all I could find.

Your first number certainly is good and, if the numbers
to come contain as much of general interest, I am sure you
will be successful. Enclosed is my check for $2 for a
year's subscription, beginning with the next issue.

Mrs. R. H. M., Coldwater, N. Y.

AAA

Broadcasting in Early Days

To the Editor of Radio Revue:

I was delighted with the first issue of your publication.

The first thing I thought was: "Why didn't someone think
of this long ago," because, of course, everyone not only
likes to hear the gossip and personal bits about the artists,
but also likes to know what they look like. The magazine
compares favorably with our movie magazines, and I am
certain it will meet with tremendous favor and will have
an enormous circulation.

I have been showing my copy to everyone who comes in
and they have immediately said: "Oh, I must get this. It's
great!" Two people took it home to show the rest of the
family. When my husband saw it, he said to be sure to
keep every copy and, as the various entertainers appear,
look them up in the magazine, to see what they look like.
My great regret is that I am not among the artists who
will be featured on its pages. Miss
Trenholm's article mentioned the
WJZ studio in the Westinghouse
plant at Newark and reminded me
that those were my broadcasting
days. They sent a Pierce Arrow lim-
ousine from Newark for me (I
haven't been in one since) and my
husband, my accompaniste and her
brother went with me and I gave a
half-hour program of contralto
solos. I was preceded by a reader,
who gave "Salome," and we were
all in the one room, working and
waiting. The reader took twenty-
five minutes longer than she should
have and I couldn't even clear my
throat for fear of being heard on
the air, so I just kept on drinking
water — being able to do that noise-
lessly. Those were the days!

Then, again, when they moved to
a little room on the top of the Waldorf-Astoria, in
New York. It was so far up that we went as far
as the elevator would take us and, with bated breath,
climbed some winding iron stairs to a dusty hallway and
thence to the studio. That time I followed a talk on dogs
and my husband and friends assured me that I barked very
descriptively many times, both like a fox terrier and a
Saint Bernard. Well, that's enough of that chatter. Tell
us some time who "Cheerio" is, will you? The best of luck
to you in your new venture. — Mrs. D. K., Brooklyn, N. Y.

AAA

Wants Jessica Pictured in Costume

To the Editor of Radio Revue:

Enclosed please find 2 5 cents in stamps for a copy of

your Radio Revue for December. I couldn't get another

copy on the stands — and someone walked off with Jessica

Dragonette's picture out of the one I have. Will you see

(Continued on page 45)

RADIO REV U E

Caeic in the Hcme

Edited by Mrs. Julian Heath

Pioneer Broadcaster of Market Reports and Daily Menus

Hello, Neighbors!

Radio programs are now designed to please not only the
woman in the home, but every member of the family.
However, it was the man of the house who first discovered
radio as a family pastime. Would he let his wife touch the
precious instrument in the early days when he was away
from home? No; only he could turn the dials, and turn
them he did, for in those days, which now seem to have
been back in the dark ages, the family was compelled to
submit to all kinds of squeaks and squeals while father
was trying to tune in a station. In those days mother
invariably said that "the radio is only for father's amuse-
ment" and something to the effect that she dreaded his
homecoming because she knew he would immediately rush
to the radio and thereafter would be impossible of ap-
proach.

But nowadays, in most well-regulated families, the radio
is a definite factor in the home life, and the artists who
appear before the microphone are many times unwittingly
adopted into the family circle. The artists who speak
over the radio have, perhaps, a greater entree into the
average home than have the musical broadcasters. The
former come to know the various members of their
listeners' families and share their joys and sorrows.

We, who broadcast ro the women in the home, get a
perfect composite picture of American home life. Indeed,
with the knowledge of this home life as we see it, on;
cannot say there is no longer any home life in this
country.

AAA

In many respects the radio has supplanted the huge
library, with the inevitable reading lamp, around which
the family used to gather for the evening. But wasn't
the light dim and weren't the evenings long ! Everyone
seemed to be glad when father said it was "time for bed",
and mother set aside her sewing.

Now we have evenings of entertainment — the very best
obtainable — and programs that please everybody. Radio
gives us our "daily dozen", gets us off on "the eight-
fifteen" and put us to bed with "slumber music" — truly
a day of service. Another way this service is used is out-
lined in a recent letter from a neighbor:

"Perhaps you would like to know how I arrange my house-
work and my radio listening. Each evening I mark the pro-
grams to which I want to listen the next day, and then I
arrange my housework so as to be near my radio set when there
are talking features and in the other rooms when the musical
programs are on. I always have a basket of mending and a pad
and pencil on my table by the radio while you are broadcasting.
When you give a recipe I lay aside my -work and write it
down, and then I pick up my sewing again and listen. In
this way there are no complaints of undarned socks, because
they are darned by radio and are always done."

AAA

Isn't this letter truly a reflection of how radio has

lightened the burden of housework? Another angle of the
intimate atmosphere that radio creates concerns the fam-
ily pets. We have become well acquainted with the pets
of many families and some day I will tell you how they,
too, listen in. My dog, Jane, has been known to the
WJZ audience for many years. If you have a family pet
you will enjoy this letter from a listener:

"I enjoyed your two chats today and I surely had to smile
at one of your concluding remarks. You spoke of Jane some-
times sitting close to you at the table and you remarked that
this was not good manners. I must tell you of our dog's
behavior at the table.

"My husband, myself and my Maltese poodle, Sonny, consti-
tute the family. As we are both very fond of Sonny, you can
imagine that he is somewhat spoiled. He has his own chair
at the table, and is always the first to be seated. He always
has a napkin, a plate of his own and is fed every piece of his
meat. He will seldom eat anything if his plate is placed on
the floor. If I give him anything in the kitchen, he runs to
his pillow in the dining room to eat it.

"I have some friends who are very fond of him, too, and he
invariably gets his own chair at their homes. 'Love lne, love
my dog', is my motto. But no one has to try very hard to
like Sonny, because he is very lovable. He eats an ice cream
cone every night before he goes to bed. He never fails to
listen to Slumber Music on WJZ, and then he has his last
walk and his ice cream cone."

AAA

Truly, radio is a factor in home life — and a big factor,
too. Having been confined to my home for more than a
month, as the result of sustaining a broken limb, I have
come to appreciate the value of radio to an even greater
extent than I did before and now realize more vividly
what a Godsend it must be to those who are permanently
confined. My unfortunate indisposition has made it impos-
sible this month for me to continue my series of artists'
favorite recipes, but I hope to resume them in our next
issue.

Prize Letter
Contest Extended

A number of our readers have asked for more time
to compose their letters on the subject Who is Your
Favorite Radio Artist — and Why? They say this
subject requires much thought and consideration.

Therefore, the editors of Radio Revue have de-
cided to extend this contest for a month. This gives
new readers a chance to enter. The awards are ten
dollars for the best letter and five dollars for the
second choice.

Rudy Vallee and Jessica Dragonette are leading so
far. Who is your favorite?

RADIO REVUE

Six Harrison Street, New York, N. Y.

F EBRU ARY , 19 3 0

AM'h'r

PEP HENS

tm ARE LADIES WITH
LONG PEDIGREES

// these aristocrats of the poultry yard
could talk they could tell you the
names of their great -great -grand-
mothers.

Pridefully they could point to the silver
cups and blue ribbons won by their mothers in
egg-laying contests.

For a PEP hen is bred as carefully as a racehorse.

Those ambitious birds who wish to enter the breeding pens must
first build up an egg-laying record; because only hens that lay heavily
— and lay perfect eggs — are permitted to give hostages to fortune, in
the form of the lovely puff-balls that are baby chicks.

This feathered aristocracy wears costume jewelry, too — colored
enamel leg-bands, bearing an identifying number. Baby chicks are
banded as soon as they are hatched.

PEP producers, you see, know their hens.

PEP eggs, the final product resulting from all the aforesaid array
of ancestry, cannot, of course, travel through to the consumer without
an appropriate name-plate. In the retail stores, you will often find the
thirty-dozen cases bearing the PEP emblem,
tailers want these quality eggs packed in
attractive blue-and-white cartons. In other

you will notice that each egg bears a neat little stamp — "PEP" or
"SUNRISE" — two symbols of egg fineness.

Sometimes
PEP's o
instances

re-
w n

Pacific Egg Producers

COOPERATIVE INC.

XHS €GG IV ITU TJETS ZZSPZ/T^FTIOIV"

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NEW YORK

CHICAGO

Seattle, Los Angeles, San Diego, Detroit, Pittsburgh,
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RADIO REVUE

The Announcer Speaks
for Himself

Marley Sherris

LADIES and Gentlemen of the radio audience:
This is Marley Sherris, of the NBC, speaking. I
have been announcing programs for the past three
years. I joined the forces of WJZ at their former studios
on West 42nd Street, New York. For years I had been in
concert work, travelling throughout the United States,
Canada and England. On one of my tours I was engaged

as a soloist to open
the Canadian Na-
tional Railways
broadcasting station
at Ottawa, Canada.
After my perform-
ance there I realized
that this was a field
in which an artist,
giving a single radio
performance, could
be heard by more
people than he could
; possibly reach in a
f^* ! year of personal ap-

^L J pearances.

^L ^W This thought kept

^k recurring to me, al-

^L ^^^^ though i: was al-

^L most t w o years

^ ^B |^ Luer that I settled

^L Jfl in New York and

an opportunity pre-
Marley R. Sherris sented itself t0 be_

come identified with
WJZ. After I had met Keith McLeod, who was at that
time studio manager of WJZ, he asked me one day if I
would be interested in a position as announcer. I told
him I would, so he gave me a voice test. After the test,
Mr. McLeod assigned me to one of the large commercial
accounts on WJZ to announce as my first program and
final test. The next morning I was called in, was intro-
duced to officials of the station and was put on the an-
nouncing staff.

Musical Training Needed

I believe that musical training is one of the most im-
portant requisites for radio announcing. It not only im-
proves the speaking voice, but it gives the announcer an
insight and knowledge that is essential to announcing all
types of musical programs.

In my first few broadcasts the absence of immediate
response from the audience gave me a rather "lost" feel-
ing but, of course, three years before the "mike" have
caused me to respect this little steel disc as an instrument
that brings me in close touch with countless listeners. I
thoroughly enjoy reading the mail response, as it is the

one way I have of knowing the reactions of the unseen
audience.

At present I am on the following programs: National
Youths' Conference, Dr. Poling, WJZ, Sunday, 3 to 4
P. M. ; National Religious Service, Dr. Fosdick, WJZ,
Sunday, 5:30 to 6:30 P. M.; Midweek Hymn Sing, WEAF,
Thursday, 7 to 7:30 P. M.; Edison program, WJZ, Mon-
day, 9 to 9:30 P. M.; Calsodent talk, WJZ, Tuesday, 8
to 8:15 A. M. I also sing bass in the famous Armchair
Quartet, which is on WJZ at 11:45 to 12 P. M. every
Sunday. I also sing with the Balladeers on Sunday morn-
ings.

I have just built a new home at Hastings-on-the-Hud-
son. My hobby is driving a car, any place, any time,
any car — but, of course, it must be in my spare time when
I am not singing, announcing or attending to my duties
as evening program representative.

Taught Self to Play Banjo — Roy Smeck
Now Teaches Thousands

{Continued from page 16)

the criticisms in fourteen cities, lost out in the star's home
town and, in the sixteenth, the one newspaper burned to
the ground on the first night he appeared.

After that engagement, he signed up with a revue.
Friends said that he was killing himself professionally, but
no amount of argument could move him. He grins about
it now. The friends realized the reason on his return, how-
ever. He had married the star, and he has "stayed married."

While it is traditional with the Pennsylvania Dutch to
"stay married," the writer happens to know that the
couple's marital state would have endured without the
tradition, since the two are exceptionally happy. And to
add to its stability, this scribe can attest to the fact that
his mother-in-law is his greatest booster.

Has Many Recording Contracts

In the phonograph cabinet in the living room of his home
in the exclusive West End district are a hundred or more
records which he has made. There will be hundreds more
as he has contracts for at least ten years.

This income, plus that of his radio engagements, enables
him to live in a style that is far removed from his shoe
factory days. Other royalties come in from the sale of his
music books, which are very popular because they were
written for those who cannot afford to take lessons.

It was the knowledge of the vicissitudes of the moneyless
pupil that furnished the motive for putting his "lessons"
on the air, not only for the ukulele, but for the banjo and
guitar as well.

The writer once had the privilege of listening to and
seeing a Vitaphone performance of Mr. Smeck. Later in
the evening, he made a personal appearance. It goes without
saying that he stopped the show. The applause was up-
roarious and prolonged.

In his radio classes, Mr. Smeck has had as many as 1,600
pupils. All of them received personal instruction by fol-
lowing him through his music books.

It is very true that string music is indeed his vocation,
but the strange part of it is that it also represents his
avocation.

"My one aversion," he said, "is eggs — eggs in any style —
and I had to learn to play so that I wouldn't get them in
the raw state on the stage."

FEBRU ARY , 19 3 0

Andy Sannella a Real Miracle Man of
Music

(Continued from page 12)
such a lot of him to look at but, as a feminine acquaint-
ance put it, "what there is, is worth looking at a lot."
They know that his small form is always encased in a
natty suit and that he has expressive' brown eyes.

All these things the musicians know. They also appre-
ciate, as much as, if not more than, the radio audience, the
musical ability that has made it possible for Sannella to
be heard six or eight times a week throughout the nation.

The artist was born in Brooklyn, N. Y., on March 11,
1900. When he was seven years old he began the study
of music that has resulted in his reputation today as one
of the outstanding interpreters of modern melody. He
started to study the violin at the age of ten. After four
years of study he decided he wanted to play the banjo.
This instrument came natural to him. In his youth, San-
nella augmented his music lessons by regular perform-
ances in several church and school orchestras.

Joins Army and Then Navy

When he was seventeen he joined the Army. Because
he was under age, his mother pulled strings through the
customary tangle of red tape and had him discharged.
Not discouraged, young Andy next bobbed up in the
United States Navy. This time his mother decided to let
well enough alone and her son remained in that branch
of the service for three years. A majority of that period
was spent aboard submarines. During the long days and
nights aboard the "subs" Andy amused his mates with his
guitar. Incidentally he obtained a lot of practice. What
followed his discharge from the Navy has already been
told.

In 1927 this young "miracle man of music" played in
16 weekly radio programs, most of them going through
extensive networks of stations. In 192 8 he directed the
orchestra for the Interwoven Entertainers, the Halsey
Stuart program and the Sylvestre broadcasts.

His present weekly schedule gives him only two nights
a week away from the radio studios. On Monday he di-
rects the orchestra in the Empire Builders program; on
Wednesday he is heard regularly as a soloist with the
Palmolive group, and as director of the Halsey Stuart or-
chestra; on Thursday he waves his baton before the Smith
Brothers musical aggregation; on Friday he may be heard
with the Armstrong Quakers; while on Saturday he ap-
pears on the Lucky Strike program.

Have You a Little Nit Wit in Your Home?

(Continued from page 15)
The Nebraska Cornhuskers played the Center College pray-
ing Colonels. The Cornhuskers started in early to husk the
colonels, each cornhusker grabbing an ear. The Corn-
huskers stalked through the Colonels' line, and soon things
were popping. It turned out to be an ear for an ear and
a tooth for a tooth, those having false teeth finding the
colonels a bit tough. However, after several court martials
the colonels were reduced to lance corporals and the band
played the husking bee. Final score, if any — found in to-
morrow's paper. And that completes our resume of to-
day's football games."

New Meteor Flashes Across "Blue Heaven"

(Continued from page 31)
country gravitates to the Great White Way, where it
passes through the melting pot and emerges, a finished
product, to fill the terpsichorean wants of a restless nation.

Bert's orchestral enterprises have grown to such propor-
tions that they begin to resemble the chain store systems in
quantity turnover. And it has all been accomplished with
an unobtrusiveness that is refreshing along Broadway.

Bert has turned musical notes into bank notes with sur-
prising celerity, due chiefly to his ability to satisfy the
primal urge, for rhythm of a syncopated sort, that exists
in the gilded whoopee palaces, at society revels, collegiate
hops, metropolitan hotel gaieties, country and yacht club
festivities, resort entertainments and night club and
theatrical gatherings.

Starting with his high school days, when he had an
orchestra that played on the Chautauqua circuit, Bert has
compiled an imposing list of orchestra contracts. These
include recording contracts with Columbia, Brunswick
and Victor, the discovery and exploitation of Rudy Vallee,
Tommy Cline and Jack Carney — hailed as a second Vallee
— numerous radio broadcasting engagements and a con-
tract for recorded radio programs with the Biltmore Hotel
Orchestra and a new vocalist who promises to be a sensa-
tional success. Bert also has to his credit the largest steam-
ship contract ever given to any one organization in the
music business — that to provide music for the Munson
Line and all the United States Line boats.

Bert's ultimate ambition, as confided in his own words,
is "A million dollars — and no encores."

Carson Robison

heartily

recommends

to his Radio

friends the

homelike

atmosphere

of the

HOTEL
KNICKERBOCKER,

RECOGNIZED RADIO ARTISTS' HEAD-
QUARTERS

NEW YORK

WEST 45th ST.

TIMES SQUARE

JUST EAST OF BROADWAY

RADIO REVUE

THE BIG TEN

Best Selling Popular Songs of the Month

WHEREAS last month there was a decline as com-
pared with the previous month in the number of
theme songs listed in The Big Ten, this month
shows that the country has again gone "theme-song" with
a vengeance. Every one of the ten best selling popular songs
listed below is a theme song from a talking picture. This
condition is not likely soon to change, because the theme
songs have a tremendous advantage in the sustained na-
tionwide "plug" they receive through the medium of the
sound pictures.

During the past month, as compared with the previous
month, I'm a Dreamer; Aren't We All? has moved from
ninth place to the top of the list, supplanting Tiptoe
Through the Tulips. A Little Kiss Each Morning, from
Rudy Vallee's picture, The Vagabond Lover, has advanced
from tenth to fourth place.

A notable feature is that such big sellers as Siugin' in the
Rain, Love Me and My Fate is in Your Hands have dropped
out of the first ten and have been displaced by The Chant
of the Jungle, Singing in the Bathtub and You're Always in
M)' Arms.

1. I'm a Dreamer; Aren't We All?

from Sunny Side Up (De Sylva, Brown &
Henderson)

2. Tiptoe Through the Tupils

from Gold Diggers of Broadway (M. Wit-
mark & Sons)

3. If I Had a Talking Picture of You

from Sunny Side Up (De Sylva, Brown &
Henderson)

4. A Little Kiss Each Morning

from The Vagabond Lover (Harms, Inc.)

5. Painting the Clouds with Sunshine

from Gold Diggers of Broadway (M. Wit-
mark & Sons)

6. The Chant of the Jungle

from Untamed (Robbins Music Corporation)

7. Love

from The Trespasser (Irving Berlin, Inc.)

8. Singing in the Bathtub

from The Show1 of Shows (M. Witmark &
Sons)

9. You're Always in My Arms

from Rio Rita (Leo Feist, Inc.)

10. My Sweeter than Sweet

from Siveetie (Famous Music Company)

It will be noticed that, beginning this month, we have in-
cluded the names of the publishers of these songs. If there
is any further information our readers desire about the
popular songs they hear over the radio — who wrote them,
who publishes them, where they can be obtained or in what
pictures they appear, etc., — RADIO REVUE will gladly
answer all such questions. Merely write Popular Song Edi-
tor, RADIO REVUE, Six Harrison Street, New York, N.
Y. Enclose a stamped, self-addressed envelope if you desire
a direct reply.

1 A Typical Radio
1 Week

| By JOYCE SEARS

I'M a plain radio listener — very plain. I hope tele-
vision never works both ways. You know what I
mean. If the Lucky Strike Orchestra should ever
see me — well, they'd strike, that's all. But no one gets
more pleasure out of a radio than I do. Where I am
located I cannot get the Columbia chain program, so my
listening is, of necessity, all done via NBC.

To me, Monday is a red letter night. Starting with the
Black and Gold Orchestra, then the Voice of Firestone,
the A. & P. Gypsies, and ending with the General Motors
Family Party, you have an evening to rave about. I am
so interested in the A. (3 P. Gypsies that I even listen to
Milton Cross tell what they sell in those stores. As some-
body has said: "Any sons-o'-guns who don't buy in the
A. & P. don't deserve to hear such a fine program." When
I hear the General Motors program I'm so glad I have a
Buick. If the program is especially good, I wish my car
were a Cadillac.

Tuesday night — I don't know what psychology it is,
mob or sob, but I don't care so much for Tuesday nights
on the air. I wish some one would explain about that
evening's programs. I flicker across the dial and find
talking, talking everywhere. As I don't care for dialects,
negroid or tabloid, I shut off my radio and read a book.
But think of the thousands who love those "talkies!"

Palmolive Hour a High Light

The high light of Wednesday night is the Palmolive
Hour. The program is so varied and beautiful that I
marvel at that stereotyped "full of love and romance"
prelude that goes on the air every week in the year. Page
Carlin and tell him to change it, say, every other Wednes-
day night. Olive Palmer's bird-like voice is a gift to a
listening world. The duets with the contralto are beauti-
ful. I wish the announcer would tell us who the con-
tralto is.

I do not always hear the Thursday night programs for
various reasons, mostly personal and social ones.

The Philco Hour of Theatre Memories was something I
always looked forward to on Friday night. My particular
favorite was Jessica Dragonette. When you think that
an opera was staged right before your ears, and you could
a'r^ost hear the curtain go down, that's some radio hour!

Seme one, who saw a picture of the Old Stager in the
Radio Revue for December, said: "I didn't picture him
like that." I know; she thought he'd look like Santa
Claus — with real whiskers.

Walter Damrosch's golden voice makes the General
Electric Hour delightful on Saturday night. When I
hear him tell of the "lovely melody" and "dancing elves
in fragrant, moonlit gardens," I don't care whether it
is Bach or Beethoven, Rimsky-Korsakoff or Rachmaninoff,
I know it must be good, because he says so.

Of course, there are some abominations on the radio —
too much advertising for one thing and the inane asides

F EBRU ARY , 19 3 0

of Roxy and his gang for another. Stage asides by O'Neill
are permissible, but it is not considered good form to talk
personalities before a disinterested audience. We, the un-
seen listeners, often feel like eavesdroppers, and an un-
pleasant feeling it is, too. It may be funny in the studio,
but it is stupid on the air. Rudy Vallee and Graham have
been at it lately. If we must have Rudy, let him croon
"Just You, Just Me" or some other banality, and then we
can snap out of it.

Then, there are the dance orchestras. Gone is the
ancient prejudice that seems to apply to many things
excepting dance orchestras. I wish some of the leaders
would reach for a new dance folio, instead of an antique.
Maybe Singing in the Rain or even Tiptoe Through the
Tulips might be as interesting as glorifying Raggedy Ann
or the Wooden Soldiers.

But, taking it all in all, as I sit before my honest-to-
goodness wood fire on Sunday afternoon and, if I feel
religious, hear spirited sermons, or, if in a lighter mood,
listen to the National Light Opera, or look forward to the
evening, with David Lawrence's clear-cut facts and the
Atwater Kent Hour, I think: what a week of splendid
entertainment I have had at very little cost. Unlike Cor-
nelia Otis Skinner's "Get a horse, Mr. Filkins, get a horse,"
I say: "Get a radio, Mr. Citizen, get a radio."

Listeners' Forum

{Continued from page 39)
to it that the magazine is carefully sent, so as not to harm
this picture, as I want to frame it.

I should also like to know whether it would be possible
for you to print a picture of Jessica in costume, showing
her in the role of some one of the characters she has por-
trayed for us so vividly. I should like to see her as Con-
trary Mary in Babes in Toyland, which she did for Christ-
mas this year. Since this was the third Christmas we have
heard her do it, we have come to associate our Christmas
with Jessica.

If it is not possible to print her picture in this costume,
then any one of her countless other roles will satisfy us:
Sylvia in Sweethearts, Naughty Marietta, Mile. Modiste,
Zorika in Gypsy Love, The Pink Lady, Eileen, The Merry
Widow, The Chocolate Soldier — any one.

There are so many things, too, that we should like to
hear Jessica's reaction to. For instance, which of her char-
acters she likes best. I suppose she is the only prima donna
who has played them all. Also, which was the more thrill-
ing experience — to have sung to Commander Byrd from
the stage of the Neighborhood Playhouse at the gala per-
formance in his honor, or to broadcast to him at the South
Pole from New York. — A. C. W., Merion, Pa.

AAA

Vaughn Likes Rudy's Simplicity

My compliments to Dale Wimbrow and Martin Hansen
for their exposition on Citizen Rudy Vallee. I agree with
both boys — and that's a lot, for there never was a person
less given to hero worship than myself! I liked the sim-
plicity and nonchalance of Rudy's work long before his
ability won recognition. When the rush started I was less
enthusiastic but, after I saw "The Vagabond Lover," I was
impressed with his sincerity and I commend him for it.

Vaughn de Leath.

RADIO REVUE

The Ascot

40 W. 5 6th ST.

NEW YORK

Club Luncheon 75 c.

Table d'Hote Dinner $1.25

Sunday Dinner 5 to 8

Appetizing Menus

Immediate Service For
The Busy Person

Arrangements Made for

Luncheons, Bridge Teas

Dinner Parties

Reasonably Priced

Circle 4075

Radio Counsellors, Inc.

1 1 West 42nd St. New York City

Chickering 6453

A Radio Program Service Bureau

Producers of

"Mr. & Mrs."

"American School of The Air"

"Fires of Men"

A. R. BUSHMAN
Production Manager

Organized and equipped to plan, build and
produce programs combining enter-
tainment and distinction, artistic
merit and logical relation to
client's product.

Studios for Auditions and Program
Rehearsals

The Itinerant I
s Listener

& "He Tunes In and Reports at Random"

Philco Gives Excellent Show

TRUE to the tradition it had set for over two years
on WJZ, the Philco Hour in its premiere on WABC
and the Columbia chain gave an excellent show.
There was ever present the hand of that master radio
showman, Henry M. Neely, the "old Stager."

The program consisted of the first radio presentation of
an original musical episode by Jerome Kern, entitled Lamp-
light Originally performed some years ago in one of the
Lambs' Gambols, it has not been heard since. More's the
pity — since it is the nearest thing to the ideal radio oper-
etta that I have ever heard, with the possible exception of
Sir Arthur Sullivan's Cox and Box.

While the musical score had much of the dainty charm
that is Jerome Kern, it revealed the composer of Sweet
Adeline, Showboat and a score of other musical successes in
a much different light, as the creator of deeper moods
and melodies that were decidedly of the calibre of grand
opera. The orchestration glowed with a wealth of warmth
and color.

The program opened with the singing of Philco's familiar
signature song, Mem'ries, by Lois Bennett, new soprano
star of the Hour. A comparison of Miss Bennett's rendi-
tion of this song with that of Philco's erstwhile prima
donna, Jessica Dragonette, seems inevitable. Unfortunate-
ly, in this case I do not feel that Miss Bennett carried off
the honors. Some allowance must be made, of course, for
first-night nervousness and the fact that she probably real-
ized how much was expected of her.

Tells Story of "Lamplight"

There followed a short scene during which Mr. Neely,
as Uncle Henry, was interrupted by his niece in the midst
of his reminiscences. She finally prevailed upon him to tell
her the story of the operetta which had stirred his memo-
ries. In this way he introduced Lamplight and acted as
narrator.

In addition to Miss Bennett, who sang the soprano role,
Dan Gridley, tenor, who for many months was a member
of the original Philco Hour on WJZ, and Nathan Stewart,
baritone, participated. The vocal honors went to Mr.
Gridley, who sang with beautiful tone production and ex-
cellent style and diction. He was probably more familiar
with the score than were his fellow-singers, inasmuch as he
sang the same role some months age, when the operetta
was offered, through the medium of an audition, to a pro-
spective broadcaster. For some unexplainable reason, this
advertiser failed to appreciate its true beauty and merit.

However, in general, the production was excellent and
the effect was charming. The romantic setting, in Paris
in the early nineteenth century, the story of the old lamp-
lighter who was thrown out of employment when the new
street lamps were introduced, and the accompanying tale
of a young girl who grew to old age and died while keep-
ing a hopeless tryst at the old lamp post with her soldier

FEBRUARY

19 3 0

lover who had been taken from her arms by the Napoleonic
wars, all combined to paint a poignant picture with pig-
ments such as few besides Jerome Kern could adequately
muster. All in all, this first Philco Hour on the Columbia
chain set a high mark that subsequent programs are not
likely soon to equal.

AAA'
Chevalier a Fine Movie Actor

The much-heralded radio debut of the French star,
Maurice Chevalier, over WABC recently left me quite
cold. His renditions of his native French songs were quite
competent, but his attempts to sing American tunes con-
firmed my belief that, as a radio singer, M. Chevalier is a
great movie actor — and I must confess that I have never
seen him on the screen.

AAA

Ward Program Unimpressive

The premiere broadcast of the Ward Tip Top Club on
WABC recently was, to me, not at all impressive. It
turned out to be just another program, with orchestra,
quartet, soloists, or what have you. Nor was the setting
— in a night club — startling or original in any respect.
Due allowance must always be made for an initial broad-
cast. Here's hoping future programs show some improve-
ment!

Radio's One-Man Show, Phil Cook,
a Marvel of Versatility

(Continued from page 22)
Coldwater, Mich., some 3 5 years ago, and moved to East
Orange, New Jersey, at the early age of ten. I studied the
violin with the intention of becoming a second Kreisler.
Fooled the family by drawing pictures when I should have
been practicing the violin. Got a job in my third year
at high school and dropped the education to start doing
up packages in an advertising agency.

"I must have had a trace of Rudy Vallee-ism in my
voice in its early stages, for I succeeded in talking Miss
Flo Helmer into becoming a Cook — in name, at any rate.
At present I am still married and happy."

Cook is under exclusive contract to the NBC. In addi-
tion to his broadcast activities, he makes dozen of per-
sonal appearances each year in various sections of the
country.

Although Cook specializes in Negro roles before the
microphone, his "Negro is a northern Negro, because I
haven't been south of Washington,'' as he expresses it.

McNamee "a Great Guy" Oscar Writes
His Girl Friend, Margy

(Continued from page 18)

typewriter is due at work at four o'clock in the after-
noon and it's five-thirty now, so he'll be in most any time.
I almost forgot. You can tell the other girls in Yoakum
that Mr. McNamee is married, so they might as well
scratch him off the list. Mrs. McNamee is mighty sweet,
too. I hope to meet her some time.
Well, so long until next time, Margy.
Love and kisses

Oscar.

■

t BRYANT 6l)8

*2LJ^Buiimmh*t~ i i mi

RADIO REVUE

Broadcasts to South Pole

JAMES S. WALLINGTON, who has been senior an-
nouncer for WGY, of Schenectady, since October,
192 8, has announced most of the broadcasts from "WGY
and its three short wave stations to Commander Richard
Byrd's Antarctic Expedition. These programs have been
broadcast every other Saturday since last May. Mr.
Wallington's voice has carried to Commander Byrd and his

associates the mes-
sages that mean so
much to these men
who are making his-
tory.

One of Mr. Wal-
lington's most
treasured possessions
is a message from
Commander Byrd,
congratulating him
on his marriage on
October 4 last to the
former Lady Stanis-
lawa Eleanora Eliza-
bieta Butkiewicz, a
descendant of Polish
nobility, who comes
from Worcester,
Mass.

Mr. Wallington is
director of the
WGY Players, that
pioneer dramatic
group. He makes the radio adaptations and directs all the
plays that the Players produce. He is also baritone of the
Radio Four, a quartet well known in upper New York
State.

James S. Wallington

For Your Convenience

In order that you do not miss any of the vitally
interesting features and pictures that will appear in
RADIO REVUE in the months to come, why not
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What Price Announcing!

(Continued from page 9)

the case. The Announcer is dead !

Radio and radio companies and chains are purely com-
mercial. The advertiser is the backbone of the industry.
The status of the announcer is entirely changed. First,
the age-old law of supply and demand has had its effect.
Hundreds of young bloods, sensing the romance of the
air, seeking the applause of the radio listeners, and vainly
hoping to create a name that will live to posterity, offer
their services as announcer for any fee.

The demand is decidedly limited, so the majority of an-
nouncers are really sacrificing themselves to the hope of
a bright, though distant, future. They are on the air
hour after hour, so that they are unable to give any one
program particular attention. Further, they are obliged to
read, word for word, scripts that are written by others
who do not even think of the reader, let alone his style or
personality. So their hope is shattered before they start.

The only way to create a following among radio listen-
ers is by means of a winning personality that projects it-
self, and to do this, it is essential that the reader read his
own words. True, it is possible to do an excellent piece of
work with prepared copy, just as it is possible to read it
poorly but, to advertise a commodity over the air, more
than mere reading of words by a man with a pleasant
voice is necessary. Those words must come from some-
where deeper than the larynx. The speaker first must
know his radio audience. He must know radio showman-
ship. His words must be felt as well as spoken — they
must be his words.

How can an announcer be a real part of the program
when the general style of the hour is decided by one, the
musical numbers are chosen by another, the cast is chosen
by a third, and even the words he speaks are written by a
department that usually grinds them out by the basketful?

The advertisers, who think primarily of the message
they want to put across, are beginning to realize that
herein lies the weakness of this most human and closest
of all media and are, therefore, insisting on the radio spe-
cialist, the man who, through years of experience, has de-
veloped a sixth sense, a sense of radio showmanship, the
most important factor in the building of any program.
He is a man who can create the copy that is adapted to
radio advertising and who can read that copy before a
microphone, not so that it is blatant and cold, but, rather,
so that it becomes a part of the entertainment, because the
reader himself is a part. Many advertisers now insist upon
having a man who is not tied to the myriad sustaining and
out-of-studio broadcasts, who is not /;/ one commodity
for thirty minutes and then comes out only to dive into
another and finally to mix them all up with the correct
time, stock quotations, and bed-time stories.

And so we have the answer to one of the man)' questions
which have come to me since my change. The advertis-
er changes the name of the announcer who has proven
himself, takes him away from the broadcasting companies
and calls him a radio specialist. True, you hear him much
less often but, when he is on the air, he brings you his
personality plus a program which sparkles and, as a re-
sult, you probably look with favor on the commodity
made by the sponsor of that program. Long live the an-

nouncer!

<z?j[ view uou miani to read

The Tragedy of Neglected Gums

Cast of Characters :
Your Dentist and You.

you: "My gums are responsible for this
visit, doctor. I'm anxious about them."

D.D.s.:"What's the matter?"

you: "Well, sometimes they re tender when
I brush my teeth. And once in a ivhile they
bleed a little. But my teeth seem to be all
right. Just how serious is a thing like thisl"

D.D.s.:"Probably nothing to bother
about, with a healthy mouth like
yours. But, just the same, I've seen
people with white and flawless teeth
get into serious trouble with their
gums."

you: "That's what worries me. Pyorrhea
— gingivitis — trench mouth — all those hor-
rible-sounding things! Just a month ago a
friend of mine had to have seven teeth
pulled out.

you: {After a pause") "I was reading a
dentifrice advertisement . . . about food.

d.d.s. : "Soft food? Yes, that's to blame
for most of the trouble. You see, our
gums get no exercise from the soft,
creamy foods we eat. Circulation lags
and weak spots develop on the gum
walls. That's how these troubles begin.
If you lived on rough, coarse fare your
gums would hardly need attention."

you: "But, doctor, I can't take up a diet of

•«-3-«-S-«-S-«-«-€-«-e-<X-«-«-<2-«J3-<3-«-3-^-®«-«-«-«

BRISTOL-MYERS CO., Dept. RR-129

73 West Street, New York, N. Y.

Kindly send me a trial tube of IPANA TOOTH
PASTE. Enclosed is a two-cent stamp to cover
partly the cost of packing and mailing.

Name

Address

City Stale

C 1929

raw roots and hardtack. People would
think I'd suddenly gone mad."

* * *

f\n imaginary dialog? An imaginary
"you"? Admittedly, but the action is
real. It is drawn from life — from real
tragedies and near-tragedies enacted
every day in every city of the land !

Don't wait for "pink tooth brush"
to appear before you start with Ipana.
The coupon brings you a sample which
will quickly prove Ipana's pleasant
taste and cleaning power.

a s- 2 s 3- » 3-a- »»-» a-:

l/iinniitgnafri

}L RADIO ^TUBES^

Be guided by a name that has meant absolute tube integrity for the past
fourteen years. -:- The name is Cunningham — choice of the American home.

E. T. CUNNINGHAM, Inc.

NEW YORK

CHICAGO

SAN FRANCISCO

DALLAS

ATLANTA

Manufactured and sold under rights, patents and inventions owned and I or controlled By Radio Corporation of America

IPAVDIIO

REVUE

March
1930

In This Issue:

Frank Moulan

Stage vs Radio

The SOS from Chinatown

"Uncle Don" Carney

Mme. Galli-Curci

The Two Troupers

And Other Features

RADIO STARS

from the Studios of

Donald McGill

Baritone

WOR—WEAF

American Opera Company

LUCIEN RUTMAN

Tenor
WEAF—WOR

WALTER KIESEWETTER

3 3 West 67th Street
New York

Telephone: Trafalgar 8063

Adele Vasa

Coloratura Soprano

W ABC— WEAF—WOR

American Opera Company

Brownie Peebles

Mezzo-Soprano

Canadian 'National

Rail nays

WOR—WEAF

American Opera Company

Mary Silveira
Lyric Coloratura Soprano

WOR—W ABC
American Opera Company

■* 'S ft®

EADIC REVUE

FOR THE LISTENER

Volume I Number 4 , March, 1930

CONTENTS

On the Cover: Caroline Andrews By Gaspano Ricca.

Alma Kitchell {Photograph) 2

Trying To Be Funny Not As Much Fun as It Might Seem By Frank Moulan 3

Frank Moulan (Photograph) 5

A Gypsy Call By Alice Remsen 6

Radio Gives Actress Greater Thrill Than Does Stage Georgia Backus 7

Cathedral of Underworld Sends SOS From Chinatown By Allen Haglund 10

Trees Need Not Walk the Earth By David Ross 12

Radio Revives Public's Interest in Old-Time Minstrel Show By Al Bernard 13

Don Carney is "Uncle" to More Than 3 00,000 Children By David Casern 15

"Sponsoritis" Anon. 16

At Home on the High "Cs" (Photograph) 17

Mr. Average Fan Answers Some of His Critics By Average Pan 18

Sound Effects Made to Order for Radio Programs By Herbert Devins 20

In Memoriam: A Tribute to Col. C. T. Davis By Bertha Brainerd 23

Personalities — Pert and Pertinent (Photograph) 2 5

Interest in Grand Opera Fast Waning Says Mme. Galli Curci

By Willie Perceval-Monger 26

Acting a New Side Line, Oscar Writes Girl Friend Margy. By P. H. W. Dixon 27

The Two Troupers Delve Into Dark Past . . By Marcella Shields & Helene Hardin 29

Evening Stars Program an Interesting Experiment in Good Will

By Donald Withycomb 3 1

Editorials 32

Soprano Modulator, Radio's Latest Wonder By I. B. Hansom 33

Static from the Studios 34

Listener's Forum 35

Rudy Vallee and Jessica Dragonette Lauded in Prize Letters 36

Ether Etchings 37

Program Notes 39

Lessons in Loveliness By Nell Vinick 41

Radio in the Home By Mrs. A. M. Goudiss 42

Milady's Fashions By Marie Blizard 44

The Big Ten — Best Selling Popular Songs of the Month 45

Bruce Gray, Editor

Contributing Editors:

Allen Haglund H. Raymond Preston

Mrs. Julian Heath Walter H. Preston

Willie Perceval-Monger K. Trenholm

Subscription Prices: United States, $2; Canada, $2.50; Foreign, $3; Single Copies, 25c

RADIO REVUE

Rouses Early Morning Music Lovers

Alma Kitchell, Who Sings So Sweetly on Sunday Morning ProgramSj 8 to 9

' I ^HIS charming NBC contralto delights those who tune in on
the Sunday Symphonette with her rich renditions of only the
best music. She -was born in Superior, Michigan, and first studied
at the Cincinnati Conservatory of Music and, later, under the
direction of her husband, Charles Kitchell, in New York. She
came to radio by way of concert and oratorical work, and joined

the NBC fold over a year ago. Early in her career she studied
to become a concert pianiste, but experts, upon hearing her beau-
tiful voice, urged her to turn to singing, proving that experts are
often correct. She is also featured on Dr. Cadman's hour and
sings with the National Grand Opera Company, the Salon Singers
and a number of other programs.

MARCH , 19 3 0

to be FUNNY
Not as Much FUN
As h Might S

eem

7 wasn't born funny. It was
thrust on me. After a few
appearances with the Young
Apollo Club, a meeting was
called to decide whether I
should continue to sing. The
upshot was that I was unani-
mously elected official come-
dian of the group.

Harris &• Ewirtg

Frank Moulan

Comedian, National Light Opera

Company, NBC.

If I had my choice of any
role, out of the 242 librettos
I am supposed to know, Yd
choose that of Jack Point, the
strolling jester in Gilbert and
Sullivan's "The Yoemen of
the Guard". That role has
everything in it — comedy,
philosophy, tragedy.

By FRANK MOULAN

SOMETIMES it is fun to be funny. Always it is a
pleasure to be human. But to become reminiscent
about the parts one has played in a lifetime behind
the footlights at first thought would seem to be a task not
to be taken too lightly.

Reminiscences, somehow, have always been associated in
my mind with old age. Why didn't they say "Well, old
timer, do us a bit of history about the stage of your day
. . . the stage that is unknown to us moderns"? I could do
that, too, for I belong to that rapidly dwindling group of
veterans who saw the original production of "The Black
Crook". That was when I first wore long trousers. I
had to wear them in order to buy a ticket. A great show,

that. The girls wore tights. Ah, the good old days!
But, since Peggy Joyce has done her memoirs and we can
probably expect a volume from Helen Mayes's baby al-
most any week, here goes.

First of all let me issue what the lawyers call a dis-
claimer in regard to certain questions asked by young
journalists. I was never starred in a production with
Jenny Lind. Neither was I that unsung celebrity who
carried Mrs. Whiffen on the stage at the tender age of six
months — Mrs. Whiffen I mean. I may be an old-timer,
but I never write letters to the papers begging for the re-
turn of hoop-skirts. I still regard the abolition of short
skirts as the major catastrophe of 1929, regardless of the

RADIO REVUE

rise to fame of that well known phrase "more margin."
First Contralto, Then Baritone

The fact that I was born is so obvious that it is scarcely
worth mentioning. The fact that I was actually born in
New York may be considered news in some circles — that
is, if Greenwich Village can be considered New York.

In those days I was a contralto, but
you can't beat biology, so it was in-
evitable that I should develop into a
baritone. This transition took place
virtually over a week-end, much to the
astonishment of all my associates.

Before my voice changed, my career
had already started. When I was ten
years old I joined the Young Apollo
Club, a musical group that sang in
town halls and fire houses in communi-
ties inexpensively distant from New
York City. I also sang in choirs, among
them the boys' choir of Trinity chapel.

Now is as good a time as any to con-
fess that I wasn't born funny. It was
thrust upon me. After a few appear-
ances with the Young Apollo Club, a
meeting was called to decide whether
Brother Moulan should continue to
sing. The upshot of the meeting was
that I was elected, without one dis-
senting vote, official comedian of the
group. You can't imagine how funny
that was !

"With my first whiskers came the re-
alization that life was real and life was
earnest and the stage was not all gold.
I decided to become a business man.
Even in those days the show business
wasn't what it had been. I tried the
cloak and suit business, but my an-
cestry was against me from the start.

For a while I was a first-class bundle
wrapper, but finally decided there
wasn't much future in that business.
I tried this and that with mediocre suc-
cess and finally awoke one morning
and discovered that I was back in the
show business, playing parts for the
Calhoun Opera Company.

The Calhoun troupe was "on the road",
road covered the then very wild and woolly west between
Chicago and San Francisco. It was in Prescott, Arizona,
that I began to fully appreciate the comparative security
enjoyed by a first-class bundle wrapper. I meditated be-
hind an old iron stove . . . God bless that old iron stove
. . . while a group of iriate Arizonians shot holes through
the scenery and such members of the company as care-
lessly wandered into range.

Had Served Apprenticeship

I left the Calhoun company shortly after that expe-
rience. I felt that I had served my apprenticeship, as I
had done everything from singing in the chorus to singing
leading roles in heavy operas. The next six years were

Mr. Moulau in the title role of
"The Sultan of Sitlu".

Its particular

spent on the payroll of Henry Savage. Appearing alter-
nately in New York, Chicago and St. Louis, I sang in a
different opera or operetta every week for the entire six
years.

I was very flattered when I was offered the chance to

sing the role of Figaro in "The Barber of Seville". Of

course, there was a stipulation. I had one week to learn

the role. It was months later before I learned that all

other available singers had turned down

the same opportunity because they did

not think a week's study was enough.

George Ade wrote "The Sultan of

Sulu" and made immortal the line "It

is no time for mirth or laughter, the

cold, dark dawn of the morning after".

The line is usually credited to Lord

Byron. I was in that show for two

years and enjoyed the rest, because Mr.

Ade did not rewrite the production

every week.

Some years later I thought I had dis-
covered an ideal job. Klaw & Er-
langer were producing American ver-
sions of British pantomimes. "There",
thought I, "is my chance to show them
that a funny voice is not my only
asset". I was mistaken. Pantomime
proved to be another word that didn't
mean anything, for there were lines to
read and songs to sing.

Then Charles Frohman produced a
series of musical productions and I was
kept busy in them. Just when I had
decided to retire, someone got the idea
of revivals of the old light opera
classics and I had to start all over
again. The managers figured it would
be good advertising to produce an old
operetta with a member of the original
cast thrown in as a sort of museum-
piece attraction.

In the meantime, both the radio and
the movies had been invented and de-
veloped. Roxy demonstrated that
there's nothing like a little opera to
lighten up an otherwise heavy program
originating in Hollywood, and that
meant more work. Then came the Na-
tional Broadcasting Company and its weekly presentation
of light operas. I tried radio and discovered Utopia. I
was actually paid to sing roles I had learned . . . and the
radio people had no objection to my taking a peek at the
script in case I missed a line.

Comedy Falls Fail in Radio

Radio, however, does limit a comedian. There's not a
chance in the world to get a laugh out of a good comedy
fall and, after I tried it a few times, I discovered that it
was just so much useless effort and was really worrying
the radio production man, who thought I was too old.

It was during my first year with Roxy that I almost
achieved fame as a song writer. It happened this way:

A certain publisher cornered me and asked me to write
a lyric.

MARCH, 19 3 0

Frank Moulan

NBC Comedian as Figaro in "The Barber of Seville"

RADIO REVUE

"Roxy is a big name", he said. "Almost on a par with
'mammy' and 'Tennessee'. I want you to do me a lyric for
a song about Roxy".

It looked like a big chance to me. I worked hard on
that lyric. It had everything in it except a reference to
June night, moonlight and you. I took it over to the
publisher. He read it carefully.

"It's a very fine lyric, Mr.
Moulan", he said. "A very fine
lyric. But I'm sorry — we can't
use it. It's entirely too clean".

I really should say something
about the current brand of musical
comedies as compared with the
good old days. But I haven't had
time to see one in two years, so
what's the use? Folks are paying
$7.70 to see them. They must be
good

Someone suggested that I men-
tion the part I'd rather play than
any other. Out of the 242 libret-
tos I am supposed to know — if you
don't believe I do, come around
some day and we'll play a game
called 'libretto' that I invented —
it's hard to pick the best. How-
ever, if I had to play a benefit and
had my choice of any role, the one
I'd gladly play, because I like it, is
that of Jack Point, the strolling
jester in the Gilbert and Sullivan

"The Yoemen of the Guard". That role has everything in
it — comedy, philosophy, tragedy. It doesn't depend on its
funny lines for its appeal, and if you don't think a part
like that is a relief to a comedian, just try being funny for
thirty consecutive years.

Mr. Moulan as Gaspard in "The Chimes of
'Normandy"

One of Year's Best Stories

f\ NE of the best stories of the year has received quite a
^~* lot of publicity, but is so unusual that it will bear
further repetition. It concerns Fred Meinholtz, manager
of the radio department of the New York Times. Mr.
Meinholtz is stationed regularly at
his home in Bellaire, L. I., where he
has a powerful receiving set with
which he picks up the messages
sent out by Commander Richard
Byrd's South Pole Expedition in
Little America.

It happened some time ago that
F. T. Birchall, acting managing
editor of the Times, wanted to get
in touch with Mr. Meinholtz, but
could not do so because Mr. Mein-
holtz's home telephone was being
used by some other member of the
family. Mr. Meinholtz was busy
receiving a story from the South
Pole.

With characteristic newspaper

enterprise, Mr. Birchall, who was

extremely anxious to talk to Mr.

Meinholtz, conceived the idea of

getting in touch with him by way

of the South Pole. He issued the

necessary orders and a message was

sent to Little America. Inside of a

few minutes Mr. Meinholtz was

surprised to get the following message, which broke in on

the running story he was receiving: "Your office is trying

to get you on the 'phone. Please hang up the receiver."

The remarkable thing is that this message went 18,000
miles to the South Pole and back in less than five minutes.

A Gypsy Call

{Inspired by the A. and P. Gypsies on WEAF)

By ALICE REMSEN

O come with me and my caravan,
My wandering abode;
And leave the stones of the city
For the lure of an open road;
For the ruddy glow of a camp fire
That shines through the scented dusk,
Bidding you live a roving life
In place of the worn-out husk
Of hide-bound, grim convention,
That stifles the soul within
And smothers the hope of freedom
With the blare of a city's din.
A cloud of dust behind you,
Before you an unknown land,
Two laughing eyes beside you,
And around you a gypsy band.

O come with me and my caravan
My wandering abode,
And leave the stones of the city
For the lure of an open road.

MARCH , 19 3 0

Radio Gives Actress
Greater Thrill

Than Does Stage

In Broadcasting, your
Audience is the En-
tire Country and each
Listener is Actually as
Close to You as is
the Little Microphone
into which you speak.
It's more intimate,
more thrilling than
the stage

In the Theatre, you
Step an the Stage and
Face your Audience.
If they like you, they
let you know about it
and, if they don't
like you, well there's
no doubt about that
either

By GEORGIA BACKUS

_J Editor's Note — Miss Backus is the leading V
actress in Arabesque, the Henry and George
program, From Dusty Pages, Romantic An-
cestors and many Philco and Graybar pro-
grams, in addition to many special broadcasts

In the directing field the Women's Avia-
tion Hour and the Civic Repertory Theatre
presentations come under her guidance.
With Don Clark, she writes and directs
From Dusty Pages and Romantic Ancestors.
And all by herself (as if she had nothing
else to do) Miss Backus does the continuity
for Ward's Tip-Top Program, In a Russian
Village, Around the Samovar, Gypsy Camp,
\^ Aztecs, French Trio and timely script acts, f

YOU want a story about me? Oh, but that's not fair.
I'm supposed to write about other people. That's
why I'm with the Columbia Broadcasting System.
You want to know whether I like the stage, movies or
radio best? Well, I'm with radio. Isn't that the best
indication?

What parts have I played? Say, listen, why not let me
tell you about some of the programs that we have on the
air? That's much more interesting. For instance . . .

Yes, I have several hobbies. I'm crazy about dogs and
horses, I love to swim, and trout fishing is right up my
stream. I adore traveling. I'm a sort of vagabond, I
suppose that's why I sign my poems with the name
"Gypsy". But I'm most interested in radio and the people

RADIO REVUE

in it.

Yes, I started on the stage. My family were in the
theatre so I came by it naturally. It isn't particularly
interesting to know that I've played stock in Columbus,
Ohio, my home town, and in Schenectady and Brooklyn,
N. Y.; Grand Rapids
and Lansing, Mich. ;
Baltimore; Skowhegan,
Me., and ; where else.
I've done as many as
eight shows a week, in-
cluding S h a kespeare
and Uncle Tom's Cab-
in.

I've carried scenery
from one station to
another during a stage
hands' s t rike. I've
slept all night, or as
much of it as possible,
in a cold, dirty "de-
pot" when train con-
nections didn't con-
nect. I've jumped
into a part on a half
hour's notice, at the
illness of the regular
actor. I've played with
temperament a 1 stars,
and liked it; I've play-
ed in a tent show, and
liked it; I've played on
Broadway, and liked it;
but now I'm in radio
■ — and, well — I love it.
When I was in the
theatre, I found fate

sticking a pen in my hand, telling me -to write. I pushed
the pen away, determined to be an actress, until suddenly
there appeared out of the static — radio. I gave in, and
settled down to write about people that I knew, about
hoboing through the mountains of West Virginia and
Kentucky, about job hunting on
Broadway, about Hollywood and the
movies, about almost anything, in
fact. And then, a perverse fate put
parts in front of me, and said "Now
act".

Then, when I am all set to act
other parts and write about other peo-
ple, you ask me to write about me, so
here goes.

Where Is Radio Going?

Life has always been very interest-
ing for me — no, that's no good.
That's no way to start a talk. I
know — I'll start with the time, a little
over a year ago, when I was taken
into the Columbia Broadcasting Sys-
tem.

Each of you has watched, or heard,
rather, radio emerging from its first
squeaky noises, issuing from a box-

Miss Backus, with Frank Knight, in a
scene from "Arabesque"

like arrangement, and each of you has heard it develop
into the interesting thing it now is. Where it will go
from here no one knows, but that will be interesting, too.
I find radio particularly fascinating because of the peo-
ple connected with it. I don't mean only the people be-
hind the microphones, but the audiences at the
other end of the wireless. In the theatre you
step on the stage and face your audience,
which wants to be entertained. If they like
you, they let you know it and, if they don't
like you — well, there's no doubt about that
either.

But in radio, your audience can't tell you at
the time whether they like your program or
not. It's only when you get their letters that
you find out what they think of you and your
program. But, if you think they don't let
you know whether they like you or not, then
you should read some of the letters.

After you get over the first strained feel-
ing of talking into a little black object, called
a microphone, you begin to get a bigger thrill
than on the stage, for you realize that your
audience is the entire country and that each
one is as close to you as the little black object
into which you're talking. It's more intimate.
It's more thrilling.

Arabesque Wins Acclaim

A year ago, Yolande Langworthy came to
several of us with an idea for a program com-
bining music and drama. This program was
called Arabesque, and so we got together and
put it on our local station, only one station for
that first show. Due to the beauty and in-
spiration of Miss Langworthy, the author, and
the art of David Ross, Reyonalds Evans and Frank Knight,
this program has come to be one of the outstanding hours
on the air. Now it is on nearly every station on the Co-
lumbia chain. That gives a fairly good idea of the re-
action of the radio audience.

Speaking of several of the
people in Arabesque, brings up
something about which I want
to talk. I'm going to give
away a few of the family se-
crets of Columbia. David
Ross, in addition to having a
voice of unusual beauty, is a
writer of no small note. His
poems contain the same beauti-
ful rhythm and colorful quality
that you have heard in his read-
ings.

Incidentally, Frank Knight is
one of the finest actors on the
air today. I ought to know, I
play with him in Arabesque.

The music of Arabesque is
furnished by Emery Deutsch
and his musicians. I have been
especially interested in this
Gypsy group, for when Emery
first came to Columbia with an

As She Appears in the Nit Wit Hour

MARCH , 19 3 0

idea for a Gypsy camp program, it was turned over to me,
perhaps because of my vagabond tendencies. We have
followed the Gypsies all over the world through music.
When Emery tucks his violin up under his chin and starts
caressing it, — well, you're sitting beside the camp fire
watching the stars overhead through the trees
of a forest of melody. Goodness, that sounds
like a continuity writer, doesn't it?

That's what I am, though, a continuity
writer. Ask Don Clark, he's the director of
continuity and he's a good judge. Doesn't he
let me work with him on some of our drama-
tizations? You've probably heard some of our
sketches, the dramatizations of King Arthur
and the knights of the Round Table; the series
of legends taken from all the stories of the
world, which we've called From Dusty Pages;
and some of the special script acts that are
sent out over the air. Incidentally, he's a
young man from whom more will be heard
some day, and I don't mean only when he's
taking the air. There is a charm in his writ-
ing that is unusual, but you doubtless know
that.

Staff Writes Musical Comedy

In fact, I think there's something unusual
about every one at Columbia, from the people
who are heard over the ether waves to the boys
in the control room who send out the pro-
grams. Some of these boys, in addition to
being versed in the technical end of the busi-
ness, compose poetry. Some write music and
some play various musical instruments. In
fact, several weeks ago, I put on a musical
comedy which was written entirely by people of the staff.
Some of the selections were composed by one of the girls
in the stenographic department, and some by the artists.

There's no need to tell you of the ability of such people
as Channon Collinge, Freddie Rich, Claude MacArthur,
Minnie Blauman or those who are already known to you,
I'm just telling you a bit about
some of the folks who aren't
heard over the air, but who are
none the less important.

And then there are the ac-
tors in our dramatic sketches.
Each one is capable and inter-
esting to work with. Each one
has a different way of getting
into a part, as we say, and it's
fascinating to study the indi-
vidual methods and know how
to work with the various people.

That brings me to the way in
which a dramatic sketch is done.
Yes, that's my business, and I
love it. That's why I love peo-
ple, because each person that I
meet gives me a different story
which I will sometime write.
Some day you may find your-
selves or your letters in a play
or a story, and maybe you'll

Ready for a horseback ride

recognize yourself.

And some day I'm going to write the story of Colum-
bia, if you'd like to hear it. The story of each one and
how he came to be interested in radio, the singers, the an-
nouncers, the musicians, the operators, the directors,

the production men,
the hostesses who greet
you when you come to
see the studio and make
you feel that you are
always welcome at Co-
lumbia.

Likes Comedy and
Tragedy

I could take up more
of your time, but —
what's that? Do I like
tragedy or comedy
best? Well, I play
Myra in Arabesque and
that's tragedy; and I
play Aphrodite Godiva
in Brad Brown's Nit
Wits, and that's com-
edy, and I like each
one. Somehow I have
a feeling that people
like to laugh, but that
they also like to cry,
so I guess a little of
both is the best way.
Sometimes I'm sure I'm
a comedian, but then,
when I think a pro-
gram hasn't gotten over — you should see how tragic I can
be.

There are a lot more people about whom I want to tell
you; for instance: Ted Husing, the best sports announcer
in the world. He can tell you about the dullest game in the
world and make you think it's the whole world series
and the championship basketball and
football games rolled into one; Don
Ball, the announcer, who makes a
ukulele sorry it didn't meet him be-
fore it went to Hawaii; Dale Wim-
brow who sings, plays, dances and
writes; Dave Elman, the writer, who
can find more interesting things on
Broadway to write about than even
Broadway knows are there; Jan
Schimek, who knows all about every-
thing in the encyclopedia and, if he
doesn't, he has to find out, because
he's our research man; the boys in the
publicity department who supply you
with information about the people in
whom you are interested, but who
never write about themselves. Now,
there's an idea. I know you'd like to
hear about some of them one of these
days.

With so many people here, all of
(Continued on page 41)

Scene from a movie in which
Miss Backus appeared

RADIO REVUE

(cathedral of the U nderworld

Sounds SOS

from

Chinatown

DOWN in dirty Doyers Street, in the heart of the
Chinatown of New York, every Sunday afternoon
Tom Noonan sounds an SOS for the sinking
souls of the underworld. As if to a ship in distress, the
radio brings almost instant response, and no more potent
proof of the power of broadcasting can be found than in
the help his Rescue Society receives from radio listeners in
the great work it is doing for the Bowery bums and the
city's unfortunates.

Almost everyone, it seems, has heard the program that
the good "Bishop", as the hobos call him, presents over
the air each week. Sta-
tions WMCA, WCAM,
WDRC, WDEL a n d
WOKO broadcast h i s
message, so that it is heard
over the whole eastern
coast, and letters received
from the far West and
even from foreign coun-
tries indicate that, as the
"Bishop" says in his cheer-
ful drawl, "the whole
world is listening in''.

The Chinatown Mission
operates in what was for
many years an old Chinese
theatre at 5 and 7 Doyers
Street. It is a quaint and
spooky relic of old New ]„ the Heart of Chinatoiv

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By ALLEN HAGLUND

York. The walls, once hung with Chinese tapestry and
tinsel, somehow retain a part of their Oriental atmos-
phere, despite the fact that passages of Scripture and re-
ligious slogans are plastered over the white paint that
covers the scent-soaked walls. Grooves have been worn
in the benches by long years of usage.

Before it was leased to the Rescue Society, the building
was one of the most notorious gambling joints in China-
town. In the basement, which Tom Noonan regally refers
to as the Blue and Gold Room, the Society serves its coffee
and meals to the destitute hordes that seek help; this
room was once a miserable opium den, run by "Bridgie"
Webber, who, with "Bald Jack" Rose, turned State's evi-
dence against Lieutenant Becker and the four gunmen
who died in the electric chair for the murder of the
gambler, Rosenthal.

Cannot Accommodate Crowds

Every Sunday afternoon finds the upper room filled,
mostly with those who have come from all over the city

to see Tom Noonan make
his radio appeal. Some
nine hundred crowd into
the Mission at three-thirty
each Sunday, but three
thousand to four thousand
would attend if space
would permit. At other
times during the week, the
Mission is open as a haven
of welcome and rest for
the grim army of tattered,
torn and bruised.

Over the entrance is a
sign: "Stop! If you
haven't a friend in the
world you can find one
here". Every evening at
ten o'clock a service is

n in New York City

MARCH, 19 3 0

held, and the ragged outcasts push their way over Tom's
hospitable doorstep. Hymns are sung, and good cheer is
dispensed, but the "Bishop" makes it a point not to cram
religion down their throats. Young and old, white and
black, all creeds and all nationalities are treated alike, and
it is utterly true that those who seek help and consola-
tion at the "Bishop's" door never encounter the stiff pat-
ronage usually met with at the hands of organized
benevolence. He preaches the gospel of Christ only to
those who are willing to hear.

At the end of the service, the bread line forms. Each
man is doled out his share — and no questions asked. For
many, jobs are found, others get clothing, some are sent
to hospitals, and Tom can furnish actual proof that a
great number — an amazing number — have been restored
to the right path.

The Rescue Society, Inc., was founded some twenty-six
years ago. Chinatown was a dive in those days. It was a
scene of killings,
thefts and drug
addiction, and in-
credible vice
flourished like the
prover b i a 1 bay
tree. It was then
that a s m all
group of earnest
people descended
into the district
with the avowed
inte n t i o n of
cleaning this sink
of iniquity.

Moves to Larger
Quarters

The pro posi-
tion started as

one of personal work, but soon the organization took shape.
It first leased a room that had been used as an opium joint
in 15 Doyers Street, and in several years expanded and
took in 17 Doyers Street. But its growth was so rapid
that it soon became necessary to seek still larger quarters,
and the present location at 5 and 7 was leased for a long
period of years.

Eleven years after its formation, just a quarter of a cen-
tury ago, Tom Noonan joined the organization and has
been working diligently and with great effect ever since.
He is now its secretary and superintendent.

Tom is no spring chicken, but he is as spry and nimble
as any radio listener could picture him; long and lean,
immaculately dressed, he has a tremendous supply of vital-
ity. He himself is a product of the miserable surround-
ings in which he works. He was born in North Second
Street in the Williamsburgh section of Brooklyn. He has
known the poverty and degradation of the Bowery dis-
trict ever since infancy. He never knew his mother and
has only a dim recollection of his father. All he can recall
of his early days are the squalor and hard knocks he ex-
perienced; with that flare for fine-sounding phrases, Tom
says of himself he was "suckled on the sour milk of the
world that lives within the shadow of the law". The
gutters were his home, and anything he could purloin was
his food.

Souls in Pawn — The Famous Bread Line

At the age of seventeen he became an inmate of Sing
Sing, charged with burglary. The time he spent there was
passed in profitable meditation. A clever Irish lad, he
heeded the advice of a well-wisher. The work he is doing
now is, as he himself says, "an expression of gratitude in
practical form for what was done for me years ago".

Tom Is a Friend to All

Tom is a hale-fellow-well-met, just as cheerful and
friendly with every slinking figure that goes by as he is
before the microphone, and this pleasant and powerful
personality has given him and his Chinatown Mission the
success that both now enjoy. His penchant for the harm-
less wise-crack, the heart-rending tale, the appropriate
adjective and the dramatic thrust has made his Sunday
radio appeal the very heart of the Rescue Society's organi-
zation.

This is the
third year they
have been on the
air. Broadcasting
the service was
Tom N o o nan's
idea; he knew
he could please
the radio audience
and achieve re-
sults by putting
on a program of
real human inter-
est that was still
religious in its
form.

It takes money
to put over the
great work he is
doing, and it is
his t r e mendous
popularity on the air that is bringing in sufficient funds
to carry on. Most of the Society's receipts are donated by
radio listeners who, hearing his appeal over the air, send
in their contributions. At least half of the $60,000 taken
in by the Society last year was received in this manner,
but it is probably true that as much more came in as an
indirect result of the great popularity he has achieved
through his broadcasting.

The power of his radio appeal is amazing. Tom utters
a plea for assistance from his radio audience and, within
five minutes, he is in position to announce over the air
that this appeal has been answered. He receives, on an
average, eleven hundred letters a week, many of them
pleading for assistance, others giving assistance.

Fills Needs of Unfortunates

Only last month an old lady in New Jersey wrote him
to say that she had broken her ear-trumpet and could no
longer hear his program. Within a few moments he was
able to announce that an ear-trumpet had been donated
by a listener in Poughkeepsie. In this way last year, he
was able to furnish to the needy twenty-one wheelchairs,
ten loudspeakers, one express wagon, three Persian cats, as
many canaries, a score of crutches and artificial limbs,
several tricycles, one bicycle, a cuckoo clock and a parrot,

RADIO REVUE

among other things.

He has also been able to locate missing persons in this
way and to conduct a sort of matrimonial bureau. Once
a poor farmer in Long Island telephoned him that the
wind had blown down his barn door, and the "Bishop"
was able to announce on
that same Sunday after-
noon that the barn door
would be replaced by an-
other as a gift of a more
fortunate and altruistic
listener-in.

If any firemen, police-
men or street cleaners
need and deserve a raise,
the good "Bishop" be-
comes their most enthusi-
astic spokesman. A few
weeks ago he made a plea
for the better treatment
of janitors, and the jani-
tors rose in a body and
thanked him for his help.
It was only a month or
two ago that he received
a request, through the
chaplain at Sing Sing,
from one of the inmates
of the Death House that

two songs be sung. One was an Episcopal hymn, the other
a ballad "Somewhere a Voice is Calling". The condemned
man had been given the privilege to listen in on the Sun-
day afternoon program before he died. Tom complied
with the request and received a wire of thanks from the
prisoner.

The ladies make a big hero of Tom Noonan. He is a
great jollier, and the fair sex enjoy his banter. He has

The Rescue Society Mission on Doyers Street

often announced over the air the receipt of a message
saying that a new-born baby had just been named "Tom
Noonan".

There are no more engaging broadcasts than the China-
town Mission, the "Cathedral of the Underworld", as he

calls it. There is nothing
else like it on the air. Tom
has a fine dramatic in-
stinct and he knows that,
if he is to carry on his
good work, he must make
his hour and a half on the
air an entertaining one.
He often gets well-known
artists to assist him. Van
and Schenck have done
their act for him, and
Nora Bayes, that popular
comedienne of better days,
sang her last song on his
platform. Each Sunday
he presents one of his con-
verts, and some of the
most amazing tales of
ruin, romance and re-
demption are unfolded.
There is always a back-
ground of good music
furnished by the Hackel-
Berge Trio and the Aida Brass Quartet. Recently Tom
Walsh, brother of the old White Sox pitcher, has been a
most acceptable soloist.

Tom Noonan blends together the various elements of
mirth, music, religion, fine-sounding phrases and human
kindness and shoots the product through the air. And he
is pretty nearly right when he says "The whole world is
listening in".

Trees Need Not Walk the Earth

By DAVID ROSS

CBS Announcer

Trees need not walk the earth

For beauty or for bread;

Beauty will ccme to them where they stand.

Here in these quiet groves

Is no pride of ancestry:

A birch may wear no less the morning than an oak;

Here are no heirlooms save those of loveliness

In which each three is kingly in its heritage of grace;

Here is but beauty's wisdom,

In which all trees are wise.

Trees need not walk the earth

For beauty or for bread,

Beauty will come to them

In the sunlight

In the rainbow

In the lilac-haunted rain,

And bread will come to them as beauty came:

In the sunlight

In the rainbow

In the rain.

MARCH , 19 3 0

Radio Revives Public's Interest
in Old-Time Minstrel Show

The Minstrels in Action. In the foreground: Harold Sanford, conductor. In the ring, left to right: Paul
"Tambo" Dumont, end man; Steele Jamison, tenor; Harold Branch, tenor; William Shelley, interlocutor;
Harry Donaghy, bass; Darl Bethmann, baritone; Al "Bones" Bernard, end man. Left rear: Carson Robison.

Right rear: Curt Peterson, announcer.

By AL BERNARD

ANY things have happened since Dewey fought
Spain back in 1898. We have seen the advent of
the movies, the radio and the talkies. Their in-
vasion of the amusement field gradually crowded out the
oldtime professional minstrel show. Nationally known
artists, like Primrose and West, Dockstader, Fields, Havi-
land and O'Brien, were shunted to the sidelines and soon
forgotten. Once they passed out of the picture, they had
no successors. Minstrel shows of today are confined mostly
to amateur performers of local entertainment. But now
radio has earned the eternal gratitude of the old minstrel
troupers by reviving their forte from a certain grave and
winning for it public popularity that it never had in its
most glamorous days.

Many of the old minstrel stars are now working in front
of the microphones since one by one the traveling minstrel
shows gave up the ghost in the face of empty houses and
public indifference. Paul Dumont and I are the end men

in the Dutch Masters Minstrels, the first radio minstrel
show to be broadcast weekly over the NBC chain.
"Lasses" White, one of the most famous of them all, re-
cently was escorted through the NBC studios. He was
keenly interested and it is likely that he will soon be a
radio recruit.

Nowhere was there a group of performers more de-
voted to their medium than were the old minstrel players.
Year after year Fields and Neal O'Brien took their shows
from coast to coast. Gradually they lost their hold on the
public. Finally they died. Sugar Foot, the famous end
man, died of a broken heart. Others dejectedly went into
one-act vaudeville minstrels, a poor substitute for the real
thing. A few turned to radio, then in its very first days,
believing that it could restore their medium to public
favor again. I was one of these.

I find that adapting the. minstrel show for radio has
strengthened it. I believe the chief cause of the final

RADIO REVUE

demise of the minstrels on the stage was their great length.
Three hours of the same sort of entertainment proved too
long. It was all .right while there was no competition.
But, once the movies and the girlie-girlie shows came along,
it was just a matter of time before the minstrels died.

The radio minstrels compress the best of the old stage
shows and discard the things that are not so good. You
have a few good ballads by the tenor with chorus, a few
wise-cracks by the end men and a few comic songs. Add
a rag or two by the band, and you have a good show.

I've trouped with the best of 'em and there's nothing
in the life. But just the same, I'd like to go out with a
show again. You have no idea the pleasure there is in
putting on one of those long coats, a silk hat, and parad-
ing around through the streets behind a band.

And there's a lot of fun. The people always liked us
so well they sometimes took part in the show. Once I
played a little town in Mississippi where an old farmer
decided I wasn't blacked up right and he kept telling me
about it. Right through the show
he sat in the fourth row, talking
about my make-up. He inter-
rupted, but we all had a lot of fun.

Sometimes it's tough, just as bad
as it can be. It's bad in the win-
ter when you have nothing but
cold water to wash the burnt cork
off your face. Many times I have
come to my dressing room and
found my bucket of water frozen.
I had to take a hammer, break the
ice and then wash off the cork. It
was pretty bad, but you have no /£koSs'

idea how good I felt when I was k^v

through. No, sir ! There's noth-
ing as refreshing as ice cold water
in zero weather.

Public Likes Clean
Entertainment

But, to get back to our story,
the following built up by the Al Bernard and Paul

Dutch Masters Minstrels proves

again that the public welcomes any form of clean enter-
tainment that possesses real merit. Up to the present it
is safe to say that our minstrel show has been heard and
enjoyed by more people throughout the country than any
other minstrel show that ever appeared before the public.
The proof of this is in the thousands of letters that have
been received from radio fans in all parts of the country.

Our Dutch Masters' Minstrel group is really a minstrel
stock company. The members must rehearse and present
a new show every week. But that is all part of a show-
man's life. One of the best features of our radio show is
that it has revived interest in first-class minstrel shows.
Old timers get a real thrill out of hearing the old-time
songs.

The Dutch Masters unit is the first to stay on the air
for an entire year and the first to build up a national
reputation. Contracts have been signed for 193 0 and the
same group will be heard on WJZ every Saturday evening
at 9:30.

Paul Dumont, who arranges the programs, is a veteran
trouper. He endeavors to present shows that will appeal

to both young and old, preserving at the same time the
atmosphere of the old-time minstrel show. Mr. Dumont,
who is a native of Brooklyn, N. Y., came to radio after a
varied career as stenographer, secretary, salesman, sales
manager, professional singer and community song leader.
He served with several stations before joining the NBC
ranks.

Difficult to Find Old Songs

My specialty is singing "coon" songs'that are at least 21
years old. That's why I do ditties like Bill Bailey, Ain't
Dat a Shame and I Guess I'll Have To Telegraph My
Baby. Many times I have great difficulty in finding the
songs I want for future programs. Sometimes a par-
ticular song is out of print. On other occasions I manage
to locate one after hunting all over the city for a week.

Several times, when I had about decided to give up
looking for a certain song, somebody sent me an old faded
copy with a request that I sing it
on one of the programs. There
were a few other cases when the
only way I could get certain songs
was to have photostat prints made
of the copyright copies held at the
Library of Congress in Washing-
ton, D. C. The ballad singers and
the quartet also experience diffi-
culties of a similar nature.

The fact that we confine our-
selves to old time songs is, I believe,
one reason why we can present a
first class show. We select noth-
ing but the hits of the past and, if
they took the public's fancy in the
old days, the chances are that
they'll repeat today. They have
been tried and found worthy. One
might make up a minstrel show
with a dozen present-day numbers
and I do not believe it would please
2 5 per cent of the radio audience.

We work harder at rehearsals
than we do at the show. But the
actual broadcasting is easier, because we have in Harold
Sanford, the musical director, a man who will not stop
rehearsing until every member knows his part perfectly.
So we have found that the quickest way to get through
our rehearsals is to settle down to business from the outset
and learn what is assigned to us. Then again, we don't
want any slips to mar our broadcast, because we usually
have an audience at every program of 5 0 to 100 guests,
in addition to our vast unseen audience.

All Artists of Reputation

Every member of our company is a professional artist
of reputation. Harold Sanford, our musical director,
formerly was first violinist, conductor and manager of
Victor Herbert's orchestras. A native of Northampton,
Mass., he is a direct descendant of the William Cullen
Bryant family. He has played with the New York Phil-
harmonic and Metropolitan Opera House Orchestras. In
recent years he has figured prominently in NBC programs.
(Continued on page 45)

Dumont, End Men

MARCH , 19 3 0

Don Carney « "Uncle

to More Than

300,000

Children

By DAVID CASEM

FROM a Michigan apple cart to a Packard built to
his own specifications is a jump that very few
radio entertainers negotiate. And it wasn't an
easy one for Don Carney, who is Mayor Luke Higgins
in WOR'S Main Street Sketches every Tuesday night
and the same station's "Uncle Don" every other night,
excepting Saturday.

Mr. Carney is an "Uncle" to more than 300,000
children who belong to his club. All of them had to per-
form a good deed in order to qualify for membership.

Very often he is the court of last resort for parents
who are at their wit's ends to correct faults in their off-
spring. The shock of hearing their names over the air is
usually very efficacious. Carney, however, is very careful
not to hurt the youngsters' pride and his "bawling out"
is done by means of innuendo and parallels.

It isn't unusual for him to ask a child the reason that
he or she doesn't eat his oatmeal; he will warn a child not
to scratch chicken pox because doing so will leave scars;
he will praise an adolescent for turning in a good school
report card and for all manner of things. And the re-
action is tremendous.

"Maybe you think those youngsters are not a grateful
lot," he remarked to the writer. They send me all manner
of things. One will send me a piece of birthday cake.
Fathers will give them cigars to mail. In fact, I've re-
ceived everything that the postal rules permit in the mails.

"I do my utmost to mention as many as I can in the
period assigned to me, but it would take upwards of three
hours to do the job right. As it is, I take care of those
who are ill and those cases which need special attention."

Helps Girl With Injured Arm

One of the best examples of why parents are fond of
Don Carney is contained in the case of a little girl who

lives in the Bronx. A year ago she fell and cut her elbow
on a piece of glass. The arm became badly infected and
an operation was necessary to prevent amputation. The
result of the operation was such as to leave the little girl's
arm stiff. The surgeon said she would regain the use of it
if she would bend it constantly.

Every time it was bent, however, she almost fainted
from excruciating pain. The arm became stiffer. Finally
they appealed to Uncle Don to talk with her over the air.
The stage was set. Don described an imaginary case that
paralleled the little girl's and he said that the arm got to be
all right after a short time. Then he mentioned the little
girl's name.

"You know, honey," he said, "that if you'll bend your
arm it will get well, too. Uncle Don is coming up to
see you just as soon as you can touch your shoulder with
your hand."

In exactly three weeks the miracle was accomplished.
The child is completely cured. She still talks about sitting
on Uncle Don's lap.

There are scores of such cases. In fact, most of his
spare time, little as it happens to be, is spent at some
youngster's bedside. Sometimes it will be in a tenement
in New York's Ghetto. Again he will be seen playing
horse in an exclusive Park Avenue mansion. They all look
alike to him. "And," said he, "I like to accommodate
them all."

Carney's desk looks like the receiving department of a

RADIO REVUE

warehouse. The writer has seen him wilt under the
avalanche of mail that sweeps over him. They deliver his
mail in sacks. Letters have come to him from every state
in the Union, from many foreign countries and in twenty-
one different languages.

When he gets the time to read the letters is a mystery
to his friends and even more so when it is considered that
he writes all his own continuity, in addition to such big
features as Main Street every Tuesday night. That alone
runs forty-odd typewritten pages.

"Uncle Don" was born in St. Joseph, Mich., in the heart
of the peninsula's fruit belt and directly across the lake
from Chicago. During his high school days he picked up
piano playing by ear and this same ear has served him so
well that he has never felt the need of taking any lessons.
Once is all he needs to hear a melody.

His first entertaining was in Chicago, where he played
in a nickelodeon for six or seven hours daily and usually
without rest periods. "That was good muscle practice,"
he laughed. Later he went into vaudeville which brought
him to New York.

On the same tour he became enamored of Louisiana
and having saved a little money, bought a small plantation
down there. Then he worked in a lumber yard to get
money enough to pay for a farm, only to run it into bank-
ruptcy. After that the soil had no further charms for
Carney.

Vaudeville conditions were bad when he returned to
New York. Hundreds of entertainers were without
work. "I just had to eat," he said, "so I took a job in a
shipyard for thirty cents an hour."

Hard Luck Still Dogs Him

In a year's time, he became assistant superintendent of
the yard with a salary of $10,000. In that capacity he
had charge of the construction of thirty torpedo boat
destroyers and several transports during the war days.

Hard luck continued to dog him. Everybody "lost
out" when the shipping slump occurred in the post-war
days. "Yet I was lucky enough to get on as an extra on
the D. W. Griffith lot. Later he gave me a part in
'America'.

"Mr. Griffith had a radio set. It was a good one and the
thing more or less intrigued me. A few days later I was
passing the Hotel McAlpin and I went into the studio
where I asked for an audition. They gave me a job as an
announcer! After I learned microphone technique I was
drafted by WOR. The rest you know."

Not long ago, Mr. Carney went over the Keith circuit
as a headliner, drawing $1,000 a week. He is in constant
demand for personal appearances and at none of them has
the audience failed to demonstrate its enthusiasm.

There is considerable jealousy in the ranks of profes-
sional entertainers, but there is none so far as he is con-
cerned. He is absolutely without affectation in any form.
No one around the station has ever seen him without the
smile that has made him famous. He has a cheery word
for everyone.

Carney has three hobbies. These are his big Packard,
his summer place on Wonder Lake in the Ramapo Moun-
tains and shooting at frogs. Notice the "at". He has
never been known to hit any and, were it not for his
sharpshooting friends, he would have to buy the frogs'
legs needed to prepare his favorite dish.

"SPONSORITIS"

(By a Radio Artist who chooses to be called Anon.)

Dame nature has a "funny" way
Of spoiling our enjoyment
For everyone who lives today
Has his or her annoyment;
And each disease beneath the sun
Has different germs to bite us
Now RADIO'S developed one —
They call it "SPONSORITIS".

It's thriving like a healthy weed

Or fungus newly grafted,

And mercenaries sow the seed

Wherever sound is wafted

The artists rave then grow morose

Because of laryngitis,

And "fans" then get a stronger dose

Of this same SPONSORITIS.

No use to try to save the wreck

Or prophecy disaster,

For he who signs the mighty check

Is boss and lord and master;

When there's a program spoiled or botched,

It's money bags who fight us,

With heavy hearts we've stood and watched

The spread of SPONSORITIS.

What man who's making patent mops
Or coffee or confections
Would let US go into his shops
And start to give directions?
Yet he — Oh, let us kneel and pray!
And, Mister Fan, please write us;
We're fellow-sufferers today
From chronic "SPONSORITIS."

MARCH , 19 3 0

At Home on the High "Qs"

■ XTO matter how turbulent the ether
X^| 'waves, these gentlemen go the
even tenor of their "way, as only good
tenors do. Pictured below are ten
or so tenor soloists with real "checks"
appeal.

J^INO

MARTINI

JAMES MELTON (left) !>,.,, ,

- , (right) who came

top tenor of the Rev- from Italy last July af_

elers, is featured soloist ter great success in

on Friday evenings at opera> is heard frequent_

nine on the NBC chain. ]v on Columbia programs.

T EWIS JAMES (right)
well - known soloist
and recording artist,
sings with the Revelers
and is featured on Mas-
ter Musicians, NBC.

FRANKLYN BAUR
(left) exclusive so-
loist on the Voice of
Firestone program, Mon-
day nights, appeared in
the Ziegfeld Follies sev-
eral seasons ago and is
a prominent recording
artist. He was with the
Revelers in the early
days.

TTENRY SHOPE (left)
one of that rare spe-
cies of real top tenors,
sings with the New-
Yorkers Quartet, Ram-
blers Trio, Davey Quar-
tet and with the Salon
Singers, NBC. Original-
ly from Pennsylvania, he
■was on the stage for a
while and then turned
to radio, with great
success.

qpHEO ALBAN (right)
sings with B. A.
Rolfe and his orchestra
on Saturday nights at
ten. You will recognize
his voice in the lilting
signature song "Lucky
Day," which opens and
closes the program.

(£*

VJAURICE TYLER
(left) comes from
the sunny South and
sings with the Armchair
Quartet and on other
fine NBC programs.

JOE WHITE (left) was
skyrocketed to fame
a few years ago as the
mysterious "Silver
Masked Tenor." He is
now an NBC star.

ALIVER SMITH
^"^ (right) for many
months was featured on
the NBC as the "Gypsy
Tenor." He was one of
the original members of
the Evening in Paris
group and is now ap-
pearing regularly as so-
loist on the Jack Frost
program. A boy prodigy,
he has continued his ca-
reer with marked success.

RADIO REVUE

Mr. Average Fan

Answers

Some Of His

Critics

By AVERAGE FAN

JUDGING from the comments, unfavorable and other-
wise— generally otherwise — received concerning my
ideas of radio programs in the December isssue of
Radio Revue, your editor apparently erred gravely in
dubbing me "Average Fan". If some of my critics had
their way, I would be classified as a moron or some-
thing equally as unpleasant. Personally, I know that quite
a few people agreed with me but so far I have been able
to discover no one who was willing to break into print in
defense of my avowed liking for jazz.

There seems to be something in the very word "jazz"
that makes some people break out in a rash. When it is
mentioned they throw up their hands in holy horror and
say they hate it; that it is loud, noisy and unrythmic;
that it is blatant, glaring and offensive and a few other
things too numerous to mention.
As far as that goes, there are cer-
tain types of so-called jazz to
which I object just as strenuously
as do some of your readers. For
instance, one of my pet abomina-
tions— and I have a number — is the
St. Louis Blues, an old tune that is
played quite frequently these days.
In the same category are the Tiger
Rag, Beetle Street Blues and others
of the same ilk.

When I say I like jazz I might
modify this by saying that I mean
the tuneful kind, the kind that
makes your feet move and makes
you want to dance — if time and
age would permit. Popular music
is generally considered to be jazz,
or jazzy. : If it isn't, the dance or-
chestras soon make it that way.
Without shame I confess that I Lew White, One of

) MORE "LOW BROW" REACTIONS V

One of my pet abominations is the "St.
Louis Blue," -which is played quite frequently
these days.

Your magazine could do a lot of good by
choking or otherwise disposing of the aver-
age singers with the dance orchestras.

I still think that Jimmy Walker has one
of the best speaking voices on the air.

"Buck" O'Neill describes a prize fight like
no one else can.

In your prize contest for favorite radio
artists I would like to cast one vote for the
Collier Hour girl.

So far I have never been able to become
greatly enthused over grand opera.

Early Sunday afternoon I listen religiously
to the National Light Opera hour over WJZ,.

Then, too, I love the Gilbert and Sullivan
^\ operas, especially "The Mikado." f

like that kind of music — even though you do hear an
awful lot of it — much better than I do symphony or-
chestras, string trios or string quartets.

Raps Singers With Dance Bands

While on the subject of pet abominations, your maga-
zine could do a lot of good by choking or otherwise dis-
posing of the average singers with the dance orchestras.
These are generally males — saxophone players or drummers
— seemingly picked because they have no semblance of a
voice. This appears to be the case even with the best
orchestras like Paul Whiteman's, Ben Bernie's, Guy Lom-
bardo's and others. If they must have men to sing, why
not pick men who have some qualifications for the job?
There are so many good singers
heard over the air that to be com-
pelled to listen to some of the so-
called singers with orchestras is
heart-breaking.

I read with a great deal of in-
terest and amusement the letter in
last month's issue from L. G. Cur-
rin, of Newport, R. I., the home of
the idle rich. Was it Mr., Mrs. or
Miss Currin? There's no way of
telling, excepting by the general
tone of the letter. Judging by the
"timidly" it must be a woman and
by the statement "I was born in
the wrong generation," she must
be a maiden lady, possibly a blase
society woman. She says she dif-
fers with me "violently" but, after
reading over her letter, all I can
discover is that she doesn't, like jazz
my Favorite Organists 0r our own Mayor Jimmie Walker.

MARCH , 19 3 0

A Scene from Arabesque, a CBS feature

Despite the "lady's" objections to Mr. Walker, I still
think he has one of the best speaking voices on the air. I
have never heard him any other way, but I did listen to
him over the air during the recent mayoralty campaign and
he so far outshone any of the other speakers that their
efforts seemed inane.
Mr. Walker is at his
best at a testimonial
dinner. That's where
he shines most bril-
liantly.

Likes "the Man
from Cook's"

To my list of ex-
cellent speaking
voices over the air
— omitting the an-
nouncers — let me
give you a few of
my other favorites.
There is Ma lcolm
LaPrade, the Man
from Cook's. He
paints such vivid
word pictures that
one can almost
imagine one sees the
places he describes.

Then there is "Uncle John" Gambling of WOR. Any
man who can start at 6:45 A. M. and show the pep he
does deserves a lot of credit. Rabbi Stephen Wise has a
marvelously ressnant voice. I cannot always agree with
Alfred McCann's ideas, but his voice comes over clearly.

Possibly it is another evidence of lowbrowism — if there
is such a word — but I can get more enjoyment out of lis-
tening to "Buck" O'Neill, giving a blow-by-
blow description of a prize fight than I can
out of listening to a marvelous and, to me, ex-
tremely tiresome symphony, even if it is de-
scribed by Walter Damrosch. I can remem-
ber years ago of being taken, as a special treat,
to the initial performance of a symphony by
the Philharmonic, led, I believe, by Mr. Dam-
rosch. The people went into raptures. I was
unutterably bored and slept through most of
it. "Buck" O'Neill describes a prize fight like
no one else can. I don't go to fights, but I
will tune into him at any time. He has a breezy
way of telling you what is going on that is
vastly superior to any other man I have ever
heard.

Possibly I should feel flattered at the atten-
tion paid to my humble opinions by John
Skinner in the Brooklyn Daily Eagle. He
said he liked my frankness, but he did not
"like my likes". He finds Amos 'n Andy very
tiresome and writhes under the unnatural Main
Street Sketches. I realize that they are exag-
gerated, but just the same I find them funny.
He Objects to crooners. That's one dislike
that we have in common. In Collier's Hour
Sunday night, January 10, Professor Butts,
hunting for the missing link, placed the radio

crooner just one step above the ape and one step lower
than the missing link. That's the proper place for him —
or her, for that matter.

Sometimes I think my taste in music cannot be so ter-
ribly bad, even though I abhor symphonies and such. I
greatly enjoy Jesse Crawford, Lew
White or Fred Feibel, on the organ;
Jack Cohen, Ohman and Arden and the
Piano Twins on the piano; Sam Herman
and Harry Breuer, on the xylophone; the
Revelers and the Armchair quartets,
Olive Palmer, Jessica Dragonette, Eliza-
beth Lennox, Countess Albani and Helen
Kane, though I will admit that the latter
is not in the same class with the others,
so far as voice is concerned.

Some exception has been taken to the
fact that in my likes and dislikes I did
not say anything about the various
sketches, dramatic or otherwise which I
liked and disliked. I get quite a kick
out of the Jones family and their
troubles here and abroad. Their expe-
riences away from Onyx, Pa., especially
Aunt Letty's romantic love affairs,
cause me much amusement. Durant's
Heroes of the World; Caliope and Miss
Kath'rine; the Penrod sketches; Empire
Builders; "An Evening in Paris"; Gray-
bar's "Mr. and Mrs."; True Detective
Mysteries; Arabesque and the "Cub Reporter", are a few
of my favorites. I always enjoyed "The Gossipers" and
was sorry to see them taken off. There may be others,
but these are all I can think of at present.

I notice you offer a prize for our favorite radio artists.
I am not seeking a prize or entering the contest, but would
like to cast one vote for the Collier Hour girl. I never

miss her. I have
often w o n d ered
who she is but
have never heard
either her name or
anything about
her. There is a
spontanei t y and
gayety about her
work that intrigue
me. You will
probably get a lot
of votes for other
artists, but I want
to put in a word
for the Collier
Girl. Can't you
give us her picture
or tell us some-
thing about her?

Expects to Be
Disappointed

Some of these
Sunday n i ghts I
am going to crash

(Continued on
page 48)

The Jones Family. Standing: Aunt Letty and
Mrs. Jones (played by Dora Matthews and
Adelina Thomasson.) Jefferson Jones (Robert
McBride) is seated, and completing the group
are Genny (Helen Bergavoy), and Jim (Curtis
Arnall)

RADIO REV U E

Sound Effects Made to Order
for Radio Programs

Station Laboratories Furnish Any-
thing from Hurricane to a Pin-Drop

By HERBERT DEVINS

THE noisiest spot in the world is not Times Square.
Neither is it in a boiler factory, in spite of popular
tradition. It's a little room high above Fifth Ave-
nue, New York, close to the busy studios of the National
Broadcasting Company. This is the sound laboratory,
where every sound effect for the coast-to-coast radio pro-
grams on NBC networks is born. It looks quiet and or-
derly enough at first glance, but on its shelves are more
assorted noises than can be found anywhere else in the
world.

Thunderstorms and
hurricanes lie carelessly
in one corner, side by
side with the zoom of
an airplane and the
drone of Summer in-
sects. One shelf is de-
voted to the echoes of
disaster, from the
breaking of a window
to a train wreck.

If the visitor has a
colorful i m agination,
entering this mysteri-
ous room is a more
thrilling e x p e r ience
than midnight in Fin-
gal's Cave or the Hall
of the Mountain King.
If a careless elbow
merely happens to
brush a strange con-
traption hung on the
doorknob, the affair

gives forth the sound of booming surf along a rocky
coast. A bellowing fog horn hangs from a nail nearby;
next to it is the brazen clang of a bell-buoy marking the
reef; last, the hoarse voice of an ocean liner far out at sea —
and the illusion is complete.

A Passport to the World

Sitting quietly in this room for a half-hour with
William S. Rainey, NBC production manager, is to obtain
a magic passport to every corner of the world. In his
practiced hands the booming surf becomes the lazy wash
of sun-flecked waves on a pebbly beach in the South Seas.

Waiting for the signal to start the "battle"

Rustling palm fronds and the cries of wheeling gulls help
to create an actual sensation of tropical heat.

"Are you fond of riding?" Mr. Rainey asks. Being
assured that you are, he next wants to know under what
conditions.

"It makes a big difference, you see. Look here, in this
box. Our royal stables. These cocoanut shells and
plungers — any sort of horse you prefer. A nice, quiet
mount — so? Clump, clump, clump. Or a more spirited

steed, like this dancing
fellow? Clickety click,
click. The last? All
right. Here we go,
then. Watch.

"We'll start right
off up this cobbled
street toward the open
fields. See how these
shells on the stone slab
give the hollow ring of
shod hooves on cobble-
stones? Here's smooth
pavement for a change,
just by holding the
shells different 1 y in
your hands. Now we
come to softer ground."
And he swings his
shells to a box of earth
lying c o n v e niently
nearby.

Or perhaps he'll take
you back through his-
tory and let you watch
loading of the animals into Noah's Ark. For, tumbled
along his shelves are the voices of every known creature
under the heavens.

A Strange Collection of Sounds

And a strange, laughable menagerie it is. Fierce jungle
cats and tawny lions hobnob with cows and sheep, without
ever showing the faintest signs of appetite. Trilling
canaries and screaming parakeets lie quietly among a pile
of cats' purrs and meows. Buried somewhere in the heap
of carnivorous voices is the long-drawn wail of a new-
born infant.

MARCH , 19 3 0

He Tacific Iinwted

ode Ukouqa

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£ Force

^e Gjc/c&o SlAKtf r/vi TJhs (REE.

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Dees |\?eTufttf To Tne HwE.

/; /?0o-^ i

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-ff(e Lioaj Roars

:capw th, lwifi- town/ **Y Gftw/ '"" ^T*

Proving that things are not really what they seem over the air.

The fiercest roars hang on separate pegs along the wall.
That big one at the last, which is a real old whiskey-keg
with pierced drumhead and resined cord, is the same "lion"
that roared from the screen in the first showing of motion
pictures brought back by Theodore Roosevelt from the
"River of Doubt" — that fantastic stream that was sup-
posed to flow uphill.

Many are the amusing devices developed here by the
NBC to fool the sensitive microphone. So sharp are its
ears that, in many cases, the actual sound cannot be used;

it gives an effect of unreality when magnified to the degree
that radio "boosts" all sounds. One such case was the
crackling of underbrush. Snapping actual twigs near the
microphone sounded like rifle shots, so some substitute
had to be found. Today the laboratory boasts the widest
assortment of underbrush and tangled jungle vines to be
found anywhere — in fact, the same shelf boasts a whole
primeval forest of rustling leaves and swaying boughs-
It's commonly called a whiskbroom.

The thunder-drum is a terrifying instrument. Over a

RADIO REV U E

Sound Laboratories More Thrilling Than Fin gal's Cave.

framework of resonant wood six feet square is stretched
a cowhide. The usual sheet of tin couldn't fool the micro-
phone, which only emphasized its futile metallic rattle.
The special thunder-drum had to be built, in order to
create satisfactory rumbling echoes.

There's a whole row of assorted drums and tom-toms for
various effects. The newest use, perhaps, is the complete
"airdrome" mounted on one board three feet square. Elec-
tric motors whirl leather strips against different drum-
heads at varying speeds, from the slow sputter of warm-
ing motors to the high-pitched drone of the take-off. The
"garage" is only two feet square. On this board is
mounted an assortment of auto horns to represent different
cars. There is even a siren to help the excitement of fire
scenes.

In the development of wind effects, however, perhaps
the greatest strides have been made. Nearly everyone is
familiar with the common "wind-machine," a revolving
drum of laths swishing against a canvas strip. The faster
the drum is whirled, the higher the wind shrieks. But it
gives only one artificial note. Today, however, the NBC
wind machine is hard to describe. Perhaps the only part
that matters is the megaphone that comes out of one end,
through which the sound emerges. Behind this mega-
phone, somewhere in its complicated interior, is a whole
series of wind-whistles — all specially tuned so that, when
sounded together, they produce the ghostly discords be-
hind the principal note that everyone hears in actual wind
noises. Actors who work with this machine say that the
studio temperatures seem to drop thirty degrees the mo-
ment it begins, and that it is so realistic they find them-
selves shivering before their script requires it.

Judson Has Sound Effects Table

By Dorothy Conway

The Judson Radio Corporation has also made a great
study of sound effects. One look at the contrivance rigged
up by A. W. Nichols, its sound effects man, would con-
vince anyone of the seriousness of the profession. The table
controlling all the sounds was built by Mr. Nichols, and
it took him nine months of steady work, with each day
averaging from ten to fourteen hours. The effects on this
table comprise: chimes, heavily muffled crash, thunder
sheet, train effect, riveting machine, motorcycle, machin-
ery, aeroplanes, heavy motor exhaust for fire trucks,
motorcycle and auto races, two fire truck sirens, trolley
car with bells and exhaust, rumble wagon, metal crash
effect, wind machine, heavy ratchet, rapid-fire machine
gun for firing 5 00 shots per minute, glass crash, revolver
or rifle machine, rain and ocean effect.

Large Assortment of Sounds

The left side wall has whistles of all sorts; train, ocean
liner, police, cuckoo, cow bawl,, toy horns, sirens and ex-
haust. On the top are bear growls, lion roars, imitation of
dogs, sea lions, monkeys, elephants and pig squeals. The
right side wall is for door bells, buzzers, wireless, tele-
graph instrument, telephones, auto horns, fight trip gong
and signal gong. There is also a horse effect, anvil, buzz
motor, gear machine, sand wheel, door slam, ticking of old-
fashioned clock, nose blower, slap stick, castanets, tam-
(Continued on page 44)

MARCH , 19 3 0

In Memoriam

A Tribute to

.OLONEL

C.T.D

AVIS

By BERTHA BRAIN ARD

Eastern Program Director, N. B. C.

Colonel C. T. Daiis in his best known
role "Old Man Donaldson"

RADIO sustained a loss that cannot be re-
placed when Colonel C. T. Davis died. His
part in the building of radio broadcasting
was an important one — how important only we,
who have been close to broadcasting since its
laborious birth, can appreciate. His role was that
of a gentleman adventurer. He would attempt
things on the air of which no one else had
thought, and what he did was accomplished with
good taste and a sincere appreciation of artistry.

Many phases of our present technique in dra-
matic presentation were originated by Colonel
Davis. He had the vision of an artist and the
energy to recreate his vision into something that
was usable. In the archives of broadcasting are
many programs, still remembered, talked about
and used as models, that were his creations.
Among them may be remembered "Old Man
Donaldson," "Jack and Dorothy," and "Don
Amaizo."

He had a precious sense of humor that light-
ened even his most serious efforts and it was a
delight to work on a program with him.

Colonel Davis was a sportsman and a gentle-
man. I do not believe any greater tribute can be
paid him. He had tact and diplomacy and could
obtain more actual results from actors working

with him with a gentle "now, let's try it again"
than other directors obtain with hour after hour
of stiff rehearsal.

Never Mentioned His Pain

For sheer courage I have yet to meet his equal.
It is not generally known, but Colonel Davis
virtually died at work. People closely associated
with him knew that during the last two months
of his life he lived twenty-four-hour days of
pain. They did not learn that from him, for he
never mentioned it.

I recall the last time I saw him, a few days
before his death. He stood erect before my desk,
his face white and drawn and with little beads
of perspiration on his forehead. I knew he was
suffering, for there was every evidence of it, ex-
cept his own admission of the fact. He never
made that admission. Instead, he smiled, and
what a pathetic smile it was to anyone who re-
membered him when he was well and strong —
bowed his quaint, courteous bow and walked out
of the office.

He walked out of the world that way, smiling,
courteous and undaunted, thinking of others and
of the job he had to do, rather than of himself.

RADIO REVUE

Personalities

Presenting Popular Performers Wha

B HI L Spitalny,
at right, and
h i s harmonizing
duo, the Paul sis-
ters, delight listen-
ers at 11:30 each
Tuesday evening

with their lively
songs and
music. They
broadcast
over NBC sta-
tions from
Hotel Penn-
sylvania i n
New York.
The Palm
Beach suit is,
t h e r e f o re,
somewhat
confusing.

ABOVE, Nathaniel Shilkret, the
"^ famous NBC conductor, one
of America's most distinguished
musicians. He has a flare for the
rousing crescen-
do that ends
with a thun-
dering tym-
pani.

.-., . ' S.i.. _ *

T_TERE are Rosaline Greene
and Alfred Shirley, who
act those thrilling and beau-
tifully executed scenes of
famous love stories, heard
over the National's network
on Friday evenings at 8:45.
Here we see them as Madame
Pompadour and her kingly
lover, Louis XV, in a short
sketch of regal romance and
court intrigue.

TN the circle
A is Will Os-
borne, who
originated that
n e w style of
m i c r o p h one
technique, pop-
ularly, or un-
popularly,
called "croon-
ing". Will sings
over the Colum-
bia chain every
evening at 11
and, Heaven
help us, we
can't tell him
from Rudy
V a I 1 e e. He
stoutly denies
he is an imi-
tator of the
great Rudy; at
any rate, he's
almost as popu-
lar with the
ladies, and his
jazz band is
twice as good.

TCRANK BLACK, pictured at the
piano, just about makes the Rev-
elers the great quartet that they are.
His arrangements and accompaniment
are, without doubt, the snappiest on
the air, so the experts tell us.

'T'HIS group is just as musical as it looks. They
are the popular Utica Jubilee Singers, here
presented in a scene from their new talking pic-
ture. So great had their popularity become as a re-
sult of their air programs, that they were offered a
contract to go into the moving and sound pictures.

MARCH , 19 3 0

Pert and Pertinent

}ut Plenty of Pep in their Programs

CURE enough, the dis-
tinguished looking
gentleman behind the
microphone is S. Parkes
Cadman, dynamic Doc-
tor of Divinity. Al-
though his subject is,
of necessity, sober,
there is no hour on the
air more chockful of
pep and personality
than his Sunday
afternoon program.
H i s magnificent

flow of language
and ideas is one of
the wonders of the
radio age, and his
fan mail
makes the
letter car-
riers bow-
legged.

TT'S not all blood and thunder in the
Empire Builders program, heard on
Monday nights at 10:30 over the NBC
chain. Here is Harvey Hayes (the Old
Pioneer) telling Virgina Gardiner that all
is well with the world. It looks as if
he's right.

TpHE gentleman with the overgrown ukulele is Jo-
seph Rodgers, tenor and director of that lively
hour, the "South Sea Islanders," heard every Sunday
night at 11:15 over the National chain. Rodgers was
born and educated in Hawaii. Consequently, the cos-
tume and the guitar are more than becoming to him.

fs^

Jl., - ■

flkkz^^c

lr^

^-" Ji

..^.yv

HK jl

H ;~

5P^v'

- Ill Jh

J> ADIO has few more famous or vivacious quar-
tets than the Cavaliers, heard over the NBC
chain every Friday evening at eight o'clock. Left
to right they are: John Seagle, baritone; Darrell
Woodyard, bass; David Buttolph, pianist-director-
back: Robert. Stevens and Leo O'Rourke, tenors!

npHE sour, hard-
bitten, old gen-
tleman in the cir-
cle is none other
than Arthur Allen,
the widely known
radio actor, in the
dress and external
characteristics of a
Dickens character.
He is heard on
Tuesdays at 7:30
over WEAF and
the NBC chain in
those exciting So-
conyland sketches.
Mr. Allen, now a
veteran of the mi-
crophone, came to
radio after many
years on the legit-
imate stage. Ra-
dio's gain, we say!

Y°UR search for pep and personali-
ty will end when you tune in on
Wednesday evenings at 9:30 to the
Columbia chain stations and hear the
cute little, clever little Glenn sisters,
Ruth and Beatrice.'

"^rO more real personality is to be

found among the air "waves than

Walter Damrosch, NBC's famous con-

The kiddies,

for instance,

wouldn't miss

h i s Friday

morning

hour.

RADIO REVUE

nterest in

vJrand O
Fast W ani

AMELITA GALLI-CURCI, whose voice has attracted
the music-loving public since her debut with the
Chicago Opera Company in 1916, has left the
various diamond and golden horseshoes of the Chicago and
Metropolitan Opera houses, but before boarding the
French liner lie de France she paused a moment, in the
studios of the National Broadcasting Company, to sign
Bertha Brainard's pet piano at 711 Fifth Avenue and to
express her opinions on a number of subjects.

"I heartily approve of radio," said the vivacious prima
donna, in the manner of one telling the truth, rather than
one who was just "saying nice things". "It has brought
me some happiness and a much greater audience than I
even dreamed of in my first days in opera.

"Tomorrow I sail on the lie de France for Europe, for
a little recreation and rest. I have had a busy season and
I need a little sea air. I thought the radio would be an
ideal way of saying 'Farewell' to all my audiences in
America at once."

"I am coming back, and I shall sing again for the radio.
But when I do I shall miss the friendly faces, the rustle
of the programs, and (pardon me, won't you?) the warm
applause".

On leaving the scene of her greatest triumphs, the
Metropolitan Opera House, Madame Galli-Curci did not
speak in too glowing terms of grand opera. "Opera does
not conform to modern musical needs", she said. "It is a
very old-fashioned entertainment, very pompous and slow.
The opera, after all, is not such a high style of music.
Worse than that, people throughout the entire world, par-
ticularly the Italians, are losing interest in grand opera.

pera

aning
Says

Mme Galli-Curci

By WILLIE PERCEVAL-MONGER

The public and the artists alike feel that it is a little old-
fashioned."

Happily Married to Artist

"I am modernistic in my tastes. I like innovations in
music and I am old-fashioned only in marriage. In that
fine institution I believe in constancy and I attribute my
happiness in marriage to the fact that I married an artist,
but one who is not following my line of work.

"I do not care much for modern opera. The modern
composers do not even seem able to write anything to
equal the older operatic compositions, because such music
is not in our temperament in this mechanical age."

"We have no time for contemplation or for thought,"
the diva declared, "and creative work demands both of
these things.

Continuing — in the face of urgent protests from Bertha
Brainard that the little piano-lid was still unsigned — the
famous prima donna declared her liking for jazz, especially
for dancing. Jazz was properly rated by the American
people. It has a definite place in the scheme of music,
just as caricature has its place in art. "We need more
fun and freshness," she said, "in this dreary game of life."

"In filling my engagement at WEAF I was only keep-
ing step with the times. When I leave this radio station
I will go straight to my first European concert tour, al-
though I was born in Milan and heard my first applause
in Italy. I will sing in eight countries. Next Summer I
hope to spend in the Catskills, and in the Fall I hope to
return to the British Isles. A trip of five months' dura-
tion to the Antipodes will follow."

Becomes an American Citizen

In 1921 Madame Galli-Curci took out her first papers
of American citizenship and married Homer Samuels who
(Continued on page 47)

MARCH , 19 3 0

Acting A New Sideline
Oscar Writes

Girl Friend, MARGY

As Preserved for the World
By P. H. W. DIXON

DEAR MARGY:—
It looks like your boy friend is going to be a
success, Margy. I have only been an attashay of
the National Broadcasting Company for less than three
months and already I am an actor. Of course, Margy, I
did intend to make my radio debyoo as a tenor but I guess
you can't always start at the top . . . note. That's a joke,
Margy. So I have started up the ladder to success as an
actor and someday I probably will amount to something
and be a singer.

Of course, Margy, I am still a page. Acting with me
is just a sideline. The show business is all shot to pieces
and anyone is foolish to be an actor except as a sideline.
Even us good actors like to know that our income is
certain.

I want to tell you how I
became an actor, Margy. I
was discovered by Raymond
Knight, who is a pretty good
guy for a production man and
has a reputation for finding
real talent. One day when I
had just finished hunting for a
bull fiddle that had been mis-
laid, Mr. Knight stopped me
on the thirteenth floor and
asked me if I wanted to act.
I told him I had not consid-
ered it seriously but that if
Harvey Hays was sick or any-
thing I would be glad to help
him out. He said Harvey was
all o.k. but he needed some-
body to support Harvey in an
Empire Builders program. And
I said I would be glad to help
him out and he told me to
come to rehearsal at four T^cca —

o'clock. Which I did.

That was when I met Vir-
ginia Gardiner. She's pretty,

OSCAR
The Page Boy

"Then they took the quarter back. The show
business is like that, Margy"

Margy . . . but
you needn't worry
about her. She's too
tall for me anyway.
Well, I went to
rehearsal and Mr.
Knight gave me
my script. A

script, Margy, is the professional name for the part you
read. Just to show you what the part is I am going to
write it in right here. You see, in this show I was play-
ing the part of a messenger boy and I was supposed to
deliver a telegram to Harvey Hays, who is the Old Pioneer
in the program. It went like this:

Me: Telegram for you, sir:
Hays: Thank you, bud!
Me: Thank you, sir.
Now, of course, on paper
that doesn't look like an im-
portant role but it really is,
Margy. You see this telegram
was very important to the
plot, and if I hadn't delivered
it there wouldn't have been
any story at all.

Well, we rehearsed our parts
for quite a while and then Mr.
Eddie Bierstadt . . . he's a sort
of writer . . . suggested that I
wasn't putting the proper in-
flection on my last speech.

"Listen, Oscar," he said.
"Say 'thank you, sir' as if he
had just given you a quarter
tip".

I tried it but he wasn't sat-
isfied. Finally he told Mr.
Hays to really give me a quar-
ter which he did. Then he
said my "thank you" was just
swell. But they took the

RADIO REVUE

quarter back. The show business is like that, Margy.
Rehearsing for a radio play isn't as hard as rehearsing
for a legitimate play, Margy, because you don't have to
memorize your speeches. You read them from a sheet of
paper . . . but if you sound like you read them you aren't
any good, so I guess radio acting requires special ability
like I seem to have.

Sound of Train Pulling In

After the rehearsals on speeches they have sound ef-
fect rehearsals. These are very interesting. When you
listen to the Empire Builders program, Margy, you think
you hear a Great Northern train pulling into a station.
In fact, it sounds so much like a train that they say a
fellow who had a radio in his
automobile tried to beat it to
a grade crossing one night.
But it really isn't a train.

Harry Edison, who is one of
our best percussionists — a per-
cussionist, Margy, is a trap
drummer who makes more
than $100 a week — is respon-
sible for the train noise. He
has a big container filled with
compressed air and that makes
the steam sound . . . and he
has a lot of little trucks run-
ning around a circular track
which sound like train wheels
rolling and he makes the
"swish-swish" sound on a
drum and when the micro-
phone picks up all these dif-
ferent noises it sounds just like
a train in the control room.
Then there is an orchestra,
too, Margy, which is led by
Andy Sannella. Andy is quite
a sheik, Margy, and looks like
what the well-dressed man
will wear at all times.

Anyway, we all got in the
big studio and rehearsed our
speeches and the orchestra re-
hearsed and they tried out all the sound effects and Bob
MacGimsey whistled and pretty soon Mr. Knight and Mr.
Bierstadt finally agreed that maybe it wasn't such a bad
show after all, and we were all ready to go on the air.
So we went out and got some supper and relaxed until
it was time to go on the air.

Tensest Moment of His Life

As you know, Margy, I have lived through some tense
moments in my life such as the time your father asked
me what my intentions were, if any, but the tensest mo-
ment of all was just before I went on the air for the first
time. It was very quiet in the studio because John Young,
the announcer, had warned us we were almost on the air.
I felt kind of pale and wobbly but Mr. Knight came over
and patted me on the back and told me that ten million
listeners were expecting me to make good. Which I did.

Then the train started and the orchestra started and

"I felt kind of pale and wobbly'''

Young started talking and the actors started looking for
the parts. Pretty soon we were right in the middle of
the sketch and I knew that at any moment now I would
have to go into my big scene. I tell you, Margy, it was an
awe-inspiring moment. Then Mr. Bierstadt gave me a
shove toward the microphone and I realized the time had
come for me to speak. So I stepped up and I said:
"Telegram for you, sir !"

I hope you heard me, Margy ... I would hate to think
that you had missed my first spoken words to twenty
million listeners. Then Harvey Hays looked at me en-
couragingly and said:

"Thank you, bud", and he handed me a quarter which
I put in my pocket.
So I said to Mr. Hays:

"Thank you, sir", and I
meant it, Margy, because I
was so glad my scene was
finally over. It was a terrific
strain to be under.

May Play Character Parts

Well, things went along
pretty well from then on and
everyone worked hard and
after the program was off the
air Mr. Knight and Mr. Bier-
stadt both told me I had done
a very professional job and
that they hoped to use me
g> IJI again whenever there were

I pHt any telegrams to be delivered.

I may decide to specialize in
character parts like that,
Margy.

That's about all there is to
report, Margy. I think, per-
haps, I will be able to have
you come to New York pretty
soon as when I get to be an
important actor I will insist
that I name my own leading
lady. And you know, Margy,
who my leading lady will be.
Just as you are my leading
lady in our own life drama so you will be in my profes-
sional career.

That's all tonight, Margy ... I am very tired account
the strain I have been under.

By the way, Margy ... if you happen to be near the
Yoakum Herald office, you might tell them about me. It
would make a swell story tor them. The headline could
be "Home Town Boy Makes Good."

Goodnight, Margy, and love and kisses.

Your Oscar.
P. S. — I am sending this special delivery. Mr. Hays for-
got to ask me for the quarter.

Hudson County Radio Show

A successful radio show was held from February 10th
to 16th in the Armory Radio Salon, Jersey City, by the
Hudson County Radio Dealers, Inc. The list of artists
what volunteered their services would be a veritable
"Who's Who" of radio.

MARCH , 19 3 0

The Two Troupers

Delve Into Dark Past

Marcella Shields and Helene Handin
"Authorize" Joint Statement of Facts

Scene — A sitting room

Place — New York City

Time — 3:3 0 P. M.

Setting — a chair, a table, a telephone and — Miss Handin.

('Phone rings)

Helene — Hello — Hello — yes Oh, hello, Marcella-

where are you — in the lobby? — Oh, well, come on up.

('phone clicks.)

Marcella — (Knock on door) Helene! Helene!

Helene — Come in. —

Oh, hello, Marcella,

late again, or should

I say — as usual? You

know, they ought to

call you "The late

Miss Shields."
Marcella — "Well now,

"Boss Lady," please

don't start on me

again — I know I'm

late but I've been re-
hearsing at NBC. — I

just got through and

I've got to rush

right back to do

"Miniature Theatre"

and

Helene — Well, I can't

help what you've got

to do up there, but

you've got some re-
hearsing to do right

here — with pencil

and paper. So park

yourself in that

chair and put on

your thinking cap —

if any. I just had a 'phone call from Radio Revue and

they want us to prepare an article for them — now ain't

that something?
Marcella — What about? — Us? — "The Two Troupers?"
Helene — Of course, "Dizzy." — What did you think they

wanted? A dissertation on the Einstein Theory? Or

a treatise on the outcome of Limitation of Arms Parley

in London?
Marcella — Oh, well you needn't be so "snooty"

They want us to prepare an article — not on the Einstein
Theory either!" says Helene.

pulling all three dollar words on me. Put a square

around you and you'd be a crossword puzzle.' 1

didn't know, since we have become authoresses, but
what they might ask us to "authorize" about almost
anything.
Helene — Oh, yeah? — Say, does it take much practice to
be as dumb as you are? Just because we've written our
own sketches for the radio and been lucky with them,
don't think we are capable of writing something like

the History of the
U. S. in 5 00 words —
that's Mr. Coolidge's

job. Besides you

couldn't limit your-
self to 5 00 words —
or 5,000 for that
matter.
Marcella — Say, listen,
Helene — are we go-
ing to write an argu-
ment or an inter-
view ?
Helene — Well, it's
supposed to be an in-
terview— but who is
to do the interview-
ing— that's the ques-
tion before the house
at present?
Marcella — Well,
look, Helene — we'll
take turns — you ask
me some questions
and I'll answer them,
and then I'll ask you
— go ahead.
Helene — Okay. —
Well, now, Miss Shields, will you please give me a little
information about yourself, such as — where born and
if so — why? — present occupation and do you belong to
any unions? (laugh)
Marcella — Well, to begin with — I was born in New

York City, and my parents were crazy about me

Helene — Did you say crazy?

Marcella — If that's intended for a wise crack you can
keep it. But to get back to my career — I went to

RADIO REVUE

school in New York too and I'm a comedienenne and
I'm five feet tall and weigh 108 lbs. and I have light
hair and blue eyes and I sing and I dance and

Started "Emoting" at Age of Four

Helene — Yeah — yeah — yeah — I know that litany and

people who have heard us on the air certainly know it

too — they have heard it enough. You know you should

have it put to music 1 can almost hear it in my

sleep. Now that that's over — when did you start

"emoting?"
Marcella — I was only four years old, when my mother

thought I showed signs

of becoming a second

Ethel Barrymore — so I

started playing child

parts, and did / have

some swell ones?
Helene — Yeah — well, just

what?
Marcella — I played in the

original production of

Maeterlinck's "Blue Bird"

and with De Wolfe Hop-
per in "Hop O' My

Thumb"

Helene — Yes — and then

— and then —
Marcella — Quit clown-
ing— this is serious. — Oh,

yes — then I played the

little girl in "A Fool

There Was" and gangs of

others, including "Jimmy

Valentine" — "Mrs. Wiggs

of the Cabbage Patch" —

"Salomy Jane" and

Helene — That's enough

about your childhood, I

don't think the fans

want to hear any more

details about your past

life. What happened

after you grew up? Or

did you?
Marcella — Well, I went

into vaudeville until I

grew up enough to play

ingenues.
Helene — "How high is up?" You only got up to sixty

inches.
Marcella — Well, that was enough to get me into a musi-
cal comedy. I was comedienne with "Helen of Troy,

N. Y." — then ingenue prima donna with the Gallagher

and Shean show. Then back to comedienne with "Rose

Marie" — and, oh ! how I loved that show and that part.
Helene — Very interesting, Miss Shields — and then, what?

Played Dixie Dugan in "Show Girl"

Marcella — Then I met Mr. Whyte of the Eveready
Hour and was engaged to play Dixie Dugan in "Show
Girl"— and THEN-I-MET-YOU !

Helene — And that was something.

"No." says Marcella, putting a blonde strand in

place, "I'm not one of those girls who raves and

tears her hair about Rudy."

Marcella — Somepin is right — but just what, I haven't

found out yet.
Helene — Aw, now, Girl Friend!

Marcella — (Giggle) Say, listen — isn't it my turn to
ask questions now? You better get in a little about
yourself, or I'll be crowding you completely out.
Helene — Not while I'm conscious, "Stark Love." All
right — here goes. I was born at an early age in Fair-
field, 111., as was also Senator Borah.
Marcella — That's a help! What does that make him?
Helene — Prime Minister of Congress, Will Rogers says.
— But keep still — you had your inning, I now have the
floor. I made my debut at two years of age speaking a

piece at a Presbyterian
strawberry festival in
Fairfield. Then my fam-
ily migrated to Utah,
where I was educated
and, after graduating
from high school, I
taught country school at
the age of sixteen.
Marcella — Oh, my —
weren't you smart? I
can't imagine you a
country school teacher —
but, then, I never saw a
country school teacher
because I was born and
bred here in little old
New York.
Helene — As you said be-
fore. I really got my
start, dramatically speak-
ing, in Salt Lake City,
where I sang in high
school and acted in home
dramatic shows. Finally
I was discovered by a
manager who offered me
a job in his company, so
I trouped to New York.
— the goal of every am-
bitious would-be actress.
Marcella — And what
happened then? You be-
g i n to interest me,
strangely.
Helene — Oh, hush ! Then
I went into musical stock as prima donna and later was
prima donna of several musical shows. After that I
went on the road in vaudeville with Santley and Sawyer
and later was with "The Dove", the Willard Mack show
that Belasco produced. My last production was "The
Scarlet Fox."
Marcella — I'll bet that was a thrill, working for Bel-
asco!
Helene — It sure was. I hated to leave his management.
I had my own act in vaudeville, a comedy sketch writ-
ten by Mr. and Mrs. Willard Mack. Then I went to
my beloved California with "Gentlemen Prefer Blondes."
Marcella — What do you mean "beloved." I thought you

were a Utah and 111. fan.
Helene — Oh — But Cal. is my real love — I'm as dippy
(Continued on page 46)

MARCH, 19 3 0

Evening Stars Program

an Interesting

Experiment

in Good Will

By DONALD W1THYCOMB

EVERY Wednesday afternoon, millions of listeners
throughout the United States and Canada welcome
the familiar melodious strains of the Evening Star
aria from Wagner's immortal opera "Tannhauser". This
is the theme song that announces that the Evening Star's
program is on the air.

This signature does not merely mark the opening of just
another program, to be presented from the N. B. C. stu-
dios. It has another significance. It implies that, as a
member of a large, international family, one of its asso-
ciated stations is to be honored by having an entire program
dedicated to it and to the territory it serves with the finest
radio program available.

The underlying purpose of this particular weekly feature
is a desire on the part of the National Broadcasting Com-
pany to honor each of its associated stations which are
vitally important to this widespread organization. The
Evening Star's program has made it possible during the
past ten months, for each station associated with the NBC
to send its own story out over the transmitters of over
thirty stations from the Atlantic Ocean to the Rocky
Mountains and from the Gulf of Mexico to the Dominion
of Canada.

Unique Good-Will Feature

From the standpoints of information, interest and en-
tertainment it may be stated that the Evening Star's pro-
gram is the most unique type of weekly good-will feature
that has so far been attempted in the field of broadcasting.
It has not been duplicated on the air up to the time of
writing.

As its name implies, famous microphone personalities,
usually heard only during the evening hours, have been
presented to the vast afternoon audiences during this series.
In addition to the short, but highly interesting announce-
ments which each station has made during its particular
dedication program, guest artists and speakers from all
parts of the country have participated on many occasions.

Donald Withycomb

Station Relations Department, NBC

The radio audience has heard the Governor of Alabama,
the presidents of several chambers of commerce, and many
other notable personages tell the story of how the asso-
ciated station endeavors faithfully to serve its own terri-
tory. Many of the stations accepted the invitation to
send to the NBC's New York studios their chief announc-
er, as well as a guest conductor, with vocal and instru-
mental artists who are well-known and loved by their
local radio audiences.

To the Evening Star's program each week, Ludwig Lau-
rier, the distinguished conductor of the Slumber Hour, and
his augmented concert orchestra, have added color and
interest in the rendition of works of the great masters.
The Evening Star's program was a successful experiment.
Newspaper and magazine articles, as well as thousands of
enthusiastic letters, confirm this statement.

Any experiment in the field of public relations and good
will is usually both interesting and beneficial to all con-
cerned. Radio broadcasting, as it is now developed, has
placed before all of those who are intimately connected
with this industry a limitless opportunity to build up and
preserve that feeling of international good will which is at
once an inspired labor and the greatest obstacle to misun-
derstandings and possible wars.

Editorials

The Radio Infant Grows

RADIO broadcasting has been called "the fastest
growing industry." Here is what happened to the
National Broadcasting Company during 1929, accord-
ing to the annual report of M. H. Aylesworth, presi-
dent of the company, submitted to the Advisory Council
of the organization recently.

Fourteen stations were added to the national network,
including one Canadian station. The network now in-
cludes 73 stations.

Gross revenue of the NBC in 1929 totalled more than
$15,000,000. There were no profits.

Fifty-four hundred miles of wire were added to the
NBC System, bringing the total to 3 2,5 00 miles of wire
lines.

More than one million letters from listeners were re-
ceived in the year.

The personnel of the NBC was increased from 5 5 8 to
917 in 1929.

Sixty hours of programs a week were added to the
regular schedule of broadcasts from the key stations of
the network.

The President of the United States spoke thirteen times
over a national network. There were twenty-seven ad-
dresses by cabinet members, twenty-eight senators were
heard and twelve members of the lower house made ad-
dresses.

Virtually the entire population of the United States
can be entertained or informed by one program in the
same hour.

Radio and Religion

THROUGHOUT the land here and there has occa-
sionally arisen the sad wail that the radio is empty-
ing the church, because a lot of devout people now have
the means of taking their religion along with a cheering
cup of coffee, or something like that, from the depths of
a favorite armchair. Even this comfortable picture does
not seem able to dispel the gloom that has settled upon
the small but unsuccessful church. Like most clouds, this
one has a real silver lining, and
we do not refer to the silver
that is put into the collection
plate. ■

A survey of five famous
churches in New York reveals
the astonishing — to most of us
— fact that it is difficult to find
a place in any church on regu-
lar service days, and particularly
on Sundays. Further astonish-
ment may be provided in the
proven fact that a lot of nice
people, unable to find seats, are
content to stand at the back of
these churches. There may be
reasons for this but, so far as Hello, folks! Dis

RADIO REVUE

we can see, the radio has filled, rather than emptied, the
five typical churches visited.

It is true that there was in each case a live priest-in-
cumbent imbued with the power to hold his people, backed
by culture and a certain amount of personality, beautiful
music supplied by a first-class organ, a competent choir
ably led by a skilled musician-organist, often reinforced
with some instruments of the string family, a few brasses,
and occasionally a harp. The ordered service was evident-
ly rehearsed and housed in an imposing and dignified struc-
ture, but there were no vacant seats.

May we not claim that the radio has created in the
hearts of people a desire to participate in these great serv-
ices of the church, just as it has brought many thousands
of them to the radio studios where they can join, not
only in the weekly religious services, but also in the ar-
tistic and commercial broadcasts?

We do not wish to be flippant on a serious subject, but
the day cannot be far off when tickets for church services
— now subject to distribution by application for special
services — will have to be purchased on the sidewalk from
speculators, just like those for the first-class theatres. And
on this great day we believe that radio will properly be
able to claim its share of the credit!

The Interfering Client

ANY times, without thinking, a listener will severely
criticize a broadcasting station for putting a certain
type of program on the air. The particular program prob-
ably merits the criticism, but, in most instances where the
program is commercially sponsored, the blame should not
be placed at the broadcasting station's door.

Unfortunately, the radio seems to have fallen into the
same category as the newspaper, in that the average busi-
ness men, no matter what his line may be, firmly believes
that he can stage a radio program or run a newspaper
better than the people who have spent the better part of a
lifetime in perfecting their talents and abilities along
these lines.

The^average business man is certain that he knows what
"the public wants". He bases his opinion most of the time
on his own personal likes and dislikes, or on those of his
wife or relatives. If his company is in any way interested
in radio broadcasting, he immediately starts to play with
this attractive, but expensive toy, radio. He has very
definite views as to what constitutes a good radio program

and he proceeds to carry out
these ideas.

The large broadcasting sta-
tions and chains are all equipped
to originate, write, cast, rehearse
and produce practically any
kind of a radio program for a
client. Then, too, many of the
advertising agencies have cre-
ated special departments to han-
dle radio broadcasting for cli-
ents who wish to include this
new medium of advertising in
their general plan of magazine,
newspaper, billboard, direct-by-
mail and other advertising.
fight sure was a cinch. {Turn to page 45)

MARCH , 19 3 0

Soprano Modulator

Radio's Latest Wonder

Newest Invention Disposes of One of
Industry's Most Difficult Problems

By I. B. HANSOM

Manager of Plants, Orchestrations and Racketeering
National Broadcast. ng System

)(JP|f?TW

_^ TJDITOR'S NOTE — News of this latest de-\^
Cj velopment in radio science is likely to set
the musical tvorld agog. I. B. Hansom has
again stepped into the breach; in fact, he has
actually put his foot into it, with the an-
nouncement (exclusively in Radio Revue) of
his soprano modulator, which he describes

~~*\here in his own peculiar style. f

MOST complex of all the many problems connected
with radio broadcasting has been what to do with
soprano. A simple solu-
tion, arrived at early in the
history of radio, was to inocu-
late all sopranos with the
germs of laryngitis, but this
was found to be impractical,
because the sopranos, accus-
tomed since childhood to ad-
versity, not only became as
insensible to the germs as they
are to insults, but actually
made pets of the little couriers
of destruction.

The forces of nature thus
failed those who were doing
their best for the new art of
radio broadcasting. Although
many other solutions were of-
fered, the problem remained in
status quo, so to speak. It
was, to state it simply: what
shall we do about sopranos?
An interesting problem of a
like nature is faced in New
Jersey, and has to do with mos-
quitos.

Five years ago the soprano
problem was turned over to
my department of the Natural
Broadcasting System. Finally,

'Take back, that set you sold me! All it can get is
static and sopranos/"

after five years of vast expenditures and countless experi-
ments, I have developed a scientific solution of the soprano
problem. It is a device that I call the Soprano Modulator,
which may be attached to any microphone, but which
works most efficiently on the recently developed left-
handed mike (see January issue of Radio Revue).

Based on IndifFerentiality

The whole principle of the new device, which is so com-
pact that you can take it home in a taxicab, is indifferent-
uality, and so far has the new device been developed that

its capacity for peak icono-
clasms is practically nil.

Within two weeks it is ex-
pected that every microphone
in the Natural Broadcasting
System studios will be equip-
ped with the Soprano Modula-
tor— in fact, both of them.
Therefore, it is fitting that a
brief description of the new
device be given.

To the casual fire inspector
or to just a visiting fireman it
resembles a soup can. Prefer-
ably a can that has held chick-
en gumbo. (Note to business
office: If you can sell an ad to
the Camel Soup Corporation,
you can refer to it as Camel's
Chicken Gumbo) . But be-
neath these simple outlines is
concealed a complicated mech-
anism.

It was discovered that a coil
from a 1915 model Ford func-
tioned perfectly in this device.
Its pitch coefficient proved to
be equivocable, and its dy-
namic potentiality was X-ZX
(Turn to page 45)

RADIO REVUE

JTATIC rccM Tut XTLDICX

The popular radio team of Macy
and Smalle, which has been reunit-
ed, returned to the air via WOR in
a new program which runs every
Tuesday night from 7:30 to 8. Both
are pioneers on the air. Macy's
first microphone appearance dates
back to 1922.

Macy has been a vaudeville head-
liner for fifteen years. In radio, he
created and played the role of
Hank Simmons in Hank Simmons's
Show Boat. He played the princi-
pal comedian with the Columbia
Light Opera Company in the re-
vivals of Gilbert and Sullivan and
other light operas. Mr. Smalle has
been a Victor recording artist for
eighteen years and is still making
discs for the same concern. He was
originally with the famous Revel-
lers. One of his biggest hits was
his arrangement of "Dinah," which
contained an original humming ac-
companiment. He has been con-
nected with many important hours
on the air, and has toured Europe
for two years with the Revellers.
The team is known as Keen Mara-
thons.

AAA

Alfred Shirley, before he became fa-
mous on the radio, was quite a familiar
figure on the legitimate stage. One
night he was playing in a Roumanian
tragedy in a New York theatre. Mak-
ing his entrance a little late, he became
excited and lapsed into a rich Lanca-
shire dialect that upset all the Rouma-
nian traditions within hearing.

Often a person does things on the spur
of the moment that he would not even
think of doing — if he had time to think.
Such -was the case one night recently with
Walter Preston, baritone of the trio that
sings on the Ingram Shavers program. The
hour had started. The orchestra had
played the first chorus. The soloist was
supposed to sing the second chorus. Walter
looked around and suddenly realized that
the soloist was not there, although his
music -was. So -without thinking twice,
Walter grabbed the piece of music, -which
he had never before seen or heard, rushed
to the microphone and started singing, just

as the orchestra began the second chorus.
It all happened in less time than it takes
to tell and San Lanin, the director, did
not even realize that another singer -was
performing. However, Walter did. In
all his five years of radio -work he says
he cannot recall ever having experienced
such a "gone" feeling. By the time he
had finished that one chorus he -was in
a cold perspiration and his knees -were
beating a tattoo that vied with the bass
drum. However, all's well that ends well,
but next time Walter says he'll let Sam
Lanin sing the choruses himself.

The clever children of the B-A-R-N
Theatre, on WEAF every Saturday, re-
cently staged a "broadcasting hour",
including the great mystery drama:
"How Many Raisins are There in a
Raisin Cake?" or "How Father has
Changed". Howard Merrill, one of
the juvenile stars of the show, delivered
the immortal line: "You can't have too
many raisins in a cake when you're
raisin' a family!" There was immedi-
ate talk in the treasurer's office of a
raisin his salary, of course !

AAA

Walter Kolomuko can get mad! The
leader of Hawaiian ensemble appearing in
WOR's Mid-Pacific hour on Monday nights,
stood on the sidelines during a rehearsal
recently, listening to an argument on the
influence of a country's music on its in-
habitants.

"Take Hawaii, for instance," said one,
"the reason for the laziness of the people
is the dreamy, langorous strains that they
'plunk' on their guitars and ukuleles." He
got no farther.

"Who told you Hawaiians are lazy?"
demanded Walter, -who, although he has
been in the United States for many years,
is a native Hawaiian. When no answer
was forthcoming, he went on with consid-
erable spirit:

"It is true that much of our music is
dreamy, but there is just as much that has
swift rythm. Try to keep pace -with our
dancers some time and see how lazy they
are!"

AAA

Lewis Lane, pianist and composer of
the NBC music library, like most mu-
sicians, spends all his spare time listen-
ing to music. The other evening he at-
tended the opera at the Metropolitan,
all dressed up like an announcer under

the new evening dress rule. The opera
was Beethoven's "Fidelio" and, outside
in the lobby, was a gentleman in a flan-
nel shirt and red necktie yelling, with
true commercial vigor:

"Here y'arel Get that book of the
big show 'Fiddley-Oh.' Here y'are! De
correct book of 'Fiddley-Oh'."

AAA

Harold Branch, NBC tenor, who
is kept pretty busy these days, was
discussing everything in particular
and nothing in general, with a
friend the other day. "Yes," com-
mented the friend, "it's a tough
life you lead." Harold agreed, and
added, quite casually, mind you,
"With me life is just one darn sing
after another."

AAA

Through the eyes of a "mike" placed
in the Lincoln Museum, the one-time
boarding-house in which Abraham Lin-
coln died, the CBS took its listeners on
a word-picture tour of inspection of
this national shrine as a part of its
Lincoln's birthday program. In Wash-
ington this historic feature was broad-
cast by Station WMAL.

Listeners were conducted through
the museum by a man who has devoted
most of his life to a study of Lincoln.
He is Lewis G. Reynolds, custodian of
the museum. Mr. Reynold's father and
mother were at Ford's Theatre Friday
evening, April 14, 1865, the night of
Lincoln's assassination.

It happened, swears a certain press
agent, in one of our metropolitan broad-
casting studios. Ray Sinnott, announcer,
in a burst of pessimism had contracted to
take out a brand new insurance policy.
The company doctor had arrived, and -was
investigating Mr. Sinnott's diaphragm -with
various interesting instruments.

He finally drew forth from his black
bag a stethoscope and put it to the an-
nouncer's heart. Adjusting one end to his
ears, the doctor groped hither and thither
across the Sinnott body in quest of medi-
cal information. It looked like something

(Continued on page 3 8)

MARCH , 19 30 35

Ll/TENER/* FCRIM

XXXXXXXXSOCXXSHB^XXXXXXXXXX^^

Fine Salesman for Broadcasting

Perhaps you'd be interested to know that your magazine
is very popular with the public; in fact, it is classed at
this early date as the best of its kind on the market, with
which opinion I heartily agree. From the first to the last
page one does not lose a spark of interest and learns to
know the radio voices much better. Your magazine is a
fine salesman for selling broadcasting to radio listeners.

— H. J., New York, N. Y.

AAA

Calls "Big Ten" Best Feature

Please enter my subscription to Radio Revue for two
years. Here's hoping you never discontinue the best fea-
ture in the magazine — The Big Ten, Best Selling Popular
Songs of the Month. It's Great! — H. F., Buffalo.

AAA

Wants Mountainville and Nit Wits

Your January issue proved my first
reading of Radio Revue to be a pleasure.
In response to your editorial, asking for
suggestions as to what your readers would
like to see in your magazine, I would like
to see Yolande Langworthy's picture in
one of your issues in the near future. Per-
haps you would run a story on Mountain-
ville Sketches, too. Miss Langworthy's
writings are wonderful and her voice has
that rich warmth that I have not heard in any other artist.
Maybe the Nit Wits will come in for a write-up soon. I
sincerely hope so. — M. W. O., Brooklyn, N. Y.

[The Nit Wit Hour was featured in the February issue
and Miss Langworthy's picture, together with a story on
the Mountainville Sketches, will appear in next issue. — Ed.]

AAA

Seeing Owners of Radio Voices

I was about to write and ask if a radio magazine for the
listener had ever been thought of and, if not, why not,
when I ran across the January issue of Radio Revue. I am
enclosing check for $2 and would like my subscription
ante-dated to include the first numbers of the publication,
if this is possible. Of course, the thing of greatest interest
to fans is seeing the owners of the radio voices. I, there-
fore, hope for lots of good photographs. Just at present
Amos 'n' Andy, the Sieberling Singers, Caroline Andrews,
Alma Kitchell and Arcadie Birkenholz are the ones in
whom I am most interested. — G. E. M., Woodbridge, Conn.

AAA

Thank You, Seth Parker!

I have just finished reading Radio Revue with a great
deal of pleasure. The paper, type, make-up and material

are all splendid. There is no question but that you are
publishing the de luxe radio magazine.

— Phillips H. Lord ("Seth Parker"), New York.

AAA

"It's a Bear!" Says "Uncle Zeke"

Enclosed please find $2 for my subscription to your
magazine. I have gone through the current issue and
think it's a bear! — Arthur L. Greenfield ("Uncle Zeke"),
Irvington, N. J.

AAA

"The Perfect Radio Magazine"

Found at last — the perfect radio magazine for the ave-
rage listener. And I think that is the classification in
which I belong, having been a rabid radio fan for nearly
seven years. It is not like most other ra-
dio magazines, whose publishers have over-
burdened their columns with technical ar-
ticles to the extent that you must hunt
the news that is really of interest to the
listener. Radio Revue is the one maga-
zine that you can read from cover to
cover and appreciate. As a matter of fact,
I would feel as though I had missed some-
thing if I did not do this. So, kindly ac-
cept my congratulations and best wishes
for the continued success and enter my
name on your subscription list, for which
I enclose check.
I could not find your magazine here, but a friend who
knows of my keen interest in radio sent me the first two
copies from the city. I was especially pleased with the
publicity given to Rudy Vallee and, if I had not received
my first copy too late, I would have entered the contest.
But I am going to enter this new one and expect to mail
my entry tomorrow. In connection with the subject of
"Radio's Greatest Personality," may I say that I thought
the prize letters were very good. Mr. Hansen deserves
special congratulations. Most of all, I enjoyed Dale Wim-
brow's lines. Let us hear more from the Bard of Broadway.
His lines on any subject should be entertaining.

In the article by Mr. Fussy Fan, why does he say one
thing and then a little later contradict himself? For ex-
ample, he says he derived real thrills from Roxy's Gang
and then numbers Roxy among his pet aversions. How
does he arrive at this conclusion when Roxy is a large part
of every Gang program. Then he does not care about
"wise-cracking announcers" and yet picks several as
favorites who are, or have been, noted for their wise re-
marks. I heartily agree with his selection of the greatest
staff of announcers ever assembled, having known or,
rather, heard of them even before the time he mentions.
They comprised the Four Horsemen of WJY before this
station gave way to WJZ and WEAF. I do not wish to
{Con tinned on page 36)

RADIO REVUE

Rudy Vallee and Jessica Dragonette
Lauded in Prize Letters

HERE are announced the prize
awards for the best letters
on the subject of "Who is
My Favorite Radio Artist — and
Why?" There are two lists of
winners, one for January and the
other for February. The contest
was extended to allow some of our
readers extra time to complete
their letters, but prizes are being
awarded for both months, accord-
ing to when the individual entry
was received, ten dollars for first
choice and five dollars for second.
True to early indications, Rudy
Vallee and Jessica Dragonette led
the van, Rudy for January and
Miss Dragonette for February.
Lack of space prevents us from
printing all the letters, but we offer
here the first prize letters for both
January and February.

January First Prize Letter

' I 'HE appeal of Rudy Vallee, its cause and effect, constitutes
the most burning question of the day. What matter wars
and rumors of war, the matter of tariff reform, whether this
vast country of ours be wet or dry, so long as a national prob-
lem of such gravity and scope presents itself to our puzzled
minds? And the worst of it is that, even if a referendum
were held and a vote taken to determine the reason for his
popularity, the question of what to do about it would still be
unsolved.

Rudy is beloved alike by matron and maid. To the flapper
he represents the hero of her dreams. The matron, while
listening to Rudy croon, lives over again the days of her own
courtship. Personally, I do not believe the question of age
enters into the matter at all. His voice is age-less and age-
old, and the embodiment of all the romantic longings of all
women — be they sixteen or sixty.

Sometimes I think that his looks, or the fact that he is a
young man of good breeding and antecedents have, like the
flowers that bloom in the spring, nothing to do with the case.
Again, I reach the conclusion that these attributes are of very
material aid to him in holding his popularity. It is probably
a fact that this vivid personality of his, which is so intense
that it comes right through the microphone and gets up in
your lap, would not be nearly so pronounced were it not for
this background of breeding which no one who has it can avoid
evidencing to some degree.

But he may be handsome, young, boyish; he may play the
saxophone in a manner to bring envy to the heart of the Angel
Gabriel himself, but the greatest lure of Rudy for me lies in
his singing. His voice in itself is nothing to brag about —
pleasant enough, but not more so that dozens of others —
slightly — no, more than slightly — decidedly nasal, but none the
less fascinating. What then, is it which causes us "hysterical
women" as we are termed, to hang on his every note? And
echo answers, what?

The solution of this problem lies in the fact that he is a
clever youngster — he knows how to use that voice. He knows
that every woman likes to feel that he is singing just to her —
and so he sings to every woman as an individual. The sophisti-
cated man understands how to bring women to his feet and

Winners for January

First Prize — Margaret H. Heinz,
Buffalo.

Second Prize — Frances M. Poist,
Hanover, Pa.

Honorable Mention — L. A. Con-
nors, Cynwyd, Pa.; Oscar Janis,
New York.

Winners for February
First Prize — Margaret M. Lukes,

Philadelphia.
Second Prize — Pearl M. Thomp-
son, South Bend, Ind.
Honorable Mention — Jean S. W.
Barnes, White Plains, N. Y.;
Mrs. Blair N. Reiley, East Lans-
downe, Pa.; Carrie E. Nichols,
New Britain, Conn.; Marjorie L.
Goetschius, Manchester, N. H.;
Kathleen O'Rourke, Manches-
ter, N. H.

uses all his cleverness to do so. Rudy
makes no effort — he doesn't even know
what it's all about, but he accom-
plishes the same result out of his
sheer naivete. He knows we like to
be sung to, and so he sings to us.
Women feel this inherent decency and
character of the boy, and love him
for it. With the exception of one
other, who must remain nameless, I
would rather listen to Rudy than to
any other personality on the air or
screen, in spite of the fact that as a
real singer he simply isn't — and
there's a hundred million others like
me.

It's not much of an undertaking to
say -wherein lies the reason for Rudy's
appeal, but to tell why he is so uni-
versally set upon and scorned by the
men is a different proposition. I
shall have to leave this vital point
for further discussion by someone
•who is better at explaining the vag-
aries of the male sex than am I.

In the meantime, as long as we
have Rudy and as long as he has us,
what do we care what the men think?
They're only jealous anyway. But,

you know, "Fifty million women can't be wrong!" — Margaret

H. Heinz, Buffalo.

Jessica Dragonette is my favorite radio artist. I approach
Miss Dragonette's hour on the air as I imagine I might have
walked up the red-carpeted stairs of the opera house years
ago to hear Jenny Lind.

Why is she my favorite radio artist?

1. Because her nightingale voice does all the noblest things
for me that music can do for man.

2. Because I have an intense admiration for her as the
complete artist.

3. Because her personality comes so clearly to me over the
air, that after she is finished I always imagine her unseen audi-
ence dragging her carriage over a road of stars.

May I enter my vote for Miss Dragonette in the popularity
contest? — Margaret M. Lukes, Philadelphia, Pa.

Listeners' Forum

(Continued from page 35)

find fault, though, because I really did enjoy it all. I guess
there would be plenty with which to find fault in my
ideas along some lines if I were to put these ideas in print.

The feature entitled Static from the Studios is of special
interest. Keep it up !

Another thing to be commended is the quality of the
reproduction of your photographs and the legibility of the
type, something rare in publications of this price.

I am not particular in my news about the radio artists,
so long as it is news. And, taking it all in all, I think
Radio Revue gives it better than any other magazine I
can name. — F. P., Hanover, Pa.

MARCH , 19 3 0

^XJ^X3«XXX%J!«X3^**%XX3^XXX^

Eteek Etching/

•

.wwwww'

"Many Radio Artists Untrained"

r 1 1 HE following artists, well-known to radio audiences,
■*- owe their training to Eleanor MacLellan, of distin-
guished musical history: Betsy Ayres, Gladys Rice, Evelyn
Herbert, Peggy Wood, Dan Beddoe, Dorothy Stone, Paula
Stone, Nydia D'Arnell and Marguerite Ringo, the latter
now appearing with great success in Italian opera houses.
Eleanor MacLellan has been teaching in New York for
the past twenty-five years, and holds a position unique
among vocal teachers of this city. She has applied her
method to the creation of radio artists since the inception

of b r o adcasting.
She says:

"I can point to
all my artists and
their engagements
with pride. "With-
out exception they
are all working,
and getting paid
for their work. I
believe an artist is
happier paying for
lessons in this way
than by using bor-
rowed or donated
money. Indepen-
dence is a long step
toward a r t i s tic
happiness.

"The t r o u ble
with about one-half of the artists now before the micro-
phone is: first, they are without sufficient musical training
and, secondly, they are without adequate radio experience.
Why should the great radio broadcasting systems take in
untrained artists and then have to teach them how to
speak or sing?

"When a railroad engineer takes charge of a heavily-
loaded train, just as when a ship's captain takes command,
he knows what he has to do. He has had training and
experience in these matters. Why should not a concert
singer or a speaker, facing the microphone, know his busi-
ness, the arts of singing and speaking, the art of poise, a
few languages, and have a refined accent, pleasing to the
great air audiences?

"I am afraid part of the fault lies in the great desire to
make money without training at all, just as a few un-
trained musicians have made money. But with the present-
day competition, how long will they last? If their names
appear on programs five years from now, I will be greatly
surprised."

Eleanor MacLellan's studios are quite near Central Park
West and they are the center of many a bright musical
entertainment. She is a gracious hostess as well as a sound
teacher.

Pilots Artists' Destinies

GEORGE ENGLES, vice-president of the National
Broadcasting Company, in charge of artists and pro-
grams, is one of the youngest and newest vice-presidents
at 711 Fifth Avenue. By reason of his comparatively long
experience with orchestras, conductors, prima donnas, sec-
onda donnas, and great artists, he can tell you a little bit
ahead of time just what these ladies and gentlemen are go-
ing to do. If they are suffering from indigestion or tem-
perament and refuse to do anything, George can tell you
that, too.

Here is his brief,
but s p e c t acular
history. He was
born in these
United States, in
the city of Albany,
capital of New
York State. His
age does not mat-
ter. To our knowl-
edge he has been
twenty-one for the
past ten years and,
when time and
work permit, he
eats very well.

His first con-
tacts with orches-
tras and artists
date back to 1909,
when he had charge of the New York Symphony Orches-
tra under the direction of Dr. Walter Damrosch, and later
with such distinguished guest conductors as Bruno Walter,
Albert Coates and Otto Klemperer. The following emi-
nent artists have been led around this country by George
and, when they have left the country, they have invariably
carried with them a little spending money: Paderewski,
Ernestine Schumann-Heink, Jascha Heifetz, Marion Tal-
ley, Paul Kochanski and many others of established repu-
tation and recognized ability.

George Engles first came to the radio business in May,
192 8. In the short space of ten months he was trans-
ferred from the post of manager of the National Broad-
casting Company's Artists' Bureau to that of vice-presi-
dent in charge of Artists and Program, as we have said.
From this dizzy eminence George beams benignly down
upon a company of nearly a thousand persons, some of
whom may be numbered among his old friends in the
treacherous but fascinating music game.

George plays a fair game of hand-ball, but dire threats
prevent us from mentioning the reason for this strenuous
exercise. Suffice it to say that it provides him with much
healthy enjoyment and offers him relaxation from the
vigorous strain of his pressing musical activities.

Muroy

George Engles

RADIO REVUE

(Continued from page 34)
■was decidedly 'wrong with the announcer's
cardiac apparatus, for the doctor was mov-
ing the business end of the stethoscope as
though it were the dial of a receiving
set. Finally the radio-minded Mr. Sinnott
could stand it no longer.

"Let's see what's on at WMCA," he sug-
gested.

AAA

Alma Kitchell, NBC contralto, is
receiving a wide response to the
program she sings on Sunday morn-
ings. Recently the Mayor of Palm
Beach wrote and asked her the com-
poser of the very technical number
she had sung, called "The Anchor
Song." Alma finally discovered
that he referred to a song entitled
"Vainka," by Whishaw. Alma
■wrote him to the effect that his mis-
understanding of the title was due
to poor diction on somebody's part
and, inasmuch as the title was not
mentioned in the text of the song,
she disclaimed the responsibility.

AAA

Raymond Knight recently staged in
his "Cuckoo Hour", Station Ku-Kn,
(NBC) a burlesque on Light-headed
Housekeeping, the complete absence of
Daily Stock Quotations, the Voice of
Excelsior, the great mystery drama:
"Who was Behind Grandfather's Grand-
father Clock?" or Saved by Eastern
Daylight Saving Time, and a fake foot-
ball match between the Alaska Uni-
versity Walruses and the Florida Col-
lege Lemon Pickers. It ivas excellent
fooling.

tually are. He recalled to them the last
occasion on which he had seen them in
person. That was several years ago at
the Radio Manufacturers' Ass'n show
in New York, when they came un-
heralded from Chicago to appear as
"Sam and Henry." "Say," commented
Mr. Correll, "we sure were frightened
on that occasion. We were just about
scared stiff."

Amos 'n' Andy, in the persons of
Charles Correll and Freeman Gosden,
were in the New York studios of the
NBC recently for a short visit. The
Editor of Radio Revue was introduced
to them and was impressed by the fact
that they looked like nothing more than
a couple of enterprising young business
men — and such, by the way, they ac-

The Sylvania Foresters Quartet is di-
rected by Roy Close, which, one ivag
has remarked, is no doubt responsible
for their "close" harmony.

AAA

Bobby Reinhart, master of ceremonies
for the Checker Cabbies program over
WOR, has given more youngsters a chance
to appear on the air, than any man on
Broadway. Bobby is always looking for
talent, and every Thursday, when the
"Cabbies" broadcast, you'll hear a new
voice, in addition to the old standbys,
Johnny Buss and Phil Brae. Everyone,
from blues singer to opera student comes
to Bobby for an audition, and he gives them
a chance if they have anything at all to
offer.

"You never can tell," says Bobby smil-
ingly, by way of explanation. "Fanny
Brice peddled papers down by the sub-
way, and Rosie Ponzillo didn't seem like
much when she -warbled ditties in Cafe
Mellone, back in New Haven. Today,
Fanny is a headliner, and Rosie Ponzillo is
Rosa Ponselle, of Metropolitan fame. Why
not give the kids a hand?"

AAA

John T. Martin, formerly of the
NBC press department, but now a light
in the candlestick of Batten, Barton,
Durstine & Osborne, Inc., (name copied
from telephone book) reminds us of
that old gag about asking a postman
to go for a long walk. He spends most
of his spare time wandering about ra-
dio studios.

AAA

Excerpt from a letter re-
ceived by the National Broad-
casting Company: "I claim to
be the only man who can
neigh like a horse so near nat-

ural, if you were near where
there were horses you would
not think of a human voice
being able to perform such a
feat. Possibly this feat would
work in the Farm and Home
Hour." AAA

Alfred J. McCosker, director of
WOR, and Mrs. McCosker, left recent-
ly for a West Indies cruise on the Hol-
land-American steamship Vollendam.
They will be gone for three weeks,
stopping at Port Au Prince, Jamaica,
Colon, in the Panama Canal Zone, Ha-
vana and Nassau. During his absence,
A. A. Cormier will be in charge of the
station. Mr. Cormier is Mr. McCos-
ker's assistant and is also in charge of
the sales division of the station.

AAA

George F. Johnson, president of the
Endicott-Johnson Corporation, of Endicott,
N. Y., which recently began a year's
broadcasting over WOR and the other
members of the Quality Group of stations,
WLW, Cincinnati and WMAQ, Chicago,
is so satisfied with the work of the artists
on the program that he has granted them
membership in the "Industrial Democracy,"
which heretofore has been the exclusive
privilege of the workers.

Colonel J. W. O'Mahoney, who is in
charge of Endicott-Johnson's broadcasting,
read the telegram which conveyed the
news of Eugene Ormandy, his orchestra
and other artists at a recent rehearsal and
the subsequent cheering nearly disrupted
studio activities.

Membership in the "Industrial Democ-
(Continued on page 40)

^STRID
III III

dramatic
soprano

with
national
grandopera
company

w^tudio

49Wesf57St.

CONCERT
ORATORIO
OPERA

management
NATIONAL BROADCASTING AND

CONCERT BUREAU
711 FIFTH AVENUE NEW YORK

MARCH, 19 3 0

PrCGCA/H Nctex

New Programs

Romances in Biography — ¥MCA — Sat-
urday, 5:3 0 P.M. Terse talks on the
characters of the great, by David St.
Pauline.
ACO Entertainers — ¥MCA — Monday,
9:3 0 P.M. Devoted exclusively to
Negro music, played by Negro mu-
sicians, under the guidance of Moe
Gale, white entrepreneur of Harlem
entertainments.
East of Cairo— WE AF— Wednesday,
8:3 0 P.M. New adventure series,
telling the exploits of two young
American soldiers of fortune. Writ-
ten by Raymond Scudder, with mu-
sical background directed by Sven
Von Hallberg.
Old King Cole Stories— WEAF— Mon-
day, Tuesday, "Wednesday and Fri-
day, 5 P.M. Tales, songs and riddles
for the kiddies, with George Mitchell
as Old King Cole. Sponsored by
Rex Cole, Inc., 265 Fourth Avenue,
New York, N. Y.
Play of the Month — WABC— Fort-
nightly, on Tuesday, 6:45 P.M. Out-
standing personalities of the stage
presented in connection with a play
selected for each program.
Appreciation of Poetry in Youth —
WABC— Tuesday, 3:45 P.M. Series
of talks by Harry Webb Farrington
to children.
Endicott-Johnson Hour — ¥OR, WLW
and WMAQ— Sunday, 8 P.M. Sym-
phony orchestra and symphonic jazz
band, under direction of Eugene Or-
mandy, the Boys' Club Quartet and
"Happy Dan'' Laster, oldest em-
ployee, in point of service, of Endi-
cott-Johnson firm, who will provide
human element in program.
Know Your United States — WENR and
W9XF — Thursday, midnight (cen-
tral time). Musical travelogue, tell-
ing the world the advantage of liv-
ing in the United States. Under di-
rection of Everett Mitchell, chief an-
nouncer of WEXR.
Works of Shakespeare — WPCH— Thurs-
day, 6:20 P.M. Presentations of fa-
mous plays of Bard of Avon by Clas-
sic Radio Players, under direction of
Ben S. Mears, actor and playwright.
Each play to be broadcast in three
parts, one part a week.
Adventures in Citizenship — WEAF —
Tuesday, 7 P.M. Series of four ex-
perimental programs presented bv

Voters' Service, featuring persons
prominent in public work.
Yesterday and Today in Medicine —
WLW— Wednesday, 7 P.M. Series
of talks on modern prevention and
treatment of disease as contrasted
with old methods, presented by Uni-
versity of Cincinnati, with co-opera-
tion of Academy of Medicine of Cin-
cinnati.

AAA

The search for novel, unusual
and entertaining broadcasts is one
that "grays" the hair of program-
mers of all stations. In the few
years of radio's evolution nearly
everything adaptable to broadcast-
ing has been used. Instruments of
all types, singly and in groups have
found their place before one micro-
phone or another.

For the first time in WOR's his-
tory, however, it presented a "plec-
trum" orchestra recently for forty-
five minutes, under the listing of
"The Serenaders," with William
Edward Foster, as director.

AAA

A pall was cast over the second per-
formance of Cesare Sodero's awn grand
opera, "Ombre Russe," recently, when
it was learned that Moe Rich, one of the
violinists in the NBC orchestra, had died
just before the dress rehearsal. His death
was attributed to a heart attack, super-
induced by acute indigestion. While Mr.
Rich had not long been in the orchestra
he had made many friends The rather
sombre setting of Mr. Sodero's opera
served as an appropriate eulogy.

AAA

Harry Reser and his Clicquot
Club Eskimos, an organization made
nationally famous by radio, are sew-
ing additional service stripes on
their furry garments. The reason
is that a new contract between the
NBC and the Clicquot Club Com- '
pany has been signed and the Es-
kimos will be heard for another
year through the NBC System. By
way of celebration they were heard
twice in one week. The Eskimos,
now among the real veterans on the
air, made their first appearance in
December, 1925. Now in their fifth
year, they have never missed a week
before the microphone since.

bpeBook

FREE

who want facts
on the Jobs new
often in RADIO

You will find the true picture of Radio's many
opportunities for a good job in this book. Here
are some of your opportunities in Radio.
Broadcasting Stations use engineers, operators,
station managers, and pay $1,800 to $5,000 a
year. Radio Manufacturers employ testers,
inspectors, foremen, engineers, service men,
buyers and managers for jobs paying up to
$15,000 a year. Shipping Companies use hun-
dreds of operators, give them world wide travel
and $85 to $200 a month besides.

Radio Dealers and Jobbers (there are over
35,000) are continually on the lookout for good
service men. salesmen, buyers, managers and
pay $30 to $100 a week for good men. Talking
Movies pay as much as $75 to $200 a week to
men with Radio training. Besides there are
opportunities almost everywhere for you to
have a spare time or full time Radio business
of your own — to be your own boss.

I am showing hundreds every year how to make
much more money in Radio than they could
make in their old jobs. J. A. Vaughn, 3715
S. Kingshighwav, St. Louis, Mo., jumped from
$35 to $100 a week. E. E. Winborne. 1414 W.
48th St., Norfolk, Va., seldom makes under
$100 a week now. My book proves it. You
needn't give up your job to learn. All I ask is
some of your spare time.

I will show you ten jobs that you can do for
extra money the day you enroll. Throughout
your course I'll show you additional plans that
are making $200 to $1,000 a year for hundreds
of students while taking my course. G. W.
Page, Noel Block Garage, Nashville, Term.,
made $935 in his spare time while studying.

My 64-page book tells you where the good
Radio jobs are. what they pay, how to get one.
It tells you about my revised and enlarged
Radio course of over 50 Lesson Books, over 40
Service Sheets giving information on servicing
different makes of sets, the 8 Outfits of Badio
Parts I give for a Home Experimental Labora-
tory, my Lifetime Employment Service and
other features. Get it. Bead it. Then yea
can decide one way or the other.

J. E. SMITH, President

National Radio Institute, Dept. OC80

Washington, D. C

THIS COUPON IS C00D/o> ONE
FREE COPYOFMY
VALUABLE BOO

AfPW

J. E. Smith, President.

National Badio Institute, Dept.

Washington, D. C. OC80

Dear Mr. Smith: — Send me your book, "Bich

Bewards in Badio." I understand this request

does not obligate me and that no representative

will call.

Name

Address.
City

.Siaie.

RADIO REVUE

XtATIC rccM the XrUDICJ

{Continued from page 3 8

racy" means that every artist and mem-
bers of his or her family will be entitled
to medical care, with country club and all
other privileges. It is the first time that
radio artists have actually been taken into
the "official family" of any corporation.

AAA

Fully recovered from a three months'
siege of illness, Jerry Solow recently re-
turned to the Solow Soloists on WMCA
Sunday morning at 11 o'clock. Since
last October, when he was first stricken
u'ifh spinal meningitis, Jerry had lain
on a cot at St. Vincent's Hospital.
There was a time, just before Christ-
mas, when doctors gave up all hope of
saving his life. He was placed in a
glass-enclosed room, treated with oxy-
gen, and, when he lapsed into a coma,
a priest was called to administer the last
rites. But Jerry pulled through. Doc-
tors declare that the thousands of let-
ters received from radio fans were a
vital factor in helping the youthful
singer back to health.

AAA

Henry Shope, NBC top tenor, ar-
rived at the studio the other day,
somewhat excited as a result of an
encounter with a traffic officer, in
which Henry carried off a souvenir
in the form of a ticket for speeding.
He went to a rehearsal and was
surprised to learn that he had been
assigned to sing, as a solo, an old
English song: "What If I Never
Speed."

Little Barbara Loebrich, of NBC pro-
duction department, recently volun-
teered to assist in the "mob" required
to cheer the entrance of Napoleon.
When the trumpets announced the ar-
rival of the Emperor Napoleon in
"Kay" Seymour's "Famous Loves", all
the mob cheered as directed: "Hail,
Napoleon, our Emperor" Barbara went
native American and yelled: "Hail, Co-
lumbia!"

Dolores Cassinelli, NBC soprano, is
quite upset. Because she's gorgeous
looking, she has been referred to in a
number of newspapers as a "Spanish
beauty."' She's really Italian. Accord-
ing to Miss Cassinelli, she has received
dozens of letters from Italian friends,
who accuse her of changing her colors.

"Is must be the Dolores that fools
them," she said. "The Cassinelli part
is Italian."

*^*.

Harold Sanford was conducting
"The Chimes of Normandy" by
Planquette at the NBC recently. A
chain, to be used in producing a
sound effect, was slung over a music
stand. Dorothy Ingling, a singu-
larly inquiring person, came into
the studio and asked what the chain
was for.

"They can't use that here," said
Ellis McDiarmid, well known flu-
tist, "that's a Columbia chain."

AAA

When Walter Winchell spoke over
WABC during the Littmann Program re-
cently, he related an incident regarding
an interview he had with Rudolph Valen-
tino a short time before the late star's
death. The subject of their conversation
was a slave bracelet which Valentino wore
on his wrist and -which was given to him
by Jean Acker, his first wife. Rudy had
said that, although many considered it
effeminate to wear such adornments he
would always do so because of his great
fondness for its giver.

Several telephone calls folio-wed Win-
chell's broadcast. One was from Jean
Acker, who happened to be listening in.
She was deeply touched by the words of
the columnist and thanked him for the
tribute he paid to Valentino, who she still
thinks the finest man she has ever known.

AAA

Merle Johnston, who conducts
the Ceco Couriers program, heard
regularly over WABC and the
CBS claims the highest record of
any broadcasting artists for ap-
pearances on commercial programs.
During his years years on the air,
Johnston has played on forty-five

of the leading sponsored features,
with innumerable sustaining pro-
grams on the side.

AAA

NBC studios, so cool in the summer
that they are sometimes called "ice
boxes," are comfortably warm these
days, according to the persons who
work in them. Yet the temperature in
every studio is constant the year 'round
— 72 degrees. The difference in out-
side temperatures accounts for the
seeming difference in studio heat, it
was explained.

AAA

The largest pipe organ ever built ex-
clusively for radio use has been installed
in the studios of Station WCCO, the
Minneapolis station of the CBS. It is
a three-manual instrument especially
designed and built for WCCO after
four years of experimentation. The
pipes, chests and other equipment oc-
cupy two sound insulated rooms at one
end of the studios, while the console is
in the main studio.

AAA

One of the most dazzling of the
hostesses at the NBC's New York
studios is Her Highness the Prin-
cess Sonya Brounova, a Russian
noblewoman.

AAA

LYRIC SOPRANO

3 wm\ -7

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NURIEL

NiLSON

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5 CI
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DNCERT
WORIO
=ERAx&6

management
NATIONAL BROADCASTING AND

CONCERT BUREAU
711 FIFTH AVENUE NEW YORK

MARCH , 19 3 0

"Lessons in Loveliness" 1

TUi

Radio Beauty Adviser <t

Make-up

MAKE-UP is the final aid to facial beauty. It can
make a lovely face look lovelier and it can trans-
form a "plain" face into an attractive one. Make-up is
no longer used with the mistaken impression that it will
cover up skin blemishes, but there are very few complex-
ions that are flawless enough not to need its artful aid,
PROVIDED, of course, that make-up is properly selected
according to the natural coloring.

It is not safe to be guided by something "for blondes"
or "for brunettes" because not all blondes have a fair skin
nor do all brunettes have an olive complexion. There is
the fair brunette type with a much lighter coloring than
a creamy or "Spanish" type of blonde. Then there are the
red-haired types and the in-between type with light or
dark brown hair and creamy, fair or olive skin. To advise
you on your personal selection I would have to know the
color of your eyes — of your hair — the tone of your com-
plexion— and your age — but here is some general informa-
tion that applies to every woman.

Powder

Powder should always be a trifle deeper than the tone of
your skin as a lighter shade emphasizes any lines or
wrinkles or "hollows" and it is well to remember that
powder looks darker or deeper in the box or display tube
than it will look on the skin. If powder "flakes" or simply
will not stay on, it is usually an indication of a dry skin
and in that event a bit of your nourishing cream, lightly
patted in, then wiped off, will act as a protective film and
a perfect powder base. If powder "cakes" or streaks it
usually indicates that your skin is too oily. And don't
forget to powder your forehead. A shiny forehead is just
as bad as a shiny nose.

Rouge

Many women are discovering that rouge in cream form
gives the skin the most natural effect. Another great ad-
vantage of a good cream rouge is that it will stay on for
hours without need of renewing. Think of the comfort,
the added assurance of knowing that you do not con-
stantly have to be dabbing on more rouge every fifteen
minutes or so.

It is important, of course, to select a cream rouge, such
as Drezma, which is not too oily or too dry, but just
creamy enough to blend in easily and smoothly.

Unlike a dry rouge — a cream rouge is applied before the
powder. If the skin is dry or sensitive to cold weather,
a tiny bit of nourishing cream gently patted in, then
wiped off, makes a perfect base for blending in cream
rouge. For oily skins — while the skin is still a trifle moist
with astringent.

Indelible Lipstick

The lips should always be more vivid than the cheeks —
that you know — but they should be of the same tone, and
should match the color in the face perfectly and, since
the lips usually have a bit of natural color, it is best to
use the same shade of rouge and lipstick.

There is a new indelible lipstick (name on request) that
is actually and safely indelible, which means that it will
stay on for hours, no matter how much you talk or eat
or drink. It gives the lips a soft, "dewy" appearance-^-
yet not oily, and contains a protective ingredient which
keeps the lips from chapping.

One of the pitfalls to avoid in selecting rouge and lip-
stick is the "in-between" shades. You are more certain to
get an attractive, natural effect by selecting either light,
medium or dark, according to your own personal color-
ing, and then taking a moment or so to blend in the rouge
evenly — and to apply the lipstick so that it will emphasize
the lips, alluringly, but not obviously "painted".

For the next "Lesson in Loveliness" I will tell you just
how each type of features should be rouged — to make a
round full face appear more oval — a thin long face look
pleasingly rounded — to minimize high cheek bones — so
you can practice it before your own mirror.

[Editor's Note — This is the first of a series of "Les-
sonsn in Loveliness" by Miss Vinick which will appear
every month in Radio Revue. For information on
your beauty problems, address Nell Vinick, Beauty
Adviser, in care of Radio Revue, Six Harrison Street,
New York, N. Y.]

Radio Gives Actress Greater Thrill Than
Does Stage

(Continued from page 9)

whom are individual, can you wonder that I find radio the
most interesting field in the world? Yes, it's because of
the people and I know you all agree with me. That's
why I'm writing — so that I can put some of these people
into stories and let the rest of you know how interesting
this place is.

Do I like working with Miss Le Gallienne and her com-
pany in the Civic Repertory broadcast? I should say I do.
I played with Eva once, several years ago, and I still think
she's the most remarkable actress in the theatre today.
It's been great to work with her again.

Would the plays I appeared in be of interest? Let's see
— there was The Girl With the Green Eyes — I was she —
In the Next Room, East Side, West Side, Shanghai Ges-
ture and many others.

Yes, I've done movie work, and I hope to do more, at
some future time, but just at the moment I'm more in-
terested in radio. It's like a growing child, and I want to
help it grow. I want to try out new ideas, to write new
stories, to find out what the audiences like, to work out
new sound effects with our expert, Harry Swan, to adjust
words and music in such a way that you can all see the
picture of a Russian village or the poetry of the Mexican
desert.

And let me say here, if you think your letters don't
mean a great deal to us here at the studio — well, you're
mistaken. I guess there's nothing more to say, so I'll sign
off now. This is Georgia Backus, taking the air over the
Columbia Broadcasting System.

RADIO REV U E

Radio in the Hcme

Edited by Mrs. A. M. Goudiss

Founder and Manager of the Forecast School of Radio Cookery, NBC

JTJDITOR'S NOTE: We deeply regret thatV

_^/ Cj the serious illness of Mrs. Julian Heath V —

precludes us from printing her department

this month. We are indebted to another

enthusiast for the home and sane cooking,

Mrs. A. M. Goudiss, who has literally stepped

into the kitchen for us, although her invi-

"~N. tation to housewives is: "Come Out of the .^~

) Kitchen." f

Come Out of the Kitchen

Good M or n i n g,
Neighbors:

It is my belief
that the worst
thing that could
happen to this
country is that the
housewife, with all
her new freedom,
clubs, e m ancipa-
tions and — if you
will pardon me —
complexes, should
come to hate the
kitchen, for, de-
spite the fireside
and the piano, the
heart is where the
kitchen is, in a real
home.

Of course, it is

equally disastrous that she should be asked to spend whole

days and half the nights in her kitchen. Too many

women, alas ! do

not realize that

there is a world

outside the kitch-
en door. Women

had to come out

of the kitchen to

meet the rest of

the world but, at

the same time,

they have to

know it, and rule

it — make it

serve them and

theirs — instead

of being its

slaves. I invite

you, I urge you,

to come out of

the kitchen!

Mrs. A. M. Goudiss.

Mrs. Goudiss' Real Radio Kitchen.

Each Tuesday, Wednesday and Thursday morning at
11 to 11.30 Eastern Standard Time, it is my privilege to
tell of expert kitchen operations, of foods that build and
attract, and of a work that is almost gay. I talk gen-
erally to women, and to women with families, whose duty
it is to feed their families right, for their own good and
for the good of their community and country. The
kitchen must be an airy, pleasant, clean and uncluttered
place to live in for a little while each day, beautifully
organized and de-
lightfully produc-
tive.

Too often food
talks are stuffy.
Too often they are
dictato rial. One
must eat this and
drink that, wheth-
er one hates them
or not. This food
is good for one;
that is h a rmful.
Why? What is the
matter with good,
honest, boiled
onions and cheese
or a good scram-
bled egg if you like
them? Jot them
down and give
them another trial.

In my office I preach the pleasant sermon of healthful

food, and back
of that office I
have a sunny
radio kite hen,
where good
things are tested,
cooked and eaten.
That is the creed
of this w h ite-
enamel kitchen,
manned by ex-
pert c o oks. If
you have any
problems on
cookery and food
preparation, you
may write to me
in care of the
National Broad-
(Con tinned on
page 48)

Dr. A. M. Goudiss.

MARCH, 19 3 0

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Have Breakfast
with the

PEP HENS!

PEP HENS ARE FED AS
CAREFULLY AS YOUR BABY

EIGHT large feed mills on the Pacific coast — mills co-opera-
tively owned by the poultrymen themselves — give the hens
their breakfast and their dinner.

Giant hoppers pour out the clean, scientifically mixed grain
— crisp and inviting as your breakfast cereal.

Think of it! Twelve -million PEP hens, all "laying
for you," and all uniformly fed on the best grain money
can buy and experience can select.

Because of this, each fine, fresh, delicately flavored PEP egg
tastes exactly like the next .... and the next .... and the next.

Small wonder that children accustomed to the PEP flavor
immediately detect the difference, when ordinary eggs are
substituted.

Have breakfast with the PEP hens! The egg-buyer
of a great chain store did just that. Cupping his hand
under a hopper, he tasted a few of the golden kernels,
and said: "In my wildest moments, I never dreamed
of hens being fed like this!"

Have breakfast with the PEP hens ! Or, if you prefer, let
the PEP hens supply your breakfast.

Remember ! PEP eggs are all deliciously identical in flavor.

Pacific Egg producers

COOPERATIVE INC.

SAN FRANCISCO

NEW YORK

CHICAGO

*€H€ €GG IV ITU TMS fLGTUHXA TIOW

Seattle. Los Angeles, San Diego, Detroit, Pittsburgh,
Panama, Buenos Aires, Valparaiso, Lima, London, and Glasgow

> •"♦♦^♦♦^♦♦^♦•^♦♦^♦♦J. ^««*«^M^« ♦^^^♦♦^♦^♦^♦♦^♦♦^♦^♦♦^♦♦^♦^♦♦^•♦'♦♦^♦♦'♦♦•♦♦^ %♦♦♦* »I**I**>

RADIO REV U E

MILADY'S |

«1 FASHIONS 1

By MARIE BLIZARD 2
Radio Authority on Styles £

EDITOR'S NOTE — r/>is is the first of a
series of articles on fashions by Marie
Blizard, fashion director of the Columbia
Broadcasting System. Miss Blizard will be
pleased to answer any questions on styles.
Address her in care of Radio Revue, Six Har-
rison Street, Netv York, N. Y.

ONE'S initial article in a series on fashions should cover
the basic principles of fashion — lines, colors and fab-
rics. Yet each one of these three fundamentals of fashions
is of such interest and importance that it is quite impossi-
ble to cover it in a limited
space.

Besides, much has been
said of the "new" fashions,
which are now "familiar"
ones. The revolution in the
mode was so arresting and
its success was so rapid that
every fashion writer has
outdone herself in her ef-
forts to clear up any doubts
regarding its importance.

I am going to condense
my facts . . . and put my
information into catechism
form.

I am sure you all recog-
nize the fact that long
skirts are in (for a few
years anyway, regardless of
public protest) but . . . did
you know that any skirt
more than four inches be-
low the knee for street wear
is as unfashionable as one
four inches above?

You all know that the
natural waistline is THE
waistline. Did you know
that, if you are too high-
waisted or too low-waisted,
you should adjust your belt

to the most becoming placement as near the normal waist-
line as possible?

Two-Piece Costume Is In

You all know that the two-piece dress is out. However
the two-piece costume is in ! Did you know that silk
blouses are smarter than sweaters with woolen skirts? In-
cidentally, a bright red flat crepe blouse worn with a
brown tweed skirt or a dark blue flat crepe blouse worn
with a grey tweed skirt are very chic. Did you know that

the dark or vivid shades are much smarter than pastel tones
for blouses worn with the new spring dressmaker suits?
And speaking of replacements . . . that silk scarfs are much
more dashing than fur scarfs?

Did you know that Fashion has the blues daytime and
evening? And that French designers have their eye-
brows up to the top of their foreheads and their mouths
wide open in astonishment and wonder that blue . . . that
lovely bright, light blue they have tried so many times to
bring back ... is suddenly the smartest of the evening
colors? And that smoky light blue for daytime and
hois de rose in flat crepe are grand?

Did you know that velvet is absolutely out and taffeta
is absolutely in? That flat crepe printed with clusters of
flowers is one of the smartest fabrics for evening? And
that tweed is the smartest of the daytime fabrics?

And did you know that a band of tulle or chiffon
around your short evening dress makes it look new and
smart? And that a touch of lingerie . . . ruffles and cuffs
of net or organdie ... a shawl or scarf of flat crepe ...
demure bands of pique . . . always in snowy white . . .
will make a success of an old dress?

Now, it's your turn to ask me questions. And I will
be happy to answer them if you will address me in care
of this magazine.

Sound Effects Made to Order for Radio
Programs

(Continued from page 22)

bourine, Indian tom-tom, Oriental drum, sand blocks,
bicycle bells, parking auto, fire-works, cap pistols, baby
cry, chain rattle, sleigh bells, real cloth tearing, sword duel,
flies, bee buzz, tin pan crashes, cork pulling, falling trees,
handsaw, acetylene torch, ambulance bell, train bell, crow,
duck quack, rooster crow, hen cackle, cat meow and many
others.

Whenever a script calls for any sound effects, Mr.
Nichols is called upon. The other day some programs
were being recorded in the Judson studios. The script
called for the unsheathing of a sword. Mr. Nichols
achieved the desired effect by casually donning a pair of
mail gauntlets and producing a sword attached to his
table, which he simply pulled out of its sheath at the
proper moment. For the most part, however, sounds are
produced by mechanical appliances attached to the table.
He merely presses buttons, and the ocean waves begin to
roll, a tree falls, a board squeaks. All noises are possible
with his complicated machine.

Recently William B. Murray received the following
telegram from Mr. Nichols: "Ruined my ocean waves stop
won't be at studio today." All of which goes to show
that the business of producing sound on the radio is a
very sad and serious one.

WABC has acquired an automatic sound-effects machine
which, by means of pulling ropes and pushing buttons, can
produce over thirty different sounds. These range from
the mighty roar of thunder and lions to motorboat whistles
and ferry-boat sirens.

The entire machine is housed in a cabinet about the size
of a modern phonograph. It does not do away with the
sound-effects man — it merely makes his life easier, al-
though he is just as important as ever. It takes one a few
days to "get to know the thing".

MARCH, 19 3 0

Editorials

{Continued from page 32)

The average client has sense enough to leave the plan-
ning and production of his radio program to these highly
trained specialists. But quite a few clients apparently are
confident that they know much more about the business
themselves. These few constitute one of the greatest
menaces that radio broadcasting faces today.

The way it works in this: an advertising agency or one
of the big chains creates a really original idea for a radio
program. By dint of much persuasion they manage to
get a client to agree to sponsor this new series of hours.
All goes well until after the first broadcast. Then Mr.
Know-It-All, the client, egged on by the opinions, pos-
sibly, of his better half and her bridge club, starts to sug-
gest changes — and suggestions from him are equivalent to
commands, inasmuch as he pays the bills.

Then follows a hectic period. First, he says the dra-
matic sketch in his hour is too old-fashioned. Something
more modern is substituted and then he concludes that
the sketch might better be omitted entirely. Next he
starts on the music, which had originally been planned
purely as atmosphere for the sketch. The music has been
too classical, he says. People want something more lively.
So, after as much protest as can safely be made, there is
no course left but to change the music. Next a speaker
is substituted for the dramatic sketch and then is with-
drawn after a few weeks, in favor of a male quartet.

Now Mr. Know-It-All declares that there is not
enough variety, so he adds a soprano or a contralto
crooner to the hour. By this time the original idea has
been mutilated beyond recognition. The listener, who had
been led by early publicity releases to expect something
entirely unusual in radio programs, cynically concludes
that this is "just another program." The trained special-
ists throw up their hands in despair at the slaughter of a
really original idea. And even Mr. Know-It-All finally
decides that radio broadcasting isn't what it should be and
that the listeners don't appreciate "real art" in broadcast-
ing.

This criticism is not leveled at the entire broadcasting
business, nor at any one program, but rather at a condi-
tion that exists in the industry. If a client is willing to
pay a big price for the advertising of his wares, and has
faith in his agents and the broadcasters to serve him to the
best of their ability, then he should have enough sense to
leave them alone, and not interfere with those who help
him most.

Radio Revives Public's Interest in Old-time
Minstrel Show

{Continued from page 14)

William Shelley, our interlocutor, has appeared in sev-
eral minstrel companies and has had wide experience on
the legitimate stage. He has also been heard in a number
of NBC dramatic productions.

Carson J. Robison, better known as the Kansas Jay
Bird, sings humorous songs and whistles in his own inimit-
able style. He can strum a guitar and play a harmonica
at the same time. He has composed a number of songs
and is credited with being one of the originators of the
fad for hillbilly songs, which started several years ago.

Harold Branch, first tenor of our quartet, made a repu-

tation in radio at Cleveland before coming to the NBC.
He sings leading roles with the National Light Opera
Company and does quite a bit of concert work through-
out the East.

Steele Jamison, second tenor, formerly was soloist in the
leading church in Pittsburgh. He was one of the early
venturers into broadcasting and has been on the air con-
sistently for the past few years, on NBC programs.

Darl Bethmann, baritone, originally came from Pennsyl-
vania. During the past few years he has been heard on
many well known NBC programs, including the National
Grand Opera, National Light Opera and Tone Pictures.
His specialty is singing German lieder.

Harry Donaghy, our bass, has been broadcasting since
1923. He was a member of the Elite Opera Company
and has appeared in a number of stage productions. He
has also been in vaudeville and pictures, and has done a
great deal of phonograph recording with Victor, Columbia,
Brunswick and other companies.

Curt Peterson, who announces our program each week,
was born in Albert Lea, Minn. He was graduated from
the University of Oregon with the degree of Bachelor of
Science in 1920, after serving in the World War as a
lieutenant of infantry. Before entering the radio field
Mr. Peterson, a baritone, was a singer and a teacher of
voice at Miss Mason's Castle School for Girls.

Soprano Modulator — Radios Latest Wonder

{Contimied from page 33)

+ WYQF = AX+12 3, drop one, purl one. A
slide rule must be attached to the Modulator as any de-
viation from this equation will change soprano notes to
those of the tenor, and that is another problem. Two
carefully tested hetereogenous gaps, one unicellular amoeba
and a galvanic thyroid, used with a push-pull circuit, com-
plete the equipment.

The method in which the Modulator works is quite in-
teresting. The label is left off the soup can, and the
soprano, seeing it as she sings, becomes hungry for some
chicken gumbo soup, which in turn brings out a yearning
quality that is discouraging to high notes. The yearning
becomes so great that the poor soprano is forced to desist
from her singing, so-called, and betake herself to the near-
est restaurant, where she finds that, sorry, but they don't
have chicken gumbo soup on Wednesday; but anyway,
she will have stopped singing, and the good work will
have been done.

The device has yet to be tested.

Electric Clock

Place it on your radio set,

and get accurate time for

tuning in on your favorite

program.

Tickless, springless, care-free

operation.

Plug in on light socket.

Case in walnut finish, Bakelite.

Three inch silvered dial, height 7*4 inches.

Sent Prepaid — Price $9.95

WILLIAM H. ENHAUS & SON

26 John Street New York City

RADIO REVUE

THE BIG TEN

Best Selling Popular Songs of the Month

ONCE again there looms on the horizon a ray of hope
for songs other than theme songs from talking pic-
tures. However, judging from past experience, this
condition is likely to be only temporary. Whereas last
month The Big Ten was composed entirely of theme songs,
this month there are three songs in the list that are not
theme songs.

Then, again, the two leaders, Cryin' for the Carolines and
Happy Days Are Here Again, became widely popular before
they were incorporated and heard in their respective pic-
tures. So, for a while at least, it seems that there is again
hope for the good old popular song.

During the past month, as compared with the previous
month, there have been numerous changes in the list. Only
four of last month's ten remain. These are I'm a Dreamer;
Aren't We All}, If I Had a Talking Picture of You, A Little
Kiss Each Morning and The Chant of the Jungle. A number
of new vigorous songs have appeared and many in the offing
threaten to break into the charmed circle.

1. Cryin' for the Carolines

from Spring is Here (Remick Music Corpo-
ration)

2. Happy Days Are Here Again

from Chasing Rainbows (Ager, Yellen &
Bornstein)

3. I'm a Dreamer; Aren't We All?

from Sunny Side Up (De Sylva, Brown &
Henderson)

4. If I Had a Talking Picture of You

from Sunny Side Up (De Sylva, Brown &
Henderson)

5. The Chant of the Jungle

from Untamed (Robbins Music Corporation)

6. Should I?

from Lord Byron of Broadway (Robbins
Music Corporation)

7. Congratulations

(De Sylva, Brown & Henderson)

8. A Little Kiss Each Morning

from The Vagabond Lover (Harms, Inc.)

9. 'Tain't No Sin

("Walter Donaldson)

10. The One I Love Can't be Bothered
with Me

(Leo Feist, Inc.)

It will be noticed that we have included the names of the
publishers of these songs. If there is any further informa-
tion our readers desire about the popular songs they hear
over the radio — who wrote them, who publishes them, where
they can be obtained or in what pictures they appear, etc., —
RADIO REVUE will gladly answer all such questions.
Merely write Popular Song Editor, RADIO REVUE, Six
Harrison Street, New York, N. Y. Enclose a stamped, self-
addressed envelope if you desire a direct reply.

The Two Troupers

(Continued from page 30)

about it as a native son.

Marcella — Then, as J. P. McAvoy says, "You're a cli-
mate salesman", huh?

Helene — And how very! Well, now, let me me — we're
down to where we met on the Eveready Hour when you
played Dixie and I your sister, Nita, in Show Girl, by
the aforesaid Mr. McAvoy. Now you ask me how I
came to team up with the effervescent Marcella Shields

and I say "Well it was in this wise —

many people suggested that we should work together
because of the difference in our voices and radio per-
sonalities, and that the idea was pleasing to both of
us, but that you were under contract to Eveready all
winter and I was busy with various radio hours and the
"talkies."

Marcella — Will you please let me say something for a
change — I'm about to burst with pent-up information.

Helene — Hold everything, Gabby Liz, — let me finish my
part of this interview, will you?

Marcella — All right — all right — What happened after
you decided to join forces with the "charming" Miss
Shields?

Helene — Well, we first decided that we'd like to present
some true-to-life snapshots of the vaudeville world, as
most people are interested in stage life. We conceived
the characters and proceeded to write our first sketch,
making me the "wise cracking" and slightly "hard
boiled" vaudevillian and you, the littel dizzy, "Dumb

Dora."

Marcella — And don't forget, that I kept getting
"dumber" and "dumber" with each script.

Helene — Then, after a number of auditions at NBC The
Two Troupers were presented to the radio audience in a
series of half-hour programs with a jazz band. Our
signature number, "Two Little Girls in Blue" was Gor-
don Whyte's suggestion and we considered it a very
good one. Well, I guess that buttons that up.

Marcella — Yes — just like your overcoat. (Giggle). Well,
all there is left now is to put in what we have been do-
ing lately.

Helene — Oh, yeah ! — I know what you're all hot and
bothered about — you want me to tell them that you
were on the Fleischmann Hour with Rudy Vallee for
several weeks.

Marcella — No no I'm not one of those girls who

raves and tears her hair about Rudy — but I do think
he's awfully nice, and

Helene — Yeah — yeah — I know. Why, you even tried

to put on the dog with me, until Mr. Shilkret used us
on the Victor Hour that night that Rudy and all those
big stars were on and we had our picture taken with
him, and

Marcella — Well, I didn't notice you exactly ignoring
him, Miss Handin, but that's enough about that. I
want to get in about my playing "Alice Through the
Looking Glass" for Eveready lately and that I'm on the
Frances Ingram program and The Jameses and — that I
was in a swell new show, the first one of the Miniature
Theatre of the Air.
Helene — That reminds me — I forgot to mention my
being featured in the Potter series for Eveready last

MARCH, 19 3 0

Summer. Well, outside of the fact that I've also been
doing various hours, Harbor Lights, etc., I guess there
isn't any more to tell.

Marcella — Aren't you going to tell that you are a
D. A. R. — you always want to brag about that, it
seems.

Helene — Well, why shouldn't I? It isn't everyone who
had ancestors who "fit" in the Revolution.

Marcella — Oh — ho — give me time and maybe I can dig
up a grandmother who came over in the Mayflower.

Helene — Joking aside, Marcella, I think we'd better cut
this short, don't you?

Marcella — I think so, Helene, we don't want to tell
everything we know.

Helene — Yea, verrily. — Well, let's make our exit laugh-
ingly, by telling them about our domestic accomplish-
ments, such as our ability to cook — sew — keep house
and drive a car — only we haven't any car! And that
we both swim and dance and DON'T LIKE BRIDGE
— and

Marcella — In fact, we're practically — boy scouts!
Curtain.

Interest in Opera Fast Waning

(Continued from page 26)

often accompanies her. By this marriage the star became
an American citizen. She recently bought an estate in
Palos Verdes, near Los Angeles, and expects to build an
American home there. When not on tour, she spends her
winters in California, and the summers in her vacation
home in the Catskills, where she likes to dance, play golf,
and swim, her preference being in the order named.

Her farewell to the Metropolitan Opera House, where
she sang the sprightly role of Rosina in The Barber of
Seville, that boisterous opera by Rossini — and one of her
best impersonations — was the signal for a great ovation.
Those privileged to witness this last performance were
accorded a feast for the eye and ear. Madame Galli-
Curci's costume, topped with a bright red Spanish comb,
made a colorful picture. She played the role in a vein
of well-conceived and high spirited archness, giving the
impression that she is far from "finished" with opera, and
that opera sustains a great loss in her present decision.

The lesson scene in the third act was graced by the
famous "Shadow Song" from Dinorah, the principal aria
of her New York debut in 1916. As an encore, she obliged
with "Home, Sweet Home." After singing their appointed
roles, the other members of the cast, Giuseppe de Luca,
as the zestful Sevillian barber, Ezio Pinza as Don Basilio;
Armand Tokatyan as the Count; Pompilio Malatesta as
Dr. Bartolo, and Henrietta Wakefield (that most faithful
of artists), were called upon to carry forward a veritable
garden of flowers in baskets and bunches, a very large
offering from the Metropolitan Opera Company. More
applause from the audience, a lot more from her fellow
artists, wavings of handkerchiefs, a little speech of fare-
well, and the promise of a return some day, then photo-
graphs unlimited, and more photographs to sign, and so
goodnight.

In her farewell appearance at the NBC studios, Madame
Galli-Curci was also prevailed upon to sing "Home, Sweet
Home". After real applause by the orchestra and the audi-
ence present in the studio the diva was led away to a little
farewell party.

^[iNG QaNTLY CoNGS

THEY RE

QwEET QmART CnAPPY

They sat . .
PLACE" . .
SONG" . .

"BESIDE AN OPEN FIRE-
DINGING A VAGABOND
. He said . . . "HONEY
SUCKLE ROSE" . . . "I'VE GOT A NEW
LOVE AFFAIR" . . . "MY FATE IS IN
YOUR HANDS" She said ... "I NEVER
DREAMT YOU'D FALL IN LOVE
WITH ME" ...

AND THEY LIVED HAPPILY EVER AFTER
"SINGING SANTLY SONGS"

(Hey — Hey — Hey!)

SANTLYBROS.?

j 755 7th Ave., N. Y. C.

f~. Earl Carroll Thea. Budg.

Carson Robison

heartily

recommends

to his Radio

friends the

homelike

atmosphere

of the

HOTEL
KNICKERBOCKER^

RECOGNIZED RADIO ARTISTS' HEAD-
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NEW YORK

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TIMES SQUARE

JUST EAST OF BROADWAY

RADIO REVUE

Mr. Average Fan Answers Some of His
Critics

{Continued from page 19)

the gates at WJZ during the Collier Hour and see if she
looks anything like what I expect from her speaking voice.
I am afraid I shall be disappointed. If I get a chance to
speak to her, which I probably will not, I am going to
ask her to confine her work to talking and to cut out her
singing. I take it for granted that she is the one who
sings, after she appears in a sketch. Possibly I am wrong
and, if so, I want to apologize for even mentioning her
singing.

Since you have been kind enough to give me the oppor-
tunity to inflict my radio likes and dislikes upon a de-
fenseless public, there are a few more things I might get
off my chest and then cease inflicting myself upon you and
your readers. I realize that all tenors cannot be Frank
Munns and Franklyn Baurs, but that is no reason why the
radio audience should be tortured by some of the tenors
who infest the air. Many of them are good, but there are
quite a few who persist in singing through their noses,
which is very noticeable over the air. It has always been
my understanding that the broadcasting companies hold
auditions and, in that way, select their talent. How some
of these tenors and sopranos ever got by is more than I
can understand.

So far I have never been able to become greatly en-
thused over grand opera. I have lived in New York for
over a quarter of a century and the only times I ever
visited the Metropolitan Opera House were at the Sunday
night popular concerts. Grand opera is simply over my
low brow head. I cannot get any enjoyment out of it,
outside of a few well known numbers. Consequently,
while the voices in the grand opera performances over
the air are undoubtedly the best that can be secured, they
cause me no thrill.

For Your Convenience

In order that you do not miss any of the vitally
interesting features and pictures that will appear in
RADIO REVUE in the months to come, why not
let us enter your subscription now?

One Year, $2.00; Two Years, $3.00

RADIO REVUE, INC.
Six Harrison Street
New York, N. Y.
Gentlemen:

Please enter my subscription to RADIO REVUE

for years. I enclose Dollars in

cash, check, currency to cover.

Name

Street Number
P. O

State

When it comes to the light operas, that is another story,
so far as I am personally concerned. Every Sunday after-
noon I listen religiously to the National Light Opera hour
over WJZ. There may be better light opera directors than
Harold Sanford and better comedians than Frank Moulan.
If there are, I have in some way or other missed them. If
I were asked to name my favorite composer, I would un-
hesitatingly choose Victor Herbert. That gentleman, if
you will excuse the seeming vulgarity, was fuller of music
than a dog is of fleas. These grand opera addicts may
swear by Verdi, Puccini, Bizet, Leoncavallo and many of
those other foreigners but for real singable music there
never was, and I fear there never will be, another like
Herbert. I have heard nearly everything he ever wrote
and I simply marvel at the wonderful and continuous
flow of melody. And Harold Sanford knows how to bring
out the best of them.

Then again, I love the Gilbert and Sullivan operas, espe-
cially The Mikado. I see WJZ is starting to revive some of
them on the Light Opera Hour. I hope the station keeps
it up and gives us all of them. What I cannot understand
is why these broadcasts were cut down from an hour and
a half to an hour. I could stand a couple of hours of
them at a time. I believe that in this I am an Average
Fan. I enjoy the religious services on Sunday afternoons
thoroughly, but at the same time I would like to hear more
of the light opera. I do not like to seem catty or mean
but, as far as I am concerned, if the NBC would cut off
about an hour of the Roxy symphony concert on Sunday
and add it to the Light Opera Hour, it would greatly
please this Average Fan and a host of other average fans
whom I know in the metropolitan area.

Radio in the Home

{Continued from page 42)

casting Company.

I can give you many menus and special lists for enter-
tainment-luncheons, and tell you how to make the table
look attractive — which is, after all, an important factor.

I welcome letters of inquiry from all my listeners.
Before I close, let me give you something for the coming
warm days, a Spring menu and a special Sunday night
menu. I do this in response to innumerable requests.

SPRING MENU

Spring Salad

(Romaine, Tomato and Cucumber with French Dressing)

Roast Lamb Mint Sauce New Potatoes Parsley Sauce

Asparagus Drawn Butter Sauce Hot Dinner Rolls

Strawberry Shortcake

with Whipped Cream

Demi-tasse

SUNDAY NIGHT SUPPER MENU

Tomato Rarebit on Crackers

Shrimp Wiggle on Toast Points

Watercress Salad

Fig Cream Pie Coffee

TOMATO RAREBIT

2 cups grated American

Cheese
2 tablespoons butter
2 tablespoons flour
Yn cup milk

3/i cup stewed, strained

tomatoes
2 eggs, slightly beaten
'/g teaspoon soda
salt, mustard, cayenne

Cook butter, flour and milk together. Add tomatoes, soda,

eggs and seasoning. Stir in the cheese, and cook until it is

melted and smooth. Serve at once on crackers or toast points.

Serves four to six.

£P>7 niaa uou miahi to read

The Tragedy of Neglected Gums

Cast of Characters :
Your Dentist and You

you: "My gums are responsible for this
visit, doctor. I'm anxious about them."

D.D.s.:"\Vhat's the matter?"

you: "Well, sometimes they're tender when
I brush my teeth. And once in a while they
bleed a little. But my teeth seem to be all
right. Just how serious is a thing like this!"
D.D.s.:"Probably nothing to bother
about, with a healthy mouth like
yours. But, just the same, I've seen
people with white and flawless teeth
get into serious trouble with their
gums."

you: "That' s what worries me. pyorrhea
— gingivitis — trench mouth — all those hor-
rible-sounding things'. Just a month ago a
friend of mine had to have seven teeth
fulled out.

you: ( After a pause) "I was reading a
dentifrice advertisement . . . about food.

d.d.s. : "Soft food? Yes, that's to blame
for most of the trouble. You see, our
gums get no exercise from the soft,
creamy foods we eat. Circulation lags
and weak spots develop on the gum
walls. That's how these troubles begin.
If you lived on rough, coarse fare your
gums would hardly need attention."

you: "But, doctor, leant take up a diet of

BRISTOL-MYERS CO., Dept. RR-129
73 West Street, New York, N. Y.

Kindly send me a trial tube of IPANA TOOTH
PASTE. Enclosed is a two-cent stamp to cover
partly the cost of packing and mailing.

Name

Address

City Stale

C 1929

raw roots and hardtack. People icould
think I'd suddenly gone mad."

jx imaginary dialog? An imaginary
"you"? Admittedly, but the action is
real. It is drawn from life — from real
tragedies and near-tragedies enacted
every day in every city of the land !

Don't wait for "pink tooth brush"
to appear before you start with Ipana.
The coupon brings you a sample which
will quickly prove Ipana's . pleasant
taste and cleaning power.

But, to know all of Ipana's good ef-
fects, it is far better to go to your near-
est druggist and get a large tube. After
you have used its hundred brushings
vou will know its benefits to the health
of your gums as wrell as your teeth.

Stark s Golden Delicious

The Fruit That Made

All New York

Bite

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DELICIOUS

APPLES

Tested by 1,000,000 people in the Pennsylvania Railroad Station.

Carton containing one dozen selected Golden Delicious Apples (which
retail at $1.5 0) will be sent to each new subscriber who sends $2 for
a year's subscription to the RADIO REVUE, along with this picture.

—And you can't find a New
Yorker "in a carload" who
"gagged" on his slice of these
wonderful yellow apples.

The New York agent will
have many more trainloads of
these mouth-watering apples
this Winter. Help him move
them as well as help yourself to
the finest apple that ever grew,
by demanding Golden Delicious
of fruit dealers wherever you
go.

Golden Delicious is the new
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and Superior flavor and zest
that was discovered and intro-
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0 029 619 905 9

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